Little Mix's Jade Thirlwall

About Jade

Jade is a vocalist from the group Little Mix. She is a light-lyric soprano with a vocal range spanning from Eb3 to D6. Vocally she is a standard pop vocalist, who uses R&B influences to move through her singing. In terms of the group, Jade is often regulated to taking over vocals in the background. Because of her style of singing, Jade is usually responsible for ad libs and high notes (that are not designated to Perrie). Because of that, Jade seems like the most likely to alter or play with the song's original melody. She tends to alter things for the fun of it and is much more playful vocally than the other girls in that respect.

Vocal Range: D3-A5-D6
Supported Range: G3-C#5-A5

Little Mix Perrie

About Perrie Edwards

Perrie Edward's is 1/4 of Brit Pop group Little Mix. Known for their harmonies and fun pop songs that express female empowerment. Perrie is regarded as the best vocalist in the group, bringing a deeper voice with belting prowess. That being said, it's kind of hard to figure out Perrie's voice, because it sounds like she is lowering her larynx to create a darker sound. When she does this, her sound becomes darker, slightly foggy, and in a simple way to phrase it, her singing can sound a little mushy. Perrie's style seems to be based around heavy hitting vocals, big powerful, and well phrased. While she can do runs, it is not integral to her style, so she keeps them light as possible.

Vocal range: D3-G#5-E6

Little Mix Jesy

About Jesy Nelson

Jesy Nelson is the oldest member of the four . She is a light-lyric soprano with a vocal range spanning C#3 to C#6. The best way to describe Jesy is as a stylistic singer. Her choices tend to not emphasize her voice in the best ways, but helps her stand out as a singer. She sings with an airy unsupported quality to her voice, giving a very shallow tone. Also her vibrato is very distinct, adding inflections to her singing. Because of the way Jesy sings, she isn't always the first one to get high notes, however as of late she has been doing a lot more vocally to expand her repertoire. As the years have gone by, Jesy seems to get progressive more entranced into her singing style even to the point where she belts it starts coming off a little thinner than what it used to. This could be a sign of a regression.

Vocal range: C#3-F5-C#6

Lower Register (C#3-G3)

Very weak. Jesy's style can prevent her from supporting as low as she probably could. It's hard to really tell where her actual support lies because of how airy she is. If I had to guess it would probably be around G3.

Mid-Belts (A4-Eb5)

Jesy has shown she is capable of singing properly when she wants to, but once again she sings more often than not in her signature style (to be discussed in the weakness section).Her mix being heady and support sounding shallow causes her her belts to come off less than stellar and not as powerful as they could. However, Jesy has shown the ability to sing with resonance; she usually is capable of doing well on B4's and has shown resonance up to C5 on occasion. She also has sung up to Eb5 with better ease than expected.

Upper-Belts (E5-F#5)

Jesy rarely sung above D5-Eb5 prior to the latest album, so there is really only the reference of the album. Vocally it sounds like she sings with a fuller tone losing the breathy aspects of her vocalizing. However there are very few live video reference for this. She is still straining up here, so the notes don't have much value outside of their existence.

Head Voice/Falsetto (E5-C#6)

Possibly one of the best parts of her voice. Usually she is capable of eliminating the airy aspect of her singing, and uses a fuller head voice. Her head dominant mix might be a result of this, and she shows true connection when actually trying. C6-C#6 is still strained, but below that she has shown a full resonant head voice as high as B5.

Agility

Her voice is naturally agile due to her weight, and for the most part, Jesy takes advantage of that. She is typically the one to do runs (alongside Jade), but she does not strive for overly complex melisma. She is also capable of switching between registers with relative ease, and sings

Weaknesses:

Jesy's style is can be counterproductive to singing. She sings with a breathy, unsupported style that makes it sound like her voice is about to give a slightly too weightless feel. The effects of the breathiness can leave her sounding tired, and making her sound like she is struggling to sing a line. The thing is that she  Another issue is that Jesy doesn't fully project, so while her placement is good, her voice lacks support, leaving the shallow tone we associate with her.

Overall

Jesy is a complex voice. She is capable and has shows potential, but her stylistic choices hold her back. Never the less, she isn't given many lofty parts that she cannot handle. Vocally she is at her best with her head voice where her support is the best, and capable of resonance as high as B5. She also is very apt at runs, and is the second most reliable in that aspect behind Jade.

Tori Kelly

About Tori Kelly

Tori Kelly is a light lyric soprano with a range spanning from C3-G#6. Tori's voice is naturally girly and light, with a slight raspy quality. This rasp seems to be natural, but she can sometimes try to induce it further for effect (mostly likely from throaty and growl laced singing). Stylistically she has major influences in R&B, soul, and gospel, which forms her belt heavy and run specific song style. Her preference for runs could be a result of her having a naturally agile voice to which she uses rather well. Tori

• Vocal Range: B2-G#5-F#6

Lower Register: B2-G3

Tori Kelly's lower register is really impressive. Her lowest sung note is a B2, however support seems iffy below Eb3, with some notes sounding a little shallow, or what could be a lowered larynx (which can give that deeper, artificially dark sound). Still for a very young Light Lyric Soprano, this is nothing to sneeze at. Notes below Eb3 are not bad, but not consistent enough to keep up with. With time, there is a chance Tori could extend her supported range down.

Mid Range A4-Eb5

Tori's voice shines here, and this is where her raspy quality becomes even more apparent. Tori shows consistent resonance up to around C#5, and it sounds like she can support up to D5. However Tori becomes throaty around that point, and on Eb5, her voice sounds smaller and scratchy. I think she can support up to Eb5, but I am not too sure with that. Still that scratchy quality means that she isn't able to achieve full, projected notes.

Upper Range: E5-G#5

This is where Tori's voice has the most issues. As of right now, she is able to continue to phrase, sustain, and hit high notes with little to no issue. However I think she will eventually have problems up here if she continues to sing the way she does. That raspy effect seems to hinder her upper belts from being projected. By that, the probable way she is achieving this is by not singing with a fully opened throat, which can lead to a scratchy sound. She does this on her mid range, but she is able to sing with resonance, which she is not able do above D5. Above F5, her larynx starts to rise, which can result in a small, slightly shriek like sound. Still it seems like she

Head Voice/Falsetto: E5-C6

Tori is capable of producing a connected head voice, and to no one's surprise, is quite capable of using it. She seems to be able to maintain consistency up to B5, while her highest note is a C6 which sounded less resonant, but did not have that pinched sound. Overall Tori is capable of using this part not only to sustain notes, but being able to phrase and articulate while singing. Tori's whistle register has only been used once musically and seemed to shock even herself. Despite that, she still somehow managed to not only sustain a nice F#6, she did a perfectly executed run down, like the professional she is.

Agility

Tori's singing style relies heavily on her ability to move through a song while using well placed, complex runs. Though she has problems in her upper register she is capable of singing even at her worst. During her performance of PYT, she sings an F#5. While that note was not the best, she is does a staccato like downward sequence, while in the same exact breath a run upward into head voice. Needless to say it is impressive overall. Other than that, Tori has a tendency to do runs downward into her lower register (almost like a place filler for her), and little inflections in her singing. It should also be noted that Tori's ability to transition between registers is for the most part solid, and her ability to sing in head voice and use it, is possibly one of the best parts of her singing.

Weaknesses

Tori is overall throaty above C#5/D5, and one possible cause is her preference for that raspy quality. It gives her already distinct voice a more unique and to some presents her as more soulful and raw. However because it doesn't seem completely natural to her voice, there is a chance that it is inhibiting her singing. It can be argued that this is a result of her creating that sound by not singing with a completely open throat. However as stated, she does well enough where she can still sing as high as she wants to, but without the ease that her middle has. This doesn't mean that this is good, as she is not maintaining the same qualities within all of her singing. It just means she is singing through it and able to produce okay results as 

Above E5, Tori tends to raise her larynx while belting, and there is a noticable difference in sound.

Overall/Recap

Tori Kelly is a really good singer with an overall well rounded voice. Her biggest issues are in her upperbelts, where her signature lead to a lack of freedom, and scratchy vocals. Never the less, it hasn't become an issue to where she can no longer sing or even sounds exhausted. Still there is a possibility that this can take a tole on her voice, so hopefully she can fix it. Her voice does have something naturally different to it. There is a nice twangy edge to it, and her trying to enhance that feels somewhat unnecessary. Still Tori does not seem to see this as an obstacle and embraces it as a part of her singing. Overall, Tori is very capable being able to move throughout her voice with great ease.

JoJo

About JoJo

Vocal range: B2-G5-E6

Live: B2-F#5-Eb6

JoJo is a lyric mezzo soprano with a range spanning over three octaves (some argue four). She has a smaller to medium sized voice, with a noticeably medium weight voice. This slight weight gives her an extra darkness to her voice in her middle that helps identify her as a mezzo. Her voice is noticeably lighter than a regular lyric, but too dark and heavy to be considered a Full Lyric Soprano. There are people who believe that JoJo could be a Coloratura Mezzo, but that is far too deep into fach systems to worry about. Stylistically, JoJo prefers R&B, Soul and Gospel, and it influences her singing greatly. JoJo’s style relies heavily on a mix of melisimatic singing, transitions throughout her voice (from chest to head), and belting. Another big part of her singing is her musicality and musicianship. JoJo is very stylistic and will alter a song to fit her needs, more often than not with great success, even playing with dynamics. As she has gotten gotten older, she tends to alter high notes; in the recent performances of Too Little Too Late, JoJo, prefers to skip the entire head note portion in the final chorus (despite her excelling in this area vocally). This could be because she might not be as comfortable at her extreme (Eb6) as she once was and prefers not to risk it.

Lower Register (B2-G3):

JoJo’s lower register has always been a reliable part of her voice. Even as a child JoJo was capable of singing in her lower register showing minimal effort (for her age). In her mid teens, the singer was singing as low as C#3, with capable support. As she has gotten older, allowing her voice to mature, her lower register has gotten stronger, along with her technique having improved. This allowed her to not only be able to sing low notes, but to be able to show musical dynamics in her lower register. She now can sing down to a B2, however support can be iffy at this extreme.

Mid Range: G4-Eb5

JoJo shines in this range more often than not, and uses it through most of her songs. She has shown to be resonant up to Eb5, but there is a matter of consistency with her. Eb5 tends to be where she starts losing support, and can show sins of strain. Recently she has been doing better, but overall it's hard to determine if Eb5 is a part of her supported range. Still she has shown good moments on it, so only time will tell. Below that JoJo does really well. She rarely has problems below that (and more often than not it has been related to sickness).

Upper Belts: E5-G#5

In comparison to her Middle range, her upper belts are weaker. In this area overall, the singer tends to exhibit strain, singing with a raised larynx, throaty (that can cause the stiff and scratchy sound), and often times come off whiny (possibly due to her nasality). Anything above F#5, has yet to be demonstrated live, so most focus is placed from E5-F#5. With her improvements, JoJo has seen nice E5's, and possible resonance, but overall it seems unlikely that it is a part of her supported range (yet). Above that there is no doubt that JoJo still needs work, though she has done better, providing some opened F5 and F#5's.

Head Voice/Falsetto:

When it comes to her head register, JoJo is a frequent user of her head voice. It is possibly one of the most developed parts of her voice. JoJo is well supported, resonant and capable of doing runs within it. The connection between her chest and head is strong, allowing her to be able to switch between the two with ease, which has gotten even stronger with time. The only true issue she seems to show here is at her extremes which is an Eb6 (from Too Little Too Late performances). This seemed to be sung in a less developed and possibly disconnected way. It seems around C#6/D6 JoJo begins to show inconsistencies in support and intonation. However JoJo does not really venture beyond the B5/C6, so there is no way to tell if she has improved and is consistent with them.

Agility:

JoJo’s singing style shows a strong preference for runs, and as such she tends to work them into any song and performance that she can. Her runs have become more intricate and faster. One of her signature runs is her run down through her head voice which she tends to add in parts that require a soft but “emotional” aspect. JoJo is adept with runs that she can use them at any part of her voice (lower chest, middle, head) with equal amount of ease and musicianship. Even in the weakest part of her voice (her upper belts) JoJo can still include runs, although with more effort. Along with her runs, JoJo is also gotten much better with her transitions between chest and head, and shows how adept she is at that when switching between the two registers. Overall JoJo’s agility is one of her most highlighted aspects and has only gotten better.

Weaknesses:

Two overall issues that can arise is nasality and shoutiness. JoJo tends to sing with the slightest nasal quality to her voice, that also makes her sound continuously congested. It doesn't disrupt her singing, and seems relatively minor considering the fact that she is still able to produce resonance, however as she ascends it can become noticeable. Another issue is that she she can get shouty. It sometimes feel like JoJo can confuse power with volume, so she tries to sing loud and with some tension. Instead of resonant, her voice can come off shrill and combined with an preference for a chesty mix, it can distort her sound a little. This has become something of a non issue though as it seems she is moving past it vocally in the last couple of years.

Other than that, once she moves into her extremes, strain is evident.

Overall/Final Recap

JoJo is a fine vocalist who is growing to understand her self and her voice. While at a young age she was adept with some musical showmanship she was able to do as many runs as she wanted, but she also shown poor vocal habits, and was in the process of growing. As she has gotten older, she definitely has improved and has even become more defined in who she is as a vocalist. Though in her extremes she still has issues, it seems like she stays away from them for the most part, or chooses to alter songs when she sees fit (which shows her musicality as a singer).