Critical Ideas an Answers on Determining Vocal Fach
I cannot count the requests I get from this web-site on vocal fach. How can I tell if a singer is a mezzo or soprano, baritone or tenor? It is a subject of great controversy in terms of importance. Unfortunately, I often spend my time repairing vocal damage as a result of singers being categorized incorrectly. I myself was trained as a tenor when I actually am a lyric baritone. After making the transition to baritone, it took approximately 4 years for my throat muscles to relax completely. As a high school student I instinctively sang along with all the "crooner" recordings. My voice loved the lyric baritone keys; however, every choral conductor wanted me to sing tenor just because I happened to be able to reach a high G. This is a tragic mistake on the part of many choral conductors who do not know the voice well enough to protect young singers from this potentially damaging experience. When a singer comes to me trying to make the transition up to a higher fach, I have two words to say: "BE CAREFUL!" I have seen so many ruined throats from singers trying to be a tenor or soprano when they were actually a lower-voiced singer. It can also be difficult on the voice for a singer to be singing as a lower-voiced singer when in all actuality they are a higher singer. Singers who sing higher tesitura and are a lower voice usually suffer from a high larynx position. Higher singers who sing in a lower fach usually do so with tremendous tongue and larynx depression. Both circumstances are extremely detrimental to vocal health.
Throughout this article, I hope to give teachers and singers some tools with which to determine the correct vocal fach of a singer. There are some gray areas, which are often confusing. Sometimes a lyric mezzo can sound very "sopranoish", especially if the back wall of the throat is not open and the larynx rides slightly high. The same goes for lyric baritones. They can sound dangerously close to a higher voice, especially if the throat is squeezed and the primary resonator (the pharynx) is closed. Often a lyric baritone does not have an extremely long chest register. In fact, some tenors may have a lower and bigger chest register than a lyric baritone. So what are the determining factors in such a situation? (1) vocal timbre and (2) vocal tesitura. If a lyric mezzo or a lyric baritone open the back wall of their throat, the result will NOT be a soprano or a tenor sound quality. Remember "middle voices, such as lyric mezzos or lyric baritone have a specific timbre. Two great examples of career "middle voices" are Frederica van Stade and Thomas Hampson. Neither of these singers is a higher voice. Teachers need to train their ears to be very specific in judging vocal quality. A lyric baritone may have a "tenorish" sound, however, does it ring like a true tenor voice and does it have a true tenor quality within the tone? Does the singer have to "spread the mouth opening" to make a "bright tenor sound"? (this is really a closed throat!) A lyric mezzo may sound light in the upper register. However, when the larynx is appropriately lowered and the voice picks up what I call that "smokey darkness" which only a mezzo has, the teacher might be very suspicious that the singer is really a true mezzo. Often lyric mezzos sound "sopranoish" if they "release the support" (breath resistance) as they go up into the upper register.
Helpful Tools: I have been teaching this technique for well over twenty years and during that time I have taught literally hundreds of singers from all over the world. During that time period, I have come up with several tools that help teachers and singers determine vocal fach.
Mezzo vs. Soprano:
(1) The "ng" arpeggio to determine mezzo vs. soprano: Have the singer vocalize an ascending arpeggio on "ng" with the "tongue-root" wide. If the voice flips dramatically into falsetto quality at high E-flat, this is an indicator that the voice is probably a lower instrument such a mezzo. If the "flip point" is higher such as high F or F-sharp, the singer is probably a soprano. The thicker the cords, the earlier the falsetto flip will occur. It is true that dramatic sopranos may "flip" as early as a mezzo. Then you must listen for timbre and study ease within given tesitura. A soprano will pick up "head resonance" and the voice will "ring" brighter lower in the scale than the mezzo. In my experience, I have found that most dramatic sopranos at one time or another have sung as mezzo sopranos.
(2) Vocal timbre: Have the singer vocalize a "hum" with the tongue between the lips on a 5-tone descending scale. During this "hum" have the singer "stretch the back of the throat separate from the tongue root". Image that the vowel origin occurs in the space behind the tongue. Then have the singer sing the five tone descending scale on the five vowels while keeping this open vowel space in the back of the throat. (tongue must remain forward in the mouth space). The result will be the singer's true vocal timbre. A mezzo will pick up a "dark and smoky" timbre. A soprano will still retain many more high overtones on the descending scale. The difference will be obvious.
Tenor vs. Baritone:
(1) Have the singer vocalize a three-tone scale in the extreme low register. Then have him slide two octaves on a "sirening" function connecting full voice on an umlaut "u" sound. Be sure that the singer keeps enough "i" in the sound while rounding to the "u" shape. Connect as high as possible in full voice. The umlaut "u" will protect the throat and keep the tongue from pulling back. If the singer is a baritone, he will connect only to the high A, possibly up to B-flat. However, the voice will not flip into the mechanism that adds the B-natural or high C because it does not exist. This makes it impossible for the singer to train as a tenor. If the singer flips into the high B-natural or high C or even higher, usually they are indeed a true tenor.
(2) This is the same as #2 in the soprano vs. mezzo section. "Hum" a five tone descending scale while stretching the back wall of the throat. (This is to be done in the lower register) Then sing the five vowels on the descending scale. If the singer is a baritone, the vocal timbre will take on a darker color, what some might call "chest resonance". If the singer is a tenor, the voice will keep much of its upper resonance or "head voice" quality. This is not as "fool proof" as for women. Some tenors can have quite a lot of "chest resonance" in their middle and lower registers. However, if the tenor sings with this "chestier sound" the upper register will suffer greatly.
Important thought: Some singers who choose to stay in the baritone or mezzo range suffer from a "lack of ring in the voice". I know one professional singer in New York who sings as a "mezzo-contralto" which is a term used more often in Europe. Her voice fatigues quickly because she sings on little or no true resonance. The voice has a "pushed down" quality or "depressed larynx" quality. This is abusive singing. She is depressing the larynx with the root of the tongue, an extremely unhealthy vocal production. The voice suffers from hoarseness continually and it is impossible for this singer to gain any degree of stamina. There is also breathiness in her tone. Here is a case of a psychological attachment to "being a low voice" at the expense of vocal health. I also believe that this person has had incorrect instruction and advice. Singing in the correct "fach" is critical to vocal health. My advice to most singers is: "If it feels wrong, it IS WRONG". Vocal fatigue is a "red light" to any singer whether they are professional or amateur. Vocal health is dependent on exercising the voice correctly.
Questions may be directed to firstname.lastname@example.org
(C) 2000 by David Jones
With a BA from Southeastern Louisiana State University and a diploma in Musical Theatre from the Florida School of the Arts in hand, Jordan cruised through Wenatchee with the Misoula Children's Theatre last year, and has now embarked on another tour with the National Theatre for Children. Watch for him in a city near you!
A recent graduate of the BFA program in musical theatre at Montclair State University, Trey has just joined the cast of the national tour of "Motown the Musical". Congratulations Trey - you're on your way to a bright future in Musical Theatre!
Is it Adam Vanek or an upper case letter H out for a day at the beach? This remarkable young performer, a recent graduate of the musical theatre program at the University of Alabama (Tuscaloosa), is truly a singer - dancer "extraordinare". After a busy summer season at Bucks County Playhouse, he's back in New York. But not for long; he just booked the national tour of Chicago, the Musical!
A graudate of the BFA Musical Theatre program at Ithaca College, Patrick is in New Orleans this summer appearing as Office Lockstock in a production of Urinetown, a co-production of The Nola Project and the University of New Orleans.
Heading into his final year in the BFA Musical Theatre Program at Florida State University, and not wanting to miss a beat, Collin has been a member of the ensemble company at Wagon Wheel Theatre this summer (2017).
Chris just completed his bachelor's degree in musical theatre at Marymount Manhattan College, going from NYC to Wenatchee, WA to join the cast of La Cage aux Folles (Hot August Nights) where he doubled the role of Jacob and appeared as a member of the ensemble. Now it's back to NYC to begin the long climb up the ladder of success!
Ian is currently on tour in China with Lightwire Theater, internationally recognized for its signature brand of electroluminescent artistry, poignant storytelling and music scores designed to evoke imagery.
With throat slitting, spin tingling action, choreographed by Bryce, Sweeney Todd, the Demon Barber of Fleet Street is a new NYC production you will never forget! Currently running at the Barrow Street Theatre, NYC.
May 10-14, 2017
After a run in the Broadway cast of Les Misérables, Bruce is back on the New York stage in the ultimate cult musical! Don't miss the Encores! production of The Golden Apple.
Watch Bruce Landry, Karen Ziemba, and Music Director Fred Barton perform a preview clip from "An Evening of Irving Berlin on Theatre Talk (PBS New York). Click image above.
Josh has appeared in all three Amercian companies of the Book of Mormom: Broadway, 1st and 2nd National Tours. Catch him now at the Eugene O'Neill Theatre in New York City. Musical theatre at its funniest, satirical best!
Ethan is named Resident Music Director & Conductor of Flat Rock Playhouse, the state theatre of North Carolina!
After a successful November-December tour of Pasek and Paul's A Christmas Story with runs in Memphis, Dallas, and St. Louis, Cal Alexander is back on the road appearing in the role of "Nigel" in the First National Tour of Matilda.