Französischer Mediziner: Michael Jackson war ein Eun******

Ich kann überhaupt nicht nachvollziehen, wie man sich über so einen Sch...ss aufregen kann.

Ihr seid euch aber schon im klaren, dass ihr diese Schlagzeile - und nichts anderes ist es bisher gewesen - nur verbreitet und zusätzlich auch noch Werbung für das eventuelle oder tatsächliche (ich habe keine Ahnung, weil mich interessiert es nicht) Buch dieses Typen macht?

Edit: Das ist viel wichtiger - aber ist nur meine Meinung: Stop Rupert Murdoch - Petition -

Ich hab hier eine schöne Sammlung von Infos über Michaels Stimme gefunden...das passt vlt. nicht ganz zum Theama...und übersetzen müsste ich es wohl auch noch.. :grins: ..mal sehen, vlt. später...

Vocal timbre (classical): Spinto, Countertenor, Baritone. In contemporary music Michael would be classed as a high tenor.

Technically, Michael has one of the finest voices in contemporary music. His first advantage is the natural speed of his voice, as in, the fitness of his vocal chords, enabling him to move up and down in pitch very fast, this also enables him to do his vocal hiccup without swallowing his larynx! He has the ability to sing in staccato, and sing complex rhythms in perfect timing. The best recorded example of this is the title track from his 1979 album, Off The Wall.

Michael possesses a 4 (!!) octave vocal range. A piano is broken into octaves, one octave is, C, D, E, F, G, A, B, C, and then they repeat all the way up the keyboard. Same note, higher pitch. (Christina Aguelira has a 3 and a half octave range, Whitney 3, Freddie Mercury, 3 and a half. Mariah Carey claims to have 5, but I highly doubt that.)

His voice goes from two E's below middle C (middle of the keyboard,) to two B's above middle C, or 44 notes. This is an EXTREMELY rare range amongst adult male singers. Essentially, Michael is able to reach octaves that other tenors cannot attain with their natural voice. His voice is NOT falsetto, as many people believe. Of course, MJ does use falsetto, but this is the range of notes he can sing in his chest voice. If you listen to the 'Butterflies' Acapella, you can hear that all those high notes are in chest voice and not falsetto. 'Don't Stop 'Til You Get Enough,' however, is falsetto. (I tried to do that once and omg, I had to speak through my butt for a week! *dies* It hurt, stupid, stupid idea.)

The mistaking Michael's falsetto for his chest voice is due to the fact that the very top of Michael's range is very close to the bottom of his falsetto.

Chest voice = the power of the voice comes from the chest.
Head voice = the power of the voice is in the head.
Mixed voice = Mixed, lol.
Falsetto = Only the very outer edges of the vocal chords are used in falsetto. Instead of pushing all the air through the vocal chords at a hundred miles and hour, falsetto uses very little pressure, and has more to do with the teeny tiny space the air flow passes through. Like pulling the opening of a balloon in two opposite directions and that high pitched sound comes out.
Vibrato = When the voice vibrates. Michael (the lucky sod) had taught himself vibrato as a child, and mastered it. ('Who's Loving You.' I saw a video of Michael performing it, not yet 12, straight face as anything as his vocal chords did amazing things. When I try to do that, I sweat bullets!)

Michael and Freddie Mercury have been cited as some of the most talented and adept singers of the modern age. Although Michael's range is larger than Mercury's, Michael doesn't often show off his range. (If he wanted to, I have no doubt that Michael would be able to pull of Houston's 'I Will Always Love You.' Easily.) Freddie Mercury would slide all up and down his range, to great effect, whereas Michael would purposefully box himself in, depending on the song.

For 'Billie Jean,' Michael probably uses around 2 and a half, maybe 3 of the octaves he possesses, because that's what that song calls for. In 'The Wiz,' he sings 'You Can't Win,' and this (as well as 'Who's Loving You.') is where his vocal range is really heard. He gets down low and way up high in that song. It's also heard in Michael's voice training audio with Seth Riggs.

It was even reported that Michael and Pavarotti were going to do an Opera duet together. This, had it gone ahead, would have exposed the true flexibility of Michael's voice to the fullest.

"An odd thing about Michael Jackson is that he has a totally spectacular voice but he doesn't feel the need to amaze us with it. At all. His favorite technique for conveying passion is to choke off his words. On dance songs he makes his voice as hard and compact as the percussion, reducing himself to icy shards and chilly wails. And when he lets loose with dazzling gospel-like displays, he undermixes these displays, letting them play in the background while drumbeats or simpler vocals take the spotlight. Or he'll just put whispers in the front of the mix, while scaling heights in the distance." - Frank Kogan, music critic.
"Michael is without qualification one of the best musicians and vocalists I've ever recorded. And oh, he is a detailed man. For instance, when we record a vocal session, he brings in his vocal coach and warms up for 2 hours before he gets up in front of the mic! Yeah, for 1 or 2 takes he'll do that. I've worked with Michael for close to 25 years, and it's always been this way. He's definitely dedicated and he's a musician's musician. Another example, we'll be working away in the studio and all of the sudden I hear, "clank, clank, bang, scrape," and he's out there moving the tube traps around in the room to change the acoustics!" - Bruce Swedien, November 2001.
There's teeny tiny bit of evidence of Michael singing in a clear classical soprano voice on 'Who Is It,' showing off his skill in different vocal styles. At the very beginning of 'Who Is It,' before the beat kicks in and there's a very clear note, that sounds almost like nothing but an instrument, or a classical choir. With the help of Linda Harmon... that's MICHAEL! Get your headphones out and ram them in your ears and you can distinguish him from the woman slightly. It's 100% confirmed, it's in the Dangerous booklet.

It's been said that Motown pushed Michael to sing way up at the top of his range, especially as his voice was breaking, because of this, he retained a lot of high notes, even after his voice had evened out. And then, as he got older, his voice gained lower notes, giving him his 4 octave range.

YouTube - MICHAEL JACKSON- SONG "WHO'S LOVIN' YOU" Jackson 5 live 29-05-1971, Gary, Indiana Whatever kind of voice he possessed, he knew how to use it. This is probably my all time favorite vocal performance from Michael. He was 12. On tour, the boys went to perform in Indiana. Unshackled from Motown, and liberated by the presence of their own townspeople, they performed 'Who's Loving You,' but, they didn't play it how Motown had changed it, they played it southern-black-blues. Michael's what, all of 12 and the girls go CRAZY! Smokey Robinson must have had a VERY strong drink after hearing this. Michael probably scared the bleep outta him! Hell, it made ME blush!

http://www.mjjboard.com/king-p…e-range-%5Bmerged%5D.html

Zitat

Über eine Übersetzung würde ich mich total freuen!

..ich mich auch..

Ja klar, ist das nur gesammelt und geschrieben von einem user dieses anderen Forums(aber ich glaube zumindest von einem, der sich mit Gesang und Musik besser auskennt , wie ich, z.B...)..aber es ist einfach ein Stück Info..ob alles genauso ist, weiss ich auch nicht...Aber das ist ja mit vielen Infos über Michael so...