WOW!
That Davin Youngs guy slayed my whole life I'd love to sing like him. So effortlessly blending classical with R&B/Soul/Gospel.
I can clearly see how all these men are baritones. Each of them has a dark, heavy, bass-y bottom, a powerful, piercing, (let's talk about squillo resonance next so I can get a better understaning) but not bright-souding, upper chest register. Their tones in that part of their voices sounds oddly... ...dim. Not the quality of a tenor's at all...
EXCEPT that Jacques Jansen guy! His voice absolutely has a boyish, bright-ish tenor-like quality to me. But the definition of baritone-martyn you posted read to me as "basically a tenor lol - could/should be trained as one anyway," so yeah.
I looked up a video of a 'tenor buffo/spieltenor' too, the definition of which sounding to me like "basically a lowww tenor" If anything, I still think Timber is a low tenor.
i <3 this thread
(I answered about Anthony Hamilton in my last post.)
Yea. That's why I was going back and forth with it. Because like Jacques Jansen, Timber has a tenor-ish timbre but their tessitura is lower than average tenors. It's a hybrid voice type of sorts. Some consider it the male equivalent to the Dugazon.
So either the Baryton-Martin or tenor buffo/spieltenor.
I'll get to the Kenny video once I'm through the janet. World Tour on YouTube lol.
Do you like Janet's voice at all? It's so small and CUTE and pretty lol. Her vocal peak was probably the janet. era. She had some pretty good vocal performances on RN1814 tho. She was actually singing the CRAP out of "Rhythm Nation" (she was belting some B5s I think) but no one ever notices because they're so focused on the choreography lol. And the RANGE explored in "Love Will Never Do" (C6 at the end) and "Alright" (lower range on fleek)
So you're saying that even though I'm more comfortable singing in a baritone range my voice is better when it's singing tenor?
No, what I mean is your voice has a tenor coloring and sound to it (not that high, whiny pop tenor sound) but it seems that you're more comfortable in a lower tessitura than average tenors
I'll get to the Kenny video once I'm through the janet. World Tour on YouTube lol.
Do you like Janet's voice at all? It's so small and CUTE and pretty lol. Her vocal peak was probably the janet. era. She had some pretty good vocal performances on RN1814 tho. She was actually singing the CRAP out of "Rhythm Nation" (she was belting some B5s I think) but no one ever notices because they're so focused on the choreography lol. And the RANGE explored in "Love Will Never Do" (C6 at the end) and "Alright" (lower range on fleek)
Yes, I like her voice. Tbh, Janet's actual one of my unofficial faves. Can we talk about her vocals on "He Doesn't Know I'm Alive" she hit a D6. And imo, her harmonies are underrated and they've only gotten better over the years. *plays Enjoy*
Squillo is a technical term for the resonant, trumpet-like sound in the voices of opera singers. It is also commonly called "singer's formant", "ring", "ping", "core", and other terms. Squillo enables an essentially lyric tone to be heard over thick orchestrations, e.g. in late Verdi, Puccini and Strauss operas. Achieving a proper amount of squillo in any performing context is imperative: too much and the tone veers towards the shrill; too little and the purpose of the squillo cannot be achieved.
Squillo is easily recognizable by a distinctive brilliant, ringing quality in the timbre of the voice.
A piece on the Spinto Soprano voice with squillo (from Wikipedia)
Quote:
A spinto soprano (also lirico-spinto, spinto lyric soprano or "pushed lyric") is a category of operatic soprano voice that has the limpidity and easy high notes of a lyric soprano, yet can be "pushed" on to achieve dramatic climaxes without strain. This type of voice may possess a somewhat darker timbre, too, than the average lyric soprano. It generally uses squillo to "slice" through the sound of a full orchestra.
What exactly is coloratura and why doesn't Mariah have that anymore?
Quote:
Coloratura has several meanings: The word is originally from Italian, literally meaning "coloring", and derives from the Latin word colorare ("to color"). When used in English, the term specifically refers to elaborate melody, particularly in vocal music and especially in operatic singing of the 18th and 19th centuries, with runs, trills, wide leaps, or similar virtuoso-like material.
The voice is very agile.
And Mariah is still a coloratura, her voice is still agile. The overall vocal consistency just isn't there like it once was because of the nodules (which she's had since before her debut).
Whitney's upper chest belts were easily the strongest part of her voice and no contemporary females since she debuted has shown more ease and control between C5 and F5 except maybe Celine and Barbra, and even then neither of them had half the resonance she did.
But everyone underestimates Whitney's skill in melismas. They were always placed in perfect spots at the end of phrases and such. She never over did them like some, but she added them just enough to spice up the performance.
Probably the most talented spinto soprano pop has ever seen at her vocal peak.
Yea. That's why I was going back and forth with it. Because like Jacques Jansen, Timber has a tenor-ish timbre but their tessitura is lower than average tenors. It's a hybrid voice type of sorts. Some consider it the male equivalent to the Dugazon.
So either the Baryton-Martin or tenor buffo/spieltenor.
Kenny is like a perfect lyric tenor. He's a gorgeous vocalist. Don't know him at all except for one song, but wow!
Quote:
Originally posted by 2AM
Whitney's upper chest belts were easily the strongest part of her voice and no contemporary females since she debuted has shown more ease and control between C5 and F5 except maybe Celine and Barbra, and even then neither of them had half the resonance she did.
But everyone underestimates Whitney's skill in melismas. They were always placed in perfect spots at the end of phrases and such. She never over did them like some, but she added them just enough to spice up the performance.
Probably the most talented spinto soprano pop has ever seen at her vocal peak.
Let me pull this out!
Quote:
Originally posted by Chimier
This is a spinto voice in the pop world:
2:39- Her voice "cuts" through two male voices without any effort
3:03- Her voice cuts through (and overpowers) EVERYONE'S without effort
5:59-6:11- She produces the same output of sound in her higher register.
A rich, resounding large voice in the entirety of the vocal line.
Whitney's upper chest belts were easily the strongest part of her voice and no contemporary females since she debuted has shown more ease and control between C5 and F5 except maybe Celine and Barbra, and even then neither of them had half the resonance she did.
But everyone underestimates Whitney's skill in melismas. They were always placed in perfect spots at the end of phrases and such. She never over did them like some, but she added them just enough to spice up the performance.
Probably the most talented spinto soprano pop has ever seen at her vocal peak.
YES! All of this.
Quote:
Originally posted by BLaCKPoWeR
Kenny is like a perfect lyric tenor. He's a gorgeous vocalist. Don't know him at all except for one song, but wow!
Let me pull this out!
I watch that video so much a big beautiful and resonant voice, supreme control. An even and gorgeous vocal line. Clark, what Chimier was talking about, that's squillo. How she cut through Sting and Pavarotti
My fav Spinto Sopranos in "pop" music:
1. Whitney (obv.)
2. Tanya Blount and Deborah Cox
3. Tramaine Hawkins
I think the verdict is still out on Tamela Mann (if she is indeed a Spinto, she's on my list as well)
Michael Buble is certainly a baritone to me though. The bottom of his range is very solid and has a LOT of bass to it. His tone is darker than a tenor's, sweet-sounding, mild, and smooth. Lyric bari just like me! https://www.youtube.com/watch?v=kd02KzGUiN0
I was confused for a sec because he's belting a Bb4 in this video, but the upper chest register does not possess that bright, ringing tenor-ish quality. They almost sound dim if that makes any sense. Plus those high notes seem really uncomfortable for him - and kinda restrained. Not restrained in a "he's straining" way, but restrained in a "i caNNOT go any hihgher " kinda way. He must be a highly trained and well-developed vocalist.
So effortlessly blending classical with R&B/Soul/Gospel. 
His voice absolutely has a boyish, bright-ish tenor-like quality to me. But the definition of baritone-martyn you posted read to me as "basically a tenor lol - could/should be trained as one anyway," so yeah.
If anything, I still think Timber is a low tenor. 
