Voice types and fachs for younger or untrained voices: Why it matters and why it doesn’t! - Alexandria Siegers
- ANATS
- 2 days ago
- 3 min read
One of the questions that always comes up when working with new students is “What is my voice type?”.
There are a few different ways to define voice types, and it is often dependent on a singer’s context and why you are wanting to classify a voice.
Choral singers are often divided into Soprano, Alto, Tenor, and Bass, often based on a singer’s range and tessitura (the most comfortable range for a singer).
Opera often uses the German Fach system which divides the four basic voice types into further categories according to range, tessitura and timbre. For example, Soprano Fächer include coloratura, soubrette, dramatic, lyric, and spinto.
Musical theatre has a much more nebulous system for voice types, but generally roles will fall into one of six categories; Soprano, Mezzo Soprano, Alto, Tenor, Baritone and Bass/Bass-Baritone.
Generally speaking, rock, pop or jazz singers don’t ascribe to standardised voice classifications.
When can voice types be helpful?
When working with beginners, giving them some guideposts can be a helpful framework to build their learning around. It can help them understand why some things are easier or harder for them to sing than others, setting realistic goals for their singing, and what weaknesses to expect.
Having a voice type to explore can help students discover suitable repertoire and new artists. There are centuries of music to explore, and having a way to filter through by voice type can help.
Voice types can also be helpful in helping singers understand the potential of their instrument. How often do you meet students who say “I can’t sing high”, or amateur sopranos who can’t access their chest voice at all? Sometimes voice classifications can help show students what they might be capable of.
When can voice types be unhelpful?
Voice categories can limit how a student thinks about their voice, closing them off from their vocal potential. When understood as a concrete thing, voice classification can therefore be potentially harmful.
Categorising a voice too early or incorrectly may mean a student pushes themselves to sing in a way that they think they ‘should’.
Without understanding the nuances of vocal classification, a beginner looking at resources that specify that a baritone, for example, should be able to sing from a G2 to a B4 and a tenor from C3 to E5 may feel like they don’t fit into any voice type, and also could hurt themselves trying to push the extremities of their voice.
I much prefer the description provided from composer Chris Hutchings (2024), which provides a higher level of description and nuance and is likely to be more relevant to a beginner or amateur student.
Many young singers are desperate for a voice type designation, and feel that finding their classification will eliminate their fears and solve their vocal problems. However, many don’t understand that opinions on voice classifications change from person to person and coach to coach, and also can change throughout their life.
As a voice coach, you are often making your best, educated guess at what is happening inside a student’s body when they are singing. If your designation of voice type is taken as finite gospel, it may cause potential problems further downstream. Even so, discussing the pros and cons of voice types and when they might be relevant (and when they might not be) remains a useful pedagogical tool for vocal coaches and a voyage of discovery for students.
Reference List
Hutchings, Chris. (July 2024), Ranges for choral singers: a guide for composers, https://www.hutchingsmusic.co.uk/wp-content/uploads/2024/07/choral-ranges.pdf
About the Author
Alexandria Siegers
Website: www.alexsiegers.com
Alex Siegers is an educator and performer across jazz, baroque and pop genres, working with leading musicians and ensembles throughout Australia including Gian Slater, Paul Grabowsky, The Choir of St James’ King St, and The Song Company. She works as a Casual Academic at Sydney Conservatorium of Music, and has toured with Musica Viva in Schools since 2019. In 2024 she released her debut album ‘From Here’ on the ABC Jazz label, featuring a collection of Australian jazz standards with Andrew Dickeson, Aaron Blakey and Jacob Graham.
ANATS is the peak professional association for singing teachers in Australia. We help teachers of any style of singing to be the best they can be, by provide professional development, advocacy and community for singing teachers and other voice professionals across Australia.
We welcome members from all musical cultures, vocal styles and singing or teaching environments. We are committed to building an inclusive culture that encourages, supports, and celebrates the diverse voices of our industry.
