Little Mix Get Weird Tour Vocal Range

Somebody was really awesome enough to make a Little Mix vocal range video for their Get Weird Tour. From just watching the clips I had a sneaking suspicion I was going to have to edit their posts, and well...I was kind of right.

Lets watch this, and below the break, we will dissect the new content!

As a group I think Get Weird has been a great era for them. We get to see them explore and venture out of their normal vocal roles. We also got to see just how soprano this entire group is (in terms of tone and range). Some things to be mindful of: Opinions, the quality of some clips are not the same. and while this is a very thorough video, it doesn't account for every night.
I'm going in oder of name

Jade
Easily at her best this tour. Lower register is as usual not her best. Compared to other girls (Leigh, and Jesy) she carries more tone down, but overall below G3, she still seems to struggle. although @ 1:28 her E3 was better than usual. Not necessarily supported, but carried tone so that's a positive! Her D3's were kind of a struggle, but once again, nothing out of the ordinary. In terms of mix I was the most impressed with Jade's. She didn't really do anything that out of the ordinary, support up to C#5, and resonance up to B4/C5, which is typical for her. Above that D5's sounded more open for her, but not consistent enough. After that she is pretty much at varying levels of straining. Her sound is the second most open only to Perrie, but I felt at times she maintained a far better (cleaner) sound than her group mate. In terms of her upper register: more use of her head voice. I think she went up to C6 in head voice, but obviously lacking support.

Jesy
Jesy surprised me with how far she was willing to go. Lower register is not her strong point. She was even a little quiet on her G#3 (timestamp). Like others, she really shined in terms of her mix. Consistent support up to B4, and surprising openness up to C#5. Above that, she strains all the way up to G5. Still it was cool to see Jesy expand her vocal range, even if the results were not the best (at least they weren't croaked or anything). Her upper register wasn't as highlighted here, and I think we mistaken Jade's high note as Jesy's (which is a testament to how similar their voices are).

Leigh-Anne
Vocally Leigh-Anne is the weakest. That doesn't make her bad, that just means that the talent pool is more refined compared to her. She prefers to try to do things. During this tour her general consistencies are made apparent. Her lower register isn't great. Her low notes reaching down to Eb3, with a lower larynx. Like with Jesy I was surprised Leigh Anne was going as high as she did in her mix. Her highest belt was an F#5 which I was shocked to see her go for. Still it was strained. Everything above C5 was strained (save for what I think were a couple of okay C#5). I think Leigh is pushing her voice way too much and if she backed off she would probably be more consistent in support. Unfortunately her upper register was the least highlighted amongst the group.

Perrie
There seems to be some things going on with Perrie vocally. Nothing out of the ordinary has happened really. Her lower register still stands as the strongest of the group (carrying more tone and support down). Her mix isn't as resonant as it once was. I think that's been acknowledged by many. However now, there seems to be a bit of a scratchy/throaty quality going on, even in her comfort zone. Normally I wouldn't think much about her C#5's, but here there was some closure going on. Still she has the highest support. Around her E5's it is a mix of throaty closed high notes, or high larynx. Her head voice wasn't up to her usually ability. She was even showing tension has high as B5, something she seemed to have improved upon this era.

Overall the Get Weird tour has been so much fun to watch progress. I think this is their best tour in terms of all four getting to strut their stuff, and seems to be fun. I do hope they take a break and come back with more entertainment and vocals.
So what do y'all think?

Fifth Harmony vs Little Mix

I think right now girl groups have been seeing a big miss in the West (if you are into girl groups, K Pop is possibly where you want to go right now), and it shows with the fact that there are only two relevant girl groups in the mainstream. Little Mix and Fifth Harmony have common traits that makes it hard to not compare them. Both were created on a competition show (ironically with two of the same judges at helm), both have strong pop R&B influences. Both have not truly crossed into superstar fame that was once available to girl groups of the past.
With this post I really just want to see what people think of them. Who do you think i the better group? Of course this can be controversial for some fans, but its like comparing Granny Smiths to Golden Delicious: both are apples and work well for certain things, but which does what they do the best.

Little Mix's Leigh-Anne

About Leigh-Anne

Leigh-Anne is a member of the vocal pop group Little Mix. She has a light girly voice making her an Light-Lyric Soprano. Leigh-Anne's style comes off very aggressive, with a preference for hard, slightly gruff vocals. She tends to growl, which can provoke a edge to her voice. She also seems to use a more chesty mix which makes her voice a little harder as well. Overall Leigh-Ann is a stylistic singer who puts emphasis on emotional delivery.

Vocal Range: D3-F#5-G#5
Supported Range: G#3/A3-A4/B4

Lows (D3-A3)

Despite being able to sing as far as D3, she tends to be iffy below A3-G3. Her voice loses presence, support, and becomes whispery, shallow and quiet. If not that, she will lower her larynx (most noticeable around E3) to be able to hit them. Still the group requires lower notes and she alternates with the rest of the group depending on the section.

Mid Chest (A4-Eb5)

Vocally Leigh-Anne is at her best here, having shown some improvements since her debut. Support can be heard up to around B4 and on occasion C5. Above that Leigh-Anne's voice is a mixture of shouty and strained, even to this day. That being said, she has seen some improvements. Prior to 2014, she was incapable of maintaining consistent neutral larynx even as low as B4. This is seen in her performance of Only Girl In The World. However now she has improved to be able to have rare moments of support as high as C5. Within range is she able to produce not only supported, but resonant A4's, something that has not been able to accomplish until recently (Get Weird tour). Above C5, Leigh-Anne is a mixture of shouty, overly chest dominant strained high notes.

Upper-Chest (E5-F#5)

Once we move into this range, Leigh-Anne strains almost all the time. Unfortunately there is much to be said up here. The only positive is that Leigh-Anne has now shown a more extensive catalog of notes. Also she seems to be less shout prone, showing a better placed voice with a more connected support.

Head Register (E5-G#5)

Leigh-Anne primarily uses falsetto. Because of that, she doesn't have a full and connected sound when she transitions. Still from what she has displayed, she maintains a relax sound and is capable of doing decent runs. Because of how little she displays this part of her voice, we do not know the full extent in terms of range, but it is unlikely that Leigh-Anne is capable of singing without strain.

Agility

Prior to 2016, Leigh-Anne's agility was mostly nonexistent. As of late though, she seems to be willing to try more melismatic singing. However she still has issues, often losing her sense of pitch while trying for more complex runs. She also doesn't have he best ability to move through her registers, something the others girl have. While she is improving in a sense, Leigh-Anne is definitely not the most skilled in this area vocally.

Weaknesses

Leigh-Anne's biggest flaw is her larynx. Even on lower mid chest range notes she will raise it. This seems to have a lot to do with her style, which is aggressive and requires a lot of...growling. Another issue is an underdeveloped voice throughout. Her lower register is weak, her mix is too chesty with an unstable larynx, and her upper register (head voice, falsetto) is disconnected. While Leigh-Anne is able to sing, she cannot accomplish things at the same level as the other members when pushed outside of her limits.

Overall/Recap

With time, Leigh-Anne has shown to have improved if only slightly. Pushing her support up to a more consistent B4, Leigh-Anne is in general less shouty and more open or at the very least better placed. While she still has a gruff nature to her singing, she has become more accepting of her smaller lighter nature in a sense trying for more runs, and switching into her upper register when needed. Leigh-Anne is still an overall average vocalist, but she is much better than she once was which is a step in the right direction.

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.