Technical Terms.
Among all the confused terms employed in singing to denote
the compass, register and character of the human voice, there are
four which may be said to represent elemental types: soprano,
alto or contralto, tenor and bass. These names are used to denote
the composition of the chorus with sub-divisions of firsts and
seconds, to determine how the parts must be divided. (Sopr. I,
Sopr. II etc.) While the range of an instrument is exactly governed
by its construction, the compass of the voice, on the other hand,
depends on the individuality of the singer. It is therefore impossible
to define the exact limits of each of these vocal types.
When it is a question of dividing choristers into 1st and 2nd parts,
those with the higher voices are classed among the firsts and
vice versa.
Besides the principal terms mentioned above, the names mezzo-soprano
(between sop. and alto), and baritone (between tenor and
bass) are also employed.
Note. In the chorus mezzo-sopranos are classed with 2nd sopranos
or 1st altos, baritones with 2nd tenors or first basses, according to quality and
timbre of voice.
Apart from these denominations which represent the six principal
solo voices, a quantity of others are in use to denote either
compass, timbre or technique, such as light soprano, soprano
giusto, lyric soprano, dramatic soprano, light tenor, tenorino-altino,
baryton-martin, lyric tenor, dramatic tenor, basso cantante ("singing
bass"), basso profondo (deep bass) etc. To this lengthy list must
be added the term
mezzo-carattere, of intermediate character
(between lyric and dramatic soprano, for example).
If we try to discover the real meaning of these designations it
soon becomes apparent that they are derived from widely different
sources-for instance, "light soprano" implies agility and mobility
in the voice; "dramatic tenor", the power to express strong dramatic
feeling; basso profondo signifies great resonance in the
deep register.
Minute examination of all the methods of attack and emission
of sound lies within the province of the singing master and to
enumerate them here would only perplex the student. The same
applies to the position and exact limits of register (chest voice,
middle and head voice in women; chest voice, mixed voice and
falsetto in men). The work of a teacher of singing consists in
equalising the voice throughout its whole compass, so that the
transition from one register to another, on all the vowels, may be
accomplished imperceptibly. Some voices are naturally even and
flexible. The professor of singing must correct faults in breathing,
determine the range of the voice and place it, equalise its tone,
increase its flexibility, instruct as to the pronunciation of vowels,
modulation from one grade of expression to another, etc. A composer
should be able to rely upon flexible and equal voices
without having to trouble himself as to the abilities or defects of
individual singers. In these days a part is seldom written for a
particular artist, and composers and librettists do not find it necessary
to entrust a certain rôle to fioriture singers, another to
heavy dramatic voices. Poetic and artistic considerations demand
greater variety of resource in the study of opera or vocal music
in general.
