Vocal Range Chart: Famous Singers Compared

Vision of Love · 1990s–2020s · Top of range is whistle register (the G7 is from 'Emotions'). Her full-voice/belt ceiling is far lower, around G5/A5.

Lovin' You · 1970s · Top of range is whistle register (F#7 live on 'Ruby Tuesday'; F7 on record in 'You Take My Breath Away'). Her press bio's famous 'five octaves' isn't supported by note-level analyses, which land nearer 4.2 octaves; the low note is variously given as D3, D#3 or C3.

thank u, next · 2010s–2020s · Top of range is whistle register; Critic of Music gives 'D3 - B5 - E7' (light-lyric soprano, ~4 octaves). Her belt tops out around Eb5/E5.

My Heart Will Go On · 1990s–2020s · Critic of Music gives 'Bb2 - C6 - E6' (lyric soprano, 3 octaves 3 notes); Vocal View gives C3–Bb6. The widely repeated 'five octaves' claim is not supported by any note-level analysis.

Nightwish, After Forever · 2000s–present · C3–F6 usable range, over three octaves. She has also produced a growled Eb2 on Nightwish's 'Ghost River', which is an extended technique rather than sung range.

Heart · 1970s–present · C3–E6 is consistently reported (E6 from a 1978 live 'Kick It Out'). Often described as a dramatic soprano, though some analysts place her tone closer to mezzo-soprano.

Before He Cheats · 2000s–2020s · Critic of Music gives D3–G5–F#6: G5 tops her chest-dominant belt and F#6 is an extreme head/whistle note. Other analyses start her low at C#3. A full-lyric soprano who styles herself lower, toward mezzo territory.

I Will Always Love You · 1980s–2000s · Critic of Music lists 'A2 - G#5 - C#6' (~3 octaves); other analyses give a narrower C3–C6. Classified spinto soprano by some, powerful mezzo-soprano by others (her own coach used mezzo). No whistle register — the highs are belt and head voice.

Nightwish, solo · 1990s–present · F3–Ab6 (G#6) is the sung range agreed by two independent profiles; The Range Place gives a wider total range of C#3–G#6. Classically trained lyric soprano — her head voice is the strongest part of her instrument.

Ain't No Mountain High Enough · 1960s–1980s · Diva Devotee: light lyric soprano, C3–C#6 (3 octaves). Measurements taken only from her recordings are narrower (E3–B5), since she rarely used the extremes. No whistle register.

Glinda in Wicked; "Popular" · 1990s–present · Classically trained coloratura soprano. The F6 top is well corroborated across sources; the bottom is disputed (E3 vs F3), and one source claims occasional extensions to G6 in live vocalising. E3–F6 is exactly the "three octaves and a semitone" that Diva Devotee reports, so that figure is at least internally consistent.

Jolene · 1960s–2020s · Sources consistently describe a bright ~3-octave soprano; Singing Carrots' song database gives B2–B5 across her catalogue. Individual songs sit far narrower — '9 to 5' tops out at C#5 in a bright mix, not falsetto.

"La Stupenda"; the Lucia di Lammermoor mad scene · 1950s–1990s · Wikipedia: range extended from "G below the staff (G3) to high F (F6), or high F-sharp (F♯6), although she never sang this last note in a public performance." F6 used here as the top actually sung (on record, in the Queen of the Night's first aria); onstage she generally topped out around E♭6.

Norma, Tosca; "Casta diva" · 1940s–1960s · Range actually sung in performance, not a theoretical fach: the F#3 is documented in "Arrigo! Ah parli a un core" (I vespri siciliani) and the E6 in "Mercè, dilette amiche" from the same opera, plus Rossini's Armida and the Bell Song from Lakmé. Just under three octaves.

Rainbow · 2010s–2020s · A soubrette soprano: light, bright, small vocal weight. Good tone down to E3 and documented up to F#5 in head voice; her highest belt is only D5, and analysts think she could go higher but chooses not to.

Beautiful · 1990s–2020s · Commonly reported as C3–C7 (~4 octaves); Critic of Music extends it slightly to Bb2–C#7. Top notes are whistle register. Usually classified lyric mezzo-soprano despite the soprano-sized belt.

What's Love Got to Do with It · 1960s–2000s · Two independent analyses agree on 'F2 - Bb5 - F6', 4 octaves, mezzo-soprano; her supported range is much narrower (roughly A2–Bb5). Her dark low register means 'alto' is sometimes used loosely.

Summertime Sadness · 2010s–2020s · Critic of Music gives F#2–F5–E6; other sources report a narrower C3–C6. Often called a contralto, but most analysts consider her an alto-leaning mezzo — the smoky depth is resonance and vocal fry, not true contralto weight.

Respect · 1960s–2010s · Classic FM cites G2–E6, 'well over three octaves'. Voice type is contested: Diva Devotee calls her mezzo-soprano, others a soprano with contralto weight.

Halo · 1990s–2020s · Sources disagree at both ends: Critic of Music gives F#2–F6 (coloratura mezzo-soprano, 4 octaves), other analyses Bb2–E6 (~3.3 octaves). Mezzo is the majority classification, though some argue soprano.

Shallow · 2000s–2020s · Critic of Music gives 'F#2 - G5 - C6 (E7)' — 3 octaves 3 notes, lyric mezzo-soprano, with a rarely used whistle extension. Frequently but incorrectly called a contralto because of her strong low notes.

Evanescence · 2000s–present · C3–E6 agreed across sources; her functional singing range is roughly E3–G5, with the top notes sung in resonant head voice rather than belt. Usually classed a lyric mezzo-soprano with soprano capability.

Evita ("Don't Cry for Me Argentina"); Gypsy · 1970s–present · Low B♭2 documented in "Pirate Jenny"; the D6 is a head-voice note ("Love Cycle: A Soap Operetta"), with her highest belt/mix around B5. Wikipedia confirms the mezzo-soprano classification but publishes no notes, so the note-level figures rest on range databases.

solo ("Heartbreaker", "Love Is a Battlefield") · 1970s–present · D3–F6 per The Range Place; databases built only from studio recordings report a narrower E3–B5. Classically trained (operatic mezzo background), known for gritty fifth-octave belts over a light, operatic head voice.

Dog Days Are Over · 2010s–2020s · D3–F#5–E6 (Critic of Music); other analysts put the low at Eb3, a semitone up. Sources agree on the three-octave span and the sturdy, operatically weighted head voice.

drivers license · 2020s · Reported around B2–C6 (~3 octaves), though some sources give a narrower A2–G5. Consistently classified a lyric mezzo-soprano; her songs are demanding because the choruses sit high and stay there, not because of extremes.

Rolling in the Deep · 2000s–2020s · Critic of Music gives 'C3 - E5 - C6 (D6)', 3 octaves, dark lyric mezzo-soprano. Some live performances are cited as low as B2.

The First Lady of Song; scat singing, "Summertime" · 1930s–1990s · D♭3–D♭6 is exactly the three octaves consistently reported for her (and confirmed by her official estate). Usually classified mezzo-soprano, though she sang lower than many classical contraltos and some writers call her a contralto.

Elphaba in Wicked ("Defying Gravity"); "Let It Go" · 1990s–present · Sources disagree more than for anyone else in this set. C3–C6 is the most commonly reported full range (The Range Place); Singing Carrots, which derives ranges only from catalogued songs, gives a narrower D#3–B5, and coaching sites cite a sustained/performing range of roughly E3–F5. A lyric mezzo who belts into soprano territory in a chest-dominant mix.

bad guy · 2010s–2020s · Sources vary widely. A2–G5 is the most commonly reported functional range; The Range Planet documents wider extremes (Bb2–F#6) including her very airy falsetto. She actually sings mostly in a narrow C4–D5 band.

The Story · 2000s–2020s · Most commonly cited as Eb3–C#6. The mezzo-soprano classification is consistent across sources; she is best known for deliberately cracking open notes at the top of her belt.

Big Brother and the Holding Company, solo · 1960s–1970s · The Range Place documents E3–C6 (C6 from live 'Ego Rock'); other profiles give B2–B5 or D3–A5. The consistent picture is roughly a three-octave mezzo range with a very heavy, rasp-driven chest voice.

Shake It Off · 2000s–2020s · Range figures agree closely (C#3–G5, ~2.5 octaves), but voice type is disputed: Critic of Music classifies her as a light-lyric soprano, other analysts as a light mezzo-soprano.

"I Got Rhythm"; "Everything's Coming Up Roses" (Gypsy) · 1930s–1970s · The archetypal Broadway belt, sung unamplified. Sources agree on the E♭3 bottom but split on the top (G5 vs A5); G5 is the more conservative figure. Her defining note is the sustained C5 belted in "I Got Rhythm" (1930), long treated as the ceiling of traditional belt technique. Range databases label her soprano, Wikipedia mezzo-soprano.

Believe · 1960s–2020s · Diva Devotee gives C#3–F6 (3 octaves 2 notes and a semitone, contralto); Vocal View gives C3–F6. Despite the famously deep speaking voice, her head voice reaches into the 6th octave.

Rossini trouser roles — Tancredi, Arsace in Semiramide · 1980s–2010s · A true coloratura contralto with a range spanning more than three octaves. Both extremes are documented as sung: the B♭2 on stage in "Pour une femme de mon nom" at La Scala, the D6 in "Sudò il guerriero" from Haydn's Il Ritorno di Tobia.

Rehab · 2000s · Diva Devotee gives D3–Eb6 (3 octaves and a semitone) and classifies her contralto; some analysts prefer 'low mezzo'. She deliberately sang in a narrow band — most songs sit within about seven notes.

Un-Break My Heart · 1990s–2010s · About 3 octaves, Bb2–Bb5; a live analysis extends her to C6 and an F#2 low. One of the most consistently cited true contraltos in pop.

Guns N' Roses · 1980s–present · F1–Bb6 comes from the widely-syndicated ConcertHotels study (F1 in 'There Was a Time', Bb6 in 'Ain't It Fun') and is the most-cited figure for him. Both extremes are non-clean: the F1 is a growl/fry and the Bb6 a scream, so this is an outlier range that should not be read as usable singing range.

Billie Jean · 1970s–2000s · Critic of Music gives 'Eb2 - Bb5 - F#6' (lyric tenor, ~4 octaves) and Diva Devotee also has him at 4 octaves as a high tenor; other write-ups quote a narrower A2–F6. His everyday working range was only about C3–E5.

Aerosmith · 1970s–present · The Range Place documents D2–E6; other compilations cite C2–F#5 with E6 as an extreme. His full-voice ceiling is around E5–F5; notes above that are falsetto or scream.

Queen · 1970s–1990s · F2–F6 is the figure almost universally reported in press and vocal-coach analyses. The Range Place's note-by-note documentation only verifies up to D6 ('Save Me'); the top of the range relies on falsetto/extreme notes. His speaking voice was baritone — he sang predominantly as a tenor.

Judas Priest · 1970s–present · Two independent range databases put him at ~C2–C6/C#6, about four octaves. Usually classed a low tenor: the extreme highs are screams, not his tessitura. His reliably documented ceiling is closer to A5.

Iron Maiden · 1980s–present · Sources disagree at the top: The Range Place documents C#6, older analyses cap him at B5. Often described as a spinto tenor; his functional Iron Maiden range is roughly A2–B5.

Rush · 1970s–present · Sources agree on a B5 ceiling; the floor is given as C2 (The Range Place) or C3 elsewhere. A high tenor / 'tenor altino' whose 1970s tessitura sat around A4–F5; his voice lowered with age.

Superstition · 1960s–2000s · Diva Devotee gives F2–D#6 (3 octaves 5 notes and a semitone); Singers Avenue gives a wider E2–F#6. Both classify him a (full-)lyric tenor whose falsetto breaks late, placing him among the highest tenors.

Rainbow, Black Sabbath, Dio · 1970s–2010s · Both range databases document E2–C6; a third analysis claims wider extremes (F1–A6) that are not independently verified. Despite the range, he almost always sang between D4 and D5.

Never Too Much · 1980s–2000s · Diva Devotee gives B1–F#5; other analyses start him much higher (G2 or A2) to F#5 — treat the low end as soft. The dark timbre makes listeners hear a baritone, but analysts classify him a full-lyric tenor.

Led Zeppelin · 1960s–present · Sources agree the top sits around C6/C#6 (C#6 documented from 'You Shook Me', live 1969) but disagree on the bottom: The Range Place logs G2, other analyses claim as low as E2. His upper extension shrank markedly after the early 1970s.

When I Was Your Man · 2010s–2020s · Roughly 3 octaves. Sources differ at the ends: Vocal View gives C3–C6 (light-lyric tenor), song databases G#2–A5. The top notes are mixed voice and falsetto rather than pure belt.

Black Sabbath, solo · 1970s–2020s · Sources agree the ceiling is around F5–F#5 but differ on the floor (Eb2 vs A2). Classification is contested — most call him a tenor with a very nasal, forward placement, some a lyric baritone.

Shape of You · 2010s–2020s · Commonly reported as A2–A5, with the top in falsetto. The Range Planet documents wider extremes (E2–Bb5). He is a light lyric tenor despite a warm, baritone-sounding tone; he rarely belts high.

Blinding Lights · 2010s–2020s · Bb2–B4–A5 is the most commonly reported figure for this light-lyric tenor; some sources claim a much wider D2–C6. The A5 sits in head voice/falsetto.

Stay With Me · 2010s–2020s · Vocal View gives 'C3 - C5 - G5', light-lyric tenor; a live analysis logs A2–E5. Often described as a natural baritone who works in tenor territory through technique and an unusually developed falsetto.

Tennessee Whiskey · 2010s–2020s · Wikipedia describes him as a soul singer with a tenor range; live analyses give A2–Eb5. Some coaches instead hear a baritone core with a gritty soulful extension, so the classification is genuinely contested.

"Nessun dorma"; the nine high Cs in La fille du régiment · 1960s–2000s · Classic FM gives C#3 up to F5. Some sources round the bottom to C3. His fame rests on the quality of the high C (C5), not on an unusually wide range — the F5 is the documented top.

Purple Rain · 1970s–2010s · The Range Place logs A1–C7; ConcertHotels ranks him second overall at 'four-and-a-bit' octaves with the highest male note in their study, B6. Both extremes involve growls and falsetto/whistle shrieks — his sung tessitura is that of a lyric baritone, though he is loosely called a tenor. More conservative analyses quote B2–C#7.

Slipknot, Stone Sour · 1990s–present · F1–G#5 per The Range Place (~4.5 octaves); the F1 is a growl/fry, not clean singing. His clean lows sit around C2–D2 and his clean highs around A5–B5. Some outlets repeat a '5.5 octave' claim from a VVN Music survey that is not independently verified.

Metallica · 1980s–present · A1–Bb5 is the full documented range including extremes (A1 in 'Loverman', Bb5 live 1998). His functional Metallica singing range is far narrower — roughly E2–B4, with a comfort zone around A2–E4.

Pearl Jam · 1990s–present · A1–A5 is the full documented range including vocal fry at the bottom (A1 in 'I'm Still Here'). His highest full-voice note is around E5; sources differ on the extremes, with some fan analyses citing F#1–E5.

Deep Purple · 1960s–present · Classified baritone despite the famous screams (his tessitura is low). Fan/press accounts of a '4.5–5 octave' range in his prime are unverified; The Range Place's documented D2–D6 is the defensible figure.

Nirvana · 1980s–1990s · C#2–C#6 is the documented full range (C#6 from live 'Spank Thru'), but almost everything he recorded sits in a narrow baritone-to-low-tenor band; his consistent ceiling is around E5–F5. Classification is disputed between baritone and tenor.

Soundgarden, Audioslave · 1980s–2010s · Widely described as a ~4-octave 'baritenor'. Sources agree his highest full-voice note is around A5; distorted screams are claimed as high as E6 but are not cleanly pitched. The low end is reported between C#2 and E2.

Alice in Chains · 1980s–2000s · The Range Place documents Eb2–A5 (A5 from a 1985 live recording); other analyses give a narrower sung range of roughly F#2–Bb5. Usually described as a baritone with a tenor's upper extension.

Take Me to Church · 2010s–2020s · Sources agree the top of the usable range is C5; the low is given as E2 or as low as C#2. A lyric/high baritone with unusually rich low resonance; tessitura sits around B2–E4.

As It Was · 2010s–2020s · Critic of Music gives A2–A4–Eb5 and classifies him a lyric baritone; other analysts call him a 'baritenor' and report the top as high as B5 in falsetto.

Beautiful Crazy · 2010s–2020s · The Range Place documents F#2–Bb4 note-by-note across his catalogue. A gritty baritone whose highest belted chest note is around G4; verse lows dip to F2.

"Unforgettable", "Mona Lisa" · 1940s–1960s · D2–F4 is agreed by the two main range databases, but only by them — no mainstream reference work publishes note-level figures for Cole, so confidence is medium. The D2 is a soft crooned low note, not a projected one.

"My Way", "Fly Me to the Moon" · 1940s–1990s · Critic Henry Pleasants described him as "a typical Italian light baritone with a two octave range from G to G, declining, as it darkened in later years, to F to F" — i.e. G2–G4, the figure used here. Range-compilation databases stretch the extremes to roughly D2–G#4 by counting growled low notes; the sources disagree, and the two-octave G-to-G is the more commonly reported working range.

Hurt · 1950s–2000s · Sources diverge sharply. E2–E4 (~2 octaves) is the most commonly reported singing range for this bass-baritone; The Range Planet lists career extremes of F#1–G#5 including vocal fry and falsetto. His voice sounds cavernous because of timbre and low tessitura, not an unusually wide or low range.

Tevye in Fiddler on the Roof; Russian folk repertoire · 1960s–2000s · The Guinness Book of Records (1993) credits him with "easily over four octaves from a low F to a high F" — F1 to F5 is exactly four octaves and is the only reading consistent with that claim, but Guinness does not name the octaves, so treat these as reconstructed rather than directly stated. Range-compilation videos put him at F1–A5. The F1 is far below the normal bass floor; that extremity is the point of the entry.

Can't Get Enough of Your Love, Babe · 1970s–1990s · The Range Place logs F1–E5; ConcertHotels lists his lowest as F#1. Flagging deliberately that this low note falls below the usual chart floor — it is real but near-spoken bass, and he is often described as a bass-baritone rather than a true bass.