oh man now i gotta talk about singing headcanons tho
hawke: absolutely positively cannot sing, like, makes-babies-cry cannot sing, cannot hit a pitch to save their life. but does this stop them? of course not. not only does hawke not let their inability to sing get in the way of them singing, they’re always the first to start: under their breath on their way to a companion’s house; at the top of their lungs in the middle of hightown when said companion comments on how unusually quiet theyre being; raucous drinking songs that unite the whole tavern.
varric: ask him to sing and he’ll laugh and tell you he probably shouldn’t unless you want to hear every cat in the neighbourhood yowl. he’ll join in when everyone’s singing, though, because why not. sometimes when he thinks he’s alone he’ll hum softly to himself, and very occasionally hawke hears him singing something that sounds like a cattle call in a misty field, low and a bit rough, with lyrics so personal he might have written it himself.
merrill: sings a light soprano; songs that whisper like wind through the trees, or the sail of an aravel. they have a mournful air to them, and if asked, she’ll tell you they’re old dalish tales, of a clever hunter, or a trickster god, of times when the dalish were many. (on the other hand, when she sings songs they know, she’s often just off pitch in a way that drives bethany crazy.)
bethany: a solid singer, nothing flashy–she’s totally an alto, though she has the upper range for a mezzo. has a good ear; winces when the drinking songs get going. used to sing with carver and their mother when they were younger, but hasn’t sung much since they fled lothering.
carver: refuses to sing outright. when he’s had enough beers to start getting really smiley, though, he’ll get pulled in, and holy shit he can really sing?? like where the fuck did that even come from
isabela: slightly better singing voice than hawke (”that’s not saying much” “hey!”), will belt out drinking songs with the hanged man crowd. soemtimes goes down to the docks and listens to the sailors sing sea shanties as they unload their ships. she closes her eyes and pretends the surf is crashing against the hull of a ship instead of solid rock; that the flapping of an unsecured tarp is instead a sail in the wind, sailors singing to keep in time as they work
aveline: never really learned to sing, but could have been decent with some practice. as it is, she’s no worse than most, really; a voice strong like her sword arm, even if she’s not always on key.
anders: a high tenor; might have been in a boys’ choir as a child, if he’d had the opportunity, the kind that fills chantry halls with soaring notes. he sometimes sings while he works, music mixing with the hum of healing magic, and if the sound brings some small peace to the sick and wounded, well, maybe there’s some magic in that too.
fenris: sings to the shadows in an empty mansion, full of bitterness and most of a bottle of tevinter wine. his voice is gravelly with disuse, but that lessens a little as he gradually edges his way into hawke’s social circle. when you drink with hawke, you know the evening will end with a song.
The song is the lead single from Zayn’s second album, yet to be released. It was produced by Frank Dukes (who recently produced Lorde’s Green Light, and has worked with Rihanna and Drake) and Murda Beatz (who produced No Frauds for Nicki Minaj, Drake, and Lil Wayne).
In this post, I will be referring to times from this video:
I admit I’m not used to writing about dance or R&B music, and if I make any glaring mistakes, please message me!
This song is part of the slew of Caribbean-inspired tropical house or Jamaican dancehall music that have drifted in and out of pop charts recently, often collaborations between artists and producers, whose engineering of bass lines and percussion is a significant portion of the songwriting.
These songs might sound tropical, and fresh, and sunny, but their pedigree is firmly rooted in Motown R&B. And the looming figure in contemporary R&B and dance whose influence and sound are inescapable is Michael Jackson.
To wrap up our series of Pentatonix posts, Mitch Grassi’s voice type will be discussed. Mitch is one of the lead singers of the group. He has caught the attention of many for his vocal skill and high voice. Mitch is also one half of Superfruit, who announced their first album recently.
Ok, so this one isn’t exactly black and white. As we are adapting the fach system from classical music, there are some terms and voice types that don’t fit all that well in pop music. In classical music women would use head voice, while men would use their mixed voices. So women weren’t belting out their repertoire, while men would- except the countertenor. Like females, countertenors would use their head voice, allowing them to sing higher and giving their voice a lighter more feminine sound. Mitch Grassi is one of the few men with a great head voice. Often people confuse his head voice with his mix as he most often uses a mask placed head voice to give the register a ‘belty’ sound (eg. Defying Gravity, Can’t Hold Us, Worth It (Perfect), Bad 4 Us), although he can place it in his head (Do You Want To Build A Snow Man?). Mitch often uses his head voice to ascend into the typical female range. One needs that developed head voice and to be a countertenor. One does not need a developed head voice to be a tenor, baritone or bass, making a countertenor somewhat of a technique. There has been much debate over where and how the countertenor fach fits into pop music. Should it be used for men with very high voices (eg. Alex Newell)? Men who use head voice to reach a females range (eg. Mitch)? Or not at all? No one has reached a general consensus. I would personally argue it should not be used outside of classical music, as I view it as a way of using one’s voice. It has been noted that over the years men with lower voices have taken on countertenor roles. Secondly, if there voices were naturally so high why did they need to use their head voice over mixed voice? I am going to be staying away from this fach outside classical music, but I encourage you to form your own opinions.
High tenor is a label that seems to pop up for any tenor who is not lazy. While it may be an accurate description of Mitch’s voice, it is not a legitimate fach. The tenor fach is broken down into lyric, dramatic and spinto (there are a few other ones but are far more rare), and high tenor is not included.
For tenors (and sopranos) the lyric fach is broken down into light and full lyric. Light-lyrics will have youthful, warm and bright voices. As Mitch possesses a boyish, bright and light voice, he would be classified as a light-lyric.
Vocal View: Mitch is a personal fave on mine. He is one of my favourite male singers of all time. Here are some examples of Mitch just sounding beautiful/doing amazing this: Blessed, PYT, Break Free, Let It Go, Stay With Me.
What are your thoughts on Peter and the Starcatcher, or really all Peter Pan things? I can't find myself to get into them because it just seems TOO MUCH.
I am a giant “Peter Pan” nerd, I’m afraid. I was a big fan of the Disney movie when I was a kid – and then I fell in literal love with Jeremy Sumpter’s Peter. Then I read the original novel, which lead to the original play that predated it. Somewhere in there I saw about 6 stage adaptations and a couple more movies and miniseries and a TV series and some more books. So…I have lots of Peter Pan opinions. Especially about those hipster-y “Never grow up! Kid at heart! Young forever!” people who are all over my Facebook feed (looking at YOU chick from college with the subpar cosplay).
Here’s my main thing: Peter Pan is a lot more complicated and a lot darker than most people and media want to think about. I get it. They want the nostalgia and lack of adult responsibilities, not a lesson in mortality and maturity. But, come on…the latter is so much more interesting.
Peter’s not nice. He’s a kid, and children are rarely nice. Especially when they have not been properly socialized. They’re selfish and impulsive and they don’t understand consequences – particularly consequences that have to do with other people’s feelings and well-being.
The best adaptations acknowledge this. It isn’t just that Peter’s youthful; he’s childish. But a weird kind of childishness where he’s had to survive on his own and fight and take care of himself, more like a child of the streets than a nymph.
So for that reason I like “Peter and the Starcatcher”. It shows why Peter pulls away so hard from growing up – an abusive past, nothing but horrible adults in his life, and too little time to be a carefree kid. So it makes sense when he accepts without too much protest he’s going to stay a kid alone on the island. It does all this without so much of the happy-shiny “Let’s fly and laugh at danger” many of the shows have. Plus it’s really fun and clever. I like its heart, and I love that it’s all swash-buckling and adventure-y and dangerous.
I low-key hate this version. I call it the “Mary Martin Peter Pan”. It’s the one that community theatres put on too often and that they made the live TV musical out of. It takes away any seriousness the story might have in favor of just being fun and pretty. Plus, it has Peter as a girl’s part which it HATE. Why do we always have grown women playing this young boy? Why? It’s awkward and awful. It must stop.
STOP. Though a few of these songs are catchy. I can’t deny that.
I loooooooove the Stiles and Drewe “Peter Pan”, though. It’s probably my favorite stage adaptation. This one never made it to America/Broadway for some reason. But it did rather well in England and Copenhagen, where it premiered. One of the best parts about it is that Peter is written for a guy. It’s a high tenor part which makes sense since, you know, small-framed men who dance and sing high tenor are rather abundant in the musical theatre world. It also features a more vicious Peter, with a gang of Lost Boys who are a little unsettling. And Wendy is way more developed – she gives Peter as good she gets, pretty sassy and not taking so much of his nonsense. Overall, it just hews closer to the original Barrie stories while adding GREAT music. 10/10 – buy the soundtrack now.
Another interesting, lesser-known adaptation is “Darling”. It’s a musical by Ryan Scott Oliver, and it’s much more freely adapted. It’s set in the streets of Boston in the 1920s.
I like that it’s so different than all the other versions out there. Plus, the music is jazzy and soulful and so much fun. Everyone is darker with a sad past. And then this young woman is finding a strange new world every bit as exotic to her as Neverland.
"That was a fucking B♭4 (read: a borderline note for even amateur opera tenors), just so you know." ... would you mind elaborating what you mean about this tomthis who don't understand in voice ranges/keys and stuff?!
Sure! But I got long-winded, sorry :P
So there are many, many, many types of voice categorizations, but we’ll start with the basics; the first one is male/female voice. I think that makes it obvious; male voices are “lower” while female are “higher”. Colin’s voice is, unsurprisingly, male (and yeah there are exceptions, we have a man in our university choir who can’t even reach the male voices’ notes, so he sings with the women, and a woman whose voice is so low that she sings with the men).
The second characterization is whether the voice is high or low, regardless of the gender. Low male voices are called basses, while high male voices are called tenors. Low female is alto, high female is soprano.
Again, when it comes to pitch itself altos sing higher than tenors, so if we put them in order from lowest to highest absolute pitch it would be bass, tenor, alto, soprano.
Colin’s voice, as I’d guessed from listening to him sing other songs and from how high his actual voice (not the one he uses for Hook) is, is a tenor.
In contrast, here is a show of Johnny Cash’s lowest notes:
There are more subcategories after that but these are the basic ones.
The basic difference is that male voices usually sing an octave lower than the females. You can sing the exact same melodies, only males will sing it “low” and females will sing it “high”.
Now about that B♭4… it’s called “B flat” and let’s say it’s a very high note for a tenor to reach, and almost impossible for a bass. Of course, if they’re professional opera/choir singers, this note is required by tenors, basses get a pass on the highs because they have to work on their lows ;)
This shows pretty much the required vocal range for male voices:
If you’ve never seen a piano keyboard before, that “Middle C” is almost right in the middle of it, and it’s a note almost all voices, male and female, can reach (in this video, the first note heard is a Middle C, while the rest are “C”s in either higher or lower octaves). For males, its high-ish, for females, it’s low-ish, but still in range. That red arrow shows the note Colin hit. As you can see, it’s in the faded area of the range, which means that some tenors are indeed tenors but can’t reach that high. And if you can, you have to know how to do it, use the right technique so to not tire or even ruin your voice.
Unfortunately, there are a lot of singers who can reach it but aren’t tought how to reach it so to not hurt their voices, so they end up losing them and having to retire from the stage.
Now, how high is that for a male? Let’s listen to the Queen of the Night.
No, he didn’t reach that high. But let’s just listen to the third long note Diana Damrau sings right in this moment: (2:38 if the copy/paste doesn’t work right)
Don’t try to sing that note (unless you are a professional singer and have had specified training, of course), but yes, that’s the respective high Colin reached with his voice, one octave lower but still high for a male.
Now I’m not comparing Colin’s singing to Damrau’s singing, because, duh. I’m sure Colin’s voice went into editing when mixing the song while Damrau sings live without any microphone, just her voice like that. I just wanted a good example to show how high that note actually is for a female, and respectively for a male. It’s not impossible, per say, for a soprano or a tenor to do that, but it’s hard and tricky and even risky sometimes. And it’s not that it happens once -
Colin sings three high notes in his song. Every chorus raises a little in pitch, so the first time he sings G#, then A and then B♭ (every third “Revenge”). Those notes are very close to each other, so think that they are some high notes ;)
As I said, it’s not that he’s the only one who does it. Most rock/pop male singers are tenors, you rarely find a popular song of a man singing low. When women sing along to their voices, they usually don’t reach that high - they just sing an octave lower and said B♭ is a piece of cake for us. But still I’m impressed that he managed it and that he made it sound good, not too strained and not too squeaky.
That question got the music nerd out of me and I used my university knowledge for the first time in this blog, heh. If that wasn’t clear enough, don’t hesitate to ask me to elaborate! Maybe I’ll make a video where I’ll show some of Colin’s high notes in the song ;)
Have I done them? Yes. Do I always have more? I do indeed! I love Crutchie Morris, he’s wonderful and to good for the world.
Crutchie has a really pretty singing voice, high tenor, but he rarely sings in front of people
Jack heard him sing in the shower the first time they spent the night together and was like, “babe??? why don’t you sing more???? that was beautiful?????”
Crutchie is just embarrassed because he’s kinda shy
he’s such an introvert but nobody would ever guess
his favorite thing about his friends is that while they’re loud and physically exhausting to be around, they’re not mentally exhausting to be around
sometimes after being around too many people he goes and shuts the door to his room and takes a nap or takes care of his cactuses who all have names and he loves them
is highly allergic to cats
absolutely adores cats
is ace and a demiboy
sometimes he asks his friends to use they/them because they feel nonbinary that day
is very oblivious to how other people feel about him, but not about how other people feel about people other than him
for example, he realized Sarah likes Katherine within like two days of Sarah realizing it, but he didn’t realize Jack liked him until Jack said it in as many words
his dad was in an army doctor and died when Crutchie was twelve when the hospital he was working was attacked
that was when Crutchie started dyeing his hair because he looked so much like his dad and it hurt to see that in the mirror
he started doing makeup on other people the first show he ever teched and then he started doing it on himself when he got anxious and eventually just all the time
he always does his best to stay cheerful but sometimes he just can’t anymore
he hates letting people see when he’s feeling like that, because he knows he’s the person people come to when they’re feeling sad, and he doesn’t want them to not, because he loves helping people
He’s claustrophobic and hates elevators. he loves escalators. if there isn’t an escalator he’ll fling himself up the stairs at 90 miles an hour
which terrifies Jack but going down is even scarier because he steps with his good leg, flings himself forward ten steps with his crutch, and gets down six flights of stairs in a minute
the first time Jack saw that he actually screamed because he though Crutchie was falling and going to die
is actually jacked like he’s so strong
he doesn’t get drunk often because he’s typically the one who makes sure everybody else gets home safe, but when he does he’s hilarious
he gets really cuddly and sappy about everyone
he gets confused about simple things, cats purring, how microwaves work, why ice cream is cold
he’s a lightweight which of course everyone thinks is funny
he also gets really jealous when he’s drunk so one time he saw Davey give Jack a high five and started crying until Jack gave him a double high five
he’s so good with kids? like so good
he loves musicals so much and his dream is to design lights on Broadway
he realized he liked boys in fifth grade and announced it out loud without quite meaning to and after that never really bothered to hide it
he’s really good at advice and listening
total mom friend I love the dork
one time Spot and Crutchie both got drunk on the same night which didn’t happen often usually it was one or the other and they fought but like, jokingly, and everybody thought it was so funny because it was tiny tough man v the gentlest one of all it was so funny
was the kid in high school who was just friends with literally everyone across all grades everyone loves him
is wonderful and sweet and kind and loving and very protective of his friends
So yeah, here’s this one, a thousand years after I said I’d start working on it. I think The Hiatus is just about over.
•Jack, Roger, Maurice, and Simon all continued in choir as they got older
•Sam ‘n Eric dropped out of it after a few years to pursue their shared dream of becoming champion golf players
•Jack is the choir director’s “prized vocalist”, and often has a say in what songs they sing and who gets to sing the solos (he most often advocates for himself)
•He’s a high tenor
•Roger and Maurice are both bases, but Maurice’s voice is slightly higher than Roger’s
•Simon is that kid who stayed an alto for too long, and only just recently moved to tenor (his voice is technically higher than Jack’s, but it isn’t as powerful)
•Maurice cannot stop fidgeting whenever he sings
•He’s always tapping his foot, or bobbing his head, and occasionally he smacks Roger in the face while flailing his hands and arms to the beat
•Jack gets a good laugh out of it, but it makes Simon very nervous because he knows that one day Roger’s just gonna explode
•Roger sings with a surprising amount of emotion, displayed both in his voice and visibly on his face (singing is one of the only times Roger shows emotion tbh)
•If he’s really feeling a song, his eyes will close and his face will scrunch up, and if it’s a sad song there WILL be tears in his eyes
•Jack has multiple videos of him singing like this, in case he ever needs to blackmail Roger for anything
•Simon likes to connect with the songs they sing as well, and he’ll often draw or journal about how they make him feel
•Ralph doesn’t do choir, but he shows up to all of their concerts and to enough random rehearsals that the entire choir has sort of adopted him as a mascot
•And you best believe that the whole choir goes to all his soccer games as well (Jack always sits in the front row)
•Piggy wants absolutely nothing to do with the choir
The subtle harmonies in Sweet Creature makes me think of Harry and Louis together, sitting together on a couple of stools, Louis with his sweater paws in his lap and Harry’s hand resting comfortably on Louis’ thigh while they sing it together, Louis’ high tenor going “oooooohhhh” while Harry does his background cries for how much he loves the man singing with him, their voices laced together in the prettiest way just like the anchor and rope
So, I just found out that there are Digimon Adventure Tri Character Songs!! I suppose this is old news, since KoD Boku ni Totte (Confession’s ending song) was actually Yamato’s song.
First reaction: MUST.LISTEN.TO.TAKERU’S. Naturally, since his last song, Focus, was interesting. I can’t interpret this song other than him confessing to Hikari. Weird isn’t it? I tried to relate the lyrics with Patamon and Yamato, but no-no-no it just didn’t match. Anyway, I ended up listening to all of them, and here are my thoughts.
THE TOP THREE Boku ni Totte (Yamato): hands down, the best song for me. The melancholic melody and lyrics are so Yamato. At first I thought this was a romantic song *cough*Sora*cough*, but after hearing Gabumon’s song (Kimi ni Totte), I realize this is for him. And although I haven’t seen all of Gabumon’s lyrics, it makes me think that this song fits Confession really well (with the reboot and all).
Kibou no Tsubasa (Takeru): Takeru my boy, at last you sing for Patamon decently. The cheerful melody and lyrics (Hello? Daisukidayou?) fits his Tri characteristics as a womanizer. One thing that bugs me though, as good as Junya Enoki singing this song, this does not sound like Tri’s Takeru anymore. The first time I listened, I was like “Who the hell is this?”.
I Can’t (Jou): I really want to know the translation of the lyrics now, because this song is superficially depressing (”I can’t go with you something-something“). Nevertheless, this is a good song and I can picture Jou sing this. On the other hand, Gomamon’s song (You Can’t) was a bit disappointing since Junko Takeuchi is usually very good at singing while staying true to the characters.
THE WTH Do I even have to tell? Tentomon’s Kioku no Kakera!! Maybe the style is just not for me, but I’ve been trying to listen to it several times and my reaction is always either laughing or “WTH?!”. I still like his speaking voice, though. And Koushiro’s is good, btw, just too close to a woman’s voice I can’t imagine it is him singing this.
THE GIRLS They are such good singers, but the songs were not memorable enough for me. Moreover, I don’t know the meaning of the lyrics (and yes, they do matter and it’s important to me) so I cannot judge them really well. Takeru’s case is repeated in Meiko’s song. Miho Arakawa sang it really beautifully, but it does not sound like Meiko at all. Well, maybe because I always remember her being meek and weak, while in this song she sounded determined.
DON’T FORGET ABOUT THE LEADER Eien no Puzzle (Taichi): I’m not gonna comment on the song itself, but hearing him sing in quite a high pitch (is it tenor or bariton? I can’t tell) remind me of his voice in Adventure and 02, and suddenly I can imagine how his voice transformed over the years.
THE MOST ADORABLE Who else? Patamon of course. Since the first time I hear his “Don’t Stop Pata-Pata”, he can only be rivaled by Terriermon with “Anytime Moumantai”.
Overall, I am very pleased listening to the character songs. All the characters can sing so well (at last you learn how to sing in these past years, Takeru). Now, it’s time to re-watch all the previous movies while waiting for Ophanimon Falldown Mode in the next movie.