The tenor voice is a common male voice part in many genres of music. If you're not sure if you're a tenor, you should consider the range of this voice. Then, you can figure out your subtype to help audition for more suitable roles in operas.
The tenor voice is one of the highest male voices, and it's the highest male chest voice type. This type sits below the countertenor and above the baritone voice. Most tenors can sing as low as a B2, which is just over an octave below middle C (C4).
On the upper end, a tenor voice can hit notes as high as F5, an octave and a half above middle C. However, some singers can go lower or higher than that. Others may have a slightly smaller range, especially beginners.
The typical range for a tenor is C3 to C5, so one octave on either side of C4. With proper training, you can learn to sing higher or lower.
The tenor voice has existed for as long as singers have been around. However, it was first named near the end of the Medieval period. From about 1250 to 1500, the tenor voice was a big part of polyphonic music.
Initially, the name referred to the vocal part that held notes. The name came from "tenere" which is Latin for "to hold." By the 1400s, males primarily sang the tenor part, so it became a name for one of the male voices.
The tenor voice also served as a reference for all other voice types. A notable example is that of the countertenor, which sings higher than the tenor.
Because of this history, early music with tenor roles refers to the part the singer plays. Music from later periods, however, refers to the voice type required.
The tenor voice has multiple subtypes. If your vocal range overlaps with that of a tenor, you should consider your subtype before auditioning for operatic roles.
Also called the tenore di grazia, the leggero tenor is similar to the lyric coloratura classification of female voices but a bit lower. Due to its lyric qualities, this voice type can sign lightly.
The coloratura qualities allow these singers to traverse large leaps. Most commonly, this voice type has a range of C3 to E5, but some singers may reach higher notes. Rossini and Donizetti used this subtype frequently.
A couple of example roles in operas include Count Almaviva from The Barber of Seville and Ernesto from Don Pasquale.
A lyric tenor has a nice full sound with some brightness to his tone. This voice type isn't super heavy, but it can project over a large ensemble. They're similar to the leggero tenor but don't have quite the same high register.
On average, a lyric tenor can sing from C3 to D5. Of course, some well-trained singers may have a larger range than that. Probably the most famous lyric tenor of all time was Gilbert Duprez, who lived in the 19th century.
Well-known roles for lyric tenors include Roméo from Roméo et Juliette and Rodolfo from La bohème.
Slightly heavier than the lyric tenor is the spinto tenor. These singers have more vocal weight that allows them to sing a climax without putting as much tension on their voice. They also sound a bit darker than a lyric tenor.
The average vocal range for a spinto is C3 to C5. As with other subtypes, some singers may be able to reach higher or lower notes.
Don Jose from Carmen and Mario Cavaradossi from Tosca are two opera roles that suit this tenor subtype particularly well.
You may hear some people refer to the dramatic tenor voice as the tenore robusto. This voice sounds rich and powerful. Some dramatic tenors have a darker tone, while others have a more metallic sound.
Dramatic tenors can usually sing from B2 to B4, give or take a few notes. The exact range may vary from singer to singer. It's rare to hear a dramatic tenor sing the coveted high C (C5).
In opera, a dramatic tenor can perform roles such as Don Alvaro from La forza del destino and Otello from the opera of the same name.
German for "heroic tenor," the heldentenor voice type is similar to the dramatic tenor. It's a common type used in German romantic opera music. While close to dramatic tenors, this type sounds more like a baritone.
Richard Wagner frequently used this subtype in his operas. Siegfried is one of the most famous roles for the heldentenor. The voice range is almost the same as the dramatic tenor, starting from C3 up to B4 or C5, depending on the singer.
However, due to the darker quality of the voice, these roles hardly ever call for the use of high notes. That makes it a suitable choice for tenors who are more comfortable in the lower register.
The Mozart tenor subtype refers to a voice that's especially suited to sing works by the composer of the same name. It requires good diction and excellent intonation. Other aspects include a nice timbre and breath control.
As the name suggests, this voice type can be found in many Mozart operas, including The Magic Flute and Cosi fan tutte. However, the subtype only got its start around the early 20th century.
Singers started to use vocal techniques from a singer named Caruso. Caruso didn't perform Mozart that often, but his technique involved more use of dynamics.
Singers who fall into the tenor buffo category (or spieltenor) can manipulate their voice. They often have the standard tenor range of C3 to C5. Tenor buffos also often specialize in comic roles.
This focus allows the singer to make their voice sound different for different characters. The tessitura for a tenor buffo is as broad as that for the tenor voice overall. It's most common to work as a tenor buffo early on or later on in your singing career.
Example roles for this type of tenor include Spoletta from Tosca and The Holy Fool from Boris Godunov.
Gilbert and Sullivan wrote many Savoy operas. In those operas and the operettas of other composers, there's another tenor subtype. This categorization refers to a lead lyric tenor role.
Because of that, these singers often have a range of C3 to D5, give or take a few notes. Example roles include Frederic from The Pirates of Penzance and Candide from the operetta of the same name.
You can also find tenor voices in a four-part choir. In a standard SATB choir, the tenor is the second-lowest part. Males with the tenor voice type or even the baritone voice type may perform this part.
In a male-only choir, the tenor voice covers the first two parts (TTBB). Tenor singers will often sing the first tenor part. Meanwhile, tenors and baritones can sing the second tenor part as it's a bit lower.
Another common place to see the tenor part outside of operas is barbershop quartet music. The tenor part is the highest, with the lead, baritone, and bass parts filling out the group. In this genre, the tenor often sings in the falsetto range, similar to a classical countertenor.
Tenor parts in barbershop quartet music sit between C4 and C5. While confusing, the lead part sits more in the typical tenor range.
The tenor voice is a well-known male voice in classical music and other genres. It's one of the higher male voices, and there are multiple subtypes. Keep those subtypes in mind when auditioning for roles as a tenor.