Tenor

The tenor is a specific type of male singing voice. It sits between the countertenor and the baritone in pitch. It is considered the highest male chest-voice type. This means the sound is produced using the chest register rather than a lighter head voice. The term comes from the Latin word *tenere*, which means "to hold."

In early music, the tenor held a central role. It often carried a borrowed melody called a *cantus firmus*. In polyphonic works, the tenor provided the structural foundation. Until the late 16th century, the tenor was actually the lowest voice in many compositions. Over time, the role changed as new voice types like the contratenor were introduced.

In modern choral music, the tenor has a very specific placement. In a standard four-part mixed chorus (SATB), the tenor is the second lowest range. It sits above the bass but below the alto and soprano. In a men's chorus, which uses a TTBB structure, the first tenor is the highest voice. Most choral music asks tenors to sing between B2 and A4. However, orchestral choruses often require more resonant voices. Some chamber or *a cappella* music might use baritones singing in *falsetto* to fill this part. There is often a shortage of true tenor voices in choirs. Many men have a *tessitura*, or comfortable range, in the baritone section. Because of this, many men choose to sing in the bass section instead.

Opera requires even more variety in tenor voices. Composers use different subtypes to match the character and the music. One subtype is the *leggero* tenor, also called the *tenore di grazia*. This voice is light and very agile. It is capable of performing *fioritura*, which are difficult and decorative musical passages. A *leggero* tenor typically sings from C3 to E5. Some can even reach F5 in full voice. These singers are often used in the operas of Rossini and Donizetti. Famous roles include Arturo in Bellini's *I puritani* and Count Almaviva in *The Barber of Seville*.

Another common type is the lyric tenor. This voice is warm, graceful, and bright. It has a full timbre that can be heard over a large orchestra. The lyric tenor range usually spans from C3 to D5. A historically important figure was Gilbert Duprez. He was the first tenor to sing a high C from the chest, known as *ut de poitrine*. This was a major change from using *falsettone*. Many famous operatic roles are written for lyric tenors. These include Alfredo in Verdi's *La traviata* and Rodolfo in Puccini's *La bohème*.

The spinto tenor acts as a bridge between the lyric and dramatic styles. The word *spinto* implies a voice that can be "pushed." It has the brightness of a lyric tenor but more vocal weight. This allows the singer to reach dramatic climaxes without as much strain. The timbre is darker than a lyric voice but not as dark as a dramatic voice. Their range is typically from C3 to C5. They often sing roles like Calaf in Puccini's *Turandot* or Don José in Bizet's *Carmen*. In German music, the spinto style overlaps with some dramatic roles.

For the most powerful music, composers use the dramatic tenor. This is also called the *tenore robusto*. This voice is emotive, ringing, and very powerful. It has a heroic, clarion sound. A dramatic tenor's range is roughly B2 to B4, though some can reach C5. Their lower notes can extend down to A-flat 2. Some dramatic tenors have a dark color, like Enrico Caruso. Others have a bright, steely timbre, like Francesco Tamagno. They sing massive roles such as Otello in Verdi's *Otello* or Samson in *Samson et Dalila*.

The *heldentenor*, or "heroic tenor," is a specialized German voice type. It is very rich, dark, and powerful. This voice is often used in the German romantic repertoire. It has a more baritonal quality than other tenors. This type of singer is often the protagonist in Wagnerian operas. The role of Siegfried is a famous example of a *heldentenor* part. It requires immense power, a wide range, and great stamina. Many *heldentenors* are actually baritones who have transitioned to this heavier voice type. They must be strong enough to complete very long and demanding performances.