Round 4: Baronessa vs BAZanine (424 views)

[Steve]

This is Baronessa v BAZanine in Round Three of the Clip-Off. You have five days exactly to submit your clips, and until 23:59 EST Monday, December 23 to vote. December 24 is the Results Day.

Round Four is the mid-Clipoff Full House round, in which all three of your singers must be used. The categories for Round Four are:

1. Best High Singing: A performance that places particular importance on singing high notes. The clip doesn't have to be exclusively high singing but the more high notes are utilized and the higher they are (relative to the singer), the more appropriate it is for the category.
2. Best Low Singing: A performance that places particular importance on singing low notes. The clip doesn't have to be exclusively low singing but the more low notes are utilised and the lower they are (relative to the singer), the more appropriate it is for the category.
3. Best Usage of Mid-Range: Singing that's made interesting despite (or perhaps because of) not placing particular importance on either high or low notes. There are no concrete thresholds to mid-range, but your best bet is to try and gauge whether the singing sounds mid-rangy.

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

Vote here.

Current Vote Count: 5

[Baronessa]

SPOILER: Click to show

{Best High Singing: Lee Aaron - "Steal Away Your Love"}

2:00 - 3:08, 3:28 - 4:00. Lee channels her inner metal queen by throwing out E5s left and right, and leading into to the solo with a hella glissando up to a sustained G♯5. Finally, the fast vibrato nails the intensity of the ending. Let's also not forget that she does all of this while constantly peppering in some satisfying rasp on top.

SPOILER: Click to show

{Best Low Singing: Alison Moyet - "Lover, Go"}

:56 - 1:52. Let's pretend that this is the first time I've used this clip. The thing about Alison is that it always sounds like she's singing low. So even when she's hanging around a sort of mid-range in the chorus, her breathy tone definitely highlights that this song is supposed to sound 'low'. Then there's of course the TRP-approved post-chorus section, which is a sort of anti-build-up, first down to D3, then C3, and it gets capped off with a very agile passage down to G♯2. A composition which certainly solidifies Alison as a very experienced low singer, and is perhaps one of the most purposeful low sections by any female singer I've heard.

SPOILER: Click to show

{Best Usage of Mid-Range: Sade Adu - "When Am I Going to Make a Living?"}

1:21 - 3:21. There's a sax solo at 2:21 through 2:41, but don't actually skip it because the ad-libs in the background are pertinent in the lead-up to the last chorus. Sade hangs mostly around a smooth A3 - F♯4 in this clip, with some very casual A4s to complement the groove in the post-chorus sections. The intensity in this clip doesn't come from the range of Sade's vocal at all - instead she prefers to add layers upon layers as she goes along to highlight the development of the song.

[BAZanine]

SPOILER: Click to show

{Best High Singing - Alan Hull}1:21 to 2:47. Instrumental from 1:54 to 2:09 and 2:27 to 2:38. All right yeah I know it's not amazing but surely it's better than using the "Goodbye, Goodbye" G♯5 for Best High Belting or whatever it was, right?

SPOILER: Click to show

{Best Low Singing - Elvis Presley}Beginning to 1:23. This entire performance is in the second octave. Yeah.

SPOILER: Click to show

{Best Usage of Mid-Range - Dion DiMucci}1:36 to 2:54. This entire performance is placed within Dion's comfort zone. Nothing too flashy, just some nice crooning.