Voices in the Choir

In the world of singing there are several voice classifications. These are generally divided into four “voice parts” or “voice types,” especially within the context of a choir. Soprano, Alto, Tenor, Bass are terms that any choral singer is familiar with. However, the factors that make a voice fall into a different category are not often understood by amateur singers. Additionally, classification of voice types in opera and musical theater can further complicate the matter causing disagreement between choristers, directors, vocal coaches, and other vocal professionals.

This article will address the issues surrounding voice classification and function within and outside the choral setting.

Origins of Voice Type Terms: Soprano, Alto, Tenor, Bass

While the modern-day tendency in choirs is to make voice assignments based on vocal range (how high and low somebody can sing), the terms Soprano, Alto, Tenor, and Bass describe the role and function of the voices within the choir. In early choral music between the 11th and 15th centuries, the choir was made up male voices and these were the terms used to describe them.

Tenor

The word “Tenor” comes from the Latin word “tenere” meaning “to hold.” In early music, the role of the tenor was to sustain (i.e. “hold”) the fundamental line of the song. This line was known as the cantus firmus (“firm song” or fixed melody) which was often a known melody upon which a composition was written. The other voices in the choir were named to their position and function in relation to the tenor line.

Alto

Similarly, the term “Alto” comes from the Latin word “altus” meaning “high.” Historically, this was sung by high male voices (countertenors) who sang the descant (a contrapuntal melody) against the tenor line using falsetto. Over time (and after women became part of choirs), the term “Alto” came to describe the lower female voice in the choir, also known as contralto.

Bass

From the word “bassus,” meaning “low,” the bass voice sang (and still sings) below the tenor and provided stability as well as the harmonic foundation for a work.

Soprano

Meaning “above” in Italian, the term Soprano didn’t emerge until about the 18th century. Soprano lines were often sung by young boys or castrati (castrated males). This was due to societal and religious restrictions on women singing in public. This voice took over the role of singing the descant from the alto voices and sang above them (as the term describes). Over time, this term came to describe the highest female voice as it became more acceptable for women to sing in choirs.

Voice Parts in the Choir

When assigning voice parts in a choir, sufficient consideration should be given to a singer’s voice type, range, and timbre. However, there are choirs who will place singers in a section based on the needs of the group or a particular song regardless of the singer’s actual voice type.

Voices in the choir generally fall into one of four “parts,”: Soprano, Alto, Tenor, and Bass. It is often the case that these are further subdivided to accommodate divisions that may occur within a song (e.g. Soprano 1, Soprano 2, Alto 1, Alto 2, etc.).

Soprano

Often described as the highest female voice, Sopranos parts are often written at the top of the staff and Sopranos are often assigned the highest notes and the melody of a piece.

Alto

In the choral setting, Altos are said to be the lowest female voice. Their parts are often written between the soprano and tenor lines. Altos lend richness and warmth to the choral sound.

Tenor

Tenors are often recognized as the highest male voice in the modern-day choir. They sing between the altos and the basses. As in early choral music tenors may sing the may melody or a prominent countermelody, contributing to the both the stability and complexity of the choral sound.

Bass

Basses are the lowest voice in the choir and usually provide the harmonic foundation for the other voice parts. They offer depth and resonance to the sound of the choir.

Voice Types Outside of Choir

Soprano, Alto, Tenor, and Bass are recognized voice type designations regardless of the context and style of music. However, in many cases, these designations are used as bit of blanket term to reference several other voice types.

While still remaining relatively broad, the four designations can further broken down into seven common voice types:

Soprano

The highest singing voice with the highest tessitura (average pitch range). It is known for its bright and clear tone.

Notable Soprano Singers Include:

• Tamaki Miura (1884-1946)

• Maria Callas (1923-1977)

• Joan Sutherland (1926-2010)

• Leontyne Price (b. 1927)

• Yoko Watanabe (1953-2004)

• Mariah Carey (b. 1969)

• Renée Fleming (b. 1959)

• Ariana Grande (b. 1993)

  
  

Mezzo-Soprano

Mezzo-Soprano, translating to “half,” refers to middle-range female voices that overlap with soprano and alto ranges. Mezzos have a darker timbre (“color”) than their bright Soprano counterparts. This is the most common voice type among female singers.

Notable Mezzo-Soprano Singers Include:

• Christa Ludwig (1928-2021)

• Cecilia Bartoli (b. 1966)

• Mihoko Fujimura (b. 1966)

• Joyce DiDonato (b. 1969)

• Beyoncé Knowles-Carter (b. 1981)

• Aretha Franklin (1942-2018)

• Mitsuko Shirai (b. 1947)

• Selena Gomez (b. 1992)

  
  

Alto (Contralto)

Altos (sometimes referred to as “contraltos”) are the lowest of the female voices. These voices are not as common as Sopranos and Mezzo-Sopranos and it is often the case that Mezzos with a deeper tone sing alto parts in opera or other forms of stage music. Remember that the alto designation used to be given to men singing in falsetto (such as countertenors).

Notable Alto Singers Include:

• Dame Clara Butt (1872-1936)

• Marian Anderson (1897-1993)

• Shizuko Kawasaki (1919-1982)

• Maureen Forrester (1930-2010)

• Judy Garland (1922-1969)

• Nathalie Stutzmann (b. 1965)

• Alicia Keys (b. 1981)

• Naoko Ihara (b. 1945)

  
  

Countertenor

This is the highest pitch male voice with a vocal range similar to that of a contralto. This is thanks to their skilled use of head voice and falsetto. While countertenors mostly sing in the high registers, when in chest voice, their voices are similar to those of tenors or baritones. This is the least common male voice but can still be heard especially in performances of early music (music through the Baroque era) as well as in the music on Bejamin Britten and others.

Notable Countertenor Singers Include:

• Alfred Deller (1912-1979)

• John Whitworth (1921-2013)

• Russel Oberlin (1928-2016)

• Yoshikazu Mera (b. 1971)

• Reginald Mobley (b. 1977)

• Philippe Jaroussky (b. 1978)

  
  

Tenor

The tenor voice is the second highest voice after the countertenor. It is known to be bright, agile, flexible, and expressive.

Notable Tenor Singers Include:

• Fritz Wunderlich (1930-1966)

• Luciano Pavarotti (1935-2007)

• Plácido Domingo (b. 1941)

• Paul McCartney (b. 1942)

• Ian Bostridge (b. 1964)

• Jonas Kaufmann (b. 1969)

• Kei Fukui (b. 1962)

• Toshiaki Murakami (b. 1972)

• Bruno Mars (b. 1985)

  
  

Baritone

The baritone is a male voice type that sits between the tenor and bass voices. The vocal range of baritones has overlap between the two voices as well. The voice has a deep, warm, and rich tone and is arguably the most common male voice type.

Notable Baritone Singers Include:

• Frank Sinatra (1915-1998)

• Dietrich Fischer-Dieskau (1925-2012)

• Elvis Presley (1935-1977)

• Dmitri Hvorostovsky (1962-2017)

• Gerald Finley (b. 1960)

• John Legend (b. 1978)

• Masumitsu Miyamoto (b. 1972)

• Kei Kondo (b. 1989)

  
  

Bass

The bass voice is the deepest and lowest of the male voices. It is darker and has a heavier timbre than a baritone.

Notable Bass Singers Include:

·         Boris Christoff (1914-1993)

·         Cesare Siepi (1923-2010)

·         Takao Okamura (1931-2021)

·         Martti Talvela (1935-1989)

·         Barry White (1944-2003)

·         Hiroyuki Okayama (1948-2015)

·         René Pape (b. 1964)

·         Tim Storms (b. 1972)

Additional Voice Classifications (The Fach System)

In addition to the voice classifications described above, there exists further classifications under the German Fach system (“compartment”). This system is used primarily used to classify voice types in opera according to not only range, but also the weight, and timber of a singer’s voice.

The following is a list of voices in the Fach system:

Sopranos

Lyric Coloratura Soprano

Dramatic Coloratura Soprano

Character Soprano/Soubrette

Lyric Soprano

Spinto Soprano

Full Dramatic Soprano

High Dramatic Soprano

Mezzo-Sopranos

Coloratura Mezzo-soprano

Lyric Mezzo-Soprano

Dramatic Mezzo Soprano

Altos (Contraltos)

Dramatic Contralto

Deeper Alto/Contralto

Tenors

Lyric Tenor

Lyric Dramatic Tenor/Spinto Tenor

Character Tenor

Heldentenor/Heroic Tenor/Dramatic Tenor

Lyric Comic Tenor/Tenor Buffo

Baritones

Light Baritone

Lyric Baritone

Cavalier Baritone/Baritone Cantabile

Character Baritone/Verdi Baritone

Dramatic Baritone

Lyric Bass-Baritone/Low Lyric Baritone

Basses

Dramatic Bass-Baritone/High Dramatic Bass

Young Bass

Lyric Comic Bass/Lyric Buffo

Dramatic Comic Bass

Low Bass/Lyric Serious Bass/Basso Profundo

Dramatic Serious Bass/Dramatic Low Bass/Dramatic Bass

Confusion Born from Part Assignments in Choirs

By now I hope that we have all grasped that voice classification is not as simple as what choral music sometimes makes it seem. Those with vocal training may be aware of disagreements between vocal teachers and choral directors stemming from perceived mismatches between their choir “part” assignment and a singer’s voice “type.” This is do to the fact that, in the context of a modern choir, voice parts are generalized and overly simple when compared to the number of voice classifications that exist in bel canto (the basis for operatic singing) and other singing styles.

Choir part assignments can also lead to misunderstandings amongst untrained singers as to what their actual voice type is. There are also singes who go into an ensemble with an idea of the part they “want to” sing while not fully understanding the fact that a person’s voice type is dependent on their anatomy and—to a degree—their training.

Let us also not forget that, for better or for worse, vocal range (rather than tessitura) and a choir’s needs are at play when assigning a singer to a part—be it for an entire season, for a single song or for a small section of a song. This also has to do with the fact that geographical and cultural factors affect the availability of certain voice types.

 Conclusion

Many amateur choristers are unfamiliar with the complexities of what defines a voice type and the circumstances under which their voice part was decided. The fact that choral part designations are limited and do not necessarily match a singer’s voice part is also a cause for confusion. The availability of a certain voice part as well as the needs of a particular choir often necessitate flexibility among singers. In many cases this means singing a part that is not necessarily one that matches a singer’s voice type (i.e. a mezzo-soprano singing a soprano, a baritone singing a tenor line, etc.).

While a source frustration for many directors, vocal teacher, and vocalists, it is the versatility of the human voice that makes these compromises possible. It is this same versatility that also makes it so that no two choirs sound exactly alike. This makes for an exciting experience at any choral performance that one may have the pleasure of hearing.