Understanding Vocal Range, Vocal Registers and Voice Type A Glossary of Vocal Terms

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There seems to be a lot of confusion amongst singers, especially those who are not trained or have
no musical background, with regards to certain vocal terminology. For this reason, I have created a
glossary of terms to help singers better understand the basic concepts of vocal range, vocal
registers and voice type.

A companion to this article, How To Determine Singing Range and Vocal Fach (Voice Type),
provides additional practical information on several of the topics discussed more briefly in this
article.

Vocal Range

In its broadest sense, the term vocal range refers to the full spectrum of notes that a singers voice
is able to produce, starting from the bottommost note and reaching to the uppermost note. In
other words, range refers to the distance between the highest and lowest pitches that a singer is
able to sing. This extreme range of the individuals voice, consisting of all non-utilizable, utterable
but nondescript vocal sounds, measured from the lowest grunt to the highest obtainable vocal
squeak may also be called vocable compass.

An untrained singer typically has a more limited range than a well-trained singer, who has learned
how to gain access to more notes through correct technique and through regularly exercising and
using the vocal instrument for singing tasks. Every instrument has its own unique range
capabilities, as well, with some voices being able to develop more extensive ranges than others.

In opera or solo classical music, often only the parts of the range that are considered musically
useful are counted as part of the range. 'Usefulness' with regards to range in classical style singing
is defined by consistency of timbre and the ability to 'project' the pitches effectively. For example,
since falsetto pitches are not used in most opera, they are not considered part of the vocal range
of a male opera singer. Also, if any pitch cannot be properly carried (i.e. heard over an orchestra
without amplification), it is not considered part of the range. While a singer may have access to
many more notes both above and below his or her 'useful range, those notes are not necessarily

counted or used when singing classical song selections. (In the keyboard diagrams of vocal ranges
below, only the expected, 'publicly performable' range for each voice type is highlighted.) The
range of vocal tones that can be rendered with some degree of musicality may also be referred to
as singable compass.

Put even more simply, a certain section of a singers range, (likely the middle portion), will make
up his or her most comfortable and practical range, whereas other sections of the same singers
range, (the highest and lowest portions), will be available or accessible, but will not necessarily be
as strong or as desirable in tone. Thus, a mezzo-soprano might have a two octave 'useful' range for
classical repertoire purposes, yet have access to another octave or so above that range and
another half octave or so below it.

In choral music, where many voices are singing in unison, it is somewhat less important for each
individual voice to be flawlessly produced or completely audible over the orchestra. Therefore, the
range that a certain voice type might be expected to sing in a choir may be a little broader than it
would be in opera or in solo performances, (as is suggested in the diagrams indicating the range
for each voice type below).

In contemporary styles of singing, singers typically employ amplification (i.e. microphones,

speakers, etc.) when performing, which makes more of their range audible and thus usable.

To learn about how you can find your vocal range, read the section on range in How To Determine
Singing Range and Vocal Fach (Voice Type).

Registers and Vocal Registration

The term register can be somewhat confusing, as it encompasses several aspects of the human
voice, including a certain vibratory pattern of the vocal folds, a particular range of pitches, and a
characteristic type of tone or quality of sound. In other words, a register in the human voice is a
particular series of tones that possess the same quality and that are produced in the same
vibratory pattern of the vocal folds within a certain range or series of pitches. Vocal registers
originate in the laryngeal function (i.e., the larynx, where the vocal folds are located) and occur
when the vibratory pattern of the vocal folds changes as pitch rises or falls.

Singers and singing teachers can aurally identify these changes in voice quality when singing two
or more octaves of a musical scale. When transitions from one voice quality to another occur,
most singers report some sort of non-specific, kinesthetically sensed, neuromuscular coordination
adjusment in the larynx as well as a change in sound or tone. Among experienced or trained
singers, the transitions are perceived to be blended and smooth, whereas the transitions among
inexperienced singers are more commonly abrupt or awkward (as when a 'register break' occurs).

Vocal registration refers to the system of vocal registers within the human voice. Research by
speech pathologists and vocal pedagogues has revealed that the vocal folds are capable of
producing at least four distinct vibratory patterns, which, in turn, create four different registers
within the human voice, although not everyone can produce all four of them. Each of these four
registers has its own vibratory pattern, its own pitch area (although there is some overlapping),
and its own characteristic sound. Most vocal teachers today divide the human voice into three
registers; chest (also referred to as natural or modal), middle and head (includes falsetto in males),
although many do acknowledge the vocal fry register in their lower voiced male students and the
flageolet or whistle register in higher voiced females, as well. However, both of these potential
highest and lowest registers are sometimes considered to be extensions of the chest and head
registers, rather than unique registers.

In many contemporary singing methods, a two-register model is advocated. (I explain why this is
both inaccurate and counterproductive to vocal training in the Vocal Registration and
Contemporary Teaching Methods section of my article entitled 'Belting' Technique.) Since the
chest voice and the head voice can be made to overlap considerably, many vocal teachers dont
acknowledge the existence of a middle register, but might instead treat the middle section of the
voice as a zona di passaggio in which the chest and head tones will become blended or mixed.
There may also be some disagreement on what constitutes head voice or how it is defined, and
this confusion may explain why some teachers call the lighter tone of the voice that begins at the
first passaggio in female students (or any tone that is produced at pitches above the chest register)
'head voice' whereas classical teachers would refer to this register as 'middle' and the register
beginning around E5-F#5 (at the secondo passaggio) as the true head register.

Vocal teachers and singers will often talk about 'bridging the registers' or 'blending the registers',
which simply refers to a technique or method of making the transition from one vocal register to
the next smooth and seamless, and thus removing all noticeable signs of a register break, which
requires an adjustment of breath control and vowel modification (aggiustamento), as well as
gradual laryngeal (e.g., muscular) adjustments throughout the scale. More information about

blending the registers can be found in my article entitled Good Tone Production For Singing, as
well as in Tips For Practicing Singing: A Practical Guide To Vocal Development.

There is also a great deal of disagreement about the terminology assigned to the vocal registers,
primarily because the terms themselves tend to describe where the most resonance is felt in the
body as opposed to where the action of the voice is truly originating from (i.e., the larynx). For
example, 'head voice' is called such because much of the resonance of the voice is experienced as
sympathetic vibrations in the bones of the face and resonating cavities of the head. (The bony
structures of the head can be set into sympathetic vibration, but not into actual resonance. Bone
is a very good conductor of sympathetic vibration.) Also, most "chest resonance" actually
originates in the throat (i.e., the larynx, or 'voice box'), where the vocal folds are located. Since the
chest is filled with so many soft organs which do not aid in creating resonance, and because the
vocal tract lies above the chest, producing sound after air has already left the chest, many argue
that there can be little true resonance created within the chest itself. For this reason, most vocal
teachers prefer to use the term 'voice' rather than 'register'. However, some singers do experience
a distinct sensation of (sympathetic) vibration in the chest, especially in the sternum or
breastbone area, or in the head when singing. These sensations are realistic to the singer and can
serve as reliable indicators of resonance balance.

Passaggi (Registration Pivotal Points) and Register Breaks

The term passaggio, (which is Italian for 'passage'), refers to the place (i.e. the absolute pitch)
within a vocal range where the voice 'shifts' or transitions into a different register. In other words,
a passaggio marks the end or boundary of one register and the beginning of the next.

It is generally taught that the human voice has two passaggi a primo (first) passaggio and a
secondo (second) passaggio, connected through a zona di passaggio (passage zone). (In female
voices, the zona di passaggio is most likely to be referred to as a separate register, called the
middle register or medium voice, which occupies a full octave in range.) In male voices, the primo
passaggio marks the pivotal point between the speech-inflection range (the range of pitches in
which they habitually speak) and the call range of the speaking voice (the range of pitches in which
they would have to call or yell in order to try to speak). Using the call voice through the zona di
passaggio roughly the interval of a fourth would require greater effort and considerable
discomfort. Therefore, most men begin to sing in either mixed or head voice tones throughout
their zona di passaggio. For females, who tend to use more inflection and a greater range of
pitches during ordinary speaking demands, speech-inflection range continues through the middle
register and ends at the secondo passaggio, which marks the beginning of head voice range.

Similar registration events occur in all voices, male and female. However, they happen at different
degrees in the scale. In general, the longer the vocal folds and the larger the larynx, the lower the
registration pivotal points (passaggi) in the scale and the lower the voice category. (This also
accounts for the pitch differences between male and female speaking and singing voices.) For
example, the tenors primo passaggio, (occurring somewhere between C#4 and E4, depending on
the individual's voice), lies roughly a minor or major third above that of the baritone, (occurring
around B3 or Bb3), with his secondo passaggio occurring roughly a fourth above his primo
passaggio. Most women experience their first registration pivotal point between Eb4 and G4, and
their second (upper) passaggio between Eb5 and G5, with the altos voice switching into the next
register a little earlier in the ascending scale than the sopranos voice would. Also, within the same
category (e.g., baritones, tenors, altos, sopranos, etc.), heavier voices will experience their primo
passaggio slightly lower than lighter voices will (e.g., a dramatic mezzo-soprano might switch into
the next register a semitone lower than a lyric mezzo soprano might).

Additionally, due to the greater diversity of laryngeal size and vocal-tract construction among
males, range demarcations among male voice categories are more distinct than those of female
voices. The passaggio points of male voices can be plotted over a wider range of notes. In males, a
number of specific pitch designations for the passaggi exist within each voice category (e.g.,
several possible notes for tenor voices, and quite a few for baritones and basses), whereas only a
semitone or whole-tone difference exists within female categories.

If a singer doesnt allow the larynx to progressively make changes (e.g., the vocal folds should
ideally change into different vibratory patterns and either elongate or shorten gradually) while
ascending and descending in pitch referred to as static laryngeal function a register break will
occur. Breaks are typically marked by noticeable changes of tone quality and volume. For example,
when a female singer moves upward from her chest register into her middle register, her tone
may abruptly become thin and weak, or her voice may crack or even cut out completely. Flatting
or sharping notes at the passaggi is also quite common amongst untrained singers.

A major goal of classical voice training is to maintain an even timbre or consistency of tone
throughout the passaggi, so that moving through them, or singing within them, is seamless,
effortless and undetectable to the listener. This is often referred to as blending the registers or
using a mixed voice, which I write more about in my article on this site entitled Good Tone
Production For Singing, as well as in Tips For Practicing Singing: A Practical Guide To Vocal
Development. Bridging the registers, which also requires vowel modification and adjustments of

breath management, is essential for creating an evenly balanced, homogonous tone throughout a
singers entire range.

For a practical way to locate your lower and upper passaggi, please refer to the passaggi section of
How To Determine Singing Range and Vocal Fach (Voice Type).

Vocal Fry Register

The vocal fry register, (also known as pulse register and glottal fry/rattle/scrape, amongst other
names), is the lowest vocal register that can be produced by a human voice. In contemporary
styles of singing, 'vocal fry' may also refer to a voice quality that may be added to any part of the
singer's range for vocal effect. Vocal fry is characterized by a rattling, crackling, creaking, croaking,
or frying sound quality. It is produced through use of a loose glottal closure that permits air to
bubble through slowly. During the vocal fry mode of phonation, the arytenoid cartilages in the
larynx compress together in such a fashion that the vocal folds become relatively compact and
slack, or 'floppy'. This process forms a large and (usually) irregularly (or non-periodically) vibrating
mass within the vocal folds - the vocal folds vibrate far less often per second than in 'normal' voice
production, with successive vibrations differing in duration and/or size - that produces the
characteristic low popping or rattling sound when air passes through the slackened glottal closure.

Singers typically use this mode of phonation to obtain pitches at a very low frequency that they
may not otherwise be able to access in the chest register, although it can be carried up into the
chest register, as well.

Vocal fry has become enormously popular within many contemporary methods of voice training,
and is frequently used very heavily during lessons and in practice routines. It is seldom employed
in a prescriptive fashion or as a corrective devise - to, for example, relax hyperfunctioning
adductor muscles or to release intrinsic muscular tension. Rather, its use is suggested for all
singers as a regular part of their voice training. Those who support the use of vocal fry claim that it
is safe and relaxing, like a groggy 'morning voice', especially when the larynx is encouraged to
remain lower, the throat 'open', and the vibratory rate is made more regular. These same
supporters claim that the belief that fry is potentially damaging to the vocal instrument if used
frequently or for long periods of time is merely a myth.

However, most ENTs and speech language pathologists consider vocal fry to be the result of either
dysfunction or poor usage. The physiological production of vocal fry can be potentially damaging
to the vocal folds if used frequently or for extended periods of time, particulary if it is brought up
into the chest and middle registers and if it is created with a raised larynx and a closed throat.
http://www.ohniww.org/katy-perry-voice-vocal-fry/ contains a video of a stroboscopy of both
clear and vocal fry production. The squeezing and increased intrinsic muscular effort that are
required to produce vocal fry are quite clearly seen, even though the vocal folds themselves are
slack and relaxed.

Therefore, vocal fry as a tone quality or mode of phonation should be limited to the occasional
vocal effect (e.g., at the beginning of a phrase, etc.). Although it may be used as an effective tool
for teaching and developing certain contemporary techniques and skills, such as growling and
screaming, not everyone agrees that it promotes healthy voice production, especially when the
glottis is not functioning in an otherwise 'normal' manner, and when the slackness of the vocal
folds does not closely mimic or approximate the action, tension and functioning necessary to
obtain precision in the onsets of sound, along with a healthy and steady vibratory rate.

Until more recently, there has been little mention of the vocal fry register in singing pedagogy (and
especially in classical circles) for several reasons. First, not everyone can access the pitches that lie
below the chest register. (It is more common for lower voiced males - basses - to sing pitches low
enough to be considered to be within the actual vocal fry register. A distinction is drawn here
between the vocal fry register and the vocal fry effect or quality that is added as a stylistic element
for brief parts of notes or words.) Secondly, not all teachers of voice consider this part of a singers
range to be a separate register from chest voice. Many feel as though it is merely a lower
extension of the chest register. (This is likely the case in medium and higher voices who cannot
access this lowermost register.) Thirdly, vocal fry is not considered by all to be a legitimate, useful
or pleasant performance timbre, (although it is often added as a desirable vocal effect at the
beginnings of phrases in contemporary styles of singing). Fourthly, it is a potentially unhealthy
mode of phonation, as it may cause damage to the vocal folds, especially if used frequently. (As
stated above, stroboscopic observation shows heavy squeezing of the arytenoid cartilages.) Fifthly,
frequently using this mode of phonation in the chest register can cause a singer to lose some of his
or her range, specifically the higher notes within the chest register.

You can read more about the vocal fry register in Good Tone Production For Singing.

Chest Register (Modal or Normal or Natural Voice)

Modal (or normal or natural or chest) register refers to the natural disposition or manner of
actions of the vocal folds. The vast majority of speaking is done in this register men speak
entirely within their chest register, while women speak in both their chest and middle registers.
(As a result, some teachers might refer to it as occurring at speech level, although female speech
inflection also occurs above this register.) It lies above the vocal fry or pulse register (achieved
typically by basses or contrabasses) and overlaps with the lower part of the head voice register in
males and the middle voice in females. It begins and ends in different places within the human
voice, depending on voice category or type, although it can be carried upwards, through the primo
passaggio, into the middle (women) or head (men) registers. (This practice is widely considered to
be potentially injurious to the vocal instrument.) The placement of the chest register within the
individual human voice is one of the key determining factors in identifying voice type.

The timbre of chest voice is warmer and darker ('oscuro') than that of middle and head voice, and
it is characterized by darker vowel qualities or mellowness. Chest voice (voce di petto) is often
referred to as the heavy (laryngeal) mechanism because more thick vocal mass more of the vocal
folds - is involved in phonation within this lower register. (The vocal folds are thickest and fattest
in the chest register.).

For more information about the natural voice, refer to the Chest Voice section in Good Tone
Production for Singing.

Middle Register and Zona di Passaggio

In women, the register between chest voice and head voice is called the middle register, or
medium voice. For most women the range of pitches between the primo (first) and secondo
(second) passaggi is about an octave. The timbre of this register is generally thought to be a mix of
both the chest and the head voice qualities, or an in between colour, giving it a very warm, rich
tone that isn't quite as oscuro (dark) as that of chest voice but also not quite as chiaro (bright) as
that of head voice.

The zona di passaggio is the term that is used for the middle voice in men that lies between the
primo and secondo passaggi. The range of this register is roughly about a major third or a fourth.
As in the female middle voice, it is generally viewed as a mixture or a blending of both chest and
head voice tones, although many instructors and singers see the benefit of using mainly head

voice tones throughout this range in order to facilitate a smoother, less problematic transition into
the head register. (Using purely chest voice in this area of the range produces a shouty, 'calling'
voice that usually feels strained and requires increased effort.) Ideally, there should be a
graduated adjustment or shifting relationships among the muscles involved in pitch change,
otherwise known as aggiustamento.

To learn more about achieving an ideal blended tone in the middle register, read Blending the
Registers, Middle Register or Mixed/Blended Voice or The Zona Di Passaggio in Good Tone
Production For Singing and Blending (or Bridging) the Registers in Tips For Practicing Singing: A
Practical Guide To Vocal Development.

Falsetto

Throughout history, the term falsetto has had various meanings for different groups of users,
leading to a great deal of confusion about how to define it. Most commonly in the elite
professional male singing voice, falsetto denotes a specific timbre or vocal sound (differentiated
from head voice, or voce piena in testa) in the male upper-range that is imitative of upper-range
female voice quality, although it is not solely such. The term itself derived from the Italian word
for 'false' - suggests a departure from timbre reality; from true or legitimate vocal timbre.

The term falsetto sometimes refers to the vocal register occupying the frequency range just above
the modal (or chest) register and overlapping with it by approximately one octave. This definition
is misleading, however, as falsetto is not a vocal register by definition. Many voice teachers
incorrectly use the terms 'falsetto' and 'head voice' interchangeably, inaccurately labeling any
pitch produced above a male singers primo passaggio falsetto. Falsetto then becomes confused
with full, legitimate head voice, or assumed to be the same thing.

Although falsetto is a type of tonal quality that does indeed run 'parallel' to, or alongside, the male
head register in terms of range, the two occuring through roughly the same range of pitches,
falsetto and head voice do not refer to the same mode of phonation. They are produced by
employing different techniques and have different sounds. In both speaking and singing, falsetto is
more limited in dynamic variation and tone quality than both head voice and chest voice.

In falsetto production, the vocalis muscle are inactive and lengthened tremendously by the action
of the cricothyroid muscles, which are nearly at their maximum contraction. The mass
corresponding to the innermost part of the thyro-arytenoid musscle remains still and motionless.
The unique sound of falsetto is produced by the air blowing over the very thin edges of the
thyroarytenoids, and the pitch is controlled mostly by a regulation of the breath flow. The very
thin edges of the lengthened folds, which do not display any tension in opposition to the
stretching action of the thyroarytenoids, are easily blown open by the breath and therefore offer
little resistance to the breath flow. (The extreme membrenous edges - the edges furthest from the
middle of the gap between the folds appear to be the only parts vibrating.) Falsetto is relatively
weak in overtones and produces no Singers Formant. Head voice, on the other hand, is richer in
overtones and has the potential to produce a substantial Singers Formant, or ring. In head voice,
the thyroarytenoids create a tighter and more substantial edge to the vocal folds, which, in turn,
resist the flow of breath, allowing more noticeable pressure below the vocal folds (subglottal
breath presuure) to build. The male singer can easily sense this difference in breath pressure
between the true head voice and the falsetto, and may feel a sense of muscular relief when he
changes from full voice to falsetto timbre.

The difference between falsetto and head voice is primarily a matter of timbre or specific vocal
technique used to achieve the tone that is unique to falsetto. Although it is possible to reinforce
falsetto timbre, making it less raspy or breathy in quality through altering relationships among the
muscles of the glottal opening/closure system, neither the function nor the resultant tone is
identical to that of full head voice. Substituting falsetto for full (head) voice in any male category,
or relying upon falsetto for high-lying pitches rather than avoiding the discipline required in order
to develop full head voice tones in the upper register is not a good practice, as it suggests an
inability to achieve a completely balanced vocal scale.

Falsetto also refers to a vocal technique that enables the male singer to sing notes beyond the
vocal range of the normal (chest, modal or natural) voice. Falsetto is produced when the vocal
folds are intentionally allowed to remain slightly separated during phonation. (Vocal fold
elongation still takes place in male falsetto, but vocal fold adduction during falsetto remains
slacker and incomplete.) The length or size of the oval orifice, or separation between the folds, can
vary, but it is known to get bigger in size as the pressure of air pushed out is increased. There are
various techniques for producing this tone, and research has revealed that different singers may
employ different amounts of vocal fold mass or length, different degrees of glottal closure and
more or less reinforcement through breath pressure during falsetto production (e.g., skilled
singers maintain a smaller opening between the folds than untrained singers do, with the vocal
folds coming in closer contact with each other during each vibration cycle and the arytenoid
cartilages held in firmer apposition, creating a clearer, less raspy falsetto tone). In some singers, a

phenomenon known as damping appears, with the amount of glottal opening becoming less and
less as the pitch rises, until only a tiny slit appears on the highest pitches.

It is not standard practice to say that a female singer is using a falsetto voice, because when a
womans vocal folds are not fully approximated, her tone merely sounds breathy. Unlike the male
instrument, the female instrument is incapable of producing a timbre in upper range that is
radically different from its full (head) voice qualities. Furthermore, when energy and support is
reduced in the female voice, (as it is in the male voice during falsetto), her tone is likely to sound
distorted.

For more details on falsetto tone production, refer to the Falsetto section in Good Tone
Production For Singing.

Head Voice

The head register lies above the middle register or zona di passaggio. The term 'head voice' is
generally used to describe the feeling that the resonance (sympathetic resonance) of singing is
occurring primarily in the head. It has a characteristic ringing tone and modified acoustics
(modified vowel sounds).

Head voice (voce di testa) is sometimes called the lighter mechanism of the voice because mass
reduces as the vocal folds elongate. As a result, most singers experience a sense of ligthening in
timbre as they enter the head register. Head voice can be carried down and maintained lower,
into what would naturally be the chest register with little to no risk to the voice, although the tone
of the voice will become thinner at lower pitches and resonate more poorly than it would if the
natural (chest) voice were being used for those same pitches.

More detail about training the head voice can be found in Good Tone Production For Singing.

Whistle (or Flageolet) Register

The whistle register, (typically occurring between C6 and D7), is the highest register of the human
voice, and refers to the register above the head register in female voices. Unlike the other
registers within the voice, it does not begin at the same absolute pitch within every female voice
type, and there is typically no discernable passaggio marking the transition into this register, which
is why it is often considered to be an extension of the head register, rather than a unique or
separate register.

This register has a specific physiological production that is different from that of the other
registers, and is so called because the timbre of the notes that are produced from this register are
similar to that of a whistle. The quality of sound that is produced is somewhat different from
conventional head voice, being excessively bright and edgy. However, this female register is
thought to be an extension of head voice, and, ideally, should differ little from head voice in
timbre in the well trained voice.

Women of all voice types can learn to use the whistle register, although lower female voices, such
as true contraltos, may not be able to access this register.

It may be beneficial for female singers to practice flageolet because it encourages a full extension
of the vocal folds at pitches above C6, the folds become their thinnest, with increased damping
and diminished mass, offering even more resistance to the exiting air because it will make high
notes within standard repertoire more accessible. In other words, having access to the flageolet
register adds freedom to the performable upper range (head register) because it will be easier to
execute.

Voice Classification

Through voice classification, singers voices are evaluated and designated into voice types.
Classical terms are used to describe not merely various vocal ranges, but also the specific vocal
timbres that are unique to those respective ranges, and that are produced by classical training
techniques. (It is difficult to divide popular or non-classical singers into such types because they
lack the same classical training.) Voice classification can be somewhat subjective, making it less
than a scientific practice.

Voice classification was developed within classical music, and it is often used within opera to
associate possible roles with potential voices. The German Fach system is one popular method of
classifying singers, primarily opera singers, by the range, tessitura, vocal weight, and color (timbre)
of their voices. The Fach system is a convenience for singers and opera houses. Many opera
houses will keep lists of singers divided by their voice classifications and refer to these lists when
casting for operas. A singer who is identified as being of a certain Fach will usually be asked to sing
only roles that belong to that Fach, which prevents a singer from being asked to sing roles which
he or she is incapable of performing, and allows for the best possible casting of roles.

Choral singers are classified into voice types based mainly on their range. Solo singers are
classified into voice types based in part on tessitura where the voice feels most comfortable and
has the most pleasant tone for the majority of the time.

Many singers are classified incorrectly by unknowlegeable vocal teachers and choir directors. For
example, lyric baritones are often miscategorized as tenors because the perceived lightness of
their instruments may create a more tenor-like vocal quality and also enable them to sing fairly
comfortably in their head registers. Female vocalists who are able to sing high notes are often
assumed to be sopranos, regardless of the actual locations of their passaggi, and are often asked
to sing soprano parts. Training as another vocal type (e.g., singing too frequently in a tessitura that
does not match that of the natural instrument, expecting the voice to reach higher pitches
because a singer is thought to be a different or higher type, etc.) can place strain on the voice, not
to mention create a great deal of frustration and discouragement and a lack of success in the
singer who cant seem to make his or her voice meet certain expectations that are unrealistic due
to the mistake of miscategorization. It is, therefore, absolutely critical for instructors and choir
directors to understand the importance of the locations of the passaggi (registration pivotal
points) in accurately determining voice type, and how vocal weight can affect the perception of
what a singers voice type and range truly are.

How To Determine Singing Range and Vocal Fach (Voice Type) explains in greater detail why it's
important to classify voices and how to do so correctly. It also offers a number of 'notes of
interest', as well as observations and discoveries that I have made about range and voice type
from my years of teaching.

Timbre

Timbre simply refers to the quality or colour of tone being produced by the singer.

For more information about timbre, please read Good Tone Production For Singing.

Vocal Weight

Vocal weight refers to the perceived 'lightness' or 'heaviness' of a singing voice. This quality of the
voice is one of the major determining factors in voice classification within classical singing, and
constitutes a subcategorization of vocal types (or parts).

Additionally, vocal weight, which is often determined by the thickness of the vocal folds, may refer
to a voices ability to handle changes in vocal dynamic, and may affect its overall vocal agility, as
different voices handle changes in dynamic differently. In other words, vocal weight can affect
overall vocal agility and flexibility. For example, heavier voices often have more difficulty
maneuvering through florid coloratura passages than lighter voices do. Heavier voices can also
sound awkward singing staccato sections because they dont tend to have as much flexibility as
lighter voices do. Lighter voices tend to have greater agility and flexibility, but have less facility in
filling legato lines, and cannot be heard as well over an orchestra as heavier voices can.

Lighter voices are often associated with the term 'lyric'. The timbre of these voices is often
described as smooth, silky in texture, mellow, sensitive, warm, bright and graceful, and often have
a softer, lachcrymous quality. They have good agility often the ability for coloratura - and strong
diction., and can be heard over an orchestra.

'Coloratura' voices are light with a great deal of high end agility, and are capable of handling florid,
elaborately ornamented or embellished vocal passages, including running passages, staccati and
trills. Whenever 'coloratura' is used by itself as a voice type, it refers to a soprano with this vocal
quality and weight.

Heavier voices are often associated with the term 'dramatic'. Dramatic voices are very large,
strong, powerful, vigorous and rich, and can sing over a full orchestra or choir. The timbre of this
type of voice is usually darker and heavier than that of a lyric or coloratura voice, and its tessitura
is often a little lower. Because the vocal folds of a singer with this vocal weight are thicker, agility

and facility are usually somewhat compromised, however, it is capable of giving dramatic heft to a
role, with sustained power.

Other voice types, like the 'spinto' voice, have a more medium vocal weight. Spintos have a more
robust and full sound compared to lyric voices, but are often considered a 'baby dramatic' in that
they have larger voices but not quite to the level of dramatic. The spinto voice handles vocal
dynamic changes very well. A spinto voice has the brightness and height of a lyric voice, but can be
"pushed" to dramatic climaxes without strain, and may have a somewhat darker timbre. It can
'slice' though a full orchestra (rather than 'singing over' it, like a dramatic voice).

Soubrette is a French voice classification term assigned to women who often play young, flirty
physically active operatic roles. In classical music, a soubrette can be considered a female soprano
who sings best in middle voice with no strenuous vocal dynamics. Most soubrettes have a warm,
bright, sweet vocal colour (timbre), and are comfortable singing throughout the soprano range,
although this voice has a lighter vocal weight than that of other soprano voices and a tessitura
lying in the mid-range. Their upper extension is not quite as high or 'shiny' as that of a coloratura,
but they often have a richer timbre in their middle and upper middle voice.

For male voices, different terms may be used to described vocal weight. For instance, a Leggiero or
light-lyric is the male equivalent of a lyric coloratura. It is a very light, bright, high tenor voice with
very natural, high, extensions and a higher tessitura than that of other tenors. Another
characteristic of this voice is its flexibility and agility. Lyric or lirico is a strong yet light voice with a
high tessitura. A spinto voice is heavier than a lyric, but not quite a dramatic. Drammatico or
dramatic tenor is a powerful, rich and full voice with a lower tessitura than a lyric. It, like the
female dramatic voice, carries easily over larger orchestras.

Many voices lie somewhere between different weights (e.g., a lyric coloratura soprano, etc.)

The weights of certain voice types may be further subcategorized into light and full (e.g., light
lyric soprano, full dramatic mezzo-soprano, etc.), which indicates the maturity of sound or tone
produced by the singers voice. Light voices possess a youthful quality and are often ideal for
young roles, whereas full voices sound more mature, can be heard (unamplified) over a larger
orchestra, and may be able to handle heavier roles.

Tessitura

The term tessitura, (which comes from the Italian word for texture), generally describes the
most musically acceptable and comfortable timbre for a given voice type. Put simply, tessitura
refers to the range of pitches in which a singer is most comfortable singing, as well as the section
of a singers range where the voice has the most pleasant-sound or tonal quality and easy volume.
While a soprano and a mezzo-soprano may have a similar range (as defined by the spectrum of
notes that they are both capable of singing), their tessituras will lie in different parts of that range,
which is why they are each classified as a different voice type. (To a certain extent, the figures
below denoting the expected ranges in repertoire for each voice type reflect tessitura more so
than range.)

Tessitura also refers to the pitch range that most frequently occurs within a given piece, or part, of
music. Tessitura addresses not merely a range of pitches but also takes into consideration the
arrangement of those pitches in music, or melody (e.g. whether vocal lines and phrases in the
musical piece tend to rise gradually or fall quickly, or whether there are large intervals between
pitches, as well as the speed of pitch changes), as the abilities of a singer may be more or less
suited to certain arrangements of pitch (melodies).

Voice Type

Voice type is often confused with vocal range by contemporary or non-classical singers (e.g. those
who sing jazz, pop, blues, soul, country, folk and rock styles). For example, if you were to ask some
singers what their range is, they may reply by stating that they are a tenor or a soprano. Using
the terms range and type interchangeably is inaccurate and can be misleading.

Perceived qualities or characteristics of a voice help to identify the vocal type. Human singing
voices can be described by such qualities as vocal range, weight, tessitura and timbre, as well as
vocal registration and vocal transition points that include breaks in the voice, and these qualities
describe their vocal types. The designation of a voice as a lyric soprano would be an example of
a vocal type.

In opera, there are six basic voice types bass, baritone, tenor, contralto/alto, mezzo-soprano and
soprano - and then several sub-types within each. However, in North American choral music, there

are usually only four vocal types bass, tenor, alto and soprano in the arrangements. (When six
parts are written into choral arrangements, mezzo-soprano parts are typically called second
soprano parts and baritones are often assigned to second tenor parts.)

There are also intermediate voice types. They may have a range or tessitura lying somewhere
between two voice types or parts (e.g., a bass-baritone), or may have a vocal weight lying
somewhere between light and heavy (e.g., a dramatic coloratura soprano, etc.). (For more detailed
information on how voices are subcategorized by vocal weight, read vocal weight.)

Below is a list of the basic vocal types and their approximate ranges. I have intended to keep these
definitions as simple as possible, without making the complicated distinctions within each vocal
type. The ranges listed are based on classical and choral expectations the useful range - for
each voice type rather than on the possible spectrum of notes that singers within each type might
be capable of singing. (In other words, these ranges are not static, especially in the case of welldeveloped singing voices, but represent average ranges in written classical and choral music.)

For the benefit of more visual readers, I have also included diagrams of a keyboard with the
standard (classically and chorally defined) ranges for each vocal type shaded in. The darker
shading indicates the range that is assigned to a certain voice type in opera, and the lighter part
represents the additional range that might be expected of a singer of the same voice type within
choral music. Note how the ranges for each vocal type do a lot of overlapping.

Finally, I have opted to use scientific pitch notation, where C4 refers to middle C (and A4, the A
above middle C, has a frequency of 440Hz), to keep these definitions as succinct as possible. In
scientific pitch notation, each octave begins at the note of C, rather than A. (the A immediately
below middle C, for example, is A3, and is considered to part of the octave beginning one octave
below middle C.) Therefore, the C one octave above middle C is C5, the C one octave below middle
C is C3, etc.. (For a better understanding of scientific pitch notation, please read the related
section in How To Determine Singing Range and Vocal Fach (Voice Type)

Contrabass

A bass who can sing G1 or lower is known as a sub-bass or contrabass singer, or a basso profundo.
Generally, though, contrabasses are 'lumped in' with other basses when parts are assigned.

Bass

A bass singer is considered to be the lowest male part sung in multipart choirs. A typical singing
range for a bass singer is F2-E4 with a comfortable range normally between G2 and A3. (A true
bass singer is a rarity. In fact, most 'Bass' sections of choirs are comprised of baritones or bassbaritones who have access to lower notes.) The primo passaggio for a bass might be G3, G#4 or
A3, while the bass-baritone's is at A3. Their secondo passaggio will be at at C4, C#4 or D4.

Baritone

A baritone refers to the male singer whose range falls somewhere between that of a bass and that
of a tenor. A typical range for a baritone is F2-G4 in choral music and G2-E4 in operatic music. A
baritone's primo passaggio will lie roughly at Bb3 or B3, and his secondo passaggio at Eb4 or E4,
depending on the particular voice's weight.

Baritenor

This intermediate male voice type tends to have the lower extension and 'depth' of timbre of a
baritone, yet the lightness, agility and upper extension of a lower tenor. He will switch into middle
voice at C4 (his primo passaggio) and into head voice around F4.

Tenor

A tenor is considered to be the highest male voice within the modal register. A tenors typical
range in classical repertoire is roughly C3-G4, although the extremes of accessible range can vary
greatly from singer to singer. A tenor's primo passaggio will lie roughly at C#4 (drammatico), D4
(lyric), Eb4 (leggiero) or E4 (tenorino), and the second passaggio at around F#4 (heavier tenor
voice), G4 (lyric tenor voice) or A4 (leggiero).

Countertenors

Males with high vocal ranges, or who can project falsetto pitches in a clear sound, are referred to
as countertenors. Countertenors possess ranges equivalent to those of the female ranges alto,
mezzo-soprano and soprano. (A male soprano is specifically referred to as sopranist).

Contralto

Contralto is the deepest female singing voice, and the contralto range would be below that of an
alto. (Although the subtle distinction between contraltos and altos is typically only made in
classical or operatic music, I want to include it here for information purposes.)

Alto

In choral music, alto is the lowest female voice part in a four-part harmony, and the standard
range is approximately E3-E5. An alto's first passaggio occurs around Eb4 or E4, and her second
passaggio around Eb5 or E5. (Technically, 'alto' is not a voice type, but a designated vocal line in
choral music. The range for the alto line in choral music is typically more suitable for mezzosopranos, the most common voice type amongst females, than true contraltos.)

Mezzo-soprano

Mezzo-soprano refers to a female singer whose range lies between the soprano and the
alto/contralto ranges, usually extending from A3-F5. While mezzo-sopranos generally have a
slightly heavier, darker tone than sopranos, the mezzo-soprano voice resonates in a higher range
(and has a different timbre) than that of an alto voice. A mezzo-soprano's primo passaggio lies
around E4 or F4, and her secondo passaggio around E5 or F5.

Soprano

Sopranos take the highest female part, which usually encompasses the melody of a song, in fourpart choral style harmony. Typically, a soprano is expected to be able to sing from C4-A5, or even

higher. A soprano's first registration pivotal point (passaggio) lies around F#4 or G4 (although she
may feel more comfortable switching out of chest voice and into middle voice lower in the scale),
and her second around F#5 or G5.

Sopranino

Sopranos who can sing higher than C#6 are known as a sopraninos, although they are most likely
to be called sopranos. (Of course, there are altos and mezzo-sopranos who are also capable of
singing these higher pitches. This is why registration events are more important and accurate in
determining Fach than vocal range by itself.)

Melody

In music, a melody, (also tune, voice, or line), is a linear series or succession of notes, not a
simultaneity, as in a chord (see harmony). However, this succession must contain change of some
kind and be perceived as a single entity to be called a melody.

Harmony

Harmony is the simultaneous use of different pitches within a musical scale, as when the individual
notes of a chord are being sung at the same time by different sections of a choir. Harmony is
distinguished from the melodic line of a song.

Pitch

Pitch refers to a perceived musical note.

The ability of humans to perceive pitch is associated with the frequency of the sound waves that is
encountered by the ear. Sound is transmitted in a series of compression and tension cycles via the
movement of the particles in air. Exciting the sound more rapidly increases the frequency of the
sound, and produces more cycles in a given period. This is heard as an increase in pitch. The pitch
of a note is described by its frequency, which is measured in hertz (Hz), or cycles per second.

Musicians and singers use the word pitch to describe the frequency of a sound wave. The shorter
the wavelength and the more rapid the cycles, the higher the frequency and the higher the pitch
of the sound. In other words, short waves sound high, whereas long waves sound low.

Instead of measuring frequencies, musicians name the pitches that they use most often. They
might call a note 'middle C', for example.

When people talk about 'hearing pitch' or 'singing on pitch', they are referring to the ability to
mentally identify and vocally reproduce the notes that they are supposed to be hearing and
singing. Singing 'on pitch' is the same as singing on/in tune or 'on key'.

Absolute pitch, widely referred to as perfect pitch, is the ability of a person to identify (e.g. name)
or recreate (e.g. sing) a musical note without the benefit of a known or objective reference tone
(i.e. without having the same note, or absolute pitch, to compare it to). Many people incorrectly
assign to singers who dont make notable pitch errors when performing the gift of perfect pitch.
However, having perfect pitch is not synonymous with singing on tune.

People with perfect pitch may be able to identify and name individual pitches played on various
instruments, name the key of a given piece of music, identify and name all the tones of a given
chord, sing a given pitch without external reference and/or name the pitches of common everyday
noises, such as car horns or doorbells.

The term relative pitch may denote the skill used by singers to correctly sing a melody line,
following musical notation, by pitching each note in the melody according to its distance from the
previous note (e.g. this may include or be applied to sight reading). Relative pitch may also refer
to the ability to hear a melody for the first time and name the notes relative to some known
starting pitch, and/or the ability to identify the intervals between given tones (e.g. a 'fifth' or an

'octave'), or the distance of a musical note from a set point of reference (e.g. 'three octaves above
middle C').

Unlike perfect pitch, relative pitch is common amongst non-musicians and can be developed
through ear training.

To learn more about pitch, persistent pitch problems and tone deafness, please read my article on
these topics.

Octave

An octave is an interval of eight diatonic (full) notes comprising a complete musical scale, or a note
that is eight tones above or below another note. C4 to C5 would be an example of an octave. (An
octave is an example of a musical interval.)

Both the top and bottom notes of the octave are labeled the same (e.g., "C"), although the
frequencies (length and cycles) of their sound waves will be different; the top note having twice
the frequency as the bottom note. Most people can distinguish between the pitches or
frequencies of the top and bottom notes of the octave and understand that they are called the
same musical note. The top and bottom notes of an octave are consonant, or sound pleasant,
when played at the same time.

Interval

An interval is the relationship (or distance) between two separate musical pitches.

Certain sound waves when played or sung simultaneously will produce a particularly pleasant
sensation when heard. They are said to be consonant, or harmonious. Such sound waves form the
basis of intervals in music, and these agreeable intervals form the basis for harmony - when the
musical notes of a chord are played or sung in unison.

Any two sounds whose frequencies (heard as "pitch") make a 2:1 ratio are said to be separated by
an octave. That is, two sound waves sound good when played together if one sound has twice the
frequency of the other. Similarly two sounds with a frequency ratio of 5:4 are said to be separated
by an interval of a third. These sound waves also sound pleasant when played together.