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Choral Caffeine: Is She an Alto?

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There are certain topics in our profession that seem to generate a fair amount of disagreement between colleagues.  The use of vibrato in an ensemble setting. Repertoire performed at ACDA conferences.  The value of certain types of choral groups.  And – gulp! – the placement of female singers in an alto section.
 
In her article, “Where have All the Altos Gone” (Texas Sings, Vol.25, No.2), Amy Allibon tackles this topic from a pedagogical perspective.
 
"Bringing the head voice downward on descending patterns helps teach singers to negotiate their middle range without bringing the chest voice up too high. However, at the bottom of a singer’s range, warmth, openness, and a focused sound can occur when the air continues to flow, the tongue stays forward, the soft palate stays lifted, and the vocal mechanism remains unencumbered by tension."
 
"Chest voice is not evil, and singing “low” needs to be developed and taught. Teaching singers to use only one part of their voice efficiently is depriving them of their full potential and, ultimately, what they can achieve with their voices over a lifetime of singing. Teaching all singers about the use of their voices in all registers is the key to healthy development, no matter what the ages of the singers."
 
(To access the full article, simply click the highlighted title. For additional articles on a dazzling array of choral topics, visit  ChorTeach.)
 

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  1. I think I remember what the definition of an alto is – an alto is a soprano that can read music (sorry, that’s an old church choir joke), but why not consider males as altos.  No one seems to have a problem with women singing tenor – it all depends on ones’ range.  Which reminds me, a friend once told me that after taking muscle relaxers, their low notes got lower.   I’m not advocating this as there is probably some form of drug testing in place for choral competitions (just kidding).  But, isn’t ones lowest range have something to do with the physiology of the singers vocal cords?

  2. This has me laughing and laughing this morning because this has been a bit of an inside joke with my chamber choir.  Almost every female I have audition, tells me they are a “second soprano”–and then asks me what I need, voice-wise. 
     
    My singers are by and large, music professionals who sing with me to fulfill their need to sing outside of their own choir jobs or teaching elementary school music.  I have one lady right now who told me up front, she was a first soprano and two tell me they are actual contraltos–and they are–but most sing second.  Right now, I have my “true altos” and a real mezzo and a real dramatic soprano as my alto section.  Others fill in when I need them to…but I let them make the decision.  If someone told me they DID NOT want to sing alto, I would trust them. I have two true first sopranos and…two true second sopranos…..but most have no problem stretching their ranges for me.
     
    I think, if people are comfortable with their voices and their technique, they can do whatever they need to do.  I would agree with teaching folks to be comfortable with their whole range and registers–and chest voice is not evil!
     
    Marie

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