Understanding Vocal Range

8/9/2019 Understanding Vocal Range

1/23

Understanding Vocal Range, Vocal Registers and Voice TypeA Glossary of Vocal Terms

http://www.singwise.com/cgi-bin/main.pl?section=articles&doc=EliminatingRegisterBreaks

There seems to be a lot of confusion amongst singers, especially those who are not trained or haveno musical background, with regards to certain vocal terminology. For this reason, I have created a

glossary of terms to help singers better understand the basic concepts of vocal range, vocal

registers and voice type.

A companion to this article, How To Determine Singing Range and Vocal Fach (Voice Type),

provides additional practical information on several of the topics discussed more briefly in this

article.

Vocal Range

In its broadest sense, the term vocal range refers to the full spectrum of notes that a singers voice

is able to produce, starting from the bottommost note and reaching to the uppermost note. In

other words, range refers to the distance between the highest and lowest pitches that a singer is

able to sing. This extreme range of the individuals voice, consisting of all non-utilizable, utterable

but nondescript vocal sounds, measured from the lowest grunt to the highest obtainable vocal

squeak may also be called vocable compass.

An untrained singer typically has a more limited range than a well-trained singer, who has learned

how to gain access to more notes through correct technique and through regularly exercising and

using the vocal instrument for singing tasks. Every instrument has its own unique range

capabilities, as well, with some voices being able to develop more extensive ranges than others.

In opera or solo classical music, often only the parts of the range that are considered musicallyuseful are counted as part of the range. 'Usefulness' with regards to range in classical style singing

is defined by consistency of timbre and the ability to 'project' the pitches effectively. For example,

since falsetto pitches are not used in most opera, they are not considered part of the vocal range

of a male opera singer. Also, if any pitch cannot be properly carried (i.e. heard over an orchestra

without amplification), it is not considered part of the range. While a singer may have access to

many more notes both above and below his or her 'useful range, those notes are not necessarily
http://www.singwise.com/cgi-bin/main.pl?section=articles&doc=EliminatingRegisterBreakshttp://www.singwise.com/cgi-bin/main.pl?section=articles&doc=EliminatingRegisterBreakshttp://www.singwise.com/cgi-bin/main.pl?section=articles&doc=EliminatingRegisterBreaks


2/23

counted or used when singing classical song selections. (In the keyboard diagrams of vocal ranges

below, only the expected, 'publicly performable' range for each voice type is highlighted.) The

range of vocal tones that can be rendered with some degree of musicality may also be referred to

as singable compass.

Put even more simply, a certain section of a singers range, (likely the middle portion), will make

up his or her most comfortable and practical range, whereas other sections of the same singers

range, (the highest and lowest portions), will be available or accessible, but will not necessarily be

as strong or as desirable in tone. Thus, a mezzo-soprano might have a two octave 'useful' range for

classical repertoire purposes, yet have access to another octave or so above that range and

another half octave or so below it.

In choral music, where many voices are singing in unison, it is somewhat less important for eachindividual voice to be flawlessly produced or completely audible over the orchestra. Therefore, the

range that a certain voice type might be expected to sing in a choir may be a little broader than it

would be in opera or in solo performances, (as is suggested in the diagrams indicating the range

for each voice type below).

In contemporary styles of singing, singers typically employ amplification (i.e. microphones,

speakers, etc.) when performing, which makes more of their range audible and thus usable.

To learn about how you can find your vocal range, read the section on range in How To Determine

Singing Range and Vocal Fach (Voice Type).

Registers and Vocal Registration

The term register can be somewhat confusing, as it encompasses several aspects of the human

voice, including a certain vibratory pattern of the vocal folds, a particular range of pitches, and a

characteristic type of tone or quality of sound. In other words, a register in the human voice is a

particular series of tones that possess the same quality and that are produced in the same

vibratory pattern of the vocal folds within a certain range or series of pitches. Vocal registers

originate in the laryngeal function (i.e., the larynx, where the vocal folds are located) and occur

when the vibratory pattern of the vocal folds changes as pitch rises or falls.


3/23

Singers and singing teachers can aurally identify these changes in voice quality when singing two

or more octaves of a musical scale. When transitions from one voice quality to another occur,

most singers report some sort of non-specific, kinesthetically sensed, neuromuscular coordination

adjusment in the larynx as well as a change in sound or tone. Among experienced or trainedsingers, the transitions are perceived to be blended and smooth, whereas the transitions among

inexperienced singers are more commonly abrupt or awkward (as when a 'register break' occurs).

Vocal registration refers to the system of vocal registers within the human voice. Research by

speech pathologists and vocal pedagogues has revealed that the vocal folds are capable of

producing at least four distinct vibratory patterns, which, in turn, create four different registers

within the human voice, although not everyone can produce all four of them. Each of these four

registers has its own vibratory pattern, its own pitch area (although there is some overlapping),

and its own characteristic sound. Most vocal teachers today divide the human voice into three

registers; chest (also referred to as natural or modal), middle and head (includes falsetto in males),

although many do acknowledge the vocal fry register in their lower voiced male students and the

flageolet or whistle register in higher voiced females, as well. However, both of these potential

highest and lowest registers are sometimes considered to be extensions of the chest and head

registers, rather than unique registers.

In many contemporary singing methods, a two-register model is advocated. (I explain why this is

both inaccurate and counterproductive to vocal training in the Vocal Registration and

Contemporary Teaching Methods section of my article entitled 'Belting' Technique.) Since the

chest voice and the head voice can be made to overlap considerably, many vocal teachers dont

acknowledge the existence of a middle register, but might instead treat the middle section of the

voice as a zona di passaggio in which the chest and head tones will become blended or mixed.

There may also be some disagreement on what constitutes head voice or how it is defined, and

this confusion may explain why some teachers call the lighter tone of the voice that begins at the

first passaggio in female students (or any tone that is produced at pitches above the chest register)

'head voice' whereas classical teachers would refer to this register as 'middle' and the register

beginning around E5-F#5 (at the secondo passaggio) as the true head register.

Vocal teachers and singers will often talk about 'bridging the registers' or 'blending the registers',

which simply refers to a technique or method of making the transition from one vocal register to

the next smooth and seamless, and thus removing all noticeable signs of a register break, which

requires an adjustment of breath control and vowel modification (aggiustamento), as well as

gradual laryngeal (e.g., muscular) adjustments throughout the scale. More information about


4/23

blending the registers can be found in my article entitled Good Tone Production For Singing, as

well as in Tips For Practicing Singing: A Practical Guide To Vocal Development.

There is also a great deal of disagreement about the terminology assigned to the vocal registers,

primarily because the terms themselves tend to describe where the most resonance is felt in the

body as opposed to where the action of the voice is truly originating from (i.e., the larynx). For

example, 'head voice' is called such because much of the resonance of the voice is experienced as

sympathetic vibrations in the bones of the face and resonating cavities of the head. (The bony

structures of the head can be set into sympathetic vibration, but not into actual resonance. Bone

is a very good conductor of sympathetic vibration.) Also, most "chest resonance" actually

originates in the throat (i.e., the larynx, or 'voice box'), where the vocal folds are located. Since the

chest is filled with so many soft organs which do not aid in creating resonance, and because the

vocal tract lies above the chest, producing sound after air has already left the chest, many argue

that there can be little true resonance created within the chest itself. For this reason, most vocal

teachers prefer to use the term 'voice' rather than 'register'. However, some singers do experience

a distinct sensation of (sympathetic) vibration in the chest, especially in the sternum or

breastbone area, or in the head when singing. These sensations are realistic to the singer and can

serve as reliable indicators of resonance balance.

Passaggi (Registration Pivotal Points) and Register Breaks

The term passaggio, (which is Italian for 'passage'), refers to the place (i.e. the absolute pitch)

within a vocal range where the voice 'shifts' or transitions into a different register. In other words,

a passaggio marks the end or boundary of one register and the beginning of the next.

It is generally taught that the human voice has two passaggia primo (first) passaggio and a

secondo (second) passaggio, connected through a zona di passaggio (passage zone). (In female

voices, the zona di passaggio is most likely to be referred to as a separate register, called the

middle register or medium voice, which occupies a full octave in range.) In male voices, the primo

passaggio marks the pivotal point between the speech-inflection range (the range of pitches in

which they habitually speak) and the call range of the speaking voice (the range of pitches in which

they would have to call or yell in order to try to speak). Using the call voice through the zona di

passaggioroughly the interval of a fourthwould require greater effort and considerable

discomfort. Therefore, most men begin to sing in either mixed or head voice tones throughout

their zona di passaggio. For females, who tend to use more inflection and a greater range of

pitches during ordinary speaking demands, speech-inflection range continues through the middle

register and ends at the secondo passaggio, which marks the beginning of head voice range.


5/23

Similar registration events occur in all voices, male and female. However, they happen at different

degrees in the scale. In general, the longer the vocal folds and the larger the larynx, the lower the

registration pivotal points (passaggi) in the scale and the lower the voice category. (This also

accounts for the pitch differences between male and female speaking and singing voices.) Forexample, the tenors primo passaggio, (occurring somewhere between C#4 and E4, depending on

the individual's voice), lies roughly a minor or major third above that of the baritone, (occurring

around B3 or Bb3), with his secondo passaggio occurring roughly a fourth above his primo

passaggio. Most women experience their first registration pivotal point between Eb4 and G4, and

their second (upper) passaggio between Eb5 and G5, with the altos voice switching into the next

register a little earlier in the ascending scale than the sopranos voice would. Also, within the same

category (e.g., baritones, tenors, altos, sopranos, etc.), heavier voices will experience their primo

passaggio slightly lower than lighter voices will (e.g., a dramatic mezzo-soprano might switch into

the next register a semitone lower than a lyric mezzo soprano might).

Additionally, due to the greater diversity of laryngeal size and vocal-tract construction among

males, range demarcations among male voice categories are more distinct than those of female

voices. The passaggio points of male voices can be plotted over a wider range of notes. In males, a

number of specific pitch designations for the passaggi exist within each voice category (e.g.,

several possible notes for tenor voices, and quite a few for baritones and basses), whereas only a

semitone or whole-tone difference exists within female categories.

If a singer doesnt allow the larynx to progressively make changes (e.g., the vocal folds should

ideally change into different vibratory patterns and either elongate or shorten gradually) while

ascending and descending in pitchreferred to as static laryngeal function a register break will

occur. Breaks are typically marked by noticeable changes of tone quality and volume. For example,

when a female singer moves upward from her chest register into her middle register, her tone

may abruptly become thin and weak, or her voice may crack or even cut out completely. Flatting

or sharping notes at the passaggi is also quite common amongst untrained singers.

A major goal of classical voice training is to maintain an even timbre or consistency of tonethroughout the passaggi, so that moving through them, or singing within them, is seamless,

effortless and undetectable to the listener. This is often referred to as blending the registers or

using a mixed voice, which I write more about in my article on this site entitled Good Tone

Production For Singing, as well as in Tips For Practicing Singing: A Practical Guide To Vocal

Development. Bridging the registers, which also requires vowel modification and adjustments of


6/23

breath management, is essential for creating an evenly balanced, homogonous tone throughout a

singers entire range.

For a practical way to locate your lower and upper passaggi, please refer to the passaggi section of

How To Determine Singing Range and Vocal Fach (Voice Type).

Vocal Fry Register

The vocal fry register, (also known as pulse register and glottal fry/rattle/scrape, amongst other

names), is the lowest vocal register that can be produced by a human voice. In contemporary

styles of singing, 'vocal fry' may also refer to a voice quality that may be added to any part of the

singer's range for vocal effect. Vocal fry is characterized by a rattling, crackling, creaking, croaking,

or frying sound quality. It is produced through use of a loose glottal closure that permits air to

bubble through slowly. During the vocal fry mode of phonation, the arytenoid cartilages in the

larynx compress together in such a fashion that the vocal folds become relatively compact and

slack, or 'floppy'. This process forms a large and (usually) irregularly (or non-periodically) vibrating

mass within the vocal folds - the vocal folds vibrate far less often per second than in 'normal' voice

production, with successive vibrations differing in duration and/or size - that produces the

characteristic low popping or rattling sound when air passes through the slackened glottal closure.

Singers typically use this mode of phonation to obtain pitches at a very low frequency that they

may not otherwise be able to access in the chest register, although it can be carried up into the

chest register, as well.

Vocal fry has become enormously popular within many contemporary methods of voice training,

and is frequently used very heavily during lessons and in practice routines. It is seldom employed

in a prescriptive fashion or as a corrective devise - to, for example, relax hyperfunctioning

adductor muscles or to release intrinsic muscular tension. Rather, its use is suggested for all

singers as a regular part of their voice training. Those who support the use of vocal fry claim that itis safe and relaxing, like a groggy 'morning voice', especially when the larynx is encouraged to

remain lower, the throat 'open', and the vibratory rate is made more regular. These same

supporters claim that the belief that fry is potentially damaging to the vocal instrument if used

frequently or for long periods of time is merely a myth.


7/23

However, most ENTs and speech language pathologists consider vocal fry to be the result of either

dysfunction or poor usage. The physiological production of vocal fry can be potentially damaging

to the vocal folds if used frequently or for extended periods of time, particulary if it is brought up

into the chest and middle registers and if it is created with a raised larynx and a closed throat.

http://www.ohniww.org/katy-perry-voice-vocal-fry/ contains a video of a stroboscopy of both

clear and vocal fry production. The squeezing and increased intrinsic muscular effort that are

required to produce vocal fry are quite clearly seen, even though the vocal folds themselves are

slack and relaxed.

Therefore, vocal fry as a tone quality or mode of phonation should be limited to the occasional

vocal effect (e.g., at the beginning of a phrase, etc.). Although it may be used as an effective tool

for teaching and developing certain contemporary techniques and skills, such as growling and

screaming, not everyone agrees that it promotes healthy voice production, especially when the

glottis is not functioning in an otherwise 'normal' manner, and when the slackness of the vocal

folds does not closely mimic or approximate the action, tension and functioning necessary to

obtain precision in the onsets of sound, along with a healthy and steady vibratory rate.

Until more recently, there has been little mention of the vocal fry register in singing pedagogy (and

especially in classical circles) for several reasons. First, not everyone can access the pitches that lie

below the chest register. (It is more common for lower voiced males - basses - to sing pitches low

enough to be considered to be within the actual vocal fry register. A distinction is drawn here

between the vocal fry register and the vocal fry effect or quality that is added as a stylistic element

for brief parts of notes or words.) Secondly, not all teachers of voice consider this part of a singersrange to be a separate register from chest voice. Many feel as though it is merely a lower

extension of the chest register. (This is likely the case in medium and higher voices who cannot

access this lowermost register.) Thirdly, vocal fry is not considered by all to be a legitimate, useful

or pleasant performance timbre, (although it is often added as a desirable vocal effect at the

beginnings of phrases in contemporary styles of singing). Fourthly, it is a potentially unhealthy

mode of phonation, as it may cause damage to the vocal folds, especially if used frequently. (As

stated above, stroboscopic observation shows heavy squeezing of the arytenoid cartilages.) Fifthly,

frequently using this mode of phonation in the chest register can cause a singer to lose some of his

or her range, specifically the higher notes within the chest register.

You can read more about the vocal fry register in Good Tone Production For Singing.

Chest Register (Modal or Normal or Natural Voice)


8/23

Modal (or normal or natural or chest) register refers to the natural disposition or manner of

actions of the vocal folds. The vast majority of speaking is done in this registermen speak

entirely within their chest register, while women speak in both their chest and middle registers.

(As a result, some teachers might refer to it as occurring at speech level, although female speechinflection also occurs above this register.) It lies above the vocal fry or pulse register (achieved

typically by basses or contrabasses) and overlaps with the lower part of the head voice register in

males and the middle voice in females. It begins and ends in different places within the human

voice, depending on voice category or type, although it can be carried upwards, through the primo

passaggio, into the middle (women) or head (men) registers. (This practice is widely considered to

be potentially injurious to the vocal instrument.) The placement of the chest register within the

individual human voice is one of the key determining factors in identifying voice type.

The timbre of chest voice is warmer and darker ('oscuro') than that of middle and head voice, and

it is characterized by darker vowel qualities or mellowness. Chest voice (voce di petto) is often

referred to as the heavy (laryngeal) mechanism because more thick vocal massmore of the vocal

folds - is involved in phonation within this lower register. (The vocal folds are thickest and fattest

in the chest register.).

For more information about the natural voice, refer to the Chest Voice section in Good Tone

Production for Singing.

Middle Register and Zona di Passaggio

In women, the register between chest voice and head voice is called the middle register, or

medium voice. For most women the range of pitches between the primo (first) and secondo

(second) passaggi is about an octave. The timbre of this register is generally thought to be a mix of

both the chest and the head voice qualities, or an in between colour, giving it a very warm, rich

tone that isn't quite as oscuro (dark) as that of chest voice but also not quite as chiaro (bright) as

that of head voice.

The zona di passaggio is the term that is used for the middle voice in men that lies between the

primo and secondo passaggi. The range of this register is roughly about a major third or a fourth.

As in the female middle voice, it is generally viewed as a mixture or a blending of both chest and

head voice tones, although many instructors and singers see the benefit of using mainly head


9/23

voice tones throughout this range in order to facilitate a smoother, less problematic transition into

the head register. (Using purely chest voice in this area of the range produces a shouty, 'calling'

voice that usually feels strained and requires increased effort.) Ideally, there should be a

graduated adjustment or shifting relationships among the muscles involved in pitch change,

otherwise known as aggiustamento.

To learn more about achieving an ideal blended tone in the middle register, read Blending the

Registers, Middle Register or Mixed/Blended Voice or The Zona Di Passaggio in Good Tone

Production For Singing and Blending (or Bridging) the Registers in Tips For Practicing Singing: A

Practical Guide To Vocal Development.

Falsetto

Throughout history, the term falsetto has had various meanings for different groups of users,

leading to a great deal of confusion about how to define it. Most commonly in the elite

professional male singing voice, falsetto denotes a specific timbre or vocal sound (differentiated

from head voice, or voce piena in testa) in the male upper-range that is imitative of upper-range

female voice quality, although it is not solely such. The term itselfderived from the Italian word

for 'false' - suggests a departure from timbre reality; from true or legitimate vocal timbre.

The term falsetto sometimes refers to the vocal register occupying the frequency range just above

the modal (or chest) register and overlapping with it by approximately one octave. This definition

is misleading, however, as falsetto is not a vocal register by definition. Many voice teachers

incorrectly use the terms 'falsetto' and 'head voice' interchangeably, inaccurately labeling any

pitch produced above a male singers primo passaggio falsetto. Falsetto then becomes confused

with full, legitimate head voice, or assumed to be the same thing.

Although falsetto is a type of tonal quality that does indeed run 'parallel' to, or alongside, the male

head register in terms of range, the two occuring through roughly the same range of pitches,falsetto and head voice do not refer to the same mode of phonation. They are produced by

employing different techniques and have different sounds. In both speaking and singing, falsetto is

more limited in dynamic variation and tone quality than both head voice and chest voice.


10/23

In falsetto production, the vocalis muscle are inactive and lengthened tremendously by the action

of the cricothyroid muscles, which are nearly at their maximum contraction. The mass

corresponding to the innermost part of the thyro-arytenoid musscle remains still and motionless.

The unique sound of falsetto is produced by the air blowing over the very thin edges of the

thyroarytenoids, and the pitch is controlled mostly by a regulation of the breath flow. The very

thin edges of the lengthened folds, which do not display any tension in opposition to the

stretching action of the thyroarytenoids, are easily blown open by the breath and therefore offer

little resistance to the breath flow. (The extreme membrenous edges - the edges furthest from the

middle of the gap between the foldsappear to be the only parts vibrating.) Falsetto is relatively

weak in overtones and produces no Singers Formant. Head voice, on the other hand, is richer in

overtones and has the potential to produce a substantial Singers Formant, or ring. In head voice,

the thyroarytenoids create a tighter and more substantial edge to the vocal folds, which, in turn,

resist the flow of breath, allowing more noticeable pressure below the vocal folds (subglottal

breath presuure) to build. The male singer can easily sense this difference in breath pressure

between the true head voice and the falsetto, and may feel a sense of muscular relief when he

changes from full voice to falsetto timbre.

The difference between falsetto and head voice is primarily a matter of timbre or specific vocal

technique used to achieve the tone that is unique to falsetto. Although it is possible to reinforce

falsetto timbre, making it less raspy or breathy in quality through altering relationships among the

muscles of the glottal opening/closure system, neither the function nor the resultant tone is

identical to that of full head voice. Substituting falsetto for full (head) voice in any male category,

or relying upon falsetto for high-lying pitches rather than avoiding the discipline required in order

to develop full head voice tones in the upper register is not a good practice, as it suggests an

inability to achieve a completely balanced vocal scale.

Falsetto also refers to a vocal technique that enables the male singer to sing notes beyond the

vocal range of the normal (chest, modal or natural) voice. Falsetto is produced when the vocal

folds are intentionally allowed to remain slightly separated during phonation. (Vocal fold

elongation still takes place in male falsetto, but vocal fold adduction during falsetto remains

slacker and incomplete.) The length or size of the oval orifice, or separation between the folds, can

vary, but it is known to get bigger in size as the pressure of air pushed out is increased. There are

various techniques for producing this tone, and research has revealed that different singers mayemploy different amounts of vocal fold mass or length, different degrees of glottal closure and

more or less reinforcement through breath pressure during falsetto production (e.g., skilled

singers maintain a smaller opening between the folds than untrained singers do, with the vocal

folds coming in closer contact with each other during each vibration cycle and the arytenoid

cartilages held in firmer apposition, creating a clearer, less raspy falsetto tone). In some singers, a


11/23

phenomenon known as damping appears, with the amount of glottal opening becoming less and

less as the pitch rises, until only a tiny slit appears on the highest pitches.

It is not standard practice to say that a female singer is using a falsetto voice, because when a

womans vocal folds are not fully approximated, her tone merely sounds breathy. Unlike the male

instrument, the female instrument is incapable of producing a timbre in upper range that is

radically different from its full (head) voice qualities. Furthermore, when energy and support is

reduced in the female voice, (as it is in the male voice during falsetto), her tone is likely to sound

distorted.

For more details on falsetto tone production, refer to the Falsetto section in Good Tone

Production For Singing.

Head Voice

The head register lies above the middle register or zona di passaggio. The term 'head voice' is

generally used to describe the feeling that the resonance (sympathetic resonance) of singing is

occurring primarily in the head. It has a characteristic ringing tone and modified acoustics

(modified vowel sounds).

Head voice (voce di testa) is sometimes called the lighter mechanism of the voice because mass

reduces as the vocal folds elongate. As a result, most singers experience a sense of ligthening in

timbre as they enter the head register. Head voice can be carried down and maintained lower,

into what would naturally be the chest register with little to no risk to the voice, although the tone

of the voice will become thinner at lower pitches and resonate more poorly than it would if the

natural (chest) voice were being used for those same pitches.

More detail about training the head voice can be found in Good Tone Production For Singing.

Whistle (or Flageolet) Register


12/23

The whistle register, (typically occurring between C6 and D7), is the highest register of the human

voice, and refers to the register above the head register in female voices. Unlike the other

registers within the voice, it does not begin at the same absolute pitch within every female voice

type, and there is typically no discernable passaggio marking the transition into this register, which

is why it is often considered to be an extension of the head register, rather than a unique or

separate register.

This register has a specific physiological production that is different from that of the other

registers, and is so called because the timbre of the notes that are produced from this register are

similar to that of a whistle. The quality of sound that is produced is somewhat different from

conventional head voice, being excessively bright and edgy. However, this female register is

thought to be an extension of head voice, and, ideally, should differ little from head voice in

timbre in the well trained voice.

Women of all voice types can learn to use the whistle register, although lower female voices, such

as true contraltos, may not be able to access this register.

It may be beneficial for female singers to practice flageolet because it encourages a full extension

of the vocal foldsat pitches above C6, the folds become their thinnest, with increased damping

and diminished mass, offering even more resistance to the exiting airbecause it will make high

notes within standard repertoire more accessible. In other words, having access to the flageolet

register adds freedom to the performable upper range (head register) because it will be easier to

execute.

Voice Classification

Through voice classification, singers voices are evaluated and designated into voice types.

Classical terms are used to describe not merely various vocal ranges, but also the specific vocal

timbres that are unique to those respective ranges, and that are produced by classical trainingtechniques. (It is difficult to divide popular or non-classical singers into such types because they

lack the same classical training.) Voice classification can be somewhat subjective, making it less

than a scientific practice.


13/23

Voice classification was developed within classical music, and it is often used within opera to

associate possible roles with potential voices. The German Fach system is one popular method of

classifying singers, primarily opera singers, by the range, tessitura, vocal weight, and color (timbre)

of their voices. The Fach system is a convenience for singers and opera houses. Many opera

houses will keep lists of singers divided by their voice classifications and refer to these lists when

casting for operas. A singer who is identified as being of a certain Fach will usually be asked to sing

only roles that belong to that Fach, which prevents a singer from being asked to sing roles which

he or she is incapable of performing, and allows for the best possible casting of roles.

Choral singers are classified into voice types based mainly on their range. Solo singers are

classified into voice types based in part on tessiturawhere the voice feels most comfortable and

has the most pleasant tone for the majority of the time.

Many singers are classified incorrectly by unknowlegeable vocal teachers and choir directors. For

example, lyric baritones are often miscategorized as tenors because the perceived lightness of

their instruments may create a more tenor-like vocal quality and also enable them to sing fairly

comfortably in their head registers. Female vocalists who are able to sing high notes are often

assumed to be sopranos, regardless of the actual locations of their passaggi, and are often asked

to sing soprano parts. Training as another vocal type (e.g., singing too frequently in a tessitura that

does not match that of the natural instrument, expecting the voice to reach higher pitches

because a singer is thought to be a different or higher type, etc.) can place strain on the voice, not

to mention create a great deal of frustration and discouragement and a lack of success in the

singer who cant seem to make his or her voice meet certain expectations that are unrealistic dueto the mistake of miscategorization. It is, therefore, absolutely critical for instructors and choir

directors to understand the importance of the locations of the passaggi (registration pivotal

points) in accurately determining voice type, and how vocal weight can affect the perception of

what a singers voice type and range truly are.

How To Determine Singing Range and Vocal Fach (Voice Type) explains in greater detail why it's

important to classify voices and how to do so correctly. It also offers a number of 'notes of

interest', as well as observations and discoveries that I have made about range and voice type

from my years of teaching.

Timbre


14/23

Timbre simply refers to the quality or colour of tone being produced by the singer.

For more information about timbre, please read Good Tone Production For Singing.

Vocal Weight

Vocal weight refers to the perceived 'lightness' or 'heaviness' of a singing voice. This quality of the

voice is one of the major determining factors in voice classification within classical singing, and

constitutes a subcategorization of vocal types (or parts).

Additionally, vocal weight, which is often determined by the thickness of the vocal folds, may refer

to a voices ability to handle changes in vocal dynamic, and may affect its overall vocal agility, as

different voices handle changes in dynamic differently. In other words, vocal weight can affect

overall vocal agility and flexibility. For example, heavier voices often have more difficulty

maneuvering through florid coloratura passages than lighter voices do. Heavier voices can also

sound awkward singing staccato sections because they dont tend to have as much flexibility as

lighter voices do. Lighter voices tend to have greater agility and flexibility, but have less facility in

filling legato lines, and cannot be heard as well over an orchestra as heavier voices can.

Lighter voices are often associated with the term 'lyric'. The timbre of these voices is often

described as smooth, silky in texture, mellow, sensitive, warm, bright and graceful, and often have

a softer, lachcrymous quality. They have good agilityoften the ability for coloratura - and strong

diction., and can be heard over an orchestra.

'Coloratura' voices are light with a great deal of high end agility, and are capable of handling florid,

elaborately ornamented or embellished vocal passages, including running passages, staccati and

trills. Whenever 'coloratura' is used by itself as a voice type, it refers to a soprano with this vocal

quality and weight.

Heavier voices are often associated with the term 'dramatic'. Dramatic voices are very large,

strong, powerful, vigorous and rich, and can sing over a full orchestra or choir. The timbre of this

type of voice is usually darker and heavier than that of a lyric or coloratura voice, and its tessitura

is often a little lower. Because the vocal folds of a singer with this vocal weight are thicker, agility


15/23

and facility are usually somewhat compromised, however, it is capable of giving dramatic heft to a

role, with sustained power.

Other voice types, like the 'spinto' voice, have a more medium vocal weight. Spintos have a more

robust and full sound compared to lyric voices, but are often considered a 'baby dramatic' in that

they have larger voices but not quite to the level of dramatic. The spinto voice handles vocal

dynamic changes very well. A spinto voice has the brightness and height of a lyric voice, but can be

"pushed" to dramatic climaxes without strain, and may have a somewhat darker timbre. It can

'slice' though a full orchestra (rather than 'singing over' it, like a dramatic voice).

Soubrette is a French voice classification term assigned to women who often play young, flirty

physically active operatic roles. In classical music, a soubrette can be considered a female soprano

who sings best in middle voice with no strenuous vocal dynamics. Most soubrettes have a warm,bright, sweet vocal colour (timbre), and are comfortable singing throughout the soprano range,

although this voice has a lighter vocal weight than that of other soprano voices and a tessitura

lying in the mid-range. Their upper extension is not quite as high or 'shiny' as that of a coloratura,

but they often have a richer timbre in their middle and upper middle voice.

For male voices, different terms may be used to described vocal weight. For instance, a Leggiero or

light-lyric is the male equivalent of a lyric coloratura. It is a very light, bright, high tenor voice with

very natural, high, extensions and a higher tessitura than that of other tenors. Another

characteristic of this voice is its flexibility and agility. Lyric or lirico is a strong yet light voice with a

high tessitura. A spinto voice is heavier than a lyric, but not quite a dramatic. Drammatico or

dramatic tenor is a powerful, rich and full voice with a lower tessitura than a lyric. It, like the

female dramatic voice, carries easily over larger orchestras.

Many voices lie somewhere between different weights (e.g., a lyric coloratura soprano, etc.)

The weights of certain voice types may be further subcategorized into light and full (e.g., lightlyric soprano, full dramatic mezzo-soprano, etc.), which indicates the maturity of sound or tone

produced by the singers voice. Light voices possess a youthful quality and are often ideal for

young roles, whereas full voices sound more mature, can be heard (unamplified) over a larger

orchestra, and may be able to handle heavier roles.


16/23

Tessitura

The term tessitura, (which comes from the Italian word for texture), generally describes the

most musically acceptable and comfortable timbre for a given voice type. Put simply, tessitura

refers to the range of pitches in which a singer is most comfortable singing, as well as the section

of a singers range where the voice has the most pleasant-sound or tonal quality and easy volume.

While a soprano and a mezzo-soprano may have a similar range (as defined by the spectrum of

notes that they are both capable of singing), their tessituras will lie in different parts of that range,

which is why they are each classified as a different voice type. (To a certain extent, the figures

below denoting the expected ranges in repertoire for each voice type reflect tessitura more so

than range.)

Tessitura also refers to the pitch range that most frequently occurs within a given piece, or part, ofmusic. Tessitura addresses not merely a range of pitches but also takes into consideration the

arrangement of those pitches in music, or melody (e.g. whether vocal lines and phrases in the

musical piece tend to rise gradually or fall quickly, or whether there are large intervals between

pitches, as well as the speed of pitch changes), as the abilities of a singer may be more or less

suited to certain arrangements of pitch (melodies).

Voice Type

Voice type is often confused with vocal range by contemporary or non-classical singers (e.g. those

who sing jazz, pop, blues, soul, country, folk and rock styles). For example, if you were to ask some

singers what their range is, they may reply by stating that they are a tenor or a soprano. Using

the terms range and type interchangeably is inaccurate and can be misleading.

Perceived qualities or characteristics of a voice help to identify the vocal type. Human singing

voices can be described by such qualities as vocal range, weight, tessitura and timbre, as well as

vocal registration and vocal transition points that include breaks in the voice, and these qualitiesdescribe their vocal types. The designation of a voice as a lyric soprano would be an example of

a vocal type.

In opera, there are six basic voice typesbass, baritone, tenor, contralto/alto, mezzo-soprano and

soprano - and then several sub-types within each. However, in North American choral music, there


17/23

are usually only four vocal typesbass, tenor, alto and sopranoin the arrangements. (When six

parts are written into choral arrangements, mezzo-soprano parts are typically called second

soprano parts and baritones are often assigned to second tenor parts.)

There are also intermediate voice types. They may have a range or tessitura lying somewhere

between two voice types or parts (e.g., a bass-baritone), or may have a vocal weight lying

somewhere between light and heavy (e.g., a dramatic coloratura soprano, etc.). (For more detailed

information on how voices are subcategorized by vocal weight, read vocal weight.)

Below is a list of the basic vocal types and their approximate ranges. I have intended to keep these

definitions as simple as possible, without making the complicated distinctions within each vocal

type. The ranges listed are based on classical and choral expectationsthe useful range - for

each voice type rather than on the possible spectrum of notes that singers within each type mightbe capable of singing. (In other words, these ranges are not static, especially in the case of well-

developed singing voices, but represent average ranges in written classical and choral music.)

For the benefit of more visual readers, I have also included diagrams of a keyboard with the

standard (classically and chorally defined) ranges for each vocal type shaded in. The darker

shading indicates the range that is assigned to a certain voice type in opera, and the lighter part

represents the additional range that might be expected of a singer of the same voice type within

choral music. Note how the ranges for each vocal type do a lot of overlapping.

Finally, I have opted to use scientific pitch notation, where C4 refers to middle C (and A4, the A

above middle C, has a frequency of 440Hz), to keep these definitions as succinct as possible. In

scientific pitch notation, each octave begins at the note of C, rather than A. (the A immediately

below middle C, for example, is A3, and is considered to part of the octave beginning one octave

below middle C.) Therefore, the C one octave above middle C is C5, the C one octave below middle

C is C3, etc.. (For a better understanding of scientific pitch notation, please read the related

section in How To Determine Singing Range and Vocal Fach (Voice Type)

Contrabass

A bass who can sing G1 or lower is known as a sub-bass or contrabass singer, or a basso profundo.

Generally, though, contrabasses are 'lumped in' with other basses when parts are assigned.


18/23

Bass

A bass singer is considered to be the lowest male part sung in multipart choirs. A typical singingrange for a bass singer is F2-E4 with a comfortable range normally between G2 and A3. (A true

bass singer is a rarity. In fact, most 'Bass' sections of choirs are comprised of baritones or bass-

baritones who have access to lower notes.) The primo passaggio for a bass might be G3, G#4 or

A3, while the bass-baritone's is at A3. Their secondo passaggio will be at at C4, C#4 or D4.

Baritone

A baritone refers to the male singer whose range falls somewhere between that of a bass and that

of a tenor. A typical range for a baritone is F2-G4 in choral music and G2-E4 in operatic music. A

baritone's primo passaggio will lie roughly at Bb3 or B3, and his secondo passaggio at Eb4 or E4,

depending on the particular voice's weight.

Baritenor

This intermediate male voice type tends to have the lower extension and 'depth' of timbre of a

baritone, yet the lightness, agility and upper extension of a lower tenor. He will switch into middle

voice at C4 (his primo passaggio) and into head voice around F4.

Tenor

A tenor is considered to be the highest male voice within the modal register. A tenors typical

range in classical repertoire is roughly C3-G4, although the extremes of accessible range can vary

greatly from singer to singer. A tenor's primo passaggio will lie roughly at C#4 (drammatico), D4

(lyric), Eb4 (leggiero) or E4 (tenorino), and the second passaggio at around F#4 (heavier tenor

voice), G4 (lyric tenor voice) or A4 (leggiero).

Countertenors


19/23

Males with high vocal ranges, or who can project falsetto pitches in a clear sound, are referred to

as countertenors. Countertenors possess ranges equivalent to those of the female ranges alto,

mezzo-soprano and soprano. (A male soprano is specifically referred to as sopranist).

Contralto

Contralto is the deepest female singing voice, and the contralto range would be below that of an

alto. (Although the subtle distinction between contraltos and altos is typically only made in

classical or operatic music, I want to include it here for information purposes.)

Alto

In choral music, alto is the lowest female voice part in a four-part harmony, and the standard

range is approximately E3-E5. An alto's first passaggio occurs around Eb4 or E4, and her second

passaggio around Eb5 or E5. (Technically, 'alto' is not a voice type, but a designated vocal line in

choral music. The range for the alto line in choral music is typically more suitable for mezzo-

sopranos, the most common voice type amongst females, than true contraltos.)

Mezzo-soprano

Mezzo-soprano refers to a female singer whose range lies between the soprano and the

alto/contralto ranges, usually extending from A3-F5. While mezzo-sopranos generally have a

slightly heavier, darker tone than sopranos, the mezzo-soprano voice resonates in a higher range

(and has a different timbre) than that of an alto voice. A mezzo-soprano's primo passaggio lies

around E4 or F4, and her secondo passaggio around E5 or F5.

Soprano

Sopranos take the highest female part, which usually encompasses the melody of a song, in four-

part choral style harmony. Typically, a soprano is expected to be able to sing from C4-A5, or even


20/23

higher. A soprano's first registration pivotal point (passaggio) lies around F#4 or G4 (although she

may feel more comfortable switching out of chest voice and into middle voice lower in the scale),

and her second around F#5 or G5.

Sopranino

Sopranos who can sing higher than C#6 are known as a sopraninos, although they are most likely

to be called sopranos. (Of course, there are altos and mezzo-sopranos who are also capable of

singing these higher pitches. This is why registration events are more important and accurate in

determining Fach than vocal range by itself.)

Melody

In music, a melody, (also tune, voice, or line), is a linear series or succession of notes, not a

simultaneity, as in a chord (see harmony). However, this succession must contain change of some

kind and be perceived as a single entity to be called a melody.

Harmony

Harmony is the simultaneous use of different pitches within a musical scale, as when the individual

notes of a chord are being sung at the same time by different sections of a choir. Harmony is

distinguished from the melodic line of a song.

Pitch

Pitch refers to a perceived musical note.


21/23

The ability of humans to perceive pitch is associated with the frequency of the sound waves that is

encountered by the ear. Sound is transmitted in a series of compression and tension cycles via the

movement of the particles in air. Exciting the sound more rapidly increases the frequency of the

sound, and produces more cycles in a given period. This is heard as an increase in pitch. The pitch

of a note is described by its frequency, which is measured in hertz (Hz), or cycles per second.

Musicians and singers use the word pitch to describe the frequency of a sound wave. The shorter

the wavelength and the more rapid the cycles, the higher the frequency and the higher the pitch

of the sound. In other words, short waves sound high, whereas long waves sound low.

Instead of measuring frequencies, musicians name the pitches that they use most often. They

might call a note 'middle C', for example.

When people talk about 'hearing pitch' or 'singing on pitch', they are referring to the ability to

mentally identify and vocally reproduce the notes that they are supposed to be hearing and

singing. Singing 'on pitch' is the same as singing on/in tune or 'on key'.

Absolute pitch, widely referred to as perfect pitch, is the ability of a person to identify (e.g. name)

or recreate (e.g. sing) a musical note without the benefit of a known or objective reference tone

(i.e. without having the same note, or absolute pitch, to compare it to). Many people incorrectly

assign to singers who dont make notable pitch errors when performing the gift of perfect pitch.

However, having perfect pitch is not synonymous with singing on tune.

People with perfect pitch may be able to identify and name individual pitches played on various

instruments, name the key of a given piece of music, identify and name all the tones of a given

chord, sing a given pitch without external reference and/or name the pitches of common everyday

noises, such as car horns or doorbells.

The term relative pitch may denote the skill used by singers to correctly sing a melody line,

following musical notation, by pitching each note in the melody according to its distance from the

previous note (e.g. this may include or be applied to sight reading). Relative pitch may also refer

to the ability to hear a melody for the first time and name the notes relative to some known

starting pitch, and/or the ability to identify the intervals between given tones (e.g. a 'fifth' or an


22/23

'octave'), or the distance of a musical note from a set point of reference (e.g. 'three octaves above

middle C').

Unlike perfect pitch, relative pitch is common amongst non-musicians and can be developed

through ear training.

To learn more about pitch, persistent pitch problems and tone deafness, please read my article on

these topics.

Octave

An octave is an interval of eight diatonic (full) notes comprising a complete musical scale, or a note

that is eight tones above or below another note. C4 to C5 would be an example of an octave. (An

octave is an example of a musical interval.)

Both the top and bottom notes of the octave are labeled the same (e.g., "C"), although the

frequencies (length and cycles) of their sound waves will be different; the top note having twice

the frequency as the bottom note. Most people can distinguish between the pitches or

frequencies of the top and bottom notes of the octave and understand that they are called thesame musical note. The top and bottom notes of an octave are consonant, or sound pleasant,

when played at the same time.

Interval

An interval is the relationship (or distance) between two separate musical pitches.

Certain sound waves when played or sung simultaneously will produce a particularly pleasant

sensation when heard. They are said to be consonant, or harmonious. Such sound waves form the

basis of intervals in music, and these agreeable intervals form the basis for harmony - when the

musical notes of a chord are played or sung in unison.


23/23

Understanding Vocal Range

Documents

Transcript of Understanding Vocal Range