Community hub
0 subscribers8 pages, 0 posts
Recent from talks
All channels
Be the first to start a discussion here.
Be the first to start a discussion here.
Be the first to start a discussion here.
Be the first to start a discussion here.
Contribute something
Welcome to the community hub built to collect knowledge and have discussions related to Range (music).
Nothing was collected or created yet.
Range (music)
View on Wikipediafrom Wikipedia
In music, the range, or chromatic range, of a musical instrument is the distance from the lowest to the highest pitch it can play. For a singing voice, the equivalent is vocal range. The range of a musical part is the distance between its lowest and highest note.
Compass
[edit]Among British English speakers,[1] and perhaps others,[2] compass means the same thing as chromatic range—the interval between the lowest and highest note attainable by a voice or musical instrument.
Other ranges
[edit]The terms sounding range, written range, designated range, duration range and dynamic range have specific meanings.
The sounding range[3] refers to the pitches produced by an instrument, while the written range[3] refers to the compass (span) of notes written in the sheet music, where the part is sometimes transposed for convenience. A piccolo, for example, typically has a sounding range one octave higher than its written range.[4] The designated range is the set of notes the player should or can achieve while playing. All instruments have a designated range, and all pitched instruments have a playing range. Timbre, dynamics, and duration ranges are interrelated and one may achieve registral range at the expense of timbre. The designated range is thus the range in which a player is expected to have comfortable control of all aspects.
The duration range is the difference between the shortest and longest rhythm used. Dynamic range is the difference between the quietest and loudest volume of an instrument, part or piece of music.
Range limits
[edit]Although woodwind instruments and string instruments have no theoretical upper limit to their range (subject to practical limits), they generally cannot go below their designated range. Brass instruments, on the other hand, can play beyond their designated ranges. Notes lower than the brass instrument's designated range are called pedal tones. The playing range of a brass instrument depends on both the technical limitations of the instrument and the skill of the player.
Classical arrangements rarely make woodwind or brass instruments play beyond their designed range. String musicians play the bottom of their ranges very frequently, but the top of a string instrument's range is rather fuzzy, and it is unusual for a string player to exceed the designated range. It is quite rare for wind musicians to play the extremes of their instruments. The most common exception is that in many 20th century works, pedal tones are called for in bass trombones.
This chart uses standard numberings for octaves where middle C corresponds to C4. In the MIDI language, middle C is referred to as MIDI note number 60.
The lowest note that a pipe organ can sound (with a true pipe) is C−1 (or CCCC), which is 8 Hz, below the range of human hearing and not visible on this chart. However, if acoustic combination (a note and its fifth) counts, the lowest note is C−2 (or CCCCC), which is 4 Hz.
In terms of recording and reproduction, many speakers have a low limit of around 40–60 Hz.
Typical ranges
[edit] | The accessibility of this article is in question. The specific issue is: Text is way too small and distorted to be legible at default size. Relevant discussion may be found on the talk page. |
*This chart only displays down to C0, though some pipe organs, such as the Boardwalk Hall Auditorium Organ, extend down to C−1 (one octave below C0). Also, the fundamental frequency of the subcontrabass tuba is B♭−1.
See also
[edit]References
[edit]- ^ Collins English Dictionary. HarperCollins. 2018. Retrieved March 30, 2018.
- ^ Willi Apel. Harvard Dictionary of Music. Archived from the original on 2023-06-27. Retrieved 2018-04-01.
{{cite book}}:|website=ignored (help) - ^ a b "Music theory online : musical instrument ranges & names", Brian Blood, Dolmetsch.com, 2009, webpage: Dolmetsch-M29.
- ^ "Dolmetsch Online - Music Theory Online - Musical Instrument Ranges & Names".
External links
[edit]
Media related to Range (music) at Wikimedia Commons
| International | |
|---|---|
| Other | |
Range (music)
View on Grokipediafrom Grokipedia
Core Concepts
Definition and Compass
In music theory, the range of a voice or musical instrument refers to the full span of pitches it can produce, extending from the lowest to the highest note achievable.[4] This span encompasses all fundamental pitches within that extent, from the lowest to the highest note achievable.[5] The term "compass" serves as a primary synonym for range, denoting the chromatic interval between the lowest and highest attainable pitches.[6] Historically used since the late 16th century, particularly in British English contexts, compass describes the complete tonal extent of a voice or instrument.[7] For example, the standard 88-key piano has a compass from A0 to C8, spanning 7 octaves plus a minor third (87 semitones total).[8] Range is often distinguished between absolute range, which represents the instrument's or voice's full theoretical capability, and practical range, the subset of notes a skilled performer can reliably produce with control and quality.[4] The absolute range includes extreme pitches that may be difficult or rarely used, while the practical range focuses on those commonly employed in performance. Tessitura, by contrast, refers to the comfortable subset of pitches within the overall range where the voice or instrument performs most effectively.[9] Measurement of range typically employs scientific pitch notation, a system that labels notes by their pitch class and octave position relative to middle C (C4), standardized at a frequency of 261.63 Hz in equal temperament tuning with A4 at 440 Hz.[10] This notation allows precise description of spans in semitones (the smallest interval in Western equal temperament, 12 per octave) or octaves (doubling of frequency), facilitating comparisons across voices and instruments.[11]Tessitura and Related Terms
Tessitura refers to the portion of a singer's or instrumentalist's total range where they can perform most comfortably and with optimal tone quality, typically comprising the majority of pitches in a melodic line and lying within a subset of the full compass.[12][13] This comfortable span often emphasizes the voice's resonant strengths, avoiding extremes that strain production.[14] Closely related to tessitura is the passaggio, the transitional zones between vocal registers such as chest voice (lower, fuller timbre), head voice (higher, lighter timbre), and falsetto (even lighter, often disconnected). These areas require careful technique to blend seamlessly, as abrupt shifts can disrupt evenness and perceived range. In females, the primary passaggio typically occurs around E4 to F4, while in males it is lower, near C4 to D4, influencing how high notes are approached without breaking.[15] Other related terms include ambitus, a historical concept from medieval music theory denoting the overall melodic range of a piece or mode, often limited to an octave or less to fit modal structures.[16] Additionally, register describes specific segments of the pitch spectrum, such as vocal modes like chest or head, or in brass instruments, the pedal register, which accesses the lowest overtones for deep, fundamental tones.[17] In practice, tessitura plays a key role in assigning parts in choral music, ensuring voices are placed where their comfortable range aligns with the composition's demands; for example, alto parts often feature a lower tessitura centered around D3 to C5, steering clear of the higher notes typical in soprano lines to maintain balance and avoid strain.[18][19] This consideration helps directors match repertoire to ensemble strengths, promoting vocal health and harmonic cohesion.[20]Vocal Ranges
Voice Classifications
Voice classifications in music categorize the human singing voice based on range, timbre, and tessitura, primarily within Western classical and choral traditions. These systems originated in the Renaissance era with early polyphonic compositions, where the primary categories were soprano, contralto, tenor, and bass, reflecting the four-part structure that evolved into the modern SATB (soprano, alto, tenor, bass) choral format by the 16th century.[21] In 18th-century opera, particularly in Italy, the castrati—male singers castrated before puberty to preserve high vocal registers—dominated leading roles, often performing in soprano or alto ranges due to underdeveloped larynxes, which allowed for exceptional agility and power in the upper tessitura.[22] This practice declined by the early 19th century with changing social norms and the rise of natural male voices like the tenor, shifting classifications toward anatomical and acoustic distinctions in both opera and choral settings.[23] The primary voice types for adult females are soprano, mezzo-soprano, and contralto (also called alto), while males are classified as tenor, baritone, and bass. The soprano, the highest female voice, typically spans C4 to C6, encompassing light and agile subtypes like the coloratura soprano, known for rapid scales and high extensions.[24] The mezzo-soprano ranges from A3 to A5, bridging soprano and contralto with a fuller mid-range suitable for dramatic or lyrical roles.[24] The contralto, the lowest female voice, extends from F3 to F5, characterized by a rich, dark timbre often underrepresented in repertoire.[24] For males, the tenor covers C3 to C5, serving as the highest natural adult male voice with subtypes for lyrical or heroic qualities; the baritone spans A2 to A4, providing a versatile middle range; and the bass reaches E2 to E4, the deepest voice with resonant low tones, including variants like the bass-baritone that overlap into baritone territory for more agile low roles.[24][25] Classification arises from physiological factors such as vocal fold length, larynx position, and resonance properties, which determine pitch capability and timbre. Shorter, thinner vocal folds in females and higher larynx positions facilitate higher fundamental frequencies, while longer folds and lower larynxes in males produce deeper tones; resonance in the vocal tract further shapes the voice's color, allowing for overlaps between types.[26][27] For instance, a dramatic soprano may extend lower than a lyric soprano due to greater vocal mass and power, enabling shared repertoire despite range similarities, though tessitura—the most comfortable sustained range—influences practical assignment.[28][29] Extended and non-binary classifications include the countertenor, a male voice using falsetto to access alto or mezzo ranges, typically G3 to G5, revived in the 20th century for Baroque opera after historical use in all-male choirs.[30] Additionally, the treble category applies to prepubescent children's voices, encompassing high sopranos or boys' unchanged ranges before puberty, commonly used in choral music for their pure, light quality.[31]Typical Ranges and Examples
The typical ranges for the primary vocal classifications in Western classical and choral music provide a foundation for assigning parts in ensembles and solo repertoire. These spans represent the comfortable tessitura and extremes most singers in each category can sustain with proper technique, often spanning approximately two octaves or 24 semitones. While individual capabilities vary, these standards derive from operatic and choral traditions, where sopranos handle the highest lines, altos the lower female parts, tenors the upper male voices, and basses the lowest.[28] The following table summarizes these standard ranges, including approximate semitone counts calculated from middle C (C4 = MIDI note 60) for context:| Voice Type | Typical Range | Semitones | Octaves (approx.) |
|---|---|---|---|
| Soprano | C4 – C6 | 24 | 2 |
| Alto | F3 – F5 | 24 | 2 |
| Tenor | C3 – C5 | 24 | 2 |
| Bass | E2 – E4 | 24 | 2 |
Instrumental Ranges
Ranges by Instrument Family
The keyboard family encompasses instruments like the piano and organ, which provide foundational pitch ranges in ensembles due to their ability to cover broad spectra without transposition issues. The standard piano spans from A0 to C8, encompassing over seven octaves and serving as a benchmark for chromatic completeness in Western music.[37] Pipe organs, by contrast, offer variable ranges depending on pipe lengths and registrations, but large instruments typically extend from C−1 (via 32-foot stops) in the pedals to C8 or higher in the manuals, exceeding eight octaves in full configuration.[38] In the strings family, instruments produce sound through bowed or plucked strings, with ranges influenced by string length and tension; non-transposing, their written and sounding pitches align. The violin covers G3 to A7, approximately four octaves, enabling melodic agility in soprano and alto registers.[39] The cello ranges from C2 to E6, over four octaves, bridging tenor and bass roles with rich harmonic potential.[40] The double bass, the lowest string instrument, sounds from E1 to G5 (with harmonics extending higher), written an octave higher, providing foundational bass support.[41] Woodwind instruments in the winds family generate tone via air columns, often with transposing variants; ranges vary by reed type and bore design. The concert flute (non-transposing) sounds from C4 to C7, three octaves, excelling in lyrical upper lines.[42] The B♭ clarinet is transposing, with written range E3 to C7 sounding a whole step lower (D3 to B♭6), spanning over three octaves and known for its chalumeau to altissimo registers.[43] The oboe, non-transposing, ranges from B♭3 to G6, about two and a half octaves, offering penetrating timbre in the alto range.[44] Brass instruments rely on lip vibration within a mouthpiece and tubing, producing harmonics; many transpose, and ranges emphasize overtone series. The B♭ trumpet transposes down a whole step, with written range F♯3 to C6 (sounding E3 to B♭5, extendable to higher via pedals and harmonics), covering about two and a half octaves in standard use.[43] The tenor trombone, non-transposing, spans E2 to B♭4 fundamentally, with slide positions and harmonics reaching F5 or beyond, over three octaves.[43] The contrabass tuba (often B♭ or C) sounds from B♭1 to F4, approximately three octaves, anchoring low frequencies.[45] Distinctions between sounding and written pitches are crucial for transposing instruments, such as the piccolo (a high woodwind), which sounds an octave above its written notation: written C4 to C7 corresponds to sounding C5 to C8.[46]| Instrument Family | Representative Instrument | Typical Sounding Range | Transposition Notes |
|---|---|---|---|
| Keyboard | Piano | A0–C8 | None |
| Keyboard | Organ | C−1–C8+ | None |
| Strings | Violin | G3–A7 | None |
| Strings | Cello | C2–E6 | None |
| Strings | Double Bass | E1–G5 (harmonics higher) | Written octave higher |
| Winds | Flute | C4–C7 | None |
| Winds | B♭ Clarinet | D3–B♭6 | Whole step down |
| Winds | Oboe | B♭3–G6 | None |
| Brass | B♭ Trumpet | E3–B♭5 (extendable) | Whole step down |
| Brass | Tenor Trombone | E2–F5 | None |
| Brass | Tuba | B♭1–F4 | Varies (B♭ or C) |