Vocal Music Advice

Ahmed, 25 says: I’m a 25 year old male classical singer, in training who has been taking private lessons for the past 3 years. I have also been part of choirs, and was assigned Bass section, and usually Bass 2, (if it were an 8-part choir). I am trying to find out what my voice type/fach is. My previous teacher said I was a baritone. I would like to know even more specifically what type of baritone am I. I go through my primo passagio at about B-flat3 and secondo at E-flat4. I can vocalize down to E-flat2 and up to F#4 (I can usually squeeze up to G#4 in falsetto). Thanks and I hope you can help me.

ANSWER: Hi Ahmed,

I cannot be definitive about what “fach” you fit until I hear you (your comfortable tessitura and timbre) … but, at 25, I would tend to think of you as a bass-baritone.  Therefore, singing

1. the two arias by Sarastro in “Magic Flute” in a small production – all the way to singing
   
2. Se vual ballare and Non piu andrai from Le Nozze de Figaro (Mozart), and
   
3. Il lacerato spirito from Simon Boccanegra (Verdi) could fit your voice quite well.
4. Take a look at La Calunnia from Il Barbiere de Siviglia (Barber of Seville) by Rossini too.

I hope these give you some direction. The “fach” method is specifically applied to operatic literature.  However, you should investigate the German lieder and French mélodie literature that would be appropriate for you too.

Best wishes.

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.

Elvin, age 20 says: I am a young singer who recently started taking formal voice lessons. For a while I studied as a baritone. I sang/sing B2 in EVERY ensemble I am/was in. My range was C2 to an F4 easily. Recently I changed voice teachers and my range has grown upwards. I now hit A4s in my warm-ups and vocalizations. My voice teacher says that I will be a tenor, seeing as I am still quite young. Will I really be a tenor considering I still have all my low notes? Is there such a thing as a tenor with a low-extension? I’ve heard of a baritone with a high-extension.

Answer: Dear Elvin,

Thank you for entrusting me with your question.  I need to be very careful that I do not breach ethical boundaries, since you are under a voice teacher’s care.  It would be safe for me to say that as I have not heard you sing, or vocalize, I cannot attest with certainty one way or another as to “what you will become.”  If you have read other posts of mine on this blog concerning voice classification—and there are a lot of them—you probably know that I hold “prescriptive” voice classification with great caution, especially on one as young as you are.

What can help YOU discover and “decide” what you really are will be the answers to these questions: 1) what is your COMFORTABLE range?  2) Where—what segment—within your range do you find you are MOST comfortable and consistently have the best stamina?  My experience tells me that being able to reach “high As” at age twenty, and spending a good deal of time above middle C and up there may be two very different things.  You will know if you ARE a tenor, when you find yourself able to easily negotiate tenor literature.  Generally speaking, if both are available to you, high and low, choose the area that is kinder on your voice.

I would be interested in knowing if your current teacher is a tenor or a soprano … or what voice classification s/he is.

Your last statement “I’ve heard of a baritone with a high-extension” is the most usual scenario with one who also has such low notes accessible to him.

If you want to send me an audio recording of yourself, feel free … or point me to a YouTube recording of yourself.

Best wishes.

Dr. A.

Ben, 30, writes: I have been classified as a tenor by some voice teachers and a baritone by others. I think it’s because I’m actually a lyric baritone. I can do a siren from G2 to G4. I can sometimes hit an A flat above G4, but it’s a struggle. I primarily sing pop music: Contemporary Christian, Praise and Worship, Country, and Rock. Who are some good lyric baritones that I can listen to and study that sing pop music?

Answer: Ben, if “hitting an A flat above G4 is a struggle”, then you are safe in considering yourself a baritone, you’re not a tenor.  I think your assessment is probably spot on.

Some classical lyric-baritone singers you should listen to … just to hear their sound are Emiliano Barragán-Géant, Dietrich Fischer-Dieskau, Nikolay Borchev, Ted Federle, Thomas Hampson, Heinrich Schlusnus and Simon Keenlyside.

Of the kind of sound and lyric-baritone singers that do “cross over” music (classical AND pop), you should listen to some of these: Frank Sinatra (who stuck to the popular genres of his day), Robert Sims, Tim Krol and Christopher Johnstone. Michael Buble (pronounced: boo-blay) is truly lyric and some would classify him as tenor because he seems comfortable lingering on the high side of the range.  I think some of the solid sounds in his lower range suggest that he’s probably a lyric baritone using his upper range judiciously.

It is not unusual for lyric baritones to find themselves chosen to sing “second-tenor” in choral situations as they feel comfortable on both sides of middle C, but not in the uppermost range of the tenor category.

There are always new young artists making their entry into musical society, so keep your ears open for the newcomers.
Best wishes.

PS. Ben, I need to add a caveat.  I listed Michael Buble among other lyric baritones … as though I would recommend his singing as one to emulate for good technique.  He is a popular singer without a doubt, but he does not sing with “effortless settled” technique … he just doesn’t push his voice to the point of damaging it ever.  I’d much rather you listened to Nathan Gunn (It Feels Like Home and Just before the sunrise), Bryn Terfel (Shenandoah) or Emiliano Barragán-Géant (Cry Me a River) in some of their cross-over music because they don’t compromise excellent vocal technique in the process of changing “musical style”.

and which one is a baritone and which is bass?

Answer: Curtis, thanks for asking.

Succinctly, Bass 1 is “baritone” and the higher of the two ranges, and Bass 2 is “bass” and the lower of the two ranges. In choral music where the bass part splits, Bass 1 (or the baritones) would take the higher note, and the Bass 2 (the real basses) would take the lower note. With a slight over-generalization, the range of baritones is two octaves from G (two below middle C) to the G above middle C, and the range of basses (in most choirs) is two octaves beginning on E-flat or D – a major 3rd or 4th below those baritone G’s.

Hope this helps.

Marcus asks, “What is the difference between a Countertenor and a Tenor?”

Answer: Great question Marcus.

In both cases we are talking about mature adult men who are well past adolescence.

A TENOR is a singer whose useful singing range spans from the C below middle C to the C above middle C – two octaves. This is necessarily a generality, for there is a good deal of tenor literature that does not require a high C, and therefore many men who would be uncomfortable reaching for the high C, are still comfortable singing up to A and B-flat and have a light lyric sound that makes them comfortable with the higher range and a lot of tenor literature.  Now, normally, as expected, we are talking about a man.  However, it is well to note that there are a very few women whose comfortable and useful range is identical to this – and are, therefore, tenors!  They are rare.

A COUNTERTENOR is a male singer who either:

1. genuinely has the vocal range of an alto or mezzo-soprano using his modal voice (full cord action), or,
2. is a baritone who uses his developed falsetto register exclusively (or almost exclusively) for singing and therefore sings in the alto (F to F two octaves) or mezzo-soprano (A to A two octaves) range.

The first is what I would identify as the true countertenor.  These men are relatively rare.  Their vocal apparatus simply did not continue to grow and enlarge to the size of most men’s larynges, and their range naturally remains little altered by adult maturation.  If a counter tenor were to answer the phone anonymously, you would likely assume you were hearing the voice of a woman.

The second instance named above is more prevalent, and from this voice teacher’s perspective these singers are more accurately identified as “falsettists.”  However, these men are popularly known as “countertenors” and that is why I included them in the identification list.  If this man were to answer the phone anonymously, you would know immediately that you were hearing a man … because these men speak with their normal (baritone) voice, and only sing with the falsetto register.

I hope this has been helpful.

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.

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 its 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.  Finding the “starting place” is useful and wise.  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.