What is the tenor voice? Types of singing voices The tenor has the highest note.

There are four main choral parts (voices) in the choir:

SOPRANO(female high) - S (Soprano)

ALTO(female low) - A (Alt, Alto)

TENOR(male high) - T (Tenor)

BASS(male low) - B (Bass)

In turn, each of these voices can be divided into several more, then it will already be called a divisi (divisi) - see the Choral terms section. And they will be called, for example, first sopranos and second sopranos, first basses and second basses, etc.

Women's(from top to bottom): coloratura soprano, lyric-coloratura soprano, lyric soprano, dramatic soprano, mezzo-soprano, contralto)

Men's(from top to bottom): tenor, baritone, bass. Each of them can have varieties.

Below we will consider each of the voices separately. Each voice will also have a sound range indicated. Because Since this question is of interest to many artists of the choir, we have included these data in a separate table. But at the same time, I would like to draw attention to the fact that these ranges are applicable more for professional singer-performers than for amateurs.

In our terminological dictionary, we have not allowed ourselves to give all the meanings of words. We consider the meanings of the word only from the side of the vocal or choral sense (for example, the word viola can mean and bowed instrument families of violins - these are the meanings of words we immodestly allowed ourselves to omit)

So, our little terminological guide to voices. Terms are listed alphabetically.

ALTO(lat. altus - high; in the middle-century music it was performed above the tenor leading the main tune) -

1) Part in the choir or ans., comp. from low children's or average and low wives. voices (mezzo-soprano - first altos, contralto - second altos); range from fa small. oct. to FA 2nd Oct. (above - very rare), most used. salt (la) small. oct. - E flat (mi) 2nd Oct.

BARITONE(Greek - heavy-sounding) - Male of average height. voice; the range of A-flat (sol) is large. oct. - A-flat 1st Oct.; transitional registers. note D-sharp (re) 1st Oct.

There are lyrical baritone (approaching the tenor in terms of lightness of sound) and dramatic (close in breadth and power to the bass), with intermediate shades between them.

In the choir, baritones are part of the first basses; range salt of a large octave - F of the 1st octave (very rarely higher, predominantly in unison with tenors)

BASS(Italian basso - low) -

There are basses high (cantante - melodious), central and profundo (deep) - low (they are also called basses-octavists. A special, rare, variety of the low bass; the name Octavista is usually applied to choral singers (in solo singing- bass profundo). Octavists sing an octave below the bass (in the rarest of cases going down to the F counter-octave). Octavists are most often used in a chordal warehouse, with a quiet sound. The acoustic effect of the participation of Octavists is to merge the sounds of the chord, which in relation to the fundamental tone are, as it were, overtones (therefore, it is most natural to use Octavists when singing the bases of major triads). Octavists should be used carefully, taking into account the composer's instructions and the style of production.)

2) Part in the choir or wok. ensemble; composed of baritones and basses proper; range (without octaves) fa of a large octave (rarely lower) - fa 1st octave, the most common salt of a large octave - re (E-flat) of the 1st octave. The use of octaves extends the range of the bass part down an octave. Bass part - harmony the foundation of the choir, hence the need for its intonation. stability and sound. At the same time, it must have mobility, flexibility in dynamic. relation, which is also favorable for the purity of intonation.

TREBLE(from Latin dis - a prefix meaning dismemberment, cantus - singing) -

2) Part in the choir or wok. ensemble, performed by high children's voices.

COLORATURA(from lat. coloro - I color) - fast virtuoso passages (scales, arpeggios) and melismas that adorn the vocal part. Coloratura was often used in the ancient choral music(starting from the Renaissance), in Bach, Handel, in Russian. church 18th century concert In modern choral compositions sometimes used as pictorial technique. Coloratura is also the ability of the voice to move (hence the term - coloratura soprano). Virtuoso mobility of any choral voice (including bass) is desirable in every qualified choir; it helps to develop ease of sounding, accuracy of intonation.

CONTRALTO(Italian contralto - a low female voice; the range is from fa of a small octave (below - rarely and predominantly in folk choirs) to fa2. Transitional notes mi1 (fa1), do-sharp2 (re) 2; in the choir - part of the second violas Sometimes used in unison with tenors as a kind of vocal color or to support high tenor notes, since this changes the timbre of the tenor part, the latter cannot serve as a rule, but rather an exception.

MEZZO SOPRANO(Italian mezzo - medium) - medium female voice. Range la small. oct. - la2 (rarely higher). There are high (lyrical) mezzo-soprano, approaching the soprano by the nature of the sound, and low, approaching the contralto. Transitional register notes f-sharp1 (fa1) - re-sharp2 (re2). In the choir, the mezzo-sopranos make up the part of 1 altos, in the 3-voice wives. chorus, depending on the specific. conditions are included in the party of the 2nd or 3rd vote.

MIXT(from lat. mixtus - mixed) - register of a singing voice, transitional between chest and head (falsetto) registers; it is characterized by greater softness, lightness compared to the chest register and greater saturation, sonority than falsetto. In a well-trained voice, it is necessary to mix the main registers (chest and head) over the entire range, and the head sound increases in the upward direction. In Mixed, the male voice is dominated by the chest character of the sound, while the female voice is dominated by the head. The role of Mikst is especially important in the male voices of the choir; in particular, for tenors, the sounds of the 1st octave should be mixed.

SOPRANO(from Italian sopra - above, above) -

1) The highest female, children's (also treble) voice. The range is up to 1 - up to 3, occasionally there are higher (sol3) and low (for a small octave) sounds. There are 3 main varieties of Soprano: dramatic (characteristic of fullness and strength of sound), lyrical (softer) and coloratura (distinguished by mobility, ability to high notes, pronounced vibrato; it is not used in the choir). There are also intermediate types (lyric-dramatic and lyric-coloratura). Transitional register notes mi1 - fa1 and fa2 (fa-sharp2).

2) The highest part in a choir or wok. ensemble, consisting of lyrical (first Soprano) and dramatic (second Soprano) voices; range do1 (lower rare) - do3, the most used re1 - salt2 (la2).

The soprano part is the most important in the choir, since (in homophonic harmonic music) it is most often entrusted with the melody; hence the need for its dynamic. flexibility, mobility, beauty of timbre.

TENOR(Italian, from Latin teneo - I hold) -

2) High male singing voice. Range to a small octave - up to 2; transitional register note (between the chest and head registers) f - f-sharp1. Notated in treble clef(an octave above the actual sound), in bass and tenor clefs.

The main varieties of T.: lyrical (tenore di grazia), dramatic (tenore di forza), as well as the middle one between them - mezzo-characteristic - and rare Tenor-altino (with a developed upper register - above up to 2). In the Tenor choir, lyric and altino make up the first part, the rest - the second. Due to the frequent use of high tessitura in the choir (especially in men's), the ability of tenors to use falsetto and mixed voices is important.

FALSETTO(from Italian falso - false), fistula - one of the registers of the male singing voice (upper), in which only the head resonator is used, isolated from the chest; the vocal cords do not close tightly and oscillate at the edges, as a result of which the falsetto sounds weak, colorless. In solo singing, falsetto is occasionally used as peculiar paint. IN choral singing Falsetto is used when learning high notes, on PP, when setting the tone by the conductor. Some tenors, playing extremely high notes, use a "voiced" falsetto, approaching the mixed: such voices are very useful for the choir. The ability to use falsetto for singers (for the sake of "economy of the voice") and for the conductor is a must.

Table of ranges of singing voices:

Choral voices:

Voice	Range
Coloratura soprano	up to 1 - up to 3, occasionally higher ones (salt 3)
Lyric soprano
Dramatic soprano	do1 - do3, occasionally there are higher (sol3) and low (la small octave) sounds; most used re1 - salt2 (la2)
mezzo soprano	la small oct. - la2 (rarely higher)
Contralto	from fa mal. oct. (below - rare and predominant in folk choirs) up to fa2
Lyric tenor	to small oct. - up to 2
Dramatic tenor	to small oct. - up to 2
Tenor altino	tenor with a developed upper register - up to 2
Baritone	A-flat (sol) big. oct. - A-flat 1st Oct.
Bass	fa big. oct. - fa 1st Oct.
bass profundo	they sing an octave below the bass (in the rarest cases, going down to F counter-octave)

The selection and layout of materials was prepared by Fedotova T.A.

The following editions were used: Romanovsky N.V. Choral dictionary. Kruntyaeva T., Molokova N. Dictionary of foreign musical terms

Tenor- high singing male voice.

Separation of tenors on the:

- tenor altino

- lyric tenor

- lyric-dramatic tenor

- dramatic tenor

Most high tenor – tenor altino.

This is a rare voice. In the choir, tenor altino is taken to expand the range of the tenor part. The tenor altino gives sonority, the strength of the sound of the tenor part. Has a light tone. With a large speaker, it sounds a bit harsh. The lower register is poorly developed.

Lyric tenor. The range of the lyric tenor: up to a small - up to the second octave. The lyric tenor has a light, warm, soulful timbre. The voice is soft, silvery, mobile.

Perfectly perform virtuoso, technically advanced parts. The sound of lyrical tenors is characterized by wide melodiousness and melodiousness. An example of a lyric tenor part is Lensky's part from the opera Eugene Onegin by Tchaikovsky.

Tenor lyric-dramatic and dramatic

The dramatic tenor is characterized by great sound power in the high register, timbre brightness and saturation in the lower register. An example of a dramatic tenor part is the part of Jose from the opera Carmen by the composer Bizet, the part of Otello from the composer Verdi's opera Otello, the part of Herman from Tchaikovsky's The Queen of Spades.

Let's listen to the performance of tenors - winners of the Romansiada competition (Moscow): Sergey Petrishchev, Evgeny Yuzhin, Umir Israilov. The composer R. Falvo's romance "Tell me, girls" sounds.

There are characteristic tenors in opera parts. These are secondary roles. For example, Shuisky from Mussorgsky's opera Boris Godunov, The Doctor from Rimsky-Korsakov's opera The Tsar's Bride.

Both lyric and lyric-dramatic tenors can be characteristic.

In their parties characteristic tenor does not exceed the operating range. Basically, this is the middle register, and it is used to convey any characteristic intonations - intonations of laughter, flattery, whispers or sighs. The voices of characteristic tenors are colored with a specific timbre.

The direction of the parties performed by these tenors is comedic, everyday.

Tenor opera parts:

Composer Bizet - part of Jose from the opera "Carmen"

Borodin: Vladimir ("Prince Igor")

Verdi: Duke (Rigoletto), Alfred (La Traviata),

Glinka's operas: "A Life for the Tsar" - Sobinin, "Ruslan and Lyudmila" - Boyan, Finn

Operas by Dargomyzhsky: "Mermaid" - Prince, "Stone Guest" - Don Giovanni

Operas by Mussorgsky: "Boris Godunov" - parts of Shuisky, Yurodivy

Operas by Rimsky-Korsakov: The Snow Maiden - Berendey's part, The Night Before Christmas - Vakula's part

Tchaikovsky's operas: "Eugene Onegin" - the part of Lensky, "Cherevichki" - the part of Vakula, " Queen of Spades» - the party of Herman.

Famous tenor singers:

Anjaparidze, Zurab (1928 - 1997), Georgia

Atlantov, Vladimir (b. 1939), Russia

Vinogradov, Georgy (1908-1980), USSR

Kozlovsky, Ivan (1900-1993), USSR

Lemeshev, Sergei (1902-1977), USSR

Nelepp, Georgy (1904―1957), USSR

Obodzinsky, Valery (1942―1997), Russia

Osipov, Vyacheslav (1938―2009), Russia

Pavarotti, Luciano (1935-2007), Italy

Sobinov, Leonid (1872-1934), Russia

Solovyanenko, Anatoly (1932-1999), Ukraine

Gradsky, Alexander (b. 1949), Russia

The voice is an amazing human gift. Everyone has their own, unique and unrepeatable. However, in professional art there is a clear classification that combines certain types of voices into groups according to different criteria: sound strength, vocal and technical qualities, timbre, etc. Among men, the tenor occupies the first place. This is the voice of the great opera singers which we will discuss in detail in this article.

Description

The tenor is the high singing voice of men. It is the most popular in the world. Translated from Latin, this word means "voice tension" or "uniform movement." In terms of its range, the tenor in solo parts is able to reach the note "to" the second octave. And in choral performances, its limit is the note “la” of the first octave.

In opera singing, soloists with a tenor are valued, who are able to cleanly take the "B-flat" of the first and "C" of the second octave. By the way, this quality is considered the most beautiful, the upper register of the tenor voice. It is often referred to as the "upper do" or royal note. In Italy, singers are paid big fees for the ability to take it.

Classification

• lyrical;
• dramatic;
• baritone tenor;
• counter tenor;
• altino tenor.

Let's deal with each type of named male voice separately.

Varieties

Lyric tenor- this is a voice with a soft, "silver" timbre with good mobility and melodiousness of sound. A huge number of parties have been created under it in the opera repertoire today. These are Faust (Gounod's opera of the same name), Lensky ("Eugene Onegin" by Tchaikovsky), Alfred ("La Traviata" by Verdi), Pierre Bezukhov ("War and Peace" by Prokofiev) and many others. In operas written by Rossini and Mozart, the parts require high mobility and a fairly wide range from the tenor. Therefore, soloists suitable for this role must have a special, Rossini (or Mozart) tenor.

Much rarer in operas dramatic tenor. It is characterized by a thick, rich sound. It is often confused with the lyric baritone. However, it has more power and a brighter timbre. In operas for this type of voice, parties are created for images with contradictory characters and tragic fate. For example, José from Bizet's Carmen, Otello (Verdi's opera) or Herman from Tchaikovsky's The Queen of Spades. IN operatic art there is the concept of the heroic Wagnerian tenor. The fact is that the operas of Richard Wagner are distinguished by their scale and require great endurance from the performer with a dramatic tenor, forcing him to continuously sing powerfully and heroically for several hours.

There is also an intermediate type called lyric-dramatic tenor. In terms of the power of sound and the expression of drama, it is inferior to the dramatic one, but surpasses the lyric tenor. It is a universal instrument for embodying both genres of the operatic repertoire.

baritone tenor- a voice that simultaneously possesses the features of a baritone and a tenor. In terms of sound strength, it coincides with its predecessors, however, it has a short upper register of the range. A suitable operatic part for this type of voice is Mime from Wagner's Der Ring des Nibelungen.

Altino tenor is a kind of lyric tenor with a well-developed upper register and a range reaching the note "mi" of the second octave. All these qualities impose certain restrictions on the repertoire. An example of an altino tenor part is the Astrologer from Rimsky-Korsakov's The Golden Cockerel.

Increasingly widespread in operatic singing is counter tenor. This is the highest male singing voice. Its range extends from the note “to” small to “si” of the second octave. It can be demonstrated by the performance of the part "Flight of the Condor", written in 1913 by the Peruvian composer D. Robles.

Who can sing tenor?

The tenor is the voice most often heard in operas and musicals. Experts say that it is the most complex technique of male singing and it is possible to learn how to master it only in the course of many years of practice. Of course, it should be remembered that not every man can sing in a tenor voice. After all, it all depends on what voice nature has awarded him.

Can a baritone, a voice with a lower pitch, sing like a tenor? Of course, it is simply impossible for him to reach the upper registers. But for men who have a soft, high voice with the help of professional teacher and diligence can develop a tenor. At the same time, do not forget about musical theory and notes, without the knowledge of which the development of complex singing technique will be an empty business.

famous singers

A popular American tenor is Richard Croft. He has a lyrical, or rather, Mozartian tenor. The Italian Alessandro Safina is slightly inferior to him in terms of voice range.

But the most famous owners of high voices are the Spaniards Placido Domingo, Jose Carreras and the Italian Luciano Pavarotti, who made up the legendary opera trio "Three Tenors". In this composition, the singers toured the world with concerts from 1990 to 2003.

Tenor owners are also found in variety art. Among such well-known Chester Bennington from linkin bands Park, Adam Levine of Maroon 5, Michael Jackson, Adam Lambert, Billy Ocean, Ryan Tedder of One Republic and many more. Of course, their vocal range is significantly inferior to the opera singers from the Three Tenors trio. Unless the "golden voice of Russia" - Nikolai Baskov - can be compared with them, since the singer came to the stage from the opera, and therefore has not only excellent vocal abilities, but also several years of perfecting them for opera parts behind him.

And finally, some interesting facts:

• In addition to defining a male singing voice, a tenor is also a wind instrument. musical instrument belonging to the saxhorn group. It was first created by Adolf Sax in mid-nineteenth century. Today, the tenor saxophone is perhaps the most popular instrument in jazz music.
• Known male singers who sing in the range female voice. In the Baroque era, such opera parts were performed by castrati - young men who were castrated to maintain a high voice. Today counter-tenors successfully cope with this role.

Three - bass, baritone and tenor.

Tenor - high male singing voice, possibly the most popular voice in the world. Translated from Latin, tenor means uniform movement, tension of the voice.

Range soloists from "to" a small octave to "to" the second, and in choral parts the upper limit is "la" of the first octave. Among soloists, the ability to cleanly and firmly take B-flat from the first to the second is highly valued.

Transitional registered note (between the chest and head registers) - mi-fa-fa-sharp of the first octave.

The tenor part is recorded in the treble clef (an octave higher than the actual sound), as well as in bass and tenor clefs.

According to timbre and range, they distinguish:

• countertenor
• altino tenor
• lyric tenor (tenore di grazia)
• lyric-dramatic tenor
• dramatic tenor (tenore di forza)
• characteristic tenor

Countertenor (Countertenor) - tallest of men opera voices, the range "to" a small octave - "si" second! Until recently, it was relatively rare, but now it is becoming more common.

It is worth noting that counter-tenor is not even a type of voice, it is a SINGING TECHNIQUE. As a rule, baritones become counter-tenors, who sing strongly in the falsetto register. The sound of a countertenor is similar to that of a female voice.

Listen to the song "El Condor Pasa" ("Flight of the Condor") Peruvian composer Daniel Robles (1913) performed by the world famous countertenor Fernando Lima (Fernando Lima).

In this song, the range is from "F-sharp" small to "D" of the second octave.

Tenor altino is a variety lyric tenor, which has a well-developed upper case, the range reaches "mi" of the second octave. Usually this voice has a small range, which imposes restrictions on the repertoire.

The role of the Astrologer in Rimsky-Korsakov's The Golden Cockerel was written for altino tenor.

Lyric tenor. The largest number of roles in the operatic repertoire was written specifically for him: Faust (Gounod's "Faust"), Lensky (Tchaikovsky's "Eugene Onegin"), Alfred (Verdi's "La Traviata"), Pierre Bezukhov (Prokofiev's "War and Peace").

In the operas of Rossini and Mozart, the tenor requires a very high mobility of the voice and the widest range. Therefore, the concept Rossini (Mozart) tenor.

Hear how Richard Croft, an American opera singer often described as a lyric tenor or "Mozart tenor", sings the Aria of Mithridates superbly "Vado incontro al fato estremo"("I'm going to meet an unusual fate") from Mozart's opera.

Pay attention to the huge jumps in this game.

Lyric-dramatic tenor able to perform the parts of both lyrical and dramatic tenor.

Hear the singing of one of a kind Russian singer Alexander Gradsky.

Music by A. Pakhmutova, lyrics by N. Dobronravov, “How young we were”, song from the film “My love in the third year”

The range in this performance of Gradsky's "la" is large - "re" of the second octave!

Dramatic tenor. This voice is less common in operas than the lyric tenor, but magnificent roles have been created for it - images of people with contradictory characters, whose fate develops tragically: Jose (Bizet "Carmen"), Otello (Verdi "Otello"), German (Tchaikovsky "Peak lady"). The arias of these heroes sound much more tense, more dramatic.

There is also the concept heroic Wagnerian tenor. Wagner's operas are incredibly large-scale, and colossal stamina is required from the performer in order to continuously sing for several hours in a row heroically, powerfully, strongly.

Hear German Opera Singer, Dramatic Tenor Jonas Kaufmann

Richard Wagner opera "Lohengrin" "In fernem land"

I am sure that I will not be mistaken if I begin to assert that the male tenor voice is the object of desire for the mass of young men who dream of a vocal career. I believe that this is the influence of fashion, which acts indirectly, through composers who write modern vocal material mainly for a high male voice.

How to make a tenor voice?- even such a question that any person who is more or less versed in the realities of vocals simply considers stupid can be found both on the Internet and in one form or another on this site under the heading “Ask? I answer ... ".

It is good if a young man knows exactly what type of voice he has and chooses for himself a repertoire that best suits the capabilities of his body. But quite the opposite often happens - having objectively, by nature, a completely different type of voice, a novice vocalist tends to sing notes that are too high for him. What does this lead to? To the constant overstrain of one's vocal organs, and here it is, this overstrain is a direct path to both illnesses and loss of voice later.

One of the signs is the tenor voice range.

So, it is already clear that the tenor is a high voice. How high? CLASSIC defines the tenor voice range as C small - C to the second octave.

Does this mean that Re the second (or Xi big) tenor singer will not be able to sing? No, of course it can. But here QUALITY playing notes outside the range may become different. You have to understand that we are talking O classical music(and vocals).

At the same time, starting from a certain note of the first octave (it is different for different voice subtypes), the tenor uses mixed technique - mixed, this section is marked in yellow. That is, one way or another, the head register in the voice works, but not in its pure form, but as an "admixture" to the chest. Tenor is the name for a classic male voice, calling a pop or rock singer a tenor is not quite right.

First, classic vocal works, which are written for their performance by the tenor singer, do not go beyond the named range, secondly, in the classics a pure male head voice (based on the falsetto register) is not used, therefore the tenor is limited to the second octave, although it may be better talk about Re-Mi (but there are exceptions to this rule - counter-tenor, about it below). Thirdly, the classical vocal technique (we must not forget this) is distinguished by its own characteristics.

What is a tenor

In fairness, we should talk about the subtypes of the tenor voice, because in itself this type of male voice is also different. There is the following gradation:

counter-tenor (in turn divided into alto and soprano) - the highest voice, using the "head" part of the range (upper register) to the full. This is a thin boyish voice, which either did not disappear during the mutation period, but remained along with a lower chest, male timbre, or a product of the development of the voice in this particular manner of singing. If a man purposefully develops his upper range, then with a certain nature he will be able to sing like a counter-tenor. This high male voice is very reminiscent of a female:

E. Kurmangaliev “Aria of Delilah”

M. Kuznetsov “aria of the Queen of the Night”

The light tenor is the highest voice, which, nevertheless, has a full-bodied chest timbre, which, although it sounds very light and airy, nevertheless differs from the female:

J. Florez "Granada"

lyric tenor- soft, thin, gentle, very mobile voice:

S. Lemeshev “Tell, girls, to your girlfriend...”

lyric-dramatic tenor– richer, denser and more overtone timbre, compare its sound with a light tenor performing the same song:

M. Lanza “Granada”

dramatic tenor- the lowest of the tenor family, already close in timbre to a baritone, it is distinguished by its sound power, therefore, the parts of many main characters are written for such a voice opera performances: Othello, Radomes, Cavaradossi, Callaf ... And Herman in The Queen of Spades - he is also

V. Atlantov "Herman's aria"

As you can see, with the exception of the highest subspecies, the rest differ from each other not in their range, but in their timbre, or, as it is also called, "voice paint". That is, TIMBRE, and not a range, is the main characteristic that allows us to attribute male voices and tenor, including, to one or another type and subtype.

Main distinguishing feature tenor voices - his timbre

Well-known researcher Professor V.P. Morozov says this in one of his books:

“In many cases, this sign turns out to be more important than even the range sign, since we know that there are, for example, baritones that take tenor highs, but, nevertheless, these are baritones. And if the tenor (in terms of timbre, no doubt) does not have tenor highs, then it is not only for this reason that it should not be considered a baritone ... "

The most significant mistake of young people who do not yet have vocal experience is an attempt to determine their voice solely by its range. For example, the middle of the first octave is sung by both a baritone and a tenor, what to do? Listen to the character of the voice. And how to hear it? And contact a specialist! At 16-20 years old, certain auditory ideas about how an average male voice sounds compared to a high one in the same part of the range have not yet had time to form in the brain. This is the knowledge and experience of a vocal teacher, which you need to turn to.

By the way, even a teacher will not always determine the type of voice from one listening, at least you need to work hard to distinguish a dramatic tenor from a lyrical baritone! Therefore, it is not at all important to know exactly the subtype of your voice if you are striving to sing a modern repertoire, and not learning opera parts. This has long been understood in the West, where vocal teachers determine the voices of their wards, referring them to three types - low, medium or high. I talk about this in the article "Voice transitions - our vocal beacons" on this site.

The transitional section is another sign that the tenor voice type

It cannot be said that another hallmark voice type will be transitional sections (transitional notes). Their "location" on the pitch line is directly related to the structure of the vocal apparatus, mainly, of course, the vocal folds. The thinner and lighter the singer's folds, the higher the sound they create without using the falsetto head register. That is, the higher the transition note will be in the voice (more precisely, the entire section).

For any tenor, the transition note can be anywhere in this section, this does not mean at all that a dramatic tenor will have a transition to E, and a lyrical or light one to G. You can't measure with a ruler! Yes, and the experience of the singer will play essential role, and that's why.

The fact is that gradually, with the training of the voice, the transitional area shifts slightly upward, because the voice is experienced, hardened, it is completely different from the voice of a beginner, like an adult athlete in comparison with a teenager. A professional can sing in a clear chest register higher than a beginner with the same type of voice, this is a consequence of the development of skills. It follows from this that if a transitional note is determined for a beginner as Re of the first octave, this does not mean that his voice type is a baritone. Just with time, doing the right things, the transitional note can shift to both Mi and Fa.

So, the vocalist needs to have TIMBRE tenor voices first. Considering only the existing this moment the range and location of the transitional note, it is impossible to determine exactly the type of voice. You need to pay attention to ALL THREE aspect, while the timbre is the largest.

Why is it not entirely fair to consider modern high voices rock and pop stars in terms of a standard classifier? Are they not tenors?

Let's talk about this at.

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