There are seven major voice categories, with various sub-types andclasses, recognized across the standard voice classication systems.Women are divided into soprano, mezzo-soprano, and contralto,and men into countertenor, tenor, baritone, and bass.
The highest emale voice, the typical soprano lies betweenmiddle C (C4) and high C (C6). The low extreme or sopranos is B3,and several standard soprano roles call or D6 on the high end.
The mezzo-soprano is the middle-range — andmost common — emale voice type. The mezzo-soprano voice liesbetween, and overlaps, the soprano and contralto voices. The typicalmezzo-soprano range is between A3 (the A below middle C) and A5(two octaves up).
The contralto voice is the lowest (and rarest) emale voice,with a range between F3 (the F below middle C) to F5.
The highest male voice, countertenors generally singin the alsetto register (sometimes using their modal, or speaking,register or the lowest notes). The countertenor ranges rom aboutG3 to E5 or F5.
The tenor is the highest male voice using the modal register.The typical tenor voice lies between C3 (one octave below middleC) to C5, though some tenors can sing up to the second F abovemiddle C.
The most common type o male voice, the baritone rangelies between the bass and tenor ranges, overlapping them both. Thetypical baritone range is rom F2 to F4 (the F above middle C).
The lowest male voice, the bass voice lies between E2 to E4(the E above middle C).
PArT 1:Take the time,o it ight...
Voal cae a Maiteae
Maybe it’s true that some elements o being a great vocalist come byway o a blessed, genetic git, but most truly inspiring vocalists putenormous time and energy into their crat — and continue to do sothroughout their careers when they want to endure or the long haul. You might not think o a vocalist as a world-class athlete, but somemedical proessionals are making the case that the demands put onyour voice when singing one to three hours a night is as intense asthose made by a marathon runner on his body. Additional actorssuch as nutrition, smoking, drug use, noisy environments, and propervoice training (or the lack thereo) play a role in your ability to hit thestage night ater night and perorm at your best.
Just as an athlete will train, ocus, and warm up or an event, a vocal-ist should consider singing as an endeavor that requires the samepreparation and dedication. And while dierent genres and styles o singing require dierent approaches to the crat, proper techniqueand a knowledge o the vocal process will translate across all stylesand genres.Plus, “The singing voice carries with it an inherent risk, in that youonly get one instrument,” cautions Daniel Ebbers, Associate Proes-sor o Voice at the Conservatory o Music o the University o thePacic. “I you ruin a clarinet or a guitar, you can buy another one,but you can’t get another voice. You don’t get another chance.”Taking voice lessons and studying with a vocal coach obviously costsmoney, notoriously something a lot o musicians
blessed with,but i you want to be challenged, learn how to sing properly, andpreserve your “one instrument,” vocal lessons are worth investing in.“To me, the most important thing is inormation,” explains Ebbers,“to equip my students with as much knowledge as possible. And onthe practical side, they say luck is when preparation meets opportu-nity. I you get to that day when you have to sing, and you have tosing well, would you want to go into that opportunity not knowinganything about your instrument or vocal technique? You wouldn’twant to miss that opportunity because you weren’t prepared.”
I you sing without warming up, you can encounter all sorts o problems. Warming up is very much about relaxing and prepar-ing the muscles and mechanisms or what they are about to do,and it is also about getting your mind and body into the fow o breathing correctly.