The tenor is a type of male singing voice that falls between the countertenor and baritone voice types. It is the highest male voice that uses the chest voice. Composers usually write music for the tenor in the range from the second B below middle C to the G above middle C (B2 to G4) in choral music, and from the second B-flat below middle C to the C above middle C (B♭2 to C5) in operatic music. However, the range can sometimes be higher or lower. Subtypes of the tenor include leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, and tenor buffo (also called the spieltenor).

History

The word "tenor" comes from the Latin word "tenere," which means "to hold." At first, the term was used to describe the main male voice in a musical piece with multiple voices singing different parts. Other voices were usually written in relation to the tenor, which often had longer notes and included a melody borrowed from another song. Before the late 16th century, the tenor was typically the lowest voice, providing a strong base for the music. It was not until the 18th century that the term "tenor" began to refer specifically to the male voice that sings certain parts. In earlier music, a line labeled "tenor" described the role of the part, not the type of voice needed. Even in the 18th century, some music books marked "tenor" sometimes included parts for different voice types.

Vocal range

The tenor is the highest male voice type in opera. In standard operas, the lowest note a tenor usually sings is B flat 2. However, in Rossini's opera La donna del lago, the character Rodrigo di Dhu (originally written for Andrea Nozzari) is classified as a tenor but requires singing as low as A flat 2. In more commonly performed operas, roles like Mime and Herod require singing as low as A 2.

Some tenor roles in standard operas include a note called "tenor C" (C 5, one octave above middle C). In certain songs, such as "Che gelida manina" from Puccini's La bohème, the high C is optional. In others, like "Di quella pira" from Verdi's Il trovatore, the high C is added by tradition. The highest note typically required in standard tenor operas is D 5, found in "Mes amis, écoutez l'histoire" from Adolphe Adam's Le postillon de Lonjumeau and "Loin de son amie" from Fromental Halévy's La Juive.

In the leggero repertoire, which includes lighter operatic styles, the highest note is F 5, as seen in the role of Arturo in "Credeasi, misera" from Bellini's I puritani. Only a few tenors, such as Nicolai Gedda, can perform this role without adjusting the pitch (transposition) due to changes in concert pitch since the opera was written. Some tenors, like Luciano Pavarotti, use a vocal technique called passaggio to reach these high notes.

In choral music

In a SATB four-part mixed chorus, the tenor is the second lowest vocal range, above the bass and below the alto and soprano. Men's choruses usually include TTBB ensembles, where the first tenor is the highest voice. Although some choral music requires first tenors to sing the full tenor range, most choral music uses tenors in the range from approximately B2 up to A4. The needs of the tenor voice in choral music depend on the style of music performed by the choir. Orchestral choruses often require tenors with strong, resonant voices, while chamber or a cappella choral music (choral music without instrumental accompaniment) may use baritones singing in falsetto.

Despite this, a common challenge in choral singing is the shortage of tenor voices. Many men's voice ranges fall within the baritone range, so some men in choirs prefer singing in the bass section (though true basses are even rarer than tenors). Some baritones sing tenor parts even if they cannot fully cover the range using only their chest voice, and occasionally contraltos sing tenor parts. In men's choruses with four male vocal parts (TTBB: tenor 1, tenor 2, bass 1, bass 2), tenors often sing using both chest voice and falsetto, which helps expand the choir's overall vocal range.

Subtypes and roles in opera

The tenor voice type includes seven main subcategories: leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor, Mozart tenor, and tenor buffo or spieltenor. There is often overlap between these categories, as some tenors may start with one voice type and later develop into another.

The leggero tenor, also called tenore di grazia, is the male version of a lyric coloratura. This voice is light, agile, and can perform complex musical passages called fioritura. A typical leggero tenor can sing from about C3 to E5, with some reaching up to F5. In some cases, their lower range may extend below C3. These voices are often used in operas by composers like Rossini, Donizetti, Bellini, and in Baroque music.

Leggero tenor roles in operas:

The lyric tenor has a warm, graceful voice with a bright, full sound that is strong but not heavy. It can be heard clearly over an orchestra. Lyric tenors usually sing from C3 to D5, with some extending slightly below C3. Their voices have many variations, and the right roles should be chosen based on the voice’s strength, tone, and abilities.

Lyric tenor roles in operas:

The spinto tenor has the brightness and high range of a lyric tenor but with a heavier voice that can reach dramatic high notes with less strain. Their sound is darker than lyric tenors but not as dark as dramatic tenors. In Germany, spinto tenors are sometimes called Jugendlicher Heldentenor and may sing roles similar to dramatic tenors or Wagnerian characters like Lohengrin. Spinto tenors typically sing from C3 to C5.

Spinto tenor roles in operas:

The dramatic tenor has a powerful, ringing, and heroic voice. Their range is usually from B2 to B4, with some reaching C5. Many dramatic tenors avoid singing high C in performances. Their lower range may extend into the baritone range, sometimes as low as A♭2. Some have a dark, rich tone, while others have a bright, strong sound.

Dramatic tenor roles in operas:

The heldentenor, or heroic tenor, has a rich, dark, and powerful voice. This type is common in German romantic operas and is similar to the Italian tenore drammatico but with a more baritone-like quality. A key role for heldentenors is Wagner’s Siegfried, which requires a wide range, great power, and stamina. Some heldentenors may have a baritone voice or may be misidentified as baritones. These roles rarely require very high notes like B or C.

Heldentenor roles in operas:

A tenor buffo or spieltenor is a tenor with strong acting skills and the ability to play different characters. They specialize in small comic roles. Their range is from C3 to C5, and their parts often require singing from low to very high notes. These roles are often played by younger tenors who are still developing their voices or older tenors who are past their prime singing years. Few singers focus on these roles for their entire careers. In French opéra comique, small roles requiring a thin voice and good acting are sometimes called "trial" after a singer named Antoine Trial. Examples include roles in operas by Ravel and in The Tales of Hoffmann.

Tenor buffo or spieltenor roles in operas:

Other uses

Barbershop harmony has four parts: bass, baritone, lead, and tenor (from lowest to highest). The tenor is the highest part and usually sings in a falsetto voice, similar to a countertenor in classical music. The tenor sings above the lead, who sings the main melody. The range for the barbershop tenor is from Middle C to a note one octave above Middle C, but it is written as an octave higher. In barbershop music, the "lead" is the same as the normal tenor range.

In bluegrass music, the melody line is called the lead. The tenor sings a musical distance of a third above the lead. The baritone is the fifth note in the scale that has the lead as its starting note. The baritone may be sung below the lead or above the lead (and the tenor), and when it is above, it is called "high baritone."