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 this will be called division (divisi) - see the section Choral terms. 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 look at each of the voices separately. For each voice, the sound range is also indicated. Because This question interests many choir artists, so we have also included this data in a separate table. But at the same time, I would like to draw attention to the fact that these ranges are more applicable to professional singers than to amateurs.

In our terminological dictionary, we did not allow ourselves to give all the meanings of words. We consider the meanings of the word only from the vocal or choral sense (for example, the word Viola can also mean a bowed instrument of the violin family - these are the meanings of words that we immodestly allowed ourselves to omit)

So, here's our little terminological guide to voices. The terms are arranged alphabetically.

ALTO(Latin altus - high; in Middle Ages music it was performed above the tenor leading the main melody) -

1) Part in the choir or ensemble, comp. from low children or middle and short wives. voices (mezzo-soprano - first altos, contralto - second altos); the range from fa is small. Oct. to fa 2nd Oct. (above - very rarely), most commonly used. salt (la) small Oct. - E-flat (E) 2nd Oct.

BARITONE(Greek - heavy-sounding) - Male of medium height. voice; A-flat (G) range is large. Oct. - A-flat 1st Oct.; transitional registers. note D-sharp (D) 1st Oct.

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

In the choir, baritones are included in the first bass part; range G large octave - F 1st octave (higher very rarely, mostly in unison with tenors)

BASS(Italian basso - low) -

There are high basses (cantante - melodious), central and profundo (deep) - low (they are also called Octavist Bass. A special, rarely found, variety of the lowest bass; the name Octavis is usually applied to choral singers (in solo singing - bass profundo ). Octavists sing an octave below the bass (in rare cases, going down to the F counter-octave). Octavists are most often used in a chord structure, with a quiet sound. The acoustic effect of the participation of octavists is the merging of the sounds of the chord, which in relation to the main tone is like 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 instructions of the composer and the style of the production.)

2) Part in the choir or wok. ensemble; composed of baritones and basses themselves; range (without octavists) F of the major octave (rare below) - F of the 1st octave, the most common G of the major octave is D (E-flat) of the 1st octave. The use of octavists extends the range of the bass line down an octave. Bass part - harmonic. the foundation of the choir, hence the need for its intonation. stability and sonority. At the same time, it must have mobility, flexibility in dynamics. attitude, which is also beneficial for the purity of intonation.

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

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

COLORATURA(from Latin coloro - color) - fast virtuoso passages (scales, arpeggias) and melismas that decorate the vocal part. Coloratura was often used in ancient choral music (starting from the Renaissance), in Bach, Handel, in Russian. church 18th century concert In modern choral works it is sometimes used as a figurative device. 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 develop ease of sound and accuracy of intonation.

CONTRALTO(Italian contralto - low female voice; range from F of the small octave (below - rarely and predominantly in folk choirs) to F2. Transitional notes E1 (F1), C-sharp2 (D)2; in the choir - the part of the second altos. 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 as an exception.

Mezzo-Soprano(Italian mezzo - average) - average female voice. The A range is small. Oct. - la2 (rarely higher). There are high (lyric) mezzo-soprano, whose sound is close to soprano, and low, which is close to contralto. Transitional register notes F-sharp1 (F1) - D-sharp2 (D2). In the choir, mezzo-sopranos make up the part of 1 alto, in the 3-voice female. chorus, depending on the specific conditions are included in the party of the 2nd or 3rd vote.

MIXT(from Latin mixtus - mixed) - the register of the singing voice, transitional between the chest and head (falsetto) registers; characterized by greater softness and lightness compared to the chest register and greater richness and sonority than falsetto. A well-produced voice requires a mixture of the main registers (chest and head) throughout the entire range, and the head sound increases in the upward direction. In Mixed music, the male voice has a predominant chest sound, while the female voice has a head-like sound. The role of Mixt is especially important in male voices 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 (sol 3) and low (a small octave) sounds. There are 3 main varieties of Soprano: dramatic (characterized by fullness and strength of sound), lyrical (softer) and coloratura (characterized by mobility, ability to reach high notes, pronounced vibrato; not used in choirs). There are also intermediate types (lyric-dramatic and lyric-coloratura). Transitional register notes mi1 - fa1 and fa2 (F-sharp2).

2) The highest part in the choir or vok. ensemble, consisting of lyrical (first Soprano) and dramatic (second Soprano) voices; range up to 1 (rarely below) - up to 3, the most used ones are re1 - sol2 (la2).

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

TENOR(Italian, from Latin teneo - hold) -

2) High male singing voice. Range up to a small octave - up to 2; transition register note (between the chest and head registers) F - F-sharp1. Notated in treble clef (an octave higher than 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 the rare Tenor-altino (with a developed upper register - above C2). In the choir, the Tenor lyric and altino make up the first part, the rest - the second. Due to the frequent use of high tessitura in choirs (especially in men's choirs), the ability of tenors to use falsetto and mixed voice is important.

FALSETTO(from Italian falso - false), fistula is 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 fluctuate at the edges, resulting in a weak, colorless falsetto sound. In solo singing, falsetto is used occasionally as a kind of color. In choral singing, falsetto is used when learning high notes, on PP, when the conductor sets the tone. Some tenors, performing extremely high notes, use a “voiced” falsetto, approaching a mixed voice: such voices are very useful for a choir. The ability to use falsetto is mandatory for singers (for the sake of “saving the voice”) and for the conductor.

Singing voice range table:

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

The young man’s vocal career at the present stage, in dreams and reality, is associated with such a concept as the male voice as tenor ital tenore. In professional circles, this fact is traditionally determined by the influence of fashion, as well as the use of a vocal repertoire created, for the most part, for high-pitched male voices.

In an effort to implement plans in the area musical career, any young man needs not only to know what type of voice he has, but also to select the most correctly repertoire that correlates with the capabilities of his own body. Do not neglect natural data for the sake of fashion. High notes that do not correspond to the capabilities of the existing voice are a direct path to overstrain, and, consequently, diseases of the vocal organs. As a result of the latter, you can end up completely losing your voice.

Tenor is the main feature of the voice range

Any reference material from the area musical art will be able to tell that tenor is a type of high male voice. In reference sources you can also find range limits: the tenor’s singing voice is limitedC minor and the same note of the second octave. You should not assume that an experienced tenor will not be able to hit higher or lower notes: the human body is capable of much, but no one can vouch for the quality of sound. Indeed, in this case, the head voice register will work, but without its characteristic purity, and as an addition to the chest register. That is, a classic male voice can be called a tenor. It cannot be considered correct to call the voice of a performer working with pop or rock repertoire a tenor.

To clarify the term tenor, it is worth paying attention to several important aspects. For example, vocal works of the classical type, developed directly for the tenor, are written within the above-mentioned range and rarely go beyond it.

As for another aspect, it raises the issue of limited use in the classical versionpure male head voice. In this regard, range limitations are indicated.

The third aspect concerns the field of classical vocal performance technique, which is very different from others and has a number of features.

Tenor: what is it like?

Counter-tenor is a type of voice with the highest possible register of sound, divided into alto and soprano; often appears to have a thin boyish voice, which can remain after a period of mutation, while additionally acquiring a lower chest timbre; this type of voice can be developed if you strive to stay in the niche of your favorite style of performance;

The lyric tenor is characterized by impressive mobility, softness, subtlety and tenderness;

The dramatic tenor seems to be the lowest sounding option in this category of performing voices, characterized by a timbre close to that of a baritone, with its inherent powerful sound.

Experts always strive to note the fact that within the vocal range, the sound of a male tenor varies in timbre. Consequently, it is precisely this that must be recognized as the main characteristic capable of correctly dividing male voices into types.

The tenor is distinguished by its timbre

It must be remembered that the first and main feature that distinguishes tenor voices from others is its timbre.

Experts note that beginning performers quite often, in an effort to determine their voice type, make the mistake of relying only on the range criterion. To make a correct determination, it is necessary to listen not only to the range sound, but also to its character. And for precise definition This parameter cannot be achieved without specialists. Professionals note that beginning performers, within the framework of their insignificant singing experience, do not have the proper level of auditory concepts that can help them distinguish soundsmedium and high male voice in a certain part of the range. And an experienced vocal teacher can often easily understand this issue.

What is noteworthy is that professionals do not focus on the criterion of knowledge of voice type if the performer seeks to perform modern repertoire. Vocal teachers today prefer to classify performers by low, medium or high voice type. It is noted that the tenor belongs to the type of high voice.

Tenor: a voice type with transitional notes

The presence of transitional sections or notes is recognized as another feature that distinguishes the tenor from other types of voices. The location of these notes on the pitch scale occupies the segment MI, FA, SOL of the first octave. Moreover, experts state this arrangement of transitional notes only for voices characterized by development and placement.

“Location” is determined by another criterion, reflected in the structure of the vocal apparatus, that is, the vocal folds: the thinness and lightness of this instrument is capable of determining the pitch of sound and the location of the transition section.

Professionals recommend not focusing on traditional parameters and height indicators. This instruction is based on the fact that tenors, thanks to the characteristics of their voices, can do a lot. And the main thing here is the level of experience of the performer. The more experienced the performer, the more seasoned and stronger his voice, and, therefore, he can “shift” transitional notes upward.

As a conclusion

Singing voices can be classified different ways. Division into groups is carried out taking into account physiological characteristics, timbre, mobility, pitch range, location of transition notes, and other parameters. The most convenient and popular today, known since the 16th century, is the classification of vocalists by gender and range. In our vocal studio we distinguish six main types:

• baritone;
• tenor.

• contralto;
• mezzo-soprano;
• soprano.

Characteristics of the singing voice

Soprano. The highest variety of female vocal voices. It stands out for its imagery, sonority, transparency, and flight. The vocalist is characterized by a light, agile, open sound. Soprano character:

• dramatic;
• lyrical;
• coloratura

There are also singers with lyric-dramatic, lyric-coloratura soprano.

Famous soprano vocalists: Montserrat Caballe, Maria Callas. Famous stars of Russian opera: Vishnevskaya G.P., Kazarnovskaya L.Yu., Netrebko A.Yu. Parts written for soprano: Queen of the Night (The Magic Flute by Mozart), Violetta (La Traviata by Verdi). Pop singers with soprano: Lyubov Orlova, Valentina Vasilievna Tolkunova, Christina Aguilera, Britney Spears.

Mezzo-soprano. It is remembered for its rich, rich sound, sonorous, deep timbre. It sounds lower than soprano, but higher than contralto. Subtypes: dramatic, lyrical. Famous owners of this type were Tatyana Troyanos, E.V. Obraztsova, I.K. Arkhipova. The operatic role of Amneris in Aida was written for mezzo-soprano. Mezzo-soprano pop singers: Avril Lavigne, Lady Gaga, Lana Del Rey.

The lowest, rarest female voice is contralto. It is distinguished by a velvety powerful sound and luxurious chest notes. Examples of contralto can be found in Tchaikovsky’s operas “Eugene Onegin” (Olga), Verdi’s “Un ballo in maschera” (Ulrika). The owner of the contralto was the soloist Mariinsky Theater M. Dolina. Singers with contralto on the stage: Cher, Edita Piekha, Sofia Rotaru, Courtney Love, Katy Perry, Shirley Manson, Tina Turner.

High male types voices are represented by lyric, dramatic or lyric-dramatic tenor. They are characterized by mobility, melodiousness, lightness, and softness. An example of a lyric tenor is Lensky in Eugene Onegin, a dramatic tenor is Manrico from Il Trovatore, and a lyric-dramatic tenor is Alfred (the hero of La Traviata). Famous tenors: I. Kozlovsky, S. Lemeshev, Jose Carreras. Tenors on stage: Nikolai Baskov, Anton Makarsky, Jared Leto, David Miller.

The name "baritone" comes from Greek and means heavy. The sound is between bass and tenor. It is distinguished by great strength and brightness in the upper half of the range. There are lyrical (Figaro in “The Barber of Seville” by Rossini) and dramatic (Amonasro in “Aida” by Verdi) baritones. Of the famous opera singers Baritone was played by Pasquale Amato, D.A. Hvorostovsky. Pop baritone singers: Joseph Kobzon, Mikhail Krug, Muslim Magomayev, John Cooper, Marilyn Manson.

The tessitura may be low, but the work contains extreme upper sounds, and vice versa - high, but without extreme upper sounds. Thus, the concept of tessitura reflects that part of the range where the voice most often should remain when singing a given piece. If a voice, close in character to a tenor, stubbornly does not hold the tenor tessitura, then one can doubt the correctness of the chosen manner of voicing and indicates that this voice is probably a baritone. Tessitura - important indicator in identifying the type of voice that determines the capabilities of a given singer in the sense of singing certain parts.

Among the signs that help determine the type of voice, there are also anatomical and physiological ones. It has long been noted that different types of voices correspond to different lengths of vocal cords.

Indeed, numerous observations show the existence of such a dependence. The higher the voice type, the shorter and thinner the vocal cords.

Background

Back in the 30s, Dumont drew attention to the fact that the type of voice is related to the excitability of the motor nerve of the larynx. In connection with works devoted to a deep study of the activity of the neuromuscular apparatus of the larynx, carried out mainly by French authors, the excitability of the motor (recurrent, recurrent) nerve of the larynx was measured, in particular, in more than 150 professional singers. These studies, carried out by R. Husson and K. Sheney in 1953-1955, showed that each type of voice has its own excitability of the recurrent nerve. These studies, which confirmed the neurochronaxial theory of the functioning of the vocal cords, provide a new, unique classification of voices based on the excitability of the recurrent nerve, the so-called chronaxy, measured using a special device - a chronaximeter.

Chronaxy in physiology refers to the minimum time required for electricity a certain force caused muscle contraction. The shorter this time, the higher the excitability. Chronaxy of the recurrent nerve is measured in milliseconds (thousandths of a second) by applying an electrode to the skin of the neck in the area of ​​the sternocleidomastial muscle. The chronaxy of a particular nerve or muscle is an innate quality of a given organism and is therefore stable, changing only due to fatigue. The technique of chronaximetry of the recurrent nerve is very subtle, requires a lot of skill and has not yet become widespread in our country. Below we present data on chronaxy characteristic of different types of voices, taken from the work of R. Husson “The Singing Voice”.

Rice. 90. Carrying out chronaximetry in the laboratory of the Musical Pedagogical Institute named after. Gnesins.

In these data, attention is drawn to the fact that the table of chronaxies includes a number of intermediate voices, and also shows that the same type of voice can have several close chronaxies. This fundamentally new look at the nature of this or that type of voice, however, does not at all remove the question of the importance of the length and thickness of the vocal cords in the formation of the type of voice, as the author of the study and the creator of the neuro-chronaxial theory of phonation R. Husson is trying to do. Actually, chronaxy reflects only the ability of a given vocal apparatus to take sounds of one pitch or another, but not the quality of its timbre. Meanwhile, we know that timbre coloring in determining the type of voice is no less important than range. Consequently, the chronaxy of the recurrent nerve can only suggest the most natural boundaries of the range for a given voice and thereby suggest, in case of doubt, what type of voice the singer should use. However, like other signs, it cannot make a definitive diagnosis of voice type.

It should also be remembered that the vocal cords can be organized in different ways and therefore used to form different timbres. This is clearly evidenced by cases of changes in voice type among professional singers. The same vocal cords can be used for singing by different types of voices, depending on their adaptation. However, their typical length, and with the experienced eye of a phoniatrist, an approximate idea of ​​the thickness of the vocal cords, can provide guidance regarding the type of voice. The domestic scientist E.N. Malyutin, who first drew attention to the shape and size of the palatine vault in singers, tried to connect its structure with the type of voice. He, in particular, pointed out that high voices have a deep and steep palatine vault, and lower ones are cup-shaped, etc. However, more numerous observations by other authors (I.L. Yamshtekin, L.B. Dmitriev) did not find such a relationship and show that the shape of the palatine vault does not determine the type voice, but relates to the general comfort of the vocal apparatus of a given person to singing phonation.

There is no doubt that the neuro-endocrine constitution, like general structure the body, its anatomical structure, make it possible, to a certain extent, to judge the type of voice. In a number of cases, already when a singer appears on stage, one can unmistakably judge the type of his voice. That is why, for example, there are terms such as “tenor” or “bass” appearance. However, the connection between voice type and the constitutional characteristics of the body cannot be considered a developed area of ​​knowledge and cannot be relied on when determining voice type. But even here in total amount some additional signs may be added.

INSTALLATION OF THE BODY, HEAD AND MOUTH IN SINGING

When starting to practice singing with a new student, you should immediately pay attention to some external aspects: the installation of the body, head, mouth.

The installation of the body during singing has been written in many methodological works on vocal art. In some schools this point is given exceptional importance, in others it is mentioned in passing. Many teachers consider it necessary when singing to lean well on both yogas, straighten the spinal column and move the chest forward. So, for example, some insistently recommend for such an installation to intertwine your hands from behind and, turning them out, straighten your shoulders, while pushing your chest forward, and such a tense pose is considered correct for singing. Others offer a free position of the body, without placing it in any specific position. Some say that since the singer must move and sing standing, sitting and lying down, there is no point in accustoming the student to a certain, once forever fixed position, and in this sense they give him complete freedom. The extreme antipode to this opinion can be considered the opinion of Rutz, who believes that it is the posture that determines the character and correctness of the sound, that the singer’s body plays a role similar to the body of a musical instrument. Therefore, in his book, posture is given one of the most important places.

When considering the question of the position of the body in singing, one should, first of all, admit that this position in itself cannot play a serious role in voice formation. Therefore, Rutz's opinion that the torso plays a role similar to that of the body of a musical instrument is completely untenable. Such an analogy is only external in nature, and, as we remember from the chapter on the acoustic structure of the voice, has no basis. One cannot but agree with the opinion that a singer must be able to sing well and correctly in any body position, depending on the stage situation offered to him. However, can we conclude from this that serious attention should not be paid to the position of the body when learning to sing? Definitely not.

The issue of installing the body in singing should be considered from two sides - from an aesthetic point of view and from the point of view of the influence of posture on voice formation.

The singer's posture while singing is one of the most important moments singer's behavior on stage. How to go on stage, how to stand at the instrument, how to hold yourself during a performance - all this is very important for professional singing. Developing behavioral skills on the stage is one of the tasks of a teacher of a solo singing class, and therefore the teacher should pay attention to this from the very first steps of classes. The singer must immediately get used to a natural, relaxed, beautiful pose at the instrument, without any clamps inside, and especially without cramped hands or clenched fists, i.e., without all those unnecessary, accompanying movements that distract attention and violate the harmony that the listener always wants to see the artist standing on the stage. A singer who knows how to stand beautifully on the stage has already done a lot for the success of his performance. The habit of a natural body position, free hands, and a straight back should be cultivated from the very first stages of training. The teacher is obliged to avoid any unnecessary movements, accompanying tension, or deliberate posture. If you allow them at the beginning of work, they will quickly take root and fighting them in the future will be very difficult. Thus, the aesthetic side of this issue requires serious attention from both the singer and the teacher from the very first steps.

However, on the other hand, from the point of view of the influence of the installation of the housing on phonation, this issue is also of very great importance. One should not, of course, think that the position of the body determines the nature of voice formation, but the position in which the abdominal press is tense and rib cage is in a free, unfolded state, and can be considered the best for working on the singing voice. Everyone knows that it is more difficult to sing while sitting than standing, and that when singers sing in opera while sitting, they either drop one knee off the chair or try to sing stretched out, reclining. This is determined by the fact that when sitting, the abdominal press is relaxed due to a change in the position of the pelvis. Having lowered their leg or straightened up, reclining in a chair, the singers extend their pelvis, and the abdominal press receives Better conditions for your exhalation work. An expanded chest creates the best opportunities for the diaphragm to work and for good tone of the respiratory muscles. This is discussed in more detail in the chapter on breathing.

But this is not what makes us pay the most serious attention to the student’s posture while singing. As is known, the free but active state of the body, which is declared by most schools (straightened body, good emphasis on one or both legs, shoulders turned to varying degrees, free arms), mobilizes our muscles to perform the phonation task. Drawing attention to the posture, to the installation of the body, creates the muscular alignment that is necessary for the successful implementation of such a complex function as singing. It is especially important during the training period, at a time when singing skills are being formed. If the muscles are loose, the posture is sluggish, passive, it is difficult to count on the rapid development of the necessary skills. We must always remember that muscular composure is, in essence, neuromuscular composure, and that mobilizing the muscles simultaneously mobilizes the nervous system. And we know what exactly is in nervous system and those reflexes are established, those skills that we want to instill in the student.

After all, any athlete - for example, a gymnast, a weightlifter, as well as a circus performer in the arena, never begins exercises, does not approach the apparatus without standing at attention, without approaching it with a gymnastic step. These manufacturing moments play a significant role in the successful execution of the subsequent function. Muscular discipline - disciplines our brain, sharpens our attention, raises the tone of the nervous system, creates a state of readiness to perform activities, similar to the pre-start state of athletes. Singing should not be allowed to begin without prior preparation for it. It should go both along the lines of focusing attention on the content, on the music, and purely externally, for the neuromuscular mobilization of the body.

Thus, the main reason for which attention is required to the installation of the body in singing is determined primarily by its general mobilizing effect and the aesthetic side of the issue. The influence of posture directly on the work of the respiratory muscles is perhaps of less importance.

The position of the head is also important both from the aesthetic side and from the point of view of its influence on voice formation. The artist is all appearance must be harmonious. A singer who lifts his head high up, or lowers it to his chest, or even worse, tilts it to one side, makes an unpleasant impression. The head should look directly at the audience and turn and move depending on the performing task. Its tense position in a lowered or raised state, even when it is determined by supposedly better singing sound or convenience for singing, always hurts the eye and cannot be justified from the point of view of the physiology of singing. A strong degree of head elevation always leads to tension in the anterior muscles of the neck and constrains the larynx, which cannot but have a detrimental effect on the sound. On the contrary, tilting the head too low through the articulatory movements of the lower jaw also interferes with free sound formation, as it affects the position of the larynx. A head that is too thrown back or too lowered is usually the result of bad habits that were not corrected in time by the teacher. The teacher can only allow a relatively slight rise or fall, in which conditions favorable for singing can be created in the vocal apparatus. Side tilts of the head cannot be justified in any way - it is only a bad habit that must be fought as soon as it begins to appear.

One of the external points that you have to pay attention to is the facial muscles, its calmness, and ease of tension in singing. The face must be free from grimaces and subordinated to the general task - expressing the content of the work. Toti dal Monte says that a free face, a free mouth, a soft chin are necessary conditions for correct voice formation, and that any specially held position of the mouth is a big mistake. The obligatory smile, which, according to some teachers, is supposedly necessary for proper singing, is in fact not at all necessary for everyone. It can be used during classes - as an important technique, which we discussed in the section on the work of the articulatory apparatus in singing. Singing practice clearly shows that excellent sound production is possible without any smile; that many singers, especially those who use a dark timbre when singing, sing all sounds with their lips extended forward, completely ignoring a smile.

During the practice, a smile is important as a factor that, regardless of the will of the singer, has a tonic effect on the state of the body. Just as a feeling of joy and pleasure causes a smile and sparkle in the eyes, so a smile on the face and in the eyes makes the student feel joyful elation, which is so important for success in the lesson. K. S. Stanislavsky based his method of physical actions on this reverse influence of motor skills (muscle work) on the psyche. It is no coincidence that old Italian teachers demanded that while singing and in front of him one should smile and make “tender eyes.” All these actions, according to the law of reflex, cause the necessary internal state of joyful elation and, just like muscular composure, nervous readiness to complete the task. It is extremely important to use them for voice training. However, these external aspects, so important from the point of view of the success of the lesson, can play a negative role if they become “on duty”, mandatory in all cases of singing. You must be able to take the student away from them in time, using all of them positive sides, otherwise the singer on stage will not feel that necessary freedom of the muscles of his body, so necessary in order to express with facial expressions and movements what he is singing about.

It is important to implement all these establishing points from the very first lessons. It is imperative to ensure that the student fulfills them. The singer easily copes with these tasks because they are performed before the sound begins, when attention is still free from phonation tasks. The whole point is that the teacher tirelessly monitors and reminds the singer about them.

A dramatic tenor, the strongest of the high male voices, the timbre of this voice is often hard, steely, and the sound is usually “laser” direct. These are usually the most powerful sounding voices. It is also worth adding that a true dramatic tenor is a rather rare beast, and tenors such that their voices resemble battering rams are generally born once every century.

Mario Del Monaco (1915-1982), according to many testimonies, had the strongest, darkest voice, already close to a baritone in depth of sound. Monaco did not sing almost lyrical parts, except for Rudolf from Puccini's La Bohème and Alfredo from Verdi's La Traviata. His crowning role was the role of Othello in Verdi's opera of the same name. In this part, Monaco’s voice sounded as free as possible, with all its characteristic power.

Dio mi potevi "Otello" Verdi
Here Monaco allows himself to show the entire dynamic range of his voice, from a relatively light and quiet sound to a thunderous forte at the end. It is worth paying attention to the clarity of transitions between notes, to the volume of the voice, to its “directness” in in a good way this word.

Di quella Pira "Trovatore" (The Troubadour) by Verdi.
The famous “Stretta Manrico” in which Mario completely freely enters the upper C, just as freely he sings all the rather awkward short notes in this aria, everything sounds precise and clear, but with the feeling that the singer is going to the limit of his capabilities, that it wasn't like that at all. Singers such as Mario Del Monaco were also called tenore di forza.

Che gelida manina "La Boheme" by Puccini. In this aria, Monaco tries very hard to sound lyrical, which he almost succeeds. But at the climax, on the upper C, the nature of his voice takes its toll.

Franco Corelli (1921-2003): Was perhaps the only one who could compete with Monaco in terms of sound power. His voice was lighter, softer, and if necessary, Corelli could make it sound almost lyrical. In addition to excellent vocal abilities, Franco was the owner of a deep musical, and not only musical, culture. Corelli became a legend during his lifetime. What’s interesting is that, despite Franco’s thunderous voice, he did not sing Othello (the reason, as he himself admitted, was that this part seemed to him too nervous and psychologically difficult), and one of Corelli’s favorite parts was Rudolf from La Bohème, performed by his is much better than that of Monaco, and that of many lyric-dramatic and lyric tenors. Also one of Corelli's amazing vocal abilities was the smooth deminuendo (gradual decrease in sound volume) on high notes, from thunderous forte to light piano.

Ah, si ben mio. Di quella pira! "Troubadour"
Despite the fact that Monaco performed this part perfectly, in my opinion Corelli sings it stronger, more emotionally, more subtly.

Che gelida manina "Bohemia".
The role of Rudolph, as mentioned above, was one of Corelli’s favorites.
Despite the power and volume of his voice, he sings everything as lyrically as possible, although nature cannot be ignored, a big voice is a big voice.

Celeste Aida "Aida" Verdi.
Mentioning Corelli, one cannot help but touch on his magnificent deminuendos. At the end of Radamès's romance "Sweet Aida", Corelli makes a smooth deminuendo on the upper B, from forte to a barely audible piano, while the voice does not go into falsetto on the piano.

Aureliano Pertile (1885-1952): Possessing a large, sonorous, dramatic voice, Aureliano Pertile sang almost the entire tenor repertoire, from Othello to Arturo from “The Puritans” (although he was forced to sing the last part a tone lower than written by the composer).
Pertile's timbre is specific; his contemporaries called him a croaking tenor, due to his harsh, sometimes even seemingly unpleasant voice. But excellent technique, musicality, literally mathematical precision in performance, make you forget about some unpleasant timbre nuances. Usually, after listening to several things, one gets the impression that Aureliano had a voice with the noblest sounding timbre.

Dio mi potevi "Otello" Verdi.
In this work, in accordance with traditions, Pertile sings powerfully, but sometimes goes into a light sound, in lyrical places.

Di quella pira "Trovatore"
Here Pertile's timbre is very clearly audible, as well as his clarity and thoughtfulness of each phrase; the free and powerful upper notes, rich in timbre, are impressive.

Mein Lieber Schwan "Lohengrin" Richard Wagner.
In the part of Lohengrin, Pertile sings very softly, lyrically, on the piano, but sometimes he comes out on the forte, which seems even more powerful because of the piano preceding it.