There's a classic song called "A Basso Profundo Am I" that basically says that because the singer is a bass, nobody will let him sing any heroic or love songs, and is forced to sing songs about death, alcohol, etc.
This absolutely blew me away the first time I heard it, ESPECIALLY EJ, I mean holy crap dude, is your torso 95% lungs?! Him and his brother are absolutely, insanely talented.
The soprano/tenor protagonist and contralto/bass antagonist dynamic actually goes back to the early days of opera. They sound higher, brighter, and younger - which is a major contributor, but the main reason is that higher voices tend to be lighter and more agile, allowing for a higher degree of virtuosity. That's why castrati (and later sopranos) were the rock stars of classical music: high notes and elaborate melismatic passages (runs) have always been exciting to audiences. Therefore, you want them front and center, singing frequently, and drawing in the crowd. Those qualities endure into modern day, so while there are exceptions, high voices tend to be the leads with low voices representing their obstacles and middle voices (mezzo/baritone) filling out the older supporting cast. The trope might break one day in the centuries to come, but it is very powerful and a recurring joke among classical vocalists which presumably carries over into the world of musical theater.
You wanna know how much I love your videos? So much so that I've actually gone out of my way to watch the source material for this so I can then come back and watch this! I'm glad I did, because now I'mma follow Voctave AND I got to see another great video from you! 💙
Same. Trombonist here, and while I can play a high note for over 30 seconds since it's a small embouchure and I can conserve my air, it took me 8 years, from high school into college, to learn that level of breath control. If you were to ask me to "belt" a low note, my lungs would be completely drained after 8 seconds. At least brass can circular breathe. I don't think that's possible with voice.
My brain does not have a card catalogue of Disney (or any) musical hero/villain pairing. But I think you're right. And I totally agree. I rewatched the original animated _Rudolph the Red=Nosed Reindeer_ as an adult, and not only was I angry that bullying Rudolph only stopped when he proved *useful* -- I was really angry that the Abominable Snowman was "made" good by *Having all his Teeth Pulled Out* ‼And ever since then, I've wanted a children's story with a good character with lots of teeth, and a really big, deep voice. Because (mini rant follows): *It's not whether you **_have_** teeth, it's whether you **_use_** them to hurt other people* I want a big, "scary" character who proves their goodness by how they choose to use their teeth (and voice). We need that story, now more than ever (after the writers guild strike is over, of course). Oh, and the Beast from _Beauty and the Beast_ is a baritone. But he doesn't get a hero's "I want" song that would fit in a medley like this.
P.S. Do Disney Channel spin-offs count? 'Cause I had a hunch that Flynn Rider, from _Tangled_ was a baritone. But I couldn't remember if he actually had a song of his own in the movie. So I searched "Flynn Rider Song" on RUclips and found one (1) song -- from the animated TV series "Rapunzel's Tangled Adventure." It's here: ruclips.net/video/7_mx-Biv0Cc/видео.html Still, one hero in nearly 80 years of musicals, and it's in a niche spin-off, underlines the point that we need *more* .
@Mortius (Mortius Fist Pump) YES! THIS was the reaction I was waiting for! So... to address a couple things. First off, you asked why Disney doesn't do Bass Hero and Tenor or higher Villain? Someone else gave a good answer of the age of the hero versus the age of the villain in Disney stories. But there's another reason too. Disney stories tend to follow the archetype of David vs Goliath. David, the hero, is much smaller and lithe compared to Goliath, the villain, who is massively huge and super muscular. To show that difference musically, as you probably are aware, "David" usually has a higher register than "Goliath." I think that's a big reason why Disney's heroes and villains and, subsequently, the music for said heroes and villains are written a specific way. Secondly, I 100% agree with you about "Be Prepared." The Lion King is my all-time favorite Disney Movie and I physically cringed when Kurt didn't employ any of Jeremy Irons' and Jim Cummings' slides. In my experience, singing straight, to the sheet music, without nuance tends to happen when someone "sings" a song, rather than "performs" a song. I first came to this realization with "Don't Cry For Me Argentina." I have the DVD of the Andrew Lloyd Webber Concert in Beijing and Elaine Paige, the original Eva Peron in Evita was part of the cast of that concert and she performed "Don't Cry For Me Argentina." I, then, later compared that to both her OST Version from when she first started out (I bought the OST) and Madonna's Version from the Movie. Elaine's Concert Version compared to those were night and day for me. Elaine performed the song in the concert with the experience of years of portraying that character on stage and singing that song night after night. Ever since then, I've been able to tell if someone is "performing" a song or just merely "singing" it. This is why "The Mob Song" and "Out There" are my two favorite songs of the this whole medley. Aaron Stratton actually played Gaston in the Disney Live Stage Show of Beauty and The Beast at Disney World and EJ Cardona was the voice of Quasimodo in the 5th Ave Theater's production of The Hunchback of Notre Dame out here in Seattle. They needed a voice because the physical actor for Quasimodo was deaf (he "spoke" all of his lines with Sign Language). So, yeah, Aaron and EJ have sung and performed those songs in Official Disney Capacity. And it shows. Also, if I had to guess, EJ's build at the end of "Out There" probably comes from his stage background. Again, he was the voice of Quasimodo on stage and performing a song on stage in front of a live audience is different to performing it for a movie. A performer for a movie exists to help showcase the movie. A performer on stage exists to showcase themselves and their fellow cast mates. Moreover, a Stage Performer's primary job is to keep the live audience engaged. In a movie, that's the writers and animators' job. But on stage, it's all you baby. So being more deliberate with that swelling build is a good way to engage your live audience because they're waiting with baited breath for the resolution and EJ with that 19 second belt is the perfect resolution. It's peak Musical Theater, in my opinion. Also also, that's Jamey Ray for you. Playing to his singers' strengths with his arrangements. It would not surprise me if Jamey wrote the ending the way he did because he actually watched EJ's performance on stage, remembered it, and was like, "That's how I'm ending this medley."
Since you love the transitions, I wanted to point out that Jamey (the Go The Distance soloist) is the one who arranges most of their covers and songs. He does such an amazing job with all of their songs, I’m looking forward to more of their music
10:48 I Agree!! The Tenor=Hero and Bass=Villain trope has been used for hundreds of years...as a tenor, I'd love the opportunity to be more villainous. I was also in Beauty and the Beast in college and I played LeFou. It was fun being a villain sidekick...but what an opportunity to be an actual villain as a tenor!
I was waiting for this one! It's gorgeous! I wish we could have full music videos from Voctave monthly or even quarterly. They are such a special group of artists! Have you reacted to their Trolley Song or Disney 90s TV medley? Those have more production on them like this one. And, yes, I'm ready for a baritone/bass Disney hero!!! PS--The only hero baritone bass I can think of is all the musical movies with Howard Keel--Seven Brides for Seven Brothers, Calamity Jane, Annie Get Your Gun, Kiss Me Kate, Show Boat, etc.
For a Disney property that has a tenor villain and a bass hero...I think the reason why you find so many tenor heroes and so many bass villains are because heroes tend to be younger characters (like kids, teens, young adults) and the villains tend to be older/more mature characters (like straight up adults/elderly). It's just kinda natural for younger males to sound more like tenors comparatively to older males. With that said, I can honestly only think of two major Disney property where a protagonist's voice can be considered lower compared to an antagonist's voice and, I'll be honest, they're not even THE antagonist or THE protagonist and everything's a bit cheaty. The first one's Jungle Book and it's Baloo (who is a baritone/bass) and Kaa (who could be a tenor/baritone) or King Louie (who's definitely a tenor as you can hear him sing the higher octave in "I Wanna Be Like You" while Baloo sings the lower octave in the final chorus) and the second one's The Sword in The Stone where the lower singing voice comes from Merlin and the higher sounding voice belongs to Mad Madam Mim (which, again, is a bit cheaty since, like younger voices are naturally higher sounding than older voices, female voices tend to have a higher pitch to male voices).
@@officialmortius Another would be Tamatoa having a higher sounding voice than Maui in Moana. Though I guess you can argue Maui's villain/hero status. 😂
@@ProfessionalBob I will give you a point there for you're not wrong. Jungle Book's just one of the few examples with at least one male antagonist who can sing tenor as well as a protagonist who can sing lower than the antagonist.
@@officialmortius Also, since it's the same voice, you can throw Thomas O'Malley from AristoCats and Little John from Robin Hood to your list of bari/bass protagonists (also, Prince John almost had a song in Robin Hood which you can find in anniversary/legacy albums which prove he's also a tenor!)
It's more baritone but the live action Beauty & the Beast had "Evermore" (which would still sound awesome with a bass singing it). I would also love to see the role reversal in musical parts.
The only example that I can think of that has a villian tenor and bass/baritone hero is the musical The Great Comet of 1812 (which is such a great musical, 10/10 would recommend). In the musical their is a character who I would classfiy as a villany character who is a tenor. And one of the main character who is the "hero" (put hero in quotes because they don't really do the most heroic things) is a bass or a baritone, I can't remember exactly. But honestly that's all that I can think of. But anyway, this was great reaction!! This medley has been my obsession since it came out because it is just mind blowing and so pretty. Like I don't know how they found all of these talented singers, it is insane. And EJ, Oh my god that man has such great breath control, I am so jealous. He is just so talented and I am glad that VP introduced me to him/voctave. Thank you so much for the great reaction as always friend💜
Bass for protagonist, tenor for villain in musical? Sweeney Todd, Sweeney is Bass-baritone and while Judge Turpin is that too, his right-hand man the Beadle Bamford is a tenor. Beauty and the Beast too. Gaston is a tenor and because Menken added a song for Beast in the live action we got Dan Stevens singing who is a deep rich baritone (though darkened for the movie). So Beast officially got a low singing voice. I also add an opera: Porgy and Bess. Porgy a bass-baritone and Sporting Life a tenor.
Hans is a lanky tenor villain, but he doesn't really get a good iconic villain song (in the movie, at least. I think he gets one in the stage musical, at least a villainous reprise of one of his earlier numbers). A bass or baritone hero would be great, though!
E. J. holds the entire last sentence in one breath for about 27 seconds. I believe these Disney scores use the Broadway musical structure.... Female lead (heroine): Soprano Secondary leading lady: Alto Male lead (hero): Tenor Male "villian" Bass There are many college theater curricula built around these ideas. Another great reaction.Thanks! ❤😊
It definitely should be doable, even within the broad theater of musical theaaer and Disney, to have a bass sound heroic and to have a tenor villainous. I can easily imagine that very heroic, strong bass sound that avoids the low nasal notes. And the high but weaselly and whiny sound a villainous tenor can make is even easier.
Specifically re EJ - I saw him singing this song live when he was in Seattle for Hunchback of Notre Dame. it's so much more powerful with the actual ASL as it was choreographed for that.
Ooooooh even better! And imagine them dancing vocally around each other, each one going higher or lower to represent where they are emotionally or what they’re trying to do to each other
Jekyll and Hyde is technically both a hero and villain, but still no bass hero. The Scarlet Pimpernel doesn't have a bass villain (at least not the recording I heard), but it's not a tenor/bass combo either.
I actually made the Hans point at the end! He doesn’t sing a song AFTER his twist, so he doesn’t count for me, because he never sings a villain song as a tenor!
Frollo isn't a bass, and Hellfire has some pretty good high notes in it! I also like that someone mentioned Evermore as well from the Beauty and the Beast musical.
It’s a good point that Frollo isn’t strictly bass, but Hellfire is still in a much lower register than Out There, so I still think it fits the trope more than it subverts it 😋
Sir, if those posts at the end are your thing, may I humbly recommend: Tim Waurick - Bridge Over Troubled Water Ringmasters - Notre Dame Medley (live) After Hours - Butter Outta Cream or Nowhere to Go but Up Signature - Dance With My Father
Didn't expect to see some Barbershop representation here but I'm all the happier for it. Another recommendation I'd add is Cruella de Vil by Vocal Spectrum. Or honestly just about anything Tim has done😂 I'd loooove for Mortius to react to NDM!!!
@pe8268 considering Tony, Drew, Karl, and Ashley are all pretty well-known 'shoppers, there's probably a few of us here. Personally, I think Mortius would absolutely love an After Hours or Westminster deep dive in addition to the Tim Tracks
Tenor=hero and Bass/Baritone=villain is something that seems to go a long way back. I can't think of an opera that doesn't have the hero as a tenor, for instance.
I love thomas sanders villain medley and I didnt know this one existed but I also didnt realize that they started similarly too, please react to that one too tho❤
As a bass myself it has always been supremely frustrating to only have my voice type represented in villains. The only example I can think of from a Disney musical with a heroic character having a low voice type is Luisa from Encanto. But of course that's still a woman...
I'm just going to throw out there that Kaa was a tenor and a villain. Not that I'm biased. And yes, obviously, Shere Khan was a DEEP bass, but....KAA WAS A TENOR AND A BAD GUY. :) Oh! And Baloo was a good guy and kind of a low baritone! Ha! There ya go. Bare Necessities and Trust In Me.
Tem um vídeo do Ringmasters cantando Notre Dame que ele fica até mais tempo eu acho. Gostaria de te ver reagindo a isso ruclips.net/video/Qo_N9_ZFBhs/видео.html
EJ actually started his breath 7-8 seconds earlier. True the last note was 19 seconds but he didn’t take a breath for 27 seconds.
Yes EJ is insane with how long he can hold that last phrase and note… he is amazing
Did you see the look EJ gave the camera at the end, he knew he killed it!
Hero with deep voice and villain with high voice - yes please.
Well to be fair, Cinderella was more of an alto lol
There's a classic song called "A Basso Profundo Am I" that basically says that because the singer is a bass, nobody will let him sing any heroic or love songs, and is forced to sing songs about death, alcohol, etc.
This absolutely blew me away the first time I heard it, ESPECIALLY EJ, I mean holy crap dude, is your torso 95% lungs?! Him and his brother are absolutely, insanely talented.
Also yaaasss for the role reversal with voices - I’ve seen lots of play on good/evil with visuals, but not much with audio!
these Cardonna guys have powerful lungs! ❤🏴
And excellent breath control. With a little training, they could pass as merfolk.
The soprano/tenor protagonist and contralto/bass antagonist dynamic actually goes back to the early days of opera. They sound higher, brighter, and younger - which is a major contributor, but the main reason is that higher voices tend to be lighter and more agile, allowing for a higher degree of virtuosity. That's why castrati (and later sopranos) were the rock stars of classical music: high notes and elaborate melismatic passages (runs) have always been exciting to audiences. Therefore, you want them front and center, singing frequently, and drawing in the crowd. Those qualities endure into modern day, so while there are exceptions, high voices tend to be the leads with low voices representing their obstacles and middle voices (mezzo/baritone) filling out the older supporting cast. The trope might break one day in the centuries to come, but it is very powerful and a recurring joke among classical vocalists which presumably carries over into the world of musical theater.
You wanna know how much I love your videos? So much so that I've actually gone out of my way to watch the source material for this so I can then come back and watch this! I'm glad I did, because now I'mma follow Voctave AND I got to see another great video from you! 💙
Also add, "I'll have spent one day" because he didn't breathe between those words and the "note". AMAZING.
EJs note was actually 27 seconds 😲
Always a pleasure seeing your Voctave reactions! 👍
that ending, holy crap.
i play heavy brass and have an above-average capacity there, but i had to breathe halfway that final note... Mad respect
Same. Trombonist here, and while I can play a high note for over 30 seconds since it's a small embouchure and I can conserve my air, it took me 8 years, from high school into college, to learn that level of breath control. If you were to ask me to "belt" a low note, my lungs would be completely drained after 8 seconds. At least brass can circular breathe. I don't think that's possible with voice.
He knew he nailed it at the end! The look of confidence!!! He’s like BAM!!!
Welcome back from Vacation! This was the video I humbly requested! So awesome to see it!
I actually didn’t even put it in the poll I think because I knew I was going to do it this month anyways 😆
My brain does not have a card catalogue of Disney (or any) musical hero/villain pairing. But I think you're right. And I totally agree. I rewatched the original animated _Rudolph the Red=Nosed Reindeer_ as an adult, and not only was I angry that bullying Rudolph only stopped when he proved *useful* -- I was really angry that the Abominable Snowman was "made" good by *Having all his Teeth Pulled Out* ‼And ever since then, I've wanted a children's story with a good character with lots of teeth, and a really big, deep voice. Because (mini rant follows):
*It's not whether you **_have_** teeth, it's whether you **_use_** them to hurt other people* I want a big, "scary" character who proves their goodness by how they choose to use their teeth (and voice). We need that story, now more than ever (after the writers guild strike is over, of course).
Oh, and the Beast from _Beauty and the Beast_ is a baritone. But he doesn't get a hero's "I want" song that would fit in a medley like this.
P.S. Do Disney Channel spin-offs count? 'Cause I had a hunch that Flynn Rider, from _Tangled_ was a baritone. But I couldn't remember if he actually had a song of his own in the movie. So I searched "Flynn Rider Song" on RUclips and found one (1) song -- from the animated TV series "Rapunzel's Tangled Adventure." It's here: ruclips.net/video/7_mx-Biv0Cc/видео.html Still, one hero in nearly 80 years of musicals, and it's in a niche spin-off, underlines the point that we need *more* .
@Mortius
(Mortius Fist Pump)
YES! THIS was the reaction I was waiting for!
So... to address a couple things. First off, you asked why Disney doesn't do Bass Hero and Tenor or higher Villain? Someone else gave a good answer of the age of the hero versus the age of the villain in Disney stories. But there's another reason too. Disney stories tend to follow the archetype of David vs Goliath. David, the hero, is much smaller and lithe compared to Goliath, the villain, who is massively huge and super muscular. To show that difference musically, as you probably are aware, "David" usually has a higher register than "Goliath." I think that's a big reason why Disney's heroes and villains and, subsequently, the music for said heroes and villains are written a specific way.
Secondly, I 100% agree with you about "Be Prepared." The Lion King is my all-time favorite Disney Movie and I physically cringed when Kurt didn't employ any of Jeremy Irons' and Jim Cummings' slides. In my experience, singing straight, to the sheet music, without nuance tends to happen when someone "sings" a song, rather than "performs" a song. I first came to this realization with "Don't Cry For Me Argentina." I have the DVD of the Andrew Lloyd Webber Concert in Beijing and Elaine Paige, the original Eva Peron in Evita was part of the cast of that concert and she performed "Don't Cry For Me Argentina." I, then, later compared that to both her OST Version from when she first started out (I bought the OST) and Madonna's Version from the Movie. Elaine's Concert Version compared to those were night and day for me. Elaine performed the song in the concert with the experience of years of portraying that character on stage and singing that song night after night. Ever since then, I've been able to tell if someone is "performing" a song or just merely "singing" it. This is why "The Mob Song" and "Out There" are my two favorite songs of the this whole medley. Aaron Stratton actually played Gaston in the Disney Live Stage Show of Beauty and The Beast at Disney World and EJ Cardona was the voice of Quasimodo in the 5th Ave Theater's production of The Hunchback of Notre Dame out here in Seattle. They needed a voice because the physical actor for Quasimodo was deaf (he "spoke" all of his lines with Sign Language). So, yeah, Aaron and EJ have sung and performed those songs in Official Disney Capacity. And it shows.
Also, if I had to guess, EJ's build at the end of "Out There" probably comes from his stage background. Again, he was the voice of Quasimodo on stage and performing a song on stage in front of a live audience is different to performing it for a movie. A performer for a movie exists to help showcase the movie. A performer on stage exists to showcase themselves and their fellow cast mates. Moreover, a Stage Performer's primary job is to keep the live audience engaged. In a movie, that's the writers and animators' job. But on stage, it's all you baby. So being more deliberate with that swelling build is a good way to engage your live audience because they're waiting with baited breath for the resolution and EJ with that 19 second belt is the perfect resolution. It's peak Musical Theater, in my opinion.
Also also, that's Jamey Ray for you. Playing to his singers' strengths with his arrangements. It would not surprise me if Jamey wrote the ending the way he did because he actually watched EJ's performance on stage, remembered it, and was like, "That's how I'm ending this medley."
Since you love the transitions, I wanted to point out that Jamey (the Go The Distance soloist) is the one who arranges most of their covers and songs. He does such an amazing job with all of their songs, I’m looking forward to more of their music
10:48 I Agree!! The Tenor=Hero and Bass=Villain trope has been used for hundreds of years...as a tenor, I'd love the opportunity to be more villainous. I was also in Beauty and the Beast in college and I played LeFou. It was fun being a villain sidekick...but what an opportunity to be an actual villain as a tenor!
I was waiting for this one! It's gorgeous! I wish we could have full music videos from Voctave monthly or even quarterly. They are such a special group of artists! Have you reacted to their Trolley Song or Disney 90s TV medley? Those have more production on them like this one. And, yes, I'm ready for a baritone/bass Disney hero!!! PS--The only hero baritone bass I can think of is all the musical movies with Howard Keel--Seven Brides for Seven Brothers, Calamity Jane, Annie Get Your Gun, Kiss Me Kate, Show Boat, etc.
For a Disney property that has a tenor villain and a bass hero...I think the reason why you find so many tenor heroes and so many bass villains are because heroes tend to be younger characters (like kids, teens, young adults) and the villains tend to be older/more mature characters (like straight up adults/elderly). It's just kinda natural for younger males to sound more like tenors comparatively to older males.
With that said, I can honestly only think of two major Disney property where a protagonist's voice can be considered lower compared to an antagonist's voice and, I'll be honest, they're not even THE antagonist or THE protagonist and everything's a bit cheaty. The first one's Jungle Book and it's Baloo (who is a baritone/bass) and Kaa (who could be a tenor/baritone) or King Louie (who's definitely a tenor as you can hear him sing the higher octave in "I Wanna Be Like You" while Baloo sings the lower octave in the final chorus) and the second one's The Sword in The Stone where the lower singing voice comes from Merlin and the higher sounding voice belongs to Mad Madam Mim (which, again, is a bit cheaty since, like younger voices are naturally higher sounding than older voices, female voices tend to have a higher pitch to male voices).
Ooooooh, jungle book is a very good point! That is a rare example of what I was asking for 😄
@@officialmortius Another would be Tamatoa having a higher sounding voice than Maui in Moana. Though I guess you can argue Maui's villain/hero status. 😂
Shere Khan had the deepest voice of them all. Though he didn't have his own song, just a line at the end of "That's what friends are for"
@@ProfessionalBob I will give you a point there for you're not wrong. Jungle Book's just one of the few examples with at least one male antagonist who can sing tenor as well as a protagonist who can sing lower than the antagonist.
@@officialmortius Also, since it's the same voice, you can throw Thomas O'Malley from AristoCats and Little John from Robin Hood to your list of bari/bass protagonists (also, Prince John almost had a song in Robin Hood which you can find in anniversary/legacy albums which prove he's also a tenor!)
It's more baritone but the live action Beauty & the Beast had "Evermore" (which would still sound awesome with a bass singing it). I would also love to see the role reversal in musical parts.
It's actually somewhere around 25 seconds cause he doesn't take a breath between out there he just goes on.
The only example that I can think of that has a villian tenor and bass/baritone hero is the musical The Great Comet of 1812 (which is such a great musical, 10/10 would recommend). In the musical their is a character who I would classfiy as a villany character who is a tenor. And one of the main character who is the "hero" (put hero in quotes because they don't really do the most heroic things) is a bass or a baritone, I can't remember exactly. But honestly that's all that I can think of.
But anyway, this was great reaction!! This medley has been my obsession since it came out because it is just mind blowing and so pretty. Like I don't know how they found all of these talented singers, it is insane. And EJ, Oh my god that man has such great breath control, I am so jealous. He is just so talented and I am glad that VP introduced me to him/voctave. Thank you so much for the great reaction as always friend💜
Bass for protagonist, tenor for villain in musical? Sweeney Todd, Sweeney is Bass-baritone and while Judge Turpin is that too, his right-hand man the Beadle Bamford is a tenor. Beauty and the Beast too. Gaston is a tenor and because Menken added a song for Beast in the live action we got Dan Stevens singing who is a deep rich baritone (though darkened for the movie). So Beast officially got a low singing voice. I also add an opera: Porgy and Bess. Porgy a bass-baritone and Sporting Life a tenor.
For a bass hero: Lee Marvin singing Wand'ring Star in Paint the Wagon.
Edited Also Figaro low and Count Almaviva tenor.
Hans is a lanky tenor villain, but he doesn't really get a good iconic villain song (in the movie, at least. I think he gets one in the stage musical, at least a villainous reprise of one of his earlier numbers). A bass or baritone hero would be great, though!
As a bass singer I definitely agree we need a bass hero it gets old only being able to play villains because of my voice
Baloo is the hero all bass singers need.
I love that they slowed Facillie's part down it sounds so cool
E. J. holds the entire last sentence in one breath for about 27 seconds.
I believe these Disney scores use the Broadway musical structure....
Female lead (heroine): Soprano
Secondary leading lady: Alto
Male lead (hero): Tenor
Male "villian" Bass
There are many college theater curricula built around these ideas. Another great reaction.Thanks! ❤😊
I do hope you took the time to listen to Voices of America at Epcot. Several of the Voctave singers also sing in that group.
Great reaction! Yea please for a Baritone Disney Prince and Tenor Disney Villain! Stay cool!
It definitely should be doable, even within the broad theater of musical theaaer and Disney, to have a bass sound heroic and to have a tenor villainous. I can easily imagine that very heroic, strong bass sound that avoids the low nasal notes. And the high but weaselly and whiny sound a villainous tenor can make is even easier.
It's not Disney, but I've tried singing a number of Jean Val-Jean's songs as a baritone (generally down an octave), and they sound pretty good there.
Yes a bass hero and a countertenor villian!!
Specifically re EJ - I saw him singing this song live when he was in Seattle for Hunchback of Notre Dame. it's so much more powerful with the actual ASL as it was choreographed for that.
Imagine a Musical where both the hero and the villain have a crazy range and can go both high and low
Ooooooh even better! And imagine them dancing vocally around each other, each one going higher or lower to represent where they are emotionally or what they’re trying to do to each other
Jekyll and Hyde is technically both a hero and villain, but still no bass hero. The Scarlet Pimpernel doesn't have a bass villain (at least not the recording I heard), but it's not a tenor/bass combo either.
I actually made the Hans point at the end! He doesn’t sing a song AFTER his twist, so he doesn’t count for me, because he never sings a villain song as a tenor!
Love to see Pimpernel brought up! You're right that there's no bass antagonist. Made me think Javert is not a bass in Les Miserables either.
I’m 40 seconds in and already so hyped 🎉
Frollo isn't a bass, and Hellfire has some pretty good high notes in it! I also like that someone mentioned Evermore as well from the Beauty and the Beast musical.
It’s a good point that Frollo isn’t strictly bass, but Hellfire is still in a much lower register than Out There, so I still think it fits the trope more than it subverts it 😋
Hellfire is definitely a bass-baritone song. Frollo's lowest note is F2 and the highest is D4, which covers the basic range of any bass singer.
On the role reversal, I had the exact same thought! #tenorvillain #basshero
YAYH I AM VERY HAPPY YOU DID POSTED BECAUSE IT MAKES MY DAY EVEN MORE HAPPY AND ENGERY
The vocals behind EJ's sustained note are actually from the Hunchback soundtrack
Oxygen has left the chat
EJ should actually play Quasimodo. He'd be so incredible!!
Bass hero featuring Geoff Castellucci...😁
They definitely need to reverse the voice stereotype. IRL the guys I've met that were the creepiest weren't very deep voiced.
Sir, if those posts at the end are your thing, may I humbly recommend:
Tim Waurick - Bridge Over Troubled Water
Ringmasters - Notre Dame Medley (live)
After Hours - Butter Outta Cream or Nowhere to Go but Up
Signature - Dance With My Father
Didn't expect to see some Barbershop representation here but I'm all the happier for it. Another recommendation I'd add is Cruella de Vil by Vocal Spectrum. Or honestly just about anything Tim has done😂
I'd loooove for Mortius to react to NDM!!!
@pe8268 considering Tony, Drew, Karl, and Ashley are all pretty well-known 'shoppers, there's probably a few of us here. Personally, I think Mortius would absolutely love an After Hours or Westminster deep dive in addition to the Tim Tracks
Love me some Tim Waurick and Ringmasters!!!
Tenor=hero and Bass/Baritone=villain is something that seems to go a long way back. I can't think of an opera that doesn't have the hero as a tenor, for instance.
One Disney movie that comes to mind is Moana. Maui and Tamatoa (the crab) 😊
26 seconds!!!! EJ has a great diaphragm!!
I am truly flabbergasted.
Does Hans qualify as a tenor villain? He doesn’t get a proper villai song though, so we definitely still need.
Oh, you said this right at the end. Oops 🤷♀️
Re: the low-voice hero... Cinderella was definitely a contralto!
I love thomas sanders villain medley and I didnt know this one existed but I also didnt realize that they started similarly too, please react to that one too tho❤
As a bass myself it has always been supremely frustrating to only have my voice type represented in villains. The only example I can think of from a Disney musical with a heroic character having a low voice type is Luisa from Encanto. But of course that's still a woman...
That's definitely still soprano, it's just not Kate Lott-- this is a mood.
❤
27 seconds bro, 27 f***** seconds😱😱😱
Hey Mortius that sea background is awesome where can I find it? 💙
All of my backgrounds are from unsplash.com! I unfortunately don’t remember what exactly I searched to generate this one
I'm just going to throw out there that Kaa was a tenor and a villain. Not that I'm biased. And yes, obviously, Shere Khan was a DEEP bass, but....KAA WAS A TENOR AND A BAD GUY. :)
Oh! And Baloo was a good guy and kind of a low baritone! Ha! There ya go. Bare Necessities and Trust In Me.
And now I just figured out who you are. I knew you seemed familiar, but I didn't recognize you without the facial hair.
Ha! You’re about 2 years out of date with the facial hair, but I’m very happy you found me again! 😆😁
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Tem um vídeo do Ringmasters cantando Notre Dame que ele fica até mais tempo eu acho. Gostaria de te ver reagindo a isso ruclips.net/video/Qo_N9_ZFBhs/видео.html
2nd??
Third on my end, gotta get faster kid 🤪
Welcome back, glad you had a fantastic vacation.
Voctave have amazing voices, nice medley. Just not a fan.