Pitch Perfect

It’s a “Mixed-Blessing," or gift from the goddess. I was born with perfect pitch but never seriously pursued a singing career so I never formally trained to be a vocalist, although I will admit that one time I did sing in a nightclub and I guess I wasn't bad because people actually got up and danced!  Holla

My sister was the singer in the family and my brother and I were the visual artists.

Nonetheless  I appreciate great singers, however these days having a great singing voice seems more on how unique one sounds as opposed to the actual mechanics of the vocal instrument.

For me the standard of being a great singer was established by Barbara Streisand, who According to the RIAA, holds the record for the most top-ten albums of any female recording artist – a total of 31 since 1963.

This is one of my favorite songs by Barbara Streisand is from one of my favorite movies: Eyes of Laura Mars. "Prisoner," love theme from Eyes of Laura Mars.

Movie Here

What impressed me most about Streisand in this song were the vocal qualities she displayed most notably: Vibrato. Streisand  had a way of reaching the peak of a phrase and sustaining a pitch with such focused vibrato and pulsating tone that she seemed to be soaring effortlessly.

Not many singers  possess this quality these days. Oh sure I adore Joss Stone and her raspy sexy sound, as well as Mary J. Blige and Lea Michelle possesses an innate ability to channel certain dimensions of Streisand, but none of these women equal Streisand ’s insights into phrasing, legato, vibrato, interpretive nuances and, most important, the art of singing as an expression of words.

Listen to this comparison of two remarkable singers: Barbara Streisand and Whitney Houston singing Streisand ’s trademark song “My Man” from Hello Dolly. Streisand glides effortlessly in her phrasing, while Houston has a nice vibrato, however she seems unable or unwilling to sustain it as long as Streisand does and instead does a warbling technique in her approach (using trills, runs, or other melodic embellishments) .
Both approaches are amazing but I prefer Streisand 's interpretation. For me, well I regard "warbling" as vocal gymnastics, unnecessary [Nonetheless something that I wish I could do], but seriously I like Streisand's clean straight forward approach.


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