A Quote by Jesse Tyler Ferguson

I don't have that kind of voice, the big baritone or rousing tenor sound. My wheelhouse was in the frothier pieces. So my appreciation for those older musicals and revivals grew.
The soprano has all those other instruments in it. It's got the soprano song voice, flute, violin, clarinet, and tenor elements and can even approach the baritone in intensity.
My voice gets recognized before anything else. It's always gotten attention. In choruses at church and school, I started as a tenor, moved to a baritone and finally became a bass. I knew then that my voice would be my instrument. Now if I want to hide, I just keep my mouth shut.
I grew up doing musicals. I've done so many musicals in my life, I kind of got them out of my system. But, I certainly would be open to them. Rocky Horror Show is a big favorite of mine.
I'm a pretty big dork. It's crazy. I'm one of those people who grew up with all kinds of musicals, but I was right at that age where 'Rent' was a big deal for me and for my friends.
I've been fortunate in my career to have performed in revivals of great musicals and to have originated roles in musicals that have in turn been revived. And I'm not dead!
The baritone can serve functions that the alto and tenor cannot, in orchestral voicing
The baritone can serve functions that the alto and tenor cannot, in orchestral voicing.
I wanted to be Gerry Mulligan, only, see, I didn't have any kind of technique. So I thought, well, baritone sax is kind of easier; I can manage that - except I couldn't afford a baritone, so I bought an alto, which was the same fingering.
Opera is when a tenor and soprano want to make love, but are prevented from doing so by a baritone.
You want to do things that you watched when you grew up. I grew up on The Sound of Music, Mary Poppins and Singin' in the Rain. I watched those, over and over again, so of course, I want to do musicals.
When I was a young man, I was a baritone, very far from possessing the whole range of the tenor then.
I never pursued voice hard enough. I've done musicals here and there, but I was never dedicated to really being one of these fantastic, operatic kind of singers that you have to be in some of these musicals.
I wish I had a better range, but I really have a super-limited one. Barely a tenor, dips into baritone - that's about it.
My father was a jazz tenor sax player. He played in a lot of big bands. So I had that sound around me all the time. The first record that really caught my ear was Clifford Brown's 'Brownie Eyes.' I grew up listening to John Coltrane and Illinois Jacquet. This is where I come from... I love improvisational music.
I spent the '80s in the Soviet Union and when I came to America it was '89 and I was in an immigrant bubble and we didn't have MTV or cable, so I kind of discovered the '80s when I was already older, maybe in college. And I continued to have this romantic obsession with all those films and there's this sound I hear in my head and it's kind of this bittersweet romantic, dark sound.
I kinda always wanted to be a tenor player, but I'm a small guy, and tenor was just too big.
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