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Post by mobeach on Nov 3, 2015 15:49:53 GMT -6
There's no question it's very popular. |
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Post by mobeach on Nov 9, 2015 20:59:26 GMT -6
I think this gets better every time I listen to it, her phrasing is what makes her different. She can sing!
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Post by Bob Olhsson on Nov 9, 2015 21:39:07 GMT -6
It also has dynamics.
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Post by mobeach on Nov 10, 2015 10:03:56 GMT -6
Lots of dynamics live too, amazing.
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Post by yotonic on Nov 11, 2015 22:35:58 GMT -6
Sounds like she dropped it a half step to sing live.
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Post by mobeach on Nov 12, 2015 5:41:30 GMT -6
Sounds like she dropped it a half step to sing live. That's not an issue, VH tunes at open D or Db, Jason Aldean tunes at Db etc.. |
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Post by yotonic on Nov 12, 2015 23:12:15 GMT -6
Yeah I do it all the time, as many singers do. Just pointing out that if she's doing that, then the original is definitely dynamic because it's pushing her range. Or she's just exhausted.
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Post by Ward on Nov 13, 2015 15:59:55 GMT -6
Personally, I dislike the idea of detuning to perform something live because the singer can't hit the notes. If you couldn't sing it in X to begin with, then why didn't you just sing it in X flat or below when you recorded it? There's no shame in picking a difference key.
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Post by stratboy on Nov 13, 2015 16:18:21 GMT -6
I like singing in D sometimes, but retuning down a whole step let's me play an open E. Different sound entirely from an open D. Whatever works is my motto.
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Post by mobeach on Nov 13, 2015 16:43:40 GMT -6
I like singing in D sometimes, but retuning down a whole step let's me play an open E. Different sound entirely from an open D. Whatever works is my motto. It forces you to use heavy gauge strings, or else they lose too much tension. In my experience anyway  |
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Post by stratboy on Nov 13, 2015 17:05:17 GMT -6
True. When I'm doing singer songwriter stuff, I'm not playing lead, so it isn't a big deal for me in that setting.
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Post by Bob Olhsson on Nov 13, 2015 22:27:14 GMT -6
It's pretty common to do live shows a bit lower than recordings. Recording sessions are focused on only a few songs while a live show can be lots harder work.
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Post by wiz on Nov 14, 2015 15:25:01 GMT -6
Personally, I dislike the idea of detuning to perform something live because the singer can't hit the notes. If you couldn't sing it in X to begin with, then why didn't you just sing it in X flat or below when you recorded it? There's no shame in picking a difference key. I am with you! cheers Wiz |
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Post by M57 on Nov 14, 2015 15:54:26 GMT -6
Personally, I dislike the idea of detuning to perform something live because the singer can't hit the notes. If you couldn't sing it in X to begin with, then why didn't you just sing it in X flat or below when you recorded it? There's no shame in picking a difference key. I am with you! cheers Wiz I will agree, but provisionally. Most singers start to lose range at some point in their lives. Very very few don't. There's no question that changing the performance key alters the color and sound of a piece. I've written choral works that were meant to be sung in adjacent keys (e.g. C, B and Db) depending on what preceded or followed them, and members of the choir quickly discover that one not only sounds better, but is easier to keep in tune, etc.. |
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Post by yotonic on Nov 14, 2015 20:01:45 GMT -6
With popular music and vocals smashed to smithereens, simple chorus hooks and runs can become "the entire song".
And often times that sweet spot for the way a singer's voice starts to fry or has a timber that "sounds cool" can quickly disappear when it is moved slightly in their register. Not so important live, but clearly a big deal in recordings.
Most singers don't like to sing at the upper end of their range as it can be taxing and even seem "too high" in their mind, but often that's where the good stuff lies.
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Post by Ward on Nov 15, 2015 11:30:30 GMT -6
I will agree, but provisionally. Most singers start to lose range at some point in their lives. Very very few don't. And vocal range can come and go... and most often times returns. I'm 50 now, and can still routinely nail a high-D although i am more a dramatic tenor than a lyric tenor these days but then I consider true masters like Tony Bennett who can still hit the notes he could in his 20s - and that was 60 years ago!! And consider what Pavarotti could do... he just kept improving. Even in pop music, Freddy Mercury in his last days dying of AIDS was singing stuff he couldn't do in his early 20s. With popular music and vocals smashed to smithereens, simple chorus hooks and runs can become "the entire song". And often times that sweet spot for the way a singer's voice starts to fry or has a timber that "sounds cool" can quickly disappear when it is moved slightly in their register. Not so important live, but clearly a big deal in recordings. Most singers don't like to sing at the upper end of their range as it can be taxing and even seem "too high" in their mind, but often that's where the good stuff lies. There are other ways to relieve the stress of a high tessatura besides lowering the key. Phrases can be sung lower in the same key and still preserve all "the money notes". |
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Post by jcoutu1 on Nov 15, 2015 12:20:43 GMT -6
I agree with yotonic. It probably sounded best for her voice in the key it was recorded, but it would be a stretch to push that far night in and night out in the middle of a set. She already had some vocal surgery, so better off dropping it down live than pushing and having more problems. |
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Post by mobeach on Nov 15, 2015 13:33:53 GMT -6
She also takes off 2-3 years between CD's
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