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Acoustic Profiles of Tenor High C – Flores and Pavarotti
This post is a ‘by request’ from some of the other members, extending our vocal acoustics analysis to one of the most famous arias in the Tenor repertoire, ‘Pour Mon Ame’ from Gaetano Donizetti’s opera...
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Female Belt, Rock Pharyngeal and Operatic Tenor Voices
This article will compare the ‘belt voice’ production as used by female singers, the ‘robust head voice’ as used by Operatic tenors, and the male ‘Rock’ pharyngeal voice. These types of vocalism share...
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Distortion in Steven Tyler’s Scream?
This blog post is an extended version of a response to a question in The Modern Vocalist Forum from Mr. Steven Bradley, who wrote requesting some analysis of the scream as done by Steven Tyler in’I...
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Introduction to Resonance and Tone Quality Perception
A spectrograph is a picture that tells us about the frequency and intensity of the different parts of a sound. Here is one that contains two vocal sounds graphed, a ‘vocal hum’ in blue, and a ‘vocal...
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Vocal “Ring” and Operatic Tenor Top Notes
In the Opera world, one of the most exciting things to anticipate and hear is the brilliant, climactic high note of the tenor soloist in an aria. Not only does the voice carry well without...
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Male Voice Passagio 101: Where is it and Why
In the male voice’s lower and mid ranges, what has been traditionally called the “chest voice”, the harmonic structure of the sung tone contains many partials harmonics, which fit nicely into the...
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