Voice type

Not to be confused with Voice typing. 1 Number of voice types

This article focuses on voice classification within classi-
cal music. For other contemporary styles of singing see: Many different voice types are used in vocal pedagogy
Voice classification in non-classical music. in a variety of voice classification systems. Most of
these types, however, are grouped into seven major voice
A voice type is a particular human singing voice identi- categories that are, for the most part, acknowledged
fied as having certain qualities or characteristics of vocal across the major voice classification systems. Women
range, vocal weight, tessitura, vocal timbre, and vocal are typically divided into three groups: soprano, mezzo-
transition points (passaggio), such as breaks and lifts soprano, and alto. Men are usually divided into four
within the voice. Other considerations are physical char- groups: countertenor, tenor, baritone, and bass. Some
acteristics, speech level, scientific testing, and vocal reg- women fall into the tenor or baritone groups, while men
ister.[1] A singer’s voice type is identified by a process identified as countertenors can be grouped as contralto,
known as voice classification, by which the human voice mezzo-soprano, or soprano. When considering the pre-
is evaluated and thereby designated into a particular voice pubescent voice, an eighth term, treble, is applied. Within
type. The discipline of voice classification developed each of these major categories, subcategories identify
within European classical music and is not generally ap- specific vocal qualities such as coloratura facility and
[6]
plicable to other forms of singing. Voice classification is vocal weight to differentiate between voices. The vocal
often used within opera to associate possible roles with range of classical performance covers about five octaves,
potential voices. Several different voice classification from a low G1 (in scientific pitch notation) to a high G6.
systems are available to identify voice types, including Any individual’s voice can perform over a range of one
the German Fach system and the choral music system and a half to more than two octaves. Vocal ranges are
among many others; no system is universally applied or grouped into overlapping types that each span about two
accepted.[2] octaves. Many singers fall between groups and can per-
form some parts in either type.
Voice classification is a tool for singers, composers,
venues, and listeners to categorize vocal properties and
to associate roles with voices. While useful, voice classi-
fication systems have been used too rigidly, i.e. a house 2 Female voices
assigning a singer to a specific type and only casting him
or her in roles they consider belonging to this category.[3] 2.1 Soprano
While choral singers are classified into voice parts based
on their vocal range, solo singers are classified into voice
types based more on their tessitura – where their voice
feels most comfortable for the majority of the time.[4]
A singer will choose a repertoire that suits his or her in-
Soprano voice range (C4–C6) indicated on piano keyboard in
strument. Some singers such as Enrico Caruso, Rosa
green with dot marking middle C (C4)
Ponselle, Joan Sutherland, Maria Callas, Ewa Podleś, or
Plácido Domingo have voices that allow them to sing roles
Main article: Soprano
from a wide variety of types; some singers such as Shirley
Verrett or Grace Bumbry change type and even voice
part over their careers; and some singers such as Leonie Soprano range: The soprano is the highest singing voice.
Rysanek have voices that lower with age, causing them to The typical soprano voice lies between C4 (middle C)
cycle through types over their careers. Some roles as well and C6 (high C). The low extreme for sopranos is roughly
are hard to classify, having very unusual vocal require- A3 (just below middle C).[6] Most soprano roles do not
ments; Mozart wrote many of his roles for specific singers extend above C6 although there are several standard so-
who often had remarkable voices, and some of Verdi's prano roles that call for D6. At the highest extreme, some
early works make extreme demands on his singers.[5] coloratura soprano roles may reach to F6 (the F above
high C).[7]
Soprano tessitura: The tessitura of the soprano voice lies
higher than all the other voices except the sopranino. In

1
2 3 MALE VOICES

particular, the coloratura soprano has the highest tessitura that often roles intended for contralto are performed by
of all the soprano subtypes.[3] mezzo-sopranos. The typical contralto range lies between
Soprano subtypes: As with all voice types, sopranos are F3 (the F below middle C) to F5 (the second F above mid-
often divided into different subcategories based on range, dle C). In the lower and upper extremes some contralto
vocal color or timbre, the weight of voice, and dexterity of voices can sing from D3 (the D below middle C) to B♭5
the voice. Sopranos are often broken down into five sub- (the second B-flat [6]
above), one whole step short of the so-
categories: coloratura soprano, soubrette, lyric soprano, prano high C.
spinto soprano, and dramatic soprano.[3] Contralto tessitura: The contralto voice has the lowest
Two types of soprano especially dear to the French are tessitura of the female voices.
the Dugazon and the Falcon, which are intermediate Contralto subtypes: Contraltos are often broken down
voice types between the soprano and the mezzo soprano. into three subcategories: coloratura contralto, lyric con-
A Dugazon is a darker-colored soubrette. A Falcon a tralto ,and dramatic contralto.[3] A soprano sfogato is a
darker-colored soprano drammatico.[8] contralto who has an extended high range reaching the
soprano high C.

2.2 Mezzo-soprano
3 Male voices

3.1 Countertenor
Mezzo-soprano voice range (A3–A5) indicated on piano key-
board in green with dot marking middle C (C4)

Main article: Mezzo-soprano

Countertenor voice range (E3–E5) indicated on piano keyboard
in green with dot marking middle C (C4)
Mezzo-soprano range: The mezzo-soprano is the middle-
range voice type for females.[6] The mezzo-soprano voice
Main article: Countertenor
lies between the soprano voice and contralto voice, over-
lapping both of them. The typical range of this voice is
between A3 (the A below middle C) to A5 (two octaves Countertenor range: The countertenor is the highest male
higher). In the lower and upper extremes, some mezzo- voice. Many countertenor singers perform roles origi-
sopranos may extend down to F3 (the F below middle C) nally written for a castrato in baroque operas. Except for
and as high as C6 (high C).[6] a few very rare voices (such as the American male so-
prano Michael Maniaci or singers with a disorder such as
Mezzo-soprano tessitura: Although this voice overlaps
Kallmann syndrome), singers called countertenors gen-
both the contralto and soprano voices, the tessitura of
erally sing in the falsetto register, sometimes using their
the mezzo-soprano is lower than that of the soprano and
modal voice for the lowest notes. Historically, there is
higher than that of the contralto.
much evidence that the countertenor, in England at least,
Mezzo-soprano subtypes: Mezzo-sopranos are often also designated a very high tenor voice, the equivalent
broken down into three subcategories: lyric mezzo- of the French haute-contre. Until about 1830, all male
soprano, coloratura mezzo-soprano and dramatic mezzo- voices used some falsetto-type voice production in their
soprano.[3] upper range. Countertenor voices span a broad range,
covering E3 to E5.
Countertenor subtypes: Countertenors are often broken
2.3 Contralto
down into three subcategories: sopranist or “male so-
prano”, the haute-contre, and the castrato. The last actual
castrato singer, Alessandro Moreschi, died in 1922.[3]

Contralto voice range (F3–F5) indicated on piano keyboard in 3.2 Tenor

green with dot marking middle C (C4)

Main articles: Alto and Contralto

Contralto range: The contralto voice is the lowest female Tenor voice range (C3–C5) indicated on piano keyboard in green
voice. A true operatic contralto is rare,[9] so much so with dot marking middle C (C4)
 3

Main article: Tenor

Tenor range: The tenor is the highest male voice within

the modal register. The typical tenor voice lies between Bass voice range (E2–E4) indicated on piano keyboard in green
with dot marking middle C (C4)
C3 (one octave below middle C) to C5 (one octave above
middle C). The low extreme for tenors is roughly B♭2 (the
second B-flat below middle C). At the highest extreme, Bass range: The bass is the lowest male voice. The bass
some tenors can sing up to F5 (the second F above middle voice has the lowest tessitura of all the voices. The typical
C).[6] bass range lies between E2 (the second E below middle
Tenor tessitura: The tessitura of the tenor voice lies above C) to E4 (the E above middle C). In the lower and upper
the baritone voice and below the countertenor voice. The extremes of the bass voice, some basses can sing from C2
leggero tenor has the highest tessitura of all the tenor (two octaves below middle C) to G4 (the G above middle
subtypes.[3] C).[3]
Tenor subtypes: Tenors are often divided into different Bass subtypes: Basses are often divided into different
subcategories based on range, vocal color or timbre, the subcategories based on range, vocal color or timbre, the
weight of the voice, and dexterity of the voice. Tenors weight of the voice, and dexterity of the voice. Basses
are often broken down into seven subcategories: tenore are often broken down into six subcategories: basso pro-
contraltino, leggero tenor or tenore di grazia, lyric tenor, fondo, basso buffo, bel canto bass, basso cantante, dra-
spinto tenor or tenore spinto, dramatic tenor, heldentenor, matic bass, and bass-baritone.[3]
and baritenor.[3] Famous tenors include Enrico Caruso,
Juan Diego Flórez, Alfredo Kraus, and Luciano Pavarotti.
4 Children’s voices
3.3 Baritone
4.1 The voice from childhood to adulthood

The human voice is in a constant state of change and de-

velopment just as the whole body is in a state of con-
stant change. A human voice will alter as a person gets
Baritone voice range (A2–A4) indicated on piano keyboard in older moving from immaturity to maturity to a peak pe-
green with dot marking middle C (C4) riod of prime singing and then ultimately into a declining
period. The vocal range and timbre of children’s voices
Main article: Baritone does not have the variety that adults’ voices have. Both
boys and girls prior to puberty have an equivalent vo-
cal range and timbre. The reason for this is that both
Baritone range: The vocal range of the baritone lies be-
groups have a similar larynx size and height and a simi-
tween the bass and tenor ranges, overlapping both of
lar vocal cord structure. With the onset of puberty, both
them. The typical baritone range is from A2 (the second
men and women’s voices alter as the vocal ligaments be-
A below middle C) to A4 (the A above middle C). A bari-
come more defined and the laryngeal cartilages harden.
tone’s range might extend down to F2 or up to C5. The
The laryngeal structure of both voices change but more
baritone voice type is the most common male voice.[6]
so in men. The height of the male larynx becomes much
Baritone tessitura: Although this voice overlaps both the greater than in women. The size and development of adult
tenor and bass voices, the tessitura of the baritone is lower lungs also changes what the voice is physically capable of
than that of the tenor and higher than that of the bass.[3] doing. From the onset of puberty to approximately age
Baritone subtypes: Baritones are often divided into dif- 22, the human voice is in an in-between phase where it
ferent subcategories based on range, vocal color or tim- is not quite a child’s voice nor an adult one yet. This is
bre, the weight of the voice, and dexterity of the voice. not to suggest that the voice stops changing at that age.
Baritones are often broken down into nine subcategories: Different singers will reach adult development earlier or
baryton-Martin, lyric baritone, bel canto or coloratura later than others, and as stated above there are continual
baritone, kavalierbariton, heldenbaritone, Verdi baritone, changes throughout adulthood as well.[10]
dramatic baritone, baryton-noble, and bass-baritone.[3]

4.2 Treble
3.4 Bass
Main articles: Treble voice and Boy soprano
Main article: Bass (voice type)
Treble can refer to either a young female or young male
4 6 CHORAL MUSIC CLASSIFICATION

at too high a pitch level may contribute to certain vocal

disorders. Medical evidence indicates that singing at too
high of a pitch level may lead to the development of vocal
Treble voice range (A3–A5) indicated on piano keyboard in nodules. Increasing tension on the vocal cords is one of
green with dot marking middle C (C4) the means of raising pitch. Singing above an individual’s
best tessitura keeps the vocal cords under a great deal of
unnecessary tension for long periods of time, and the pos-
singer with an unchanged voice in the mezzo-soprano sibility of vocal abuse is greatly increased. Singing at too
range. Initially, the term was associated with boy so- low a pitch level is not as likely to be damaging unless a
pranos but as the inclusion of girls into children’s choirs singer tries to force the voice down.[5]
became acceptable in the 20th century the term has ex-
panded to refer to all pre-pubescent voices. The lumping
of children’s voices into one category is also practical as
boys and girls share a similar range and timbre.[10]
5.1 Dangers of quick identification
Treble range: Most trebles have an approximate range Many vocal pedagogues warn of the dangers of quick
from A3 (the A below middle C) to F5 (the F one and identification. Premature concern with classification can
a half octaves above middle C). Some trebles, however, result in misclassification, with all its attendant dangers.
can extend their voices higher in the modal register to C6 Notable vocal pedagogue William Vennard has stated, “I
(high C). This ability may be comparatively rare, but the never feel any urgency about classifying a beginning stu-
Anglican church repertory, which many trained trebles dent. So many premature diagnoses have been proved
sing, frequently demands A5.[11] Many trebles are also wrong, and it can be harmful to the student and embar-
able to reach higher notes by use of the whistle register rassing to the teacher to keep striving for an ill-chosen
but this practice is rarely called for in performance.[6] goal. It is best to begin in the middle part of the voice
and work upward and downward until the voice classi-
fies itself.”[14] Most vocal pedagogues believe that it is
5 Classifying singers essential to establish good vocal habits within a limited
and comfortable range before attempting to classify the
voice. When techniques of posture, breathing, phonation,
Vocal pedagogues generally consider four main qualities resonation, and articulation have become established in
of a human voice when attempting to classify it: vocal this comfortable area, the true quality of the voice will
range, tessitura, timbre, and vocal transition points known emerge and the upper and lower limits of the range can
as passaggio. However, teachers may also consider phys- be explored safely. Only then can a tentative classification
ical characteristics, speech level, scientific testing, and be arrived at, and it may be adjusted as the voice contin-
other factors such as vocal register. Voice classification ues to develop.[13] Many vocal pedagogues suggest that
into the correct voice type is important for vocal peda- teachers begin by assuming that a voice is of a medium
gogues and singers as a guiding tool for the development classification until it proves otherwise. The reason for this
of the voice. is that the majority of individuals possess medium voices
Mis-classification of a singer’s voice type is dangerous. and therefore this approach is less likely to mis-classify
It can damage the vocal cords, shorten a singing career, or damage the voice.[6]
and lead to the loss of both vocal beauty and free vocal
production. Some of these dangers are not immediate
ones; the human voice is quite resilient, especially in early
adulthood, and the damage may not make its appearance 6 Choral music classification
for months or even years. Unfortunately, this lack of ap-
parent immediate harm can cause singers to develop bad Unlike other classification systems, choral music divides
habits that will over time cause irreparable damage to the voices solely on the basis of vocal range. Choral mu-
voice.[6] Singing outside the natural vocal range imposes sic most commonly divides vocal parts into high and low
a serious strain upon the voice. Clinical evidence indi- voices within each sex: soprano and alto vocal ranges for
cates that singing at a pitch level that is either too high or females, tenor and bass vocal ranges for males (SATB),
too low creates vocal pathology.[12] According to vocal and occasionally treble for children. As a result, the typ-
pedagogue Margaret Greene, “The need for choosing the ical chorus affords many opportunities for misclassifica-
correct natural range of the voice is of great importance in tion to occur.[6] Since most people have medium voices,
singing since the outer ends of the singing range need very they are often assigned a part that is either too high or
careful production and should not be overworked, even in too low for them; the mezzo-soprano must sing soprano
trained voices.”[13] Singing at either extreme of the range or alto and the baritone must sing tenor or bass. Either
may be damaging, but the possibility of damage seems option can present problems for the singer, but for most
to be much more prevalent in too high a classification. A singers there are fewer dangers in singing too low, than in
number of medical authorities have indicated that singing singing too high.[4]
 5

7 See also 10 External links

• Singwise: Understanding Vocal Range, Vocal Reg-
8 References isters and Voice Type
[1] Shewan, Robert (January–February 1979). “Voice Clas- • Collection of public domain scores (Indiana U)
sification: An Examination of Methodology”. The NATS
Bulletin. 35: 17–27. • Smaller collection of public domain scores (Har-
vard)
[2] Stark, James (2003). Bel Canto: A History of Vocal Ped-
agogy. University of Toronto Press. ISBN 978-0-8020- • Collection of librettos and translations
8614-3.
• Collection of librettos (Stanford)
[3] Boldrey, Richard (1994). Guide to Operatic Roles and
Arias. Caldwell Publishing Company. ISBN 978-1- • Verdi librettos
877761-64-5.
• German/English Wagner librettos
[4] Smith, Brenda (2005). Choral Pedagogy. Plural Publish-
ing, Inc. ISBN 978-1-59756-043-6. • Aria database
[5] Appelman, D. Ralph (1986). The Science of Vocal Peda-
gogy: Theory and Application. Indiana University Press.
ISBN 978-0-253-20378-6.

[6] McKinney, James (1994). The Diagnosis and Correction

of Vocal Faults. Genovex Music Group. ISBN 978-1-
56593-940-0.

[7] Coffin, Berton (1960). Coloratura, Lyric and Dramatic

Soprano, Vol. 1. Rowman & Littlefield Publishers, Inc.
ISBN 978-0-8108-0188-2.

[8] Voice Classification

[9] Myers, Eric, “Sweet and Low: The case of the vanishing
contralto, Opera News, December 1996.

[10] PowerPoint Presentation

[11] PowerPoint Presentation; for higher notes see, for exam-

ple, the treble solo at the beginning of Stanford’s Mag-
nificat in G, David Willcocks’ descant to Mendelssohn’s
tune for the carol Hark, the Herald Angels Sing, and the
even higher treble solo in the Nunc Dimittis from Tippett’s
Evening Canticles written for St John’s College, Cam-
bridge)

[12] Cooper, Morton (1973). Modern Techniques of Vocal Re-

habilitation. Charles C. Thomas. ASIN B000JC1U76.

[13] Greene, Margaret; Lesley Mathieson (2001). The Voice

and its Disorders. John Wiley & Sons; 6th Edition. ISBN
978-1-86156-196-1.

[14] Vennard, William (1967). Singing: The Mechanism and

the Technic. Carl Fischer. ISBN 978-0-8258-0055-9.

9 Further reading
• Cooper, Morton (1973). Modern Techniques of
Vocal Rehabilitation. Charles C. Thomas. ASIN
B000JC1U76.
• Large, John (February–March 1972). “Towards
an Integrated Physiologic-Acoustic Theory of Vocal
Registers”. The NATS Bulletin. 28: 30–35.
6 11 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

11 Text and image sources, contributors, and licenses

11.1 Text
• Voice type Source: https://en.wikipedia.org/wiki/Voice_type?oldid=770363359 Contributors: Ijon, Hyacinth, ‫דוד‬, Robbot, Dumbledad,
Xanzzibar, Discospinster, Andrejj, Bobo192, Nsaa, Alansohn, Kurt Shaped Box, Echuck215, Yuckfoo, Bobrayner, Uncle G, Graham87,
BD2412, Rjwilmsi, DrG, Bgwhite, Pip2andahalf, Grafen, Kortoso, ArielGold, Katieh5584, SmackBot, Mauls, Hmains, Skizzik, Klein-
zach, Ultraexactzz, EmilyGreene1984, Ceoil, JzG, Rigadoun, Michael Bednarek, Voceditenore, Iridescent, Twas Now, Wolfdog, Cm-
drObot, Ibadibam, AndrewHowse, Slp1, MC10, Robert.Allen, Sobreira, Shirt58, Modernist, JAnDbot, CMUJoiseyBoy, Ling.Nut, Bac-
cyak4H, Spellmaster, CliffC, Anaxial, Acalamari, Beerslayer, Largoplazo, Prhartcom, KylieTastic, Atama, Sparafucil, Mike V, Natl1,
TheNewPhobia, Wikieditor06, MangoC, Nrswanson, Awl, Atrae Tenebrae, Bcharles, Voxclamans, NB-NB, 3velvet3, Yintan, Operalala,
Genius235, DannyCyclone, Promodulus, Asd28, Sfan00 IMG, ClueBot, Dalatz~enwiki, Whatavividimagination, Drawoh46, Qwfp, Ap-
parition11, SF007, DumZiBoT, Voicequeen, Ringnpassagio, SilvonenBot, Dac577~enwiki, Addbot, DOI bot, Dramatic bass, Binary TSO,
Diptanshu.D, Broadweighbabe, Larynxdude, Luckas-bot, Yobot, AnomieBOT, Dwayne, Materialscientist, Maxis ftw, ArthurBot, Xqbot,
RibotBOT, Amaury, PauAmma, Thehelpfulbot, Artlejandra, HamburgerRadio, Plumadesabiduría, Symplectic Map, Serols, Double sharp,
Wotnow, Buddy23Lee, Rachel cooper, Onel5969, TjBot, John of Reading, Brendanology, 4meter4, Wikipelli, K6ka, ZéroBot, Erianna,
ClueBot NG, Gareth Griffith-Jones, Widr, Shewolff77, MerlIwBot, Helpful Pixie Bot, DeltaRhoPhi, Cera Nola, BG19bot, Synester101,
Zavriella, Tsmlink, Sangonzalo, MagzKawaii, 41Leonard, DavidLeighEllis, Finnusertop, Sam Sailor, Chrisalex0207, Monkbot, Lwp2004,
EggsMyBabySexyTime, Iamjoelivingstone, Nichodon, Vesuvius Dogg, Faun Murison, MusicPublisher11, Gfajardo95, Juliea1202, Greedy
Amaranth, Obinna14 and Anonymous: 225

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