The QAL 2014 repertoire ITLOTG

[cassie]

This thread is created to discuss the songs of QAL 2014: Their style, range, key, interpretation, vocal characteristics, whatever. Do you have a favorite version from the tour? If so, please post it here with a YT if you can find it. You could also comment on why it is your favorite.

Thanks in advance.

ETA: At the recommendation of nica, I am gonna have a separate thread for each number so you can easily find the one you want to discuss. You also don't have to wait until we reach that point in the concert in our discussions. Hope that works!

ETA 2" Still trying to figure out how to keep the threads in the order they appeared in the show. That requires more computer geekdom than I possess. Working on it.

[jerelyn]

OK... I'll start... I love ITLOTG_Revisited when I first heard it in Chicago although at that time, I have no idea what he was singing about since I'm not familiar with majority of the Queen songs.  However, because it bacame one of my favorites, I've noticed some variations that I came to a conclusion that the Chicago version is my favorite version. This is not a criticism... just an observation for an "untrained" ear (me) that I've noticed. The Chicago version seemed more controlled (sustained) and the transition smoother... I hope you understand what I'm taking about with the samples below. 

ITLOTG_R

Vocally, for me the best version is in Chicago... I'm not a voice expert but the other versions and this is very minor but I've noticed it from the rest of the same song from other venues. The "inflictions" or "hitch" I've noticed (taking a breath??? or transitioning from head to chest voice??? ) which I did not notice in Chicago... 

Chicago: parts where he sings "Believe meee" or "funny" .... more sustained and smoother compared to other versions. Hope I make sense, cassie... 


LA Forum:
Notice at 1:52 "Believe me....." The end "meeee" had an infliction that I've noticed not just in LA but in other venues, too. Is it artistic choice? I just prefer the smoothness I heard in the Chicago version.


Toronto 2
At 0:52... "It's so funnyyyyy" there is catch or hitch (taking  a breath?) .. at the end of funny...


Thanks, cassie

[cassie]

Thanks for starting us off! And what a great one to start with. I was at Chicago also, and I had never heard this song before. When the first notes floated across the arena with that crystalline head voice "easy" and "risky" they seemed unearthly.

I know what you are talking about with that little "hitch" or "hiccup" on "funny" and "believe me". It is stylistic. Makes it sound less formal and more pop-y and edgy, IMO. Overall, I think Adam started out in Chicago singing this more legato (smooth), and as time went on, made it more staccato (percussive and jerky). I hadn't heard Chicago in a while. I do think I prefer the purity of that voice.

Music theory, analysis: It is in the key of D major. The range is from A3 on the bottom to a B4 on the top. Not a big range for Adam's voice. The fun of it is those big octave+ jumps from his low register in chest to that ringing head voice register. "(Low register chest) It's so  (shift to head voice) easy (shift back to low chest voice) but I can't do it. It's so (shift to head voice) risky (and quickly back down again) but I have to chance it." Notice how seamless it sounds? No obvious change in the ring or resonance of the voice from bottom to top. It sounds the same. Those big jumps are difficult for two reasons. The first is that they require Adam to shift between chest and head voice rapidly and seamlessly. Secondly, he has to make the jump without any notes leading up to it in the phrase. It is easier to "walk up" or "walk down" the scale than to jump low to high to low.

Then when he sings "It's so FUNNY!" he is doing an octave jump from A3 to A4, but he keeps it all in his chest voice, so that the top has lots of power and oomph. Prevents it from getting too syrup-y sweet for a rock song.

Another tricky little bit is the musical phrase "there's nothing to laugh about" and "life goes on and on and on". There are quick half step note changes that sound almost classical. It is difficult to hit those little changes accurately without overshooting the notes.

I would say that his classical and opera training hold him in good stead in this number.

That's my take. Everyone, it's your turn to chime in. Comments? Questions? Alternate versions?

[cassie]

Jul 31, 2014 23:46:52 GMT -5 butterknife said:

Great analysis, Cassie.


<STL analysis. Don't want to repeat.>


(ooops..sorry. Should I do ITLOG instead?)

This is wonderful! But, in the interest of trying to keep some order to this thread, I am gonna put your post on hold for the moment and come back to it in order.

Yes, please also comment on ITLOTG. Thanks!

[vaiouser]

"In The Lap Of The Gods (Revisited)"

It's so easy, but I can't do it
So risky - But I gotta chance it
It's so funny, there's nothing to laugh about
My money, that's all you wanna talk about
I can see what you want me to be
But I'm no fool

It's in the lap of the Gods
I can see what you want me to be
But I'm no fool

No beginning, there's no ending
There's no meaning in my pretending
Believe me, life goes on and on and on
Forgive me when I ask you where do I belong
You say I can't set you free from me
But that's not true

It's in the lap of the Gods
I can see what you want me to be
But I'm no fool
It's in the lap of the Gods
Wo wo la la la wo
Wo wo la la
Wah wah ooh
But that's not true

Cassie... the first time I heard Adam sang this song, I was tearing up. I'm not even familiar with this song but because of his enunciation I can actually understand what he is singing about. "So risky - But I gotta chance it" ... like he was singing this about his journey with Queen. Such a powerful performance and very convincing. Thanks to you I was able to visualize the color he paints by using his head voice and chest voice. Ohhhhh.... so beautiful. My favorite is the Chicago version, too.

"I can see what you want me to be
.... But I'm no fool" .... oh, don't you just love this line? Adam, you are no fool. 

I always look forward to this part of the concert. I actually like all ITLOTG_R performances but Chicago was so powerful for me because I was there and he made me fall in love with this song.... just like STL in Kiev (but will discuss it when we get to that   ).

Thank you, cassie for opening this thread.... 

[annala]

"In the Lap of the Gods...Revisited" - I was not familiar with that song, but yes, this one really caught me at the San Jose concert. There is something so lyrical about it, especially when Adam's voice soars above the undercurrent of the low chorus ("wo, wo, lah, lah, lah"). It seems that a lot of Queen fans knew this song and were joining in - it was a beautiful moment that just enveloped me. When I went to the LA Forum concert, and I knew what was coming and was then able to also join in the chorus.

I'm a technically-challenged klutz, but there is a youtube version of the San Jose performance with just "In the Lap of the Gods...Revisited". Maybe someone can bring it over.

[red panda]

Lost my post :(  

Synopsis:

Thank you jerelyn (superb video gathering, made for a great morning for me, thanks for taking the time) and cassie.  I LOVE this song.  Love Adam singing it.  Appreciate the explanation of the techniques and the notes and the head/chest voice.  All fascinating to me.  And the explanation of the "hitch," which I thought of as a "yip."  Prefer it without.  

Freddie singing ITLOTG at Wembley:



Love this thread, thanks for enhancing my appreciation and satiating my endless curiosity about the underpinnings of Adam's ability to move me.  I think this may be my favorite song from the tour, especially as I was not familiar with it.  I love any song in which I can recognize bits of opera training (I think?!) as I have always wanted to see Adam address how his opera training informs (if at all) his approach to a song, any song.

From Wikipedia:

"In the Lap of the Gods"
"In the Lap of the Gods" is, according to Mercury himself, the direct prelude to "Bohemian Rhapsody" and the A Night at the Opera album in general. It is built in three parts: the introduction, which contains fast piano arpeggios, very high-toned falsettos by Taylor plus vocals harmonies, the second part which is a slow love song, featuring slowed-down vocals by Mercury, and the third part, based on vocals harmonies singing "leave it in the lap of the gods", with more falsettos by Taylor. Those high notes were thought to be made using synthesisers, and to prove they were not, Taylor would reproduce them in live performance every night. Throughout the entire song, wind effects can be heard.

[jerelyn]

Aug 1, 2014 10:29:58 GMT -5 annala said:

"In the Lap of the Gods...Revisited" -

I'm a technically-challenged klutz, but there is a youtube version of the San Jose performance with just "In the Lap of the Gods...Revisited". Maybe someone can bring it over.

Here you go..
In the Lap of the Gods... Revisited - Queen with Adam Lambert
Tammy Tran

[nannygoat]

I think Adam gets bored easily and just likes to change everything up. Look what he does when he does his vocal jams. He is singing this song so many times live on stage that he probably likes to experiment with different sounds. And that is what makes live music so much more exciting than listening to a recording. I love the change ups and really have no preference. I do think that if you are going to compare, it is easier if you don't watch the video-just listen. Seeing the expressions and stage movements really affects my impression of the audio.

[red panda]

nannygoat wrote:

I think Adam gets bored easily and just likes to change everything up. Look what he does when he does his vocal jams. He is singing this song so many times live on stage that he probably likes to experiment with different sounds.

Good point.   I also think that versatility of approach speaks to the range of his abilities.  He plays and changes because he can, and he can because he is so talented and well versed.  Nice circle for us.