Range: C3 - G5 - E6
Longest Note: 15 seconds
Vocal Type: Lyric Mezzo-Soprano (3 octaves, 2 notes)
Vocal Rating: A
Recommended Listenings: Gravity, Lie To Me, Brave
Positives: Very well supported and placed low notes, which have a smokey texture. Though she has forced at the extremes (C#3 in Cassiopeia) and weaker than the rest of the range, this area is still dark and pleasant.
Her midrange is placed very well, being clean, supported and rasp-less. This area is where she displays melismatic control, and broadway-esque brightness.
Her belts are sturdy with the pitch rarely wavering, and shows Bareilles's control. Though her mid-belts (G4-C5) are chesty and where she finds her "ring," she employs a heady mix above F5, removing any force.
Bareilles is able to transition from belt to head voice with ease, with this area being flawlessly connected to her chest voice(see Gravity). Her head voice is warm, full and feminine. Her falsetto (Bright Lights and Cityscapes), is airy and light.
Sara can sing legato lines beautifully and with ease. Exceptional vibrato which can be applied from the top of the range to the very bottom. Her melismatic control is major plus, and she does not overuse the technique. Her delivery and phrasing is versatile, and always considerate to the nature of the music (The Waitress). Solid dynamic control as well.
Her midrange is placed very well, being clean, supported and rasp-less. This area is where she displays melismatic control, and broadway-esque brightness.
Her belts are sturdy with the pitch rarely wavering, and shows Bareilles's control. Though her mid-belts (G4-C5) are chesty and where she finds her "ring," she employs a heady mix above F5, removing any force.
Bareilles is able to transition from belt to head voice with ease, with this area being flawlessly connected to her chest voice(see Gravity). Her head voice is warm, full and feminine. Her falsetto (Bright Lights and Cityscapes), is airy and light.
Sara can sing legato lines beautifully and with ease. Exceptional vibrato which can be applied from the top of the range to the very bottom. Her melismatic control is major plus, and she does not overuse the technique. Her delivery and phrasing is versatile, and always considerate to the nature of the music (The Waitress). Solid dynamic control as well.
Negatives:
The voice at some points can become nasal or shrill. Belts at D5 and above become coarser and thinner, staccato passages also pose a problem.
The voice at some points can become nasal or shrill. Belts at D5 and above become coarser and thinner, staccato passages also pose a problem.