A performance of Gounod Opera „Faust“ at The Metropolitan Opera 1893.

yo what's your vocal range??

I’ve been taking private voice lessons under professionals in classical singing and musical theater since I was 15 years old, and now I’m almost 27-and-half, so it’s been almost twelve-and-a-half years since then. Technically, I’m capable of using a three octave vocal range from F#3-F#6/Gb6. I’ve learned arias and songs in which I’ve touched all three of those octaves at one point or another in private lessons. Of course, the extremes of the lower end (A3-F#3) and upper end (E6-F#6) aren’t notes I’m capable of singing when I’m on my period, I’m feeling exhausted, or I have a scratchy throat. I’d say I fall in the fach of light lyric soprano with a coloratura extension.

Range in and of itself doesn’t determine voice type, though There are sopranos who never sing higher than a C6. There are mezzos, contraltos, baritones, basses, and tenors who can hit notes well above and/or below their vocal passagio. Range is about the passagio your voice sits most comfortably. It’s not how many octaves you can produce. That being said, while it’s impressive for the average person with no professional vocal training, the average professionally trained singer can generally access about three octaves. Anything more than that is a rare gift.

Portrait of soprano Adele Addison. Handwritten on back: "Musical America, 7-59."

Courtesy of the E. Azalia Hackley Collection of African Americans in the Performing Arts, Detroit Public Library

There's one weird thing my wife and I are oddly good at. Our voices complement each other in a really good way. She's a lyric soprano with some decent range, and I'm a bass with a strong diaphragm. I can hold a long note in low registers.

When we sing together, we harmonize pretty good. And my low register, and at low volume, it gives like this odd sub-vocal undertone to hers.

Certain songs we sing together just hit each other different when we're together. She's like "I can hear you but just barely and it's weird, but in a good way."

Left this Web song cycle alone over the summer and now it needs some serious work! Starting over from the beginning, I'm doing some text work and making sure I know my diction before digging deeper into the music

gonna maintain that Mogami is a tenor so I can avoid adding Crowsong to the long list of "Scribe songs that are inherently funny in performance bc the speaker should be a gruff-voiced baritone but instead you get Me, The World's Squeakiest Soprano"

i am singing in a concert in less than two weeks and it will be my first Public Singing (beyond the audition i clearly Hecked Up but that wasnt rlly. public singing) since i dropped out of uni and had my nervous breakdown and i am Nervous!!!!

German Rotophot postcard featuring a 1902 photograph of the American soprano Geraldine Farrar as ‘Margarethe’ in Gounod’s opera ‘Faust’. Geraldine Farrar was born in Melrose, Massachusetts, 28th February 1882 and died Ridgefield, Connecticut, 11th March 1967. In 1884, at the age of 12, Farrar impersonated Jenny Lind in the Melrose May Carnival and within two years, she made her Boston recital debut. On 15 October 1901 aged 19 she made her Berlin debut as Marguerite in Faust ~ singing in Italian by special dispensation. In 1903 the great Lilli Lehmann accepted her as a pupil and they worked hard to perfect Farrar’s vocal technique and stage crafts. Geraldine Farrar retired from opera in 1922 at the age of 40 ~ her final performance being Leoncavallo's Zazà and she retired finally in 1931 when she sang her final Carnegie Hall recital and withdrew from further public performance. Geraldine Farrar created the title roles in – Pietro Mascagni's Amica ~ Monte Carlo 16th March 1905 Engelbert Humperdinck's Goose-girl in Die Königskinder ~ New York Met 28th Dec 1910 Umberto Giordano's Madame Sans-Gêne ~ New York Met 25th Jan 1915 Puccini's Suor Angelica ~ New York Met 14th Dec 1918 During her time she developed a great popular following, especially among New York's young female opera-goers, who were known as "Gerry-flappers". Her performances with Caruso were always eagerly awaited. She made 15 silent movies in the period of c1915 to 1920 commencing with the opera Carmen directed by Cecil B. DeMille and finally 'The Riddle: Woman directed by Edward Jose.

Birdie: It was so nice to meet you, Lyric! I can't wait for us to have a bunch of classes together. :)

Piper: ...

Song Tag!

I was tagged by the amazing @sadmorgen to list 5 songs I’ve listened to recently. This was difficult for me since I listen to music non-stop. Here are 5, each with a mini blurb. I highly suggest you take a listen!

Stranger - Dimash Qudaibergen Watch/Listen here Qudaibergen is a Kazakh singer and musician. He might objectively be the most skilled vocalist in the world at the moment. Stranger showcases his technique, range, and musicality.

Now We Are Free - Ellen Williams Watch/Listen here Williams is a Welsh soprano singer. This is one of the best renditions of this song, in my opinion. Her classically-trained voice shimmers and soars.

Le pire - GIMS Watch/Listen here, Lyrics (FR & EN) GIMS is a Congolese and French singer and songwriter. Le pire’s insightful message demonstrates his exquisite songwriting abilities.

Autumn Finds Winter - Yiruma Listen here Yiruma is a South Korean pianist and composer. This is a lesser-known piece of his but it’s one of my favorites. The blend of the piano and strings takes your breath away.

Les blues du businessman - Céline Dion version Listen here, Lyrics (FR & EN) Dion is a French Canadian singer. This song’s lyrics are relatable as an aspiring writer/artist. Beyond her powerful belting and intricate melismas, she conveys the message with the right emotions.

I’ll tag @illbeyouranchor @mysticlostdog @blackinkmess @aslice-ofpoetry @smp-writes @wysewordsblog @poppiesandpromises @followcb @instruth @mirrorworld12 and anyone else who wants to share! (note: you just have to list the songs, not write all the extra stuff I did)

Scottish soprano Mary Garden (1874-1964) and French tenor Charles Dalmorès (1871-1939) as Salome and Herod in Richard Strauss' one-act play at the Manhattan Opera House, March 14, 1910.

I think me and Duck were switched at birth or something LMAO

All of my siblings are amazing at art, don’t even need to try. But I can sing and dance. Hell, I made the highest choir that a freshman could get into back in high school choir tryouts, and then in my second year I was in the highest choir + I tried out for a “show choir” (which was singing and dancing, only 10 - 12 girls could get in and only 2nd highest and highest choir girls can try out) and made that as well.

Meanwhile, Duck’s amazing at art and their siblings are good at singing...

me trying to figure out the evillious chronicles lore when I don't know japanese or how to navigate Pricechecktranslations blog like

one very funny thing about my mother is that she'll pull the "you have such a nice voice... do you have to use it on this?" when i'm singing gruesome songs about dismemberment but also when i'm singing normal songs that she doesn't like, such as "the chain" by fleetwood mac

I'm already not great about actually posting my practices on here, but doing my best!

Today I worked on Jocelyn Morlock's Amore, trying to get the later sections up to tempo. Definitely some tricky vocal lines there that are worth slowing down and polishing

I also spent some time on A Heavenly Banquet from Barber's Hermit Songs, working with a metronome to solidify my entrances and exits. That piece changes time signatures almost every bar, but the 8th note pulse is constant for the most part which helps.

i would've done the fach system so much better actually (<- has never seriously studied classical/operatic voice)