Klasik müzikçiden metal vokalisti yorumları:

Bruce Dickinson ripping it

Initial reaction: “The first two guys are so impeccable that they’re each in their own way presenting a manifesto on how to sing well, irrespective of musical genre”.

I have nothing but admiration for this singer. Listen how he starts off with a soft growl, then moves seamlessly into a well-supported, sustained high full-voice sound that then evolves into an effortless long scream! His diction is easily intelligible, regardless of the range he’s singing in or the effect he’s going for. He achieves an intensely rhythmic delivery of the lyrics without losing legato and musical momentum, something a lot of classical singers struggle with, especially when interpreting the many staccato and accent markings that crowd scores by Bellini, Donizetti, etc.

A couple of observations for my classical readers:

There is a visceral dramatic intensity driving this singing. Many rock and metal singers are tenors who sustain much higher, much longer than operatic tenors are ever required to. It’s not just the microphone that makes this possible. These guys are singing their guts out with incredible commitment. Intention is a very powerful thing.

Notice the rasp that occasionally colors his sound. This is an effect that is totally distinct from strain – his entire larynx and throat needs to be completely loose and free to respond this way. In some of the following examples, you’ll hear singers deliberately making their voice more shallow, shrill, nasal or “harsh”. If they know what they’re doing, they can set up all of these effects without creating resistance and strain. You can tell the difference in much the same way you would listen to a classical singer – free singing is like a massage, while entangled singing makes you sympathetically tighten up your own throat.

Published: August 31 2010

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