1295:, 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. Many vocal pedagogues 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 mis-classify or damage the voice.
1389:). As a result, the typical chorus is highly prone to misclassification. Since most people have "medium" voices (men tend to be baritones and women tend to be mezzo-sopranos), the parts they are assigned are often too high or too low for them; often mezzo-sopranos must sing soprano or alto and baritones sing tenor or bass. Either option can present problems for the singer, where the singers strain their voices to reach the high or low notes, but for most singers there are fewer dangers in singing too low than in singing too high.
483:
622:
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1266:, "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." 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. Medical evidence indicates that singing at too high of a pitch level may lead to the development of vocal disorders such as
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332:
1007:
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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. 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. According to vocal pedagogue
1270:. 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.
1943:
928:
1261:
Misclassification of a singer's voice type is dangerous. It 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
920:
1286:
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
1140:
become more defined and the laryngeal cartilages harden. The height of the male larynx becomes much greater than in women. Size and development of adult lungs also changes physical capabilities of the voice. During puberty, the human voice is in an in-between phase where it is not quite a child's
657:
mostly for the lowest notes. The countertenor voice is therefore more often a product of the application of a specific technical approach, and much less often a result of the biological factors which have long been credited with determining the other voice types. These factors include vocal-fold
1176:
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.
230:
in a variety of voice classification systems. Most of these types, however, are grouped into seven or eight major voice categories that are, for the most part, acknowledged across the major voice classification systems. Women are typically divided into three groups:
985:
Baritone subtypes: Baritones are often divided into different subcategories based on range, vocal color or timbre, the weight of the voice, and dexterity of the voice. Baritones are often broken down into seven subcategories: baryton-Martin, lyric baritone,
1141:
voice nor an adult one yet. This is not to suggest that the voice stops changing after puberty. Different singers will reach adult development earlier or later than others, and as stated above, there are continual changes throughout adulthood.
430:
Soprano subtypes: As with all voice types, sopranos are often divided into different subcategories based on range, vocal color or timbre, the weight of voice, and dexterity of the voice. Sopranos are often broken down into five subcategories:
758:
757:
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822:
Tenor subtypes: Tenors are often divided into different subcategories based on range, vocal color or timbre, the weight of the voice, and dexterity of the voice. Tenors are often broken down into eight subcategories:
568:
range: The contralto voice is the lowest female voice. A true operatic contralto is rare, so much so that often roles intended for contralto are performed by mezzo-sopranos. The typical contralto range lies between
1102:
Bass subtypes: Basses are often divided into different subcategories based on range, vocal color or timbre, the weight of the voice, and dexterity of the voice. Basses are often broken down into six subcategories:
658:
length, thickness, and other elements of laryngeal proportions. All countertenors, save those rare examples previously mentioned, also fall into the traditional male voice categories, such as tenor and bass.
962:
range: The baritone voice is the middle-range voice type for males and the most common male voice type; it lies between the bass and tenor ranges, overlapping both of them. The typical baritone range is from
350:
1291:
Most vocal pedagogues 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,
528:
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.
929:
505:
range: The mezzo-soprano voice is the middle-range voice type for females; it lies between the soprano and contralto ranges, over-lapping both of them. The typical range of this voice is between A
1278:
Many vocal pedagogues warn of the dangers of "quick identification." Premature concern with classification can result in misclassification, with all its attendant dangers. Vocal pedagogue
641:
While the countertenor is almost universally recognized as a voice category, it is not a voice type in the strictest sense. Except for a few rare voices (such as the
American male soprano
341:
982:
Baritone tessitura: Although this voice range overlaps both the tenor and bass ranges, the tessitura of the baritone is lower than that of the tenor and higher than that of the bass.
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A human voice will alter as a person gets older. The vocal range and timbre of children's voices do not have the variety that adults' voices have. Both sexes before
210:
have voices that lower with age, causing them to cycle through types over their careers. Some roles are hard to classify, having very unusual vocal requirements;
531:
Mezzo-soprano subtypes: Mezzo-sopranos are often broken down into three subcategories: lyric mezzo-soprano, coloratura mezzo-soprano and dramatic mezzo-soprano.
295:. Vocal ranges are grouped into overlapping types that each span about two octaves. Many singers fall between groups and can perform some parts in either type.
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1398:
38:
672:. Historically, there is much evidence that the countertenor, in England at least, also designated a very high tenor voice, the equivalent of the French
1741:
1357:
1047:
1258:. Voice classification into the correct voice type is important for vocal pedagogues and singers as a guiding tool for the development of the voice.
678:. Until about 1830, all male voices used some falsetto-type voice production in their upper range. Countertenor voices span a broad range, covering E
1172:
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
1039:
1987:
1606:
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Contralto subtypes: Contraltos are often broken down into three subcategories: coloratura contralto, lyric contralto, and dramatic contralto. A
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range: The bass is the lowest singing voice. The bass voice has the lowest tessitura of all the voices. The typical bass range lies between E
1350:
128:
1766:"Vocal heroes: Going out on a natural high: 'High and sweet and strong'. Tess Knighton on what England expects of her cathedral choirboys"
1954:
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1795:
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1254:. However, teachers may also consider physical characteristics, speech level, scientific testing, and other factors such as
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1209:
935:
1980:
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Tenor tessitura: The tessitura of the tenor voice lies above the baritone voice and below the countertenor voice. The
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range: The countertenor is the highest male voice. Many countertenor singers perform roles originally written for a
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37:
This article focuses on voice classification within classical music. For other contemporary styles of singing see:
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280:
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divides voices solely on the basis of vocal range. Choral music most commonly divides vocal parts into soprano,
746:
121:
462:
263:, is applied. Within each of these major categories, subcategories identify specific vocal qualities such as
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791:
range: The tenor is the highest male voice within the modal register. The typical tenor voice lies between C
456:
211:
1947:
1920:
Large, John (February–March 1972). "Towards an
Integrated Physiologic-Acoustic Theory of Vocal Registers".
482:
1973:
621:
1236:
Vocal pedagogues generally consider four main qualities of a human voice when attempting to classify it:
2559:
2290:
1263:
423:
Soprano tessitura: The tessitura of the soprano voice lies higher than all the other voices except the
1091:(the E above middle C). In the lower and upper extremes of the bass voice, some basses can sing from C
539:
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2647:
2244:
1616:
1136:
structure and color. With the onset of puberty, women's, and particularly men's, voices alter as the
860:
887:
577:(the second F above middle C). In the lower and upper extremes some contralto voices can sing from D
702:
308:
114:
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2328:
2133:
2059:
2031:
829:
432:
409:
167:
713:
195:
1591:
1417:
Shewan, Robert (January–February 1979). "Voice
Classification: An examination of methodology".
1006:
513:(two octaves higher). In the lower and upper extremes, some mezzo-sopranos may extend down to F
427:. In particular, the coloratura soprano has the highest tessitura of all the soprano subtypes.
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have voices that allow them to sing roles from a wide variety of types; some singers such as
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wrote many of his roles for specific singers who often had remarkable voices, and some of
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range: The soprano is the highest singing voice. The typical soprano voice lies between C
1965:
808:(the second A-flat below middle C). At the highest extreme, some tenors can sing up to F
597:
Contralto tessitura: The contralto voice has the lowest tessitura of the female voices.
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Countertenor subtypes: Countertenors are often broken down into three subcategories:
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17:
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163:, though it, and the terms it utilizes, are used in other styles of music as well.
87:
31:
466:, which are intermediate voice types between the soprano and the mezzo-soprano. A
1712:
1685:
1658:
1631:
1192:) or above. For high notes see, for example, the treble solo at the beginning of
1046:
927:
753:
649:), countertenors typically have tenor or baritone chest voices and rely on their
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2524:
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2143:
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2026:
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1173:
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272:
146:
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2318:
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373:
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change type and even voice part over their careers; and some singers such as
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2234:
2150:
2116:
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2064:
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240:
155:
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71:
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2193:
2155:
2106:
2021:
1128:
have a similar vocal range and timbre because both groups have a similar
959:
698:
665:
650:
287:, although the extremes are rare. More commonly the range is from a low C
252:
97:
938:
sings the "I am the very model of a modern Major-General", conducted by
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2529:
2481:
2370:
2350:
2054:
1820:
1317:
1201:
1125:
381:
232:
61:
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2254:
1245:
1129:
844:
799:(one octave above middle C). The low extreme for tenors is roughly A
1161:) indicated on piano keyboard in green with dot marking middle C (C
1018:) indicated on piano keyboard in green with dot marking middle C (C
899:) indicated on piano keyboard in green with dot marking middle C (C
725:) indicated on piano keyboard in green with dot marking middle C (C
633:) indicated on piano keyboard in green with dot marking middle C (C
604:
is a contralto who has an extended high range reaching the soprano
551:) indicated on piano keyboard in green with dot marking middle C (C
494:) indicated on piano keyboard in green with dot marking middle C (C
320:) indicated on piano keyboard in green with dot marking middle C (C
2668:
2461:
2410:
2405:
2123:
1333:
1107:, basso buffo, bel canto bass, basso cantante, dramatic bass, and
788:
248:
159:). Voice classification is most strongly associated with European
92:
1224:. Many trebles are also able to reach higher notes by use of the
971:(the A above middle C). A baritone's range might extend down to F
404:
although there are several standard soprano roles that call for D
2488:
2415:
2219:
2100:
1386:
1382:
1322:
560:
361:
275:
of classical performance covers about five octaves, from a low G
2279:
1969:
590:(the second B-flat above), one whole step short of the soprano
400:(just below middle C). Most soprano roles do not extend above C
1630:
Welch, Graham F.; Howard, David M.; Nix, John (2019-04-04).
1028:
909:
735:
330:
259:. When considering the pre-pubescent voice, an eighth term,
1955:"Understanding vocal range, vocal registers and voice type"
454:
Two types of soprano especially dear to the French are the
2275:
1736:
1734:
1660:
Solutions for
Singers: Tools for Performers and Teachers
1687:
Vocal
Technique: A Physiologic Approach, Second Edition
1228:
but this practice is rarely called for in performance.
218:'s early works make extreme demands on their singers.
1443:
The
Science of Vocal Pedagogy: Theory and application
819:
has the highest tessitura of all the tenor subtypes.
1607:"Sweet and Low: The case of the vanishing contralto"
359:, an operatic soprano, performs "O patria mia" from
2656:
2618:
2502:
2429:
2398:
2311:
2207:
2181:
2040:
2007:
1513:
1306:
1284:
2291:
1981:
1358:
1180:Most trebles have an approximate range from A
170:that suits their voice. Some singers such as
122:
8:
1489:The Diagnosis and Correction of Vocal Faults
396:). The low extreme for sopranos is roughly A
243:. Men are usually divided into four groups:
153:, and with similar vocal transition points (
1839:Greene, Margaret; Lesley Mathieson (2001).
1482:
1399:Voice classification in non-classical music
1287:downward until the voice classifies itself.
1212:", and the even higher treble solo in the "
39:Voice classification in non-classical music
2298:
2284:
2276:
1988:
1974:
1966:
1557:
1480:
1478:
1476:
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1472:
1470:
1468:
1466:
1464:
1462:
1436:
1434:
1365:
1351:
1302:
653:register to reach high notes, using their
129:
115:
43:
1834:
1832:
1830:
1813:Modern Techniques of Vocal Rehabilitation
1555:
1553:
1551:
1549:
1547:
1545:
1543:
1541:
1539:
1537:
1520:. Vol. 1. Rowman & Littlefield.
27:Group of voices with similar vocal ranges
1869:Singing: The Mechanism and the Technique
1663:. Oxford University Press. p. 155.
1636:. Oxford University Press. p. 972.
1148:
1005:
975:(the second F below middle C) or up to C
886:
712:
620:
538:
481:
474:is a darker-colored soprano drammatico.
307:
1843:(6th ed.). John Wiley & Sons.
1409:
1305:
1248:, and vocal transition points known as
517:(the F below middle C) and as high as C
226:Many different voice types are used in
79:
53:
46:
1788:Teaching Singing to Boys and Teenagers
1590:. Voice Classification. Archived from
1516:Coloratura, Lyric and Dramatic Soprano
1070:
949:
778:
371:
1377:Unlike other classification systems,
990:, Verdi baritone, dramatic baritone,
271:to differentiate between voices. The
7:
851:, dramatic tenor, heldentenor, and
701:. The last "true" castrato singer,
1790:. Edwin Mellen Press. p. 96.
1714:A Dictionary for the Modern Singer
1087:(the second E below middle C) to E
967:(the second A below middle C) to A
645:or singers with disorders such as
149:, capable of singing in a similar
145:is a group of voices with similar
25:
1690:. Plural Publishing. p. 77.
1564:Guide to Operatic Roles and Arias
1220:'s evening canticles written for
1120:Voice from childhood to adulthood
1095:(two octaves below middle C) to G
470:is a darker-colored soubrette. A
1941:
1071:Problems playing this file? See
1044:
950:Problems playing this file? See
925:
795:(one octave below middle C) to C
779:Problems playing this file? See
751:
372:Problems playing this file? See
346:
1742:"Developing voice presentation"
1717:. Scarecrow Press. p. 45.
1274:Dangers of quick identification
812:(the second F above middle C).
408:. At the highest extreme, some
1657:Miller, Richard (2004-01-08).
1633:The Oxford Handbook of Singing
1132:size and weight and a similar
1:
1684:Bickel, Jan E. (2016-12-31).
1605:Myers, Eric (December 1996).
979:(one octave above middle C).
1747:(PowerPoint). Archived from
1711:Hoch, Matthew (2014-04-28).
1445:. Indiana University Press.
1222:St John's College, Cambridge
1210:Hark! The Herald Angels Sing
768:" as performed by the tenor
486:Mezzo-soprano voice range (A
1841:The Voice and its Disorders
1441:Appelman, D. Ralph (1986).
1299:Choral music classification
1184:(the A below middle C) to C
625:Countertenor voice range (E
581:(the D below middle C) to B
573:(the F below middle C) to F
509:(the A below middle C) to A
2716:
2643:Sound reinforcement system
2503:Concepts · Techniques
558:
36:
29:
1562:Boldrey, Richard (1994).
281:scientific pitch notation
1997:Musical range or compass
1487:McKinney, James (1994).
1099:(the G above middle C).
1058:sings "Le veau d'or" in
855:. Famous tenors include
543:Contralto voice range (F
30:Not to be confused with
1811:Cooper, Morton (1973).
1566:. Caldwell Publishing.
1512:Coffin, Berton (1960).
1491:. Genovex Music Group.
1208:'s tune for the carol "
891:Baritone voice range (A
693:or "male soprano", the
166:A singer will choose a
1892:Smith, Brenda (2005).
1786:Martin Ashley (2008).
1289:
1166:
1114:
1033:
1023:
914:
904:
740:
730:
638:
556:
499:
335:
325:
312:Soprano voice range (C
1896:. Plural Publishing.
1815:. Charles C. Thomas.
1153:Treble voice range (A
1152:
1032:
1009:
913:
890:
739:
716:
624:
542:
485:
334:
311:
222:Number of voice types
2430:Voice classification
1950:at Wikimedia Commons
1754:on 8 September 2008.
1307:Voice classification
1196:'s Magnificat in G,
921:Major-General's Song
717:Tenor voice range (C
412:roles may reach to G
18:Voice classification
2494:Non-classical music
2399:Forms · Genres
1594:on 4 November 2007.
1232:Classifying singers
1010:Bass voice range (E
703:Alessandro Moreschi
2329:Extended technique
2245:Organ registration
2134:Tenore contraltino
1385:, tenor and bass (
1268:vocal cord nodules
1167:
1034:
1024:
915:
905:
830:tenore contraltino
741:
731:
639:
557:
500:
433:coloratura soprano
410:coloratura soprano
336:
326:
2700:Opera terminology
2682:
2681:
2273:
2272:
1946:Media related to
1903:978-1-59756-043-6
1878:978-0-8258-0055-9
1850:978-1-86156-196-1
1724:978-0-8108-8656-8
1697:978-1-944883-34-8
1670:978-0-19-803627-2
1643:978-0-19-257607-1
1573:978-1-877761-64-5
1527:978-0-8108-0188-2
1498:978-1-56593-940-0
1452:978-0-253-20378-6
1420:The NATS Bulletin
1375:
1374:
1115:Children's voices
1049:
930:
869:Luciano Pavarotti
861:Juan Diego FlĂłrez
759:
747:"Vesti la giubba"
647:Kallmann syndrome
351:
139:
138:
16:(Redirected from
2707:
2638:Pitch correction
2605:Vocal resonation
2383:Vocal percussion
2339:Overtone singing
2324:Bathroom singing
2300:
2293:
2286:
2277:
2208:Related articles
2139:Tenore di grazia
1990:
1983:
1976:
1967:
1962:
1945:
1931:
1908:
1907:
1889:
1883:
1882:
1871:. Carl Fischer.
1865:Vennard, William
1861:
1855:
1854:
1836:
1825:
1824:
1808:
1802:
1801:
1783:
1777:
1776:
1774:
1773:
1762:
1756:
1755:
1753:
1746:
1738:
1729:
1728:
1708:
1702:
1701:
1681:
1675:
1674:
1654:
1648:
1647:
1627:
1621:
1620:
1619:on 18 July 2011.
1615:. Archived from
1602:
1596:
1595:
1584:
1578:
1577:
1559:
1532:
1531:
1519:
1509:
1503:
1502:
1484:
1457:
1456:
1438:
1429:
1428:
1414:
1367:
1360:
1353:
1303:
1226:whistle register
1056:Feodor Chaliapin
1051:
1050:
1031:
932:
931:
912:
840:tenore di grazia
807:
806:
761:
760:
738:
705:, died in 1922.
589:
588:
449:dramatic soprano
388:(middle C) and C
353:
352:
333:
131:
124:
117:
44:
21:
2715:
2714:
2710:
2709:
2708:
2706:
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2704:
2685:
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2683:
2678:
2652:
2648:Monitor speaker
2621:(popular music)
2620:
2619:Sound equipment
2614:
2498:
2425:
2394:
2307:
2304:
2274:
2269:
2203:
2177:
2085:Soprano sfogato
2036:
2003:
1994:
1953:
1938:
1919:
1916:
1914:Further reading
1911:
1904:
1894:Choral Pedagogy
1891:
1890:
1886:
1879:
1863:
1862:
1858:
1851:
1838:
1837:
1828:
1810:
1809:
1805:
1798:
1785:
1784:
1780:
1771:
1769:
1764:
1763:
1759:
1751:
1744:
1740:
1739:
1732:
1725:
1710:
1709:
1705:
1698:
1683:
1682:
1678:
1671:
1656:
1655:
1651:
1644:
1629:
1628:
1624:
1604:
1603:
1599:
1586:
1585:
1581:
1574:
1561:
1560:
1535:
1528:
1511:
1510:
1506:
1499:
1486:
1485:
1460:
1453:
1440:
1439:
1432:
1416:
1415:
1411:
1407:
1395:
1371:
1309:in choral music
1308:
1301:
1280:William Vennard
1276:
1264:Margaret Greene
1234:
1198:David Willcocks
1187:
1183:
1164:
1160:
1156:
1147:
1138:vocal ligaments
1122:
1117:
1098:
1094:
1090:
1086:
1078:
1077:
1069:
1067:
1066:
1065:
1064:
1052:
1045:
1042:
1035:
1029:
1021:
1017:
1013:
1004:
988:kavalierbariton
978:
974:
970:
966:
957:
956:
948:
946:
945:
944:
943:
933:
926:
923:
916:
910:
902:
898:
894:
885:
873:Placido Domingo
843:, lyric tenor,
811:
805:
802:
801:
800:
798:
794:
786:
785:
777:
775:
774:
773:
772:
766:Vesti la giubba
762:
752:
749:
742:
736:
728:
724:
720:
711:
685:
681:
643:Michael Maniaci
636:
632:
628:
619:
614:
602:soprano sfogato
587:
584:
583:
582:
580:
576:
572:
563:
554:
550:
546:
537:
520:
516:
512:
508:
497:
493:
489:
480:
415:
407:
403:
399:
391:
387:
379:
378:
370:
368:
367:
366:
365:
354:
347:
344:
337:
331:
323:
319:
315:
306:
301:
294:
290:
286:
278:
224:
200:Shirley Verrett
196:Plácido Domingo
180:Joan Sutherland
161:classical music
135:
42:
35:
28:
23:
22:
15:
12:
11:
5:
2713:
2711:
2703:
2702:
2697:
2687:
2686:
2680:
2679:
2677:
2676:
2671:
2666:
2660:
2658:
2654:
2653:
2651:
2650:
2645:
2640:
2635:
2630:
2628:In-ear monitor
2624:
2622:
2616:
2615:
2613:
2612:
2607:
2602:
2600:Vocal register
2597:
2592:
2590:Vocal pedagogy
2587:
2582:
2577:
2572:
2567:
2562:
2557:
2552:
2547:
2542:
2537:
2532:
2527:
2522:
2517:
2512:
2506:
2504:
2500:
2499:
2497:
2496:
2491:
2486:
2485:
2484:
2479:
2474:
2469:
2464:
2459:
2454:
2449:
2444:
2433:
2431:
2427:
2426:
2424:
2423:
2418:
2413:
2408:
2402:
2400:
2396:
2395:
2393:
2392:
2391:
2390:
2380:
2379:
2378:
2373:
2363:
2358:
2353:
2348:
2343:
2342:
2341:
2336:
2334:Throat singing
2326:
2321:
2315:
2313:
2309:
2308:
2305:
2303:
2302:
2295:
2288:
2280:
2271:
2270:
2268:
2267:
2262:
2257:
2252:
2247:
2242:
2237:
2232:
2227:
2222:
2217:
2211:
2209:
2205:
2204:
2202:
2201:
2196:
2191:
2185:
2183:
2179:
2178:
2176:
2175:
2174:
2173:
2171:Basso profondo
2163:
2158:
2153:
2148:
2147:
2146:
2141:
2136:
2131:
2121:
2120:
2119:
2109:
2104:
2094:
2089:
2088:
2087:
2082:
2077:
2072:
2067:
2062:
2052:
2046:
2044:
2038:
2037:
2035:
2034:
2029:
2024:
2019:
2013:
2011:
2009:Vocal register
2005:
2004:
1995:
1993:
1992:
1985:
1978:
1970:
1964:
1963:
1951:
1937:
1936:External links
1934:
1933:
1932:
1915:
1912:
1910:
1909:
1902:
1884:
1877:
1856:
1849:
1826:
1803:
1796:
1778:
1757:
1730:
1723:
1703:
1696:
1676:
1669:
1649:
1642:
1622:
1597:
1579:
1572:
1533:
1526:
1504:
1497:
1458:
1451:
1430:
1408:
1406:
1403:
1402:
1401:
1394:
1391:
1373:
1372:
1370:
1369:
1362:
1355:
1347:
1344:
1343:
1342:
1341:
1336:
1328:
1327:
1326:
1325:
1320:
1312:
1311:
1300:
1297:
1275:
1272:
1256:vocal register
1233:
1230:
1185:
1181:
1162:
1158:
1154:
1146:
1143:
1121:
1118:
1116:
1113:
1105:basso profondo
1096:
1092:
1088:
1084:
1068:
1053:
1043:
1040:"Le veau d'or"
1038:
1037:
1036:
1027:
1026:
1025:
1019:
1015:
1011:
1003:
1000:
976:
972:
968:
964:
947:
940:George W. Byng
934:
924:
919:
918:
917:
908:
907:
906:
900:
896:
892:
884:
881:
809:
803:
796:
792:
776:
763:
750:
745:
744:
743:
734:
733:
732:
726:
722:
718:
710:
707:
683:
679:
670:baroque operas
634:
630:
626:
618:
615:
613:
610:
585:
578:
574:
570:
552:
548:
544:
536:
533:
518:
514:
510:
506:
495:
491:
487:
479:
476:
445:spinto soprano
413:
405:
401:
397:
389:
385:
369:
355:
345:
342:"O patria mia"
340:
339:
338:
329:
328:
327:
321:
317:
313:
305:
302:
300:
297:
292:
288:
284:
276:
228:vocal pedagogy
223:
220:
208:Leonie Rysanek
137:
136:
134:
133:
126:
119:
111:
108:
107:
106:
105:
100:
95:
90:
82:
81:
77:
76:
75:
74:
69:
64:
56:
55:
51:
50:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2712:
2701:
2698:
2696:
2693:
2692:
2690:
2675:
2672:
2670:
2667:
2665:
2662:
2661:
2659:
2657:Miscellaneous
2655:
2649:
2646:
2644:
2641:
2639:
2636:
2634:
2631:
2629:
2626:
2625:
2623:
2617:
2611:
2608:
2606:
2603:
2601:
2598:
2596:
2593:
2591:
2588:
2586:
2583:
2581:
2578:
2576:
2573:
2571:
2568:
2566:
2563:
2561:
2558:
2556:
2553:
2551:
2548:
2546:
2543:
2541:
2538:
2536:
2533:
2531:
2528:
2526:
2523:
2521:
2518:
2516:
2513:
2511:
2510:Backup vocals
2508:
2507:
2505:
2501:
2495:
2492:
2490:
2487:
2483:
2480:
2478:
2477:Mezzo-soprano
2475:
2473:
2470:
2468:
2465:
2463:
2460:
2458:
2455:
2453:
2450:
2448:
2447:Bass-baritone
2445:
2443:
2440:
2439:
2438:
2435:
2434:
2432:
2428:
2422:
2419:
2417:
2414:
2412:
2409:
2407:
2404:
2403:
2401:
2397:
2389:
2386:
2385:
2384:
2381:
2377:
2374:
2372:
2369:
2368:
2367:
2364:
2362:
2359:
2357:
2354:
2352:
2349:
2347:
2344:
2340:
2337:
2335:
2332:
2331:
2330:
2327:
2325:
2322:
2320:
2317:
2316:
2314:
2312:Singing types
2310:
2301:
2296:
2294:
2289:
2287:
2282:
2281:
2278:
2266:
2263:
2261:
2258:
2256:
2253:
2251:
2248:
2246:
2243:
2241:
2238:
2236:
2233:
2231:
2228:
2226:
2223:
2221:
2218:
2216:
2213:
2212:
2210:
2206:
2200:
2197:
2195:
2192:
2190:
2187:
2186:
2184:
2180:
2172:
2169:
2168:
2167:
2164:
2162:
2161:Bass-baritone
2159:
2157:
2154:
2152:
2149:
2145:
2142:
2140:
2137:
2135:
2132:
2130:
2127:
2126:
2125:
2122:
2118:
2115:
2114:
2113:
2110:
2108:
2105:
2102:
2098:
2095:
2093:
2092:Mezzo-soprano
2090:
2086:
2083:
2081:
2078:
2076:
2073:
2071:
2068:
2066:
2063:
2061:
2058:
2057:
2056:
2053:
2051:
2048:
2047:
2045:
2043:
2039:
2033:
2030:
2028:
2025:
2023:
2020:
2018:
2015:
2014:
2012:
2010:
2006:
2002:
1998:
1991:
1986:
1984:
1979:
1977:
1972:
1971:
1968:
1960:
1956:
1952:
1949:
1944:
1940:
1939:
1935:
1929:
1925:
1924:
1923:NATS Bulletin
1918:
1917:
1913:
1905:
1899:
1895:
1888:
1885:
1880:
1874:
1870:
1866:
1860:
1857:
1852:
1846:
1842:
1835:
1833:
1831:
1827:
1822:
1818:
1814:
1807:
1804:
1799:
1797:9780773449985
1793:
1789:
1782:
1779:
1767:
1761:
1758:
1750:
1743:
1737:
1735:
1731:
1726:
1720:
1716:
1715:
1707:
1704:
1699:
1693:
1689:
1688:
1680:
1677:
1672:
1666:
1662:
1661:
1653:
1650:
1645:
1639:
1635:
1634:
1626:
1623:
1618:
1614:
1613:
1608:
1601:
1598:
1593:
1589:
1583:
1580:
1575:
1569:
1565:
1558:
1556:
1554:
1552:
1550:
1548:
1546:
1544:
1542:
1540:
1538:
1534:
1529:
1523:
1518:
1517:
1508:
1505:
1500:
1494:
1490:
1483:
1481:
1479:
1477:
1475:
1473:
1471:
1469:
1467:
1465:
1463:
1459:
1454:
1448:
1444:
1437:
1435:
1431:
1426:
1422:
1421:
1413:
1410:
1404:
1400:
1397:
1396:
1392:
1390:
1388:
1384:
1380:
1368:
1363:
1361:
1356:
1354:
1349:
1348:
1346:
1345:
1340:
1337:
1335:
1332:
1331:
1330:
1329:
1324:
1321:
1319:
1316:
1315:
1314:
1313:
1310:
1304:
1298:
1296:
1294:
1288:
1283:
1281:
1273:
1271:
1269:
1265:
1259:
1257:
1253:
1252:
1247:
1243:
1239:
1231:
1229:
1227:
1223:
1219:
1215:
1214:Nunc dimittis
1211:
1207:
1203:
1199:
1195:
1191:
1178:
1175:
1171:
1151:
1144:
1142:
1139:
1135:
1131:
1127:
1119:
1112:
1110:
1109:bass-baritone
1106:
1100:
1082:
1076:
1074:
1063:
1062:
1057:
1041:
1008:
1001:
999:
997:
996:bass-baritone
993:
992:baryton-noble
989:
983:
980:
961:
955:
953:
941:
937:
922:
889:
882:
880:
878:
877:José Carreras
874:
870:
866:
865:Alfredo Kraus
862:
858:
857:Enrico Caruso
854:
850:
849:tenore spinto
846:
842:
841:
836:
832:
831:
826:
820:
818:
813:
790:
784:
782:
771:
770:Enrico Caruso
767:
748:
715:
708:
706:
704:
700:
696:
692:
687:
677:
676:
671:
667:
663:
659:
656:
652:
648:
644:
623:
616:
611:
609:
607:
603:
598:
595:
593:
567:
562:
541:
534:
532:
529:
526:
524:
504:
503:Mezzo-soprano
484:
478:Mezzo-soprano
477:
475:
473:
469:
465:
464:
459:
458:
452:
450:
446:
442:
441:lyric soprano
438:
434:
428:
426:
421:
419:
416:(the G above
411:
395:
383:
377:
375:
364:
363:
358:
357:Marie Rappold
343:
310:
303:
299:Female voices
298:
296:
283:) to a high G
282:
274:
270:
267:facility and
266:
262:
258:
254:
250:
246:
242:
238:
237:mezzo-soprano
234:
229:
221:
219:
217:
213:
209:
205:
201:
197:
193:
189:
188:Jessye Norman
185:
181:
177:
176:Rosa Ponselle
173:
172:Enrico Caruso
169:
164:
162:
158:
157:
152:
148:
144:
132:
127:
125:
120:
118:
113:
112:
110:
109:
104:
101:
99:
96:
94:
91:
89:
86:
85:
84:
83:
78:
73:
70:
68:
67:Mezzo-soprano
65:
63:
60:
59:
58:
57:
52:
49:
45:
40:
33:
19:
2610:Vocal weight
2575:Sprechgesang
2570:Scat singing
2467:Countertenor
2436:
2361:Sign singing
2356:Scat singing
2265:Vocal weight
2129:Haute-contre
2112:Countertenor
2041:
1959:Singwise.com
1958:
1927:
1921:
1893:
1887:
1868:
1859:
1840:
1812:
1806:
1787:
1781:
1770:. Retrieved
1768:. 2011-10-23
1760:
1749:the original
1713:
1706:
1686:
1679:
1659:
1652:
1632:
1625:
1617:the original
1610:
1600:
1592:the original
1582:
1563:
1515:
1507:
1488:
1442:
1424:
1418:
1412:
1379:choral music
1376:
1290:
1285:
1282:has stated:
1277:
1260:
1249:
1235:
1189:
1179:
1174:boy sopranos
1168:
1123:
1101:
1079:
1059:
991:
987:
984:
981:
958:
936:George Baker
848:
838:
834:
828:
824:
821:
816:
814:
787:
695:haute-contre
694:
688:
675:haute-contre
673:
662:Countertenor
660:
640:
617:Countertenor
605:
599:
596:
591:
564:
530:
527:
522:
501:
471:
467:
461:
455:
453:
429:
422:
417:
393:
380:
360:
269:vocal weight
245:countertenor
225:
204:Grace Bumbry
184:Maria Callas
165:
154:
147:vocal ranges
142:
140:
88:Countertenor
47:
32:Voice typing
2695:Voice types
2674:Vocal coach
2664:Vocal music
2595:Vocal range
2550:Lead vocals
2535:Death growl
2525:Chest voice
2346:Oversinging
2260:Vocal range
2215:Chest voice
2144:Heldentenor
2050:Boy soprano
1948:Voice types
1238:vocal range
1206:Mendelssohn
655:modal voice
612:Male voices
291:to a high D
273:vocal range
2689:Categories
2633:Microphone
2545:Head voice
2520:Coloratura
2437:Voice type
2388:Beatboxing
2366:Sing-along
2319:A cappella
2240:Pedal tone
2230:Head voice
2060:Coloratura
2042:Voice type
1821:B000JC1U76
1772:2021-09-01
1612:Opera News
1405:References
1134:vocal cord
1073:media help
952:media help
781:media help
697:, and the
559:See also:
374:media help
265:coloratura
192:Ewa PodleĹ›
168:repertoire
143:voice type
48:Voice type
2580:Tessitura
2555:Passaggio
2472:Contralto
2457:Baritenor
2250:Tessitura
2235:Passaggio
2225:Extension
2151:Baritenor
2117:Sopranist
2097:Contralto
2065:Soubrette
2032:Vocal fry
1588:"Soprano"
1293:phonation
1251:passaggio
1242:tessitura
1054:The bass
853:baritenor
847:tenor or
837:tenor or
691:sopranist
566:Contralto
535:Contralto
437:soubrette
425:sopranino
241:contralto
151:tessitura
72:Contralto
2540:Falsetto
2530:Crooning
2452:Baritone
2421:Vocables
2376:Lip sync
2194:Sub-bass
2156:Baritone
2107:Castrato
2080:Dramatic
2022:Falsetto
2001:register
1930:: 30–35.
1867:(1967).
1427:: 17–27.
1393:See also
1194:Stanford
960:Baritone
883:Baritone
825:Tenorino
817:Tenorino
699:castrato
666:castrato
651:falsetto
460:and the
253:baritone
156:passaggi
98:Baritone
2565:Rapping
2560:Quintus
2515:Belting
2482:Soprano
2371:Karaoke
2351:Rapping
2306:Singing
2055:Soprano
2017:Whistle
1318:Soprano
1218:Tippett
1216:" from
1202:descant
1126:puberty
835:leggero
468:Dugazon
457:Dugazon
382:Soprano
304:Soprano
233:soprano
62:Soprano
2585:Timbre
2406:Choral
2255:Timbre
2199:Treble
2075:Spinto
1900:
1875:
1847:
1819:
1794:
1721:
1694:
1667:
1640:
1570:
1524:
1495:
1449:
1246:timbre
1170:Treble
1145:Treble
1130:larynx
994:, and
942:(1920)
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606:high C
592:high C
523:high C
472:Falcon
463:Falcon
447:, and
418:high C
394:high C
261:treble
255:, and
239:, and
212:Mozart
194:, and
54:Female
2669:Choir
2462:Tenor
2411:Opera
2182:Sound
2124:Tenor
2070:Lyric
2027:Modal
1752:(PDF)
1745:(PDF)
1334:Tenor
1190:top C
1061:Faust
789:Tenor
709:Tenor
249:tenor
216:Verdi
93:Tenor
2489:Fach
2442:Bass
2416:Lied
2220:Clef
2189:Bass
2166:Bass
2101:Alto
1999:and
1898:ISBN
1873:ISBN
1845:ISBN
1817:ASIN
1792:ISBN
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1692:ISBN
1665:ISBN
1638:ISBN
1568:ISBN
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1002:Bass
875:and
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