Tessitura Puns

I mean something like this example: let's suppose there are two tenor singers. They both sing the same piece, one singer after the other. Usually, if they are from musical genres other than classical music and opera, one would expect them to sound differently. But, if they are from opera and classical music in general and they perform pieces from that specific genre, they manage to sing with a particular 'opera' timbre, making them sound like if they were the exact same person. This is strange knowing that, normally, the voice timbre of a person is unique and impossible to replace. How is this possible? How do they do it?

I'm not complaining about that (in fact, I particularly like the opera/classical music voice timbre), I'm just curious and confused about it and I want to know about it.

Hello everyone, I’m a baritone looking for a song that can show off my higher voice. I can singing quite comfortably from A3 to E4. I would also say F# is my highest comfortable note. I’d say I would like more of an opera style but any clasical works

Hi guys, I'm a 17 year old male that was struck by puberty with age. I had a tenor-like voice when I was really young (which I believe is normal) but through time my voice went super low that I completely lost hope when it comes to singing. Recently I decided to give another shot at singing. I can go as low as C#2 and sing as high as F#4 in really loud chest voice. I've been practicing a lot lately and I became a lot more comfortable with the higher notes. Is there a chance to become a baritone with practice throughout the years? I am really looking forward to being able to hit that B4 as my music taste is mainly based on Rock/Punk Rock/Metal (I'm a producer myself and I look forward to making this kind of music) I think that I'm a really specific and rare case, but I show no interest in singing in choirs or anything like that. I'm wishing for my tessitura to go higher as I grow older.

Every kind of advice/comment/instruction/idea is highly appreciated!

12.07.2021 update: I hit G4 chest voice.

I know that vocal type isn’t everything. But I’m just curious about myself. My voice is untrained and it sounds like baritone. But I think baritone should be able to go lower than C3 (I can go down to G2/G#2, but below C3, it’s not a full voice). I’m not sure whether my voice is baritone or tenor. Any comment?

My lowest note I can hit is D#2, and my tessitura is around F#2 - E3, does it mean anything in particular like my lower range could be higher (I am still rather young) or does it just so happen that my tessitura is close to my lowest note and I shouldn't make any conclusions?

I'm not a great singer but I do sing in pitch and have tried to dabble in some vocal exercises. One thing I learned is to not force your voice too high/low because it can damage your voice.

But when I sing in my natural range, it just sounds... basic? Or boring.

When others with the same voice type as mine sing in that range as well, they sound somewhat impressive. Is this something I can improve on, or is it just my vocal tone?

I'm female, 21. My range is from C3-C6. I'm unsure of my tessitura however, especially since my registers are quite disconnected atm. My chest voice tessitura is from around G or A3-F4, however I can sing below that without having to excessively lower my larynx (when I go down to low C, I really feel it in my chest). My head voice tessitura is from approx C5-A5. I can't comment on my mixed voice tessitura as it's very underdeveloped and I'm not even sure if it's actually mixed voice or just a reinforced head voice. My chest voice tone is quite rich. Think Adele, but a bit brighter and less thick and powerful. However, my tone completely changes when I get into my mixed and head voices. It's a lot brighter, more soprano-like.

Again with the lows, although I can go down to C3, I don't feel like I'm straining when I do as opposed to when I try to sing a C6. It just feels a bit vocal fry like and I'm not sure if so could project it without a mic. I don't like singing down there as I prefer to sound as feminine as possible when I sing.

Related to my question, I've read a lot of stories about women who before being trained, were more comfortable in the lower part of their range, but as they trained, they realised they were more comfortable much higher and were really sopranos instead of mezzos or (contr)altos. Some contraltos were misclassified as mezzos or even sopranos when they trained I've heard as well, so it's all so confusing.

I know I shouldn't get too caught up in voice type and all, especially as an untrained singer, but sometimes I just can't help but wonder what I am. It's a bad habit of mine to squish myself in a box and this is no different.

Does anyone here use this app? I bought it, thinking it would help me to understand theory better, but I really have no idea how to use while practicing. It gives you scales and graphs based on the circle of fifths or fourths. But, I have no idea how to implement it. Does anyone have any suggestions?

I’m currently learning how to sing and I founded out that I’m pretty much happy with my not to wide chest range ( F2-G#4 ). The thing is that my tessitura is very low and not wide at all and. Past low notes on the 3rd octave I gotta add a lot of volume in order to produce the notes and it almost seems like I’m shouting them which is note enjoyable to the ear and probably unhealthy. So I was wondering what exercises should I do to improve my tessitura and be comfortable in the whole 3rd octave like a normal baritone.

Thank you so much for reading me

We are looking in to possibly migrating from PatronManager to Tessitura. It seems from what little I can find and have read here that Tessitura is a bit secretive about their software. I was wondering if anyone could attest to it's usefulness.

• Has anyone here used both PatronManager and Tessitura?
• How robust and intuitive is Tessitura? Can anyone speak to it from a Box Office POV?
• Does it do everything you'd want it to do? Any shortcomings to speak of?
• Does Tessitura play well with MailChimp?

Thank you in advance!

I got curious one day and recorded how long I can hold a stable note for every one of my notes. The results were as expected, but I did notice a slight trend.

My notes from F3-F4(the range increases as my voice gets warmed up) were by and far the most stable, effortless, and longest notes I could hold. Now as y'all might know, F3-F4 is the tenor tessitura.

And I found that pretty interesting, and now I'm wondering if this can be used as a cheap(in every sense of that word) way to identify one's tessitura?

What do you guys think?

Hello all (27M, D2 - G#4 - B4/C5)

So I began singing in autumn 2018 and have made significant progress from barely being able to sing a B3 to now trying to wrestle with the top of the 4th octave and dipping into the 5th.

I very much was used to singing at a B3 and lower for many many years, which has left me with a sensation that any note above a D4 is high, even if it is probably in the middle of my range.

Once warmed up, I can sing up to an A4 without it being too hard, although singing A4s and above scares me! In my most recent lesson we sang Stevie Wonder's Don't You Worry Bout A Thing and with my tutor's correction, I could sing the A4 and B4s without any strain - she said I have the ability but just need to believe in the notes. Before I met her in November I never had sung higher than an F4 before. I'll record a cover of the Stevie song in a couple months once we've mastered the song to see how it sounds to others.

I used to think I had a deep voice and was a bass-baritone but now with training going well, I'm not so sure. How did you find out your tessitura to then find your vocal type? I'm just worried about ruining my voice!

Tessitura Chart

So far In all the years that I've been doing singing, one of the things that irks me is how many "coaches" never address a person's technique based on what their actual tessitura is. And we also see the "just find mix voice" comment a lot. Of course both of these things are really bad ways of going about teaching. So I decided to make a minimal flow-chart that outlines everything related to contemporary singing. For operatic stuff, this chart would be different, so keep that in mind. This chart is basically coming from my 12+ years of experience; in me actually paying attention to every-voice type I've come across.

As of now, there are countless issues in the singing community, especially with how coaches mislead people and ask money for it. I hope in the future, people can be educated more and that entire vocal coach idea doesn't exist at all.

Some notes: TenorBaritone isn't really a proper class name, but there has to be something there because it's 100% a legitimate vocal area. Same thing with "learning tenor" and "untrained tenor", despite the untrained tenor being CLOSER to the contemporary side. There really just isn't enough classes to represent it all. You'll also see, the line I have separating contemporary from noncontemporary has something to do with "pharyngeal compression"; as of now this isn't a real scientific term, it's just the closest thing I could come up with to describe the sensation. It's distinctly NOT mix voice as mix voice occurs before this in the chart.

There are also some cheeky bits in the descriptions, but it's not meant to target anyone. I imagine that most people will be confused by all of this, but w/e.

I was just kinda curious,

I hear all the time that tessitura is a big part of determining voice type but I never hear anyone describe how you find it. Is it simply the most comfortable spot of your voice or is there some sort of test.

I do realize that the fach system does not apply to pop singers, but I was just wondering about the development of tessitura, is it trained or is it more of a natural outcome? The following videos are songs by the same singer, Akina Nakamori.

https://www.youtube.com/watch?v=8I4QgLgH-Go She released this single when she was 18. She sounds pretty comfortable in her mixed voice.

https://www.youtube.com/watch?v=y5ESQBV2LCk She release the other single when she was 22. As her career progresses, she uses less of her mixed voice and more of her full chest voice. In many people's opinions (and mine too), her lower range has a more unique sound and suits her better. I was just wondering if she never discovered her lower range, is it possible that she would still be classified as a pop mezzo-soprano and never an alto?

https://drive.google.com/open?id=1DXiaCJ8U0oSe2DjCxT7kyQsNVkJ1CDBr This was requested audio to help determine my fach. I’m a little sick here, but still the essentials are true: I have a bright and expansive voice...that seems to bloom in the lower half of the fourth octave. Am I a high baritone? A weird, untrained tenor? I have an extensive and ringing head voice that is on display here as well. I’ve heard everything from leggiero tenor to dramatic baritone. Somebody help a brother out.

I want to participate in a local composition contest, and the most important requirement is that the piece is within the "safe" tessituras of choirs of people aged 18-25.

>[...] The jury will pay special attention to the adequacy of the work to the characteristics of the majority of the choirs of the federation. Therefore it is recommended to limit the tessituras (especially for the male voices) and limit the complexity in terms of harmony, rhythm [...]

Could you define these tessituras exactly with notes? It's certainly not childen's voices (that'd be a single fucking octave). I also sung in one of the choirs of the federation and we sang pieces with "normal" ranges (each part spanning a 12th or 13th), but I guess that choir was an outlier?

Hey guys,

What are some great Mozart arias with a lower tessitura (compared to Voi che sapete, Non so piu, etc)

Thank you!

Has anybody gone? What have you learned there? Is it worth it?

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