First tenor. Male and female singing voices

Lyric tenor, the concept is quite loose. The owners of this type of voice can sound both light and quite strong, sometimes they can even be confused with dramatic tenors, they sound so "voluminous" and powerful. The peculiarity of the lyrical tenor is in its softness of sound extraction, the possibility of achieving a very quiet sound, great mobility of the voice, usually lightness of timbre, but at the same time, unlike the light tenor, these voices already sound quite courageous, strong, sometimes even with some baritone notes in the timbre. At the top they usually have C - C Sharp, and sometimes D of the second octave.
Some lyric tenors, possessing excellent technique, sometimes allow themselves to sing a heavier repertoire designed for a different type of voice.

Beniamino Gigli. A soft lyrical tenor (of the first half of the twentieth century), had a light timbre, often sang the piano, so it seemed that he sang not in a voice, but rather in a falsetto, but if he wanted, he could show that he had a far from light voice and, so to speak, "give out "sound.
Cry Federico "Arlesian" Francesco Cilea.
This aria, Gigli mostly sings piano, but at the climax he allows himself to give more sound. It is these parts, which are more designed for the breadth of voice, cantilena, softness of sound, that are most suitable for lyrical tenors.

Laugh Clown "Clowns" Leoncavallo.
In this aria, Gigli sings at the limit of his voice, and quite possibly at the limit of his emotional capacity. Beniamino was a very kind and emotional person, in one of his interviews he said that when he made his debut as Canio, he felt so sorry for his hero on the aria "Laugh, Clown" that he left the stage in tears and was able to continue the performance only after a while.

Jussi Björling, the famous Swedish singer, was a lyric tenor with a large range and sonority of voice, if necessary, could compete with almost any dramatic tenor, but the lyrical nature of his voice also allowed him to sing very softly and easily.
Sometimes Bjerling is referred to as a lyric-dramatic tenor, but I consider such a classification to be erroneous, he just had a wide dynamic range, he could expand and narrow the timbre of his voice, but by nature he was still lyrical.

Cry Federico. Unlike Gigli, Bjerling sings with a big sound, and doesn't make such a "falsetto" sound, anyway, he sings lyrically, allowing the sound to flow smoothly only sometimes turning it into a turbulent stream.

Laugh Boy. In this aria, almost nothing remains of Bjerling's lyrical sound, all the power of his voice, the entire timbre volume is involved, sometimes it may even seem that it is not a tenor who sings, but a light baritone.

Luciano Pavarotti. Luciano probably possessed the most ideal technique, his repertoire included parts from the lightest, usually performed by light tenors, like the opera The Polk's Daughter, to the heavy part of Otello from Verdi's opera of the same name, requiring a powerful sound.

Cry Federico. Luciano's manner here is somewhat similar to Gigli, there is also a lot of light sounding, though without falsetto overtones, he does not put pressure on the sound anywhere, he sings easily, softly, the sound flows completely freely.

Laugh Boy. Unlike Bjerling, Pavarotti tried to keep the lyrical sound in this part, although he significantly added strength to his voice.

Duet of Iago and Othello "Otello" by Giuseppe Verdi.
Here, Luciano has already tried to show his voice as much as possible, the energy contained in it. However, even here he did not try to show that he was a dramatic tenor.

- the highest male voice; in sound it can be compared with the timbre of a cello, doubled by a clarinet, and, perhaps, a bassoon, as the dramatic notes of the nuances of the voice intensify.
Voice volume from to a small octave (sometimes from a large octave) to up to 2; in tenor-altino to C-sharp2-re2. Judging by the aria with Sobiiin’s choir “What is a snowstorm for us” from “Ivan Susanin” (IV d.), in which D-flat is also found2, obviously, earlier dramatic tenors had these notes in their volume, “Working middle” can be considered a segment from mi-fa of a small octave to f-sharp - salt of the first octave.
The lower section of the tenor-altino and lyric tenor also sounds weak and inexpressive, as in the coloratura and lyric-coloratura soprano; in the piano, with light accompaniment, it sounds satisfactory. Higher notes sound lighter, brighter and more serene, becoming like a viola (hence - altino), retaining, however, lightness, pleasantness and tenderness and acquiring some masculinity. These two voices are characterized by great mobility. Although they quite easily cope with the coloratura technique, but not to the same extent as the female voices corresponding to them,
The lyric tenor is often referred to as the digracia tenor, and this addition gives a clear idea of ​​this voice.

The dramatic tenor, or, as it used to be called, the tenor "di forza" (tenor of strength), or heroic, also testifies to certain properties, and mainly to the ever-increasing strength of the voice, its power, masculinity, and determination. To imagine its timbre, to the former "alloy" of the cello, bassoon, you need to add a horn, and maybe a trumpet.
This dramatic-heroic sound intensifies towards the top; at the same time, some tension is felt on the upper segment.
The lyric-dramatic tenor is intermediate between the lyrical and dramatic, but depending on the subjective performance data, it approaches either the first or the second. We have already said above that dramatic voices are becoming rarer and rarer and that lyrical-dramatic voices lead their repertoire. This phenomenon is also observed among tenors. The lyric-dramatic tenor has, in general, the same properties as the lyric-dramatic soprano.
Let us also mention the characteristic tenor, a constant participant in all performances, playing supporting roles. However, some of them are very noticeable. A characteristic tenor can be both lyrical and dramatic, but, most importantly, it does not go beyond the "working middle". It should work on such a short, comparatively average segment that any dynamic tone, any characteristic sound, for example, excessive obsequiousness, or vice versa, a threatening whisper, or maybe a scream, all this can be easily performed. Such, for example, is the dramatic role of Shuisky ("Boris Godunov"), the comic Vinokur ("May Night").
The properties of characteristic voices, and these can be both female and male, are revealed in the process of performing practice, less often at the beginning, more often when the singer already has mastery of performance, but his vocal abilities undergo age-related changes. In theater practice, there are still no terms “characteristic soprano, mezzo-soprano or baritone”, although there are such parts, for example, Domna Saburova (“The Tsar's Bride”) or Sister-in-law (“May Night”), however, the characteristic tenor and characteristic bass already exist.
A specific feature of male voices is the so-called falsetto sound, which is very similar in its timbre to a female voice. Before the discovery made by Dupre, all tenors used this sound, taking sounds above A-flat of the second octave. For the notation of this method, the word “falsetto” is used, inscribed above the corresponding notes (which means fistula, under this name this sound is known to the people). This sound can almost always be heard when performing, for example, the aria “Oh, give me oblivion, dear” (“Dubrovsky”) and the cavatina “Slowly the day faded away” (“Prince Igor”). In both cases, the tenor takes the last syllable in the word "come" (which ends both Dubrovsky's aria and Vladimir Igorevich's cavatina) in falsetto.
There is another method of singing that is inherent in all male voices, this is singing "mezzo-voce", that is, in an undertone. It can be compared with the muted sound of strings or brass (forte is clearly heard, but it sounds, as it were, in the distance, muffled). This is almost uncommon for women's voices.

For light tenors, and sometimes for lyric-drama, works are also created in the form of vocalizations, that is, without words.
The images embodied by the tenor are very diverse: from young heroes to respectable old people. Moreover, it is characteristic that the parts of the highest male voices - tenor altiio and tenors - are often intended for old people (for example, the singer Bayan, Tsar Berendey, the Astrologer, the Holy Fool, etc.), but most often they are young lovers.
The repertoire of lyric-dramatic and dramatic tenors is almost the same (due to the rare appearance of dramatic voices, which we have already discussed in the section on dramatic soprano).
Speaking of the ever-decreasing influx of strong, powerful dramatic voices - most often in the categories of soprano, tenor, bass - we do not associate this circumstance with the vocal school, although individual miscalculations in this area are possible. The reason for this is probably some physiological changes in the human body, depending on changes in the surrounding conditions. It is possible that there is another reason, which has been said and written about more than once, namely: in schools, not only general education, but even musical ones, there is still no proper musical education, and, consequently, there is no accounting, there is no selection of votes, no and their "growing".
We make this digression as a reservation, so that when listening to the corresponding works, students take into account that the part of the dramatic tenor is sung, perhaps, by the lyric-dramatic tenor.
Tenor-altino, a lyrical light and strong tenor, we recommend listening to it in the following parts:

Almaviva, cavatina "Soon the golden east" (I d.) - Rossini, "The Barber of Seville".
Leopold, party - Halevi, Zhidovka.
Duke, ballad "Ta il eta" (I d.); song "The Heart of a Beauty" (IV d.) - Verdi, "Rigoletto".
Nadir, romance "In the radiance of the moonlit night" (I d.) - Bizet, "Pearl Seekers".
Faust, cavatina "Hello, innocent shelter" (PG d.) - Gounod, "Faust".
Romeo, cavatina "Sun, rise soon" (I d., 2 k.) - Gounod, "Romeo and Juliet".
Werther, aria "Oh, do not wake me" - Massenet, "Werther".
Harlequin, serenade "About Columbine" (2 k.) - Leoncavallo, "Pagliacci".
Lohengrin, the story "In a foreign land, in a distant mountain kingdom" (Sh d., 2 k.) - Wagner, "Lohengrin".
Rudolf, arioso "The pen is completely frozen" (I d.) - Puccini, "La Boheme".
Bayan, the song “There is a desert land” (I d.) - Glinka, “Ruslan and Lyudmila”.
Holy fool, song-saying "The month is coming, the kitten is crying"; crying “Pour, pour, bitter tears” (IV d., 3 k.) - Mussorgsky, “Boris Godunov”.
Gritsko, thought “Why are you crying and moaning, heart” (I d.) - Mussorgsky, “Sorochinsky Fair”.
Stargazer, appeal to Tsar Dodon “Glorious be the great king” (I d.) - Rimsky-Korsakov, “The Tale of the Golden Cockerel”.
Berendey, cavatina "Full, full of miracles" (II d) - Rimsky-Korsakov, "The Snow Maiden".
Indian guest, the song "Do not count the diamonds" (4 k.) - Rimsky-Korsakov, "Sadko".
Levko, song "The sun is low" (I d.); arioso and the song “Sleep, my beauty” (III d.) - Rimsky-Korsakov, “May Night”.
Vladimir Igorevich, cavatina "Slowly the day faded away" (II d.) - Borodin, "Prince Igor".
Sinodal, arioso "Turning into a falcon" (I d., 3 "k.) - Rubinstein, "Demon".
Vladimir, romance "Oh, give me oblivion, dear" (I d., 2 k.) - Napravnik, "Dubrovsky".
Lensky, aria “Where, where have you gone” (II d., 4 k.) - Tchaikovsky, “Eugene Onegin”.
A young gypsy, the song “Look, under a distant vault” - Rachmaninov, “Aleko”.
Alyosha Popovich, 2nd song “Flowers bloomed in the field” (I d) - Grechaninov, “Dobrynya Nikitich”,
Salavat Yulaev, party - Koval, "Emelyai Pugachev".
A shabby little man, the song "I had a godfather" (final of the 6th round) - Shostakovich, "Katerina Izmailova".
Kupchik, romance “I don’t know why myself” (IV d.) - Khrennikov, “Mother”.
In symphonic literature, there is also an interesting example of the part of the first tenor solo (teior-altino) - the Third Symphony (movements I and IV) by Knipper.
In the above list, only in the part of the Astrologer, the author indicates that it is performed by an altino tenor. However, the part of the Dirty Little Man was also performed for the first time by an altino tenor (all its construction and character confirm the correctness of this). And, of course, only a tenor altiio can play the first tenor solo in Knipper's Third Symphony. The rest of the roles - and Berendey, and Count Almaviva, and the Holy Fool, and Salavat, and the Indian Guest, and Bayan, and Harlequin and a number of others can also be well performed by an altino tenor.

In Almaviva's cavatina, one can flash both the intercalated C and the coloratura of intercalated cadenzas.
We recommend listening to the lyric-dramatic and dramatic tenor in the following parts:

Raoul, romance “All the charm is in her” (I d.), duet of Valentina and Raul (IV d.) - Meyerbeer, “Huguenots”.
Vasco da Gama, aria "Oh, wonderful land" (IV d.) - Meyerbeer, "African".
Manrico, song "Forever alone with longing" (I d., 2 k.); aria “When before the altar” (III d., 2 k.); caballetta “No impudent villains will not succeed” (I1 d., 2 k.) - Verdi, Il trovatore.
Radames, romance "Sweet Aida" (I d.) - Verdi, "Aida".
Othello, arioso “I say goodbye to you forever, memories” (II d.); monologue "God, you could give me shame" (III d.); monologue “I am not terrible, although armed” (IV d.) - Verdi, Othello.
Samson, party - Saint-Saens, Samson and Delilah.
Jose, aria “You see how sacredly I preserve the flower” (II d.) - Wiese, “Carmen”.
Yenik, arioso “How can you believe” (And so on) - Sour cream, “The Bartered Bride”.
Yontek, dumka “The wind howls between the mountains” (IV d.) - Monyushko, “Pebble”.
Sigmund, spring song "The darkness of winter is now defeated" (I d.) - Wagner, "Valkyrie".
Siegfried, the heroic song of the fusion Notung! Sword fighting "and the song forging a sword (I d.) - Wagner," Siegfried ",
Walter, the song "The Garden is Illuminated" (III d., 1 k.) - Wagner, Nuremberg Mastersingers.
Johnson, arioso “Let her believe that I am free” (III d.) - Puccini, “Girl from the West”.
Calaf, arioso "Don't cry, my Liu" (G d.); arioso "Don't you dare sleep" (III d.) - Puccini, "Turandot".
Sobiiin, party - Glinka, "Ivan Susanin".
Sadko, recitative and aria “If I had a gold treasury” (I k.); "Height, height, heavenly" (4 k.) - Rimsky-Korsakov, "Sadko".
Vakula, song-complaint "Where are you, my strength?" (I d., 2 k.) - Rimsky-Korsakov, "The Night Before Christmas".
Herman, arioso "I don't know her name"; oath “You will receive a mortal blow. Thunder, lightning." (final of the 1st day); aria, "What is our life?" (7 k.) - Tchaikovsky, "The Queen of Spades".
Vakula, aria “Oh, what is my mother, what is my father” (2 k.); aria-song “Does the girl hear your heart” (II d., 1 k.) - Tchaikovsky, “Cherevichki”.
Nero, stanzas "Oh, sorrow and longing" - Rubinstein, "Nero".
Ker-Ogly, the song “Let the thunder rumble”, the arioso “We are all brothers”, the aria “I am devoted to you” (NG d.) Gadzhibekov; "Ker-Ogly".
Lyonka, lullaby (final 4th c.); song “Because of the forest glows” (6 k.) - Khrennikov, “Into the Storm”.
Pierre Bezukhov, arioso "If only the most beautiful", finale (c.) - Prokofiev, "War and Peace".
Matyushenko, the song "Oh, you, the wind" (II d.); recitative and arioso “And if I lead people in the wrong way?” (III d.); monologue “So, in Temkin’s way, back?” (IV d.) - Chishko, "Battleship Potemkin".
Bohun, recitative and aria "O native land" (III d.) -Dankevich, "Bogdan Khmelnitsky".
Nazar, aria "Fog, fog through the valley" - Dankevich, "Nazar Stodolia".
Jalil, aria "Farewell, Kazan"; “Is this how I knew you” (final) - Zhiganov, “Musa Jalil”.
All works listed in the list are performed both by lyric-dramatic and dramatic tenor. Moreover, the parties from the previous list, such as Rudolph ("La Boheme"), Dubrovsky, Faust, Romeo, were successfully performed by the lyric-dramatic and dramatic tenor if the singer had a good school (for example, I. A. Alchevsky, I. V. Ershov). But even in the above list, some parts are performed by strong lyrical tenors, such as the part of Lykov, Gvidon, Iontek; Kalaf, - each type of voice compensates for what it lacks with what it is endowed with in a predominant amount.
But there are parts that should be performed only by dramatic tenors, so that the strength and power of their voices correspond to the image of the hero embodied on the stage; such are, for example, Sadko, Vakula, Sigmund, Siegfried, Samson, Othello. When listening, all this must be taken into account, all the more it must be borne in mind when translating the idea into the composition.
From vocalizations we can recommend:

Shuisky, scene with Boris (II d.) -Mussorgsky, "Boris Godunov". Misail, a scene in a tavern (II d., 1 k.) - Mussorgsky, "Boris Godunov".
Popovich, scene with Khivrey (II d.) - Mussorgsky, "Sorochinsky Fair".
Clerk, party (I d.) - Mussorgsky, "Khovanshchina". Bomelius, scene with Lyubasha (II d.) - Rimsky-Korsakov. "The Royal Bride"
Vinokur, the story “In the Evening, as I Remember” (And DM 1 K.) - Rimsky-Korsakov, “May Night”.
Sopel, party (4 r.) - Rimsky-Korsakov, "Sadko".
Brooch, party - Borodin, Igor Kiyaz.
Ovlur, “Let me, prince, say a word” (II d.) - Borodin, “Prince Igor”.
Triquet, couplets “What a beautiful day this is” (II d.) - Tchaikovsky, “Eugene Onegin”.
The school teacher, the scene with Solokha and the song "The woman got attached to the demon" (II d.) - Tchaikovsky, "Cherevichki".
Vashek, aria "Mother said so" (And so on) - Sour cream, "The Bartered Bride".
Nazar, the song “The Bear Is Addicted” (II d.) - Kabalevsky, “The Taras Family”.
Mishuk, the song "Oh, you beautiful girls" (I d.) - Dzerzhinsky, "Quiet Don".
Two ancient old men, the scene at the wedding "What year is the oath?" - Dzerzhinsky, "Quiet Don".

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) - the highest of the male operatic voices, the range of "do" of 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.

Listen to the singing of a unique 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"

The story of how one vocal experiment made a real revolution in the world of opera and what were the tastes of the public of that era.

Jonas Kaufmann as André Chénier in the opera of the same name

In April 1837, Gilbert-Louis Dupré made his debut at the Paris Opera as Arnold in "". He knew that he lacked the elegant virtuosity of his predecessor, the famous opera singer Adolphe Nuri, and decided to bet on the upper register of his voice. In Arnold's aria in the fourth act of the opera, he amazed the audience with his high up, which he performed not in a head voice, but in a chest voice, contrary to the plan. The sound, according to some contemporaries, was unpleasant - in particular, he really did not like it himself - but Dupre's experiment forced singers and composers to turn to the potential of a high male voice that was not used at that time.

Opera lovers of that time were much more accustomed to hearing tenors singing in the bel canto technique, using coloratura, beautiful legato and a wide range of voice. At the same time, a variety of voices were called tenor in those days, from high and lively to lower, but at the same time more powerful. Nuri had an outstanding voice power, but kept to the bel canto tradition and sang in high falsetto registers. Starting in 1837, he worked on mastering the new Dupré technique, but only ruined his voice and in 1839 committed suicide.

Other singers had a happier fate. Tenor Enrico Tamberlic could, using Dupré's technique, sing even higher notes than he did, and inspired works written specifically for the dramatic tenor. It was he, as a dramatic tenor, who first performed the aria Di quella pira, and also created the image of the bold, but exhausted by the trials of fate, Alvaro in the opera "". The voice of Francesco Tamagno, who first performed the main role in the opera "", is even stronger than that of Tamberlik, music critics of that era compared it with the sound of a trumpet or even a cannon. His high register inspired the creation of wonderful solo numbers in “ “, starting with the first release of “Esultate!”

In Germany (a big fan of "") set the goal of creating a new image of the tenor, more "masculine" and heroic. His first tenors, Josef Tiháček, Ludwig Schnor von Karolsfeld and Albert Niemann, were known for their physical stamina, on stage they were able to simultaneously perform the parts (sometimes they reached the baritone sound in the lower register) and actually act as actors. Wagner's works, written specifically for them, laid the foundation for the development of the heldentenor, a wide-ranged and powerful voice with strong low and middle registers, as well as a full sound in the upper register.

French singing has always centered on restraint and gracefulness, and it is not surprising that the lyric tradition remained popular in France, especially at the Opéra-Comique. Alexander Talzac, who first performed the part of Comte de Grieux in the opera "", was distinguished by his soft timbre and gentle manner of performance. Yet Dupré's approach left its mark on the development of operatic art in France, exemplified by the roles of Benvenuto Cellini and Aeneas in Berlioz's operas. Several tenors could perform operas in both styles: Jan Reschke was successful as Romeo, but given his powerful timbre, he was still more like another Wagnerian tenor.

Composers of the 20th century continued to look for new ways to combine music and dramatic tenor. Incredibly complex parts of authorship like Bacchus in "" or the Emperor in "The Woman without a Shadow" require the power of the Heldentenor's voice and at the same time lyrical beauty. Puccini opened up new horizons for the sound of a high male voice. Here is the deeply lyrical image of Rodolfo in "", and the heroic character of Calaf in "". Operatic tenors, whose work was largely influenced by the opera singer Peter Pearce, who worked with him for a long time, must have a flexible high voice, reminiscent of a bel canto performance. Pierce's contemporary Richard Lewis, who possessed a strong high register, on the contrary, inspired composers to create roles for geldentenor, like Achilles in Tippett's "King Priam" or Troilus in William Walton's "Troilus and Cressida".

Thanks to the performance of the role of Arnold, Gilbert Dupre is considered a revolutionary in the world of opera, the first tenor of the modern era. But, perhaps, even he would have been surprised by the variety of roles for the dramatic tenor that were created thanks to his bold experiment.

Translated by Marat Abzalov

Source - www.roh.org.uk

The text is a translation of an article posted on the ROH website. By agreement with the theater, the text is given in the exact edition of the author of the article, whose name is indicated in the text of the translation. For all inaccuracies and errors in the text "Musical Seasons" is not responsible.

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The tessitura may be low, but the piece may contain 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 has to stay when singing a given work. If a voice close in character to a tenor one stubbornly does not hold a tenor tessitura, then one can doubt the correctness of the manner of voice formation chosen by him and speaks for the fact that this voice is probably a baritone. Tessitura is an important indicator in identifying the type of voice, which 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 anatomical and physiological. It has long been noted that different types of voices correspond to different lengths of the 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 1930s, 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 the work devoted to a deep study of the activity of the neuromuscular apparatus of the larynx, produced mainly by French authors, in particular, the excitability of the motor (recurrent, recurrent) nerve of the larynx was measured in more than 150 professional singers. These studies, made by R. Yusson 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 neurochronaxic theory of the work of the vocal cords, give a new, peculiar classification of voices on the basis of excitability of the recurrent nerve, the so-called chronaxia, measured using a special device - a chronaximeter.

In physiology, chronaxy is understood as the minimum time it takes for an electric current of a certain strength to cause a muscle contraction. The shorter this time, the higher the excitability. The chronaxia of the recurrent nerve is measured in milliseconds (thousandths of a second) by applying an electrode to the skin of the neck in the region of the sternocleidomastoid muscle. The chronaxy of this or that nerve or muscle is an inborn quality of a given organism and is therefore stable, changing only as a result of fatigue. The technique of recurrent nerve chronaxis is very thin, requires great skill and has not yet been widely used in our country. Below we present data on chronaxy, characteristic of different types of voices, taken from the work of R. Yusson "The Singing Voice".

Rice. 90. Carrying out chronaximetry in the laboratory of the Musical and Pedagogical Institute. 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 view of the nature of one or another type of voice, however, by no means removes the question of the significance of the length and thickness of the vocal cords in the formation of a voice type, as R. Husson, the author of the study and the creator of the neuro-chronaxic theory of phonation, is trying to do. Actually, chronaxy reflects only the ability of a given vocal apparatus to take sounds of one or another pitch, but not the quality of its timbre. Meanwhile, we know that the timbre coloration in determining the type of voice is no less important than the range. Consequently, the chronaxy of the recurrent nerve can only suggest the most natural limits 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, she cannot make a peremptory diagnosis of the type of voice.

It should also be remembered that the vocal cords can be organized in different ways in work and therefore used to form different timbres. This is clearly evidenced by cases of a change in the type of voice among professional singers. The same vocal cords can be used for singing with different types of voices, depending on their adaptation. Nevertheless, their typical length, and with an experienced look of a phoniatrist, and an approximate idea of ​​the thickness of the vocal cords, can orient in relation to 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. In particular, he pointed out that high voices have a deep and steep palatine vault, while lower voices have a bowl-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 of voice, but is related to the general convenience of a given person's vocal apparatus for singing phonation.

There is no doubt that the neuro-endocrine constitution, as well as the general structure of the body, its anatomical structure, make it possible to judge the type of voice to a certain extent. In a number of cases, even when a singer enters the stage, one can accurately judge the type of his voice. Therefore, there are, for example, such terms as "tenor" or "bass" appearance. However, the relationship between the type of voice and the constitutional features of the body cannot be considered a developed area of ​​knowledge and rely on it when determining the type of voice. But here, too, some addition can be added to the total sum of features.

INSTALLING THE BODY, HEAD AND MOUTH IN SINGING

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

About the installation of the body when singing, it was written in many methodological works on vocal art. In some schools, this moment is given exceptional importance, in others it is mentioned in passing. Many teachers consider it necessary to rest well on both yogas in singing, straighten the spinal column and move the chest forward. So, for example, some strongly recommend for such an installation to weave the hands behind and, twisting them, straighten your shoulders, while pushing your chest forward, and such a tense posture is considered correct for singing. Others offer a free position of the body without setting it in any particular position. Some say that since the singer must move and sing while standing, sitting and lying down, it makes no sense to accustom the student to a certain, fixed position once and for all, and give him complete freedom in this sense. The extreme opposite of this opinion can be considered the opinion of Rutz, who believes that it is the posture that determines the nature and correctness of the sound, that the body of the singer plays a role similar to the body of a musical instrument. Therefore, in his book, pose is given one of the most important places.

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

The issue of body placement 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 posture of the singer while singing is one of the most important moments of the singer's behavior on the stage. How to enter the stage, how to stand at the instrument, how to hold on while performing - all this is very important for professional singing. The development of behavioral skills on the stage is one of the tasks of the teacher of the solo singing class, and therefore the teacher should pay attention to this from the very first steps of the lesson. The singer should immediately get used to a natural, relaxed, beautiful position at the instrument, without any clamps inside, and even more so without convulsively clenched hands or clenched fists, that is, without all those extra, accompanying movements that distract attention and violate the harmony that the listener always wants to see the artist standing on the stage. The 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 position of the body, free hands, a straight back should be brought up from the very first stages of training. The teacher is obliged not to allow any unnecessary movements, accompanying stresses, deliberate posture. If they are allowed at the beginning of work, then they quickly take root and the fight against 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 body on phonation, this issue is also of great importance. Of course, one should not think that the position of the body determines the nature of voice formation, however, the position in which the abdominal press is stretched and the chest is in a free, unfolded state can be considered the best for working on a singing voice. Everyone knows that it is more difficult to sing sitting down than standing up, and that when singers sing in an opera sitting down, they either drop one knee from the chair or try to sing stretched out, reclining. This is determined by the fact that when sitting, the abdominals are relaxed due to a change in the position of the pelvis. Having lowered a leg or straightened up reclining in a chair, the singers unbend the pelvis, and the abdominal press gets the best conditions for its exhalation work. An expanded chest creates the best opportunities for the diaphragm to work, for a good tone of the respiratory muscles. More on this in the chapter on breathing.

But this is not what makes us pay the most serious attention to the posture of the student while singing. As you know, 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 one degree or another, free hands), mobilizes our muscles to perform the phonation task. Attention to the posture, to the installation of the body, creates that muscular selection, which 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. It must always be remembered that muscular composure is, in essence, neuromuscular composure, that the mobilization of the muscles simultaneously mobilizes the nervous system. And we know that it is in the nervous system that those reflexes and those skills that we want to instill in the student are established.

After all, any athlete - for example, a gymnast, weightlifter, as well as a circus performer in the arena, never starts exercises, does not approach the projectile without making a stand "at attention", without approaching it with a gymnastic step. These manufacturing moments play an essential role in the success 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. It is impossible to allow the beginning of singing without preliminary preparation for it. It should also go along the line of focusing on the content, on the music, and purely outwardly, for the neuromuscular mobilization of the body.

Thus, the main thing 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 the posture directly on the work of the respiratory muscles is perhaps of lesser importance.

Head position is also important both from an aesthetic point of view and from the point of view of its influence on voice formation. In the artist, the whole appearance should be harmonious. A singer who lifts his head up high, or lowers it to his chest, and 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 the supposedly best 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 lifting the head always leads to tension in the anterior muscles of the neck and fetters the larynx, which cannot but affect the sound harmfully. Conversely, a head tilted too low through the articulatory movements of the lower jaw also interferes with free sound production, as it affects the position of the larynx. Too thrown back or too lowered head - as a rule - the result of bad habits, not corrected in time by the teacher. The teacher can allow only a relatively slight rise or fall of it, in which conditions favorable for singing can develop in the vocal apparatus. Lateral tilts of the head cannot be justified by anything - this is only a bad habit that must be fought as soon as it begins to appear.

One of the external moments that you have to pay attention to is the facial muscles, its calmness, ease in singing. The face must be free from grimaces and subordinated to the general task - the expression of 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, that any deliberately held position of the mouth is a big mistake. Obligatory smile, according to some teachers, allegedly necessary for proper singing, in reality, it is absolutely not necessary for everyone. It can be used during classes - as an important technique, which we talked about in the section on the work of the articulatory apparatus in singing. Singing practice clearly shows that excellent sound formation is possible without any smile, that many singers, especially those who use a dark timbre in singing, sing all sounds on their lips stretched forward, completely ignoring the smile.

In the process of training, a smile is important as a factor that, regardless of the will of the singer, acts on the state of the body in a tonic way. Just as a feeling of joy and pleasure causes a smile, a 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 the old Italian teachers demanded to smile and make “gentle eyes” while singing in front of him. All these actions, according to the law of the reflex, cause the necessary internal state of joyful elation and, like muscular composure, nervous readiness for the task. For practicing on the voice, it is extremely important to use them. However, these external moments, 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. One must be able to take the student away from them in time, using all their positive aspects, otherwise the singer on stage will not feel the necessary freedom of the muscles of his body, so necessary in order to express what he sings about with facial expressions and movement.

All these setting points are important to put into practice from the very first lessons. It is essential that the student is required to comply with them. The singer easily copes with these tasks because they are performed before the beginning of sounding, when attention is still free from phonation tasks. The thing is that the teacher tirelessly follows and reminds the singer of them.