Chris Cornell

Voice type: High Baritone
Total range: (F1-)B1-G♯5(-B5)
Sung range: D2-G5(-B5)
Best display of range: "Beyond the Wheel" (D2-F5)

Significant Low Notes:

B1 (Interview)
D2 ("Beyond the Wheel", "Head Injury", "Swallow My Pride", "Techno Ted" live)
E♭2 ("Entering")
E2 ("Swallow My Pride")
F2 ("Tears to Forget", "Sub Pop Rock City")
F♯2 ("Other Side of Town", "Big Dumb Sex")
G2 ("Time", "She Likes Surprises", "4th of July", "Beyond the Wheel" demo)
G♯2 ("Spoonman", "Beyond the Wheel" demo)
A2 ("The Keeper", "We Got the Whip", "Lies")

Significant high notes (Full):

G♯5 ("Cold Bitch")
G5 ("Say Hello 2 Heaven", "Face Pollution", "Reach Down", "Searching with My Good Eye Closed", "New Damage", "Power Trip", "Smokestack Lightning" live, "I Awake" live, "Fopp" live, "Communication Breakdown" live)
F♯5 ("Four Walled World", "Let Me Drown", "Holy Water", "Room a Thousand Years Wide", "Communication Breakdown" live)
F5 ("Gun", "Spoonman", "Slaves and Bulldozers", "Beyond the Wheel", "Fopp", "Birth Ritual", "Outshined", "New Damage", "Black Rain", "Jesus Christ Pose", "Thank You (Falletin Me Be Mice Elf Agin)")
E5 ("Say Hello 2 Heaven", "Hunger Strike", "Loud Love", "Call Me a Dog", "Reach Down", "New Damage", "Heretic", "Mind Riot", "Mission", "Entering", "Come Together")
E♭5 ("I Awake", "4th of July", "Whole Lotta Love", "Right Turn")
D5 ("The Day I Tried to Live", "Face Pollution", "What You Are", "Slaves and Bulldozers", "Power Trip", "Room a Thousand Years Wide", "Hands All Over", "Birth Ritual", "Blind Dogs", "Jesus Christ Pose", "Follow My Way", "Light My Way" demo)

Significant high notes (Falsetto):

B5 ("Incessant Mace")
A5 ("Cold Bitch", "Full on Kevin's Mom", "Smokestack Lightning", "Face Pollution")
G♯5 ("Heretic")
G5 ("Face Pollution")

Wonder if he has a full G#5 hmmm

What about his C♯2?

http://www.youtube.com/watch?v=1bWycYbPu2s&feature=related

Where does this scream top? Starting at 4:00

Curiosity wrote:http://www.youtube.com/watch?v=1bWycYbPu2s&feature=related

Where does this scream top? Starting at 4:00

Sounds like an F#5.

Thanks. I've never heard him go over G5 live, but he gets a solid A in "Cold Bitch".

So Cornell's G#1...

Who's buying it?

I don't want to, but I need a reason not to first

Well, since Cornell is my favourite singer, I want to believe it, but I can't. His D2's weren't that solid to my ears, there's nothing between D2-G#1 in his catalogue to suggest he can go that low, his speaking voice isn't particularly deep, and the G#1 itself was very short and sounded like convincing fry to me.

But I don't know...

That's right - in my mind either the G#1 is fry or the whole passage is processed. I seriously doubt it's processed - but if he could hit G#1 in full there's absolutely no way he'd chicken out on D2s live.

http://www.zshare.net/audio/78933621292d9aa5/

And it just seems so weird that he'd randomly hit it before the D2. Grrr

It sounds convincing for a fry note, that's for sure. Still, I absolutely refuse to believe it's full. It sounds very growly/"groany".

That clip on repeat is pretty disturbing.

It's definitely a tough call

I'm going to say it's not legit until we find something to bridge the D2-G#1 gap...

Curiosity wrote:I'm going to say it's not legit until we find something to bridge the D2-G#1 gap...

I think there were C♯2s in "Entering", or the demo of it...but with regard to the "G♯1" clip itself, I'm not sure I even hear it after all. I sorta hear a short slide down at the end of "there", but it doesn't sound as low as G♯1. I tried singing along with it and seemed to be able to hit all the notes (though I know that strategy has been proving faulty in the past)...

Entering was an E2/D2

Also the G#1 is there