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Classifying Singing Voices

Dr. Françoise P. Chagnon September 1, 1998

Voice classification is a frequent preoccupation of young singers searching for

repertoire. Often, singers are sent to a laryngologist in the hope that the anatomy of their
vocal folds and throat will help in their voice classification. The prevailing
misconception among novices is that vocal fold length determines voice type. However,
classification must also take into account voice quality and pitch (perceived frequency)
range, and not just the fundamental frequency produced by the vibrating vocal folds.

In general, longer vocal folds in males (18 to 24 mm) than in females (14 to 19 mm)
correspond to deeper voices. Determining vocal fold length by direct examination is not
an easy task. One must consider only the vibrating membranous part of the vocal fold
and account for variations in length due to vocal muscle contraction. Varying vocal fold
length is not the only factor determining higher fundamental frequency in singing;
changes in vocal muscle tension are also involved.

The shape and volume of the resonating oral cavities are also important since they give
the color to the voice. Theoretically, for a given vocal fold length, the voice is perceived
as darker (lower) if the vocal tract is longer. To a certain extent, singers can control the
length of their resonating vocal tracts by raising or lowering their larynx or pursing their
lips.

Hence, voice classification must be based on dynamic physiological parameters. There

is currently no rigorous scientific method to determine voice classification. However,
there is agreement on the following criteria:

1) The tessitura. This is the part of the vocal range which the singer is most
comfortable producing: for tenors, C3 to C5; for baritones, A2 to A4; for basses, E2 to
E4; for sopranos, C4 to C6; for mezzo-sopranos, A3 to A5; for altos, E3 to G5.

2) The passaggio. This is the range of frequencies at which a register change occurs: for
tenors, E4 to F4; for baritones, D4 to E4; for basses, C4 to D4. The passaggio for female
voices is 1 octave higher than in the male.

3) The overall spectrum of acoustic energy in the voice. Vocal sound contains
frequencies generated by the vocal folds that are shaped into peaks (formants) by the
resonating vocal tract. Cleveland (1978) proposed a classification of the male singing
voice based on average spectral peaks of acoustic energy extracted from the singing of
an extended passage. Objective analysis of the acoustic energy peaks allows for hybrid
classifications that occur when short vocal cords are coupled with a long vocal tract, or
vice versa.

The objective of classifying the voice is to steer singers towards a repertoire that best
suits their anatomical and physiological potential. There is no need for premature
classification, as the inexperienced singer's tessitura and vocal range are
underdeveloped.
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Voice classification is best done by the vocal pedagogue. Laryngologists may assist by
correcting impeding vocal fold pathologies. Acoustical analysis serves as a pedagogical
aid by highlighting the importance of modulation of the vocal tract resonators in
formant development and enrichment of the acoustical output. Ultimately, proper voice
classification follows from optimizing the singer's physical reality through correct vocal
training.