Vocal Advice

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” occurs 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.

Mary says:
Hello!
I honestly think your blog is interesting.

Ok, before I lose my focus I must ask: When I was a child (10 to 17) I had been told I was a mezzo-soprano. However, the very few times I sang in the chorus I sang as soprano (alto parts were uncomfortable sometimes).

Now, at 21, I am finally starting bel-canto lessons with a dramatic soprano, and she told me that my timbre and tessitura is actually that of a soprano. Since her teacher was there as well, he corroborated by saying that my sound is that of a light lyric soprano … can that be possible??
I mean, from mezzo-soprano to soprano to me looks as a short step but then to add a ‘light’ voice type, to me sounds too much (difference).

I must add that both teachers told me: “Don’t think about it as if it’s definitive because you’re just starting your training.” Actually I didn’t ask to know my voice type because I had thought it was extremely soon for asking such. (I started 2 months and half ago! for me, it’s so early!)

Ah, they told me my register and tessitura in my first month:
Register B3 to #C6 (they said it was pretty good keeping in mind I was untrained; wondering if it’s true (haha). Tessitura: Fa3 to G5

Thanks in advance and sorry for all the troubles because of my poor command at English.
ANSWER:
Mary, my answer can only be based on what you have told me—as you know—since I have not heard you. It is probably safe to say that your voice teacher is correct on both counts.
1. Even when you were in school singing in choir, you found singing alto uncomfortable, and singing soprano comfortable. You are not surprised by that, and that’s good.
2. Regarding the timbre of your voice, again, my inclination is to side with your voice teacher, who is likely right. This is especially true since you are just 21 years old. At this age even if you were a mezzo-soprano or an alto, your sound would in all likelihood be “lyric” and somewhat light. But this is probably true also because, since you are just beginning to take voice lessons, you have much to learn about the strength and power of the voice as it develops, and since you are just beginning the process of study, your sound is going to be at it’s smallest and least efficient. One of the biggest parts in vocal development is re-learning how to hear and identify what we produce. Most singers starting out, have little idea of the sound of clear vibrant ringing tone. When you begin to produce that, your “hearing” will have to undergo some adjustment, because what you’ve been used to all this time is going to change … for the better … even if, initially, your ears don’t think it’s an improvement.
3. Your voice teacher wisely let you know that this “designation” is not necessarily permanent … but describes you currently. That’s a mark of a wise teacher. As your voice develops, you and your teacher may make discoveries about your voice and its capabilities that are not apparent at present. So, as your teacher said, don’t think of “light soprano” as something that is necessarily permanent … but seems to be what is currently true … and a good starting place for your study.

I hope this gives you some guidance in your thinking, and some comfort.

Best wishes.

PS. My only word of caution would be … if you discover that singing in the range where you are asked to sing causes strain … tell your teacher immediately.

James, 14, says: My range is roughly D two octaves below middle C to the E above middle C (if I try I can hit an F).  Is this strange for my age?  I’ve had no lessons, and all I know about singing I’ve taught myself.  My voice also sounds operatic without training - is that strange?

Answer: I am so glad you asked these questions James.

One thing I can say about the change that takes place in boys is that there is no uniformity as far as rate of change.  Some of us seem to take years to drop from alto to tenor (by age 18), and others of us seem to change from treble (soprano) to bass almost over night (at 13 or 14), with variations taking place in between these.

At the moment you sound like you’d fit the “bass” category.  Is that strange?  Not at all.  If you desire to sing in a school choir, your choral director will have a place waiting for you … because low voices at your age are relatively rare … and greatly desirable.

The fact that you have a somewhat “big” voice — you say it sounds operatic — is also not a bad thing … in fact, this is a gift!  If you love to sing - go for it.  Use it, often.  If you’re gifted, develop your gifts … you’ll find yourself with opportunities that many of your chums won’t have, and undoubtedly you will find that you were “created” for just this purpose.

I’d like to encourage you to accept your range (as a bass) and the sound of your voice, and use it there — without attempting to be or become a high baritone or tenor.  You’ll shine right where you are, and over the next 6+ years, your voice will grow in versatility and power and range.  Blessings on you!

Voice teachers and young student singers: permit a brief—perhaps too brief—note on some of the concerns and dangers in voice classification.  As you will see, voice classification is a major concern for many people.  I have received more questions on this subject than I’ve answered on the blog and have resorted to emailing some individuals.

On the one hand, both teacher and singer are interested in the young student’s voice classification.  Am I a soprano, mezzo-soprano or alto?  Am I a tenor or baritone?  When I sing in choir, what part should I sing?  These are legitimate concerns.

On the other hand, some teachers and students approach voice classification almost as a prescription to become a mandate, a goal to be achieved, a barrier to be conquered.  Nothing could be more injurious to a student no matter how zealous he is of being told a “prescription.”  When a student singer is between the ages of 16 and 21 … and especially on the younger side of that span, identifying the future classification is not necessarily known.  I say “future classification” because at age 16, 17 or 18 the voice is in the process of developing in range, tessitura, timbre and even “lifts” (or what some teachers refer to as register breaks).  In fact, those teachers who pronounce categorically to a young male student that he is (or will be) a tenor frequently do him a disservice.  (Obviously there are exceptions.) In the teens, voice classification should be descriptive, not prescriptive.  It should indicate “current status” not “life goal.”

Sometimes it is the zealous student who will not rest until he has an “answer” and can be declared a “tenor” or some other category.  The result of BOTH scenarios has resulted in frustration for many a student and teacher.

Teachers of students under 20 should realize that the singer they have charge of is vocally in a time of development.  Range is expanding in one direction or another, or both.  Stamina and freedom is more comfortable higher for some, and lower for others.  Strength and power and flexibility are increasing.  Some boys sound like altos for a couple of years, then tenor for a while before finally settling into one of the lower categories.  Other boys seem to change vocally overnight.  So finding the “starting place” is useful and wise.  So, if your 17-year-old young male student sounds “tenorish” now … start there with the understanding that while now he may sing as a “tenor” he may later change as his voice develops over the next 5 years.

So, to the voice teacher and young singer I say … discover your range and with it where in your range you sing most comfortably, with greatest stamina, and find literature that fits your voice as it develops.

When, at 25 or 30 you begin entering the professional performance field, the care with which you paid attention to how your voice WAS DESCRIBED can in some measure prescribe what literature is now best suited to you (enter the German “fach” system).

So, should you be concerned about your voice classification?  Sure.  Should you be anxious or zealous about having it prescribed for you? Certainly not.

The most difficult thing for some students to do (and some teachers) is to wait to see how the student’s voice develops!  I say these things because with over 35 years of teaching I have had students who thought they were tenors, but were baritones, others who thought they were baritones who found they were tenors … with parallel situations among young ladies.  By the time a college graduate begins graduate school he or she will frequently be drawn to a teacher with a similar voice type.  Those studios are in the minority.  Those teachers who by their pedagogical wisdom (or small-college music department environment) draw all classifications of singers to them who are ages 17 to 21 will do well to heed this warning against prescriptive voice classification.  Furthermore, I would go a step further and say to any young student: be very wary of teachers or “schools” that practice “prescriptive voice classification.”  I know of numbers of singers, graduates of those schools and studios who have experienced long-term vocal frustration on account of it.  As my esteemed mentor, James C. McKinney said, (and I paraphrase) “if a man declares he is a tenor, but can’t sing the tenor literature he has only deceived himself and should identify himself truthfully.”

At another time I will expand on this subject … because it is an important one and a wide one.

Michael, a teenager in Poland asks: Hi! My name is Michael and I’m 17 years old. My voice’s range lies between F2 and C5. I actually don’t have any breaks in my voice but I hear the change in the timbre after reaching G#4 and higher. I can go even higher with falsetto reaching F5 or G5.  My timbre is light but certainly not “tenor light”. Does it make me a lyric baritone or some kind of heldentenor that can sing lower?

Answer:

It’s wonderful that you don’t experience any breaks … even though you are aware of the change in timbre at around G-sharp.

Michael, I think that it’s fair to say that at 17 you ought not “decide” what you are vocally.  It’s enough that you know your range and where you sing most comfortably.  The fact is that in the next 5 to 6 years, your voice is going to develop considerably in range, strength and flexibility (at least if you are studying voice and practicing daily).  What you seem to be at age 17 may indeed change in the next few years.

I’ve had “tenors-at-17″ demonstrate that they really were baritone by the time they are 21 … and vice-versa.  You are in a time of vocal development and discovery.  What is important at this time in your life is that you learn to sing with good habits - as freely and without unnecessary tension as possible - and accept the way your voice develops - whatever direction it takes.  For this reason I for one will not tell a 17-year-old “you are a…” and give a definite voice classification.  I may have a good idea the direction the voice is taking after I’ve heard the young singer … but it’s still unwise to make a declaration–because then that “classification” becomes a goal, rather than an observation of fact.

At 17, almost all voices are “lyric”.  It remains to be seen what you will become.  Realize this too, Michael, all I have to go on is what you’ve told me.  It would be truly foolish of me to declare a specific voice classification having never heard you.

Remember what is important (see above) and you’ll develop just fine.

Best wishes.

ANSWER:

Assuming that a singer has a useful two-octave range (a mature singer will have this), baritones will find their upper useful limit to be G, A-flat or A above middle C - and down two octaves.

A Bass finds E-flat above middle C to be uncomfortable to sustain and is often his upper limit and he is much more comfortable staying in the lower half of his range.  In a choral situation, he’ll find low D’s and sometimes a low C within the realm of possibility.

Beyond these two designations are those singers who find themselves between these designations or lower than other parts.  A bass-baritone’s useful range is about F to F, and a basso-profundo’s useful range is low C to middle C with access to even lower notes frequently being available in choral situations (not solo).

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”

Hey I’m a 19 year old boy, and I only started playing guitar and piano last year but it turns out it came really naturally to me and I’m really good at them both now. So naturally, Ive also started seriously trying to sing for the past like 8 months. More recently I have been a lot more into it, and really trying to work on my vocal range. I think I sound pretty good, but obviously with my lack of experience I can’t be too good. I can sing from a range of about a low A to a high D fairly comfortably, and I often use a high E but only as the very top notes in some songs. I love doing covers of popular songs, but most songs don’t sound that good when I transpose them so much lower to within my range… I’m hoping that if I keep practicing I can some day be able to hit a high G. it’s a big goal but I can already hit an F if I really try. Does this range classify me as a tenor? and do you think that this is a reachable goal to be able to sing that high or maybe even higher? I will probably seek some vocal lessons but I don’t have much money to do so so any advice you have would be appreciated!

ANSWER: Hello Aaron,

The range “low A to a high D” and occasionally E, F and G - does not qualify you as a tenor - yet. At 19 your voice is very much in the process of development and your mature-voice classification remains to be discovered. A to A (two octaves) or G or G (two octaves) is “baritone”. Aaron, if and when you study voice - do so with a REAL voice teacher, and not someone who will promise the sky or tell you that s/he’ll “turn you into a tenor” (a quack). You are made what you are - and a bass cannot make himself into a tenor or vice-versa. It would be well to accept where your voice lies in range and comfort level - and sing there with freedom, expressively for the rest of your life, rather than shoot for a preconceived notion of what you’d like to become - even if you’re not made that way. Please understand, I’m saying this for your good - not to side-swipe you or deflate you. You will sing best in the range where you experience stamina most and the most comfort. One does not BECOME a tenor because of a decision, one discovers the parameters of one’s voice, develops it to its potential - and sings there.

My recommendation is: get involved in any of the choral ensembles that use male voices - and plug into something that will help the development of your voice and musical abilities. You can likely join a college ensemble that will challenge you musically while at the same time become a useful tool in the development of your voice. Ask around to find out if the director (conductor) of the ensemble is astute as a vocalist.

There’s my advice. I wish you success.

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.