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The term tenor is also applied to instruments, such as the tenor saxophone, to indicate their range in relation to other instruments of the same group.
Within opera, the lowest note in the standard tenor repertoire is A2 (Mime, Herod), but few roles fall below C3. The high extreme: a few tenor roles in the standard repertoire call for a "tenor C" (C5, one octave above middle C). Most (if not all) of the few top Cs in the standard operatic repertoire are either optional (such as in "Che gelida manina" in Puccini's La bohème) or interpolated (added) by tradition (such as in "Di quella pira" from Verdi's Il trovatore). Some operatic roles for tenor require a darker timbre and fewer high notes. In the leggiero repertoire the highest note is an F5 (Arturo in I puritani), therefore, very few tenors can have this role in their repertoire. A shift in pitch since the mid 19th century means that the few written top Cs (such as in "Salut demeure" from Gounod's Faust) would have in fact demanded a note at least a semitone lower than today's standard pitch.
Within musical theatre, most tenor roles are written between B2 and A4, especially the romantic leads, although some fall as low as A2 and others as high as G5.
Even so, one nearly ubiquitous facet of choral singing is the shortage of tenor voices. Most men tend to have baritone voices and for this reason the majority of men tend to prefer singing in the bass section of a choir (however, true basses are even rarer than tenors). Some men are asked to sing tenor even if they lack the full range, and sometimes low altos are asked to sing the tenor part.
In bluegrass music, the melody line is called the lead. Tenor is sung an interval of a third above the lead. Baritone is the fifth of the scale that has the lead as a tonic, and may be sung below the lead, or even above the lead (and the tenor), in which case it is called "high baritone."
A tenor is also classified as a drum used in a drum corps or drum-line. The tenor drum consists of 5 or 6 drums of different tones, 4, 3, 2, 1, and one or two spocks. 4 is the lowest sounding drum and the right spock is the highest sounding drum. Tenors are also referred to as quads because of the four main drums, or quints including the spocks. The tenors, in a drum cadence, are usually a combination of bass drum and snare drum beats to give the cadence more of a groove.
Though strictly not musical, the Muslim call to prayer (azan) is always chanted by tenors, possibly due to the highly placed resonance of the tenor voice which allows it to be heard from a longer distance than baritones or basses during pre-amplification times. Some such chanters (termed bilals) may modulate up to E3 in certain passages, while incorporating a distinctive Middle-Eastern coloratura run.
Here follows the operatic tenor fächer, with examples of the roles from the standard repertory that they commonly sing. It should be noted that there is considerable overlap between the various categories of role and of voice-type; and that some singers have begun with lyric voices but have transformed with time into spinto or even dramatic tenors. (Enrico Caruso is a prime example of this kind of vocal development.) It must be said that in the operatic canon the highest top note generally written by composers is B. Top Cs are rare (they are either given as oppure that is, up to the singer to interpolate or are traditional additions). An ability to sing C and above, therefore, is musically superfluous. Indeed, many famous tenors never even attempted C at least on record—for example, in Caruso's 1906 recording of Che Gelida Manina, the whole aria is transposed to avoid the oppure top C. This is a normal transposition.
Lirico-Leggiero Tenor Roles In Opera & Operettas:
Tenor Buffo or Spieltenor Roles in Opera & Operettas: :* Count Danilo Danilovitsch, The Merry Widow (Lehár) :* Don Basilio, The Marriage of Figaro (Mozart) :* Mime, Siegfried (Wagner) :* Don Anchise/ Il Podestà, La finta giardiniera (Mozart) :* Monostatos, The Magic Flute (Mozart) :* Pedrillo, Die Entführung aus dem Serail (Mozart) :* Dr. Blind, Die Fledermaus (Strauss II) :* Slender, The Merry Wives of Windsor (opera) (Nicolai) :* John Styx, Orpheus in the Underworld (Offenbach) :* Prince Paul, La Grande-Duchesse de Gérolstein (Offenbach) :* Kálmán Zsupán, The Gypsy Baron (Strauss II) :* The Captain, Wozzeck (Berg) :* The Magician, The Consul (Menotti) :* Beppe, Pagliacci (Leoncavallo) :* Frantz, The Tales of Hoffmann (Offenbach) :* Spoletta, Tosca (Puccini) :* Goro, Madama Butterfly (Puccini) :* Pong, Turandot (Puccini) :* Gastone, La traviata (Verdi) :* Gherardo, Gianni Schicchi (Puccini) :* King Kaspar, Amahl and the Night Visitors (Menotti)
Tenor Buffo or Spieltenor singers: :*Charles Anthony :*Nico Castel :*Graham Clark :*Piero de Palma :*Anthony Laciura :*Michel Sénéchal :*Darren Keith Woods :*Heinz Zednik :*Gerhard Stolze
:* Candide, (Candide) :* Eisenstein, (Die Fledermaus) :* Camille, Count de Rosillon, (The Merry Widow) :* Prince Karl, (The Student Prince) :* Sheikh Red Shadow, (The Desert Song) :* Captain Dick, (Naughty Marietta)
Category:Pitch (music) Category:Voice types Category:Opera terminology
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