Chris Cornell

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Chris Cornell

Post  Guest on Tue Sep 04, 2012 12:50 pm



Voice type: Baritone
Sung range: D2-A5
Total range: B1-A5

Significant high notes:

  • A5 ("Birth Ritual" demo, "Face Pollution", "H.I.V. Baby", "Full on Kevin's Mom")
  • G♯5 ("Cold Bitch", "Communication Breakdown" live, "Heretic", "Jesus Christ Pose", "Smokestack Lightning")
  • G5 ("Communication Breakdown" live, "Face Pollution", "Fopp" live,  "I Awake" live, "New Damage", "Power Trip", "Reach Down", "Say Hello 2 Heaven", "Searching with My Good Eye Closed", "Slaves and Bulldozers" live Motorvision, "Smokestack Lightning")
  • F♯5 ("Communication Breakdown" live, "Four Walled World", "Holy Water", "Let Me Drown", "Room a Thousand Years Wide")
  • F5 ("Beyond the Wheel", "Birth Ritual", "Black Rain", "Fopp", "Gun", "Hands All Over" live Paris 1992, "Jesus Christ Pose", "New Damage", "Outshined", "Slaves and Bulldozers", "Spoonman", "Thank You (Falletin Me Be Mice Elf Agin)")
  • E5 ("Call Me a Dog", "Come Together", "Entering", "Fell On Black Days", "Heretic", "Hunger Strike", "Loud Love", "Mind Riot", "Mission", "New Damage", "Reach Down", "Say Hello 2 Heaven", "Tighter and Tighter", "Times of Trouble", "Train Kept A-Rollin'" live St. Louis 1992, "Wooden Jesus")
  • E♭5 ("4th of July", "I Awake", Live improvisation Melbourne 2012, "Right Turn", "Whole Lotta Love")
  • D5 ("A Satisfied Mind" live in Allentown 2011, "Been Away Too Long", "Birth Ritual", "Blind Dogs", "By Crooked Steps", "Face Pollution", "Follow My Way", "Fresh Tendrils", "Hands All Over", "Holy Water", "Jesus Christ Pose", "Let Me Drown", "Light My Way" demo, "No Wrong, No Right", "Power Trip", "Promise", "Pushin' Forward Back", "Room a Thousand Years Wide", "Rowing", "Slaves and Bulldozers", "Sleep Now in the Fire" live, "Spoonman", "What You Are")
  • C♯5 ("Big Dumb Sex", "Doesn't Remind Me" live, "Exploder", "Eyelid's Mouth", "Let Me Drown", "Limo Wreck", "Set It Off", "She'll Never Be Your Man", "Stolen Prayer", "Superunknown", "The Day I Tried to Live", "Wave Goodbye")
  • C5 ("A Thousand Days Before", "All Night Thing", "Black Hole Sun", "Blood on the Valley Floor", "By Crooked Steps", "Fresh Deadly Roses", "Gun", "Incessant Mace", "Light My Way", Live improvisation Melbourne 2012, "Mailman", "Never the Machine Forever", "Pretty Noose", "Rowing", "Spoonman", "Superunknown", "Taree", "Uncovered", "When I'm Down", "Wide Awake")
  • B4 ("Been Away Too Long", "Black Saturday", "Bleed Together", "Blow Up the Outside World", "Bring 'Em Back Alive", "Cochise", "Fell on Black Days", "Gasoline", "Holy Water", "Hypnotize", "Island of Summer", "My Wave", "Non-State Actor", "Pushin' Forward Back", "Rusty Cage", "Set It Off", "Shadow on the Sun", "Show Me How To Live", "Sunshower", "Superunknown", "The Last Remaining Light", "The Worm", "Times of Trouble", "Ugly Truth", "What You Are", "Wooden Jesus", "Worse Dreams", "You Know My Name")

Significant low notes:

  • C3 ("4th of July", "All I Have to Do Is Dream", "Blood on the Valley Floor", "Call Me a Dog, the intro to "Call Me a Dog" live at London Pallatium 2012, "Halfway There", "Head Down", "Like Suicide", "Misery Chain", "Never the Machine Forever", "Promise", "Searching with My Good Eye Closed" live)
  • B2 ("Be Yourself", "Holy Water", "Hypnotize", "Incessant Mace" & "Incessant Mace" demo, "Island of Summer", "Like Suicide", "Promise", "Rusty Cage", "Shadow on the Sun", "Toy Box", "Ugly Truth")
  • B♭2 ("Ave Maria", "Burden in My Hand", "Eyelid's Mouth")
  • A2 ("Beyond the Wheel", "Everybody's Got Something to Hide Except for Me and My Monkey", "Fresh Deadly Roses", "Fresh Tendrils", "Full on Kevin's Mom", "Incessant Mace", "Lies", "Light On" live, "Outshined", "Rowing", "Searching with My Good Eye Closed" live in France 1994, "She'll Never Be Your Man", "Slaves and Bulldozers", "The Keeper", "Toy Box", "We Got the Whip")
  • G♯2 ("Beyond the Wheel" demo, "Halfway There" demo, "Heretic" Deep Six version, "Spoonman")
  • G2 ("4th of July", "Burden in My Hand", the intro to "Call Me a Dog" live at London Pallatium 2012, "Halfway There", "Halfway There" demo, "Missing", "Overfloater", "She Likes Surprises", "Time")
  • F♯2 ("Big Dumb Sex", "Other Side of Town", "Rusty Cage", "Ugly Truth")
  • E2 ("Full On (Reprise)", "Head Injury", "Swallow My Pride")
  • E♭2 ("Entering")
  • D2 ("Beyond the Wheel", "Swallow My Pride", "Techno Ted" live)
  • B1 (Interview [Intentional low speaking])

.......................................................
*Blue marks clear falsetto notes.
*Italics mark notes not sung in a 'traditional' way, eg. speaking.


Primarily known for his extremely powerful high register and soulful, often even aggressive style and approach, Cornell is a high baritone with a bright, husky timbre. His vocal placement and tessitura are similar to the likes of Daniel Gildenlöw, Serj Tankian and Elvis', all typical examples of agile, often bright, baritone voices (often described as 'high baritones' by many), although it has to be pointed out that these singers all obviously possess different-sounding instruments and styles. Although his higher register has taken a lot of beating since the beginning of his career, Chris has preserved his voice very well, and still sounds incredible, especially in acoustic settings, where his voice has picked up some additional clarity since dropping the excessive usage of his signature rasp. He remains one of my favourite singers of all time, and has also done some very creative work with his voice, using various techniques and effects to enhance his sound and improve the context of the song. Chris' lower register becomes apparent while listening to certain lower-key numbers and live gigs. "The Keeper" is a great example of Chris' rich, bright baritone. I'm definitely expecting him to use it more in the future, as it's a less explored area of his voice that sounds just as phenomenal as the rest. Singing low-key numbers is much harder in a super-loud environment (as with Soundgarden), but his upcoming solo material definitely has room for further exploration of his amazing instrument!

As a singer, Chris belongs among those many names who have easily busted the myth of "only tenors being able to sing high notes". His influence on rock singing is very apparent, and there are various singers copying his approach. Apparently, he trained his voice the risky way by simply screaming his ass off back in the day, until his voice didn't break anymore. With that said, the secret behind the sound of his amazing vocal style is - obviously also his unique, unimitable voice, but also - volume control (Chris' singing is actually not too loud, but the microphone hides this), with vocal distortion and vibrato applied to give the singing a 'louder', more powerful effect. An exceptional talent! I will keep on researching his voice as much as possible, because his singing really intrigues me.






- Thread by Timi


Last edited by The Challenger on Tue Feb 05, 2013 10:25 am; edited 24 times in total

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Re: Chris Cornell

Post  Curiosity on Sat Sep 08, 2012 7:59 am

Prediction: New Soundgarden album will be utter toss.

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Re: Chris Cornell

Post  Dragus on Wed Sep 26, 2012 4:07 pm

Gets up to raspy but powerful D5s in the new Soundgarden single, Been Away Too Long

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Re: Chris Cornell

Post  Dragus on Thu Sep 27, 2012 7:44 pm

And finally an "official" version of the song :

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Re: Chris Cornell

Post  CommanderKeen on Thu Sep 27, 2012 8:08 pm

If this is the new format being used (which is perfectly fine by me btw), can the green color be substutited by blue? I'm colorblind and have trouble distinguishing between red and green.

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Re: Chris Cornell

Post  Guest on Thu Sep 27, 2012 8:18 pm

Great point!

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Re: Chris Cornell

Post  Dragus on Wed Oct 03, 2012 2:34 pm


I find it disturbing how much like his 2010s self Chris sounds here at about 13:09

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Re: Chris Cornell

Post  Guest on Wed Oct 03, 2012 2:38 pm

Cringe

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Re: Chris Cornell

Post  Mobbex on Fri Oct 19, 2012 4:04 am

Have you guys listened to Songbook? 'Cause I just did, and it knocked me flat on my ass, especially the Wide Awake performance. It sounds so much better than the studio recording.

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Re: Chris Cornell

Post  MooseyFate on Fri Oct 19, 2012 10:01 am

Anyone else think the A5 in Full on Kevin's Mom is really obviously pitch shifted?

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Re: Chris Cornell

Post  Guest on Fri Oct 19, 2012 10:25 am

Don't think so.

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Re: Chris Cornell

Post  Jack Blood Sucker on Sun Oct 21, 2012 3:32 pm



At 2:12-2:13, that one "you must PRE-tend" (A4 and B4, perhaps?), sounds falsetto-ish to me... Strange, because his full range is way higher than that. But still it sounds falsetto to me.
I could be very wrong, though.

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Re: Chris Cornell

Post  Guest on Sun Oct 21, 2012 4:54 pm

You're saying someone uses FALSETTO for a note they could hit in full voice?

blasphemy!

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Re: Chris Cornell

Post  Guest on Sun Oct 21, 2012 7:58 pm

Jack Blood Sucker wrote:

At 2:12-2:13, that one "you must PRE-tend" (A4 and B4, perhaps?), sounds falsetto-ish to me... Strange, because his full range is way higher than that. But still it sounds falsetto to me.
I could be very wrong, though.

That IS falsetto. He is doing some Adele-like short melismatic falsetto notes during the song.

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Re: Chris Cornell

Post  Guest on Sun Oct 21, 2012 9:05 pm

Let me be the one to state the obvious and say that falsetto isn't just a way to reach notes out of your full range.

Sometimes it's actually used because...it sounds good.

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