Queenbert vocal highlights
Jul 19, 2012 17:25:26 GMT -5
Post by lambo on Jul 19, 2012 17:25:26 GMT -5
Some of my favourite bits of the six shows. I'll compare his approach to Freddie's here and there to show how exactly he makes these bits *his own*. cassie can explain most of this better than me but I'll try my best ;D
Under Pressure
1:56: This is my favorite take on this passage, it's pretty reminiscent of Adam's take on My Conviction since he's using that lovely ringing operatic head voice! Notice the super fast vibrato on the top note too(it's a D5). Freddie did this passage in falsetto, if you listen yourself you can hear the difference, mainly in the difference of clarity and power.
2:56: Starting on a C5 (tenor high C), Adam holds it for six seconds with a really good wide vibrato and then slides smoothly up to an E5. Notice the consistency in power, tone and vibrato though, his voice doesn't get thinner at all even though it's a high note! The whole line lingers for about 10 seconds. On the original studio version, Freddie begins in falsetto on an A4, slides up to G5, and then to A5 at the end. It's very cool, obviously Adam changes it up by hitting lower pitches but opting for full voice.
1:51: Here Adam hits the lowest note of the Kiev show too with Roger, a D3. That's a span of D3 to E5 in this song, which is two octaves and two notes!
Who Wants To Live Forever?
cassie: "His tone at the beginning is light, yet rich, like warm honey. He floats up to that first G4 (0;43), but there is power behind it. Then, as the song progresses, he just keeps adding intensity to his voice, like dialing up a rheostat. Just when you think he cannot possibly sing more powerfully, he does in the final "who wants to live forever? Forever is OURS!"
1:53: An intake of breath just before "forever", before holding an A4, sliding up to B4, trilling to C5 and back down before finishing with "when love must die" without another breath. That's about 13 seconds, but it's also "fortissimo, full power, full drama" as cassie puts it!
3:27: A glorious operatic D5, full of power, vibrato, and clarity. A trained alto would be proud to hit a note like that, but that's AFL for ya!!
As a side note, two octaves D3 to D5 in this performance, with a D3 at 0:59.
Don't Stop Me Now
0:22: This is a super tricky intro, "gonna have myself" is a great display of how Adam can jump around his range quickly precisely, it climbs an octave over F major arpeggio, going "gon(F3)na(A3) have(C4) my(F4)". Singing arpeggios like that is a pretty standard vocal excercise, but not with Adam's speed and in the middle of a melody! "ali-i-i-ive, and the world" is another octave leap but this time climbing the F major scale from F3 to F4 with ninja precision! Also, compare "turning inside out" and "floating around", both are sung around A4, but the former in a power yet restrained full voice, and the latter in a beautiful soft falsetto (which then switches to full voice in the same breath for "DON'T! stop me now")
Dragon Attack
Now this is just such a cool vocal performance overall. Similar to what he does on the song Trespassing, listen to how rhythmic he is on the verses, stressing certain consonants to correspond with the rhythm of the rest of the band on the main riff. cassie: "Even when he sounds like he is punching notes or singing staccato, that is because of his articulation and his body language, or an extra uumph from the diaphragm". At the climax of the main part of the song at 2:43, he usually climbs to a D5 and sustains it before trailing down, here however he goes all the way UP to a G5!
(As a side note, this song was really "Adamized" for these shows, the original was faster and had less of a groove, you could say Adam brought more of a funky Shady-esque vibe to it)
Seven Seas of Rhye
Don't you just love the dramatic vocals here? ;D At 2:57 Adam hits a D5 which was a falsetto note on the original, amazing power and vibrato and the first real "glory" note of the show.
Got some stuff to add/expand later. Hope some of you enjoy our ramblings!
Under Pressure
1:56: This is my favorite take on this passage, it's pretty reminiscent of Adam's take on My Conviction since he's using that lovely ringing operatic head voice! Notice the super fast vibrato on the top note too(it's a D5). Freddie did this passage in falsetto, if you listen yourself you can hear the difference, mainly in the difference of clarity and power.
2:56: Starting on a C5 (tenor high C), Adam holds it for six seconds with a really good wide vibrato and then slides smoothly up to an E5. Notice the consistency in power, tone and vibrato though, his voice doesn't get thinner at all even though it's a high note! The whole line lingers for about 10 seconds. On the original studio version, Freddie begins in falsetto on an A4, slides up to G5, and then to A5 at the end. It's very cool, obviously Adam changes it up by hitting lower pitches but opting for full voice.
1:51: Here Adam hits the lowest note of the Kiev show too with Roger, a D3. That's a span of D3 to E5 in this song, which is two octaves and two notes!
Who Wants To Live Forever?
cassie: "His tone at the beginning is light, yet rich, like warm honey. He floats up to that first G4 (0;43), but there is power behind it. Then, as the song progresses, he just keeps adding intensity to his voice, like dialing up a rheostat. Just when you think he cannot possibly sing more powerfully, he does in the final "who wants to live forever? Forever is OURS!"
1:53: An intake of breath just before "forever", before holding an A4, sliding up to B4, trilling to C5 and back down before finishing with "when love must die" without another breath. That's about 13 seconds, but it's also "fortissimo, full power, full drama" as cassie puts it!
3:27: A glorious operatic D5, full of power, vibrato, and clarity. A trained alto would be proud to hit a note like that, but that's AFL for ya!!
As a side note, two octaves D3 to D5 in this performance, with a D3 at 0:59.
Don't Stop Me Now
0:22: This is a super tricky intro, "gonna have myself" is a great display of how Adam can jump around his range quickly precisely, it climbs an octave over F major arpeggio, going "gon(F3)na(A3) have(C4) my(F4)". Singing arpeggios like that is a pretty standard vocal excercise, but not with Adam's speed and in the middle of a melody! "ali-i-i-ive, and the world" is another octave leap but this time climbing the F major scale from F3 to F4 with ninja precision! Also, compare "turning inside out" and "floating around", both are sung around A4, but the former in a power yet restrained full voice, and the latter in a beautiful soft falsetto (which then switches to full voice in the same breath for "DON'T! stop me now")
Dragon Attack
Now this is just such a cool vocal performance overall. Similar to what he does on the song Trespassing, listen to how rhythmic he is on the verses, stressing certain consonants to correspond with the rhythm of the rest of the band on the main riff. cassie: "Even when he sounds like he is punching notes or singing staccato, that is because of his articulation and his body language, or an extra uumph from the diaphragm". At the climax of the main part of the song at 2:43, he usually climbs to a D5 and sustains it before trailing down, here however he goes all the way UP to a G5!
(As a side note, this song was really "Adamized" for these shows, the original was faster and had less of a groove, you could say Adam brought more of a funky Shady-esque vibe to it)
Seven Seas of Rhye
Don't you just love the dramatic vocals here? ;D At 2:57 Adam hits a D5 which was a falsetto note on the original, amazing power and vibrato and the first real "glory" note of the show.
Got some stuff to add/expand later. Hope some of you enjoy our ramblings!
