"...her voice is a cure..." YouTube commenter 'golliwog14', re singer Agnetha Fältskog.
(Updated note: The published comments at the end of this post are valuable for - and (I believe) improve upon - the discussion (that follows).)
Picking up on a suggestion (I made) from the adjacent post here, "The Best Post-ABBA Song for Ms. Fältskog":
(Reader note: Interesting, (slightly) "technical" music details are going to follow. It is a fairly lengthy entry, but few have explored this area....Updated note: This author - Christopher Patrick - has explored ABBA music and their vocalists' abilities in enlightening detail (link to more info.).) And another, useful update: The excellent 'abba4ever' forum has a couple of older topics re Agnetha's voice that I wasn't aware of when originally writing this post. They're worth a look. Links (new windows) are here and here.
From listening to many of her efforts, I suggest that (much of) 1985's "One Way Love" is near-center in (adult) Agnetha Fältskog's vocal "comfort zone".(Pronounced [aŋˈneːta]. A short, funny video is here.) I.e., her vocal tessitura, as I understand the term. ("One Way Love's" YouTube video is embedded further below. This post ignores its just-OK video presentation.)
I'll say more about this impression (re the (main) voice utilized in 'One Way Love') further below...
Quick 2013 update: I (the writer) no longer agree with statements just above. Upon listening much more to Agnetha, I now suspect that her voice as used in "One Way Love" may be closer to MY 'comfort zone', vs. hers. I.e., my own preference(s) may have colored perception here. Agnetha's voice/range in that song seem more what I prefer from her capabilities....
I'll let what follows stand, though. (Some of the analysis/insights may be worthwhile for fans.)
(Continuing, previously written:) Prefacing some of the text that follows, it should be noted that this singer's "zone" may have had (at least) a couple of segments. (Or sub-divisions.☻) And, to be fair: Her super-sweet voice quality - more apparent in other songs - gives the "One Way Love" "paradigm" serious competition. One decent example of this (sweet) quality is included here (new window opens). Another is linked here. And another (in Swedish.) And a pleasing, high-register example, here. (Such wide ability (versatility) is what helps make the pop singer an appealing one, IMO. (Plus there's another whole discussion (- we won't go there, here -) about how ably Ms.Fältskog could shift between a softer, warmer, (often-sweet), more intimate singing style (or voice) and her clear, (often-sweet), ringing (even piercing with the higher voice) louder efforts. (One "forte" (music def.), solo example is linked here (particularly the refrain). 1983's "Shame", perhaps another. "One Way Love" (below) is another louder effort, though not (comparatively) "super-sweet-voiced"....BTW, most of Agnetha's 1987 I Stand Alone album is performed with a (relatively) more subdued, smoother singing style (as an example of that).)) We don't have time/space here, but there is also Ms.Fältskog's unusual ability to sound plaintive - even wailing - in certain efforts. One example: The refrain from this excellent, in-Swedish song from 1975. (link (new window))
Note: All songs linked here sound better on hi-fidelity recordings. BTW, equal time: Some definitely don't seem to agree (with my own assessments): link, new window: http://www.telegraph.co.uk/culture/3615466/Stayingin.html)
2012 insert/update: Interested readers are welcome to continue as I 'box around' some ideas about Ms.Fältskog's special voice, below. However, here is a current link to a YT video which identifies a range of notes achieved by the singer over time, via scientific pitch notation. (Link to video, new window opens.) I think it is a very good effort, demonstrating a good portion of what follows (below, and in the comments here). As time permits I'll try to verify the notes ID'd in the video on a piano. My guess is that they are accurate. Although I'll take one more moment to add that the 'A7' scream ID'd around the 4:35 mark (video) is (to my ears) just that: A scream, vs. a music note.....(As also mentioned in the YT video's comments... the 'B7' note included is probably an instrument.)
(Continuing previously written text:) And also to preface, please be aware that this (American) writer is more familiar with Ms.Fältskog's English solo work. It is worth a listen to explore a few of her Swedish-language songs, via a post here (link). The artist's recent compilation album, "My Very Best" (link) contains 18 top songs in her native language. Also please note that what follows is mainly about the singer's voice and how it is used. Not "One Way Love"'s merit as a song (plus other ones mentioned below), melody, video presentation, meanings of lyrics, etc...
The strong, lower-range "One Way Love" is an example of why I sometimes questioned whether Agnetha's voice type could be "classified" as" "soprano". Versus the often more rangy and versatile mezzo-soprano type. In ABBA, Ms.Fältskog usually sang the higher-voiced parts, but could also sometimes match with her partner, rich "mezzo" Anni-Frid Lyngstad. One probable reason (of several) that the two meshed so well together. (Frida could also "sing high" when necessary. Pls. see reader comment, end of post. And also, superb analysis/examples (re Frida singing high), pp.142-43 of Mr. Patrick's book.) Updated note: In 1996's biography As I Am, co-author Brita Ahman describes Agnetha as having "...a very wide register and range." (Page 127.) A confirmation of that statement follows:
(Updated) analysis: Without the song's sheet music, I "pulled out" my trusty, flash (virtual) piano keyboard. Matching Agnetha's sung word "down" at the 35-36 second mark of the "One Way Love" YT video, the keyboard rang the A note that is two keys below (to the left of) middle C. (A/k/a C4, in scientific pitch notation.) Per Wikipedia, this is outside (i.e., slightly lower) than what's considered to be the common vocal range for a (classical) soprano. (Which generally begins at middle C.)
Even with this information, I'd guess that Agnetha is (was) primarily a (non-classical music) soprano. (Per the following examples.) But with a musically useful range that extends below the common classification. Important to note (for this discussion): "There is currently no authoritative voice classification system within non-classical music." But, we will continue on here, understanding the limitations. (Perhaps this is one reason why I had difficulty guessing what voice "classification" Agnetha might have best approximated (per above). Plus, as noted in the linked article, technical enhancements (to voice, etc.) are often used (in popular music).)
(Continuing:) There is more: A different example, for her high voice: (And switching over to look at a couple of ABBA songs, briefly.) No sheet music again, but in the beautiful, higher-voiced "The Winner Takes It All", my virtual keyboard matches a few of Agnetha's quick higher notes as B's (B5's), one piano key below "high C". (A/k/a C6 in scientific pitch notation, two octaves above C4.) However, I think she goes higher than that at least once in that song. The word "takes", in "the winner takes it all"(late in the piece) -- could be the C# (C sharp) just above "high C"... -- per my amateur analysis. (Please keep "amateur" in mind. I'm estimating....Listen to Benny Andersson's piano at the song's end, for some of the notes that Ms.Fältskog hit.) 10/09 update: I found free piano sheet music for "Winner..." (At the same site as linked, below.) The vocal melody as written (at its highest notes) features many B -, C - and even D-notes -- all "flatted". (E.g., D-flat, which I believe is the same as C#.) They are written at one octave above "middle C" (treble clef). The question is "where" Agnetha is singing these written notes. It sounds to me (via my virtual piano keyboard) that she is (of course) singing the correct notes, but actually at two octaves above middle C. (Not surprising (at this point); she's a good (pop) soprano....) But.... that is just my amateur analysis. And, a quick, March, 2010 update: I continue to evaluate these statements in light of Mr. Patrick's professional analysis. Per page 290-91 of his book (link above), it appears that I have correctly identified the notes involved (above), as written. Where is Agnetha singing them? Mr. Patrick describes her as "confidently commanding a range of an 11th over two octaves", in the "two vocal phrases (statements) that comprise the song". (One of these includes the "the winner takes it all" phrase.) I'm not musically-knowledgeable enough (yet) to completely understand his terminology, precisely. He may simply mean that she goes through a series of eleven notes which span two octaves in these phrases. I'll continue reading his book for more clues. My ear - and virtual piano - still "tell" me that Agnetha's vocal (in this part of the song) is two octaves (sixteen notes) above "middle C", at points...2011 updated note: Expert Christopher Patrick categorizes Agnetha Fältskog as a soprano, her partner Frida as a mezzo on page 141 of his definitive work. That's good enough for me...and perhaps most (remaining) readers (here) as well. Much easier for qualified Mr. Patrick, I'm sure; but I had to "box it around" and figure it out the hard way....
A quick aside: Please take a few minutes to visit the following song review of "Winner..." from 1980 by critic Tom Ewing. Please right-click on the link. http://freakytrigger.co.uk/ft/2008/11/abba-the-winner-takes-it-all/
Even more. Re Ms. Fältskog's low voice: In ABBA's "Dancing Queen", the (sung) word "king", in the line "...look for a king", plays as the F# note on my keyboard, that's located three and one-half keys below middle C. (The word "dance" somewhat later, also.) In recordings, I believe I can hear Agnetha following mezzo partner Frida down to this low note. If so, that's pretty amazing to me. (Frida leads (here), but I definitely think I can still hear Agnetha's crisper voice also on the lowest note(s). Update: On page 80 of his book (below), Mr. Patrick also (independently) uses "crisp" to describe Agnetha's sound quality contribution (on a different song).)
Update: I located a site (link at own risk) with free piano/vocal sheet music for 'Dancing Queen'. The note in question (i.e., sung word "king") appears to in fact be an F-sharp, in both the bass and treble clefs. The question is whether Agnetha is actually singing the F# with Frida. (BTW, I have no separate vocalist scores if there were any.) It certainly sounds to me like she is singing low(er) with Frida.
March, 2010 update: At first read of C. Patrick's detailed 2008 book, ABBA: Let The Music Speak, the author notes that the two ABBA singers "sound as one voice" (in this song, page 31), though they are an octave apart - in the song's refrain (emphasis added). I'm still reading the book to discover whether Mr. Patrick finds that Agnetha actually matches Frida on the low notes (not in the refrain) mentioned above....Another update: Impression at least partly confirmed. Page 226 of Mr. Patrick's book contains a partial vocal score for "Dancing Queen". The low notes in the brief passages in question (above) are scored as: A single E note (five whole note piano keys below middle C), followed by several F-sharps (three and one-half keys below),including the sustained F# on sung words "king", "dance", etc. Also: Mr. Patrick illustrates (pages 226-7) that, through verse #2 (includes low F# (on "dance")) and following chorus, ABBA's wonderful singers "...have in fact presided over a vocal range spanning three octaves from verse start to chorus end..." However (conclusion to this section) : It's still a question whether Agnetha is exactly "on" the low, sustained note(s) (in "DQ") with Frida. It seems that she is very close; but perhaps slightly higher....? If interested pls. watch and listen to this YouTube clip showing ABBA rehearsal of an unused (or "lost") verse from "DQ". I had to listen several times to finally discern that Agnetha may in fact be singing (the notes) slightly higher than mezzo Frida. One more factor to consider: These two voices have somewhat different timbre(s) (i.e., 'tone'); one reason they can (sometimes) sound slightly different (with close listening) even when singing the same note.
What is (further) confirmed here is that these were two special pop voices, especially together. Amazing in-unison singers. (That it is sometimes difficult to discern between the voices is proof of that. And BTW: Sultry voices by the ladies (as well) in the rehearsal video of the song ("D.Q.")....)
CORRECTION re the following paragraph: Upon review, based upon the 10/24/11 comment below, I believe that I likely picked up the wrong notes via the piano here...Re-playing them, Agnetha's higher notes (in the backgound) in fact sound like F#'s below high C, not above... (Original text:) Amazingly more: I think rangy Agnetha "helps" (also rangy) Frida with a couple more low F-sharps in "If It Wasn't For The Nights", though Frida magnificently leads the way in those portions. BTW, my virtual keyboard also tracks Agnetha (again) above "high C" in this same song. I don't know, but noticeable in this recorded/mimed version of ..."Nights" (link); Agnetha could be well above, in (parts of) her (recorded) high-voice harmonies. (Per the virt. piano keyboard: The F# above "high C" ?!? Check the recording/video at the 25 second mark, and again at about 2:17.) If accurate of course, this puts Ms.Fältskog both (well?) below and above common soprano range, within the same recording. (Possibly from the F# below middle C (:19, :37 second mark (etc.) in the video) to the F# above high C (in background harmony, noted).) What do I know....maybe this occurred more than I realize. This is a good "show-off" song, for both vocalists. (Though admittedly a bit shrill-sounding in the chorus....)
(CORRECTED section:) - Incredibly more: As expertly noted by Christopher Patrick in his detailed 2008 book ABBA: Let The Music Speak, just how high could pop soprano Agnetha Faltskog reach with her voice? Try the very last sung or (mostly)"screamed" word "tiger" at the 2:47-2:48 mark of the linked YT video for ABBA's "Tiger"... (Ref. page 37.) Employing the virtual piano keyboard again, a guess is that she briefly reaches the D# above "high C". Link to the music video: http://www.youtube.com/watch?v=znB8OlFgCSM&fmt=18
Enough.. I won't analyze this ad nauseum - further - as I don't know enough. (More, here.) Back to the original topic that started the post: Have a listen to this outstanding pop singer let it go a bit, with no "pinching" or compression that occasionally was present when she "went up" significantly higher. Perhaps the higher voice required more effort. (Note: She sometimes used her falsetto voice intentionally on certain solo efforts.) And, BTW: Notice that Agnetha (apparently) recorded at least two different voice lines (harmony) in "One Way Love." A beautiful job with the higher harmony....
Every note sung "bang on",as usual (I.e., no sliding. See page 120 in Mr. Palm's biography). Good quality. Good volume. Power and control....
At times, she manages to sound like her idol Connie Francis (probably a mezzo) and I think even Lesley Gore at the beginning here. And sung "Agnetha"-clear, as always. Enjoy:
(2012 UPDATE: Link to a higher-quality video performance (of this song) now on You Tube. Worth a visit for the sound improvement, plus beautiful, thirty-something Agnetha... doing some excellent lip-synching. (In camera close-up at moments.1985: A vintage year for public-performing, solo Agnetha...)
Thanks again to YouTube's '2Shaymcn' for producing this video. (New window opens.): http://www.youtube.com/watch?v=8wHzRByGvD8&fmt=18)
For fans, it's tantalizing to think whether Agnetha's voice -- perhaps especially her good lower range -- is still clear and strong today....
