Michael Jackson

Voice type: High tenor
Sung range: F♯2-C♯6
Total range: F2-Eâ™­6

Significant high notes:

Eâ™­6 ("Man in the Mirror" live)
C♯6 ("Smooth Criminal")
C6 ("Lovely One", "Blame It on the Boogie", "All Night Dancin'", "Come Together")
B5 ("Black or White")
Bâ™­5 ("Wanna Be Startin' Somethin'", "Come Together", "Jam", "Heartbreaker", "Ghost", "Another Part of Me", "Burn This Disco Out", "State of Shock")
A5 ("Scream", "Workin' Day and Night", "Shake Your Body (Down to the Ground)", "Get on the Floor", "Destiny", "Everybody", "Body")
G♯5 ("Dirty Diana")
G5 ("Dirty Diana", "I'll Be There" live)
F♯5 ("That's What You Get (For Being Polite)", "Don't Stop 'Til You Get Enough")
F5 ("Enjoy Yourself", "Dirty Diana" live)
E5 ("Smooth Criminal", "All in Your Name", "Speed Demon", "Destiny", "P.Y.T. (Pretty Young Thing)", "Keep on Dancing", "Ease on Down the Road")
Eâ™­5 ("Will You Be There", "Earth Song", "I Can't Help It", "Lovely One", "Fly Away", "You Were Made Especially for Me", "All I Do Is Think About You", "Butterflies", "Liberian Girl", "Music's Takin' Over", "Think Happy", "Eaten Alive", "Your Ways", "Give It Up", Vocal warm-up)
D5 ("In the Closet", "Dirty Diana", "Wanna Be Startin' Somethin'", "Things I Do for You", "We've Got Forever", "Heaven Can Wait", "Get on the Floor", "Dear Michael", "Cinderella Love Story", "I'll Come Home to You", "Tabloid Junkie", "Sunset Drier", "Privacy", "Moving Violation", "Human Nature", "Call of the Wild", "All in Your Name", "The Explosion", "Jump for Joy", "Destiny", "All Night Dancin'", "Your Ways", "Save Me", "Good Times", "Show You the Way to Go", "Living Together", "Style of Life", "Walk Right Now", "Trouble", "Xspace", "Hot Street", "Nite Line")
C♯5 ("Earth Song", "Is It Scary", "Off the Wall", "She's Out of My Life", "The Girl Is Mine", "Workin' Day and Night", "Thriller", "We're Almost There", "Body Language", "Say Say Say", "Beat It", "We're Almost There", "Liberian Girl", "Billie Jean", "I Just Can't Stop Loving You", "Todo Mi Amor Eres Tu", "The Way You Make Me Feel", "Girlfriend", "Baby Be Mine", "Cheater", "Burn This Disco Out", "Bless His Soul", "Goin' Places", "Can You Feel It", "Different Kind of Lady", "On the Line")
C5 ("You Are Not Alone", "The Lady in My Life", "There Must Be More to Life Than This", "Just a Little Bit of You", "Blood on the Dancefloor", "Blame It on the Boogie", "They Don't Really Care About Us", "Who Is It", "Streetwalker", "Bad", "Breezy", "Call of the Wild", "Get on the Wall", "Remember the Time", "Do What You Wanna", "Dapper-Dan", "Man in the Mirror", "HIstory", "The Way You Make Me Feel, "Come Together", "Heaven Can Wait", "You Rock My World", "Ghost", "Honey Love", "Take Me Back", "Through Thick and Thin", "All Night Dancin'", "Show You the Way to Go", "Strenght of One Man", "Give It Up", "Carousel", "Everybody", "On the Line", "Whatzupwitu")

Significant low notes:

F2 (Vocal warm-up)
F♯2 (Vocal warm-up)
G♯2 ("Dangerous")
A2 ("Money", "Monkey Business", "Who Is It" live)
Bâ™­2 ("Space Dance")
C3 ("Break of Dawn", "The Lost Children", "Someone Put Your Hand Out", "Blood on the Dance Floor")

.......................................................
*Orange marks notes with questionable registers: absolutely no use figuring out these.
*Blue marks probable non-modal notes.
*Red marks extremely bad, unimpressive or unintentional notes.
*Italics mark non-sung notes.

This is very impressive:

Rare song:

If he used the whistle register he could maybe have had a 6 octave range.

Michael's guest vocals here are amazing.

Yeah.

The same song, but in the studio:

Rare studios:



"Jump for Joy" with Jacksons:

Maffy715 wrote:If he used the whistle register he could maybe have had a 6 octave range.

He had a range spanning from F2(fry) to F6(falsetto)[Come to think of it, i never heard of his falsetto F6 and have no idea which performance of Man in the Mirror it was from. If anyone can post the link, i'd appreciate it very much. Don't post video's, i can't access for some reason, so post links please!], so anyway, that makes a 4 octave total range. If he had a whistle register, the highest i assume he could reach would be a B6, which would make it a 4 and a half octave range. for six octaves, he'd had to go to F8, which would be quite impossible. So... no, he'd never had a six octave range unless he could have gone an octave lower in fry and upto an octave and a half high upto F7 in whistle which i seriously doubt was even possible for him . No offence, i love MJ. He's one of my favorite singers and had a fantastic voice and range. But remember that range isn't everything. and also, hitting high notes doesn't generally mean you're a good singer.

JadeHalford wrote:
[Come to think of it, i never heard of his falsetto F6 and have no idea which performance of Man in the Mirror it was from. If anyone can post the link, i'd appreciate it very much. Don't post video's, i can't access for some reason, so post links please!]

http://www.youtube.com/watch?v=z-qaXtFoUU0 Right at the end of the video.

pepeforever wrote:

JadeHalford wrote:
[Come to think of it, i never heard of his falsetto F6 and have no idea which performance of Man in the Mirror it was from. If anyone can post the link, i'd appreciate it very much. Don't post video's, i can't access for some reason, so post links please!]

http://www.youtube.com/watch?v=z-qaXtFoUU0 Right at the end of the video.

Thanks

JadeHalford wrote:

Maffy715 wrote:If he used the whistle register he could maybe have had a 6 octave range.

He had a range spanning from F2(fry) to F6(falsetto)[Come to think of it, i never heard of his falsetto F6 and have no idea which performance of Man in the Mirror it was from. If anyone can post the link, i'd appreciate it very much. Don't post video's, i can't access for some reason, so post links please!], so anyway, that makes a 4 octave total range. If he had a whistle register, the highest i assume he could reach would be a B6, which would make it a 4 and a half octave range. for six octaves, he'd had to go to F8, which would be quite impossible. So... no, he'd never had a six octave range unless he could have gone an octave lower in fry and upto an octave and a half high upto F7 in whistle which i seriously doubt was even possible for him . No offence, i love MJ. He's one of my favorite singers and had a fantastic voice and range. But remember that range isn't everything. and also, hitting high notes doesn't generally mean you're a good singer.

But in MJs case, he was a brilliant singer. Now that you mention it, an 8th octave note seems really unlikely. But Axl Rose has a 6 octave range, I thought for sure that MJ would've been able to manage. I'm relatively new to this whole thing.

Maffy715 wrote:

JadeHalford wrote:

Maffy715 wrote:If he used the whistle register he could maybe have had a 6 octave range.

He had a range spanning from F2(fry) to F6(falsetto)[Come to think of it, i never heard of his falsetto F6 and have no idea which performance of Man in the Mirror it was from. If anyone can post the link, i'd appreciate it very much. Don't post video's, i can't access for some reason, so post links please!], so anyway, that makes a 4 octave total range. If he had a whistle register, the highest i assume he could reach would be a B6, which would make it a 4 and a half octave range. for six octaves, he'd had to go to F8, which would be quite impossible. So... no, he'd never had a six octave range unless he could have gone an octave lower in fry and upto an octave and a half high upto F7 in whistle which i seriously doubt was even possible for him . No offence, i love MJ. He's one of my favorite singers and had a fantastic voice and range. But remember that range isn't everything. and also, hitting high notes doesn't generally mean you're a good singer.

But in MJs case, he was a brilliant singer. Now that you mention it, an 8th octave note seems really unlikely. But Axl Rose has a 6 octave range, I thought for sure that MJ would've been able to manage. I'm relatively new to this whole thing.

Well, Axl's a bass-baritone/Low-baritone who could go as low as at least G#1 and as high as , IIRC, G#5 in modal/Full-voice. This is quite wierd but true that though tenors can go pretty high and struggle to go low in most cases, baritones can extend in both sides(high and low) quite a lot. If you observe carefully, you'll see that most of the singers with a "Full" 4-octave ranges are from baritones(Axl rose, Mike Patton ect.). Anything Axl does in the 6th octave or above is whistle indeed, but IIRC, he had a full G#5 which is also the highest Full-voice note of MJ (in Dirty Diana, though i don't know exactly where in the song he did it, it's so hard to differentiate ). So where MJ had a range of 4-octaves in total range [(F2-)F#2-G#5(-F6)], Axl had the same in Full-Voice [G#1-G#5] (Scary ) and could extend down to C#1 in fry and go as high as C#7 in whistle (which i believe is an inhaled note which isn't actually the proper way of phonating in the whistle register, though awesome and feels easier to do so at first) thus receiving a 6 octave range. I don’t think it’s quite possible for a tenor to go as low as G#1 in full voice and it's hard for any male(and most female for that matter) to reach G5 or above in modal voice. So, that Full 4-octave range allowed Axl to extend on either ends quite easily which would be very difficult in MJ's case since he had a 3-octave range in full voice, WITH vocal training almost everyday for that matter, and not 4-octaves.
By The Way, it seems that Tenors can extend their falsetto quite a lot while baritones have to use whistle in most cases to match that same note. MJ had a falsetto F6 which i don't think any baritone has ever hit in falsetto [though a few tenors have been able to reach/surpass this feat. such as Rob Halford, Robert Plant, Jon Bon Jovi etc. ]

Michael has low vocals on this one. Do you guys here an Eb2 here???

http://www.youtube.com/watch?v=jHd1rLurxNk

I'm hearing D2s... Weird as fuck, though. Michael sounds pitch-shifted there, but I have no idea whether I'm correct or not.