Acoustic analysis of voice captured in the pharynx above the glottic source through a microphone on a laryngo-fiberscope. Forma de estudo: Experimental. Study design: Experimental. Firstly, by a common external microphone placed at 15 cm from the mouth. Secondly, a special microphone was placed on the pharynx 1. Lastly, the same special microphone was placed externally at 2 cm from the mouth.
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Ele pode atingir notas bem mais cavernosas no Registro Basal. Notas agudas cheias, fervorosas e eloquentes. A nota sai extremamente cheia e completa. Isso parece ter melhorado recentemente veja a ponte de Nobody Love. The positives for Tori continue as she has also developed her mixed voice a nice amount. Tori has also showed the ability to use a whistle register, and has an F 6 run that only confirms another area Tori excels in. Her ability to sing intricate, fast and challenging runs is unrivaled by most in the industry.
Many people who have good agility tend to overdo things, but Tori practices restraint when necessary, and shows off when fit. This applies outside of agility too, as Tori flips between her mixed and upper registers with purpose, and can even make her mix lighter on command when she sees it necessary see performances with Andrea Bocelli.
A strong, bright voice characterized by its feminine, sophisticated nature. Tori Kelly possesses superb vocal dexterity that is shown by her elaborate, nimble and soul-influenced vocal runs and inflections, which can cover multiple notes effortlessly [P. In addition, Tori has displayed exemplary versatility and musicality.
This allows for her to take another's material and make it unique and personal[Thinkin' Bout You], and also canny enough to play with, and create interesting harmonies- such as the neo-soul and gospel-influenced ones found in Falling Slow. Tori's lower range is dark, lush and well-supported, showcasing a full, controlled quality down to E3.
It is easily accessed from the mid-range [Bottled Up]. Below that, are notes that despite their fogginess, sound audible and well-controlled [First Heartbreak]. In a live setting, she has no problem descending to the lower extremities of her voice, and although it lacks the audibility within a studio setting, she sounds controlled and measured when attempting them [Star-Spangled Banner].
The mid-range has a girlish, bright, lyrical quality and emotive capabilities. For example, in Daydream she injects optimism and hope into her vocals; while All In My Head is full of grief and sadness.
Seamlessly connected to both the upper and lower ranges, the mid-range conveys a fluidity to the voice, enabling her to ascend and descend through the voice effortlessly [Dear No One]. The mid-belts can be sustained for extended periods of time, usually with a polished, wide and rolling vibrato to negate any sort of tension or "oddness" within the voice [Confetti].
It displays a bright, incisive tone paired with a timbre that gains a slight steeliness at points [Expensive]. As the voice moves into the upper-belts, Tori's voice can sound choked, throaty and pulled, with some of its natural colour being shed [Funny].
However due to her developing vocal technique, the Diva has shown she is capable of a more easy, resonant and bright sound if she mixes her voice [Nobody Love]. Tori opts for a girlish, cottony falsetto that has a bright and warm tone [Talk] when at the top of her range. However, she can solidify the sound making it brighter and fuller, if she so chooses [California Lovers]. Much like her head voice, the Diva's piercing, bright whistle register is underutilised, but she has shown skill within it being able to apply a vibrato [Treasure] and pitch notes without the need of a climb or vocal slide [Example].
As a whole, Tori is a smart musician and vocalist with exemplary and unique musicality. As well as being a skilful, emotive and dexterous vocalist, the Diva is a master of dynamics, being able to quickly transition from a bright, nasalized mid-belt to a dark, foggy low note within seconds [Unbreakable Smile]. Vocal Weaknesses: As a whole, the nasality present can become overbearing within the upper chest and top notes, with the voice sounding pulled, throaty and tense.
Her lowest sung note is a B2, however support seems iffy below Eb3, with some notes sounding a little shallow, or what could be a lowered larynx which can give that deeper, artificially dark sound.
Still for a very young Light Lyric Soprano, this is nothing to sneeze at. Notes below Eb3 are not bad, but not consistent enough to keep up with. With time, there is a chance Tori could extend her supported range down.
Mid Range A4-Eb5 Tori's voice shines here, and this is where her raspy quality becomes even more apparent. Tori shows consistent resonance up to around C 5, and it sounds like she can support up to D5. However Tori becomes throaty around that point, and on Eb5, her voice sounds smaller and scratchy.
I think she can support up to Eb5, but I am not too sure with that. Still that scratchy quality means that she isn't able to achieve full, projected notes. As of right now, she is able to continue to phrase, sustain, and hit high notes with little to no issue.
However I think she will eventually have problems up here if she continues to sing the way she does. That raspy effect seems to hinder her upper belts from being projected. By that, the probable way she is achieving this is by not singing with a fully opened throat, which can lead to a scratchy sound. She does this on her mid range, but she is able to sing with resonance, which she is not able do above D5. Above F5, her larynx starts to rise, which can result in a small, slightly shriek like sound.
She seems to be able to maintain consistency up to B5, while her highest note is a C6 which sounded less resonant, but did not have that pinched sound.
Overall Tori is capable of using this part not only to sustain notes, but being able to phrase and articulate while singing.
Tori's whistle register has only been used once musically and seemed to shock even herself. Despite that, she still somehow managed to not only sustain a nice F 6, she did a perfectly executed run down, like the professional she is. Agility Tori's singing style relies heavily on her ability to move through a song while using well placed, complex runs.
Though she has problems in her upper register she is capable of singing even at her worst. During her performance of PYT, she sings an F 5. While that note was not the best, she is does a staccato like downward sequence, while in the same exact breath a run upward into head voice. Needless to say it is impressive overall. Other than that, Tori has a tendency to do runs downward into her lower register almost like a place filler for her , and little inflections in her singing.
It should also be noted that Tori's ability to transition between registers is for the most part solid, and her ability to sing in head voice and use it, is possibly one of the best parts of her singing. It gives her already distinct voice a more unique and to some presents her as more soulful and raw.
However because it doesn't seem completely natural to her voice, there is a chance that it is inhibiting her singing. It can be argued that this is a result of her creating that sound by not singing with a completely open throat. However as stated, she does well enough where she can still sing as high as she wants to, but without the ease that her middle has.
This doesn't mean that this is good, as she is not maintaining the same qualities within all of her singing. It just means she is singing through it and able to produce okay results as Above E5, Tori tends to raise her larynx while belting, and there is a noticable difference in sound. Her biggest issues are in her upperbelts, where her signature lead to a lack of freedom, and scratchy vocals. Never the less, it hasn't become an issue to where she can no longer sing or even sounds exhausted.
Still there is a possibility that this can take a tole on her voice, so hopefully she can fix it. Her voice does have something naturally different to it. There is a nice twangy edge to it, and her trying to enhance that feels somewhat unnecessary.
Still Tori does not seem to see this as an obstacle and embraces it as a part of her singing. Overall, Tori is very capable being able to move throughout her voice with great ease.
"aparelho fonador" in English