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Vocal range

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Vocal range is the measure of the breadth of pitches that a human voice can phonate. Although the study of vocal range has little practical application in terms of speech, it is a topic of study within linguistics, phonetics, and speech and language pathology, particularly in relation to the study of tonal languages and certain types of vocal disorders. However, the most common application of the term "vocal range" is within the context of singing, where it is used as one of the major defining characteristics for classifying singing voices into groups known as voice types.[1]

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 range of the modal register, the register used in normal speech and most singing, is used when determining vocal range. However, there are some instances where other vocal registers are included.[1] For example, within opera, countertenors utilize falsetto often and coloratura sopranos utilize the whistle register frequently. These voice types would therefore include the notes from these other registers within their vocal range. Another example would be a male doo-wop singer who might quite regularly deploy his falsetto pitches in performance and thus include them in determining his range. However, in most cases only the usable pitches within the modal register are included when determining a singer's vocal range.[2]

Vocal range and voice classification

Main article: Voice type

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 voice or voice type.[3]

There are a plethora of different voice types used by vocal pedagogists today in a variety of voice classification systems. Most of these types, 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. Women are typically divided into three groups: soprano, mezzo-soprano, and contralto. Men are usually divided into four 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 in and of itself can 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 only use vocal range as one factor 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 high notes of a soprano and the low notes of a mezzo-soprano. A voice teacher would therefore look to see whether or not the singer were more comfortable singing up higher or singing lower. If the singer were more comfortable singing higher then the teacher would probably classify her as a soprano and if the singer were more comfortable singing lower than they would probably classify her as a mezzo-soprano. The teacher would also listen to 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 their vocal range.[2]

The following are the general vocal ranges associated with each voice type using scientific pitch notation where middle C=C4. Some singers within these voice types may be able to sing somewhat higher or lower[1]:

In terms of frequency, human voices are roughly in the range of 80 Hz to 1100 Hz (that is, E2 to C6) for normal male and female voices together.

World records and extremes of vocal range

Claims of exceptionally wide vocal ranges are not uncommon among some singers. Charles Kellogg claimed to have a vocal range of 12.5 octaves, and that he could accurately imitate birdcalls, going as high as 14,000 Hz (14 080Hz is A9). Some recordings of Kellogg's birdcalls still exist. However, Kellogg's claims are very hard to verify.[4]

The following facts about female and male ranges are known:

Several little-known works call for pitches higher than G6. For example, the soprano Mado Robin, who was known for her exceptionally high voice, sang a number of compositions created especially to exploit her highest notes, reaching C7[7].

  • Lowest note in a solo: Guinness lists the lowest demanded note in the classical repertoire as D2[5] (almost two octaves below Middle C) in Osmin's second aria in Mozart's Die Entführung aus dem Serail. Although Osmin's note is the lowest 'demanded' in the operatic repertoire, lower notes are frequently heard, both written and unwritten, and it is traditional for basses to interpolate a low C in the duet "Ich gehe doch rathe ich dir" in the same opera. Leonard Bernstein composed an optional B1 (a minor third below D2) in a bass aria[not specific enough to verify] in the opera house version of Candide. In a Russian piece combining solo and choral singing, Pavel Chesnokov directs the bass soloist in "Do not deny me in my old age" to descend even lower, to G1, depending on the arrangement.
  • Lowest note for a choir: Mahler's Eighth Symphony (bar 1457 in the "Chorus mysticus") and Rachmaninoff's Vespers require B♭1. In Russian choirs the oktavists traditionally sing an octave below the bass part, down to G1.

Singers possessing a wide vocal range

See also

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References

  1. ^ a b c d e McKinney, James (1994). The Diagnosis and Correction of Vocal Faults. Genovex Music Group. ISBN 978-1565939400.
  2. ^ a b c d Appelman, D. Ralph (1986). The Science of Vocal Pedagogy: Theory and Application. Indiana University Press. ISBN 978-0253203786.
  3. ^ Shewan, Robert (1979). "Voice Classification: An Examination of Methodology". The NATS Bulletin. 35: 17–27. {{cite journal}}: Unknown parameter |month= ignored (help)
  4. ^ Mythbusters Episode 76: "Voice Flame Extinguisher"
  5. ^ a b Guinness Book of Records, 2006 edition
  6. ^ Schirmer's Library of Musical Classics, Vol. 1751, introduction. The G6 can be seen on p. 72
  7. ^ Concise Oxford Dictionary of Opera (edited by Harold Rosenthal)
  8. ^ [http://www.larousse.fr/encyclopedie/musdico/Aguiari/165736 "Lucrezia Aguiari, dite La Bastardella ou La Bastardina ou Lucrezia Agujari, dite La Bastardella ou La Bastardina. Encyclopédie Larousse"]
  9. ^ a b "Encyclopédie Larousse. Chant"
  10. ^ a b Ira Siff, « I vespri siciliani » in Opera News, March 2008.
  11. ^ Ardoin, John (1991). Old Tappen, New Jersey: Scribner and Sons. ISBN 0-684-19306-X. {{cite book}}: Missing or empty |title= (help); Unknown parameter |tittle= ignored (help)
  12. ^ Elvira de Hidalgo's statement in French emission L'Invité Du Dimanche, The Callas Conversations, Vol. 2 [DVD] 2007, EMI Classics.
  13. ^ Ruggieri, Eve (2008). La Callas (in French). Succés du livre. p. 85. ISBN 978-2-7382-2307-4.
  14. ^ After her June 11, 1951 concert in Florence, Rock Ferris of Musical Courier said, "Her high E's and F's are taken full voice."
  15. ^ Francesco Siciliani's statement in French emission L'Invité Du Dimanche, The Callas Conversations, Vol. 2 [DVD] 2007, EMI Classics.
  16. ^ Eugenio Gara and Rodolfo Celletti's claim in "The Callas Debate". Opera. September-October 1970.
  17. ^ Bombardier, Denise (2009). L'énigmatique Céline Dion (in French). Albin Michel, XO éditions. p. 10. ISBN 978-2-84563-413-8.
  18. ^ Ardoin, John (1991). Old Tappen, New Jersey: Scribner and Sons. ISBN 0-684-19306-X. {{cite book}}: Missing or empty |title= (help); Unknown parameter |tittle= ignored (help)
  19. ^ Elvira de Hidalgo's statement in French emission L'Invité Du Dimanche, The Callas Conversations, Vol. 2 [DVD] 2007, EMI Classics.
  20. ^ Ruggieri, Eve (2008). La Callas (in French). Succés du livre. p. 85. ISBN 978-2-7382-2307-4.
  21. ^ After her June 11, 1951 concert in Florence, Rock Ferris of Musical Courier said, "Her high E's and F's are taken full voice."
  22. ^ Francesco Siciliani's statement in French emission L'Invité Du Dimanche, The Callas Conversations, Vol. 2 [DVD] 2007, EMI Classics.
  23. ^ Eugenio Gara and Rodolfo Celletti's claim in "The Callas Debate". Opera. September-October 1970.
  24. ^ Bombardier, Denise (2009). L'énigmatique Céline Dion (in French). Albin Michel, XO éditions. p. 180. ISBN 978-2-84563-413-8.
  25. ^ Hébert-Germain, Georges (2010). René Angélil: Derrière le conte de fées (in French). Michel Lafon. p. 356. ISBN 978-2-7499-1211-0.
  26. ^ F Haböck, Die Gesangkunst der Kastraten, (Vienna, 1923), p. 209
  27. ^ Saint Bris, Gonzague (2009). La Malibran (in French). Belfond. p. 25. ISBN 978-2-7144-4542-1.
  28. ^ Viros, Alexandre. "Casser les voix". French magazine Vox Pop. N°11. September-October 2009. p. 82.
  29. ^ Saint Bris, Gonzague (2009). La Malibran (in French). Belfond. pp. 37 and 104. ISBN 978-2-7144-4542-1.
  30. ^ The Great Singers, by Henry Pleasants, Simon & Schuster Inc., 1966/81. p. 374
  31. ^ "Adelina Patti - Encyclopédie Larousse"
  32. ^ Nicholas E. Limansky (Translated from English by Jean-Jacques Groleau): Mado Robin, soprano (1918 - 1960)
  33. ^ Ellen Highstein: 'Yma Sumac (Chavarri, Emperatriz)' Grove Music Online, ed. L. Macy. (Accessed 8 August 2006)
  34. ^ Clarke Fountain, "Yma Sumac: Hollywood's Inca Princess (review). Allmovie, reproduced in the New York Times. 1992. [1]
  35. ^ David Richards, "The Trill of a Lifetime; Exotic Singer Yma Sumac Meets a New Wave of Fans." The Washington Post, March 2, 1987, STYLE; PAGE B1. Accessed August 6, 2006, via Lexis Nexis, [2]
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