|
|
Post by toramenor on Jul 5, 2014 13:53:43 GMT -5
Eb C C DbDbEb Ab Ab Ab Ab Gb Eb Eb F Db C Eb-Db C--Ab3 CAN ANYBODY FIND MEEEE____________________________ Ab AbAbAbAb C5 Ab Gb--Eb Ab Ab Ab AbAbAbAb C5 Ab-Gb-Eb Ab-Gb-Eb CAN ANYBODY FIND ME___ I SAID CAN ANYBODY FIND MEEEEEEEE_______ Ab AbAbAbAb C5 Db5 Eb5 CAN ANY BODY FIND ME YEAH Ab AbAbAbAb C5 Db5 EB5--Gb5 --Eb5
CAN ANYBODY FIND ME YEAH -EH-EHC C C DbDb Eb Ab--Gb--Eb CAN ANYBODY FIND MEEEEEEEEEEE C5 C5Bb Eb5 SOMEBODY TO Eb5 Eb5 Eb5 Eb5 Db5 B Ab Db B Ab B Ab LOVE_______________________ Wow, thanks cassie! The one in bold really got me when I first watched the performance. I seriously can no longer stand to listen to several Queen songs done by any other artist (dead or alive), because I feel like, that's not how Adam does it. When you've heard perfection, or as close to it as we can get, everything else pales. I can still recognise good singing, but I judge every singer now on a scale from 1 to Adam. He never fails to wow me, even with a song he's done many times by now. |
|
|
|
Post by cassie on Jul 5, 2014 14:13:56 GMT -5
I know what you mean. I went back to see a certain renowned (but very dead) front man sing STL live. Out of curiosity about what notes and riffs were original to him in concert. I also wanted to see his interpretation. Did it have that gospel touch (I had read that was his intent when he wrote it)? I also wanted to see what he did with presentation, as he is supposed to be so much more charismatic on stage and better at engaging the audience. Nope. I don't get it. Most of the song he is at the piano, not interacting with the audience at all. And the voice? TBH, I cringed a couple of times and almost turned it off. I believe everyone has a right to their own musical preferences (even when they are wrong  ). I'll keep watching and listening to Adam, thank you very much. I love your statement: "I judge every singer now on a scale from 1 to Adam." I may have to steal that. |
|
|
|
Post by toramenor on Jul 5, 2014 14:35:08 GMT -5
Ha, ha, feel free to steal it. You've given me so much enjoyment in this thread alone with your analyses (even though I don't know music theory!) that it's the least I can do.  |
|
|
|
Post by nica575 on Jul 5, 2014 21:14:55 GMT -5
I know what you mean. I went back to see a certain renowned (but very dead) front man sing STL live. Out of curiosity about what notes and riffs were original to him in concert. I also wanted to see his interpretation. Did it have that gospel touch (I had read that was his intent when he wrote it)? I also wanted to see what he did with presentation, as he is supposed to be so much more charismatic on stage and better at engaging the audience. Nope. I don't get it. Most of the song he is at the piano, not interacting with the audience at all. And the voice? TBH, I cringed a couple of times and almost turned it off. I believe everyone has a right to their own musical preferences (even when they are wrong ). I'll keep watching and listening to Adam, thank you very much. I love your statement: "I judge every singer now on a scale from 1 to Adam." I may have to steal that. thanks, cassie. I am so with you on this! Perhaps one needed to be there to appreciate the magnetism and charisma, but the vids failed to captivate me...actually I find it difficult to watch Freddie for some reason. Voice wise - too sharp for me... Thank god for Adam! toramenor - "from 1 to Adam" is just brilliant! |
|
|
|
Post by bridgeymah on Jul 6, 2014 2:06:54 GMT -5
I know what you mean. I went back to see a certain renowned (but very dead) front man sing STL live. Out of curiosity about what notes and riffs were original to him in concert. I also wanted to see his interpretation. Did it have that gospel touch (I had read that was his intent when he wrote it)? I also wanted to see what he did with presentation, as he is supposed to be so much more charismatic on stage and better at engaging the audience. Nope. I don't get it. Most of the song he is at the piano, not interacting with the audience at all. And the voice? TBH, I cringed a couple of times and almost turned it off. I believe everyone has a right to their own musical preferences (even when they are wrong ). I'll keep watching and listening to Adam, thank you very much. I love your statement: "I judge every singer now on a scale from 1 to Adam." I may have to steal that. Oh I am so in the "scale of 1 to Adam" club - quite literally often find myself cringing I am just so used to flawless or close to it that while I know Adam is in a class all by himself, I just get frustrated and unreasonably annoyed when other singers who people praise are just flat, pitchy messes live (looking at you diva girls, most bands and every contestant on The Voice Oz this year)... |
|
|
|
Post by toramenor on Jul 10, 2014 11:28:54 GMT -5
OK, so, on our scale from 1 to Adam, how difficult is it really to do what Adam did in his LA and Houston performances of The Show Must Go On with the final 'show must go on' phrase? Opera singers could presumably do it, right? Anyone else? Discuss.  |
|
|
|
Post by cassie on Jul 10, 2014 13:18:25 GMT -5
OK, so, on our scale from 1 to Adam, how difficult is it really to do what Adam did in his LA and Houston performances of The Show Must Go On with the final 'show must go on' phrase? Opera singers could presumably do it, right? Anyone else? Discuss. Been thinking about your question. How difficult is that one phrase as he did it in Houston and LA? I presume you are talking about the glissando or the run from B3 to B4 and, in Houston, then to D5 and E5. The technique of the glissando (the slide from low to high without landing on any specific notes in between which he sang in LA) is not all that difficult, if the singer has the range from low to high. The challenge is to do it without a noticeable shift in the power or intensity across the natural break in one's voice. Without flipping from a belting voice in the lower part to a falsetto or light head voice for the top, and without sounding like one is straining to hit the bottom or the top. In TSMGO the entire glissando must be super strong and assertive. In Houston, Adam sang distinct notes from low to high. That is actually more difficult than the glissando because just the slightest error in muscle adjustment on that quick run will result in one or more notes being off pitch, where the glissando slides right thru the notes. The other challenge is that this was improvised (I think). Improvising runs is difficult for a singer because they have to very clearly know WHAT spontaneous notes they are aiming for. How does one do a planned spontaneous run? Think of firing a gun at a series of targets from left to right. If you have a machine gun, you pull the trigger and sweep from left to right and hit all the targets in a line. But, if you have a rifle and have to hit the bulls eye on targets 1, 2 3, 5, 7, 8, 10 and 12, but nothing else in between, and you have to do it in approximately 5 seconds, that takes more precision. Then, if you want to hit just some, but not all of the bulls eyes in the series, but you are not sure which ones to aim for, you may miss the mark on one or more. The singer has to form the intent in their mind before executing the glissando or the run, and then they have to adjust their muscles to aim accurately. Can an untrained singer do that? Probably. Some. An untrained singer with lots of experience singing. The other question is how hard is that RANGE in a powerful full voice? For a mezzo soprano or an alto, easy peasy. For a bass or baritone, impossible. For a tenor? B4 is higher than most of your chorus tenors can sing in full voice. For top notch solo tenors, it is do-able. The D5 and E5? Very few classically trained singers can hit those notes in full voice. Very few. Some very fine tenors would sell their grandmothers to be able to sing those notes as Adam does regularly. Did I answer your question? Or were you referring to some other feat of vocal acrobatics? Adam executes so many. |
|
|
|
Post by toramenor on Jul 10, 2014 14:42:47 GMT -5
Yes, cassie, that was my question. So, LA glissando is doable, Houston run is Adam. (trying to use the scale ) *** Now, if I'm allowed to be a bit philosophical: I suppose we'll simply never be able to understand how exactly Adam does such astounding feats on such a regular basis. You know, I get your metaphor of 'shooting blindly', but I feel there may be more to it and that he's not completely 'blind'. I think he knows his voice so well, so intuitively, by now, that he is able to 'shoot' like that when he wants to, and we just marvel at it because we can never truly comprehend it. A real master of his craft. I don't doubt that he truly is as humble in real life as we've seen him in interviews, because, in my experience, a person cannot attain mastery of any skill if they think they are the best--instead, they always praise others and are constantly trying to learn and improve themselves. There is only 1 other person besides Adam I've ever thought of as being a true master of his skill/art and he is a martial artist. If we just ignore the name of their respective skills - singing vs. martial art - there are so many similarities in how they got to their mastery: 1. hours upon hours of physical practice; 2. mental understanding of what they're doing physically; 3. intuitive understanding of the meaning behind what they're doing; 4. using the body as a tool to further that understanding and to express the meaning which they keep discovering. Sorry if I became too philosophical, but I feel Adam's vocal skill should be studied from that perspective as well. And this is also the reason why I always cringe when I read negative comments about Adam such as: "he can sing/hit the notes, but he has no emotions/soul", because people who say that don't realize just how much soul (or mental understanding) goes into being able to attain that level where you can sing/hit the notes like he does. You simply can't get to that level if it's just physical. The physical part is only the first step in my list above, and I feel like Adam has been through all the 4 steps I listed. (BTW, that list is just my simplification--don't anybody get too hung up on it as some sort of definition of mastery.) ***philosophizing over*** |
|
|
|
Post by cassie on Jul 11, 2014 17:48:22 GMT -5
An Adam fan wrote and asked me why Adam's voice sounds so different - better - live. Why it sounds higher and clearer. Here is my response.
I know exactly what you mean about Adam's voice live. When I heard that clear, pure head voice on the opening notes of "Now I'm Here" in Chicago (where Adam is heard and not seen) it was a shock. The same with the head voice at the beginning of "Lap of the Gods." What the hell???? (And I wasn't prepared for either, Chicago being opening night.)
Adam naturally has the physiology to produce wonderful resonance in his body. He has spent many years working to maximize that natural resonance and find and use all the sympathetic harmonics in the tone. Over the years you can easily hear his voice has become richer, fuller, and more ringing with resonance. Part is due to natural maturing of his body. Part is due to singing so regularly. Part is conscious attention and practice.
Adam’s voice is designed for the theater and the concert hall. It is designed to be heard live, in a place with wonderful acoustics that take the frequencies and harmonics Adam produces and bounce them around and amplify them. The classical training Adam has had is designed to produce a sound that can be heard over an orchestra and all the way to the back of the balcony. Most pop and rock singers do not have that training. They do not produce the large range of harmonic frequencies that Adam does. It is like the difference between the crappy radio that came with your first car, and the high end sound system audiophiles have installed in their home theaters/listening rooms.
Adam knows his voice very well. He knows how it should sound live. But many times, he is performing in sports arenas, outdoor festivals or huge barn-like structures never designed for music, much less the human voice. Therefore, he works closely – some would say obsessively, tyrannically – with the sound techs to create the sound of a concert hall. They add some echo or reverb where he wants it. They balance the frequencies of the high end, which can get lost quickly in an open space. They do not actually create harmonics or frequencies that are not present in Adam’s voice, but they enhance them to fit the space where he is performing.
It is truly jaw-dropping live. I want to go again!!!
Adam talks about this in this video:
|
|
maya
Member
Posts: 4,014
Location:
|
Post by maya on Jul 11, 2014 18:26:06 GMT -5
Cassie.... forgive me if this question is too simplistic but I want to understand this piece.... Please explain to me the ear piece that Adam keeps fiddling 1. The sound he hears in that ear piece I thought was for him to hear the key so he doesn't go off from what key the song was intended when starting a song. If it is, then I thought once he starts the song with the intended key, he is home free.... well, he still needs it for the tempo so he can keep up with the song's rhythm, right? 2. However, when Adam signals the sound guy to up or lower the what he is hearing, is that because he can't hear or it's too loud respectively? 2. Or is it the sound mix that he hears and what he wanted the intended audience to hear and wanted to have a perfect balance of the finished product? It does not bother  me as much anymore or find it as a distraction when he does. I did read up-thread about the ear piece sometimes gets displaced based on the type of sound he makes so he keeps re-positioning them. I just want to find out what is the intention of this piece other than what key to start the song with  I wonder if Brian May wears one .... also why I don't notice other singers fiddle their ear piece as much as Adam.... Another observation ... he does it more on slower songs... is it because with a faster tempo, he doesn't have time to adjust? Thank you so much! |
|
). I'll keep watching and listening to Adam, thank you very much.
me as much anymore or find it as a distraction when he does. I did read up-thread about the ear piece sometimes gets displaced based on the type of sound he makes so he keeps re-positioning them. I just want to find out what is the intention of this piece other than what key to start the song with 