Part classification of bel canto singing
Part division is for scientific and effective singing and teaching. For a singer, whether the division of parts is correct or not has nothing to do with it. Regarding his (her) singing future and destiny, among the singers, there are not many examples of artistic life ending due to errors in voice division. So how to divide the voices?
1. Observe the vocal range of the singer
The vocal range refers to the distance between the lowest bass and the highest pitch sung by a person. Generally speaking, the higher the voice, the higher the range; the lower the voice, the lower the range; the alto voice has a lower range than the treble, and the bass has a lower range than the alto. The vocal range of an average person before being trained is generally only a little over one octave. After training, it can reach about two octaves. The vocal range of each voice is roughly as follows:
Of course, there are many versatile singers in the world today. Their vocal range exceeds two octaves, and some can reach 3 to 4 octaves. ; There are both smooth and free coloratura in the high register, and deep and soft bass in the low register. For many famous singers, coloratura singing is no longer a patent of the coloratura part, but has become a singing skill, and soprano is in It can be expressed in singing, and the mezzo-soprano also shows the coloratura skills in a gorgeous and colorful way. Of course, there are only a handful of singers with such comprehensive skills: Generally speaking, after singers with better vocal conditions are trained and technically more mature, it is entirely possible to reach or exceed the range specified above. Otherwise, you will not be able to sing more difficult works.
However, when deciding a singer’s voice, one must not just look at how high he or she can sing high notes and how low he or she can sing low. The level of the vocal range is only one of the important basis for determining the voice part. Some beginners blindly believe that they are male (female) altos because their skills are not yet mature, their throats have not been opened, their original timbre has not come out, and they cannot sing high notes. It is too much to determine their own voice in this way. Being careless can easily lead to errors in the way you pronounce your voice.
2. Listen and identify the singer’s timbre
Timbre is the color of the sound. When determining a singer's voice, range is only an important reference, while timbre is the key to determining a person's voice. The timbre is not only related to the length, thickness, width and closed state of the vocal cords, but more importantly, it is closely related to the length, size, adjustability and matching of the vocal cords of the vocal cavity. The various overtones formed in the singing cavity are the key to the change of timbre.
In terms of timbre, the characteristics of each voice are relatively distinct
1. Bass
The voice is low, broad and has the nature of a loud chest voice. Bass is divided into two categories: high bass and low bass: high bass is also called singing bass or light bass. The tone is soft and suitable for singing lyrical vocal works with strong emotions: while low bass is also called He is a deep bass, with a deep and thick bass, but not very flexible. He usually sings the lowest part in the chorus! In opera performances, he usually serves as an old man with a deep personality.
2. Baritone
The tone is rich and full, soft and solid. Baritones are also divided into two categories: high baritone, with a smooth voice, suitable for singing various lyrical vocal works. A low baritone is similar to a high bass and is suitable for singing various passionate works that express rich emotions.
3. Tenor
The tone is bright and has a metallic luster. Tenors are also divided into two categories: lyric tenor and dramatic tenor. The former's sound quality is pure and crisp, high and soft, and has strong lyricism. The dramatic tenor has a wide range, the sound is majestic, thick, and powerful, the treble is bright and free, and the bass is higher and the baritone is softer. Suitable for singing majestic and dramatic works.
4. Alto
The voice is full and loud in the lower part, the voice is generous, the timbre is dark and not bright, and it is suitable for singing works with deep and steady emotions:
5. Mezzo-soprano
The timbre is deep and full, softer than the alto, and similar in color to the dramatic soprano. The range of some mezzo-sopranos can also reach C3 and above, but not as bright as sopranos;
6. Sopranos
Sopranos are divided into coloratura sopranos and lyric sopranos , dramatic soprano.
7. Coloratura soprano
The tone is bright, crisp and gorgeous, light and flexible. It is very convenient in the treble part. It can sing up to e3 or even g3, and can sing with various decorations. Especially comfortable when playing music and cadenza.
8. Lyrical soprano
The tone is beautiful and sweet, bright and mellow, and the treble part is very convenient. It is suitable for singing lyrical, beautiful and singing works.
9. Dramatic soprano
The timbre of the dramatic soprano is full and bright, the timbre is strong and powerful, the timbre is slightly darker than the lyric soprano, and lighter than the mezzo-soprano. It is suitable for performing passionate, gentle and deep works in operas.
Based on the timbre characteristics of each part above, under normal circumstances, the singer’s part is relatively easy to determine. However, it must be clear that the singer's original timbre can only be revealed after he has basically mastered the correct vocal method. That is to say, although the timbre is natural, without basic vocal training, it is likely to be covered up by many wrong vocal habits, and it is impossible to express it normally. Some singers have more problems with their vocal methods. If the throat is not opened, breathing is not smooth, the voice is not concentrated, etc., the voice is not in good position: identification of the voice. For example, some tuba tenors find it difficult to sing high notes before they master the correct treble technique. If their throat is too stretched, their voice is not focused, and their timbre is dark, it is easy to mistakenly think that they are a baritone. Causes misunderstandings in voice identification: As for some singers who violate their physiological conditions and mistakenly imitate the timbre of a certain part out of preference for a certain part, the situation is even worse; for example, some sopranos Due to the preference for the mezzo-soprano voice, it is often seen that oneself force oneself to become a mezzo-soprano. Therefore, it is best to obtain the guidance of an experienced teacher when determining the voice. Under the patient and careful guidance of the teacher, as long as the vocalization method is straightened out, the identification of the voice will be easier.
3. Find out the singer’s voice changing points
In addition to observing the range and listening to the timbre, another way to determine the singer’s voice is to find out the singer’s voice changing points. Voice point, this is another reliable basis for voice identification. The voice-changing points are several transitional sounds that exist objectively in the singing experience when the voice is transitioning from one vocal area to another, no matter which part of the male or female voice. The voice changing point of each part is different. Comparing the treble part with the bass part, the treble part has a higher voice changing point, while the bass part has a lower voice changing point. Comparing male and female voices, male voices have different voice changing points. The voice change point on the voice part is more obvious and difficult to transition, while the female voice's voice change point is less obvious and easy to transition; in addition, even the dramatic tenor, who is also a tenor, often has a voice change point one or two earlier than the lyric tenor. A sound appears. Vocal music teachers generally pay more attention to the location of the voice change point, and often use this as one of the basis for judging the singer's voice. However, experienced vocal music teachers are still cautious in understanding the voice changing points of beginners. Because beginners have not mastered the correct pronunciation method and have difficulties in many sounds, it is difficult to determine which sound is their voice change point, and it is often easy to make mistakes.
Therefore, the prerequisite for clarifying the singer's voice change point is to straighten out the voice. Before a basically correct vocal state is established, it is difficult to judge the singer's voice change position. In terms of determining the division of voice parts, in recent years, from The research literature from a physiological perspective is also becoming increasingly abundant. Since Garcia invented the laryngoscope more than a century ago, people have conducted more detailed research on singers' vocal cords. The identification of different vocal categories of singers is often supported by the anatomical characteristics of their vocal cords. , therefore, it is inevitable that some singers often use the length, width, and thickness of their vocal cords to determine their voice. Yes, from a physiological and physical point of view, as a general phenomenon, the vocal cords of high-pitched singers are always shorter and thinner; the vocal cords of bass singers are always longer and thicker. However, we all know that the singing vocal organ is composed of It is composed of many organs. In addition to the vibration source body of the vocal cords, the vocal organ is also a very important physiological condition. In recent decades, people have begun to pay great attention to the vocal organs. In the second issue of "Chinese Music" in 1995, an article by Yan Linhong mentioned that people not only discovered the geometric dimensions of the singer's vocal cavity It directly determines the singer's voice division. At the same time, it also further pays attention to the matching problem of vocal cords and vocal cavity, which has an impact on the singer's singing career. A bass with longer and wider vocal cords should have a longer and larger vocal cavity. Well, in fact, we have also seen that the vocal cords of the high-pitched parts are very long, and the vocal cords of some bass parts are short. Some researchers have noted that among singers whose vocal cords and cavity do not match, the possibility of a successful singing career still exists, but only if the mismatch is not too severe and is limited to the larger vocal cavity. Matching the body with smaller vocal cords? Otherwise, it will inevitably fail. Therefore, the length, width, and thickness of the vocal cords are only a reference for judging the voice part, not a decisive factor. ;