Thetenor is a type of malesingingvoice whosevocal range lies between thecountertenor andbaritonevoice types. It is the highest malechest-voice type.[1] Composers typically write music for the tenor in the range from the second B below middle C, to the G above middle C (i.e. B2 to G4) in choral music – and from the second B-flat below middle C, to the C above middle C (B♭2 to C5) in operatic music – but the range can extend at either end.[2][3] Subtypes of the tenor include theleggero tenor, lyric tenor,spinto tenor, dramatic tenor, heldentenor and tenor buffo (also known as thespieltenor).
The termtenor derives from theLatin wordtenere, which means 'to hold'.Tenor came into use, at first, to denote the role of the critical male voice in the structure of a polyphonic vocal work.[4] All other voices were normally calculated in relation to the tenor, which often proceeded in longer note values and carried a borrowedcantus firmus melody. Until the late 16th-century introduction of thecontratenor singers, the tenor was usually the lowest voice, assuming the role of providing a foundation. It was also in the 18th century thattenor came to signify the male voice that sang such parts. Thus, for earlier repertoire, a line marked 'tenor' indicated the part's role, and not the required voice type; indeed, even as late as the eighteenth century, part-books labelled 'tenor' sometimes contained parts for a range of voice types.[5][page needed]
Tenor vocal range (C3–C5) notated on thetreblestaff (left) and on piano keyboard in green with dot marking middle C (C4). The numeral eight below the treble clef indicates that the pitches sound an octave lower than written: seeClef#Octave clefs. This is the standard clef for tenor parts in scores.
Thevocal range of the tenor is the highest of the malevoice types. Withinopera, the lowest note in the standard tenor repertoire is widely defined to be B♭2. However, the role of Rodrigo di Dhu (written forAndrea Nozzari) in Rossini's rarely performedLa donna del lago is defined as a tenor but requires an A♭2.[6] Within more frequently performed repertoire,Mime andHerod both call for an A2.[7][8]
A few tenor roles in the standard repertoire call for a "tenor C" (C5, one octave above middle C). Some, if not all, of the few top Cs in the standard operatic repertoire are either optional – such as in "Che gelida manina" in Puccini'sLa bohème – or interpolated (added) by tradition, such as in "Di quella pira" from Verdi'sIl trovatore); however, the highest demanded note in the standard tenor operatic repertoire is D5, found in "Mes amis, écoutez l'histoire"[9] fromAdolphe Adam'sLe postillon de Lonjumeau and "Loin de son amie"[10] from Fromental Halévy'sLa Juive). In theleggero repertoire, the highest note is F5 (Arturo in "Credeasi, misera" fromBellini'sI puritani),[11][12] therefore, very few tenors, a notable case beingNicolai Gedda, have this role in their repertoire without transposition (given the raising ofconcert pitch since its composition),[13] or employingpassaggio, such asLuciano Pavarotti.
InSATB four-part mixed chorus, the tenor is the second lowest vocal range, above thebass and below thealto andsoprano.Men's chorus usually denotes an ensemble ofTTBB in which the first tenor is the highest voice. Whilst certain choral music does require the first tenors to ascend the full tenor range, the majority of choral music places the tenors in the range from approximately B2 up to A4. The requirements of the tenor voice in choral music are also tied to the style of music most often performed by a given choir. Orchestral choruses typically call for tenors with fully resonant voices, but chamber ora cappella choral music (choral music sung with no instrumental accompaniment) can rely onbaritones singing infalsetto.[14]
Even so, one nearly ubiquitous facet of choral singing is the shortage of tenor voices.[15][16] Most men's tessituras lie within the baritone range, and because of this, many men in choirs tend to prefer singing in the bass section (though true basses are even rarer than tenors). Many baritones sing tenor even if they are not able to cover the full range in only their chest voice, and sometimes contraltos sing the tenor part.[14] In men's choruses that consist of four male vocal parts (TTBB; tenor 1, tenor 2, bass 1, bass 2), tenors will often sing both in chest voice and falsetto, extending the vocal range of the choir.
Within the tenor voice type category are seven generally recognized subcategories:leggero tenor, lyric tenor,spinto tenor, dramatic tenor, heldentenor, Mozart tenor, and tenor buffo or spieltenor. There is considerable overlap between the various categories of role and of voice-type; some tenor singers have begun with lyric voices but have transformed with time into spinto or even dramatic tenors.
Also known as thetenore di grazia, theleggero tenor is essentially the male equivalent of alyric coloratura. This voice is light, agile, and capable of executing difficult passages offioritura. The typicalleggero tenor possesses a range spanning from approximately C3 to E5, with a few being able to sing up to F5 or higher infull voice. In some cases, the chest register of theleggero tenor may extend below C3. Voices of this type are utilized frequently in the operas ofRossini,Donizetti,Bellini and in music dating from theBaroque period.[citation needed]
The lyric tenor is a warm graceful voice with a bright, full timbre that is strong but not heavy and can be heard over an orchestra. Lyric tenors have a range from approximately the C one octave below middle C (C3) to the D one octave above middle C (D5). Similarly, their lower range may extend a few notes below the C3. There are many vocal shades to the lyric tenor group, repertoire should be selected according to the weight, colors, and abilities of the voice.
Gilbert Duprez (1806–1896) was a historically significant dramatic[17] tenor. He was the first tenor to sing on stage the operatichigh C from the chest (ut de poitrine) as opposed to usingfalsettone. He is also known for originating the role of Edgardo inLucia di Lammermoor.
The spinto tenor has the brightness and height of a lyric tenor, but with a heavier vocal weight enabling the voice to be "pushed" to dramatic climaxes with less strain than the lighter-voice counterparts. Spinto tenors have a darker timbre than a lyric tenor, without having a vocal color as dark as many dramatic tenors. The German equivalent of the SpintoFach is theJugendlicher Heldentenor and encompasses many of the Dramatic tenor roles as well as some Wagner roles such as Lohengrin and Stolzing. The difference is often the depth and metal in the voice where some lyric tenors age or push their way into singing as a Spinto giving them a lighter tone and aJugendlicher Heldentenor tends to be either a young heldentenor or true lyric spinto. Spinto tenors have a range from approximately the C one octave below middle C (C3) to the C one octave above middle C (C5).
Also "tenore robusto", the dramatic tenor has an emotive, ringing and very powerful, clarion, heroic tenor sound. The dramatic tenor's approximate range is from the B one octave below middle C (B2) to the B one octave above middle C (B4) with some able to sing up to the C one octave above middle C (C5).[13] Many successful dramatic tenors though have historically avoided the coveted high C in performance. Their lower range tends to extend into the baritone tessitura or, a few notes below the C3, even down to A♭2. Some dramatic tenors have a rich and dark tonal colour to their voice (such as the matureEnrico Caruso) while others (likeFrancesco Tamagno) possess a bright, steely timbre.
The heldentenor (English:heroic tenor) has a rich, dark, powerful and dramatic voice. As its name implies, the heldentenor vocalFach features in the Germanromantic operatic repertoire. The heldentenor is the German equivalent of the tenore drammatico, however with a more baritonal quality: the typicalWagnerian protagonist. The keystone of the heldentenor's repertoire is arguably Wagner'sSiegfried, an extremely demanding role requiring a wide vocal range and great power, plus tremendous stamina and acting ability. Often the heldentenor is a baritone who has transitioned to thisFach or tenors who have been misidentified as baritones. Therefore, the heldentenor voice might or might not have facility up to high B or C. The repertoire, however, rarely calls for such high notes.
A Tenor buffo or spieltenor is a tenor with good acting ability, and the ability to create distinct voices for his characters. This voice specializes in smaller comic roles. The range of the tenor buffo is from the C one octave below middle C (C3) to the C one octave above middle C (C5).[19] The tessitura of these parts ranges from lower than other tenor roles to very high and broad. These parts are often played by younger tenors who have not yet reached their full vocal potential or older tenors who are beyond their prime singing years. Only rarely will a singer specialize in these roles for an entire career.[13] In Frenchopéra comique, supporting roles requiring a thin voice but good acting are sometimes described as 'trial', after the singerAntoine Trial (1737–1795), examples being in the operas ofRavel and inThe Tales of Hoffmann.[20][page needed]
There are four parts inbarbershop harmony: bass, baritone, lead, and tenor (lowest to highest), with "tenor" referring to the highest part. The tenor generally sings in falsetto voice, corresponding roughly to thecountertenor in classical music, and harmonizes above the lead, who sings the melody. The barbershop tenor range is Middle C to A one octave above Middle C, though it is written an octave higher. The "lead" in barbershop music is equivalent to the normal tenor range.[21][page needed]
Inbluegrass music, the melody line is called the lead. Tenor is sung an interval of a third above the lead. Baritone is the fifth of the scale that has the lead as a tonic, and may be sung below the lead, or even above the lead (and the tenor), in which case it is called "high baritone".[22][page needed]
^Fallows, David; Jander, Owen; Forbes, Elizabeth; Steane, J. B.; Harris, Ellen T.; and Waldman, Gerald (2001)."Tenor"(subscription required).Grove Music Online.
^Stark, James (2003).Bel Canto: A History of Vocal Pedagogy. Toronto, CAN: University of Toronto Press.ISBN9780802086143.
^IMSLP Staff [Guo, Edward W. et al.] (2017)."Bellini – I puritani (vocal score)"(PDF).IMSLP.org. Wilmington, DE: International Music Score Library Project (IMSLP)/Petrucci Music Library (Project Petrucci LLC). pp. 254, 256.
^Suverkrop, Bard; Draayer, Suzanne (2017)."Tenor Aria".IPASource.com. Retrieved16 April 2017.
^Cotte, R.J.V. (1997). "Trial, French Family of Musicians".The New Grove Dictionary of Opera. London, New York: Macmillan.Archived from the original on 9 March 2017. Retrieved16 April 2017.
^Averill, Gage (2003).Four Parts, No Waiting: A Social History of American Barbershop Harmony. Oxford, ENG: Oxford University Press.ISBN9780195116724.
^Cantwell, Robert (2002).Bluegrass Breakdown: The Making of the Old Southern Sound. Urbana, IL: University of Illinois Press.ISBN9780252071171.
