Brendon Urie Vocal Range And Profile

Vocal Type: Full-Lyric Tenor/Spinto Tenor

Vocal Range: C#2-G#5-D6. 4 Octaves and a semitone.

Grade: Star

Vocal Positives: Brendon Urie is a stunning technical singer that has trained his instrument avidly into one of the best, if not the best, in the industry. He is mostly known for his widely expansive vocal range which spans more than four octaves (a rare feature for a man). His huge control over his voice, along with superb breath support and outstanding sense of musicality mean that anything Urie does with his voice, he always sound comfortable doing it. Not clumsy nor forced, every pitch and note in his range sounds well supported, excellently produced and projected, yet strain-free [see here]. Consummated live singer, he is able to replicate his studio songs in a live setting perfectly.

Also a unique, recognizable vocal tone and character that only Brendon Urie has, and that is impossible to mistake with one another. A tone that, despite its unicity, sound extremely pleasant most of the time, with a warm, creamy natural quality [The Ballad Of Mona Lisa - reflects the most the natural quality of his speaking tone]. A quality that is not often shown due to the fact (as we will see few paragraphs under) he is sort of a vocal chameleon.

Dexterous and athletic, Brendon Urie has a well developed agility, an agility that seems to come more and more natural and effortless especially in the mid-range and in the upper registers, as well as the head voice (mostly because of the smaller size of his voice in those areas). He does not overuse those techniques, mainly due to the fact that vocal drives are not so frequently used in rock music. However, especially in the latest albums, he has shown the ability to sing complex melisma [Hallelujah live acoustic in his bedroom], vocal runs that can be simpler [Casual Affair live 2014] or quicker and larger [Hey Look Ma, I Made It live on The Voice in late 2018 & Death Of A Bachelor]. Vocal stamina and superlative breath control are two noticeable features, as well. His voice seems to be widely resistant to fatigue for periods [especially on tour] and his incredible lungs capacity makes so easy for him to sustain notes for very long periods of time without wavering in pitch, tone or stability [I Write Sins Not Tragedies], with or without the use of his distinctive, developed vibrato. A vibrato that is predominantly quick and narrow (he has admitted himself he have been inspired for that by Gwen Stefani at a very young age), but that can be modulated [see here].

Brendon Urie can switch from a part to another (and from a register to another) of his voice very quickly and evenly [I Believe In A Thing Called Love] and can sing solid staccato lines [see in Miss Jackson live at The Buzz, where he repeats the same word-line in the chorus several times always maintaining syllables detached to each other]. All that doesn’t make anything else but confirming his huge ease, control and dexterity.

Brendon Urie lower range is surprisingly expansive and solid for a tenor. It can span down in the bottom half of the second octave with ease and comfort, even if he sound the most comfortable between F#2 and C3. At the lower extremities (notes as low as C#2 or D2) are used the most in harmonization with a dark, direct tone [This Is Halloween]. Those notes can also delivered fully, with a thicker, frying quality at it [Nicotine] [live 2008]. Thanks to great understanding of his own voice and the uniformity of his range, as well as his ability to manipulate the tone and the quality of voice, all make a sense of connection and cracks-absence between the lower range (even though the mid-range brightens significantly most of the times).

Mid-range, from the lower third octave to the lower fourth one, is where Urie’s chameleon-like skills truly blossom. His ability and talent to edit, change and modulate every characteristic of his own voice (especially in this area, but not only) his known and can be seen in most of his material. Notes can be delivered with a deep, thick and flattened tone that is more soulful via the usage of well execute growls [Big Shot live Tribute in 2013], one that is slightly lighter but punchy, sassy and with a rock edge [Victorious], one that is full, creamy and rounded (and more reflection of his speaking voice) [L.A. Devotee] or one that is brighter and lighter in texture [Dying In LA]. Whatever the quality he chooses off, is always present a great lyric edge, with an enormous ability to carry the emotion and the attitude of the song excellently.

The belting range is powerful, resonant and very expansive, starting as low as F4 (or even lower) and ending up to an impressive G#5/A5 by mixing the chest and the head voice [Dream On, Casual Affair]. The lower belts, from E4/F4 to A4, are mostly delivered with a cumbersome, weighty tone at it [see here], while the mid-belts (Bb4 to C#5) sound more natural, with a brighter, incisive and more “open” sound [I Write Sins Not Tragedies] ad are the most resonant. Upper than this, belts can have a sort of “duality”: they can be sung as the mid ones, with a light, bright tone that - mixing with head voice - gets thinner and more metallic resulting in a (almost) flawless mix [Casual Affair, Dream On, Don’t Stop Believin’], or “pulling” up a little (never too much) his chest voice to add a rocky, throaty and punchy edge [Hurricane].

Brendon Urie has an enormous command and confidence over head voice, and uses it way more than other male singers, which usually prefer to sing in falsetto. Brendon too has shown the ability to sing in a light, emotional and airy falsetto [Camisado], but it is not used as much as head voice. The head voice itself is bright, rounded and clean with a full tone [Bohemian Rhapsody live]. It can also be lighter or raspier. This register, with its superb technique and confidence can span up to a ringing D6 [see here].

Overall, Brendon Urie is a stunning, multifaceted and breathtaking singer which has amazing control over his instrument and great sense of technique and musicality.

Vocal Negatives: Smoking vice, huge fatigue and occasional use of high larynx can make his upper belting voice a little throaty, unsupported and pulled, but this is a minor and infrequent issue.

Recaps
Brendon is an exceptional vocalist, and one of the best male singers ever along with the legendary Freddie Mercury, Brian McKnight and Michael Jackson (in my opinion Brendon is even slightly better than MJ IN TERMS OF VOCAL SKILLS ONLY)

• What Brendon has extremly well/very well developed? - Wide and connected range, solid and deep lower notes, versatile in every part of his voice, wide supported range (F#2-F#5-B5/C6), good agility, amazing tone, huge control and command over every note of the range, good falsetto and well trained head voice. Great usage of growls, dynamics and vocal drives. Unique, developed vibrato. Powerful and extensive belting range.
• What Brendon has decent/good but could improve? - Consistency of the upper belts can use some work.
• What Brendon has of very bad and/or underdeveloped? - Nothing.

Additional Notes

• Vocal Fatch. I have put, in the section "vocal type", both Lyric Tenor and Spinto Tenor. This is because i don't know how to categorize Brendon's vocal type. I mean, he probably can be both at the same time. His mix, belting range range has a metallic quality and his mid to lower range is too developed, rich and deep for a full lyric voice. However, some of his belts (especially the mid ones), his easy agility and the quality of the head voice is more akin to a full-Lyric voice. So, in my opinion Brendon can be both: Lyric and Spinto depending on how he chooses to modulate his voice.
• "Brendon Urie can sing up to C7". While i'm pretty sure, (due to his expansive range and control) that he can sing a little bit higher than D6 (maybe E6 or F6), those "whistle" notes were actually screamed exclamations, so i won't count them. C#2-D6.