New scientific study confirms the obvious: Freddie Mercury had an unparalleled singing voice

New scientific study confirms the obvious: Freddie Mercury had an unparalleled singing voice

Regardless of what they might think personally about Queen, most rock critics and music fans alike recognize the immense vocal talent that was the great Freddie Mercury. Still, in case there was ever any doubt, new analysis of both Mercury’s singing and speaking voices has shed fresh light on just how special his pipes really were.A group of Austrian, Czech, and Swedish researchers conducted the research, the results of which were published on Friday in Logopedics Phoniatrics Vocology (via AlphaGalileo). While they couldn’t confirm the long-held belief that Mercury’s range spanned four full octaves, they did discover some interesting tidbits about the expanse of his voice. For one, despite being known largely as a tenor, he was more likely a baritone. They based this assumption off six interviews they analyzed to find a median speaking fundamental frequency of 117.3 Hz. That, coupled with anecdotal evidence that Mercury once turned down an opera duet because he was afraid fans wouldn’t recognize his baritone voice, led the conclusion that the singer was talented enough to jump out of his base range. Continue reading

Stop Trying to Sound Like Broadway Cast Recordings

Have you ever listened to a song on a Broadway cast recording and thought, “This singing sounds almost TOO perfect”? That’s because, in many cases, it is. Just as nearly all pop singles today are heavily edited, mixed, compressed, equalized, etc. before release, so too are the songs on the vast majority of Broadway recordings. That may seem like a common sense statement, but the implications are wide-reaching for us as performers and teachers. Dr. Matthew Edwards, a Professor of Voice and Musical Theatre at Shenandoah Conservatory, explains further: Continue reading

Left Hand Technique: The Most Common Misconception About The Wrist

Left Hand Technique: The Most Common Misconception About The Wrist

by Rozanna Weinberger

Having the opportunity to study with Karen Tuttle on viola was a great one for so many reasons, not the least of which was working with a teacher who set an example as a human being.  But Karen was an inspiration for another important reason. She studied with William Primrose, arguably the most naturally gifted violist in the past century, but she struggled to understand the technique that while seemingly effortless on his part, reflected an efficiency in movement and economy of movement that she longed to quantify, to somehow make sense of in her own playing and way of teaching her students. This ease of movement was at the heart of his virtuosity and what she hoped to someday replicate. Working with Karen Tuttle helped awaken such possibilities for me as well while in her studio at Peabody and beyond, when I sought to find ways to play difficult works easily, which is the hallmark of a virtuoso. Continue reading