Voice types and vocal range chart

Overview

Vocal range is the range of pitches that a human voice can phonate. A common application is within the context of singing, where it is used as a defining characteristic for classifying singing voices into voice types. It is also a topic of study within linguistics, phonetics, and speech-language pathology, particularly in relation to the study of tonal languages and certain types of vocal disorders, although it has little practical application in terms of speech.

Singing and the definition of vocal range

While the broadest definition of "vocal range" is simply the span from the lowest to the highest note a particular voice can produce, this broad definition is often not what is meant when "vocal range" is discussed in the context of singing. Vocal pedagogists tend to define the vocal range as the total span of "musically useful" pitches that a singer can produce. This is because some of the notes a voice can produce may not be considered usable by the singer within performance for various reasons. For example, within opera all singers must project over an orchestra without the aid of a microphone. An opera singer would therefore only be able to include the notes that they are able to adequately project over an orchestra within their vocal range. In contrast, a pop artist could include notes that could be heard with the aid of a microphone.

Another factor to consider is the use of different forms of vocal production. The human voice is capable of producing sounds using different physiological processes within the larynx. These different forms of voice production are known as vocal registers. While the exact number and definition of vocal registers is a controversial topic within the field of singing, the sciences identify only four registers: the whistle register, the falsetto register, the modal register, and the vocal fry register. Typically only the usable pitches within the modal register—the register used in normal speech and most singing—are included when determining singers' vocal ranges. There are exceptions, as in opera, where countertenors employ falsetto and coloratura sopranos use the whistle register; notes from these registers would therefore be included in the vocal ranges of these voices.

Vocal range and voice classification

Vocal range plays such an important role in classifying singing voices into voice types that sometimes the two terms are confused with one another. A voice type is a particular kind of human singing voice perceived as having certain identifying qualities or characteristics; vocal range being only one of those characteristics. Other factors are vocal weight, vocal tessitura, vocal timbre, vocal transition points, physical characteristics, speech level, scientific testing, and vocal registration. All of these factors combined are used to categorize a singer's voice into a particular kind of singing use or voice type.

The discipline of 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 several systems in use including the German Fach system, the Italian opera tradition, and French opera tradition. There are other systems of classification as well, most commonly the choral music system.

No system is universally applied or accepted. Most of the voice types identified by such systems, 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 main groups: soprano, mezzo-soprano, and contralto. Men are usually divided into four main groups: countertenor, tenor, baritone, and bass. When considering the pre-pubescent voices of children 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.

Vocal range itself does not determine a singer's voice type. While each voice type does have a general vocal range associated with it, human singing voices may possess vocal ranges that encompass more than one voice type or are in between the typical ranges of two voice types. Therefore, voice teachers use vocal range as only one factor among many in classifying a singer's voice. More important than range in voice classification is tessitura, or where the voice is most comfortable singing, and vocal timbre, or the characteristic sound of the singing voice. For example, a female singer may have a vocal range that encompasses the low notes of a mezzo-soprano and the high notes of a soprano. A voice teacher would therefore look to see whether the singer was more comfortable singing higher, or lower. If she were more comfortable singing higher, then the teacher would probably classify her as a soprano. If the singer were more comfortable singing in the mid to lower part of their voice the teacher would probably classify her as a mezzo-soprano. The teacher would also consider the sound of the voice; sopranos tend to have a lighter and less rich vocal sound than a mezzo-soprano. A voice teacher, however, would never classify a singer in more than one voice type, regardless of the size of the vocal range of the singer.

Operatic six basic voice types

Within the operatic systems of classification, there are six basic voice types. The ranges given below are approximations and are not meant to be too rigidly applied.

• Soprano: the highest female voice typically between C₄ and G₆
• Mezzo-soprano: the middle female voice typically between A₃ and G₅
• Contralto: the lowest female voice typically between F₃ and C₅
• Tenor: the highest male voice typically between D₃ and A₄
• Baritone: the middle male voice typically between B₂ and F₄
• Bass: the lowest male voice typically between G₂ and C₄

Some men, in falsetto voice or as a result of certain rare physiological conditions, can sing in the same range as women. Within classical music, these do not fall into the female categories; they are instead called countertenors. Within contemporary music, however, the use of the term tenor for these male voices is more appropriate.

Within choral music there are only four categories for adult singers: soprano and alto for women, tenor and bass for men.

In the UK, the term "male alto" refers to a man who uses falsetto vocal production to sing in the alto section of a chorus. This practice is much less common outside the UK where the term countertenor is more often applied. Countertenors are also widely employed within opera as solo vocalists, though the term "male alto" is never used to refer to a solo vocalist.

Children's voices, both male and female, are described as trebles, although boy soprano is widely used as well.

Overview

A voice type is a classification of the human singing voice into perceivable categories or groups. Particular human singing voices are identified as having certain qualities or characteristics of vocal range, vocal weight, tessitura, vocal timbre, and vocal transition points (passaggio), such as breaks and lifts within the voice. Other considerations are physical characteristics, speech level, scientific testing, and vocal register. A singer's voice type is identified by a process known as voice classification, by which the human voice is evaluated and thereby designated into a particular voice type. The discipline of 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. Several different voice classification systems are available to identify voice types, including the German Fach system and the choral music system among many others; no system is universally applied or accepted.

Number of voice types

Many different voice types are used in vocal pedagogy 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.

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 do 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 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 changes 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.

Treble

Treble can refer to either a young female or young male singer with an unchanged voice in the mezzo-soprano range. Initially, the term was associated with boy sopranos but as the inclusion of girls into children's choirs became acceptable in the 20th 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 boys and girls share a similar range and timbre.

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

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: soprano and alto vocal ranges for females, tenor and bass vocal ranges for males (SATB), and occasionally treble for children. As a result, the typical chorus affords many opportunities for misclassification to occur. Since most people have medium voices, they are often assigned 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.

Overview

A soprano is a type of classical singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C₄) = 261 Hz to A₅ in choral music, or to soprano C (C₆) or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which often encompasses the melody. The soprano voice type is generally divided into the coloratura, soubrette, lyric, spinto, and dramatic soprano.

Vocal range

The soprano has the highest vocal range of all voice types, with the highest tessitura. A soprano and a mezzo-soprano have a similar range, but their tessituras will lie in different parts of that range.

The low extreme for sopranos is roughly A₃ or B♭₃ (just below middle C). Within opera, the lowest demanded note for sopranos is F₃ (from Richard Strauss's Die Frau ohne Schatten). Often low notes in higher voices will project less, lack timbre, and tend to "count less" in roles (although some Verdi, Strauss and Wagner roles call for stronger singing below the staff). However, rarely is a soprano simply unable to sing a low note in a song within a soprano role. Low notes can be reached with a lowered position of the larynx.

The high extreme, at a minimum, for non-coloratura sopranos is "soprano C" (C₆ two octaves above middle C), and many roles in the standard repertoire call for C♯₆ or D₆. A couple of roles have optional E♭₆s, as well. In the coloratura repertoire, several roles call for E♭₆ on up to F₆. In rare cases, some coloratura roles go as high as G₆ or G♯₆, such as Mozart's concert aria "Popoli di Tessaglia!", or the title role of Jules Massenet's opera Esclarmonde. While not necessarily within the tessitura, a good soprano will be able to sing her top notes full-throated, with timbre and dynamic control.

Overview

The tenor is a type of male singing voice whose vocal range lies between the countertenor and baritone voice types. It is the highest male chest-voice type. Composers typically write music for the tenor in the range from the second B below middle C, to the G above middle C (i.e. B₂ to G₄) in choral music – and from the second B-flat below middle C, to the C above middle C (B♭₂ to C₅) in operatic music – but the range can extend at either end. Subtypes of the tenor include the leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor and tenor buffo (also known as the spieltenor).

Vocal range

The vocal range of the tenor is the highest of the male voice types. Within opera, the lowest note in the standard tenor repertoire is widely defined to be B♭₂. However, the role of Rodrigo di Dhu (written for Andrea Nozzari) in Rossini's rarely performed La donna del lago is considered a tenor role but requires an A♭₂. Within more frequently performed repertoire, Mime and Herod both call for an A₂.

A few tenor roles in the standard repertoire call for a "tenor C" (C₅, one octave above middle C). Some, if not all, of the few top Cs in the standard operatic repertoire are either optional (such as in "Che gelida manina" in Puccini's La bohème) or interpolated (added) by tradition (an example is the aria "Di quella pira" from Verdi's Il trovatore). However, the highest demanded note in the standard tenor operatic repertoire is D₅, found in "Mes amis, écoutez l'histoire" from Adolphe Adam's Le postillon de Lonjumeau and in "Loin de son amie" from Fromental Halévy's La Juive). In the leggero repertoire, the highest note is F₅ (Arturo in "Credeasi, misera" from Bellini's I puritani); therefore, very few tenors, notably including Nicolai Gedda, have this role in their repertoire without transposition (given the raising of concert pitch since its composition) or employing passaggio, as did Luciano Pavarotti.

Vocal range

The vocal range of a countertenor is equivalent to that of the female contralto or mezzo-soprano voice types. A trained countertenor will typically have a vocal centre similar in placement to that of a contralto or mezzo-soprano. Peter Giles, a professional countertenor and noted author on the subject, defines the countertenor as a musical part rather than as a vocal style or mechanism. In modern usage, the term "countertenor" is essentially equivalent to the medieval term contratenor altus. In this way, a countertenor singer can be operationally defined as a man who sings the countertenor part, whatever vocal style or mechanism is employed. The countertenor range is generally equivalent to an alto range, extending from approximately E₃ to D₅ or E₅. In comparison to female voices the male voice usually has an extended range towards the low notes, but the lowest parts of the range are usually not used. In actual practice, it is generally acknowledged that a majority of countertenors sing with a falsetto vocal production for at least the upper half of this range, although most use some form of "chest voice" (akin to the range of their speaking voice) for the lower notes. The most difficult challenge for such a singer is managing the lower middle range, for there are normally a few notes (around B♭₃) that can be sung with either vocal mechanism, and the transition between registers must somehow be blended or smoothly managed.

Short-lived range

Most trebles have a comfortable range from the A below "middle C" (A₃, 220 Hz) to the F one and a half octaves above "middle C" (F₅, 698 Hz), roughly corresponding to an adult male baritone range, up one octave. Some writing demands higher notes; the Anglican church repertory, which many trained trebles to sing, frequently demands G₅ (784 Hz) and A₅ (880 Hz). Some trebles, however, can extend their voices higher in the modal register to "high C" (C₆, 1046 Hz). The high C is considered the defining note of the soprano voice type. For high 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, the even higher treble solo from Gregorio Allegri's Miserere, and the treble part in the Nunc Dimittis from Tippett's Evening Canticles written for St John's College, Cambridge. Many trebles are also able to reach higher notes by use of the whistle register but this practice is rarely called for and writing above high C is very rare in choral music of any kind.

A voice change or voice mutation, sometimes referred to as a voice break or voice crack, commonly refers to the deepening of the voice of men as they reach puberty. Before puberty both sexes have roughly similar vocal pitches, but during puberty the male voice typically deepens an octave, while the female voice gradually becomes richer.

A similar effect is a "voice crack", during which a person's voice suddenly and unintentionally enters a higher register (usually falsetto) for a brief period of time. This may be caused by singing or talking at a pitch outside the person's natural vocal range, stress, fatigue, emotional tension, or the physical changes associated with puberty. An instance of a voice crack (when associated with puberty) lasts for only a moment and generally occurs less frequently as the individual grows into maturity.

The German Fach system (literally "compartment" or "subject of study", here in the sense of "vocal specialization") is a method of classifying singers, primarily opera singers, according to the range, weight, and color of their voices. It is used worldwide, but primarily in Europe, especially in German-speaking countries and by repertory opera houses.

The Fach system is a convenience for singers and opera houses. It prevents singers from being asked to sing roles which they are incapable of performing, or roles for which their vocal timbre is dramatically unsuited. Opera companies keep lists of available singers by Fach so that when they are casting roles for an upcoming production, they do not inadvertently contact performers who would be inappropriate for the part.