David Coverdale

Voice type: Baritone
Vocal range: (E1-)B1-G5(-G♯6)
Best display of range: "Slave" (C2-C5), "Feeling Hot" (F♯2-F♯5)

Significant high notes:

• G5 ("Sailing Ships")
  
• F♯5 ("Don't Leave Me This Way", "Feeling Hot", "Slip of the Tongue", "Still of the Night" live in London 2006, "Whisper a Prayer for the Dying")
  
• F5 ("Slip of the Tongue")
  
• E5 ("Sailing Ships", "The Last Note of Freedom", "Still of the Night", "Crying in the Rain" live)
  
• D5 ("Children of the Night", "Comin' Home", "Love Child", "Sailing Ships", "Still of the Night", "Walking in the Shadow of the Blues")
  
• C♯5 ("Comin' Home", "Need Your Love So Bad", "Ready to Rock", "Restless Heart", "Still of the Night")
  
• C5 ("Burn", "Children of the Night", "Slave")
  

Significant low notes:

• B1 ("For the Love of God")
  
• C2 ("Slave", The Making of Slip of the Tongue (1:12))
  
• F♯2 ("Feeling Hot", "Forevermore", "Restless Heart", "Mistreated")
  
• G2 ("Feeling Hot")
  
• A2 ("Need Your Love So Bad", "Too Many Tears")
  
• B♭2 ("Still of the Night" live in London '06)
  

Are his A5's full?

Curiosity wrote:Are his A5's full?

Probably not; we've never quite gotten around to Michael Kiskeing him, though.

Timitzii wrote:Where is this G#6 located?

Some rare early recording; ask Ray.

F#2s on new Whitesnake tune "Forevermore", which is fantastic btw.

So Ray and I reexamined Coverdale's A1 (on the word "pagan AND christian"), and though it's too short for Ray to be sure, I believe it. What's more is that I think the note on "chrisTIAN" sounds like fryish-sounding full voice too...but it's turning out to be one hell of a bitchy note. At first, I was just hearing it as a G♯1. Then, I thought I might be hearing it touch on G1. Then, I heard something around F♯1. Though this is cutting it down to mili-second long notes, I think I might be starting to hear like a REALLY short E1 sliding up to F♯1 or something. I dunno, but whatever it is, I'm hearing it as full voice...

Can't say I'm the biggest fan of cutting down notes etc. I think that clip is so short that it's impossible to even tell what the register is.

Curiosity wrote:Can't say I'm the biggest fan of cutting down notes etc. I think that clip is so short that it's impossible to even tell what the register is.

I don't like using it to showcase a singer's range any more than I like resorting to including interview clips, but sometimes it just so happens that that's the only place where such notes can be heard by them. It's far from an ideal presentation of range, but it doesn't mean that the notes aren't there.
As for determining the register of this note, try listening to it in context, and maybe that will help. I feel like if I were to clip McCartney's A1 before we knew about it, I'd get the same answer. I'd actually liken this note to that A1 in the sense that both are relatively short and have a fryish timbre, but sound full nonetheless. As for the pitch of this note...I shudder to say it, and I'm even more reluctant because of how short the note is, but I went ahead and clipped it down, and found an F1 in there. Still doesn't sound like fry to me...but it's a freaking F1...I dunno. From the sound of it, most of you lot aren't even gonna count something as short as this, so I'm probably wasting my time by posting this. Meh.

Started editing the significant high notes for this guy at long last; feel free to throw your own contributions out there. Where was his full E5?

Maxim wrote:Started editing the significant high notes for this guy at long last; feel free to throw your own contributions out there. Where was his full E5?

Can't find it anymore... I think it was some bootleg with Steve Vai on guitar, and the song was Crying In The Rain. He finished with "Crying... in the... RAHHHHHHHHHHHHHHHIIIIIIIIINNNNNNNNNNN" on a raspy E5.

I am ever so eagerly anticipating the full F5 you have to back up that statement

Even Slip of the Tongue You are dead to me