The tenor is a type of male singing voice A voice type is a particular kind of human singing voice perceived as having certain identifying qualities or characteristics. Voice classification is the process by which human voices are evaluated and are thereby designated into voice types. These qualities include but are not limited to: vocal range, vocal weight, vocal tessitura, vocal timbre, and is the highest male voice within the modal register Modal voice is the vocal register used most frequently in speech and singing in most languages. It is also the term used in linguistics for the most common phonation of vowels. The term "modal" refers to the resonant mode of vocal cords; that is, the optimal combination of airflow and glottal tension that yields maximum vibration. The typical tenor voice lies between C3, the C one octave below middle C In classical music, the expression "Middle C" refers to the note "C" located exactly between the two staves of the grand staff and near the top and bottom, respectively, of the bass and soprano voices. When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of the middle C note is, to the A above middle C (A4 Scientific pitch notation is one of several methods that name the notes of the standard Western chromatic scale by combining a letter-name, accidentals, and a number identifying the pitch's octave. The definition of scientific pitch notation in this article is that proposed to the Acoustical Society of America in 1939, where C0 is in the region of) in choral music, and up to high C (C5) in solo work. The low extreme for tenors is roughly B♭2 (two B♭s below middle C In classical music, the expression "Middle C" refers to the note "C" located exactly between the two staves of the grand staff and near the top and bottom, respectively, of the bass and soprano voices. When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of the middle C note is). At the highest extreme, some tenors can sing up to two Fs above middle C In classical music, the expression "Middle C" refers to the note "C" located exactly between the two staves of the grand staff and near the top and bottom, respectively, of the bass and soprano voices. When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of the middle C note is (F5).[1]
The term tenor is also applied to instruments, such as the tenor saxophone The tenor saxophone is a medium-sized member of the saxophone family, a group of instruments invented by Adolphe Sax in the 1840s. The tenor, with the alto, are the two most common types of saxophones. The tenor is pitched in the key of B♭, and written as a transposing instrument in the treble clef, sounding a major ninth lower than the written, to indicate their range In music, the range of a musical instrument is the distance from the lowest to the highest pitch it can play. For a singing voice, the equivalent is vocal range. The range of a musical part is the distance between its lowest and highest note in relation to other instruments of the same group.
Within opera Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score. Opera is part of the Western classical music tradition. Opera incorporates many of the elements of spoken theatre, such as acting, scenery and costumes and sometimes includes dance. The performance is typically given in an opera house,, the lowest note in the standard tenor repertoire is A2 Scientific pitch notation is one of several methods that name the notes of the standard Western chromatic scale by combining a letter-name, accidentals, and a number identifying the pitch's octave. The definition of scientific pitch notation in this article is that proposed to the Acoustical Society of America in 1939, where C0 is in the region of (Mime Der Ring des Nibelungen is a cycle of four epic operas or (to use the composer's preferred term) 'dramas' by the German composer Richard Wagner (1813–1883). The works are based loosely on characters from the Norse sagas and the Nibelungenlied. The four dramas, which the composer described as a trilogy with a Vorabend ('preliminary evening'), are, Herod Salome is an opera in one act by Richard Strauss to a German libretto by the composer, based on Hedwig Lachmann’s German translation of the French play Salomé by Oscar Wilde), but few roles fall below C3 (one octave below middle C In classical music, the expression "Middle C" refers to the note "C" located exactly between the two staves of the grand staff and near the top and bottom, respectively, of the bass and soprano voices. When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of the middle C note is). The high extreme: many tenor roles in the standard repertoire call for a "tenor C" (C5, one octave above middle C In classical music, the expression "Middle C" refers to the note "C" located exactly between the two staves of the grand staff and near the top and bottom, respectively, of the bass and soprano voices. When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of the middle C note is). Some operatic roles for tenor require a darker timbre and fewer high notes. In the leggiero repertoire the highest note is an F5 (Arturo in I puritani), therefore, very few tenors can have this role in their repertoire.[2]
Within musical theatre Musical theatre is a form of theatre combining music, songs, spoken dialogue and dance. The emotional content of the piece – humor, pathos, love, anger – as well as the story itself, is communicated through the words, music, movement and technical aspects of the entertainment as an integrated whole. Since the early 20th century, musical, most tenor roles are written between B♭2 Scientific pitch notation is one of several methods that name the notes of the standard Western chromatic scale by combining a letter-name, accidentals, and a number identifying the pitch's octave. The definition of scientific pitch notation in this article is that proposed to the Acoustical Society of America in 1939, where C0 is in the region of and A♭4, especially the romantic leads, although some fall as low as A♭2 and others as high as G5.
Contents |
Origin of the term
The name "tenor" derives from the Latin Latin or sometimes Roman is an Italic language originally spoken in Latium and Ancient Rome. Although often considered a dead language, in view of the fact that it has no native, fluent speakers, Latin continues to be taught in schools and has been, and currently is, used in the process of new word production in modern languages from many word tenere, which means "to hold". In medieval The Middle Ages is a period of European history from the 5th century to the 15th century. The period followed the fall of the Western Roman Empire in 476, and preceded the Early Modern Era. It is the middle period in a three-period division of history: Classical, Medieval, and Modern. The term "Middle Ages" (medium aevum) was coined in and Renaissance The Renaissance was a cultural movement that spanned roughly the 14th to the 17th century, beginning in Florence in the Late Middle Ages and later spreading to the rest of Europe. The term is also used more loosely to refer to the historic era, but since the changes of the Renaissance were not uniform across Europe, this is a general use of the polyphony In music, polyphony is a texture consisting of two or more independent melodic voices, as opposed to music with just one voice or music with one dominant melodic voice accompanied by chords (homophony) between about 1250 and 1500[citation needed], the tenor was the structurally fundamental (or ‘holding’) voice, vocal or instrumental. All other voices were normally calculated in relation to the tenor, which often proceeded in longer note values and carried a borrowed Cantus firmus melody. Until the late 15th century introduction of the contratenor bassus, the tenor was usually the lowest voice, assuming the role of providing a harmonic A harmonic of a wave is a component frequency of the signal that is an integer multiple of the fundamental frequency, i.e. if the fundamental frequency is f, the harmonics have frequencies 2f, 3f, 4f, . . . etc. The harmonics have the property that they are all periodic at the fundamental frequency, therefore the sum of harmonics is also periodic foundation. It was also in the 15th century that "tenor" 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, partbooks labelled 'tenor' might contain parts for a range of voice types.[3]
Tenor in choral music
In four-part choral music, the tenor is the second lowest voice, above the bass A bass is a type of male singing voice and possesses the lowest vocal range of all voice types. According to The New Grove Dictionary of Opera, a bass is typically classified as having a range extending from around the second F below middle C to the E above middle C . Its tessitura, or comfortable range, is normally defined by the outermost lines and below the soprano A soprano is a singing voice with a vocal range from approximately middle C (C4) to "high A" (A5) in choral music, or to "soprano C" (C6, two octaves above middle C) or higher in operatic music. In four part chorale style harmony, the soprano takes the highest part which usually encompasses the melody. For other styles of and alto When designating instruments, "alto" frequently refers to a member of an instrumental family that has the second highest range, below that of the treble or soprano. Hence, for example, the term "alto saxophone". In other "families", such as the trombone, there is no soprano, the alto having been the highest, although. While 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. Orchestra choruses require tenors with fully resonant voices, but chamber or a cappella choral music (sung with no instrumental accompaniment) can rely on light baritones Baritone is a type of male singing voice that lies between the bass and tenor voices. It is the most common male voice. Originally from the Greek βαρύτονος, meaning 'deep (or heavy) sounding', music for this voice is typically written in the range from the second F below middle C to the F above middle C (i.e. F2-F4) in choral music, and singing in falsetto Falsetto is the vocal register occupying the frequency range just above the modal voice register and overlapping with it by approximately one octave. It is produced by the vibration of the ligamentous edges of the vocal cords, in whole or in part. Commonly cited in the context of singing, falsetto, a characteristic of phonation by both men and.[4]
Even so, one nearly ubiquitous facet of choral singing is the shortage of tenor voices.[5][6][7] Most men tend to have baritone Baritone is a type of male singing voice that lies between the bass and tenor voices. It is the most common male voice. Originally from the Greek βαρύτονος, meaning 'deep (or heavy) sounding', music for this voice is typically written in the range from the second F below middle C to the F above middle C (i.e. F2-F4) in choral music, and voices and for this reason the majority of men tend to prefer singing in the bass section of a choir (however, true basses are even rarer than tenors). Some men are asked to sing tenor even if they lack the full range, and sometimes low altos are asked to sing the tenor part.[4] The late 19th century saw the emergence of male choirs or TTBB (Tenor1, Tenor2, Bass1, Bass2). In the USA these are sometimes called Glee Clubs. The Welsh choirs are perhaps the best personification of this type of choir. Male Choirs sing specially written music for male choirs, music adapted from mixed sex choirs and in most genres including classical, sacred, popular and show. Male choirs differ from Barbershop choirs in that they are usually accompanied, often by but not restricted to a piano. Male choirs are often larger than the Barbershop style partly because the foundation of the Barbershop style is the solo quartet sound. In Male Choirs, tenors will often sing both in chest tone and falsetto. As a result, a male choir has a wider pitch range than one consisting only of females. Some examples of male choirs are: The Morriston Orpheus Welsh Male Voice Choir, the Sydney Male Choir and the Treorchy Male Choir. There are some impressive male ensembles in the Russian Orthodox Church choral tradition and also there are some excellent Jewish ensembles.
Other uses
There are four parts in Barbershop harmony Barbershop vocal harmony, as codified during the barbershop revival era , is a style of a cappella, or unaccompanied vocal music characterized by consonant four-part chords for every melody note in a predominantly homophonic texture. Each of the four parts has its own role: generally, the lead sings the melody, the tenor harmonizes above the: 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 the countertenor A countertenor is a male singing voice whose vocal range is equivalent to that of a contralto, mezzo-soprano, or a soprano, usually through use of falsetto, or far more rarely the normal or modal voice. A pre-pubescent male who has this ability is called a treble. This term is used exclusively in the context of the classical vocal tradition, in classical music, and harmonizes above the lead, who sings the melody. The barbershop tenor range is B♭-below-middle C In classical music, the expression "Middle C" refers to the note "C" located exactly between the two staves of the grand staff and near the top and bottom, respectively, of the bass and soprano voices. When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of the middle C note is (B ♭ 3) to D-above-high C (D5), though it is written an octave lower. The "lead" in barbershop music is equivalent to the normal tenor range.[8]
In bluegrass music Bluegrass music is a form of American roots music, and is a sub-genre of country music. It has roots in Scottish, English, Welsh[citation needed] and Irish traditional music. Bluegrass was inspired by the music of immigrants from the United Kingdom and Ireland , and African-Americans, particularly through genres such as jazz and blues. In, 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."[9]
A tenor is also classified as a drum used in a drum corps. or drum-line. The tenor drum consists of 5 or 6 drums of different tones, 4, 3, 2, 1, and one or two spocks. 4 is the lowest sounding drum and the right spock is the highest sounding drum. Tenors are also referred to as quads because of the four main drums, or quints including the spocks. The tenors, in a drum cadence, are usually a combination of bass drum and snare drum beats to give the cadence more of a groove.
Though strictly not musical, the Muslim call to prayer (azan) is always chanted by tenors, possibly due to the highly placed resonance of the tenor voice which allows it to be heard from a longer distance than baritones or basses during pre-amplification times. Some such chanters (termed bilals) may modulate up to E3 in certain passages, while incorporating a distinctive Middle-Eastern coloratura run.
Tenor voice classification
Within Choral A body of singers who perform together is called a choir or chorus. The former term is very often applied to groups affiliated with a church and the second to groups that perform in theatres or concert halls, but this distinction is far from rigid. The term "Choir" has the secondary definition of a subset of an ensemble; thus one speaks and pop music Pop music is usually understood to be commercially recorded music, often oriented towards a youth market, usually consisting of relatively short, simple love songs utilizing technological innovations to produce new variations on existing themes. Pop music has absorbed influences from most other forms of popular music, but as a genre is, singers are classified into voice parts based almost solely on range Vocal range is the measure of the breadth of pitches that a human voice can phonate. Although the study of vocal range has little practical application in terms of speech, it is a topic of study within linguistics, phonetics, and speech and language pathology, particularly in relation to the study of tonal languages and certain types of vocal with little consideration for other qualities in the voice. Within classical solo singing, however, a person is classified as a tenor through the identification of several vocal traits, including vocal range Vocal range is the measure of the breadth of pitches that a human voice can phonate. Although the study of vocal range has little practical application in terms of speech, it is a topic of study within linguistics, phonetics, and speech and language pathology, particularly in relation to the study of tonal languages and certain types of vocal (the lowest and highest notes that the singer can reach), vocal timbre In music, timbre is the quality of a musical note or sound or tone that distinguishes different types of sound production, such as voices or musical instruments. The physical characteristics of sound that mediate the perception of timbre include spectrum and envelope. Timbre is also known in psychoacoustics as tone quality or tone color, vocal weight Vocal weight refers to the perceived "lightness" or "heaviness" of a singing voice. This quality of the voice is one of the major determining factors in voice classification within classical music. Lighter voices are often associated with the term lyric and are usually brighter and more agile; heavier voices are often, vocal tessitura In music, the term tessitura generally describes the most musically acceptable and comfortable range for a given singer or, less frequently, musical instrument; the range in which a given type of voice presents its best-sounding texture or timbre. This broad definition is often interpreted to refer specifically to the pitch range that most, vocal resonance Vocal resonation is the process by which the basic product of phonation is enhanced in timbre and/or intensity by the air-filled cavities through which it passes on its way to the outside air. Various terms related to the resonation process include amplification, enrichment, enlargement, improvement, intensification, and prolongation, although in, and vocal transition points (lifts or "passaggio Passaggio is a term used in classical singing to describe the pitch ranges in which vocal registration events occur. Beneath passagio is the chest voice where any singer can produce a powerful sound, and above it lies the head voice, where a powerful and resonant sound is accessible only with training. The historic Italian school of singing") within the singer's voice. These different traits are used to identify different sub-types within the tenor voice sometimes referred to as fächer (sg. fach The German Fach (German pronunciation: [ˈfax, ˈfɛçɐ]) system is a method of classifying singers, primarily opera singers, according to the range, weight, and color of their voices. It is used world wide, but primarily in Europe, especially in German-speaking countries and by repertory opera houses, from German Fach or Stimmfach, "vocal category"). Within opera Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score. Opera is part of the Western classical music tradition. Opera incorporates many of the elements of spoken theatre, such as acting, scenery and costumes and sometimes includes dance. The performance is typically given in an opera house,, particular roles are written with specific kinds of tenor voices in mind, causing certain roles to be associated with certain kinds of voices.[10]
Here follows the operatic tenor fächer, with examples of the roles from the standard repertory that they commonly sing. It should be noted that there is considerable overlap between the various categories of role and of voice-type; and that some singers have begun with lyric voices but have transformed with time into spinto or even dramatic tenors. (Enrico Caruso is a prime example of this kind of vocal development.) It must be said that in the operatic canon the highest top note generally written by composers is B. Top Cs are rare (they are either given as oppure that is, up to the singer to interpolate or are traditional additions). An ability to sing above C, therefore, is musically superfluous. Indeed, many famous tenors never even attempted C at least on record—for example, in Caruso's 1906 recording of Che Gelida Manina, the whole aria is transposed to avoid the oppure top C. This is a normal transposition.
Lirico-Leggero tenor
The male equivalent of a lyric coloratura A coloratura soprano is a type of operatic soprano who specializes in music that is distinguished by agile runs and leaps. The term coloratura refers to the elaborate ornamentation of a melody, which is a typical component of the music written for this voice. Within the coloratura category, there are roles written specifically for lighter voices, this voice is a light lyric instrument, is very agile and is able to perform difficult passages of fioritura "Fioritura" is the name given to the flowery, embellished vocal line found in many arias from nineteenth-century opera. It is derived from the Italian fiore, meaning "flower". The Lirico-Leggero tenor has a range of approximately the C one octave below middle C In classical music, the expression "Middle C" refers to the note "C" located exactly between the two staves of the grand staff and near the top and bottom, respectively, of the bass and soprano voices. When calculated in equal temperament with a reference of A above middle C as 440 Hz, the frequency of the middle C note is (C3) to the D above tenor C (D5), with a few leggero tenors being able to sing F5 and even higher while maintaining quality to the sound. Similarly, the lirico-leggero may be able to sing a little lower than the C3. The voice is the highest operatic tenor voice and is sometimes referred to as "tenore di grazia". This voice is utilized frequently in the operas of Mozart Wolfgang Amadeus Mozart (German: [ˈvɔlfɡaŋ amaˈdeus ˈmoːtsaʁt], full baptismal name Johannes Chrysostomus Wolfgangus Theophilus Mozart , was a prolific and influential composer of the Classical era. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, piano, operatic, and choral music. He is among, Rossini Gioachino Antonio Rossini was an Italian composer who wrote 39 operas as well as sacred music, a few songs, and some instrumental and piano pieces. His best known works include Il barbiere di Siviglia (The Barber of Seville), La Cenerentola, La gazza ladra (The Thieving Magpie) and Guillaume Tell (William Tell). A tendency for inspired, songlike, Donizetti Domenico Gaetano Maria Donizetti was an Italian composer from Bergamo, Lombardy. Donizetti's most famous work is Lucia di Lammermoor (1835), although arguably his most immediately recognizable piece of music is the aria "Una furtiva lagrima" from L'elisir d'amore (1832). Along with Vincenzo Bellini and Gioachino Rossini, he was a leading and the highest Baroque Baroque music describes a style of European classical music approximately extending from 1600 to 1750. This era is said to begin in music after the Renaissance and was followed by the Classical era. The word "baroque" came from the Portuguese word barroco, meaning "misshapen pearl", a strikingly fitting characterization of the repertoire for tenors.
Lirico-Leggero Tenor Roles In Opera & Operettas:[2]
Lirico-Leggero Tenor Singers:
Lyric tenor
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) with some able to sing up to E♭5 and higher. 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.
Lyric Tenor Roles In Opera & Operettas:[2]
|
|
Lyric Tenor Singers:
Spinto tenor
This voice 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. (They are also known as "lyric-dramatic" tenors.) This fach is divided into lirico-spinto and drammatico-spinto, though it is an old-school Italian tradition to do so and Spinto tenors today are simply labeled "Spinto". Spinto tenors have a darker timbre than a lyric tenor, without having a vocal color as dark as a dramatic tenor. However, other spinto tenors, such as Carlo Bergonzi have brightly colored and lyrical sounding voices, but are nevertheless able to perform spinto roles due to large vocal size or high volume [2]. Spinto tenors have a wide range of flexibility within the fach system being able to perform such roles as Radames in Aida and Don Alvaro in La forza del destino as well as lighter roles such as the Duca in Rigoletto and Werther. The German equivalent of the Spinto fach is the Jugendlicher Heldentenor and encompasses many of the Dramatic tenor roles as well as some Wagner roles such as Lohengrin and Siegmund. 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 Jugendlicher Heldentenors tend to be either young heldentenors or true lyric dramatic voices giving them a dark dramatic tenor like tone. Spinto tenors have a range from approximately the C one octave below middle C (C3) to the C one octave above middle C (C5), and, like the lyric tenors, they are often capable of reaching D5 and sometimes higher. Similarly, their lower range may extend a few notes below the C3.[2]
Spinto Tenor Roles In Opera & Operettas:[2]
|
|
Spinto Tenor Singers:
Dramatic tenor
Also "tenore di forza" or "robusto" – a rich, emotive, ringing and very powerful, clarion heroic tenor. The dramatic tenor has an approximate range from the C one octave below middle C (C3) to the C one octave above middle C (C5).[2] Many successful dramatic tenors 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.
Dramatic Tenor Roles In Opera & Operettas:[2]
|
|
Dramatic Tenor Singers:
|
Heldentenor
A rich, dark, powerful and dramatic voice. As its name implies, the Heldentenor (English: heroic tenor) vocal fach features in the German romantic operatic repertoire. The Heldentenor is the German equivalent of the tenore drammatico, however with a more baritonal quality: the typical Wagnerian protagonist. The keystone of the heldentenor's repertoire is arguably Wagner's Siegfried, 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 this fach 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 Heldentenor is less a true tenor than a baritone with a strong top register. Heldentenor Roles In Operas & Operettas:[2]
|
Heldentenor Singers:
Tenor buffo or Spieltenor
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). The tessitura of these parts lies lower than the other tenor roles. 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.[2] In French opéra comique, supporting roles requiring a thin voice but good acting are sometimes described as 'trial', after the singer Antoine Trial (1737–1795), examples being in the operas of Ravel and in The Tales of Hoffmann.[11]
Tenor Buffo or Spieltenor Roles in Opera & Operettas:[2]
|
|
Tenor Buffo or Spieltenor singers:
|
Operetta
Tenor Roles in Operetta: All of the Gilbert and Sullivan comic operettas have at least one lead lyric tenor character; other notable roles are:
-
- Candide, (Candide)
- Eisenstein, (Die Fledermaus)
- Camille, Count de Rosillon, (The Merry Widow)
- Prince Karl, (The Student Prince)
- Sheikh Red Shadow, (The Desert Song)
- Captain Dick, (Naughty Marietta)
References
Specific references:
- ^ McKinney, James (1994). The Diagnosis and Correction of Vocal Faults. Genovex Music Group. ISBN 978-1565939400.
- ^ a b c d e f g h i j k Boldrey, Richard (1994). Guide to Operatic Roles and Arias. Caldwell Publishing Company. ISBN 978-1877761645.
- ^ Stark, James (2003). Bel Canto: A History of Vocal Pedagogy. University of Toronto Press. ISBN 978-0802086143.
- ^ a b Smith, Brenda (2005). Choral Pedagogy. Plural Publishing, Inc. ISBN 978-1597560436.
- ^ Shortage of tenors acknowledged (but blamed on cultural discouragement)
- ^ Joseph Callega interview: mentions shortage of tenors
- ^ The disciplines of vocal pedagogy By Karen Sell: mentions shortage of tenors
- ^ Averill, Gage (2003). Four Parts, No Waiting: A Social History of American Barbershop Harmony. Oxford University Press. ISBN 978-0195116724.
- ^ Cantwell, Robert (2002). Bluegrass Breakdown: The Making of the Old Southern Sound. University of Illinois Press. ISBN 978-0252071171.
- ^ Appelman, D. Ralph (1986). The Science of Vocal Pedagogy: Theory and Application. Indiana University Press. ISBN 978-0253203786.
- ^ Cotte RJV. Trial, French family of musicians. In: The New Grove Dictionary of Opera. Macmillan, London and New York, 1997.
General references:
- David Fallows, Owen Jander. Tenor, Grove Music Online, ed. L. Macy, grovemusic.com (subscription required)
Categories: Pitch (music) | Voice types | Opera terminology | Tenors
|
BBC South East Wales
Why is it said that Wales has produced more tenors per head of population than any other country in the world? Tim Rhys Evans, musical director of Only Men ...
admin
Sat, 01 May 2010 10:09:11 GM
Buy 3 Redneck . Tenors. , tickets. Tickets for Apr 17 2009 at Pantages Theatre - Tacoma in Tacoma, WA are available. TicketNetwork.com gets you in! $125.00 | Theatre Tickets | Read more...
