# What is the minimum developed range a singer should possess?



## BalalaikaBoy (Sep 25, 2014)

I know, I know "range isn't everything", but at the very least, it's important and necessary to have a developed range up to a certain point. The key word is _developed_, not simply one someone can breath out of the lower register or squeak out of the upper register. You'll also notice that my opinion on this matter is a little wider than what is considered a standard performance range. This is for good measure to ensure that the singer can not only hit the desired note in a performance, but _project_ it. you'll also notice some voices require a few notes up top. for example, for both a lyric soprano and a dramatic soprano, high C is the highest note of most of their performances, but a lyric soprano should have a easy, spinning high C. for a dramatic soprano, a more "pushed" high C that says "this is close to my limit" is more acceptable in a way it is not for lighter sopranos.

for example, this is just my opinion, but I would say it is something close to:

Leggiero soprano: Bb3-F#6
lyric soprano: A3-Eb6
spinto soprano: G3-D6
dramatic soprano: G3-D6

lyric mezzo: F3-C6
dramatic mezzo: E3-B5
contralto: E3-Bb5

leggiero tenor: C3-E5
spinto tenor: Bb2-D5
dramatic tenor: A2-C#5

lyric baritone: G2-Bb4
dramatic baritone: F#2-Bb4

bass-baritone: E2-Ab4
basso cantante: D2-G4
basso profondo: C2-F4


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## Bonetan (Dec 22, 2016)

BalalaikaBoy said:


> I know, I know "range isn't everything", but at the very least, it's important and necessary to have a developed range up to a certain point. The key word is _developed_, not simply one someone can breath out of the lower register or squeak out of the upper register. You'll also notice that my opinion on this matter is a little wider than what is considered a standard performance range. This is for good measure to ensure that the singer can not only hit the desired note in a performance, but _project_ it. you'll also notice some voices require a few notes up top. for example, for both a lyric soprano and a dramatic soprano, high C is the highest note of most of their performances, but a lyric soprano should have a easy, spinning high C. for a dramatic soprano, a more "pushed" high C that says "this is close to my limit" is more acceptable in a way it is not for lighter sopranos.
> 
> for example, this is just my opinion, but I would say it is something close to:
> 
> ...


So you're saying the singers (low voices in particular) should have all of those notes at a stage worthy level? The majority of baritones & basses don't have those notes. Freaks like Ramey might lol, but most don't. Dramatic tenor is a stretch too. Ranges like that would be a beautiful thing tho


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## BalalaikaBoy (Sep 25, 2014)

Bonetan said:


> So you're saying the singers (low voices in particular) should have all of those notes at a stage worthy level? The majority of baritones & basses don't have those notes. Freaks like Ramey might lol, but most don't. Dramatic tenor is a stretch too. Ranges like that would be a beautiful thing tho


Not stage worthy level, but still developed. They should sound decent, but more importantly, if they are developed, then the notes which _do_ need to be performed will be easier to project adequately.


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## Bonetan (Dec 22, 2016)

BalalaikaBoy said:


> Not stage worthy level, but still developed. They should sound decent, but more importantly, if they are developed, then the notes which _do_ need to be performed will be easier to project adequately.


That's definitely reasonable.


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## BalalaikaBoy (Sep 25, 2014)

Bonetan said:


> That's definitely reasonable.


this is why "developed" was the key word rather than "range". in modern singing, you get sopranos who only develop the top half of their range, mezzos with weak, muffled low notes and tenors with only the top 1/3 or even 1/4 developed.


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