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I Put A Spell On You... mayb? xD

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Garnet
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I don't wanna spam the forum, but I've posted things that got good feedback elsewhere just looking to show them to a wider audience and gain perspective etc, yknow? Anyway, this is technically the Joe Cocker version of I Put A Spell On You, but I changed it up quite a lot. It's pitched up 2 keys and I did a lot differently with the vocals including making harmonies that weren't there.

I'd love some feedback on this,

Thank you so much!

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Hey, I loved it!

I have never heard the original so I have nothing to compare it with, though.

The harmonies where cool, too.

Now to the nitpicking, haha, just for the sake of it, cus of boredom, and a good oportunity to train my ear. lol

On the first entrance in "I put a spell on you" it is supposed to be : ( by sillable ) C-C-C-D#-C-C isn't it?

You did the first Cs correctly, but the vowel could use more brightness so it is a very precise C. It is a teeeny bit flat ( and I am talking like 1% or even less, idk, so don't worry )

"Spell" was a bit bit sharp.

Also you notice the "you" is not the same pitch as the first words :) Thats because of what I said before.

In "because your mine" in the trill that happens in "mine", there was a little slope in there. You do a C-G-F-F-D#-C . And in the last C there was a wobble of the vibrato that went lower than the rest, with decreased support, so it was a millisec that sounded lower in energy, but then you kept the rest of the "mine" good :P

Now.. I noticed this because it's the first phrase in the song, because for the rest of it I just closed my eyes and concentrated on the interpretative and musical side.

Other than that, I have no other technical observations. There might be other cases like this throughout the song, but honestly it's not important to me.

The harmonies where awesome, and the high belts sounded so cool. Although for the extra goosebump I would have aranged the end a bit differently. The part between 3:10 and 3:40, before you come back down again to finish the song.

There is a gap between 3:30 and 3:34 that takes away some of the energy.

My idea is that we contrast as much as we can the high belts and sheer passion with the coming back down, and more intimate place, so the listener gets tired with you and then releases the tension and sights when you are singing the last phrases.

In that 3-4 secs pause, the listener has time to rest, that's the thing, so... "belty stuff waaaa.... rest.. and then move the energy higher again to keep belting waaaaaa" it's kind of .. weird. Better to build up the belts, then "belt belt belt BEEELT AND MIX A CRAZY G5 IN THERE TOWARDS THE END OF THE BELTS AND THEN releeeeaase when you come back down again, and the listener sights and says *pheww* "crazy stuff :'D" falling on their knees more exhausted emotionally than you, haha.

That would have been my approach. Pretty hard to describe with words, but if you read through that a couple of times you might be able to understand me haha.

Tell me what you think :D

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sounds to me like you have noted two pitch errors - I am aware of them, and don't really mind them. Like you said, "There might be other cases like this throughout the song, but honestly it's not important to me." I feel the same, really. Pitch is great, but as long as it's not really obviously wrong I'd rather have great performance. obviously both is desirable, but not always achievable for the untrained ear even after years of practice.

As for the G5, whilst i can hit a G5 the song is so demanding vocally already that I didn't personally think it was necessary. There are already so many liberties and adlibs that for me it would be a bit overkill so I chose not to do something that extreme. Artistic license, i guess xD. like you said, it would be exhausting for me and the listener rofl.

thanks for feedback!

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Forgot to mention that in one of the sustained belts. The "MINE" from 3:34 to 3:39. It seems that you didn't keep the vowel completely still, so it was modified from an AH to an UH to an AH to an UH and then you sustained an AH till the end of it. The note goes according to those changes, a bit flat-then ok-bit flat-then ok, and I noticed it because unlike pitch, the change in the vowel is more noticeable because it changes your formant and your harmonic spectrum, so the "sound image" and our ears percieve it in contrast. Be careful with that :P

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That sounded pretty "Bleepin" good to me.It is great that someone with an ear like Xamedhi can hear those things to work on, but in a live situation that just sounds awesome.

I know you sang all the backing vocals but where did you get the musical backing track. The music really fit with your interpretation.

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MDEW is right, in a live situation there are other things to think of. Things relative to pitch are just serious nitpicking, and not really relevant. The vowel and formant thing is, though ( recording-wise, not live ), because it was not intended and it contrasts with the previous "mine"s that you sang.

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I didn't hear any pitchiness. Most humans (99.9 percent) have relative pitch, which means that they can only hear a pitch as being off if it varies more than 10 percent. So, I have yet to meet the human that can hear a 1 percent difference. I am sure such a human does exist and legend has it that both Donnie and Marie Osmond have perfect pitch. Where are their careers, lately? Oops, I said that out loud, didn't I? Sorry.

Anyway, I like how you did this song. Great feel and delivery. Each singer has their own delivery. For example, I like Ronnie James Dio. I would be bored out of my mind if everyone delivered exactly like he did.

Or, to put it in real life terms, my college friend, Jeff, had a band and wrote stuff in the style of Rush. To make matters worse, he sounded like Geddy Lee when he sang. I went to a club date. And people were saying, "sounds like Rush." And then moving on to their latest gossip. Kind of denoument, if you ask me.

Brava, Garnet.

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