Thu Dec 12, 2013 2:43 am
Thu Dec 12, 2013 6:02 am
Thu Dec 12, 2013 6:12 am
mike edwards66 wrote:When measuring range it's the ability to 'sing' the note, not just 'hit' it that counts. Ivan Rebroff's four and a half octave range is not the widest recorded, but it's the fullness of every note that takes the breath away. (Elvis was about two and a half(ish) octaves, Roy Orbison just over three). Enjoy.
Thu Dec 12, 2013 11:05 am
Thu Dec 12, 2013 4:23 pm
Thu Dec 12, 2013 5:12 pm
drjohncarpenter wrote:I thought this was a topic on Voice!
Thu Dec 12, 2013 5:19 pm
Thu Dec 12, 2013 5:30 pm
Fri Dec 13, 2013 1:32 am
TJ wrote: It's a bit dubious to be including falsetto when talking about range though.
Fri Dec 13, 2013 2:23 am
Fri Dec 13, 2013 6:06 am
mike edwards66 wrote:TJ wrote: It's a bit dubious to be including falsetto when talking about range though.
Dubious, not at all. In the broadest terms 'range' refers to all the notes that a singer can produce, starting from the lowest and reaching to the highest. In other words the distance between the lowest and the highest is the 'range'.
Now it's true that if Rebroff had concentrated on opera alone, his falsetto would have been ignored for the purposes of range. since falsetto pitches are not used in most opera. But Rebroff had a wide and varied repertoire that made it possible for him to use and display his mighty range.
The challenge when using the falsetto is in the (breath) control and the vibrancy of the sound. Often falsetto will sound 'thin' in comparison to the head voice or in particular the chest voice. This is where Rebroff excelled, his falsetto was controlled, loud and strong.
Fri Dec 13, 2013 11:54 am
Rob wrote:drjohncarpenter wrote:I thought this was a topic on Voice!
I was hoping.
I could go for a little "Killing Me Softly" right now.
Sat Dec 14, 2013 1:44 am
TJ wrote:I don't disagree with any of that. All I meant was that in comparing his range with that of Elvis and Orbison, you took into account the falsetto for him, but not for them.
mike edwards66 wrote:Suffice to say, unique voice, four and a half octaves of pure clarity. His controlled falsetto is louder and stronger than traditional falsetto. His bass is rich, with fully rounded vowels, and could make the ground shake. He moves swiftly and smoothly from one octave to the next, his low notes are very low, his high notes are sustained without strain.
Sat Dec 14, 2013 2:01 am
drjohncarpenter wrote:Sherrill Nielson had an awesome falsetto.
Winston wrote:It sounds like J.D. and Sherill sings a duett!
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