Vocal range

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Vocal range is the range of pitches that a human voice can phonate. A common application is within the context of singing, where it is used as a defining characteristic for classifying singing voices into voice types. [1] It is also a topic of study within linguistics, phonetics, and speech-language pathology, particularly in relation to the study of tonal languages and certain types of vocal disorders, although it has little practical application in terms of speech.

Contents

Singing and the definition of vocal range

While the broadest definition of "vocal range" is simply the span from the lowest to the highest note a particular voice can produce, this broad definition is often not what is meant when "vocal range" is discussed in the context of singing. Vocal pedagogists tend to define the vocal range as the total span of "musically useful" pitches that a singer can produce. This is because some of the notes a voice can produce may not be considered usable by the singer within performance for various reasons. [2] For example, within opera all singers must project over an orchestra without the aid of a microphone. An opera singer would therefore only be able to include the notes that they are able to adequately project over an orchestra within their vocal range. In contrast, a pop artist could include notes that could be heard with the aid of a microphone.

Another factor to consider is the use of different forms of vocal production. The human voice is capable of producing sounds using different physiological processes within the larynx. These different forms of voice production are known as vocal registers. While the exact number and definition of vocal registers is a controversial topic within the field of singing, the sciences identify only four registers: the whistle register, the falsetto register, the modal register, and the vocal fry register. Typically only the usable pitches within the modal register—the register used in normal speech and most singing—are included when determining singers' vocal ranges. There are exceptions, [1] as in opera, where countertenors employ falsetto and coloratura sopranos use the whistle register; notes from these registers would therefore be included in the vocal ranges of these voices. [2]

Evolution of sexual dimorphism in human voice pitch

The upper pitch range of the human voice is, on average, about half as high in males as in females. [3] Even after controlling for body height and volume, the male voice remains lower. Charles Darwin suggested that the human voice evolved through intersexual sexual selection, [4] via female mate choices. Puts (2005) showed that preference for male voice pitch changed according to the stage of the menstrual cycle [5] while Puts (2006) found women preferred lower male voices mainly for short-term, sexual relationships. [6] Intrasexual selection, via male competition, also causes a selection in voice pitch. Pitch is related to interpersonal power [7] and males tend to adjust their pitch according to their perceived dominance when speaking to a competitor. [6]

Vocal range and voice classification

Vocal range plays such an important role in classifying singing voices into voice types that sometimes the two terms are confused with one another. A voice type is a particular kind of human singing voice perceived as having certain identifying qualities or characteristics; vocal range being only one of those characteristics. Other factors are vocal weight, vocal tessitura, vocal timbre, vocal transition points, physical characteristics, speech level, scientific testing, and vocal registration. All of these factors combined are used to categorize a singer's voice into a particular kind of singing use or voice type. [8]

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. There are several systems in use including the German Fach system, the Italian opera tradition, and French opera tradition. [1] There are other systems of classification as well, most commonly the choral music system. [9]

No system is universally applied or accepted. [10] Most of the voice types identified by such systems, however, are sub-types that fall under seven different major voice categories that are for the most part acknowledged across all of the major voice classification systems. [10] Women are typically divided into three main groups: soprano, mezzo-soprano, and contralto. Men are usually divided into four main groups: countertenor, tenor, baritone, and bass. When considering the pre-pubescent voices of children an eighth term, treble, can be applied. Within each of these major categories there are several sub-categories that identify specific vocal qualities like coloratura facility and vocal weight to differentiate between voices. [1]

Vocal range itself does not determine a singer's voice type. While each voice type does have a general vocal range associated with it, human singing voices may possess vocal ranges that encompass more than one voice type or are in between the typical ranges of two voice types. Therefore, voice teachers use vocal range as only one factor among many in classifying a singer's voice. [2] More important than range in voice classification is tessitura, or where the voice is most comfortable singing, and vocal timbre, or the characteristic sound of the singing voice. [1] For example, a female singer may have a vocal range that encompasses the low notes of a mezzo-soprano and the high notes of a soprano. A voice teacher would therefore look to see whether the singer was more comfortable singing higher, or lower. If she were more comfortable singing higher, then the teacher would probably classify her as a soprano. If the singer were more comfortable singing in the mid to lower part of their voice the teacher would probably classify her as a mezzo-soprano. The teacher would also consider the sound of the voice; sopranos tend to have a lighter and less rich vocal sound than a mezzo-soprano. A voice teacher, however, would never classify a singer in more than one voice type, regardless of the size of the vocal range of the singer. [2]

Operatic six basic voice types

Within the operatic systems of classification, there are six basic voice types. The ranges given below are approximations and are not meant to be too rigidly applied. [11] [ failed verification ]

Scientific pitch name Frequency (A440)Voice type's range
Soprano
Mezzo-soprano
Contralto
Tenor
Baritone
Bass
C6 Soprano C (High C)1046.502Green check.svg
B5987.7666
A♯5/B♭5932.3275
A5880.0000Green check.svg
G♯5/A♭5830.6094
G5783.9909
F♯5/G♭5739.9888
F5698.4565Green check.svg
E5659.2551
D♯5/E♭5622.2540
D5587.3295
C♯5/D♭5554.3653
C5 Tenor C 523.2511Green check.svg
B4493.8833
A♯4/B♭4466.1638
A4 A440 440.0000Green check.svg
G♯4/A♭4415.3047
G4391.9954
F♯4/G♭4369.9944
F4349.2282
E4329.6276Green check.svg
D♯4/E♭4311.1270
D4293.6648
C♯4/D♭4277.1826
C4 Middle C 261.6256
B3246.9417
A♯3/B♭3233.0819
A3220.0000
G♯3/A♭3207.6523
G3195.9977
F♯3/G♭3184.9972
F3174.6141
E3164.8138
D♯3/E♭3155.5635
D3146.8324
C♯3/D♭3138.5913
C3130.8128
B2123.4708
A♯2/B♭2116.5409
A2110.0000
G♯2/A♭2103.8262
G297.99886
F♯2/G♭292.49861
F287.30706
E282.40689
D♯2/E♭277.78175
D273.41619
C♯2/D♭269.29566
C2 Deep C 65.40639

Some men, in falsetto voice or as a result of certain rare physiological conditions, can sing in the same range as women. These do not fall into the female categories, instead called countertenors within classical music. Within contemporary music, however, the use of the term tenor for these male voices would be more appropriate. [2]

Within choral music there are only four categories for adult singers: soprano and alto for women, tenor and bass for men. [12]

In the UK, the term "male alto" refers to a man who uses falsetto vocal production to sing in the alto section of a chorus. This practice is much less common outside the UK where the term countertenor is more often applied. Countertenors are also widely employed within opera as solo vocalists, though the term "male alto" is never used to refer to a solo vocalist.

Children's voices, both male and female, are described as trebles, although boy soprano is widely used as well. [1]

See also

Related Research Articles

<span class="mw-page-title-main">Human voice</span> Sound made by a human being using the vocal tract

The human voice consists of sound made by a human being using the vocal tract, including talking, singing, laughing, crying, screaming, shouting, humming or yelling. The human voice frequency is specifically a part of human sound production in which the vocal folds are the primary sound source.

A soprano (Italian pronunciation:[soˈpraːno]) is a type of classical singing voice and has the highest vocal range of all voice types. The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C4) = 261 Hz to "high A" (A5) = 880 Hz in choral music, or to "soprano C" (C6, two octaves above middle C) = 1046 Hz or higher in operatic music. In four-part chorale style harmony, the soprano takes the highest part, which often encompasses the melody. The soprano voice type is generally divided into the coloratura, soubrette, lyric, spinto, and dramatic soprano.

A countertenor (also contra tenor) is a type of classical male singing voice whose vocal range is equivalent to that of the female contralto or mezzo-soprano voice types, generally extending from around G3 to D5 or E5, although a sopranist (a specific kind of countertenor) may match the soprano's range of around C4 to C6. Countertenors often have tenor or baritone chest voices, but sing in falsetto or head voice much more often than they do in their chest voice.

The musical term alto, meaning "high" in Italian, historically refers to the contrapuntal part higher than the tenor and its associated vocal range. In 4-part voice leading alto is the second-highest part, sung in choruses by either low women's or high men's voices. In vocal classification these are usually called contralto and male alto or countertenor.

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. 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. Subtypes of tenor include the leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo or spieltenor.

A contralto is a type of classical female singing voice whose vocal range is the lowest female voice type.

<span class="mw-page-title-main">Singing</span> Act of producing musical sounds with the voice

Singing is the act of creating musical sounds with the voice. A person whose profession is singing is called a singer, artist or vocalist. Singers perform music that can be sung with or without accompaniment by musical instruments. Singing is often done in an ensemble of musicians, such as a choir. Singers may perform as soloists or accompanied by anything from a single instrument up to a symphony orchestra or big band. Many styles of singing exist throughout the world.

A mezzo-soprano (Italian:[ˌmɛddzosoˈpraːno], lit. 'half soprano'), or mezzo ( MET-soh), is a type of classical female singing voice whose vocal range lies between the soprano and the contralto voice types. The mezzo-soprano's vocal range usually extends from the A below middle C to the A two octaves above (i.e. A3–A5 in scientific pitch notation, where middle C = C4; 220–880 Hz). In the lower and upper extremes, some mezzo-sopranos may extend down to the F below middle C (F3, 175 Hz) and as high as "high C" (C6, 1047 Hz). The mezzo-soprano voice type is generally divided into the coloratura, lyric, and dramatic.

Falsetto is the vocal register occupying the frequency range just above the modal voice register and overlapping with it by approximately one octave.

<span class="mw-page-title-main">Whistle register</span> Highest register of the human voice

The whistle register is the highest register of the human voice, lying above the modal register and falsetto register. This register has a specific physiological production that is different from the other registers and is so called because the timbre of the notes that are produced from this register is similar to that of a whistle.

A sopranist is a male singer who is able to sing in vocal tessitura of a soprano, usually through falsetto or head voice technique. This voice type is a specific kind of countertenor. In rare cases an adult man may be able to sing in the soprano range using his normal or modal voice and not falsetto due to endocrinological reasons, like Radu Marian, or as a result of a larynx that has not completely developed as is allegedly the case of Michael Maniaci.

Head voice is a term used within vocal music. The use of this term varies widely within vocal pedagogical circles and there is currently no one consistent opinion among vocal music professionals in regard to this term. Head voice can be used in relation to the following:

Passaggio is a term used in classical singing to describe the transition area between the vocal registers. The passaggi (plural) of the voice lie between the different vocal registers, such as the chest voice, where any singer can produce a powerful sound, the middle voice, and the head voice, where a penetrating sound is accessible, but usually only through vocal training. The historic Italian school of singing describes a primo passaggio and a secondo passaggio connected through a zona di passaggio in the male voice and a primo passaggio and secondo passaggio in the female voice. A major goal of classical voice training in classical styles is to maintain an even timbre throughout the passaggio. Through proper training, it is possible to produce a resonant and powerful sound.

<span class="mw-page-title-main">Vocal register</span> Range of tones a certain voice type can reliably produce

A vocal register is a range of tones in the human voice produced by a particular vibratory pattern of the vocal folds. These registers include modal voice, vocal fry, falsetto, and the whistle register. Registers originate in laryngeal function. They occur because the vocal folds are capable of producing several different vibratory patterns. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds.

Chest voice is a term used within vocal music. The use of this term varies widely within vocal pedagogical circles and there is currently no one consistent opinion among vocal music professionals in regard to this term. Chest voice can be used in relation to the following:

A voice type is a group of voices with similar vocal ranges, capable of singing in a similar tessitura, and with similar vocal transition points (passaggi). Voice classification is most strongly associated with European classical music, though it, and the terms it utilizes, are used in other styles of music as well.

<span class="mw-page-title-main">Vocal pedagogy</span> Study of the art and science of voice instruction

Vocal pedagogy is the study of the art and science of voice instruction. It is used in the teaching of singing and assists in defining what singing is, how singing works, and how proper singing technique is accomplished.

A voice teacher or singing teacher is a musical instructor who assists adults and children in the development of their abilities in singing.

There is no authoritative system of voice classification in non-classical music as classical terms are used to describe not merely various vocal ranges, but specific vocal timbres unique to each range. These timbres are produced by classical training techniques with which most popular singers are not intimately familiar, and which even those that are do not universally employ them.

A voice change or voice mutation, sometimes referred to as a voice break or voice crack, commonly refers to the deepening of the voice of men as they reach puberty. Before puberty both sexes have roughly similar vocal pitches, but during puberty the male voice typically deepens an octave, while the female voice usually deepens only by a few tones.

References

  1. 1 2 3 4 5 6 McKinney, James (1994). The Diagnosis and Correction of Vocal Faults. Genovex Music Group. ISBN   978-1-56593-940-0.
  2. 1 2 3 4 5 Appelman, D. Ralph (1986). The Science of Vocal Pedagogy: Theory and Application. Indiana University Press. ISBN   978-0-253-20378-6.
  3. ↑ Titze, I. R. (2000) Principles of voice production. Iowa City, IA7 National Center for Voice and Speech
  4. ↑ Darwin, C. (1871). The descent of man, and selection in relation to sex. London: Murray
  5. ↑ Puts, D. A. (2005). "Mating context and menstrual phase affect female preferences for male voice pitch". Evolution and Human Behavior. 26 (5): 388–397. doi:10.1016/j.evolhumbehav.2005.03.001.
  6. 1 2 Puts, David Andrew; Gaulin, Steven J.C; Verdolini, Katherine (2006). "Dominance and the evolution of sexual dimorphism in human voice pitch". Evolution and Human Behavior. 27 (4): 283–296. Bibcode:2006EHumB..27..283P. doi:10.1016/j.evolhumbehav.2005.11.003. S2CID   32562654.
  7. ↑ Gregory, S.; Webster, S.; Huang, G. (1993). "Voice pitch and amplitude convergence as a metric of quality in dyadic interviews". Language and Communication. 13 (3): 195–217. doi:10.1016/0271-5309(93)90026-j.
  8. ↑ Shewan, Robert (January–February 1979). "Voice Classification: An Examination of Methodology". The NATS Bulletin . 35: 17–27.
  9. ↑ Smith, Brenda Jo; Sataloff, Robert Thayer (2013). Choral Pedagogy, Third Edition. Plural Publishing, Incorporated. p. 236. ISBN   9781597566063.
  10. 1 2 Stark, James (2003). Bel Canto: A History of Vocal Pedagogy. University of Toronto Press. ISBN   978-0-8020-8614-3.
  11. ↑ Peckham, Anne (2005). Vocal Workouts for the Contemporary Singer . Berklee Press Publications. ISBN   978-0-87639-047-4.[ page needed ]
  12. ↑ Smith, Brenda (2005). Choral Pedagogy. Plural Publishing, Inc. ISBN   978-1-59756-043-6.
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