The four voices: Soprano, Alto, Tenor and Bass

Music Appreciation: A Primer

Chapter 1: Sources of Musical Sounds
1.10 VOICES
1.11 Introduction
Voices are classified according to range, gender and somewhat according to quality.
From high to low, the basic classifications are:
__________________ ______________ __________________ ________________.
Soprano and alto designate respectively high and low female and unchanged male
(boys') voices. Tenor and bass designate high and low changed male voices. The
compass of any one voice is limited, but the span from the top of the highest soprano
voice to the bottom of the lowest bas voice is about 4 octaves (cf. a piano with a range
of a little over 7 octaves).
The most ordinary range for a woman's voice lies between that of a true soprano and
alto. This intermediate voice is called Mezzo-soprano. The parallel male voice with a
range between that of tenor and bass is known as Baritone. These, together with the
four previously named, constitute the 6 usual voice types. Further distinctions are
made, primarily in operatic music, on the basis of style and quality.
1.12 SOPRANO
Soprano voices are subdivided into coloratura, lyric, dramatic and mezzo.
COLORATURA soprano have unusually high voices and specialize in performing
music coloured by _________________ runs and rapid passages requiring great
agility. In operas, the heroines role often calls for a coloratura soprano.
LYRIC sopranos concentrate on ____________________ rather than extreme range or
power. Their literature demands a light vocal quality and a melodious, flowing style. A
lyric soprano voice is ideal for many art songs and for leading parts in light operas and
musical comedies. Arias in grand operas, too, may require lyric soprano style and
quality.

DRAMATIC soprano is the appellation for sopranos with ______________voices and

pronounced histrionic ability. Operatic roles portraying intense emotions are assigned
to dramatic sopranos, and only sopranos of this type can cope with the heavy
orchestral accompaniments and emotional demands of Wagnerian music drama.
MEZZO-SOPRANO voices lack both the brilliance of the higher soprano voices and
the richness of the lower alto voices. Since more women's voices fall in this category
than any other, supreme _______________ and musicianship are essential for mezzosopranos who make a career of signing. ______________ is one the few operas with
the leading role assigned to a mezzo-soprano, but many supporting parts in operas are
sung by mezzo-sopranos.
Suggested Listening
1. Leo Delibes: Opera Lakme (1883) Act II. Bell Song. Coloratura aria.
2. Verdi Giuseppe: Opera, La Traviata (1853) Act I. Sempre Libera ("Always Free").
<La Traviata is based on Dumas' 'Camille'. The coloratura herione sings of a life of
freedom and pleasure in this brilliant aria.>
3. Bizet: Carmen (Opera) (1875) Act I: Habanera, Act II: Sequidilla, Act III: Gypsy
Song. <Carmen, a mezzo-soprano in the title role, sings the taunting Habanera as she
begins her flirtation with Don Jose, a soldier. She tempts him with the prospect of a
rendezvous in the seductive Seguidilla. The Gypsy Song is song by Carmen for the
entertainment of her merrymaking friends at the inn of Lillas Patia.>
1.13 ALTO
Alto and Contralto are used synonymously, though contralto sometimes seems to
carry the connotation of a particularly deep alto voice. There is no distinction between
them in the literature. It exploits the low tones of the female voice. The quality,
typically is rich, _____________, ___________ and 'throaty'.
Suggested Listening
1. Handel: Messiah (1742) 9. "O Thou That Tellest Good Tidings", "He Shalt Feed
His Flock" and "He Was Despised" are the three arias for alto (or contralto) in this
immortal work of Handel.

2. Mahler: Das Lied von der Erde (Song of the Earth) (1908) 4. "Von der Schoenheit"
("Of Beauty")
1.14 TENOR
Tenor voices, like soprano voices, sometimes are classified according to type. Robusto
(robust), lyric, ______________ and heroic are adjectives commonly attached to
tenors.
TENOR ROBUSTO is the type with tremendous power in the upper register featured
in ____________Opera. This is the type of voice to which most young tenors aspire.
LYRIC TENORS, also referred to as _____________ tenors, are the counterpart of
lyric sopranos. Their voices possess the same qualities, and they sing the same type of
music, of times the same songs.
DRAMMATIC and HEROIC TENORS have much in common with robust tenors, but
the terms are associated with ___________opera. These tenors often begin their
careers as high baritones and through training and practice add to their natural range
the high baritones and through tones necessary to sing tenor roles.
Suggested Listening
1. Verdi: Rigoletto (Opera) (1851): Act I: Questa o quella (One is as fair as another);
Act IV: La donna e mobile (Woman is fickle).
2. Bizet: Carmen (Opera) (1875): Act 2: Flower Song. <Don Jose discloses a flower
preserved from his first meeting with Carmen and sings of his devotion in this tenor
aria>.
3. Mozart: Don Giovanni (Don Juan) (Opera) (1787): Act I: Dalla sua pace (On her
all joy dependeth); Act II: Il mio tesoro (To my beloved). <In the second of these
arias, the tenor executes florid passages similar to those associated with coloratura
sopranos. It was replaced by the first when the tenor engaged for the Vienna
performance found the original too difficult. Both love songs are included in modern
scores and performances>.

1.15 BARITONES
Baritones, like mezzo-sopranos, are in competition with the most prevalent voice
types of their sex. They cannot hope to impress audience with extreme range or feats
of brilliance. They compensate with ____________________and skillful
________________. The designation is not customary in choral music, but operatic
parts are entrusted to baritone voices.
Suggested Listening
1. Bizet: Carmen (Opera) (1875) Act II: Toreador Song. <This rousing song about
the glory of the bull ring is sung by the baritone, Escamillo, to an entranced group,
including the impressionable Carmen>.
1.16 BASS
Bass is a general term for all __________ male voices. Subdivisions, as with other
voices, are predicated more upon the role or selection being sung than upon the
characteristics of the voice. A bass singer especially proud of his low notes may
advertise himself as a BASSO ______________. One who claims a range
encompassing that of bass and baritone combined (or who lacks extremes of either)
may adopt the title of BASS-BARITONE. A bass specializing in a lyric style will be
known as a BASSO CANTANTE, and one associated with comic roles will be known
as BASSO BUFFO.
Suggested Listening
1. Mozart: The Magic Flute (Opera) (1791): Act II: In Diesen Heiligen Hallen (Within
these sacred halls). <In this aria the bass, High Priest Sarastro, consoles the despairing
Pamina and assures her that Prince Tamino will soon be free to marry her. When the
opera is sung in Italian, this aria is known as Qui sdegno non s'accende.
2. Mozart: Don Giovanni (Don Juan) (1787): Act I: Madamina (Catalog Aria) <In
this humorous bass aria, Leporello, Don Giovanni's man-servant recites a catalog of
his master's conquests - 640 in Italy, 231 in Germany, 100 in France, 91 in Turkey and
in Spain 1003!>.

Teacher Key

The four voices: Soprano, Alto, Tenor and Bass

Music Appreciation: A Primer
Chapter 1: Sources of Musical Sounds
1.10 VOICES
1.11 Introduction

Voices are classified according to range, gender and somewhat according to quality. From high to lo
basic classifications are:
Soprano, Alto, Tenor and Bass.

Soprano and alto designate respectively high and low female and unchanged male (boys') voices. Te
bass designate high and low changed male voices. The compass of any one voice is limited, but the s
the top of the highest soprano voice to the bottom of the lowest bas voice is about 4 octaves (cf. a pi
range of a little over 7 octaves).

The most ordinary range for a woman's voice lies between that of a true soprano and alto. This interm
voice is called Mezzo-soprano. The parallel male voice with a range between that of tenor and bass i
as Baritone. These, together with the four previously named, constitute the 6 usual voice types. Furth
distinctions are made, primarily in operatic music, on the basis of style and quality.
1.12 SOPRANO

Soprano voices are subdivided into coloratura, lyric, dramatic and mezzo. COLORATURA soprano
unusually high voices and specialize in performing music coloured by ornamentation, runs and rap
passages requiring great agility. In operas, the heroines role often calls for a coloratura soprano.

LYRIC sopranos concentrate on beauty of sound rather than extreme range or power. Their literatur
demands a light vocal quality and a melodious, flowing style. A lyric soprano voice is ideal for many
and for leading parts in light operas and musical comedies. Arias in grand operas, too, may require ly
soprano style and quality.

DRAMATIC soprano is the appellation for sopranos with powerful voices and pronounced histrioni

Operatic roles portraying intense emotions are assigned to dramatic sopranos, and only sopranos of t
can cope with the heavy orchestral accompaniments and emotional demands of Wagnerian music dra

MEZZO-SOPRANO voices lack both the brilliance of the higher soprano voices and the richness of
alto voices. Since more women's voices fall in this category than any other, supreme vocal quality a
musicianship are essential for mezzo-sopranos who make a career of signing. Carmen is one the few
with the leading role assigned to a mezzo-soprano, but many supporting parts in operas are sung by
sopranos.
Suggested Listening
1. Leo Delibes: Opera Lakme (1883) Act II. Bell Song. Coloratura aria.

2. Verdi Giuseppe: Opera, La Traviata (1853) Act I. Sempre Libera ("Always Free"). <La Traviata is
Dumas' 'Camille'. The coloratura herione sings of a life of freedom and pleasure in this brilliant aria.

3. Bizet: Carmen (Opera) (1875) Act I: Habanera, Act II: Sequidilla, Act III: Gypsy Song. <Carm
mezzo-soprano in the title role, sings the taunting Habanera as she begins her flirtation with Don Jos
soldier. She tempts him with the prospect of a rendezvous in the seductive Seguidilla. The Gypsy So
by Carmen for the entertainment of her merrymaking friends at the inn of Lillas Patia.>
1.13 ALTO

Alto and Contralto are used synonymously, though contralto sometimes seems to carry the connotati
particularly deep alto voice. There is no distinction between them in the literature. It exploits the low
the female voice. The quality, typically is rich, resonant, dark and 'throaty'.
Suggested Listening

1. Handel: Messiah (1742) 9. "O Thou That Tellest Good Tidings", "He Shalt Feed His Flock" an
Was Despised" are the three arias for alto (or contralto) in this immortal work of Handel.

2. Mahler: Das Lied von der Erde (Song of the Earth) (1908) 4. "Von der Schoenheit" ("Of Beauty")
1.14 TENOR

Tenor voices, like soprano voices, sometimes are classified according to type. Robusto (robust), lyric
dramatic and heroic are adjectives commonly attached to tenors.

TENOR ROBUSTO is the type with tremendous power in the upper register featured in Italian Ope
the type of voice to which most young tenors aspire.

LYRIC TENORS, also referred to as "Irish" tenors, are the counterpart of lyric sopranos. Their voic
possess the same qualities, and they sing the same type of music, of times the same songs.

DRAMMATIC and HEROIC TENORS have much in common with robust tenors, but the terms are
associated with German opera. These tenors often begin their careers as high baritones and through
and practice add to their natural range the high baritones and through tones necessary to sing tenor r
Suggested Listening

1. Verdi: Rigoletto (Opera) (1851): Act I: Questa o quella (One is as fair as another); Act IV: La donn
mobile (Woman is fickle).
2. Bizet: Carmen (Opera) (1875): Act 2: Flower Song. <Don Jose discloses a flower preserved from
meeting with Carmen and sings of his devotion in this tenor aria>.

3. Mozart: Don Giovanni (Don Juan) (Opera) (1787): Act I: Dalla sua pace (On her all joy depend
II: Il mio tesoro (To my beloved). <In the second of these arias, the tenor executes florid passages s
those associated with coloratura sopranos. It was replaced by the first when the tenor engaged for th
performance found the original too difficult. Both love songs are included in modern scores and
performances>.
1.15 BARITONES

Baritones, like mezzo-sopranos, are in competition with the most prevalent voice types of their sex.
cannot hope to impress audience with extreme range or feats of brilliance. They compensate with so
production and skillful interpretation. The designation is not customary in choral music, but opera
are entrusted to baritone voices.
Suggested Listening

1. Bizet: Carmen (Opera) (1875) Act II: Toreador Song. <This rousing song about the glory of th
is sung by the baritone, Escamillo, to an entranced group, including the impressionable Carmen>.
1.16 BASS

Bass is a general term for all low male voices. Subdivisions, as with other voices, are predicated mo
the role or selection being sung than upon the characteristics of the voice. A bass singer especially pr
his low notes may advertise himself as a BASSO PROFONDO. One who claims a range encompas

of bass and baritone combined (or who lacks extremes of either) may adopt the title of BASS-BARI
bass specializing in a lyric style will be known as a BASSO CANTANTE, and one associated with c
roles will be known as BASSO BUFFO.
Suggested Listening

1. Mozart: The Magic Flute (Opera) (1791): Act II: In Diesen Heiligen Hallen (Within these sacred h
this aria the bass, High Priest Sarastro, consoles the despairing Pamina and assures her that Prince T
will soon be free to marry her. When the opera is sung in Italian, this aria is known as Qui sdegno no
s'accende.

2. Mozart: Don Giovanni (Don Juan) (1787): Act I: Madamina (Catalog Aria) <In this humorous
Leporello, Don Giovanni's man-servant recites a catalog of his master's conquests - 640 in Italy, 231
Germany, 100 in France, 91 in Turkey and in Spain 1003!>.