Chords for Pavarotti- The Tenor Voice- If I were Only a Tenor!
Tempo:
61.65 bpm
Chords used:
Ab
Gb
B
Bb
Eb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
If [B] you asked any member of the viewing audience, name me some famous singers, if they could
name five, they would all be sopranos and tenors.
Tenors are singing an octave higher than everybody [Bb] else.
There is a thrill for the audience.
They're staying in that upper octave almost all the time.
The tenor voice is more exciting because it's more endangered, and you realize that it's more endangered.
And it's just that greater risk that makes the tenor much more exciting than a baritone.
It is more thrilling than an A-flat for a baritone, even though it's the same principle,
but down that minor third, major third, whatever.
You get to sing all the good stuff.
You get all the girls on stage, and you get all the money.
[F] [B] [C] [Bb]
[Eb] [Bb]
[F] [Bb] [E]
[F] [Bb]
[N] [B]
[Am] It seems that [Gb] every age falls for a tenor and falls hard.
[C] The [Gb] great Caruso reigned supreme at the start of [Em] the century.
For [Ebm] decades, he was idolized by an enormous [Gb] public.
[Db] John McCormack included popular [Fm] ballads in his repertoire and was by every measure a
superstar in his own right.
[Bb] He certainly lived like one, collecting vintage Rolls Royces, a string of [G] Mansions, even Stradivarius
and Guarneri violins.
I'm more idealistic.
[E] I'm [Fm] interested in other things.
[Am]
Mario Lanza was the first opera singer to sell [Gb] over a million records in a single year.
He became a full-fledged matinee idol.
[D] [Bm] [Em]
[Am] That's the distinctive feature, the signature [E] of the Pavarotti sound.
We [N] hear just a glimpse of his sound, and we say, that's the kind of Pavarotti.
We know that because of that signature sound.
Those overtones, and if I were to look in the laboratory, that would be around 3,000
[Gb] cycles per second.
Those overtones [B] in the 3,000 cycles per second area, this is what we call the tenor's ring.
[D] What we're seeing with Caruso is the [E] particular voice print that he has with acoustic energy
[Eb] around 2,500 hertz.
It's [Gb] low for a tenor.
What you find quite interesting is that he has a lot of energy through here.
Any energy that is 2,500 hertz and higher is [N] particular to the human voice.
You don't get that from an instrument in the orchestra.
This is all money.
[Dbm] [Bm]
[B] [Gb] You can still see the orchestra here, and you can still see [B] Pavarotti here.
What you can see is the main [Db] difference between Caruso, who's now in the purple, and [Em] Pavarotti,
who's now in the yellow, is that Pavarotti has two peaks, [D] where Caruso just has one.
So Pavarotti has more of a lyric tenor type of ring, and Caruso, with a [E] dramatic tenor,
has a slightly lower singer's format.
When the tenor makes it, the excitement of this tightrope walking is undeniable.
The person who is singing on the stage with success, it was a boy, then he was singing
in front of the mirror to [Ab] say to himself, you are good, you can go there.
If no doubt, in this example, a little exhibitionism around that.
A little.
Sometimes not a little.
A little more.
[Bbm] [Eb] [Ab]
[Bbm] [Ab]
[Eb] [Ab] [D]
[Ab] [Eb]
[Ab] [Dbm]
[Ab] [Eb]
[Ab] [N]
name five, they would all be sopranos and tenors.
Tenors are singing an octave higher than everybody [Bb] else.
There is a thrill for the audience.
They're staying in that upper octave almost all the time.
The tenor voice is more exciting because it's more endangered, and you realize that it's more endangered.
And it's just that greater risk that makes the tenor much more exciting than a baritone.
It is more thrilling than an A-flat for a baritone, even though it's the same principle,
but down that minor third, major third, whatever.
You get to sing all the good stuff.
You get all the girls on stage, and you get all the money.
[F] [B] [C] [Bb]
[Eb] [Bb]
[F] [Bb] [E]
[F] [Bb]
[N] [B]
[Am] It seems that [Gb] every age falls for a tenor and falls hard.
[C] The [Gb] great Caruso reigned supreme at the start of [Em] the century.
For [Ebm] decades, he was idolized by an enormous [Gb] public.
[Db] John McCormack included popular [Fm] ballads in his repertoire and was by every measure a
superstar in his own right.
[Bb] He certainly lived like one, collecting vintage Rolls Royces, a string of [G] Mansions, even Stradivarius
and Guarneri violins.
I'm more idealistic.
[E] I'm [Fm] interested in other things.
[Am]
Mario Lanza was the first opera singer to sell [Gb] over a million records in a single year.
He became a full-fledged matinee idol.
[D] [Bm] [Em]
[Am] That's the distinctive feature, the signature [E] of the Pavarotti sound.
We [N] hear just a glimpse of his sound, and we say, that's the kind of Pavarotti.
We know that because of that signature sound.
Those overtones, and if I were to look in the laboratory, that would be around 3,000
[Gb] cycles per second.
Those overtones [B] in the 3,000 cycles per second area, this is what we call the tenor's ring.
[D] What we're seeing with Caruso is the [E] particular voice print that he has with acoustic energy
[Eb] around 2,500 hertz.
It's [Gb] low for a tenor.
What you find quite interesting is that he has a lot of energy through here.
Any energy that is 2,500 hertz and higher is [N] particular to the human voice.
You don't get that from an instrument in the orchestra.
This is all money.
[Dbm] [Bm]
[B] [Gb] You can still see the orchestra here, and you can still see [B] Pavarotti here.
What you can see is the main [Db] difference between Caruso, who's now in the purple, and [Em] Pavarotti,
who's now in the yellow, is that Pavarotti has two peaks, [D] where Caruso just has one.
So Pavarotti has more of a lyric tenor type of ring, and Caruso, with a [E] dramatic tenor,
has a slightly lower singer's format.
When the tenor makes it, the excitement of this tightrope walking is undeniable.
The person who is singing on the stage with success, it was a boy, then he was singing
in front of the mirror to [Ab] say to himself, you are good, you can go there.
If no doubt, in this example, a little exhibitionism around that.
A little.
Sometimes not a little.
A little more.
[Bbm] [Eb] [Ab]
[Bbm] [Ab]
[Eb] [Ab] [D]
[Ab] [Eb]
[Ab] [Dbm]
[Ab] [Eb]
[Ab] [N]
Key:
Ab
Gb
B
Bb
Eb
Ab
Gb
B
_ If [B] you asked any member of the viewing audience, name me some famous singers, if they could
name five, they would all be sopranos and tenors.
Tenors are singing an octave higher than everybody [Bb] else.
There is a thrill for the audience.
They're staying in that upper octave almost all the time.
The tenor voice is more exciting because it's more endangered, and you realize that it's more endangered.
And it's just that greater risk that makes the tenor much more exciting than a baritone.
It is more thrilling than an A-flat for a baritone, even though it's the same principle,
but down that minor third, major third, whatever.
You get to sing all the good stuff.
You get all the girls on stage, and you get all the money. _
_ _ _ _ _ _ _ _
_ [F] _ _ [B] _ [C] _ _ [Bb] _ _
[Eb] _ _ _ _ [Bb] _ _ _ _
_ [F] _ _ [Bb] _ _ _ _ [E] _
_ _ _ _ [F] _ _ _ [Bb] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [N] _ _ _ _ _ _ [B] _
_ _ [Am] _ _ _ _ It seems that [Gb] every age falls for a tenor and falls hard.
[C] The [Gb] great Caruso reigned supreme at the start of [Em] the century.
For [Ebm] decades, he was idolized by an enormous [Gb] public. _ _ _ _
[Db] John McCormack included popular [Fm] ballads in his repertoire and was by every measure a
superstar in his own right. _
[Bb] _ He certainly lived like one, collecting vintage Rolls Royces, a string of [G] Mansions, even Stradivarius
and Guarneri violins.
I'm more idealistic.
[E] I'm [Fm] interested in other things.
[Am] _
Mario Lanza was the first opera singer to sell [Gb] over a million records in a single year.
He became a full-fledged matinee idol.
[D] _ _ _ [Bm] _ _ _ _ [Em] _
_ [Am] That's the distinctive feature, the signature [E] of the Pavarotti sound.
We [N] hear just a glimpse of his sound, and we say, that's the kind of Pavarotti.
We know that because of that signature sound.
Those overtones, and if I were to look in the laboratory, that would be around 3,000
[Gb] cycles per second.
Those overtones [B] in the 3,000 cycles per second area, this is what we call the tenor's ring. _ _
_ _ [D] What we're seeing with Caruso is the [E] particular voice print that he has with acoustic energy
[Eb] around 2,500 hertz.
It's [Gb] low for a tenor.
What you find quite interesting is that he has a lot of energy through here.
Any energy that is 2,500 hertz and higher is [N] particular to the human voice.
You don't get that from an instrument in the orchestra.
This is all money.
[Dbm] _ _ [Bm] _ _ _ _ _ _
_ _ _ [B] _ _ _ [Gb] You can still see the orchestra here, and you can still see [B] Pavarotti here.
What you can see is the main [Db] difference between Caruso, who's now in the purple, and [Em] Pavarotti,
who's now in the yellow, is that Pavarotti has two peaks, [D] where Caruso just has one.
So Pavarotti has more of a lyric tenor type of ring, and Caruso, with a [E] dramatic tenor,
has a slightly lower singer's format.
When the tenor makes it, the excitement of this tightrope walking is undeniable.
The person who is singing on the stage with success, it was a boy, then he was singing
in front of the mirror to [Ab] say to himself, you are good, you can go there.
If no doubt, in this example, a little exhibitionism around that.
A little.
Sometimes not a little.
A little more.
_ _ _ [Bbm] _ _ [Eb] _ _ _ _ [Ab] _ _ _ _
_ _ _ [Bbm] _ _ _ [Ab] _ _
[Eb] _ _ [Ab] _ _ [D] _ _ _ _
[Ab] _ _ _ [Eb] _ _ _ _ _
_ _ [Ab] _ _ _ [Dbm] _ _ _
_ [Ab] _ _ [Eb] _ _ _ _ _
_ _ [Ab] _ _ _ _ [N] _ _
name five, they would all be sopranos and tenors.
Tenors are singing an octave higher than everybody [Bb] else.
There is a thrill for the audience.
They're staying in that upper octave almost all the time.
The tenor voice is more exciting because it's more endangered, and you realize that it's more endangered.
And it's just that greater risk that makes the tenor much more exciting than a baritone.
It is more thrilling than an A-flat for a baritone, even though it's the same principle,
but down that minor third, major third, whatever.
You get to sing all the good stuff.
You get all the girls on stage, and you get all the money. _
_ _ _ _ _ _ _ _
_ [F] _ _ [B] _ [C] _ _ [Bb] _ _
[Eb] _ _ _ _ [Bb] _ _ _ _
_ [F] _ _ [Bb] _ _ _ _ [E] _
_ _ _ _ [F] _ _ _ [Bb] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [N] _ _ _ _ _ _ [B] _
_ _ [Am] _ _ _ _ It seems that [Gb] every age falls for a tenor and falls hard.
[C] The [Gb] great Caruso reigned supreme at the start of [Em] the century.
For [Ebm] decades, he was idolized by an enormous [Gb] public. _ _ _ _
[Db] John McCormack included popular [Fm] ballads in his repertoire and was by every measure a
superstar in his own right. _
[Bb] _ He certainly lived like one, collecting vintage Rolls Royces, a string of [G] Mansions, even Stradivarius
and Guarneri violins.
I'm more idealistic.
[E] I'm [Fm] interested in other things.
[Am] _
Mario Lanza was the first opera singer to sell [Gb] over a million records in a single year.
He became a full-fledged matinee idol.
[D] _ _ _ [Bm] _ _ _ _ [Em] _
_ [Am] That's the distinctive feature, the signature [E] of the Pavarotti sound.
We [N] hear just a glimpse of his sound, and we say, that's the kind of Pavarotti.
We know that because of that signature sound.
Those overtones, and if I were to look in the laboratory, that would be around 3,000
[Gb] cycles per second.
Those overtones [B] in the 3,000 cycles per second area, this is what we call the tenor's ring. _ _
_ _ [D] What we're seeing with Caruso is the [E] particular voice print that he has with acoustic energy
[Eb] around 2,500 hertz.
It's [Gb] low for a tenor.
What you find quite interesting is that he has a lot of energy through here.
Any energy that is 2,500 hertz and higher is [N] particular to the human voice.
You don't get that from an instrument in the orchestra.
This is all money.
[Dbm] _ _ [Bm] _ _ _ _ _ _
_ _ _ [B] _ _ _ [Gb] You can still see the orchestra here, and you can still see [B] Pavarotti here.
What you can see is the main [Db] difference between Caruso, who's now in the purple, and [Em] Pavarotti,
who's now in the yellow, is that Pavarotti has two peaks, [D] where Caruso just has one.
So Pavarotti has more of a lyric tenor type of ring, and Caruso, with a [E] dramatic tenor,
has a slightly lower singer's format.
When the tenor makes it, the excitement of this tightrope walking is undeniable.
The person who is singing on the stage with success, it was a boy, then he was singing
in front of the mirror to [Ab] say to himself, you are good, you can go there.
If no doubt, in this example, a little exhibitionism around that.
A little.
Sometimes not a little.
A little more.
_ _ _ [Bbm] _ _ [Eb] _ _ _ _ [Ab] _ _ _ _
_ _ _ [Bbm] _ _ _ [Ab] _ _
[Eb] _ _ [Ab] _ _ [D] _ _ _ _
[Ab] _ _ _ [Eb] _ _ _ _ _
_ _ [Ab] _ _ _ [Dbm] _ _ _
_ [Ab] _ _ [Eb] _ _ _ _ _
_ _ [Ab] _ _ _ _ [N] _ _