THIS is why you'll NEVER hear a voice like Judy's again.

On tonight's agenda we're going to take a look at Judy Garland performing Over the Rainbow and compare it to a recent performance by Kelly Clarkson. Hello Phil from Wings of Pegasus and welcome to another analysis video. If you enjoyed

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particular request came to Facebook and someone asked me if this performance had been edited in any way from a pitch perspective and they mentioned it was Kelly Clarkson and I responded saying no. I analyzed it because of course I can't analyze something instantly, it takes a few hours, but I said that Kelly Clarkson has a great

voice

, so I said that it's unlikely that it was edited from a pitch perspective because of her vocal accuracy of all ways, so this video I've analyzed it, we'll jump to it and we'll take a look at Judy's

voice

of course, so we'll jump to Kelly's performance first and this is from the Kelly Clarkson show and of course we have pitch monitoring software. up on the screen so we can see what's happening all the way up the rainbow and I'm going to jump in here just to mention that there will be links in the description below if you want to watch this performance or Judy's version all the way through. to the end without me interrupting it, but I mean already, unfortunately, and the person who requested this video.

Although I said I doubt Kelly's version was pitch corrected, we can already see that it is pitch corrected, as we have seen with hundreds. of singers may occasionally play a line just because they are great singers, but

never

Time After Time After Time and already in this phrase you can see the F 4 here we are stuck to that line the gar 4 we are stuck to the line, but you can actually

hear

the processing on the F 4 here and on the A3 before that, so listen to this

again

and actually the F 4 here

again

has been overused, so as soon as you run it through this you can see that it doesn't It's a natural voice, this has been recorded by Kelly and then edited before being released, but it's now happening as an industry standard for music released through TV shows and obviously if Kelly wasn't playing you notice them exactly right.

They're going to edit it before releasing it so it sounds perfect now, but it's too perfect because it's just a standard 440 tuning, it's exactly on these lines, which it shouldn't be and it's something I did for the sake of this video. It was running the guitar through the tone monitoring software so you can see what a tuned instrument looks like on the screen, so I'm going to get rid of that and bring the guitar in and while we take a little look here, you can now Look, the C3 It was flat and this is a tuned guitar, so what I want to explain here is that when you play an instrument, you tune it, you can't tune the vocal cords, but you tune a guitar, so we're going to be having an A and an open D, We're going to have things that sound like a great example here, the D3, as I mention, is perfectly in line because it's an open string that has been tuned as soon as you play, place your fingers on the fretboard of a guitar or on the neck of a violin, once you introduce that human element of slightly bending a deflection and playing it slightly differently from player to player, even more so with violins because you don't have frets, but you'll notice it. this kind of thing where the instrumentation in this case the guitar is flat but the vocals fit these lines so the vocals are now irrelevant to the guitar in the background which is why it sounds mechanical and processed so this is something important thing that people don't realize and I'm sure Kelly doesn't realize that it's being taken out of context now because if you're correcting the pitch of a human voice that's not in tune, but something that is in tune can't even reach these lines, then you think well, what are we doing?

Why don't we let the voice be what it is? I'm sure Kelly's voice would start to adapt to this tuning, she would also play the notes slightly flat because of what she's

hear

ing, we'll listen to the guitar, hey, and then we literally go to A2. I said we had an open string and an open D string, so here's another example of an instrument in tune and see how it looks on the screen. just a straight line in the standard tuning of a 440 because that's what the string is, that's what it's been tuned to. This can't be done with vocal cords, you can't tune them with open strings, so when we take a look at the voice again. from Kelly, when we take a look here, this kind of thing stands out because they are now turning the vocal cords into a stringed instrument and it's not like it's something physiological that needs to be controlled, you can't just hit the vocal cords. and then they sound you have to put air through the vocal cords you have to control the air there is a lot more going on when we start to think about all the old singers and the previous generations of singers why?

Now you can categorically say that there will

never

be another singer like Judy Garland because everything that is being released is being fine-tuned. Judy's voice was out of tune. One thing we can say about this Kelly performance, of course, is that she is pitch corrected, not autotuned. and we know that because she has a fairly broad vibration, as you listen to this, you can see the waves here and the fact that we have actually ascended with that vibration, so even if someone is going through this and trying to do it subtly, they are I still do it too much and you know it becomes very obvious when you look at it on the screen, but let's continue and it's this kind of thing being on the F 3 and being directly where a guitar would be in terms of tuning and slide up. and as I got to the D4 hitting the D I thought again, these are two notes here that are consecutively on these lines, which means they're in tune because we just had two sharp notes that are also on the lines, it's just not that human.

The vocal cords work and I always remember people saying, "Oh, maybe the singer would be so good if Kelly Clarkson were an amazing singer, and she is, she would miss these lines. That's the point, that this is something to what the instruments are tuned to, but". the vocal cords are not in tune. If she is a great singer, they will reach the average frequency of what they can hear. In the case of just having that flat note, Kelly would also be a little flat because she is matching it, but that has been erased from the vocal and we only hear this edited version that was later released.

I mean, the B3 here again is too perfectly finished and then when we go back to it perfectly again, I mean even the slides have gotten stuck a little bit. here and again so anyway yeah we're not going to go over this whole performance because the person was just asking me to take a look to see if it's pitch corrected or not so before I leave this I want to jump in the end. of the performance because Kelly makes an artistic choice about where she goes with Mel Melody that is not where the original Melody goes, so let's hear fly over the rainbow why and there we have it, as you no doubt noticed that last bit. the note is not the note you expect, so normally what would happen is you would resolve to the A4 and the A4 would be the root note of your chord, the underlying chord, the key it's playing in, so when you go from from there, you go up a semitone from gsh 4 to A4, but here we go up to C Shar 5, which is the major third, so if we're going to go, it's going to be the third note if you count up to that major scale, so d f Lao scale , so let's go to the third there instead of the root note that would be or the highest octave in this particular key, obviously, it's high for me because I'm a guy, but going to this different note I mean it's interesting.

It means it is not resolved. I'd probably prefer it to be what it is, you just can't resolve just the root note of your chord, but the other thing is that she goes to a different note, it's interesting artistically, but I know. people will say, but it's been fiddled with digits, so even if you missed that note by going much higher than the original, you can probably afford to throw caution to the wind because even if you miss the note, you can correct it later and you will know the same. for the G Shar 4 here, if that wasn't exactly in the pitch, you can just move it after the performance, so yeah, I don't know, it seems like there's this conflict of interest between the artistic choice of the note being probably a lot more difficult. hit because it's so much higher, but then correct the pitch, so you've done something that's technically more difficult, but it's like your voice has that safety net, if you fail, it doesn't matter because we'll correct it before the release. of the video on the TV show or on YouTube wherever it's posted so this is the problem and I know a lot of people view pitch corrected performances differently because they want someone to sing naturally and be able to reach these artistic levels .

Notes on their own, so now let's put Judy Garland's voice on the screen to see how the rainbow is different at the top. There's a land I heard about once, so of course, no. Needless to say, back in the late 1930s, digital pitch correction or autotune didn't exist, so we got to hear some great vocals, but when we look at these lines on the screen I'm just talking about super-precise slides and the fact that Judy, even at this young age, had this broad controlled vibration. but you can see how when you look at this you're never going to see a lot of lines plucked all the time, one after the other and by the way, this is a semitone lower, so it's instead of being in a in a flat or you know G sharp when we look the pitch monitoring software and you can see that this first, that change from the G 3 to the gsh 4, we have that instantaneous octave change, but here at the beginning. and this is the kind of thing you'll see all the time, the note actually started halfway between G and gsh 3 and then she was directly over the line for a split second, she had the vibration and then when she slid down up, it became sharper.

G 4 then vibrates down, you know, to the G4 there, but let's listen in the rain. I love the way she connects all these phrases so that it's all done in one breath, but all at once, allowing this to flow, but have Listen again, so yeah, there's a little break from oh oh the rainbow and then it goes back to the G 4, obviously it's too loud for me as a man, but again look here, listening to this, no one will ever say that it sounds Out Of. Tune in, but we can see evidence here that the big voices are not only crisp on these lines, but also noticeably flat between the D4 and D 4, so technically speaking, this is no Ville in terms of the key of the song and the tone of the voice. and where it should be, but it sounds perfect because it has the freedom to go where the voice goes, it's not a tuned instrument, so yes, this kind of thing would have been Creed's tone and this goes back to a point I mentioned earlier in this video that today you will not hear a voice like Judy Garland's because this will not be allowed, you cannot miss these lines today, everything is tuned, but let's keep listening and, like I said, you know we will occasionally play these lines, but here.

We are very close but again we are a bit sharp, it's not tuned on the gsh 3, it was just very close due to Judie's hearing but also hearing what she was singing when she was doing this in the studio. again and again is a very important point to make here, this was just an F3 and it was a sharp note, but look how it looks on the screen, it is not a straight line, it starts at the F3 and becomes sharp and then ends flat, but when you're listening to that, because this is all Split Second stuff, listen to this word, it sounds like a straight note, but it's not because this is what the human voice does and this is where everyone gets it wrong when we're correcting the pitch of the vocals to the extent that they are, they're flattening this kind of thing even though it sounds like there's a straight line, but it's not, yeah, if it sounds like it's one note, I'd say just leave it, but people and producers aren't listening anymore, they're watching, so they watch lines like this and you know it through the pitch correction software and your melody, for example, which is something I mentioned before you're watching.

In the lines you're looking at the voice and they drag them making them all go on one line, you know, go straight, so this is where you know if it sounds good, let it go. I mean, look again at the way we started out flat. of the C4 and we actually end up between the C4 and the C 4 and again we are hearing here one of the greatest voices of all time from a pitch perspective and this is the problem that now everyone is so perfect in pitch as to be about these lines that her voice is never going to sound as good as Judy Garland's because she didn't use that now everyone uses crutches and therefore their voices can't work as well as the voice of someone who is just a great singer and has the freedom. do it so I want to say it's a crutch, it really is because it means it's like you're injured, your vocal cords can't go where they're supposed to be allowed to go, but forOf course they did it during the performance, but the audience never gets to hear it and again it's surprising how we're now between notes here, but it still sounds great and I mean we're almost on the slightly treble line here with the C4, but like I said, these kinds of things will happen. from time to time with a great voice, but not once, two, three times in a row and then maybe a little bit of Gap and four times, you know, five and you know constantly in these lines because when we look at these lines we just take into account how many Sometimes we see a straight line in these white lines.

Over the rainbow. I mean, every time there's a held note you can see how you know it's not on the lines, but again Judy's tone is so shocking it's absolutely ridiculous and I know I've seen Judy Garland before and this performance, but I'm just using this as a comparison just to show the difference between the late 1930s and now you know, almost 100 years later, you can't understand this anymore. hearing this kind of voice, first of all, one that is this precise, but you can't even appreciate the precision of someone's natural voice, although you know it's amazing here that you can see where it starts to level out halfway between the notes again and then it slides into perfectly that gsh 4, the rain and all this again between the lines here and yeah, this is the kind of thing that's being eradicated now, but it's interesting to look at a voice like this to see how out of tune it is. it's throughout the entire performance because that's what shows you that she's actually playing notes here that are as far away from the notes she should be playing as physically possible when you're talking about singing from one semitone to the next, so yeah, I mean . really interesting to watch, thank you all for requesting the Kelly Clarkson video in the first few views, as always let me know what you think and if you enjoyed this video please like and subscribe, keep those requests and suggestions coming. comment section below and I'll see you in the next rock