Tenor

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A tenor is a type of male singing voice whose vocal range lies between the countertenor and baritone voice types. It is the highest male chest voice type. [1] Composers typically write music for this voice in the range from the second B below middle C to the G above middle C (i.e. B2 to G4) in choral music, and from the second B flat below middle C to the C above middle C (B♭2 to C5) in operatic music, but the range can extend at either end. [2] [3] Subtypes of tenor include the leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo or spieltenor.

Contents

History

The name "tenor" derives from the Latin word tenere , which means "to hold". As noted in the "Tenor" article at Grove Music Online :

In polyphony between about 1250 and 1500, the [tenor was the] structurally fundamental (or 'holding') voice, vocal or instrumental; by the 15th century it came to signify the male voice that sang such parts. [4]

All other voices were normally calculated in relation to the tenor, which often proceeded in longer note values and carried a borrowed Cantus firmus melody. Until the late 16th-century introduction of the contratenor singers, the tenor was usually the lowest voice, assuming the role of providing a foundation. It was also in the 18th century that "tenor" came to signify the male voice that sang such parts. Thus, for earlier repertoire, a line marked 'tenor' indicated the part's role, and not the required voice type; indeed, even as late as the eighteenth century, partbooks labelled 'tenor' might contain parts for a range of voice types. [5] [ page needed ]

Vocal range

Tenor vocal range (C3-C5) notated on the treble staff (left) and on piano keyboard in green with dot marking middle C (C4). The numeral eight below the treble clef indicates that the pitches sound an octave lower than written: see Clef#Octave clefs. This is the standard clef for tenor parts in scores. Tenor voice range on keyboard.svg
Tenor vocal range (C3–C5) notated on the treble staff (left) and on piano keyboard in green with dot marking middle C (C4). The numeral eight below the treble clef indicates that the pitches sound an octave lower than written: see Clef#Octave clefs. This is the standard clef for tenor parts in scores.
Tenor

The vocal range of the tenor is the highest of the male voice types. Within opera, the lowest note in the standard tenor repertoire is widely defined to be B♭2. However, the role of Rodrigo di Dhu (written for Andrea Nozzari) in Rossini's rarely performed La donna del lago is defined as a tenor but requires an A♭2.[ citation needed ] Within more frequently performed repertoire, Mime and Herod both call for an A2.[ citation needed ] A few tenor roles in the standard repertoire call for a "tenor C" (C5, one octave above middle C). Some, if not all, of the few top Cs in the standard operatic repertoire are either optional—such as in "Che gelida manina" in Puccini's La bohème —or interpolated (added) by tradition, such as in "Di quella pira" from Verdi's Il trovatore ); however, the highest demanded note in the standard tenor operatic repertoire is D5, found in "Mes amis, écoutez l'histoire" [6] from Adolphe Adam's Le postillon de Lonjumeau and "Loin de son amie" [7] from Fromental Halévy's La Juive ). In the leggero repertoire, the highest note is F5 (Arturo in "Credeasi, misera" from Bellini's I puritani ), [8] [9] therefore, very few tenors have this role in their repertoire without transposition (given the raising of concert pitch since its composition), [10] or resorting to falsetto.

In choral music

In SATB four-part mixed chorus, the tenor is the second lowest vocal range, above the bass and below the alto and soprano. Men's chorus usually denotes an ensemble of TTBB in which the first tenor is the highest voice. Whilst certain choral music does require the first tenors to ascend the full tenor range, the majority of choral music places the tenors in the range from approximately B2 up to A4. The requirements of the tenor voice in choral music are also tied to the style of music most often performed by a given choir. Orchestral choruses typically call for tenors with fully resonant voices, but chamber or a cappella choral music (choral music sung with no instrumental accompaniment) can rely on baritones singing in falsetto. [11]

Even so, one nearly ubiquitous facet of choral singing is the shortage of tenor voices. [12] [13] Most men 18 and older tend to have baritone chest voices, and because of this, many men in choirs tend to prefer singing in the bass section (though true basses are even rarer than tenors). Many baritones sing tenor even if they are not able to cover the full range in only their chest voice, and sometimes contraltos sing the tenor part. [11] In men's choruses that consist of four male vocal parts (TTBB; tenor 1, tenor 2, bass 1, bass 2), tenors will often sing both in chest voice and falsetto, extending the vocal range of the choir.

Subtypes and roles in opera

Within the tenor voice type category are seven generally recognized subcategories: leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, Mozart tenor, and tenor buffo or spieltenor. There is considerable overlap between the various categories of role and of voice-type; some tenor singers have begun with lyric voices but have transformed with time into spinto or even dramatic tenors.

Leggero

Also known as the tenore di grazia , the leggero tenor is essentially the male equivalent of a lyric coloratura. This voice is light, agile, and capable of executing difficult passages of fioritura. The typical leggero tenor possesses a range spanning from approximately C3 to E5, with a few being able to sing up to F5 or higher in full voice. In some cases, the chest register of the leggero tenor may extend below C3. Voices of this type are utilized frequently in the operas of Rossini, Donizetti, Bellini and in music dating from the Baroque period.[ citation needed ]

Leggero tenor roles in operas: [10]

Lyric

Beniamino Gigli singing Che gelida manina from La bohème

The lyric tenor is a warm graceful voice with a bright, full timbre that is strong but not heavy and can be heard over an orchestra. Lyric tenors have a range from approximately the C one octave below middle C (C3) to the D one octave above middle C (D5). Similarly, their lower range may extend a few notes below the C3. There are many vocal shades to the lyric tenor group, repertoire should be selected according to the weight, colors, and abilities of the voice.

Gilbert Duprez (1806–1896) was a historically significant lyric tenor. He was the first tenor to sing on stage the operatic high C from the chest (ut de poitrine) as opposed to using falsettone. He is also known for originating the role of Edgardo in Lucia di Lammermoor.

Lyric tenor roles in operas: [10]

Spinto

The spinto tenor has the brightness and height of a lyric tenor, but with a heavier vocal weight enabling the voice to be "pushed" to dramatic climaxes with less strain than the lighter-voice counterparts. Spinto tenors have a darker timbre than a lyric tenor, without having a vocal color as dark as many (not all) dramatic tenors. The German equivalent of the Spinto Fach is the Jugendlicher Heldentenor and encompasses many of the Dramatic tenor roles as well as some Wagner roles such as Lohengrin and Stolzing. The difference is often the depth and metal in the voice where some lyric tenors age or push their way into singing as a Spinto giving them a lighter tone and a Jugendlicher Heldentenor tends to be either a young heldentenor or true lyric spinto. Spinto tenors have a range from approximately the C one octave below middle C (C3) to the C one octave above middle C (C5).

Spinto tenor roles in operas: [10]

Dramatic

Also "tenore robusto", the dramatic tenor has an emotive, ringing and very powerful, clarion, heroic tenor sound. The dramatic tenor's approximate range is from the B one octave below middle C (B2) to the B one octave above middle C (B4) with some able to sing up to the C one octave above middle C (C5). [10] Many successful dramatic tenors though have historically avoided the coveted high C in performance. Their lower range tends to extend into the baritone tessitura or, a few notes below the C3, even down to A♭2. Some dramatic tenors have a rich and dark tonal colour to their voice (such as the mature Enrico Caruso) while others (like Francesco Tamagno) possess a bright, steely timbre.

Dramatic tenor roles in operas: [10] : 194–197 

Heldentenor

The heldentenor (English: heroic tenor) has a rich, dark, powerful and dramatic voice. As its name implies, the heldentenor vocal Fach features in the German romantic operatic repertoire. The heldentenor is the German equivalent of the tenore drammatico, however with a more baritonal quality: the typical Wagnerian protagonist. The keystone of the heldentenor's repertoire is arguably Wagner's Siegfried , an extremely demanding role requiring a wide vocal range and great power, plus tremendous stamina and acting ability. Often the heldentenor is a baritone who has transitioned to this Fach or tenors who have been misidentified as baritones. Therefore, the heldentenor voice might or might not have facility up to high B or C. The repertoire, however, rarely calls for such high notes.

Heldentenor roles in operas: [10]

Tenor buffo or spieltenor

A Tenor buffo or spieltenor is a tenor with good acting ability, and the ability to create distinct voices for his characters. This voice specializes in smaller comic roles. The range of the tenor buffo is from the C one octave below middle C (C3) to the C one octave above middle C (C5). [15] The tessitura of these parts ranges from lower than other tenor roles to very high and broad. These parts are often played by younger tenors who have not yet reached their full vocal potential or older tenors who are beyond their prime singing years. Only rarely will a singer specialize in these roles for an entire career. [10] In French opéra comique, supporting roles requiring a thin voice but good acting are sometimes described as 'trial', after the singer Antoine Trial (1737–1795), examples being in the operas of Ravel and in The Tales of Hoffmann . [16] [ page needed ]

Tenor buffo or spieltenor roles in operas: [10] [ page needed ]

Other uses

There are four parts in barbershop harmony: bass, baritone, lead, and tenor (lowest to highest), with "tenor" referring to the highest part. The tenor generally sings in falsetto voice, corresponding roughly to the countertenor in classical music, and harmonizes above the lead, who sings the melody. The barbershop tenor range is Middle C to A one octave above Middle C, though it is written an octave lower. The "lead" in barbershop music is equivalent to the normal tenor range. [17] [ page needed ]

In bluegrass music, the melody line is called the lead. Tenor is sung an interval of a third above the lead. Baritone is the fifth of the scale that has the lead as a tonic, and may be sung below the lead, or even above the lead (and the tenor), in which case it is called "high baritone". [18] [ page needed ]

See also

Related Research Articles

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A baritone is a type of classical male singing voice whose vocal range lies between the bass and the tenor voice-types. It is the most common male voice. The term originates from the Greek βαρύτονος (barýtonos), meaning "heavy sounding". Composers typically write music for this voice in the range from the second F below middle C to the F above middle C (i.e. F2–F4) in choral music, and from the second G below middle C to the G above middle C (G2 to G4) in operatic music, but the range can extend at either end. Subtypes of baritone include the baryton-Martin baritone (light baritone), lyric baritone, Kavalierbariton, Verdi baritone, dramatic baritone, baryton-noble baritone, and the bass-baritone.

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Tenore di grazia, also called leggero tenor, is a lightweight, flexible tenor voice type. The tenor roles written in the early 19th-century Italian operas are invariably leggero tenor roles, especially those by Rossini such as Lindoro in L'italiana in Algeri, Don Ramiro in La Cenerentola, and Almaviva in Il barbiere di Siviglia; and those by Bellini such as Gualtiero in Il pirata, Elvino in La sonnambula and Arturo in I puritani. Many Donizetti roles, such as Nemorino in L'elisir d'amore and Ernesto in Don Pasquale, Tonio in La fille du régiment, are also tenore di grazia roles. One of the most famous leggero tenors of that period was Giovanni Battista Rubini, for whom Bellini wrote nearly all his operas.

A voice type is a classification of the human singing voice into perceivable categories or groups. Particular human singing voices are identified as having certain qualities or characteristics of vocal range, vocal weight, tessitura, vocal timbre, and vocal transition points (passaggio), such as breaks and lifts within the voice. Other considerations are physical characteristics, speech level, scientific testing, and vocal register. A singer's voice type is identified by a process known as voice classification, by which the human voice is evaluated and thereby designated into a particular voice type. The discipline of voice classification developed within European classical music and is not generally applicable to other forms of singing. Voice classification is often used within opera to associate possible roles with potential voices. Several different voice classification systems are available to identify voice types, including the German Fach system and the choral music system among many others; no system is universally applied or accepted.

A spinto soprano is a type of operatic soprano voice that has the limpidity and easy high notes of a lyric soprano, yet can be "pushed" on to achieve dramatic climaxes without strain. This type of voice may also possess a somewhat darker timbre than the average lyric.

A dramatic soprano is a type of operatic soprano with a powerful, rich, emotive voice that can sing over, or cut through, a full orchestra. Thicker vocal folds in dramatic voices usually (but not always) mean less agility than lighter voices but a sustained, fuller sound. Usually this voice has a lower tessitura than other sopranos, and a darker timbre. They are often used for heroic, often long-suffering, tragic women of opera. Dramatic sopranos have a range from approximately low A (A3) to "high C" (C6). Some dramatic sopranos, known as Wagnerian sopranos or High dramatic sopranos (high in this case referring to the maturity of the voice, rather than the tessitura or range), have an exceptionally big voice that can assert itself over a large orchestra (of more than 80 or even 100 players). These voices are substantial, often denser in tone, extremely powerful and, ideally, evenly balanced throughout the vocal registers. Wagnerian sopranos usually play mythic heroines. Successful Wagnerian sopranos are rare and often Wagnerian roles are performed by Italianate dramatic sopranos.

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Antonio Magini-Coletti was a leading Italian baritone who had a prolific career in Europe and the United States during the late 19th century and the early part of the 20th century. A versatile artist, he appeared in several opera world premieres but was particularly associated with the works of Giuseppe Verdi, Richard Wagner and the verismo composers. He was also an accomplished exponent of the bel canto repertoire.

A bass is a type of classical male singing voice and has the lowest vocal range of all voice types. According to The New Grove Dictionary of Opera, a bass is typically classified as having a vocal range extending from around the second E below middle C to the E above middle C (i.e., E2–E4). Its tessitura, or comfortable range, is normally defined by the outermost lines of the bass clef. Categories of bass voices vary according to national style and classification system.

References

  1. ↑ Roland Jackson (23 October 2013). Performance Practice: A Dictionary-Guide for Musicians. Routledge. p. 458. ISBN   9781136767708.
  2. ↑ "Vocal Ranges | Yale University Library". web.library.yale.edu. Retrieved 18 August 2021.
  3. ↑ "Tenor | vocal range". Encyclopedia Britannica. Retrieved 18 August 2021.
  4. ↑ Fallows, David; Jander, Owen; Forbes, Elizabeth; Steane, J. B.; Harris, Ellen T.; and Waldman, Gerald (2001). "Tenor" (subscription required). Grove Music Online .
  5. ↑ Stark, James (2003). Bel Canto: A History of Vocal Pedagogy. Toronto, CAN: University of Toronto Press. ISBN   9780802086143.
  6. ↑ Eriksson, Erik. Adolphe Adam – Le postillon de lonjumeau at AllMusic . Retrieved 27 July 2014.
  7. ↑ Glaubitz, Robert (2010). "Loin de son amie—No. 3, Sérénade from Act I of the French opera La Juive by Jacques François Fromental Halévy". Aria-Database.com. Archived from the original on 17 April 2017. Retrieved 16 April 2017.
  8. ↑ IMSLP Staff [Guo, Edward W. et al.] (2017). "Bellini – I puritani (vocal score)" (PDF). IMSLP.org. Wilmington, DE: International Music Score Library Project (IMSLP)/Petrucci Music Library (Project Petrucci LLC). pp. 254, 256.
  9. ↑ Calico, Joy. "Romantic and Modern Music Literature (MUSL 244)" (PDF). p. 7.
  10. 1 2 3 4 5 6 7 8 9 Boldrey, Richard (1994). Guide to Operatic Roles and Arias. Caldwell Publishing. ISBN   9781877761645.[ page needed ]
  11. 1 2 Smith, Brenda (2005). Choral Pedagogy. Plural Publishing, Inc. ISBN   9781597560436.[ page needed ]
  12. ↑ Calleja, Joseph; Amon, Ruben (4 November 2004). "Joseph Calleja: I Am Nobody's Heir". OperaActual.com. Translated by Sergio Maclean. Archived from the original on 26 August 2009. Retrieved 2 May 2013– via FriendsofJosephCalleja.com.
  13. ↑ Sell, Karen (2005). The Disciplines of Vocal Pedagogy. Ashgate Publishing. p. 45. ISBN   9780754651697. Archived from the original on 24 March 2017. Retrieved 2 May 2013.
  14. ↑ Glaubitz, Robert (2010). "The Tender Land, Composer: Aaron Copland, Librettist: Horner Everett". Aria-Database.com. Archived from the original on 5 September 2017. Retrieved 16 April 2017.
  15. ↑ Suverkrop, Bard; Draayer, Suzanne (2017). "Tenor Aria". IPASource.com. Retrieved 16 April 2017.
  16. ↑ Cotte, R.J.V. (1997). "Trial, French Family of Musicians". The New Grove Dictionary of Opera . London, New York: Macmillan. Archived from the original on 9 March 2017. Retrieved 16 April 2017.
  17. ↑ Averill, Gage (2003). Four Parts, No Waiting: A Social History of American Barbershop Harmony. Oxford, ENG: Oxford University Press. ISBN   9780195116724.
  18. ↑ Cantwell, Robert (2002). Bluegrass Breakdown: The Making of the Old Southern Sound. Urbana, IL: University of Illinois Press. ISBN   9780252071171.
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