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Like a Stone

by Audioslave

Key
D minor (detected from the sung melody)
Vocal phrasing tempo*
~130 BPM
Vocal range
A#2–A4 (23 semitones)
Tessitura
A#3–D4
Longest note
D4 · 33.8s
Difficulty
medium
Fits measured voices
30%
Suits
baritones and low tenors

* Tempo is the median pace of the sung phrases measured from real uploads — it can sit below the song’s beat BPM on sustained passages.

Tessitura is where the melody sits most of the time — the middle 50% of sung duration.

Share of the 1315 vocal ranges measured on PitchHighway that this song fits inside, allowing a whole-octave shift.

Measured from a representative upload — PitchHighway has processed 2 uploads of this song.

Can you sing it?

This song’s vocal line runs A#2–A4. Find your vocal range first →

Like a Stone: key, vocal range, and how hard it is to sing

Audioslave’s Like a Stone is a slow-burn rock ballad people look up when they want the original key, the vocal range, and a realistic sense of difficulty before they try it. This page answers those searches with the original recording’s commonly cited key and with singing stats measured from the actual vocal line: range A#2–A4 (23 semitones), tessitura mostly A#3–D4, phrasing tempo about 130 BPM, medium difficulty, about 0.9 notes per second, a longest measured note of D4 held 33.8 seconds, and a duration of 302 seconds.

The track sits in G-sharp minor on the released recording. That is the key most charts and karaoke packs treat as original, so if you are matching Chris Cornell’s studio vocal rather than a transposed track, start there.

What makes it easy or hard to sing

The measured span is 23 semitones from A#2 to A4. That is a wide map, not a dense one. Most of the line lives in a much smaller pocket: A#3–D4. If your speaking voice already sits near that belt, the verses will feel close to speech-sung rock rather than a scale workout. The work is the drop to A#2 and the climb to A4, not constant leaping through the middle.

Difficulty is medium, not hard. Two drivers explain that rating. First, density is moderate: 0.9 notes per second at a phrasing tempo of about 130 BPM. You are not stacking sixteenth-note syllables; you are placing long phrases on a mid-tempo pulse. Second, sustain is extreme on paper: the longest measured note is D4 held 33.8 seconds. Treat that figure as a breath-and-support problem, not as a demand to belt one pitch for half a minute in one gulp. In practice it means phrases that sit on D4 (inside the tessitura) and need steady airflow, a stable larynx, and planned catch-breaths so the tone does not thin or wobble as the phrase stretches.

The low A#2 is the other trap. It is a full 12 semitones below the bottom of the usual sitting range (A#3). Singers who only train the chorus height often crack or fry when the melody falls into that basement. The high A4 is only a sixth above D4, so it is a reach, not a scream, but it still asks for mix rather than a yelled chest if you want the same color Cornell uses on the peaks.

Duration is 302 seconds. That is five minutes of singing with almost no dead air in the vocal. Medium difficulty here is stamina: keeping A#3–D4 in tune and in the same vowel shape after several minutes, not a single impossible interval.

Who it suits

A#2 through A4 with a home in A#3–D4 favors baritones and low tenors. A lyric baritone can speak the verses near A#3, drop into chest for A#2, and mix up to A4. High tenors will sound light on the bottom unless they add weight they do not usually use. Mezzo-sopranos and altos can take it up a fourth or fifth if they want the same relative effort; in the original key the A#2 will sit below most female chest ranges.

If your comfortable chest tops out around D4, you already live where this song lives. If you cannot phonate a clean A#2, plan a transposition up rather than forcing fry on every verse landing.

How to practice it

Map the three zones before you sing full takes: A#2–A#3 (weight and pitch center), A#3–D4 (the tessitura you will occupy for most of 302 seconds), and D4–A4 (mix). Hum the A#3–D4 pocket on an easy vowel at 130 BPM until intonation holds for a full minute. Then add the A#2 landings on a short descending pattern so the low note is a placed chest tone, not a collapse.

For the long D4, do not chase 33.8 seconds as a stunt. Split the phrase into breath groups that still sound connected: inhale low, start D4 at about 70 percent volume, keep the ribcage from collapsing, and release before the tone shakes. Rebuild length only after the pitch stays still. At 0.9 notes per second you have time between attacks; use it to reset the tongue and keep vowels from spreading as you near A4.

Work verse-length chunks first so the 302-second runtime does not turn into one exhausted chorus. When the tessitura is stable and the A#2 and A4 are in the same voice, upload the song to PitchHighway and learn it phrase by phrase.

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Frequently asked questions

What key is Like a Stone in?
The released Audioslave recording is commonly cited in G-sharp minor. Use that if you want to match the original vocal rather than a karaoke transpose.
What is the vocal range of Like a Stone?
Measured from the vocal line, the range is A#2 to A4 (23 semitones). Most of the melody sits between A#3 and D4.
Is Like a Stone hard to sing?
The measured difficulty is medium. The span is wide and one D4 sustain is very long (33.8s), but note density is only about 0.9 notes per second at roughly 130 BPM.
What voice type fits Like a Stone?
Baritones and low tenors. The home range A#3–D4 sits in baritone speech-mix; A#2 needs real chest, and A4 needs a coordinated mix.
How long is the vocal on Like a Stone?
About 302 seconds of singing. Plan stamina for five minutes in the A#3–D4 pocket, not only for the high notes.
How should I practice Like a Stone?
Stabilize A#3–D4 first, then add clean A#2 landings and mixed A4. Split the long D4 into supported breath groups. Upload the song to PitchHighway and learn it phrase by phrase.

Want to actually sing Like a Stone?

Upload it and learn it phrase by phrase — warmups in the song’s key, drills for the notes you can’t yet hit, and real-time pitch feedback on every line.

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