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Post by Delta on Nov 13, 2003 20:40:33 GMT
damn, I finally picked up a copy of Abbey Road last weekend. I have to play it at least twice a day! I like it that much! and not because I know there's something fishy about the post '66 albums since joining this forum. I really, genuinally love the music on it, including Faul's awesome (can I say that?) performances, especially on Oh Darling!
but the song that haunts me the most is Her Majesty...
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Post by Perplexed on Nov 14, 2003 7:47:43 GMT
YEs, Bill's vocal on Oh Darling! is amazing, very soulful. I just don't think James Paul (God rest his soul, forgive the comment), as nice as his voice was, could have possibly sung it like that, aspecially the last bridge. I mean, it's high C high Db tessitura------yes its done in a bluesy soulful ballsy voice---and how well done it is.
If Bill were to sing She's Leaving Home, in that key (E, I think) I am afraid he would have sounded too low, watery, thinner. Bill might sing it in F. The falsetto on the choruses would start sounding silly if it got much higherthan that. But, Paul strains a little bit on it, though the chest voice parts (verses) lie pretty much within the octave E-E just above middle C.
From frequent listening to it I notice, on this lyric in verse I: "She walks down the stairs to the KITCHen clutching her hankerCHIEF." (that's wrong, where' s my CD insert!)
Anyway, the last part is right:
KITCH is an E above middle C; Chief is just a C3 in the middle there. The phrase is long; Paul's vocal chords are tired on this album, he is singing a legato song after spending 41/2 screaming throat ripping rock tunes like Kansas City, She Loves You, etc. All that stuff is high for a lyric baritone. Trust me. I am a lyric baritone. I can make a tennory quality to a point. I don't even have low baritone notes. My best range is Bb below middle C to D, or Eb just above it. But, by going nasal and pushing, I can also sing a high Bb under duress. If I belt enough A'a or Bb's in a night, I am shot and hoarse in the morning. So, I can hear as Paul sings, sympathetically feel the breath pressure and relative vocal tension he has to use to hit the notes. Any lyric baritone listening to him would.
Hearing Bill, well, that constant high tessitura would yield, for voices of my type, or Paul's type, nodes or blood in the throat. I popped a capilary in my left vocal chord 18 years ago, trying to keep up with the tenors in a sing-a-long bar. A cocktail or two and I dream of being Pavoratti. Well, no dice for me!!!! I still pay for that evening of shouting...................
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