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Mezzo-soprano sub-types:
Mezzo-soprano sub-types:
Mezzo-sopranos are often broken down into three categories: [[Lyric mezzo-soprano]], [[Coloratura mezzo-soprano]] and [[Dramatic mezzo-soprano]].<ref name=Boldrey />
Mezzo-sopranos are often broken down into three categories: [[Lyric mezzo-soprano]], [[Coloratura mezzo-soprano]] and [[Dramatic mezzo-soprano]].<ref name=Boldrey />

⚫
====Alto====
Contralto and [[alto]] are not the same term. Technically, "[[alto]]" is not a voice type but a designated vocal line in [[choral music]] based on [[vocal range]]. The range of the [[alto]] part in choral music is usually more similar to that of a [[mezzo-soprano]] than a [[contralto]]. However, in many compositions the alto line is split into two parts. The lower part, Alto 2, is usually more suitable to a contralto voice than a mezzo-soprano voice.<ref name=Boldrey />.


===Contralto===
===Contralto===
{{main|Contralto}}
{{main|Contralto}}
Contralto [[Vocal range|range]]:
Contralto [[Vocal range|range]]:
The [[contralto]] voice had traditionally been thought of as the lowest female voice. A true operatic contralto is extremely rare, so much so that often roles intended for contraltos are performed by mezzo-sopranos. The typical contralto range lies between the F below middle C ([[scientific pitch notation|F3]]) to the second F (F5) above middle C. In the lower and upper extremes, some contralto voices can sing from the E below middle C (E3) to the second b-flat above (b-flat5), which is only one whole step short of the "Soprano C".<ref name=McKinney />
The [[contralto]] voice is the lowest female voice. A true operatic contralto is extremely rare, so much so that often roles intended for contraltos are performed by mezzo-sopranos. The typical contralto range lies between the F below middle C ([[scientific pitch notation|F3]]) to the second F (F5) above middle C. In the lower and upper extremes, some contralto voices can sing from the E below middle C (E3) to the second b-flat above (b-flat5), which is only one whole step short of the "Soprano C".<ref name=McKinney />

Contralto and [[alto]] are not the same term.

⚫
====Alto====
[[Alto]] is the lowest vocal range in the female spectrum, and is recognized as such in as described in the President's [http://Arts%20in%20Public%20Education Arts in Public Education]]<ref>The Arts in Public Education, The White House, 2011</ref>, as currently practiced female choral music, music studios, and in semi-professional and professional singing before and sometimes even after recording (during during mixing and mastering). This is demonstrated by the typical need to transpose a piece of music from it's written key to another so that an alto may be able to sing in a key they can reach. There are rare exceptions such as the famed Barbra Streisand's four octave range <ref>[[[http://Barbra%20Steisand's%20four%20ocatave%20range Barbra Steisand's four ocatave range]]], </ref> This indicates that over the entire span from an alto to soprano, Ms. Streisand can sing in "Full Voice"- which means using full "chest tones" <ref>[[http://chest%20tones chest tones]] </ref>rather than one's throat otherwise known as one's "[[falsetto]]".

However, most of the population, including professionals, are not able to do this, over such a wide range. This is demonstrated by the experience any person may have in singing one of the most difficult pieces of music written for Americans, our national anthem, [http://"The%20Star%20Spangled%20Banner". "The Star Spangled Banner".] [[Cher]] sang this for a major sports event, and was able to do so, despite being an alto, as the anthem was what is called musically transposed (or <ref>[[musical transposition]]</ref>into a different key. <ref>[http://different%20key different key]</ref>When done properly, the piece will sound as if it had not been changed. This example is used, as the national anthem spans many octaves. <ref>[http://national%20anthem%20spans%20many%20octaves national anthem spans many octaves]</ref>. It is an almost universal American experience to have had difficulty singing the piece, and is an excellent reference that needs no further proof than to say try and sing it in full voice! The reader will understand fully!

This writer's expertise is from having founded and owned a professional rehersal and recording studio for 10 years, catering to the newest to the most famed groups, which remains open under different management, <ref>[http://Lyric%20Studios%20of%20Garden%20City%20Park,%20LI,%20NY. Lyric Studios of Garden City Park, LI, NY.]</ref>Further, this writer was taught music in the most competitive private school in Nassau County, Long Island, sister school to Chaminade <ref>[[Chaminade]]</ref>, that being Sacred Heart Academy<ref>[[Sacred Heart Academy]]</ref>, confirmed this information through reference books, 2005 edition, sections on Alto's and further on Caruso.<ref>The Encyclopaedia Brittanica, Edition 15, Micropedia, "Alto"p302, "Caruso"p.912 sections copyright 2005 </ref> It's online's edition has unfortunately been severely hacked, and requires corrections.

This writer was designated as an Alto in various choirs, including in music theory <ref>[[Sacred Heart Academy]]. </ref> Voice is part of the study of Physics and Pysiology, both of which were parts of the writer's area of expertise in being awarded the Gold Key from St. John's University, NY <ref>[http://St.%20John's%20University,%20NY, St. John's University, NY,]</ref> in Physics and subsequently becoming a Physician.


Confusion and History:

The Victor Manual of 1921 <ref>[http://Victor%20Manual%20of%201921 Victor Manual of 1921]</ref>(and associated albums), contain what were then considered the different groups of for male and female singing classifications in it's opera section, called Victor Red Label. <ref>[http://Victor%20Red%20Label Victor Red Label]".</ref>The Writer was fortunate to come upon a very large collection of said records, currently undergoing voice recognition software analysis.

In the early 1900's women who were Altos were typically called Contraltos, which is the French word for the English Alto, but over time, American Choral groupings included both Contralto and Alto as seperate divisions. Historically, there have been two levels of Sopranos which is a distiction some are espousing once again. In the early 1900's Sopranos were in vogue, and high sopranos at that. The confusion over the differentiation of parts is likely due to this early period of the stage, where women were called one of three things, Sopranos, "Mezzo Soprano" or "Mezzo's" (though the vast majority were a subdivision of some of those in the Contralto group). Only one of the 1921 opera stars was labled a Mezzo Soprano. Leading roles were uniformly taken by Sopranos. <ref>[[Victor Records]] </ref><ref>[http://Red%20Label [http://Red%20Label%201921 Red Label 1921]]]</ref>If this is not confirmed, the author can dowload copies of necessary pages from the actual reference book.

For males, Baritones' were considered the most important for leading men at the time, which did not change for many years, though many tenors were in the Victor portfolio. There were some basses, though not a large number. There are no Basso-profundo's, though this author is not aware of when this classification came about, and another writer might be able to contribute.


Contralto [[tessitura]]:
At no time did Victor Records <ref>[[http://Victor%20Records Victor Records]] </ref>call or consider Caruso <ref>[[http://Caruso Caruso]]</ref> anything other than a tenor. [[Caruso]] has a huge collection with Victor Records <ref>[[Victor Records]] </ref>as of 1921, including a record that this author obtained, which is stated to be from 1906, but as per the Victor Catolouge, is from 1921. It is a Baritone and sounds much clearer than anything from that period or well after. Victor Records publication describes how it has a contract with Caruso for another 14 years,<ref>[[http://Victor%20Records%20Catolog%201921 Victor Records Catolog 1921]]</ref>. Should the external link not confirm this, a downloaded photo of the specific pages will be provided. Unfortunately, Caruso died in Naples, Italy in Aug.1921 [http://Caruso%20died%20in%20Italy,%20Naples,%20Aug.%202,%201921 Caruso died in Italy, Naples, Aug. 2, 1921]!<ref>The Encyclopaedia Brittanica, Edition 15, Micropedia, "Alto"p302, "Caruso"p.912 sections copyright 2005 </ref>
The contralto voice has the lowest tessitura of the female voices. In current operatic practice, female singers with very low [[Tessitura|vocal tessituras]] are often included among [[mezzo-sopranos]].


Contralto sub-types:
However, Caruso <ref>[[Caruso]] </ref>was often recorded with baritones, bases, and sopranos in Quartets, Duets, and Trios. One album owned by the writer that is attributed to Caruso, is currently being examined by modern equipment, for voice recognition, as it does not "sound" like Caruso <ref>[[Caruso]] </ref>in his voice range or vocal style, in addition to being recorded more clearly than any album by [[Caruso]] <ref>[[Caruso]] </ref>personally heard. The initial voice recognition tests indicate that it is not Caruso, suggesting that others, or at least this baritone, sang under the name of [[Caruso]] <ref>[[Caruso]] </ref>If this investigation turns out to be true through multiple blind studio's, it could explain the popular misconception that [[Caruso]] <ref>[[Caruso]] </ref>had a larger range than he actually had. When the studies are completed, we will make them available. This comment is in no way meant to be critical of [http://Caruso%20being%20one%20of%20the%20greatest%20Tenors%20of%20the%2020th%20century Caruso being one of the greatest Tenors of the 20th century], but to be sure that all great artists are recognized for their contributions to our theatre history.
Contraltos are often broken down into two categories: [[Lyric contralto]] and [[Dramatic contralto]].<ref name=Boldrey />


==Male voices==
==Male voices==
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===Countertenor===
===Countertenor===
{{main|Countertenor}}
{{main|Countertenor}}
The term [[countertenor]] refers to the highest male voice. Many countertenor singers perform roles originally written for [[castrato|castrati]] in [[baroque opera]]s. Except for a few very rare voices (such as the American male soprano [[Michael Maniaci]], or singers with a disorder such as [[Kallmann syndrome]]), singers called countertenors generally sing in the [[falsetto register]], sometimes using their [[modal register]] for the lowest notes. Historically, there is much evidence that "countertenor", in England at least, also designated a very high tenor voice, the equivalent of the French ''haute-contre'', and something similar to ''tenor altino''. Medically it is now known that this was almost exclusively accomplished by castrating men, in order to create the necessary failure of maturity of their voices, or in Italian, Castrate. <ref>"[[Castrate]]" </ref>This is no longer done. Men do not sing in this range in full voice today.
The term [[countertenor]] refers to the highest male voice. Many countertenor singers perform roles originally written for [[castrato|castrati]] in [[baroque opera]]s. Except for a few very rare voices (such as the American male soprano [[Michael Maniaci]], or singers with a disorder such as [[Kallmann syndrome]]), singers called countertenors generally sing in the [[falsetto register]], sometimes using their [[modal register]] for the lowest notes. Historically, there is much evidence that "countertenor", in England at least, also designated a very high tenor voice, the equivalent of the French ''haute-contre'', and something similar to the "leggiero tenor" or ''tenor altino''. It should be remembered that, until about 1830, all male voices used some falsetto-type voice production in their upper range.


Countertenor [[ranges]] (approximate){{Fact|date=December 2007}} :<br>
Countertenor [[ranges]] (approximate){{Fact|date=December 2007}} :<br>
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Countertenor sub-types:
Countertenor sub-types:
There are several sub-types of countertenors including [[Sopranist]] or [[male soprano]], [[Haute-contre]], and modern [[castrato]]. The last actual castrato singer, [[Alessandro Moreschi]], died in [[1922]].<ref name=Boldrey />
There are several sub-types of countertenors including [[Sopranist]] or [[male soprano]], [[Haute-contre]], and modern [[castrato]]. The last actual castrato singer, [[Alessandro Moreschi]], died in [[1922]].<ref name=Boldrey />

The above comments are for historical interest, but have no bearing on current vocal ranges for men.


===Tenor===
===Tenor===
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The [[tenor]] is the highest male voice within the [[modal register]]. The typical tenor voice lies between the C one octave below middle C (C3) to the C one octave above "Middle C" (C5). The low extreme for tenors is roughly [[scientific pitch notation|B-flat 2]] (the second b-flat below middle C). At the highest extreme, some tenors can sing up to the second F above "Middle C" (F5).<ref name=McKinney />
The [[tenor]] is the highest male voice within the [[modal register]]. The typical tenor voice lies between the C one octave below middle C (C3) to the C one octave above "Middle C" (C5). The low extreme for tenors is roughly [[scientific pitch notation|B-flat 2]] (the second b-flat below middle C). At the highest extreme, some tenors can sing up to the second F above "Middle C" (F5).<ref name=McKinney />
Tenor [[tessitura]]:
Tenor [[tessitura]]:
The tessitura of the tenor voice lies above the baritone voice and below the countertenor voice.
The tessitura of the tenor voice lies above the baritone voice and below the countertenor voice. The '''Leggiero tenor''' has the highest tessitura of all the tenor sub-types.<ref name=Boldrey />


Tenor sub-types:
Tenor sub-types:
Tenors are often divided into different sub-categories based on range, vocal color or timbre, the weight of the voice, and dexterity of the voice. These sub-categories include:
Tenors are often divided into different sub-categories based on range, vocal color or timbre, the weight of the voice, and dexterity of the voice. These sub-categories include:
[[Tenore di grazia]], [[Lyric tenor]], [[Spinto tenor]], [[Dramatic tenor]], and [[Heldentenor]]. <ref name=Boldrey /> Famous tenors include [[Juan Diego Flórez]], and [[Alfredo Kraus]].
[[Leggiero tenor]] or [[Tenore di grazia]], [[Lyric tenor]], [[Spinto tenor]], [[Dramatic tenor]], and [[Heldentenor]]. <ref name=Boldrey /> Famous tenors include [[Juan Diego Flórez]], and [[Alfredo Kraus]].


===Baritone===
===Baritone===
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Bass sub-types:
Bass sub-types:
Basses are often divided into different sub-categories based on range, vocal color or timbre, the weight of the voice, and dexterity of the voice. These sub-categories include: [[Basso Profondo]], [[Basso Buffo]], [[Bel Canto Bass]], [[Basso Cantante]], [[Dramatic Bass]], and [[Bass-baritone]].<ref name=Boldrey />
Basses are often divided into different sub-categories based on range, vocal color or timbre, the weight of the voice, and dexterity of the voice. These sub-categories include: [[Basso Profondo]], [[Basso Buffo]], [[Bel Canto Bass]], [[Basso Cantante]], [[Dramatic Bass]], and [[Bass-baritone]].<ref name=Boldrey />

==Children's voices==
===The voice from childhood to adulthood===
The human voice is in a constant state of change and development just as the whole body is in a state of constant change. A human voice will alter as a person gets older moving from immaturity to maturity to a peak period of prime singing and then ultimately into a declining period. The vocal range and timbre of children's voices does not have the variety that adults' voices have. Both boys and girls prior to puberty have an equivalent vocal range and timbre. The reason for this is that both groups have a similar [[larynx|laryngeal]] size and height and a similar [[vocal cord]] structure. With the onset of puberty, both men and women's voices alter as the [[vocal ligaments]] become more defined and the laryngeal cartilages harden. The laryngeal structure of both voices change but more so in men. The height of the male [[larynx]] becomes much longer than in women. The size and development of adult lungs also changes what the voice is physically capable of doing. From the onset of puberty to approximately age 22, the human voice is in an in-between phase where it is not quite a child's voice nor an adult one yet. This is not to suggest that the voice stops changing at that age. Different singers will reach adult development earlier or later than others, and as stated above there are continual changes throughout adulthood as well.<ref name="PowerPoint Presentation">[http://www.vocalprocess.co.uk/resources/Developing_Voice_presentation.pdf PowerPoint Presentation<!-- Bot generated title -->]</ref>


===Treble===
===Treble===
{{main|Boy soprano}}
{{main|Boy soprano}}
The term '''treble''' can refer to either a young female or young male singer with an unchanged voice in the [[soprano]] range. Initially, the term was associated with [[boy sopranos]] but as the inclusion of girls into children's choirs became acceptable in the twentieth century the term has expanded to refer to all pre-pubescent voices. The lumping of children's voices into one category is also practical as both boys and girls share a similar range and timbre.<ref name="PowerPoint Presentation"/>


Treble [[Vocal range|range]]:
Most trebles have an approximate range from the A below "middle C" (A3) to the F one and a half octaves above "middle C" (F5). Some trebles, however, can extend their voices higher in the [[modal register]] to "high C" (C6). This ability may be comparatively rare, but the Anglican church repertory, which many trained trebles sing, frequently demands G5 and even A5. <ref>[http://www.vocalprocess.co.uk/resources/Developing_Voice_presentation.pdf PowerPoint Presentation<!-- Bot generated title -->; for higher notes see, for example, the treble solo at the beginning of Stanford's ''Magnificat in G'', David Willcocks' descant to Mendelssohn's tune for the carol ''Hark, the Herald Angels Sing'', and the even higher treble solo in the Nunc Dimittis from Tippett's ''Evening Canticles'' written for St John's College, Cambridge)]</ref> Many trebles are also able to reach higher notes by use of the [[whistle register]] but this practice is rarely called for in performance.<ref name=McKinney />


==Classifying singers==
==Classifying singers==
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|isbn= 978-1861561961}}</ref>
|isbn= 978-1861561961}}</ref>


Singing at either extreme of the range may be damaging, but the possibility of damage seems to be much more prevalent in too high a classification. A number of medical authorities have indicated that singing at too high a pitch level may contribute to certain vocal disorders. Medical evidence indicates that singing at too high of a pitch level, or more correctly, by failing to use chest tones [http://chest%20tones chest tones] and relying on one's <ref>[[falsetto]] </ref> may lead to the development of [[vocal nodules]]. This is known to have caused the damage to Juilie Andrew's voice in Victor Victoria, from which she never fully recovered, and which took many years. The same part caused nodules to damage Lize Minelli, who was able to recover. "Meat Loaf" known for his power but extreme use of his throat in singing for long tours lost 20 years between albums, also due to vocal nodules. Increasing tension on the [[vocal cords]] is one of the means of raising pitch. Singing above an individual's best tessitura keeps the vocal cords under a great deal of unnecessary tension for long periods of time, and the possibility of vocal abuse is greatly increased. Singing at too low a pitch level is not as likely to be damaging unless a singer tries to force the voice down.<ref name=Appelman />
Singing at either extreme of the range may be damaging, but the possibility of damage seems to be much more prevalent in too high a classification. A number of medical authorities have indicated that singing at too high a pitch level may contribute to certain vocal disorders. Medical evidence indicates that singing at too high of a pitch level may lead to the development of [[vocal nodules]]. Increasing tension on the [[vocal cords]] is one of the means of raising pitch. Singing above an individual's best tessitura keeps the vocal cords under a great deal of unnecessary tension for long periods of time, and the possibility of vocal abuse is greatly increased. Singing at too low a pitch level is not as likely to be damaging unless a singer tries to force the voice down.<ref name=Appelman />


In general vocal pedagogists consider four main qualities of a human voice when attempting to classify it: [[vocal range]], [[tessitura]], [[timbre]], and [[vocal transition points]]. However, teachers may also consider physical characteristics, speech level, scientific testing and other factors.
In general vocal pedagogists consider four main qualities of a human voice when attempting to classify it: [[vocal range]], [[tessitura]], [[timbre]], and [[vocal transition points]]. However, teachers may also consider physical characteristics, speech level, scientific testing and other factors.
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==Choral music classification==
==Choral music classification==
We currently think of Choral music as a modern Chorus, but it is the basis of classical definitions. This section is referring to Modern Chorus singing, not true Choral Music [http://%5B%5BChoral%20Music%5D%5D, [[Choral Music<nowiki>]]</nowiki>,] historically.
Unlike other classification systems, choral music divides voices solely on the basis of vocal range. Choral music most commonly divides vocal parts into high and low voices within each sex (SATB). As a result, the typical choral situation affords many opportunities for misclassification to occur.<ref name=McKinney /> Since most people have medium voices, they must be assigned to a part that is either too high or too low for them; the mezzo-soprano must sing soprano or alto and the baritone must sing tenor or bass. Either option can present problems for the singer, but for most singers there are fewer dangers in singing too low than in singing too high.<ref name=Smith />
Unlike other classification systems, choral music divides voices solely on the basis of vocal range. Choral music most commonly divides vocal parts into high and low voices within each sex (SATB). As a result, the typical choral situation affords many opportunities for misclassification to occur.<ref name=McKinney /> Since most people have medium voices, they must be assigned to a part that is either too high or too low for them; the mezzo-soprano must sing soprano or alto and the baritone must sing tenor or bass. Either option can present problems for the singer, but for most singers there are fewer dangers in singing too low than in singing too high.<ref name=Smith />


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*[http://www.dlib.indiana.edu/variations/scores/scores.html Collection of public domain scores (Indiana U)]
*[http://www.dlib.indiana.edu/variations/scores/scores.html Collection of public domain scores (Indiana U)]
*[http://hcl.harvard.edu/libraries/loebmusic/collections/digital.html Smaller collection of public domain scores (Harvard)]
*[http://hcl.harvard.edu/libraries/loebmusic/collections/digital.html Smaller collection of public domain scores (Harvard)]
*[http://www.opera-guide.ch/opern_komponisten.php?uilang=en&first-letter=A Collection of librettos and translation]
*[http://www.opera-guide.ch/opern_komponisten.php?uilang=en&first-letter=A Collection of librettos and translations]
*[http://www.karadar.it/Operas/ Collection of librettos (Karadar)]
*[http://opera.stanford.edu/operas.html Collection of librettos (Stanford)]
*[http://opera.stanford.edu/operas.html Collection of librettos (Stanford)]
*[http://www.giuseppeverdi.it/page.asp?IDCategoria=162&IDSezione=581 Verdi librettos]
*[http://www.giuseppeverdi.it/page.asp?IDCategoria=162&IDSezione=581 Verdi librettos]
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[[Category:Singing]]
[[Category:Singing]]
[[Category:Opera terminology]]
[[Category:Opera terminology]]
[[Category:Voice types]
[[Category:Voice types]]

[[ca:Registrer]]
[[be:Галасы спевакоў]]
[[ca:Registre vocal]]
[[cs:Druhy hlasů]]
[[et:Hääleliik]]
[[ru:Певческие голоса]]
[[sl:Pevski glas]]
[[tr:Ses türü]]

Revision as of 14:30, 28 July 2011

Voice type
Female
Male

A voice type is a particular kind of human singing voice perceived as having certain identifying qualities or characteristics. Voice classification is the process by which human voices are evaluated and are thereby designated into voice types. These qualities include but are not limited to: vocal range, vocal weight, vocal tessitura, vocal timbre, and vocal transition points such as breaks and lifts within the voice. Other considerations are physical characteristics, speech level, scientific testing, and vocal registration.[1] The science behind voice classification developed within European classical music and is not generally applicable to other forms of singing. Voice classification is often used within opera to associate possible roles with potential voices. There are currently several different systems in use including: the German Fach system and the choral music system among many others. No system is universally applied or accepted.[2] This article focuses on voice classification within classical music. For other contemporary styles of singing see: Voice classification in non-classical music.

Voice classification is a tool for singers, composers, venues, and listeners to categorize vocal properties, and to associate possible roles with potential voices. There have been times when voice classification systems have been used too rigidly, i.e. a house assigning a singer to a specific type, and only casting him or her in roles they consider belonging to this category.[3]

A singer will ultimately choose a repertoire that suits their instrument. Some singers such as Enrico Caruso, Rosa Ponselle, Joan Sutherland, Maria Callas, Ewa Podles, or Plácido Domingo have voices which allow them to sing roles from a wide variety of types; some singers such as Shirley Verrett or Grace Bumbry change type, and even voice part over their careers; and some singers such as Leonie Rysanek have voices which lower with age, causing them to cycle through types over their careers. Some roles as well are hard to classify, having very unusual vocal requirements; Mozart wrote many of his roles for specific singers who often had remarkable voices, and some of Verdi’s early works make extreme demands on his singers.[4]

A note on vocal range vs. tessitura: Choral singers are classified into voice parts based on range; solo singers are classified into voice types based in part on tessitura – where the voice feels most comfortable for the majority of the time.[5]

(For more information and roles and singers, see the individual voice type pages.)

Number of voice types

There are a plethora of different voice types used by vocal pedagogists today in a variety of voice classification systems. Most of these types, however, are sub-types that fall under seven different major voice categories that are for the most part acknowledged across all of the major voice classification systems. Women are typically divided into three groups: soprano, mezzo-soprano, and contralto. Men are usually divided into four groups: countertenor, tenor, baritone, and bass. When considering the pre-pubescent male voice an eighth term, treble, can be applied. Within each of these major categories there are several sub-categories that identify specific vocal qualities like coloratura facility and vocal weight to differentiate between voices.[6]

Female voices

The range specifications given below are based on the American scientific pitch notation.

Soprano

Main article: Soprano

Soprano range: The soprano is the highest female voice. The typical soprano voice lies between middle C (C4) and "high C"(C6). The low extreme for sopranos is roughly B3 or A3 (just below middle C).[6] Most soprano roles do not extend above "high C" although there are several standard soprano roles that call for D6 or D-flat6. At the highest extreme, some coloratura soprano roles may reach from F6 to A6 (the F to A above "high C").[7]

Soprano tessitura: The tessitura of the soprano voice lies higher than all the other female voices. In particular, the coloratura soprano has the highest tessitura of all the soprano sub-types.[3]

Soprano sub-types: As with all voice categories, sopranos are often divided into different sub-categories based on range, vocal color or timbre, the weight of voice, and dexterity of the voice. These sub-categories include: Coloratura soprano, Soubrette, Lyric soprano, Spinto, and Dramatic soprano.[3]

Intermediate voice types

Two types of soprano especially dear to the French are the Dugazon and the Falcon, which are intermediate voice types between the soprano and the mezzo soprano: a Dugazon is a darker-colored soubrette, a Falcon a darker-colored soprano drammatico.[8]

Mezzo-soprano

Main article: Mezzo-soprano

The mezzo-soprano is the middle-range voice type for females and is the most common female voice.[6]

Mezzo-soprano range: The mezzo-soprano voice lies between the soprano voice and contralto voice, over-lapping both of them. The typical range of this voice is between A3 (the A below middle C) to A5 (the A two octaves above A3). In the lower and upper extremes, some mezzo-sopranos may extend down to the G below middle C (G3) and as high as "high C" (C6).[6]

Mezzo-soprano tessitura: Although this voice overlaps both the contralto and soprano voices, the tessitura of the mezzo-soprano is lower than that of the soprano and higher than that of the contralto.

Mezzo-soprano sub-types: Mezzo-sopranos are often broken down into three categories: Lyric mezzo-soprano, Coloratura mezzo-soprano and Dramatic mezzo-soprano.[3]

Alto

Contralto and alto are not the same term. Technically, "alto" is not a voice type but a designated vocal line in choral music based on vocal range. The range of the alto part in choral music is usually more similar to that of a mezzo-soprano than a contralto. However, in many compositions the alto line is split into two parts. The lower part, Alto 2, is usually more suitable to a contralto voice than a mezzo-soprano voice.[3].

Contralto

Main article: Contralto

Contralto range: The contralto voice is the lowest female voice. A true operatic contralto is extremely rare, so much so that often roles intended for contraltos are performed by mezzo-sopranos. The typical contralto range lies between the F below middle C (F3) to the second F (F5) above middle C. In the lower and upper extremes, some contralto voices can sing from the E below middle C (E3) to the second b-flat above (b-flat5), which is only one whole step short of the "Soprano C".[6]

Contralto tessitura: The contralto voice has the lowest tessitura of the female voices. In current operatic practice, female singers with very low vocal tessituras are often included among mezzo-sopranos.

Contralto sub-types: Contraltos are often broken down into two categories: Lyric contralto and Dramatic contralto.[3]

Male voices

Countertenor

Main article: Countertenor

The term countertenor refers to the highest male voice. Many countertenor singers perform roles originally written for castrati in baroque operas. Except for a few very rare voices (such as the American male soprano Michael Maniaci, or singers with a disorder such as Kallmann syndrome), singers called countertenors generally sing in the falsetto register, sometimes using their modal register for the lowest notes. Historically, there is much evidence that "countertenor", in England at least, also designated a very high tenor voice, the equivalent of the French haute-contre, and something similar to the "leggiero tenor" or tenor altino. It should be remembered that, until about 1830, all male voices used some falsetto-type voice production in their upper range.

Countertenor ranges (approximate)[citation needed] :
Countertenor: from about G3 to E5 or F5
Sopranist: extend the upper range to usually only C6, but some as high as E6 or F6
Haute-contre: from about D3 or E3 to about D5

Countertenor sub-types: There are several sub-types of countertenors including Sopranist or male soprano, Haute-contre, and modern castrato. The last actual castrato singer, Alessandro Moreschi, died in 1922.[3]

Tenor

Main article: Tenor

Tenor range: The tenor is the highest male voice within the modal register. The typical tenor voice lies between the C one octave below middle C (C3) to the C one octave above "Middle C" (C5). The low extreme for tenors is roughly B-flat 2 (the second b-flat below middle C). At the highest extreme, some tenors can sing up to the second F above "Middle C" (F5).[6] Tenor tessitura: The tessitura of the tenor voice lies above the baritone voice and below the countertenor voice. The Leggiero tenor has the highest tessitura of all the tenor sub-types.[3]

Tenor sub-types: Tenors are often divided into different sub-categories based on range, vocal color or timbre, the weight of the voice, and dexterity of the voice. These sub-categories include: Leggiero tenor or Tenore di grazia, Lyric tenor, Spinto tenor, Dramatic tenor, and Heldentenor. [3] Famous tenors include Juan Diego Flórez, and Alfredo Kraus.

Baritone

Main article: Baritone

The Baritone is the most common type of male voice.[6]

Baritone range: The vocal range of the baritone lies between the bass and tenor ranges, overlapping both of them. The typical baritone range is from the second F below middle C (F2) to the F above middle C (F4), which is exactly two octaves. In the lower and upper extremes, a baritone's range can be extended at either end.[6]

Baritone tessitura: Although this voice overlaps both the tenor and bass voices, the tessitura of the baritone is lower than that of the tenor and higher than that of the bass.[3]

Baritone sub-types: Baritones are often divided into different sub-categories based on range, vocal color or timbre, the weight of the voice, and dexterity of the voice. These sub-categories include: Lyric baritone, Bel Canto (coloratura) baritone, kavalierbariton, Dramatic baritone, Verdi baritone, baryton-noble, and Bariton/Baryton-Martin.[3]

Bass

Main article: Bass (voice type)

Bass range: The bass is the lowest male voice. The bass voice has the lowest tessitura of all the voices. The typical bass range lies between the second E below "middle C" (E2) to the E above middle C (E4). In the lower and upper extremes of the bass voice, some basses can sing from the C two octaves below middle C (C2) to the G above middle C (G4).[3]

Bass sub-types: Basses are often divided into different sub-categories based on range, vocal color or timbre, the weight of the voice, and dexterity of the voice. These sub-categories include: Basso Profondo, Basso Buffo, Bel Canto Bass, Basso Cantante, Dramatic Bass, and Bass-baritone.[3]

Children's voices

The voice from childhood to adulthood

The human voice is in a constant state of change and development just as the whole body is in a state of constant change. A human voice will alter as a person gets older moving from immaturity to maturity to a peak period of prime singing and then ultimately into a declining period. The vocal range and timbre of children's voices does not have the variety that adults' voices have. Both boys and girls prior to puberty have an equivalent vocal range and timbre. The reason for this is that both groups have a similar laryngeal size and height and a similar vocal cord structure. With the onset of puberty, both men and women's voices alter as the vocal ligaments become more defined and the laryngeal cartilages harden. The laryngeal structure of both voices change but more so in men. The height of the male larynx becomes much longer than in women. The size and development of adult lungs also changes what the voice is physically capable of doing. From the onset of puberty to approximately age 22, the human voice is in an in-between phase where it is not quite a child's voice nor an adult one yet. This is not to suggest that the voice stops changing at that age. Different singers will reach adult development earlier or later than others, and as stated above there are continual changes throughout adulthood as well.[9]

Treble

Main article: Boy soprano

The term treble can refer to either a young female or young male singer with an unchanged voice in the soprano range. Initially, the term was associated with boy sopranos but as the inclusion of girls into children's choirs became acceptable in the twentieth century the term has expanded to refer to all pre-pubescent voices. The lumping of children's voices into one category is also practical as both boys and girls share a similar range and timbre.[9]

Treble range: Most trebles have an approximate range from the A below "middle C" (A3) to the F one and a half octaves above "middle C" (F5). Some trebles, however, can extend their voices higher in the modal register to "high C" (C6). This ability may be comparatively rare, but the Anglican church repertory, which many trained trebles sing, frequently demands G5 and even A5. [10] Many trebles are also able to reach higher notes by use of the whistle register but this practice is rarely called for in performance.[6]

Classifying singers

Voice classification is important for vocal pedagogists and singers as a guiding tool for the development of the voice. Misclassification can damage the vocal cords, shorten a singing career and lead to the loss of both vocal beauty and free vocal production. Some of these dangers are not immediate ones; the human voice is quite resilient, especially in early adulthood, and the damage may not make its appearance for months or even years. Unfortunately, this lack of apparent immediate harm can cause singers to develop bad habits that will over time cause irreparable damage to the voice.[6] Singing outside the natural vocal range imposes a serious strain upon the voice. Clinical evidence indicates that singing at a pitch level that is either too high or too low creates vocal pathology.[11] Noted vocal pedagogist Margaret Greene says,

"The need for choosing the correct natural range of the voice is of great importance in singing since the outer ends of the singing range need very careful production and should not be overworked, even in trained voices."[12]

Singing at either extreme of the range may be damaging, but the possibility of damage seems to be much more prevalent in too high a classification. A number of medical authorities have indicated that singing at too high a pitch level may contribute to certain vocal disorders. Medical evidence indicates that singing at too high of a pitch level may lead to the development of vocal nodules. Increasing tension on the vocal cords is one of the means of raising pitch. Singing above an individual's best tessitura keeps the vocal cords under a great deal of unnecessary tension for long periods of time, and the possibility of vocal abuse is greatly increased. Singing at too low a pitch level is not as likely to be damaging unless a singer tries to force the voice down.[4]

In general vocal pedagogists consider four main qualities of a human voice when attempting to classify it: vocal range, tessitura, timbre, and vocal transition points. However, teachers may also consider physical characteristics, speech level, scientific testing and other factors.

Dangers of quick identification

Many vocal pedagogists warn of the dangers of quick identification. Premature concern with classification can result in misclassification, with all its attendant dangers. William Vennard says:

"I never feel any urgency about classifying a beginning student. So many premature diagnoses have been proved wrong, and it can be harmful to the student and embarrassing to the teacher to keep striving for an ill-chosen goal. It is best to begin in the middle part of the voice and work upward and downward until the voice classifies itself". [13]

Most vocal pedagogists believe that it is essential to establish good vocal habits within a limited and comfortable range before attempting to classify the voice. When techniques of posture, breathing, [phonation], resonation, and articulation have become established in this comfortable area, the true quality of the voice will emerge and the upper and lower limits of the range can be explored safely. Only then can a tentative classification be arrived at, and it may be adjusted as the voice continues to develop.[12] Many vocal pedagogists suggest that teachers begin by assuming that a voice is of a medium classification until it proves otherwise. The reason for this is that the majority of individuals possess medium voices and therefore this approach is less likely to misclassify or damage the voice.[6]

Choral music classification

Unlike other classification systems, choral music divides voices solely on the basis of vocal range. Choral music most commonly divides vocal parts into high and low voices within each sex (SATB). As a result, the typical choral situation affords many opportunities for misclassification to occur.[6] Since most people have medium voices, they must be assigned to a part that is either too high or too low for them; the mezzo-soprano must sing soprano or alto and the baritone must sing tenor or bass. Either option can present problems for the singer, but for most singers there are fewer dangers in singing too low than in singing too high.[5]

See also

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References

  1. ^ Shewan, Robert (1979). "Voice Classification: An Examination of Methodology". The NATS Bulletin. 35: 17–27. {{cite journal}}: Unknown parameter |month= ignored (help)
  2. ^ Stark, James (2003). Bel Canto: A History of Vocal Pedagogy. University of Toronto Press. ISBN 978-0802086143.
  3. ^ a b c d e f g h i j k l m Boldrey, Richard (1994). Guide to Operatic Roles and Arias. Caldwell Publishing Company. ISBN 978-1877761645.
  4. ^ a b Appelman, D. Ralph (1986). The Science of Vocal Pedagogy: Theory and Application. Indiana University Press. ISBN 978-0253203786.
  5. ^ a b Smith, Brenda (2005). Choral Pedagogy. Plural Publishing, Inc. ISBN 978-1597560436.
  6. ^ a b c d e f g h i j k l McKinney, James (1994). The Diagnosis and Correction of Vocal Faults. Genovex Music Group. ISBN 978-1565939400.
  7. ^ Coffin, Berton (1960). Coloratura, Lyric and Dramatic Soprano, Vol. 1. Rowman & Littlefield Publishers, Inc. ISBN 978-0810801882.
  8. ^ Voice Classification
  9. ^ a b PowerPoint Presentation
  10. ^ PowerPoint Presentation; for higher notes see, for example, the treble solo at the beginning of Stanford's Magnificat in G, David Willcocks' descant to Mendelssohn's tune for the carol Hark, the Herald Angels Sing, and the even higher treble solo in the Nunc Dimittis from Tippett's Evening Canticles written for St John's College, Cambridge)
  11. ^ Cooper, Morton (1973). Modern Techniques of Vocal Rehabilitation. Charles C. Thomas. ASIN B000JC1U76.
  12. ^ a b Greene, Margaret (2001). The Voice and its Disorders. John Wiley & Sons; 6th Edition edition. ISBN 978-1861561961. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  13. ^ {{cite book title= Singing: The Mechanism and the Technic last= Vennard first= William year= 1967 publisher= Carl Fischer isbn= 978-0825800559}}

Further reading

Cooper, Morton (1973). Modern Techniques of Vocal Rehabilitation. Charles C. Thomas. ASIN B000JC1U76.

Large, John (1972). "Towards an Integrated Physiologic-Acoustic Theory of Vocal Registers". The NATS Bulletin. 28: 30–35. {{cite journal}}: Unknown parameter |month= ignored (help)

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