Round Eight: Baronessa v falsetokaiba (576 views)

[Steve]

This is Baronessa v falsetokaiba in Round Eight of the Clip-Off. You have five days to submit your clips, and until 23:00 GMT Time Tuesday, August 18 to vote. August 19 is the Results Day.

This is the final round! You must use separate singers for Best Live Singing/Best Studio Singing, but you can use any of your singers for Free Choice.

The categories for Round Eight are:
1. Best Live Performance: A live vocal take done during a live show, a stage show or live in studio, etc.
2. Best Studio Performance: A studio take of a vocal, which may include backing and/or harmony singing.
3. Free Choice: A clip you thought was interesting in terms of its vocal that you just really want to show off; you can use a song here that you were perhaps saving for a category but didn't get to use.

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

Vote here.

Current Vote Count: 4

[falsetokaiba]

SPOILER: Click to show

{Best Live Performance: Tarja Turunen}
Tarja soars all around the fifth octave throughout this aria from Die Fledermaus, and even pulls out a D6 at the end. Clip spans 0:10-3:40.

SPOILER: Click to show

{Best Studio Performance: Sebastian Bach}
Probably Sebastian Bach's best all-round performance. He starts out with some of his nicest displays of mid-range and some really easy upper fourth octave belts before launching into gritty fifth octave wailing, culminating in a crazy F#5. There's even some highs up to G5 in the fade-out. Clip spans 0:16-5:13 (2:37-3:01 can be skipped).

SPOILER: Click to show

{Free Choice: Ivan Rebroff}
Rebroff spans nearly two and a half octaves of ultra-manly vois with his usual vibrato and tone, from an Eb2 all the way up to G#4. Clip spans 1:56-5:38 (3:59-4:19 can be skipped)

[Baronessa]

SPOILER: Click to show

{Best Live Performance: Olivia Newton-John}

0:16 - 3:33. Olivia spans A3 - E6 in this almost melodramatic but ultimately quite emotional performance. There's two crescendos creating tension for the big finale during which Olivia goes through pretty much every tonal mode you could ask of her, from wistful soft singing to belting and falsetto, ultimately finishing the song off with a buildup to E6. Olivia is usually really cheesy, and she's not exactly bucking that trend here, but for some reason this performance in particular gets me in the feels pretty often.

SPOILER: Click to show

{Best Studio Performance: Myles Kennedy}

0:19 - 5:19. Myles starts out by duetting with Mark Tremonti during the first section of the song, and from the chorus it becomes a Myles show through and through. It's everything from rather long sustained phrases, long sustained notes, tension-building falsetto passages, some wordless singing and a climactic (and probably Myles' personal best) F♯5, all tallying up to E3 - F♯5. The song features vocals front and center throughout pretty much the entire time and as such gives it this sprawling, story-telling feel to go with the uniquely challenging, dynamic singing. Mark Tremonti sings 0:40 - 0:58 and 1:28 - 1:46.

SPOILER: Click to show

{Free Choice: Mike Patton}

0:00 - 4:40. You thought you were safe from Mike Patton, you were wrong, here he comes one more time with a crazily fast-paced performance that's got basically all of Mike's readily available range while he goes through his phrases like ten words a second. Starring are jumpy highs and gravelly lows, with some raspy chest voice sprinkled in, which take a breather for the softer part in the middle, only to promptly devolve into chaotic screams for the ending. The delivery is ridiculous, obviously, but I think this is a good example of how to make it work musically as opposed to being ridiculous for its own sake.