"singers in their unusual emploi. Yudin had a strong voice with a soft timbre, superb vocal technique and artistic mastery. He could sing falsetto parts and his voice was distinguished by the double timbre: it was close to a tenor altino in the upper register, and close to soprano and in the lower register – to baritone. The critics deemed his voice to be a strong, manly, lyric tenor which overcame all technique difficulties. The manner of singing was simple, dignified, expressive without the affected sweetness common to tenors of that period. He had an excellent diction, delivered every word"
"the use of a throaty voice. This kind of song is called ""a tenore"". The other style, known as ""cuncordu"", does not use throat singing. A tenore is practiced by groups of four male singers, each of whom has a distinct role; the "" 'oche "" or ""boche"" (pronounced or , ""voice"") is the solo voice, while the "" mesu 'oche "" or ""mesu boche"" (""half voice""), ""contra"" (""against""), and ""bassu"" (""bass"") – listed in descending pitch order – form a chorus (another meaning of ""tenore""). ""Boche"" and ""mesu boche"" sing in a regular voice, whereas ""contra"" and ""bassu"" sing"
"""Patience"" and ""The Yeomen of the Guard"" have at least one lead bass. Notable roles include: Bass (voice type) A bass ( ) is a type of classical male singing voice and has the lowest vocal range of all voice types. According to ""The New Grove Dictionary of Opera"", a bass is typically classified as having a vocal range extending from around the second E below middle C to the E above middle C (i.e., E–E). Its tessitura, or comfortable range, is normally defined by the outermost lines of the bass clef. Categories of bass voices vary according to national"
"Bass (voice type) A bass ( ) is a type of classical male singing voice and has the lowest vocal range of all voice types. According to ""The New Grove Dictionary of Opera"", a bass is typically classified as having a vocal range extending from around the second E below middle C to the E above middle C (i.e., E–E). Its tessitura, or comfortable range, is normally defined by the outermost lines of the bass clef. Categories of bass voices vary according to national style and classification system. Italians favour subdividing basses into the ""basso cantante"" (singing bass), ""basso buffo"""
"bass and the tenor voice types. The baritone vocal range is usually between the second A below middle C (A) and the A above middle C (A). Within the baritone voice type category are seven generally recognized subcategories: baryton-Martin baritone (light baritone), lyric baritone, ""Kavalierbariton"", Verdi baritone, dramatic baritone, ""baryton-noble"" baritone, and the bass-baritone. The baryton-Martin baritone (sometimes referred to as light baritone) lacks the lower G–B range a heavier baritone is capable of, and has a lighter, almost tenor-like quality. Its common range is from C to the B above middle C (C to B). Generally seen only in"
"has the resonant low notes of the typical bass allied with the ability to sing in a baritonal tessitura. Colloquially, it refers to a voice with a range and tone somewhere between a bass and a baritone. The bass-baritone's required range can vary tremendously based on the role, with some less demanding than others. Many bass-baritones have ventured into the baritone repertoire, including (among others) Leopold Demuth, George Baklanov, Rudolf Bockelmann, George London, James Morris and Bryn Terfel. The following operatic parts are performed by bass-baritones but sometimes by high basses: Core bass-baritone operatic parts: Bass-baritone parts in Gilbert and"
"a tenor or bass. A woman who sings the tenor line is really a contralto when applied to the classical vocal type system, and a man who sings alto or soprano a countertenor or sopranist. That being said, non-classical singers can adopt some of the terms from both systems, but not all of them, when classifying their voices. The six-part structure of the operatic system is much preferable to the four-part choral system for non-classical singers because it has three sets of vocal ranges instead of two to choose from. Most people's voices fall within the middle categories of mezzo-soprano"
"the chord, the part is often not very melodic. In bluegrass music, the melody line is called the lead. Tenor is sung an interval of a third above the lead. Baritone is the fifth of the scale that has the lead as a tonic, and may be sung below the lead, or even above the lead (and the tenor), in which case it is called ""high baritone"". Conversely, the more ""soul"" baritones have the more traditional timbre, but sing in a vocal range that is closer to the tenor vocal range. Some of these singers include Tom Jones Michael McDonald,"
"more of a tenorial chest register (the aria ""Navigante che non spera"" in Leonardo Vinci's opera ""Il Medo"", written for Farinelli, requires notes down to C, 131 Hz). Similar low-voiced singing can be heard from the jazz vocalist Jimmy Scott, whose range matches approximately that used by female blues singers. High-pitched singer Jordan Smith has demonstrated having more of a tenorial chest register. Actor Chris Colfer has soprano voice. Colfer has stated in interviews that when his voice began to change at puberty he sang in a high voice ""constantly"" in an effort to retain his range. Actor and singer"
"his career Ceccarelli was described in some records as a tenor and in others a bass. The musicologist Alberto Iesuè has speculated that his true voice type was probably a bass and that he sang tenor parts in falsetto. However, in ""Tenor: History of a Voice"", John Potter refers to a type of voice with an extended register which he calls ""tenor-bass"" and notes that several other virtuoso singers of the 17th century who were described as tenors by their contemporaries could also sing in the bass register. A similar view on the existence of this voice type has been"
"raising of concert pitch since its composition). Within the tenor voice type category are seven generally recognized subcategories: ""leggero"" tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, Mozart tenor, and tenor buffo or spieltenor. There is considerable overlap between the various categories of role and of voice-type; some tenor singers have begun with lyric voices but have transformed with time into spinto or even dramatic tenors. Also known as the ""tenore di grazia"", the ""leggero"" tenor is essentially the male equivalent of a lyric coloratura. This voice is light, agile, and capable of executing difficult passages of fioritura. The typical"
"Countertenor 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 G to D or E, although a sopranist (a specific kind of countertenor) may match the soprano's range of around C to C. Countertenors often are baritones or tenors at core, but on rare occasions use this vocal range in performance. The nature of the counter-tenor voice has radically changed throughout musical history, from a modal voice, to a modal and falsetto voice, to the primarily falsetto"
"defined as a man who sings the countertenor part, whatever vocal style or mechanism is employed. The countertenor range is generally equivalent to an alto range, extending from approximately G to D or E. In comparison to female voices the male voice usually has an extended range towards the low notes, but the lowest parts of the range are usually not used. In actual practice, it is generally acknowledged that a majority of countertenors sing with a falsetto vocal production for at least the upper half of this range, although most use some form of ""chest voice"" (akin to the"
"and one passaggio for closed vowels. Tenor voices are the highest of the male voice types, with the exception of the countertenor voice, which makes much greater use of the falsetto register. Baritones are the next lowest voice after tenors, and they are followed by bass-baritones, and then basses. As a result of their lower voices, the ranges for these parts will be lower than that of the ranges listed for tenor above. Richard Miller does not provide a break down of registers for the three lower voice parts in his book ""Securing Baritone, Bass-Baritone, and Bass Voices"" or in"
"between Pelleas (high baritone) and Arkel (bass). (See under fach for more information.) Much of the oratorio repertoire, from Handel's ""Messiah"" to Mendelssohn's ""Elijah"", is best suited to a bass-baritone with the ability to combine a rich, dark tone with a smooth, high-lying cantabile line. Some of the classical Mozart baritone roles such as Don Giovanni, Figaro and Gugliemo—composed before the term ""baritone"" gained currency—are occasionally played by a bass-baritone. Gilbert and Sullivan's Savoy operas usually featured a comic bass-baritone character, created to make use of D'Oyly Carte company member Richard Temple. In short: the ""bass-baritone"" is a voice that"
"seats. The introduction of amplification allowed male leading roles to be assigned to baritones, albeit ones who often had an extension into the tenor range. David Young also notes that the baritenor voice can be particularly useful for roles such as Marius in ""Fanny"" where the character ages significantly during the course of the musical. Baritenor Baritenor (also rendered in English language sources as bari-tenor or baritenore) is a portmanteau (blend) of the words ""baritone"" and ""tenor"". It is used to describe both baritone and tenor voices. In ""Webster's Third New International Dictionary"" it is defined as ""a baritone singing"
"chart that follows. The ranges given below are approximations and are not meant to be too rigidly applied. 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. Teaching voice within non-classical music is an emerging field. Up to this point, voice teachers and voice research have been largely concentrated with classical methods of singing. However,"
"to have the ripely resonant lower range typically associated with the bass voice. For example, the role of Wotan in ""Die Walküre"" covers the range from F (the F at the bottom of the bass clef) to F (the F above middle C), but only infrequently descends beyond C (the C below middle C). Bass-baritones are typically divided into two separate categories: lyric bass-baritone and dramatic bass-baritone. Bass-baritones should not be confused with their vocal cousin—the so-called Verdi baritone. This type of Italianate baritone voice has a brighter tone colour and sings at a slightly higher tessitura than that possessed"
"""male alto,"" and some scholars consider the latter two terms inaccurate owing to physiological differences between male and female vocal production. The only known man who can claim to be a true male soprano by that definition is Michael Maniaci, whose modal voice falls in the soprano range, akin to a woman's, because his larynx did not develop fully in puberty. Notable countertenor roles include: Countertenor 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 G to"
"Baritenor Baritenor (also rendered in English language sources as bari-tenor or baritenore) is a portmanteau (blend) of the words ""baritone"" and ""tenor"". It is used to describe both baritone and tenor voices. In ""Webster's Third New International Dictionary"" it is defined as ""a baritone singing voice with virtually a tenor range"". However, the term was defined in several late 19th century and early 20th century music dictionaries, such as ""The American History and Encyclopedia of Music"", as ""a low tenor voice, almost barytone"" [""sic""]. Baritenor (or its Italian form, ""baritenore"") is still used today to describe a type of tenor"
"Richard Miller for a lyric tenor: Miller describes the lower middle voice as being made up of a mixture of predominantly chest voice with a small amount of head voice. The upper middle he describes as a mixture of predominantly head voice with a small amount of chest voice. This concept holds true for all voice types both male and female. Men have 3 registers separated by 2 passaggi. Each register’s image and shape can be expressed with the shape of a V. (3 V’s, or a double hour glass are acceptable images). Men have 2 passaggi for open vowels"
"as ""Heldentenor""; this heroic voice had its more Italianate counterpart in such roles as Calaf in Puccini's ""Turandot"". Basses have a long history in opera, having been used in ""opera seria"" in supporting roles, and sometimes for comic relief (as well as providing a contrast to the preponderance of high voices in this genre). The bass repertoire is wide and varied, stretching from the comedy of Leporello in ""Don Giovanni"" to the nobility of Wotan in Wagner's ""Ring Cycle,"" to the conflicted King Phillip of Verdi's ""Don Carlos"". In between the bass and the tenor is the baritone, which also"
"Tenor buffo or spieltenor is a tenor with good acting ability, and the ability to create distinct voices for his characters. This voice specializes in smaller comic roles. The range of the tenor buffo is from the C one octave below middle C (C) to the C one octave above middle C (C). The tessitura of these parts ranges from lower than other tenor roles to very high and broad. These parts are often played by younger tenors who have not yet reached their full vocal potential or older tenors who are beyond their prime singing years. Only rarely will"
"in the range of the classical countertenor range. Lead (often a lower tenor) usually sings the main melody. Baritone often completes the chord with a medium voice, usually slightly below (sometimes above) the lead. Bass always sings and harmonizes the lowest notes, often setting the root of the chord for root position chords, or singing the lowest note of the chord for inverted chords. Barbershop quartet A barbershop quartet is a group of four singers who sing music in the barbershop genre of singing, which uses four-part harmony without accompaniment by any instruments such as piano, a style called a"
"classical music. Within contemporary music, however, the use of the term ""tenor"" for these male voices would be more appropriate. Within choral music there are only four categories for adult singers. First, for women: soprano and alto, and for men: tenor and bass. 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"""
"medium between the tenor and the bass) of no great power or compass, but of a sweet and mellow quality. He sang with simplicity, without any attempt at ambitious ornament, but with a great deal of taste and expression; and, being a poet as well as a musician, he was particularly attentive to a clear and emphatic utterance of the words... In singing, he accompanied himself with facility and neatness, on an instrument of a peculiar kind, combining the properties of the pianoforte and the chamber organ, and so constructed that the performer could produce the tones of either instrument"
"a high F, the one above middle C), but few roles go over F. In the operatic bass repertoire, the highest notes are a G (The Barber in ""The Nose"" by Shostakovich) and, in the aria ""Fra l'ombre e gl'orrori"" in Handel's serenata ""Aci, Galatea e Polifemo"", Polifemo reaches an A. Within the bass voice type category are seven generally recognized subcategories: ""basso cantante"" (singing bass), ""hoher"" bass (high bass), ""jugendlicher"" bass (juvenile bass), ""basso buffo"" (""funny"" bass), ""Schwerer Spielbass"" (dramatic bass), lyric bass, and dramatic ""basso profondo"" (low bass). ""Basso cantante"" means ""singing bass"". ""Basso cantante"" is a higher,"
"roles were assigned to the high male voices of hautes-contre. Today the ""taille"" roles are most often performed by baritones. Vocal pedagogues such as Richard Miller use the term to refer to a common voice category in young male singers whose tessitura (most comfortable vocal range) lies between that of a baritone and that of a tenor and whose passage zone lies between C and F. Such singers can evolve, either naturally or through training, into high baritones, suitable for operatic roles such as Pelléas in ""Pelléas et Mélisande"". Alternatively, they may evolve into spieltenors, suitable for character roles such"
"in Verdi's ""Macbeth"", and Kundry in Wagner's ""Parsifal"". The vocal range of the mezzo-sopranos lies between the soprano and the contralto voice types. Mezzo-sopranos generally have a heavier, darker tone than sopranos. The mezzo-soprano voice resonates in a higher range than that of a contralto. The terms ""Dugazon"" and ""Galli-Marié"" are sometimes used to refer to light mezzo-sopranos, after the names of famous singers. Usually men singing within the female range are called countertenors since there is a lighter more breathy tonal (falsetto) quality difference. In current operatic practice, female singers with very low tessituras are often included among mezzo-sopranos,"
"Tenor with a masculine and woman with a feminine voice, the Tenor is as full as two parts, and a tune so sung (although it has but four parts) is in effect the same as six. Such a conjunction of masculine and feminine voices is beyond expression, sweet and ravishing, and is esteemed by all good judges to be vastly preferable to any instrument whatever, framed by human invention. Billings was involved in teaching singing schools throughout his life. In 1769, when Billings was twenty-three years old, the following announcement appeared in the ""Boston Gazette"": ""John Barrey & William Billings"
"Strauss' ""Salome"" and the title role in Verdi's ""Falstaff"". Heldenbaritone A Heldenbaritone, also known as dramatic bass-baritone or hoher bass (high bass), is an opera singer, a German dramatic baritone. ""Heldenbaritone"" (Ger. ""Heroic baritone) is a fach (operatic voice type) that is usually associated with the operas of Richard Wagner. It is usually sung by bass-baritones such as Hans Hotter, Theo Adam or Bryn Terfel. Wagner himself calls this voice type ""Hoher Bass"" (high bass) rather than baritone. In his opera scores he distinguishes between the two so that Wolfram in ""Tannhäuser"" is labelled ""Bariton"", whereas Wotan in ""Die Walküre"""
"male singers, some women can sing as low (albeit with a slightly different timbre and texture than their male counterparts). Unfortunately, they are often erroneously referred to as ""female tenors"", ""female baritones"", ""female basses"" or ""androgynous."" In reality, such terms are usually derogatory informal (slang). Factual formal terminology would be ""contralto profundo"" (tenor) and ""contralto basso"" or ""oktavistka"" (baritone) but these are not traditionally named among the fach system. Some of the rare contraltos that can sing the female equivalent of tenor and baritone include Zarah Leander, Ruby Helder, and Bally Prell. The earliest cited role for the contralto is"
"Heldenbaritone A Heldenbaritone, also known as dramatic bass-baritone or hoher bass (high bass), is an opera singer, a German dramatic baritone. ""Heldenbaritone"" (Ger. ""Heroic baritone) is a fach (operatic voice type) that is usually associated with the operas of Richard Wagner. It is usually sung by bass-baritones such as Hans Hotter, Theo Adam or Bryn Terfel. Wagner himself calls this voice type ""Hoher Bass"" (high bass) rather than baritone. In his opera scores he distinguishes between the two so that Wolfram in ""Tannhäuser"" is labelled ""Bariton"", whereas Wotan in ""Die Walküre"" is called ""Hoher Bass"". Wolfram is a much more"