[Vocal Profile] Cynthia Erivo

Post by: Montrez Rambo

Vocal Type: Lyric Soprano
Vocal Range: 3 Octaves, 1 semitone C#3-D6
Whistle Register: Unknown
Tessitura: F4-F5
Vocal Pluses: Bright, feminine and coppery voice with a full and dark lower register, identifiable and weighty middle, and a booming and broad upper register.

[Vocal Profile] Camila Cabello

Camila Cabello

Vocal Type: Light Lyric Soprano
Vocal Range: 3 octaves and 1 note and semitone C3- Eb6
Vocal Pluses: Camila Cabello's biggest strength lies in the intrinsic character of the voice. From the lows to the top, it retains a nasal, youthful and girlish quality. With this placement, she is able to transfer inflections and tics that are present in her speaking voice, allowing for her to stand out and be identifiable whether in a harmony (Good To Go) or over a heavy production (Work). The voice is agile and capable of melisma (more so at the top of the range than anywhere else) [Sledgehammer (live)].

[Vocal Profile] Jeff Buckley

Jeff Buckley

Vocal Type: Light-Lyric Tenor
Vocal Range: G2 - E♭6 (F♯6) (3 octaves, 6 notes and a semitone)
Whistle Register: No
Vocal Pluses: Jeff Buckley possesses an instrument of medium weight, that is brightly coloured, with dexterity and stamina to hold notes for extended periods of time without signs of fatigue or effort. He has the skill and musicality to fluidly execute complex melismas and trills [Mojo Pin] through the range.

[Vocal Profile] SoHyang

SoHyang

Vocal Type: Full-Lyric Soprano
Vocal Range: E3 - Db6 - A6 (3 octaves and a diminished fifth)
Whistle Register: No
Vocal Pluses:SoHyang has a homogeneous, rounded and bright instrument of remarkable beauty and meticulous control.  A versatile  vocalist,  her instrument is supported and consistent in nearly every extension of the range. Whether in the piano or the fortissimo dynamic, the voice is always expertly balanced and controlled.

[Vocal Profile] Norah Jones

Norah Jones

Vocal Type: Light-Lyric Soprano
Vocal Range: A2 - E5 - B5 (3 octaves and a major second)
Whistle Register: No
Vocal Pluses:Norah Jones possesses a soothing, breathy and husky tonality that has become her signature vocal trait over the years. Although with this natural tone, she’s able to play with dynamics, going from a quieter sound to a louder one, easily [Nightingale]. The Diva is capable of melisma, if wanted, but it isn't often employed due to the genres she favours

[Vocal Profile] Leona Lewis

Leona Lewis

Vocal Type: Light-Lyric Soprano
Vocal Range: C3 - A5 - Gb6 (3 octaves and a diminished fifth)
Whistle Register: Yes
Vocal Pluses:A light, dexterous and versatile voice, Leona Lewis is capable of fluid and effortless register transitions, holding notes for extensive amounts of time and utilising complicated melisma. As Leona has grown, her voice has increased in musicality, ultimately becoming more distinguishable. Although a thinness is present in the voice, this is balanced by a (signature) heavy, slow and hefty vibrato [Bleeding Love].

Leona has a quiet, feminine lower range that is surprisingly confident. It carries a striking, sombre tone and is often used as the lead register [Hurt], implying an easiness here. Although the voice lacks projection and support at its lowest, it has become easier for the Diva to traverse as she has aged. [The Best and The Worst].

The middle voice is significantly brighter, fulsome and cleaner in colour than the lower range, possessing a lyrical edge that she aptly uses to emphasize emotion [Fireflies]. It has become more rounded in sound over time, and with its solid connection to the rest of the voice, Leona often uses it during multi-octave runs and vocal slides. Ultimately, the mid-range is well developed and a solid part of the voice, known for its power and vulnerability [Better In Time].

[Vocal Profile] Vanessa Williams

Vanessa Williams

Vocal Type: Lyric Mezzo-Soprano
Vocal Range: G#2 - Bb5, 3 Octaves 1 Note and a Semitone
Whistle Register: No
Vocal Strengths:Williams is in possession of a distinct vocal tone clean of grit and impurities, as well as solid musicality which she demonstrates with superb intonation and vocal phrasing. These intrinsic skills have served her well not only in the studio but during live performances (which include time on Broadway).

[Vocal Profile] P!nk

Pink

Vocal Type: Lyric Mezzo-Soprano
Vocal Range: A2 - A5 - E6 (3 octaves, 4 notes)
Whistle Register: No
Vocal Strengths:A powerful, dark, rich and sturdy voice that has a trademark vocal grit within its flawless placement and superb vocal control. Pink's voice can cut through the roaring instrumentation of her music with its incredible and effortless resonance [U + Ur Hand]. The voice carries a heavy, wide vibrato that is controlled and never laboured.The voice is also capable of melisma- though it is under utilized [Love Is Such A Crazy Thing].

[Vocal Profile] Hayley Williams

Hayley Williams

Vocal Type: Light-Lyric Soprano
Vocal Range: Bb2 - A5 - A6 (3 octaves 7 notes and a semitone)
Whistle Register: Yes
Vocal Strengths: A technical and emotive vocalist, Hayley Williams’ voice has an edge that has been manoeuvred and molded into a unique vocal styling. A knowledgeable singer, she has honed her skills to create (the appearance of) a fully connected range that rings with a spunk-infused attitude.

[Vocal Profile] Tori Kelly

Tori Kelly

Vocal Type: Lyric Coloratura Soprano
Vocal Range: C3 - Bb6 (3 octaves, 5 notes and 1 semitone)
Whistle Register: Yes
Vocal Strengths: A strong, bright voice characterized by its feminine, sophisticated nature. Tori Kelly possesses superb vocal dexterity that is shown by her elaborate, nimble and soul-influenced vocal runs and inflections, which can cover multiple notes effortlessly [P.Y.T.].

In addition, Tori has displayed exemplary versatility and musicality. This allows for her to take another's material and make it unique and personal[Thinkin' Bout You], and also canny enough to play with, and create interesting harmonies- such as the neo-soul and gospel-influenced ones found in Falling Slow.

Tori's lower range is dark, lush and well-supported, showcasing a full, controlled quality down to E3. It is easily accessed from the mid-range [Bottled Up]. Below that, are notes that despite their fogginess, sound audible and well-controlled [First Heartbreak]. In a live setting, she has no problem descending to the lower extremities of her voice, and although it lacks the audibility within a studio setting, she sounds controlled and measured when attempting them [Star-Spangled Banner].

[Vocal Profile] Liz Fraser

Liz Fraser

Vocal Type: Soprano
Voice range: C3-D6 (3 octaves 1 note)
Whistle Register: No
Vocal Pluses: The overall character of the Diva’s instrument is famed for its light, airy and ethereal nature, with a slight operatic touch. Despite the fact that her real artistic strength comes from her tone, timbre, phrasing and the unique style of lyricism, she has also shown some technical proficiency.

Although naturally foggy, Fraser’s lower register extends down to C3, and is characterized by a surprising audibility given her voice type. The voice is most comfortable around the upper half of the lower register, resulting in her being capable of hitting strong and substantial F#3’s. [Athol-Brose]. The tone and volume can aptly be manipulated into sounding either soft [Make Tomorrow], or louder and stronger [Bluebeard].

[Vocal Profile]Ciara

Ciara

Vocal Type: Soubrette Soprano/ Light-Lyric Mezzo Soprano
Voice range Studio: (G#2-Bb5) 3 octaves and 1 note
Vocal Range Live: (C3-C#6) 3 octaves and a semi-tone
Whistle Register: No
Vocal Pluses: Ciara possesses a light/bright nimble voice, capable of intricate runs. Not your typical singer, starting out as a dancer/singer with little to no control over her instrument, she has grown into a singer/dancer with improved breath control, dynamics, tone and power. The Washington Post has said of her voice that she has a "reedy, agile voice, capable of conveying the only 3 emotions (sexy, sassy, and sad) an R&B singer needs".

[Vocal Profile] Anouk

Anouk

Vocal Type: Lyric Mezzo-Soprano
Vocal Range:G#2-A5 3 octaves and a semi-tone
Whistle Register: No
Tessitura: D4-D5
Vocal Pluses: A dark, warm and dense voice comfortable singing at small, medium to medium-large sizes. The voice is well connected in all of the range.

[Vocal Profile] Patrick Stump

 
Patrick Stump

Vocal Type: High Lyric Tenor
Vocal Range:E2-C6 3 octaves and a minor sixth.
Whistle Register: No
Vocal Pluses: Lead singer and songwriter of Fall Out Boy, Patrick Stump is an experienced vocalist. He has sung almost entirely in the pop punk idiom, but has also made the transition to RnB without difficulty on solo album Soul Punk. Though he has a light voice, due to his technique, his voice carries a piercing, ringing quality, most noticeable in the upper fourth and lower fifth octaves. He has also shown an interesting knack for melisma – unusual given his chosen genre.

Stump’s low range is the least-used area of his voice, and has a dark, distended quality [Headfirst Slide Into Cooperstown on a Bad Bet]. He very infrequently descends lower than C3, but when he does, approaches the notes with solid support, and doesn’t have the breathy quality that so many tenors do when singing low.

The middle voice, starting around E3 ascending to E4-F4, is impressively malleable, being able to morph to whichever style he chooses to sing in [Compare Dance, Dance to This City], and he generally uses a strong, easy-sounding approach when he sings. Patrick Stump also has great capability for fast-moving, melismatic lines in the middle voice, best seen on the Fall Out Boy album Folie a Deux.

[Vocal Profile] Amerie

Amerie

Vocal Type:Light Lyric Soprano
Vocal Range:3 octaves C#3-C#6
Vocal Pluses: Amerie possesses not only a highly emotive voice, but demonstrates a versatility in tone, timbre and colour not often displayed by the average RnB singer.

The lower range of the voice is where Amerie struggles, displaying a tone which can not only sound unhealthy, flat and unsupported, but can also sometimes be abrasive to the ear- depending on the context of the material she is singing. For example, All I Have's softer and generally more pleasing delivery contrasts greatly to Dangerous, where the more serrated edge to the voice can be less so.

Within the mid-range the tone lifts and the timbre intensifies into a far more pleasing sound. This area is generally well supported and the tone is exceptionally cleaner right up to a D5- evident in such songs as That’s What U R, where a sweeter, more sensual tone is displayed. The chest voice is incredibly versatile, and has evolved from her debut album- where it was significantly cleaner- to now, where it has a more prominent rasp, giving the voice a distinctive sound.

[Vocal Profile] Janelle Monae

Vocal Type: Light-lyric soprano
Vocal Range: 3 Octaves, 7 Notes And 1 Semitone C#3-C7
Whistle Register: Yes
Vocal Pluses: Elastic, bright and feminine voice that is full of frenetic energy- particularly when the Diva belts [Tightrope]. Her anounication is clear and distinct throughout the range and this, in combination with not being one for floral or lengthy melisma, mean her lyrics remain consistently discernible. Having a background in theater also bolsters the Divas ability to effectively emote.

Midrange is of mid-weight, darkish and carries the character of the rest of her range. It connects to the lower-range, which is supported and without the huskiness/fogginess that some have when pushing their voices to their lower extremes [ Mr President]. The upper part of the mid-range is warm and rounded with an undeniable sweetness to it [Locked Inside].

Excellent understanding of her voice means she can manipulate her belting range exceptionally. For the most part her belt is head-voice dominant, thus it is smooth and without texture. She can however alter the balance of her mix, giving her a palette of varied tones to play with. An extreme example of this control is showcased in Come Alive (The War of the Roses) where she imitates an electric guitar.

The Diva moves effortlessly into her head-voice, where she shows great control. She is capable of singing with an operatic tone, which is full and measured [ Cybertronic Purgatory ] but can make her upper-range more contemporary, being light and agile [ Harmonies in Many Moons].


Vocal Negatives: Her vocal styling can be quite wild and eccentric, and not to the taste of everyone

[Vocal Profile] Sia Furler

Sia Furler

Vocal Type: Light-Lyric Soprano
Vocal Range: 3 octaves( BB2-Bb6)
Whistle Register: No
Vocal Pluses: Chameleon-like voice that skirts styles and genres depending on what is required. Sia can deliver a vocal that is "commercial" and mainstream, with her vocal mannerisms toned down- something most prominently heard on her demos. However, her natural style is one that is characterful, emotive and steeped in jazzy inflections unique to her. This individuality is further bolstered by the singer's, at times, slack annunciation and quick vibrato.

[Vocal Profile] Chaka Khan

 Chaka Khan

Vocal Type: Spinto Mezzo-Soprano
Vocal Range: F2-B5 (3 octaves and a diminished fifth) (B2-E6)
Whistle Register: No
Vocal Pluses: Chaka is a unique singer, with her own style of inflection and timbre. Her voice has some similarities to other singers of her generation, but always retains a sound distinctly her own. Though her timbre is bright, she has an unusual amount of power behind her notes.

The low range is quite impressive, spanning down into the second octave. Her lows can either be smoky and whispery or more solid and defined, and though never achieving the same volume as her high range, her low notes retain her tone and style The lower range stays mostly homogeneous to the rest of the range.

Her middle range, starting around G3, has many timbres and textures that it can assume, and transitions absolutely seamlessly from the lower middle range to the top of her voice. The middle range has a peculiar ‘forward’ sound that gives the impression of the tone used in the belted range, aiding the sound of seamless transition.

The belted range is technically incredible, and the defining aspect of her voice. Going all the way up to a thrilling B5, the belted notes are brassy, bright, and full in sound – they are always mixed perfectly, and flow easily, though time has stripped Chaka of the top belts. Thanks to her mixing, she goes to the absolute top of her viable range, but belts far beyond ‘typical’ highs for any voice type.

Her head voice (whenever it is heard) is light, bright, and somewhat breathy.

Vocal Negatives: Her head voice on its own is rarely heard and sounds quite weak compared to her powerful, brassy belts. Because of her unique singing style, it may take time to adapt to her sound on the whole. She has a tendency to waver in pitch on the low notes, and the low range on the whole seems a little variable as to whether it will be solid or weak on a given day.

Credit goes to Marty M for this profile!

[Vocal Profile] Haley Reinhart

Haley Reinhart

Vocal Type: Light Lyric Soprano
Vocal Range: D3-E6 (3 octaves, 1 note)
Tessitura: D4-E5 (1 octave, 1 note)
Whistle Register: No

Vocal Pluses: An emotive singer, this Diva demonstrates great control over her instrument in its upper reaches. Her voice is characterized by its ability to growl emotively, and go from a sweet whisper, to a belt at forte. Her voice also has a nice natural rasp that gives the voice a false sense of thickness.

Haley Reinhart's lower register, is thin and lacks resonance, though the tone is nasal, reedy, and sweet. She loses resonance as she dips below B3. Despite this fact, she wields it with nice artistry; using the thinness of this register to give the voice a great sense of dynamics, being able to go from a low whisper-like note to an elastic belt easily [Hear: Oh My]. However, her technique in this region is questionable, with notes often being reached by forcing the larynx down.

Her mid voice, spanning C4-C5, is still light in both weight and volume which gives her voice an overly delicate and youthful sound [Hear: Wasting Tears]. The voice breaks at around C5 where her falsetto gives way. Her tone in this area is rather guttural and edgy at times [Hear:Wasting Tears] but can be softer, and cooler [Hear: Hit the Ground Running ]. This area is quite easily accessed, though at times she can sound monotone.

Her belting register is her strongest suit, spanning from B4-G#5. She uses this part, combined with her ability to mix and her extensive volume control, to give the voice added dynamic [as heard in the D5 of Oh My and the C#5 of the chorus of Undone]. She has quite a durable voice, being able to "growl" for extensive periods with little if any resulting vocal deterioration. She also has extensive stamina in this region, being able to sing difficult lyrical passages [as heard in her many American Idol covers and her song Keep Coming Back]. Her tone in this region is very reedy, though its texture is very raspy.

Haley has a well developed mix and relies heavily on falsetto, rather than true head voice. It extends upwards to Soprano E. Her tone here is a dead ringer for a piccolo, and is in contrast to the rest of her voice. It is warm and has a light weight fragility to it. She can switch to head tones within the space of a breath and exhibits great dexterity here. Her mix is stellar and uses great technique to achieve this sound. (Just about every single song she has created shows off her head tones.)

Vocal Negatives: Thin light voice, is a very acquired taste and has trouble being heard over instrumentation in a live setting. Her technique in her belting register needs polish, as there is questionable technique and a lack of mixing involved when singing. Her growling, similarly, employs questionable technique. A listener may also take issue with the nasal and bight tone present in her full voice,  her rasp, and her weak lower register.

Thanks to Montrez Rambo for this Profile! 

[Vocal Profile] Brian McKnight

Vocal Type: Leggiero Tenor
Vocal Range: 3 octaves 2 notes and a semitone (D#2-G#5)
Tessitura: 2 octave 1 note(D3-E5)
Whistle Register: No
Vocal Pluses:One of few who can actually qualify as being a Leggiero Tenor in pop, Brian McKnight is a powerful male vocalist with one of the best developed mixes in the industry. He has phenomenal control and is able to execute precise vocal runs in all registers of the voice. The ability to sing rapid-scale melismas, as well as the elasticity of his belting range, are both signature characteristics of the singer's vocal style.

Brian McKnight's lower register is dark and velvety, extending down to D#2, with the tone retaining it's colouring even up to an octave above at E3. The voice harmonizes well with itself, retaining its warm tone. His vocal weight is rather light (though for a tenor, surprisingly heavy) which gives him the agility to sing rapid descending scales to impressive depths. His placement is healthy and neutral, with plenty of resonance down in even his lowest note of D#2. This lower register is characteristic of the Leggiero Tenor by being baritonal in color and in the weight of its extremes (below A2). His technique in this register is great.

His mid voice, which extends up to D4 from F3, places him in the realm of most tenors, despite his ability to belt lower fifth octave notes. This area is warm and dark in color, with a thick velvety texture. Even when it looses an extensive amount of weight, it still retains its texture and colour. With the lack of weight, his dexterity becomes significantly freer, capable of executing some extremely swift vocal runs. His technique in this portion of the modal register is also great.

His belting register, is quite impressive. The tone remains dark as he comes close to A4. Above A4 (like most tenors), his tone significantly brightens becoming slightly heady, extending upwards to F5. His dexterity doesn't suffer, despite this impressive feet. Even at the height of F5, he can execute some pinpoint accurate vocal runs. He places his voice nasally though, but it does little to take away from his vocal freedom. He still has resonance and is capable of reaching mezzo-forte. He most likely employs that to get longevity on those extensive fifth octave belts. His technique for his belts, is second to none.

His head tone, relies heavily on chest, extending upwards to G#5. He has sang an F5 in falsettone as well, however he relies mostly on deft mixes of chest and falsetto in this register. The tone is thick and labored, though this may be an artistic decision since fallsettone lacks the ressonance of headvoice. Overall his technique for this area is questionable.

Vocal Negatives: Questionable technique used in his falsetto, and some may find his style relies too heavily on vocal runs.