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Post by cassie on Feb 25, 2011 23:05:52 GMT -5
Hi folks. I know this falls under the AI topic, but I was reminiscing. This wasn't on AI, but IMO is an amazing performance by Carrie Underwood. I rooted for Bo that season, but since then I've learned that Carrie has an amazing voice. Cassie, what do you have to say about this performance. It really moves me and it's live. www.youtube.com/watch?v=8qGhNN-67-EI've never listened to Carrie or been particularly interested in her as I don't like country, but that was very good. Spot on in pitch. Very controlled, yet passionate. She also had some very nice sustaining of longer phrases, rather than chopping them up at expected places. A polished, professional performance. I, personally, don't like her jumps from her power chest voice to the wimpy head voice in the first half of the song. I don't see a reason musically or dramatically or in terms of lyrics. It seems to be there because that is the natural break in her register, and the difference in the sound is jarring. But, having said that, it is typical of the country style. I also am not very fond of her huge power on some of the notes with a totally straight tone in her voice- no vibrato. It sounds harsh and sharp (in tone, not pitch) to my ears, and unpleasant. It sounds much warmer when she adds the vibrato on the end of the note. Again, that is my personal taste in style. She knows what she is doing with her voice, and does it well. I do like that she has less twang in her voice than many country singers. I wouldn't even say that this song sounded very country to me. Overall, I give her props for this performance. What do y'all think? |
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Post by cassie on Feb 26, 2011 13:36:53 GMT -5
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Post by queenrosered on Feb 28, 2011 14:34:34 GMT -5
I just wanted to give a big HELLO! to all the fans here and to thank Cassie for her awesome tutelage and attention to technical detail. Some of you MAY know me from Twitter or live Ustreams when Glam Nation was happening. I was given this link by an awesome person on the DDD rock forums. I'm awfully glad that Cassie posted a link to what Angelina, the opera singer, had to say about Adam's singing techniques as well.Whatever one may think of Adam as a person (I ADORE HIM btw) one MUST admit, he is an anomaly in today's rock/pop culture. A rare bird, indeed. Thanks and I look forward to many more comments in this discussion! ~Rose~  Attachments:
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Post by cassie on Feb 28, 2011 22:01:03 GMT -5
Since it is quiet in Adamland and he has gone missing I thought I would write a little rant here. Call me grumpy with no new Adam music.
Why do so many people go crazy if a singer (i.e. Siobahn, James) wails out super high notes? When did that become the measure of a great singer? Granted, a large range is impressive and unusual. But, I would hardly call that the hallmark of an extraordinary talent. I keep going back to the comment Adam made about singers who brag about their high notes: "But, does it sound good?"
Perhaps people rave because hitting those high notes is something they and their friends cannot do. I remember reading an "expert" on the DDD forum say he judged Adam's vocals by whether or not he could sing what Adam was singing. Hence,if he can't belt out those power G5s? That makes it a remarkable song.
The thing is, just because someone can sing the melody and sorta hit all the notes, it doesn't make it "good." There is so much more to a great voice and a great singer than just making it through the notes.
I would love Adam's voice just as much if he never hit any fifth octave notes. It is about the tone, the texture, the clarity, the agility, the phrasing, the musicality -- not the height. It is how I FEEL when I hear Adam sing. I am completely relaxed, in a warm, comfy place. There is nothing harsh, strained, or brittle about the sound. Nothing off-pitch. When I hear many other singers, my body tenses, my throat tenses, my jaw even tightens sympathetically trying to sing the notes and phrases for them, trying to correct their poor pitch, their pushing and straining, or their lack of resonance.
Adam's voice just floats and soars. Whether it is soft and tender, low and smooth, or high and ringing, it sounds/feels so effortless. (And, boy, does that take a lot of work, technique, and practice to do). I also suspect that he has found resonances in his voice that create pleasing subharmonics that vibrate in tune with my body.
I think that is why I bristle so badly when I read of X, Y or Z singer being compared to Adam because they screech out high notes. Is that the only extraordinary thing you hear in Adam's voice? In Adam's delivery? It seems to trivialize and diminish all that Adam gives with his voice and his performance.
Angelina Kalahari talked about experiencing Adam's voice. Not hearing it ---- experiencing it. She is so correct. It is a full sensory experience in pleasure. One of a kind.
Thanks for letting me rant. Now returning to your regularly scheduled program.
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Post by cassie on Mar 1, 2011 2:49:59 GMT -5
Needing to hear some gorgeous Adam tonight, I went back to YT to listen to Come to Me, Bend to Me. Glorious! After that, I thought, "Hmmm, I think I will listen to a couple of other versions and compare the tone and feel of the voice." Clicked on this one.
A nice tenor voice, tho not as bright velvet as Adam's. As I listened I wondered if he would go for the high B note variation at the end of the song. He did, and his voice cracked. (Funny comment when he finished)
How can people not recognize how hard this song is to sing beautifully? Perhaps because the melody is so simple? It is a virtuoso tenor solo. And Adam nails it! If your ears are craving an Adam treat, click and listen to it again.
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sugaree
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Post by sugaree on Mar 1, 2011 9:22:17 GMT -5
Since it is quiet in Adamland and he has gone missing I thought I would write a little rant here. Call me grumpy with no new Adam music. Why do so many people go crazy if a singer (i.e. Siobahn, James) wails out super high notes? When did that become the measure of a great singer? Granted, a large range is impressive and unusual. But, I would hardly call that the hallmark of an extraordinary talent. I keep going back to the comment Adam made about singers who brag about their high notes: "But, does it sound good?" Interesting cassie. I'm one of the few (here anyway) that got a little tired of Adam doing the high note screams on AI. Although I recognized that he was one of the few I've ever heard that could scream/wail on pitch and that he still sounded like he was singing (for the most part) and not really screaming. I began to feel that he was doing that because he could and because he thought that was what people were impressed with and what they wanted to hear. IMO, even the judges got a little used to it and a little tired of it. Unfortunately, a lot of AI watchers in my acquaintance will not buy his album because they think it is all about those "screams". My husband tells me to turn off the FYE album because of that and the fact that he doesn't like the techno/electrtronic stuff (but that's another story). In fact there is only one friend who "got" Adam and wants to see/hear anything I show her from youtube, etc. What got me to appreciate the rock wail was WLL on AI. He sounded sooooo much better than Plant (who I do not like to listen to - at all) and ironically pretty much all I listen to on radio is classic rock. There are a few "Led Zepp for an hour segments" where I turn the damn radio off.
Don't know if it was ever brought up in our fan community, but I have the impression that those rock wails are what turned a lot of people off. Not the AMA's, not the being gay, but the fact that not everyone likes to hear that sound. Same goes for other artists that do it. I have a music geek friend who told me flat out not to bother sending him an Adam cd because he can't stand to listen to the wails/screams whether they are on pitch or not. I sent him Adam acoustic cd with some AI performances (FG, thank you very much) that I loved. He conceded that the songs were sung beautifully, but still said that he would never buy an album by Adam, but would wait for me to pick songs he might like.
Perhaps people rave because hitting those high notes is something they and their friends cannot do. I remember reading an "expert" on the DDD forum say he judged Adam's vocals by whether or not he could sing what Adam was singing. Hence,if he can't belt out those power G5s? That makes it a remarkable song. The thing is, just because someone can sing the melody and sorta hit all the notes, it doesn't make it "good." There is so much more to a great voice and a great singer than just making it through the notes. Totally agree, and that's why I became such a huge fan of Adam.I would love Adam's voice just as much if he never hit any fifth octave notes. It is about the tone, the texture, the clarity, the agility, the phrasing, the musicality -- not the height. It is how I FEEL when I hear Adam sing. I am completely relaxed, in a warm, comfy place. There is nothing harsh, strained, or brittle about the sound. Nothing off-pitch. When I hear many other singers, my body tenses, my throat tenses, my jaw even tightens sympathetically trying to sing the notes and phrases for them, trying to correct their poor pitch, their pushing and straining, or their lack of resonance. Listening to Adam has made me respond that way, which I've never done before. Seriously, since Adam I listen to my favorite artists with a different ear and they don't measure up. I work on my enjoyment of them a little bit.
Adam's voice just floats and soars. Whether it is soft and tender, low and smooth, or high and ringing, it sounds/feels so effortless. (And, boy, does that take a lot of work, technique, and practice to do). I also suspect that he has found resonances in his voice that create pleasing subharmonics that vibrate in tune with my body. Effortless is what I've been saying since I came to love his voice.
I think that is why I bristle so badly when I read of X, Y or Z singer being compared to Adam because they screech out high notes. Is that the only extraordinary thing you hear in Adam's voice? In Adam's delivery? It seems to trivialize and diminish all that Adam gives with his voice and his performance. Exactly. And the reason why so many people I know don't want to give his music a chance. I'll ad that these people are mostly in my age group, but a few of them are young enough to be my children.
Angelina Kalahari talked about experiencing Adam's voice. Not hearing it ---- experiencing it. She is so correct. It is a full sensory experience in pleasure. One of a kind. Experiencing it is a perfect description of how I feel listening to it.
Thanks for letting me rant. Now returning to your regularly scheduled program. |
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Alison
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Post by Alison on Mar 1, 2011 9:32:59 GMT -5
Cassie, I haven't posted for a while but I just wanted you to know that you have said many things recently in Masterclass that have resonated with me. But first, CTMBTM. The example you posted was pleasant (despite cracking high note) and I listened with interest. But with Adam's version--I become immersed in his yearning and longing. I am not even conscious of myself "listening" to his voice. He transports me to a blissful place. There are no words to describe it (although yours come darn close ). This resonated with me recently: Instrumentalists who have formal training HAVE to learn to read music, and many learn theory along the way as well. It is one of the reasons that many trained instrumentalists (as opposed to pop/rock players) view singers with a bit of disdain. And why they don't consider them REAL musicians. Wish Adam could sight read music, as it would give him more tools and diversity, but, he has an excellent ear from music, and I imagine he can pick up and remember a melody line in just a few listenings. While Adam may not have that theory background, he has lots of technical skills, and since his voice teacher said he wanted to know how he made the sounds, he may know something about the anatomy and physiology of singing. But, he is a "hands-on" experiential learner. I would guess most of his technique was learned from demonstration followed by trial and error. At this point, his body knows how to do it, though he may not be able to articulate what he is doing. I have shared with you before that I am a singer with very limited knowledge of theory. The way you described your idea of Adam's vocal training is so much like mine. I know I can sing, but I have always been intimidated by more "learned" musicians. It boosts my confidence to know that I am in good company with Adam and it inspires me to sing out and proud. I would love Adam's voice just as much if he never hit any fifth octave notes. It is about the tone, the texture, the clarity, the agility, the phrasing, the musicality -- not the height. It is how I FEEL when I hear Adam sing. I am completely relaxed, in a warm, comfy place. There is nothing harsh, strained, or brittle about the sound. Nothing off-pitch. When I hear many other singers, my body tenses, my throat tenses, my jaw even tightens sympathetically trying to sing the notes and phrases for them, trying to correct their poor pitch, their pushing and straining, or their lack of resonance. Adam's voice just floats and soars. Whether it is soft and tender, low and smooth, or high and ringing, it sounds/feels so effortless. (And, boy, does that take a lot of work, technique, and practice to do). I also suspect that he has found resonances in his voice that create pleasing subharmonics that vibrate in tune with my body. I do exactly the same thing when listening to other singers. I am constantly trying to assist them in reaching or finessing a note. I can't relax and just let it happen. This must be why Adam's voice has the ability to transport, comfort, and inspire. We can only experience joy when we "let go." Adam has worked tirelessly in perfecting his voice--we know he "can sang" -- we trust him. He does more than entertain us-- he has given us gifts of abandon and joy. Thank you Adam.
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Holst
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Post by Holst on Mar 1, 2011 23:29:13 GMT -5
Why do so many people go crazy if a singer (i.e. Siobahn, James) wails out super high notes? When did that become the measure of a great singer? Granted, a large range is impressive and unusual. But, I would hardly call that the hallmark of an extraordinary talent. I keep going back to the comment Adam made about singers who brag about their high notes: "But, does it sound good?" Interesting cassie. I'm one of the few (here anyway) that got a little tired of Adam doing the high note screams on AI. Although I recognized that he was one of the few I've ever heard that could scream/wail on pitch and that he still sounded like he was singing (for the most part) and not really screaming. I began to feel that he was doing that because he could and because he thought that was what people were impressed with and what they wanted to hear. IMO, even the judges got a little used to it and a little tired of it. Unfortunately, a lot of AI watchers in my acquaintance will not buy his album because they think it is all about those "screams". My husband tells me to turn off the FYE album because of that and the fact that he doesn't like the techno/electrtronic stuff (but that's another story). In fact there is only one friend who "got" Adam and wants to see/hear anything I show her from youtube, etc. What got me to appreciate the rock wail was WLL on AI. He sounded sooooo much better than Plant (who I do not like to listen to - at all) and ironically pretty much all I listen to on radio is classic rock. There are a few "Led Zepp for an hour segments" where I turn the damn radio off.
Don't know if it was ever brought up in our fan community, but I have the impression that those rock wails are what turned a lot of people off. Not the AMA's, not the being gay, but the fact that not everyone likes to hear that sound. Same goes for other artists that do it. I have a music geek friend who told me flat out not to bother sending him an Adam cd because he can't stand to listen to the wails/screams whether they are on pitch or not. I sent him Adam acoustic cd with some AI performances (FG, thank you very much) that I loved. He conceded that the songs were sung beautifully, but still said that he would never buy an album by Adam, but would wait for me to pick songs he might like.
I think you have a valid point about many people NOT liking the "wailing." My sister is a classical singer and pretty much says that about his singing. I guess one reason that I feel fine about Adam doing it is that it sounds so effortless most of the time. So many others sound like they are working hard and straining. |
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Holst
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Post by Holst on Mar 1, 2011 23:38:01 GMT -5
CASSIE, I don't want to monopolize the news thread with Idol talk, so I'll ask you here. I seem to be the only person who is not too impressed with Jacob Lusk. I commented that he has intonation problems. Do you not hear that? Maybe it is just me. Sort of reminds me of Kris Allen: he'd be going along fine and then just be out of tune on notes here and there.
Also with Jacob I hear what I call "throaty" tone. It's that kind of grabbing tension in part of his range that reminds me of Christina Aquilera.
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Post by cassie on Mar 2, 2011 0:38:00 GMT -5
CASSIE, I don't want to monopolize the news thread with Idol talk, so I'll ask you here. I seem to be the only person who is not too impressed with Jacob Lusk. I commented that he has intonation problems. Do you not hear that? Maybe it is just me. Sort of reminds me of Kris Allen: he'd be going along fine and then just be out of tune on notes here and there. Also with Jacob I hear what I call "throaty" tone. It's that kind of grabbing tension in part of his range that reminds me of Christina Aquilera. Well, we each have our own sound that we prefer, but, honestly, I was not enamored with Jacob tonight. For a couple of reasons: First, I LOVE that song. One of my favorites to sing. Wonderful melody and such poignant lyrics. The song is so perfect singing the notes just as written. So, when he went off the melody and started riffing, it detracted from the purity of the song for me. I also like the traditional interpretation of the ending -- which is to dial it back totally at the end ---"please be there still in love with me" . Introspective. This is actually a pretty good interpretation from Glee's Chris Colfer. Secondly, you are right, he occasionally misses a note --- significantly. The whole thing was not pitchy to me, but there were a few notes. And when he was doing some of his runs/riffs it sounded a bit like he didn't know exactly which notes he was planning to hit. Thirdly, there are times when Jacob colors the tone by focusing it towards the back of his mouth up toward his soft palate, narrowing the mouth cavity by raising his tongue toward the back. This results in a bit of a twang and a loss of rich resonance. It sounds a bit like he is swallowing the tone. Sorry I can't explain it better. It may be what you are calling the throaty sound. It is a specific style I hear in certain black gospel and blues. You either like it or don't, and I confess I don't -- especially on this song. Finally, his vibrato is sometimes wobbly. When you put the wobbly vibrato with runs that are sloppy it is a bit of a mess, pitch wise. Not saying it was a BAD performance. He does have a very good voice, and parts of the song, unembellished, sounded very good. Just not my favorite performance, dawg. |
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