Vocal Music Advice

Tracy, age 20 asks: “First, I want to thank you for making this site. It is really helpful and I enjoy reading it a lot. I have a question about tessitura: what notes are considered the tessitura of a baritone? Tenor? Bass? Also, in operatic literature, what note best equates to the tenor’s high C for a baritone? A bass? Thank you once again, it’s rare to find a resource like this.”

Answer: Great questions Tracy!  Take the following as a general guide.

A mature tenor’s functional range will normally be about C, one octave below middle C, to the C above middle C.  The “tessitura” in which he finds most comfort and ease is generally around F below middle C to the A or B-flat above middle C.

A mature lyric baritone’s functional range will normally be about A (an octave  +3rd below middle C) to the A above middle C.  The “tessitura” in which he finds most comfort and ease is generally around D or E-flat below middle C to F or G above middle C.  Depending upon the singer, this range and tessitura might be identified as “Helden Tenor” by some who choose to sing that literature.

A mature baritone’s functional range will normally be about G (1½ octaves below middle C) to the G above middle C.  The “tessitura” in which he finds most comfort and ease is generally around B-flat or C below middle C to middle C or D just above.

A mature bass-baritone’s functional range will normally be about E-flat or F (more than 1½ octaves below middle C) to E-flat or F above middle C.  The “tessitura” in which he finds most comfort and ease is generally around A-flat or A (an octave  +3rd below middle C) to A or B just below middle C.

A mature bass’s functional range will normally be about C or D (two octaves below middle C) to middle C or the D a step above.  The “tessitura” in which he finds most comfort and ease is generally around E or F (an octave +5th below middle C) to G or A below middle C.

Caveat: Please note that these designations are necessarily somewhat general because few of us fit neatly into a stereotype … and for an operatic singer these ranges would be considered confined, because they frequently use a wider range than 2 octaves … this is the reason for me using terms like “functional” and “normally.”  I will also tell you that depending upon the teacher, the ranges I have given for the various voice classifications would be disputed up or down.

If C above middle C is considered an operatic tenor’s “high note”, A or B-flat would be the lyric baritone’s high note, G or A-flat would be a regular baritone’s high note, E or F would be a bass-baritone’s regular high note, and E-flat or E would be a bass’s high note.  Again, I’m speaking of mature voices … and also while these designations are “normal,” individuals will vary, higher or lower depending upon the idiosyncrasies of their voice.

I hope this is helpful.

By the way, if you want to do some research on the subject of operatic voice classification, read up on the German “Fach” system.

Answer: Timbre refers to the “quality” and “color” of a person’s voice.  We end up describing timbre in non-scientific language, appealing to other realms and senses.  Thus we say that one person’s voice is light, lyric, creamy, or dark, heavy, dramatic.  Lot’s of other adjectives are used also “velvety” “brassy” “nasally” “hooty” etc., but some of these may actually be describing vocal faults. When applied to finding a voice classification or voice type, one has to be VERY CAREFUL.  Timbre is only ONE criterion in determining voice classification and is one that can be misleading to inexperienced voice teachers.  Some classic pitfalls are to assume that a lyric voice is a “high voice” and a dramatic or heavy voice is a “low voice.”  This is simply WRONG, because there are lyric basses and lyric baritones just as there are lyric contraltos and mezzos … not just tenors and sopranos.  Likewise, assuming that a heavy dramatic voice is low is equally wrong.  There are dramatic tenors and dramatic sopranos.  I think only an experienced voice teacher can use timbre … and that after other criteria are factored to make an accurate judgment on voice classification.

The other criteria for discovering a person’s voice classification are RANGE, TESSITURA, and TRANSITION POINTS.

Obviously range is going to mark the compass of a person’s singing voice.  To choose a classification in which literature demands singing notes outside a person’s range is a clear evidence of wrong classification.  If you call yourself a tenor, then you must be able to sing tenor literature.  If you call yourself a tenor but cannot sing tenor literature, perhaps the only one deceived is yourself.

But range by itself is also insufficient for arriving accurately at one’s voice classification.  “Tessitura” is usually applied to music itself, for example a song.  Tessitura indicates the relative AREA of the range where MOST of the notes lie in any given song.  Applied to the voice, this means that every singer is going to have an AREA in his/her range in which s/he can sing with greatest comfort, flexibility, expressiveness and STAMINA.  E.g., A man may have a range that makes singing high A’s (above middle C) possible, but be uncomfortable sustaining that beyond a moment or two.  The ability to linger and enjoy those high notes endlessly simply isn’t there … but he’s most comfortable singing between D (above middle C) and the D below.  His tessitura would suggest that while some higher baritone literature may be in order once in a while–allowing for a high A on then off again–his tessitura (the area of his vocal comfort) is more like a baritone’s.  The area of the range (tessitura) where a singer predominantly finds most resonance and stamina should be a key ingredient in determining voice classification.

Transition points refers to those notes in the vocal range where there seems to be a natural change of quality.  This happens clearly in some singers and not at all in others.  Without going into detail on the various voice types, generalizations are made as to where the “changes” occur in each voice classification.  While this criterion can be useful (to a limited degree) by an experienced voice teacher, it is advisable to tell you that it is also far from foolproof.  Singers can learn to make a transition on any of several pitches.  The transition points also tend to vary depending on what vowel is sung.  Another problem can be that some student singers who will not accept their real classification adopt a “lift” note of their own desired classification to prove their point.  I would say that this criterion is probably used best by an experienced voice teacher on untrained voices.

So, there you have it.  Arriving at a person’s voice type entails a knowing and using the criteria of RANGE, TIMBRE, TESSITURA and possibly TRANSITION POINTS.

Hope this is helpful … and not overwhelming.  Best wishes.

Hi there!
My name is David and I am 17 years old. I can sing relatively comfortably from F2 to A4, in other words from F one and a half octaves below middle C to A half an octave above. My voice is quite relaxed throughout this range. My timbre is pretty light but not really ‘tenor light’ so I would guess this makes me a lyric baritone? Am I correct in this assumption? Would this range be of any use in say musical theatre? If so then what roles would be best for me to sing?

ANSWER: Well David,
You already have a wide range.  Congratulations.

At 17 it is no surprise that your timbre is “pretty light”.  If you use your voice regularly and with good habits, it will develop in strength over the next few years.  You are probably wise to think of yourself as some form of baritone until and unless the highest fifth of your range is (or becomes) some of the most comfortable part of your range in which to sing.  When a young man your age seems to have a choice of “tenor or baritone” opt for the part of the range in which singing is most comfortable.  The majority of the time this is lower, not higher.

Still, be aware that within the next five years you may well find your range extending in one direction or another.  So, thinking of yourself as a “medium” voice (baritone) for the time being is prudent.

Yes, I think there are roles that a young lyric baritone such as yourself could do successfully.  Let me suggest just one … and you take if from here.  In “Into the Woods” both princes are baritones.  The one requires a fair amount of stamina–there’s a lot of singing.  However, there are also a couple of wonderful duets between the princes … and either one of those might be appropriate for you.  If you think along similar lines, you’ll probably be able to find other roles that you’d be comfortable doing.  At 17 you need to be careful not to choose roles that require a tessitura (a predominance of notes) that is too high … and strenuous.

You sound like you’re thinking sensibly.  Best wishes.

PS. Some of the older shows have roles that might fit: E.g., the leading role in “Oklahoma”

I am a high-mezzo (I’ve been told), with an aging voice (I am almost 60). It is still clear and good, but I have lost some of my upper range (my middle range is great!) I have a fair amount of choral experience, but have often had trouble figuring out which vocal part to sing. Usually, I could “switch around” from 1st alto to 2nd soprano somewhat, but am currently in a choir which doesn’t allow this; the current music is way too low, in the alto section (but the 2nd soprano part is too high, as I’ve lost my high notes). I can sing usually the alto easier than the soprano in an SATB choir, but this time around, it’s like a straight second alto (a bit too low), and I don’t want to sing too low for an entire performance, either. I am afraid of ruining what voice I have, either by singing too high or too low. I don’t want to stop singing, and cannot afford voice lessons.

I was thinking that perhaps a women’s choir would be the answer (in which I could sing straight 2nd Soprano). Suggestions?

ANSWER: Sometimes it’s good just to be able to “think out loud” isn’t it?!

Your thinking is sensible, and I think you’ve worked out the best solution yourself.  The best scenario – as you suggest – is to find an all-ladies ensemble and choose what is most comfortable for your voice – either soprano 2 or, alto 1.  Don’t remain in a situation in which you have to STAY too high or STAY too low for prolonged periods of time.  You are right to protect your voice.  Most choral literature does not require the situation you describe, but since you find yourself there, I would advise seeking the solution you propose.

If, on the other hand, you really like the choir in which you’re currently singing, you may request and choose to sit out this performance and rejoin when literature for the next performance, that does not place the same demands on your voice, is being learned.  (Now I’m thinking “out loud.”) Not all choirs allow this kind of membership-flexibility, but if yours does, this could be an alternate solution.

Best wishes.

I’m a 41 year-old soprano.  I have been a soprano all my life. Recently, I joined the alto section of the church choir because the Alto section is very weak. After a few weeks, I have started to feel throat pain when I sing.  I also get hoarse after singing low for a while.  Is there such as thing as singing too low?   Can you strain your voice singing below your range?

Answer: Very simply the answer is YES – there is such a thing as singing too low and Yes, you can strain your voice by singing in a range that is uncomfortable to sustain for long periods.  Don’t do it.  Strain from singing too high is the more common occurence.  But all the same the answer is yes – you can – and are straining your voice if you have throat pain after singing “alto” in choir.  Requiring your voice to continue to sing too low will ultimately damage the voice.

Every voice (singer) not only has the range within which notes can be reached – but there is also an area where stamina, beauty, comfort occurs with ease.  As a soprano you need to sing in the soprano tessitura to preserve your voice.  Regardless of the needs of the choir – you should be singing soprano – and only join the altos–if absolutely necessary–in passages that are “high” for them.  You’d still be helping the alto section – but in a manageable part of your range.

Thank you for asking this question – I’m sure many others will benefit from this information too.

A word to the wise.  Best wishes.