From 2014 to 2017, I would have never expected KC to belt up to G#5 again with ease and power. Her voice is now better than ever and I could cry thinking about it.
I personally love Christina Aguilera...she has always been my favorite. But everytime I hear Kelly I am like: "Okay, that's how Xtina actually wants to sound like but doesn't have the technique to"
For me Christina doesn't want to sound like other i think if she really want to use mix voice, she absolutely can practice and did it but she doesn't because she want to sing in this way,i think this is her style and she love what she sing✌️(sorry if something wrong i'm trying to practing my eng >
@@Littlestarnarak_ Whenever I hear Kelly, especially the high notes, it reminds me of the studio versions of Christina's high notes, where she sounds the way she wants to. For instance the high notes in the Burlesque soundtrack. But Christina was/is hardly able to hit live her studio notes the way she does in the studio. I mean the high notes only of course... D5, Eb5, E5, F5, G5.
I've noticed this as well, practically from the very beginning! She has an incredibly well-developed core that has allowed her to successfully bridge the gap between technique and stylistic flair, without totally sacrificing one at the expense of the other. Even when she takes certain liberties and overstretches from time to time (to give her voice that harder, more aggressive edge that she's mastered so well), she never completely departs from that stable, basic form. It's just natural to her at this point.
You forgot about her G5 in "walkaway' in St. louis Civic Toour, it was one of her best G5 ever, and my god has anybody realize that this woman's Belts from Bottom to top have a perfectly even vibrato? Just. Wow. God Tier.
@@ThePianoguy89 When I said mixes early, I meant around Eb5, sometimes as low as D5. You can be a full-on belter and still mix though, as long it's still chesty enough to qualify as a belt.
@@xtinafan06 I understand but mixing and belting are two different things. She really mixing at the very top of her range. As a high soprano like her she's bringing up chest as high as G#5, it's not in full chest but it's still chest voice nonetheless. It's more of a metallic edge belt up to G#5 and even up to A5. She's still using an M1 mechanism very high. Most women can only do full chest voice (overdrive) up to D5 tops, but can still use an M1 mechanism (chest voice) higher by switching modes using edge or curbing.
@@ThePianoguy89 Whoaa, talk about oddly coincidental and serendipitous timing! I actually just had a recent, friendly, back-and-forth exchange with a voice teacher on this very topic. She argued that it's a wildly common misconception among the online vocal community that sopranos - especially higher-placed lyric ones - are more physiologically equipped and prone to "high-chesting" than the average mezzo is. She said that since a lyric soprano's voice is generally higher and lighter, their "starting coordination" is traditionally already more influenced toward the head voice, and that's why, when properly developed, the upper-region of their midrange will seem smoother and more akin to the sound that they produce in their lower tones (not lower register), as opposed to a heavier, darker voice that is NOT placed as high, and therefore must shift into a different coordination to execute those same notes in a similar fashion. Basically, she's seems to be saying that we merely perceive it as being more "chesty" from the high lyric soprano because we're using the sound that we hear on their lower-mids as a reference point to gauge the most basic characteristics of their voice, this way any noticeable change in timbre beyond that threshold would clue us into any possible shift into a different coordination. Of course, well-trained mezzos (especially higher mezzos) can also achieve that uniform sound between their lower and upper-midrange, but it would be acquired through a different approach, as the balancing act wouldn't be completely the same as it'd be for a lyric-soprano. A lyric-soprano that actually SINGS like and was trained as a lyric soprano would actually need to word HARDER to develop that M1 mechanism. It actually makes sense now, because I remember Kristen Chenoweth (a VERY high lyric-soprano) said a while back that she was once fooling around during rehearsals for "Wicked," and attempted to belt the final section of "Defying Gravity" (written for a mezzo, with chesty Ebs, Fs, and sustained C#s), and she just couldn't manage to get out the top notes in full-belt, and actually ended up being hoarse during the show because of it, and the producers scolded her for it! This is also supported by a video that you can look up right on here, of two actresses that portrayed Elphaba and Glinda in "Wicked" on Broadway, swapping singing roles. The soprano sang Defying Gravity in a LOWER KEY and still struggled (she even said she couldn't wait for it to be over)! Natalie Weiss is another example of a high lyric soprano that has stated on many occasions that she used to be unable to belt high until she started focusing more on technique and mastered her craft. Have you heard Kelly's demos from just a year or so before Idol, btw? It seems that high-chesting didn't come naturally to her, either. Listen to her recording of "The Star Spangled Banner" and cover of Whitney's "I Believe In You and Me." She didn't belt ANYTHING; The top notes were delivered in an extremely heady mix. Also, she suffered from vocal fatigue and extreme hoarseness OFTEN within the first half-decade of her career. She got laryngitis even on Idol, and by the end of the season you could really hear how exhausted she was vocally. The same happened again during the promo for "Thankful," and then AGAIN during "Breakaway" era. She started off both eras strong, but midway through she'd wear herself out completely.
@@xtinafan06 I wouldn't look to it as a perception. Higher voices are capable of using an M1 mechanism higher because of having a small vocal tract. Sopranos generally have smaller vocal tracts than mezzo sopranos and contraltos. That's why it's foolish when people call Jojo a mezzo because she has a higher and brighter voice than any real mezzo and she brings up chest as high as G#5 with a closed quotient. You really need to have a small vocal tract to do that. Kelly Clarkson has TA engagement in her voice that's why she is mostly belting and not mixing. You can lighten your chest voice too and Ariana Grande is great example of singing with a light chest voice that people mistake for being "heady." It would be better too if people can rid of the idea of mixed voice ratios like "heady mix", "chesty mix", and "balanced mix." Those concepts have been made up by RU-vid and it's quite new to the vocal pedagogy world. There has been loopholes when it comes to those terms and Kaji would say himself that it's an oversimplification of the different coordinations of the human voice. Your voice is divided into the four mechanisms M0, M1, M2, and M3 A properly trained and developed voice can bring up that chest coordination with ease high. It does takes years and practice to do it in a healthy manner. As I've mentioned in the previous post no woman can sing in full chest voice past D5/Eb5 but they can still sing with chest voice in a half-metallic vocal mode such as edge or curbing. Even men who are tenors can use their chest voice above C5 by switching vocal modes. Overall a belt is a yell-like sound that's controlled of course and Kelly Clarkson mostly belts 99.9 percent of the time. Examples of women mixing early would be Lara Fabian, So Hyang, and Lea Salonga.
Great video! She’s one of my favorites. I added a B5 in the replies as well. She’s got one of the best voices around. A small tip as well- for everyone, a lot of people use Bb and Eb rather than A# and D#. Thanks for making this great video!
@@MrBrown-ef7ve I can honestly say that I don’t know why for sure, but I can attest to that fact that you just see them a lot more in videos and most music scales use them.
To be pedantic about it, it really depends what key she’s singing in. Some keys have flats and some have sharps, it doesn’t really matter for a vocal range video though 🙂
@@MrBrown-ef7ve My guess would be because Bb and Eb are the first two flat notes in a song with a key signature with flats (followed by Ab, then Db, Gb, Cb, Fb). And songs in those keys are more common. Reversely, songs with sharp key signatures start with F#(Otherwise known as Gb etc,), followed by C#, G#, D#, A#, E#, B#. D# and especially A# are rare to see, since they come later in the sharp progression. Since Eb and Bb are seen more often, people in music would be more likely to label those notes that way rather than as a sharp. Similarly, you'll usually see F# labeled instead of Gb because F# is more common to see as it's the first sharp note in a sharp key. My observation.
Awesome and very comprehensive! I’d add a few more to demonstrate the top belts like her renditions of I Know You Won’t by Carrie Underwood. She belts some great F# in there. And she’s done some incredible G’s that she sustained with vibrato in Walk Away a few years ago. Great video!
she sounds so effortless. Now, I'm not so into high notes...but everytime I hear Kelly hits those high notes without sounding like a 'dying cat' (like some do) it's so satisfying.
@@maryahwatkinsarchives.5505 m.ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-VobNCTIa-UU.html It's a phrased B5. It's not the prettiest B5 belt but she did it here.
There it is, some of these notes are old known to her vocal range videos, the new ones are good, her middle belts are very throaty in a good way, and her upper notes very smooth, which is a very rock-ish thing to do. Pretty nice, she has some trouble in the middle after belting upper notes, it may be due to the different coordination.
I just hope people stop using misleading thumbnails and "updated" click bait titles for notes that have been out for years. literally years, that someone else discovered and mislabel them to boot. It's so frustrating.... I will commend you for the choice of notes and these are probably one of Kelly's best performances but please, you don't need to mislead people to get views. I'll remain a fan of your channel.
To update means to modernize or expand upon a pre existing thing so i think updated is a perfect word for this vocal range. While most range videos focus on one era, my videos always aim to be comprehensive and give the viewer a full scope of the artist. I did all of my own research and didn’t rely on any previously published ranges to create this video (i guess thats why some notes are mislabeled 😉). I didnt intend to mislead you but im glad that you’re still a fan 🤗
@@og3673 It must've been love by Roxette. And you're right, her tone up there was very much akin to her earlier sound. In fact, that whole month, her upper notes were very on point.
RANGE ain't the only facets to judge how legendary and superior a vocalist should be Almost all of these and pop singers from the past could not *REALLY belt* they mostly incorporate twang and headmix a lot in order to get as high beyond fourth- fifth octaves with a thinned exhausted screams/ shout-outs That's why I keep saying most of us fans know nothing of belting just celebrating 🥂 range all day long One simple fact Whitney's *AND IIII* climax was only a B4 BUT The POWER behind it put almost the entire music industry to shame even those with insane range LMAO Quality>quantity Most of the times! I enjoy people showcasing their vocal range though not as much as those possessing insane vocal power, breath control, squillo, dynamics, transitions, and agility
@@TheAdriansks People have corrected notes in other videos of hers before, and she didn't react in the same manner and spirit as she did towards you. She actually thanked them and hearted their comment. It's just simply not productive to state "some notes are wrong" without specification, nor is it in any way useful. Just kind of obnoxious and condescending tbh, as to basically say, "I'm just here to make it known to you, and to all of your viewers, that you've made a mistake; but I'm not going to offer my assistance and identify the mistake(s) just for your own future reference and correction. I'll just point it out- but, at the same time, be evasive about it- just so everyone knows."
@@TheAdriansks I worked to the best of my ability. I don’t need to double check, i need a second opinion. If you can be more specific then you can be useful to me and your fellow viewers otherwise youd be wasting your own time Thank you to the subscribers in the comments who respectfully added to this video with note corrections and missed notes, they make this community great
@@WilliamBrown-vb5ws she adds throatiness for effect, she has proven many times that she can sing with clarity when needed. Her throat is way more open, her sound is more supported and her mix is much more balanced now than it was at the start of her career.
@@WilliamBrown-vb5ws I agree with you that throatiness isn’t good technique, all I’m saying is that she sings with good technique when she wants to. Look up her cover of Unchained Melody from Kellyoke, no throatiness just open, clear supported belts. Around the same time she covered Dream on and she added throatiness to her belts to give them edge as it’s a rock song, she changes up her technique to make it appropriate to the genre she’s singing. Also, when she does use throatiness, she keeps her throat wide open and her soft palate high, she never squeezes her throat or sounds pinched.
