Round Six: Baronessa v falsetokaiba (564 views)

[Steve]

This is Baronessa v falsetokaiba in Round Six of the Clip-Off. You have five days to submit your clips, and until 23:00 GMT Time Wednesday, July 29 to vote. July 30 is the Results Day.

Heads up, for Round Seven (the team round) you are required to use only one of your singers. It will have to be the singer you do not choose in this round, so pick wisely!

The categories for Round Six are:
1. Best Singing Spanning an Octave or Less: A clip that's made interesting despite not spanning more than an octave of vocal range.
2. Best Singing Spanning Two Octaves or More: Singing that's probably going out of its way to sound impressive by spanning two octaves of vocal range or more.

The pair are free to post their clips, voting commences as soon as they have.

Vote here.

Current Vote Count: 5

[falsetokaiba]

SPOILER: Click to show

{Best Singing Spanning An Octave or Less: Tarja Turunen}
Tarja's vocals here span F4-F5, and it's a nice showcase of this prime area of her voice, including nice vibrato and a fair bit of ease pulling quite a heady sound down even into the early fourth octave. Clip spans 4:15-5:33.

SPOILER: Click to show

{Best Singing Spanning Two Octaves or More: Ivan Rebroff}
Another clip of "Fs" here as Rebroff goofily spans a full four octaves, including nice warm F2s, rich belted F4s, a falsetto F5, and a descent all the way down to an F1. Clip spans 2:38-3:52.
Here is an alternative link if the first one doesn't work.

[Baronessa]

SPOILER: Click to show

{Best Singing Spanning an Octave or Less: Myles Kennedy}

1:14 - 2:23. In the objectively best Alter Bridge song, Myles goes through a verse going down to D4, a chorus and a climactic bridge up to a sustained D5. Myles is bombastic as always, but going through all these different sections allows a lot of dynamics to develop for just one octave of range, in my opinion.

SPOILER: Click to show

{Best Singing Spanning Two Octaves or More: Mike Patton}

3:33 - 5:33. So, because I have lost my goddamn mind, and I don't play safe, I've decided to let you all behold Mike's use of C♯2 - E♭6 in the most Mike way possible. First building up from somber low second octave to a jumpscare-esque E♭5 section with cleaner (but still heavy) fast-paced singing around G♯4 and screams up to C6. He repeats the same section a second time, finally climaxing the screams at E♭6. This is the clip, and to a greater extent, song, that got me into Mike in the first place, so I suppose it must be worth something to someone else too.

[Steve]

This match-up has received the required number of votes.