[Vocal Profile] Charlotte Church

Vocal Type: Full-Lyric Soprano
Vocal Range: 2 Octaves 5 notes and a semitone (Eb3-C6)
Whistle Register: No
Vocal Pluses: Being a product of the classical world, Charlotte Church has received vocal training that has allowed for her to manage and understand the inner workings of her instrument. With this knowledge comes a voice that is confident, assured and skilful in its delivery. She would also have been taught about breath control, and this is shown in practice by Church’s ability to hold notes and navigate long phrases, often through registers, without losing breath or the correct support. It also affords the singer excellent mastery of dynamics; being able to begin a phrase loud and projected, but end it gentle and soft [Hear:Breach Of The Peace].

The lower range isn’t particularly extensive-  beginning in the third octave- but the control here means that Church is able to produce tones that are substantial and without the fogginess many Divas exhibit in the lower extremes of their range [The Rise]. Her voice leads seamlessly in tone and timbre into the midrange, and both share a distinct and identifiable character.

Church is primarily a midrange belter, being most comfortable at the upper end of the fourth octave and lower end of the fifth. This being so, the singer produces a tone that is weighty, full and resonant. As her head voice overlaps the chest voice- being heard as low as a  B4- the singer is often heard jumping between the two parts to create interest in the vocal line. However, she is capable in either register.

Perhaps the most impressive part of Church’s range is the head voice. Having honed it during her early years in the Classical world, the Diva exhibits a skill in this part of her voice that allows for impressive tonal variety. The voice here can be light and airy [Hear:Lasts, Or Eschaton ], thick and operatic [Sparrow], or balanced so brilliantly with its chest voice counterpart that it skirts the line between the two, never sounding quite like either.

Being so capable in her head voice and her mix, Church has no problem transitioning through the range; making it sound as if there are no breaks to be found in the voice at all. To further polish her notes, the singer is able to add a balanced and controlled vibrato that can either sound operatic or contemporary depending on the how she chooses to apply it

Vocal Negatives: It would be impressive if Church worked further on her fifth octave belting, while simultaneously developing her lower range.

[Watch] Miley Cyrus Gives A Raw Rendition Of "Wrecking Ball" @ 2013 iHeartRadio Festival

Miley Cyrus isn't doing anything to prove those who only recently became aware of her existence via the controversial things that she does, that she isn't anything but another plastic-pop star.

At the iHeartRadio Festival, the Diva had a perfect opportunity- with the live rendition of Wrecking Ball- to at least show detractors that there was a capable voice behind the gimmicks. Instead this happened [watch the video]. Wavering melody, pushed vocals- with a terrible attempt at improv at the song's closing- and a generally unpolished delivery ensued. We've heard that Cryus can sing, but performances like these aren't doing anything to enlighten those unaware of it.

Though I think the biggest problem highlighted by this, and the We Can't Stop performance, is the grating tone of her voice. It's something which isn't so apparent on the mastered versions, but becomes almost unbearable in this live set.

So was this a case of the emotion of her recent breakup getting to her, or is that just an excuse for a poor and lazy performer not putting in the effort?

[Watch] Jessie J Covers Mariah Carey's "Emotions" @ Rock In Rio 2013

Jessie J loves a cover! So much so, that in her set for Rock In Rio 2013, the Diva shoehorned in a whole medley dedicated to other artist's material. Lucky enough to get a look in were: Fatback Band's I Found Lovin', Chaka Khan's Ain't Nobody, Mariah Carey's Emotions and Luther Vandross' Never Too Much. Of course I was most excited about one of these songs more than the others...take a wild guess which!

If I had been in the crowd, my brain would have literally exploded the second I heard the MTV-Unplugged introduction to Mariah's classic 90's hit. But being a vocal virtuoso, was Jessie able to hit the astronomic whistle notes that the song is so famous for? Well watch and find out for yoursel! (The medley start at 16:20 )

Thanks to Luiz for the heads up on this. Oh, and feel free to watch the whole set.. ;)

[Free For All Friday]

Free For All Friday time!  Today I will mostly be drinking tea and eating Milky Bar. What a rich and riveting life I lead.

If you don't know the score, here be the rules:

• Try not to get too perverted-this site still needs to basically be "safe for work".
• If somebody starts a controversial subject, try keeping it civil when dealing with it. If things get out of hand please flag the conversation.
• It would be nice if it stuck to music, but it's not a requirement! So talk about news, current events, how you're getting your hair done next time you hit the hairdresser! Whateves, really!
• No nasty comments aimed at other users.

Inappropriate hugs to all y'all and wishing you an awesome weekend!

[Listen] Charice Pempengco Covers Katy Perry's "The One That Got Away" and Sia's "Titanium" On "Chapter 10"

Did anyone else know that Charice Pempengco had released an album of cover tracks? Chapter 10 contains some of the Diva's favourite songs, re-imagined by herself and includes golden-oldies like Toni Braxton's How Could An Angel Break My Heart and Bryan Adams' (Everything I Do) I Do it For You.

Apparently the album is for the Philippine market, with her next international set of original material to be recorded some time soon. But one has to ask why this wasn't released further afield, it's just the kind of music her Glee fans would eat up. [Scratch that, just found it on Itunes....whoops.]

Some of the arrangements on Chapter 10 are a little too "Karaoke" in their production for me- think synthetic strings and drum machines- but there are gems to be found, especially when it's just Charice and a piano. My particular favourites are her take on Katy Perry's The One That Got Away and David Guetta and Sia's Titanium- which I've rather helpfully tacked on to the post!

Enjoy

[Thoughts On] Natalia Kills

Is there anyone else out there on the site who is loving Natalia Kills' sophmore album, Trouble?  I've sat on the album- figuratively speaking- for the last week, but boy was I impressed when I got around to giving it a spin.

Up until now I've always been slightly weary of the British singer-songwriter, thinking she was going to be  a case of more style than substance. This being so, I wasn't expecting much when I forced myself to give the album a chance today. However, her style of brash and bolshy, electro-pop was just what the Doctor ordered! I'm slightly smitten.

I'm even tempted to go back and take a listen to her first album Perfectionist so enjoyable was the experience, but I'm scared I'll be disappointed. Maybe you guys can help me fill in the gaps of my non-existent knowledge on the Diva and why I should worship her like a packet of Monster Munch. Personal opinion is so much more fun than Wikipdia.


Drink that Kool-Aid, peeps! 

[New Music] Anouk Tackles Race and Cultural Appropriation on single "Wigger"

As if none of you have figured, we have a MASSIVE Anouk fan on this website! I'm not sure I even need to point fingers because her love for the singer-songwriter is made known so often (particularly on our " Free-for-all Friday" posts) that you'd have to be a newbie not to have noticed (hello if you are!). So in honour of one of our most vocal members, here's Anouk's latest single, the controversially titled, Wigger.

Being the mother of mixed-race children , Anouk offers a very personal, and informed, take on the subject of race and identity. The guitar-led song is bound to stir-up controversy, as not only does it deal with a subject that make some uncomfortable, but Anouk isn't subtle with the lyric either, leaving little room to hide from its meaning. 

The Dutch Diva was obviously aware of how the song and the title may ruffle feathers, so decided it best to tackle the subject head-on in a Facebook post: