Post by Platypus on Oct 13, 2019 14:24:10 GMT
Christian Vander (21.08.1948 - )
Associated Acts: Magma, Offering
Vocal Range: A1 - D7
{Vocal Summary}
Christian Vander's voice is an acquired taste. Like one of those mythical Scandinavian delicacies where they take salt water fish and let it ferment in ash for six weeks.
I think many of us, who are used to the sultry tones of Frank Sinatra and Nat King Cole, have this notion that singing is supposed to be pleasant to listen to. Christian Vander is interesting in that regard, as his singing is almost universally unpalatable. If he ever went on American Idol, you'd assume he was a paid actor hired by the producers to make Simon Cowell look good. However, this is all missing the point. Christian Vander is using his instrument in a way that I don't think I've heard any other person do. His singing is like taking the meanest, most god-fearing John Coltrane sax solo and transposing it to human speech. Throughout most of his discography, Vander is pushing the human voice to it's limits to create the most harrowing, throat-splitting vocals I've ever heard. To this day, I have yet to hear any piece of music capture the vocal terror of Nëbëhr Gudahtt.
When Vander founded Magma in 1969, he usually kept behind the drum kit, only surfacing occasionally to deliver passionate 4-octave speeches like an extra-terrestrial Mussolini. However, around the recording of Mekanïk Destruktïw Kommandöh, Vander took more of a central role when it came to the band's vocals, using his voice to construct actual melodies and harmonies. Granted, these melodies extended beyond the reach of even your typical soprano, as Vander enjoyed stretching out his harmonies with his piercing falsetto. His falsetto is definitely his signature move, and it is probably one of the more contentious parts of Magma's music. While he undoubtedly has supreme control over his upper range, it's very rare that it sounds, y'know, good.
While I don't think technical mastery was ever the point when it comes to Vander's singing, when you sing the way he does for six nights a week, every week for 10 years, your physical limitations are bound to catch up. And by the time Magma first disbanded in 1983, Vander's falsetto was completely shot. That didn't stop him from trying, though the results are not for the faint of heart. This vocal degradation meant that he relied more on his chest voice as time went on. His belting, while a touch undeveloped, is majestic. He kinda sounds like how I'd imagine Alexander the Great would sound like.
In the last few decades, Vander's voice has fared remarkably well, taking on a much warmer tone as the years have gone on. While he's lost virtually all of his acrobatics, Vander has shown that he is still capable of carrying most of the songs in the modern Magma repertoire, albeit with much more sensible vocal arrangements.
Written by @chargpt
Christian Vander's voice is an acquired taste. Like one of those mythical Scandinavian delicacies where they take salt water fish and let it ferment in ash for six weeks.
I think many of us, who are used to the sultry tones of Frank Sinatra and Nat King Cole, have this notion that singing is supposed to be pleasant to listen to. Christian Vander is interesting in that regard, as his singing is almost universally unpalatable. If he ever went on American Idol, you'd assume he was a paid actor hired by the producers to make Simon Cowell look good. However, this is all missing the point. Christian Vander is using his instrument in a way that I don't think I've heard any other person do. His singing is like taking the meanest, most god-fearing John Coltrane sax solo and transposing it to human speech. Throughout most of his discography, Vander is pushing the human voice to it's limits to create the most harrowing, throat-splitting vocals I've ever heard. To this day, I have yet to hear any piece of music capture the vocal terror of Nëbëhr Gudahtt.
When Vander founded Magma in 1969, he usually kept behind the drum kit, only surfacing occasionally to deliver passionate 4-octave speeches like an extra-terrestrial Mussolini. However, around the recording of Mekanïk Destruktïw Kommandöh, Vander took more of a central role when it came to the band's vocals, using his voice to construct actual melodies and harmonies. Granted, these melodies extended beyond the reach of even your typical soprano, as Vander enjoyed stretching out his harmonies with his piercing falsetto. His falsetto is definitely his signature move, and it is probably one of the more contentious parts of Magma's music. While he undoubtedly has supreme control over his upper range, it's very rare that it sounds, y'know, good.
While I don't think technical mastery was ever the point when it comes to Vander's singing, when you sing the way he does for six nights a week, every week for 10 years, your physical limitations are bound to catch up. And by the time Magma first disbanded in 1983, Vander's falsetto was completely shot. That didn't stop him from trying, though the results are not for the faint of heart. This vocal degradation meant that he relied more on his chest voice as time went on. His belting, while a touch undeveloped, is majestic. He kinda sounds like how I'd imagine Alexander the Great would sound like.
In the last few decades, Vander's voice has fared remarkably well, taking on a much warmer tone as the years have gone on. While he's lost virtually all of his acrobatics, Vander has shown that he is still capable of carrying most of the songs in the modern Magma repertoire, albeit with much more sensible vocal arrangements.
Written by @chargpt
{Album Ranges}
with Magma:
Mekanïk Destruktïw Kommandöh (1973): A2 - F♯4 - A4 - A6
Ẁurdah Ïtah (1974): G2 - A4 - E6
Köhntarkösz (1974): F♯3 - G♯4 - F6
Üdü Ẁüdü (1976): B2 - F♯4 - D6
Attahk (1978): F2 - B♭4 - G♯6
Merci (1983): F2 - G4 - C6
K.A (2003): D2 - G4 - E5
Ëmëhntëhtt-Ré (2009): D2 - F♯2 - G4 - C♯5
Rïah Sahïltaahk (2014): E♭2 - C♯4
Zëss (Le Jour Du Néant) (2019): E♭2 - F2 - C♯5
Kãrtëhl (2022): E2 - G4 - C5
If an album is not listed, it's because Vander's vocal contribution was too small
with Offering:
Part I - II (1986): F2 - C5 - C6
Part III - IV (1990): F2 - B4 - C♯6
A Fiïèh (1993): F2 - A4 - C♯6
Solo:
To Love (1988): E♭2 - G2 - G♯4 - B♭5
A tous les enfants (1994): F♯2 - F♯4
Les cygnes et les corbeaux (2002): A2 - G4 - C♯6
John Coltrane, l'homme suprême (2011): A1 - C5
with Magma:
Mekanïk Destruktïw Kommandöh (1973): A2 - F♯4 - A4 - A6
Ẁurdah Ïtah (1974): G2 - A4 - E6
Köhntarkösz (1974): F♯3 - G♯4 - F6
Üdü Ẁüdü (1976): B2 - F♯4 - D6
Attahk (1978): F2 - B♭4 - G♯6
Merci (1983): F2 - G4 - C6
K.A (2003): D2 - G4 - E5
Ëmëhntëhtt-Ré (2009): D2 - F♯2 - G4 - C♯5
Rïah Sahïltaahk (2014): E♭2 - C♯4
Zëss (Le Jour Du Néant) (2019): E♭2 - F2 - C♯5
Kãrtëhl (2022): E2 - G4 - C5
If an album is not listed, it's because Vander's vocal contribution was too small
with Offering:
Part I - II (1986): F2 - C5 - C6
Part III - IV (1990): F2 - B4 - C♯6
A Fiïèh (1993): F2 - A4 - C♯6
Solo:
To Love (1988): E♭2 - G2 - G♯4 - B♭5
A tous les enfants (1994): F♯2 - F♯4
Les cygnes et les corbeaux (2002): A2 - G4 - C♯6
John Coltrane, l'homme suprême (2011): A1 - C5
Significant High Notes:
D7 ("Nënèh (Këhr)" "Sons" Document 1973 - Le Manor)
C♯7 ("Stoah" live ORTF 1970 + Bruxelles 1971)
C7 ("Africa Anteria")
B♭6 ("Nebëhr Gudahtt" Live New York 1973 + Bremen 1974)
A6 ("Africa Anteria", "Nëbëhr Gudahtt", "Otis" Live Bobino 1981, "Rïah Sahïltaahk", "Ẁohldünt Mëm Dëẁëlëss" Ẁurdah Ïtah (Prima Materia))
G♯6 ("Liriïk Necronomicus Kanht (In Which Our Heroes Ürgon And Gorgo Meet)", "Zëss" Live Bobino 1981)
G6 ("Dotz Hündin", "Hamtaak", "The Last Seven Minutes (1970-77, Phase I)", "Mekanik Kommandoh" 1972 Puissance 13+2)
F♯6 ("Bradïa Da Zïmehn Iëga" Ẁurdah Ïtah (Prima Materia), "Zëss" Live Bobino 1981)
F6 ("Hhaï" live Bourdeaux 1975, "Köhntarkösz (Part Two)", "Nëbëhr Gudahtt", "Otis" Live Bobino 1981, "Rïah Sahïltaahk", "Stoah", "Theusz Hamtaahk" Live BBC 1974)
E6 ("Da Zeuhl Ẁortz Mëkanïk", "De Zeuhl Ündazïr", "Kreühn Köhrmahn Ïss Dëh Hündin", "You" Live Bobino 1981)
E♭6 ("Another Day" live Lyon 1983, "Ëmëhntëhtt-Ré (extrait no. 2)", "Mekanik Kommandoh" 1972 Puissance 13+2, "Liriïk Necronomicus Kanht (In Which Our Heroes Ürgon And Gorgo Meet)", "Spiritual (Gamer Song)")
D6 ("A Fiïèh" live Soissons 1991, "Fur Dï Hël Kobaïa" Ẁurdah Ïtah (Prima Materia), "Hakëhn Deïs" 1978 demo version, "Hamtaak", "Mekanik Kommandoh" 1972 Puissance 13+2, "The Last Seven Minutes (1970-77, Phase I)", "Nëbëhr Gudahtt", "Tröller Tanz", "You" Live Bobino 1981)
C♯6 ("Another Day", "Dotz Hündin", "Hortz Fur Dëhn Štekëhn Ẁešt", "Purificatem", "Rïah Sahïltaahk", "Sahïss Siïaaht", "Zëss" Live Bobino 1981)
C6 ("Bradïa Da Zïmehn Iëga" Ẁurdah Ïtah (Prima Materia), "Da Zeuhl Ẁortz Mëkanïk", "Do The Music", "Dondaï (To An Eternal Love)", "Earth", "Hhaï" live Théâtre de l'Empire 1978, "Hortz Fur Dëhn Štekëhn Ẁešt", "Ïma Sürï Dondaï", "The Last Seven Minutes (1970-77, Phase I)", "Les Oiseaux Blancs Et L'Oiseau Bleu", "Nënèh (Këhr)" "Sons" Document 1973 - Le Manor, "Otis", "Spiritual (Gamer Song)")
B5 ("A Fïïèh", "Hakëhn Deïs" 1978 demo version, "Joia" live Lyon 1983, "Korusz 1" live Bourges 1972, "Mëkanïk Kömmandöh", "Ptah" live Angers 1973, "Rindë (Eastern Song)", "Ẁaïnsaht !!!" Ẁurdah Ïtah (Prima Materia))
B♭5 ("Fur Di Hël Kobaïa", "Kobah" Live (1975), "Liriïk Necronomicus Kanht (In Which Our Heroes Ürgon And Gorgo Meet)", "Love in the Darkness", "Theusz Hamtaahk" Live BBC 1974, "Tröller Tanz", "XMC")
A5 ("Bradïa Da Zïmehn Iëgah", "Chant De La Fatalité", "Da Zeuhl Ẁortz Mëkanïk", "Hortz Fur Dëhn Štekëhn Ẁešt", "Ïma Sürï Dondaï", "Joia" live Lyon 1983, "Kobaïa", "Kobaïa Iss Dëh Hündïn", "Köhntarkösz (Part One)", "Korusz 1" live Bourges 1972, "Kreühn Köhrmahn Ïss Dëh Hündin", "Love Is", "Mëkanïk Kömmandöh", "Nëbëhr Gudahtt", "Otis" (Unknown live rendition), "Purificatem", "Ẁohldünt Mëm Dëẁëlëss" Ẁurdah Ïtah (Prima Materia))
G♯5 ("Dondaï (To An Eternal Love)", "Korusz 4" live Charleroi 1974, "Love in the Darkness", "Rindë (Eastern Song)", "You")
G5 ("C'Est La Vie Qui Les A Menés Là!", "De Zeuhl Ündazïr", "A Fïïèh", "Another Day", "Ïma Sürï Dondaï", "Kobah" Live (1975), "The Last Seven Minutes (1970-77, Phase I)", "Love Is", "Sëhnntëht dros wurdah süms" Ẁurdah Ïtah (Prima Materia))
F♯5 ("Chant Unique Pour Appeler L'Oiseau I", "Do The Music", "Köhntarkösz (Part One)", "La Dawotsïn" Retrospektïw 1-2-3, "Offering (Part One)", "Rindë (Eastern Song)")
F5 ("Chant Unique Pour Appeler L'Oiseau II", "Da Zeuhl Ẁortz Mëkanïk", "Kobaïa Iss Dëh Hündïn", "Love in the Darkness", "Mëkanïk Kömmandöh", "Sëhnntëht Dros Ẁurdah Süms", "Theusz Hamtaahk" Retrospektïw 1-2-3, "Weidorje", "You")
E5 ("Blüm Tendiwa", "Chant Unique Pour Appeler L'Oiseau I", "Chant Unique Pour Appeler L'Oiseau II", "De Zeuhl Ündazïr", "Earth", "K.A II", "Köhntarkösz (Part One)", "Kreühn Köhrmahn Ïss Dëh Hündin", "Les Oiseaux En Colère II", "Love Is", "Öhst", "Ẁaïnsaht !!!", "Zess" Mythes et Légendes Volume IV)
E♭5 ("C'Est La Vie Qui Les A Menés Là!", "Hakëhn Deïs" 1978 demo version, "Korusz 2" live Soissons 1974, "Love in the Darkness", "Mon Oiseau Est Parti Pour Un Dernier Voyage", "Nënèh (Këhr)" "Sons" Document 1973 - Le Manor, "Otis")
D5 ("Ëk Sün Da Zëss", "A Fïïèh", "Hortz Fur Dëhn Štekëhn Ẁešt", "La Dawotsïn" Retrospektïw 1-2-3, "Ẁohldünt Mëm Dëẁëlëss")
C♯5 ("Chant Unique Pour Appeler L'Oiseau I", "Chant Unique Pour Appeler L'Oiseau II", "Dï Ẁöóhr Sprašer (La Voix qui Parle)", "Do The Music", "Emëhntëhtt-Ré II", "Joia" live Paris Théâtre Déjazet 1987, "Les Oiseaux En Colère II")
C5 ("Earth", "Hakëhn Deïs", "Joia", "Klameuhr", "Les Oiseaux Blancs Et L'Oiseau Bleu", "Ẁaïnsaht !!!")
B4 ("Another Day", "C'est Pour Nous", "Dëhndë", "K.A II", "La Marche Celeste", "Les Oiseaux En Colère V", "Lïhns" Live (1975), "Nebëhr Gudahtt" live Eskähl 2020, "Ẁiï Mëlëhn Tü")
B♭4 ("C'Est La Vie Qui Les A Menés Là!", "Des Profondeurs", "Ëmëhntëhtt-Ré (extrait no. 2)", "Joia", "Ki Ïahl Ö Lïahk", "The Last Seven Minutes (1970-77, Phase I)", "Otis" Live Bobino 1981, "You" Live Bobino 1981, "Zï Ïss Ẁöss Štëhëm (Vers l'Infiniment)")
A4 ("Another Day", "Chant De La Fatalité", "Chant Posthume", "Earth", "Fur Di Hël Kobaïa", "Hortz Fur Dëhn Stekëhn West" Mekanïk Kommandöh, "Hymne A Wagner" Live le Triton 2015, "Kobaïa", "Kreühn Köhrmahn Ïss Dëh Hündin", "La Marche Celeste", "Love Is", "Mûh", "Otis" Live Bobino 1981, "Purificatem", "Solitude", "Spiritual (Gamer Song)", "You" Live Bobino 1981)
G♯4 ("C'est Pour Nous", "Dï Ẁöóhr Sprašer (La Voix qui Parle)", "Dümgëhl Blaö (Glas Ultime)", "Köhntarkösz (Part One)", "Les Oiseaux En Colère IV", "Liriïk Necronomicus Kanht (In Which Our Heroes Ürgon And Gorgo Meet)", "Nënèh (Këhr)" "Sons" Document 1973 - Le Manor, "River", "Stoah", "Stundher" Live le Triton 2015, "You Glory the One", "Zëss Mahntëhr Kantöhm (Le Maître Chant)", "Zï Ïss Ẁöss Štëhëm (Vers l'Infiniment)", "Zombies")
G4 ("Chant De La Fatalité", "Dëhndë", "Des Profondeurs", "Ëmëhntëhtt-Ré (extrait no. 2)", "A Fïïèh", "Dondaï (To An Eternal Love)", "Ehn Deiss", "Ëktah "Le Héros"", "Emëhntëhtt-Ré II", "Hakëhn Deïs", "Hhai" Live (1975), "Joia", "K.A II", "K.A III", "Klameuhr", "La Dawotsïn" Retrospektïw 1-2-3, "La Marche Celeste", "The Last Seven Minutes (1970-77, Phase I)", "Les Oiseaux Blancs Et L'Oiseau Bleu", "Les Oiseaux En Colère V", "Nono (1978, Phase II)", "Öhst", "Otis", "Rïah Sahïltaahk", "Sëhnntëht dros wurdah süms" Ẁurdah Ïtah (Prima Materia), "Spiritual (Gamer Song)", "To Love", "Uguma Ma Melimeh Gingeh" Live le Triton 2015, "Vers L'Inéluctable", "Zï Ïss Ẁöss Štëhëm (Vers l'Infiniment)")
F♯4 ("Another Day", "Call From the Dark", "C'est Pour Nous", "Dï Ẁöóhr Sprašer (La Voix qui Parle)", "Do The Music", "Dümgëhl Blaö (Glas Ultime)", "Ëktah "Le Héros"", "Les Oiseaux En Colère IV", "Les Oiseaux En Colère V", "Hortz Fur Dëhn Štekëhn Ẁešt", "Il Est Noël", "K.A I", "Köhntarkösz (Part Two)", "Korusz 4" live Charleroi 1974, "Les Oiseaux En Colère III", "Lïhns" Live (1975), "Maahnt (The Wizard's Fight Versus The Devil)", "Purificatem", "River", "Sahïss Siïaaht", "Solitude", "Štreüm Ündëts Ẁëhëm (Pont de l'En-Delá)", "Tröller Tanz", "Üdü Ẁüdü", "Ẁiï Mëlëhn Tü", "Ẁlasïk Steuhn Kobaïa", "You Glory the One", "Zëss Mahntëhr Kantöhm (Le Maître Chant)")
F4 ("Chanson Des Oeufs", "Ëmëhntëhtt-Ré (extrait no. 2)", "Emëhntëhtt-Ré II", "Fur Di Hël Kobaïa", "Hakëhn Deïs", "Hhai" Live (1975), "Hymne Aux Enfants", "K.A III", "Lïhns" Live (1975), "Mëkanïk Kömmandöh", "Nono (1978, Phase II)", "Sëhnntëht Dros Ẁurdah Süms", "To Love", "Vers L'Inéluctable")
E4 ("Blüm Tendiwa", "Des Profondeurs", "A Fïïèh", "Ehn Deiss", "Hamtaak", "Il Est Noël", "Ïma Sürï Dondaï", "Klameuhr", "Les Oiseaux En Colère I", "Malaẁëlëkaahm", "Manëh Fur Da Zëss", "Öhst", "Sahïss Siïaaht", "Sëhnntëht Dros Ẁurdah Süms", "Uguma Ma Melimeh Gingeh", "Ẁohldünt Mᴧëm Dëẁëlëss")
Significant Low Notes:
D3 ("C'Est La Vie Qui Les A Menés Là!", "Chanson Des Oeufs", "Fur Di Hël Kobaïa", "Ëmëhntëhtt-Ré (extrait no. 2)", "Les Oiseaux Blancs Et L'Oiseau Bleu", "Manëh Fur Da Zëss", "Mëkanïk Kömmandöh", "Nëbëhr Gudahtt", "Offering (Part One)", "Stoah", "To Love")
C♯3 ("C'est Pour Nous" live au Festival Jazz En Baie de Douarnenez 1992, "Chant Posthume", "Dï Ẁöóhr Sprašer (La Voix qui Parle)", "Funëhrarïum Kanht", "Il Est Noël", "K.A III", "The Last Seven Minutes (1970-77, Phase I)", "Les Oiseaux Bruns", "Les Oiseaux En Colère I", "Les Oiseaux En Colère II", "Les Oiseaux En Colère III", "Les Oiseaux En Colère IV", "Les Oiseaux En Colère V", "Lïhns" Live (1975), "Love in the Darkness", "River", "XMC", "Zëss Mahntëhr Kantöhm (Le Maître Chant)")
C3 ("Dümgëhl Blaö (Glas Ultime)", "Ëk Sün Da Zëss", "Emëhntëhtt-Ré II", "A Fïïèh", "Fur Di Hël Kobaïa", "Hhai" Live (1975), "Hortz Fur Dëhn Štekëhn Ẁešt", "Hymne Aux Enfants", "Ïma Sürï Dondaï", "John Coltrane Sündia", "K.A I", "Klameuhr", "Kobaïa Iss Dëh Hündïn", "Les Oiseaux En Colère V", "Malaẁëlëkaahm", "Sëhnntëht Dros Ẁurdah Süms", "Ẁohldünt Mᴧëm Dëẁëlëss")
B2 ("Da Zeuhl Ẁortz Dëhm Ẁrëhntt (Les Forces de l'Univers/Les Eléments)", "Dï Ẁöóhr Sprašer (La Voix qui Parle)", "Ehn Deiss", "Lïhns" Live (1975), "Manëh Fur Da Zëss", "River", "Süri Sï Toïdo", "Theusz Hamtaahk" Mythes Et Legendes Volume I, "Üdü Ẁüdü", "Ẁaïnsaht !!!", "Ẁlasïk Steuhn Kobaïa")
B♭2 ("Di Mahnter Sahïltaahk", "Dondaï (To An Eternal Love)", "Funëhrarïum Kanht", "Hhai" Live (1975), "I Must Return", "Joia", "K.A II", "Love in the Darkness", "Love Is", "The Night We Died", "Nono (1978, Phase II)", "Otis", "Purificatem", "Vers L'Inéluctable", "Ẁiï Mëlëhn Tü", "Ẁöhm Dëhm Zeuhl Stadium (Hymne au Néant)")
A2 ("Chanson Des Oeufs", "Dï Ẁöóhr Sprašer (La Voix qui Parle)", "Dodo L'enfant Do", "Ehn Deiss", "Hakëhn Deïs", "La Dawotsïn" Retrospektïw 1-2-3, "La Marche Celeste", "Les Oiseaux En Colère IV", "Nëbëhr Gudahtt", "Nënèh (Këhr)" "Sons" Document 1973 - Le Manor, "Spiritual (Gamer Song)", "Theusz Hamtaahk" Mythes Et Legendes Volume I, "Uguma Ma Melimeh Gingeh")
G♯2 ("Another Day", "Dodo L'enfant Do", "Dondaï (To An Eternal Love)", "Earth", "K.A II", "Maahnt (The Wizard's Fight Versus The Devil)", "Zëss Mahntëhr Kantöhm (Le Maître Chant)")
G2 ("Another Day", "Fur Di Hël Kobaïa", "Joia", "Klameuhr", "The Night We Died", "Nono (1978, Phase II)", "Solitude", "To Love", "Watseï Kobaïa", "Zahrr")
F♯2 ("Bradïa Ëtnah", "Dëhndë", "Di Mahnter Sahïltaahk", "Do The Music", "Earth", "Emëhntëhtt-Ré II", "Funëhrarïum Kanht", "If You Glory The One (To Love)" Live le Triton 2015, "Mem Loïlë", "Mr Vent", "Zëss Mahntëhr Kantöhm (Le Maître Chant)")
F2 ("Another Day", "Dondaï (To An Eternal Love)", "Eliphas Levi", "Hakëhn Deïs", "John Coltrane Sündia", "Joia", "K.A II", "La Marche Celeste", "Magnifi", "Meditation", "Mem Loïlë", "Otis", "Solitude", "You" 1981 Marseille demo, "Zï Ïss Ẁöss Štëhëm (Vers l'Infiniment)")
E2 ("Dëhndë", "Süri Sï Toïdo", "Uguma Ma Melimeh Gingeh" Live le Triton 2015)
E♭2 ("Da Zeuhl Ẁortz Dëhm Ẁrëhntt (Les Forces de l'Univers/Les Eléments)", "Stundher" Live le Triton 2015, "Watseï Kobaïa", "Wohldünt", "Ẁöhm Dëhm Zeuhl Stadium (Hymne au Néant)", "XMC")
D2 ("Emëhntëhtt-Ré I", "K.A III", "Nebëhr Gudahtt" live Eskähl 2020, "Stundher" Live le Triton 2015, "Uguma Ma Melimeh Gingeh" Live le Triton 2015, "Zahrr")
C2 ("Definitely", "Meditation")
A1 ("Meditation")
{Questionable Notes}
F♯7 ("Nënèh (Këhr)" "Sons" Document 1973 - Le Manor [1])
A6 ("Da Zeuhl Ẁortz Mëkanïk" [5])
G6 ("Blüm Tendiwa" [5])
D6 ("Joia" live Lyon 1983 [5])
B5 ("Les Oiseaux En Colère III" [5], "Les Oiseaux En Colère IV" [5])
B♭5 ("Les Oiseaux En Colère II" [5])
.......................................................
[1] marks yelps and short trills in high range or anacrusis and short dips in low range.
[2] marks notes of questionable identity that cannot be confirmed to be the singer in question.
[3] marks non-melodic notes that don't have a significant enough pitch to warrant inclusion.
[4] marks notes that possess uncertain pitch or have been pitch-shifted.
[5] marks notes that do not fit the previous criteria but are not of a substantial enough quality to warrant counting towards the singer's range.
F♯7 ("Nënèh (Këhr)" "Sons" Document 1973 - Le Manor [1])
A6 ("Da Zeuhl Ẁortz Mëkanïk" [5])
G6 ("Blüm Tendiwa" [5])
D6 ("Joia" live Lyon 1983 [5])
B5 ("Les Oiseaux En Colère III" [5], "Les Oiseaux En Colère IV" [5])
B♭5 ("Les Oiseaux En Colère II" [5])
.......................................................
[1] marks yelps and short trills in high range or anacrusis and short dips in low range.
[2] marks notes of questionable identity that cannot be confirmed to be the singer in question.
[3] marks non-melodic notes that don't have a significant enough pitch to warrant inclusion.
[4] marks notes that possess uncertain pitch or have been pitch-shifted.
[5] marks notes that do not fit the previous criteria but are not of a substantial enough quality to warrant counting towards the singer's range.
.......................................................
Blue marks falsetto or whistle notes.
Underlines mark notes that are obscured in the song mix.
Italics mark non-melodic notes.
Boldface marks notes that are considered to be particularly notable examples of this person's vocal capabilities.
