Bass (voice)

A bass is a type of classical male singing voice and has the lowest vocal range of all voice types. According to ''The New Grove Dictionary of Opera'', a bass is typically classified as having a vocal range extending from around the second E below middle C to the E above middle C (i.e., E₂–E₄).; ''The Oxford Dictionary of Music'' gives E₂–E₄/F₄ Its tessitura, or comfortable range, is normally defined by the outermost lines of the bass clef. Categories of bass voices vary according to national style and classification system.

Italians favour subdividing basses into the ''basso cantante'' (singing bass), ''basso buffo'' ("funny" bass), or the dramatic ''basso profondo'' (low bass). The American system identifies the bass-baritone, comic bass, lyric bass, and dramatic bass.

The German ''Fach'' system offers further distinctions: Spielbass (Bassbuffo), Schwerer Spielbass (Schwerer Bassbuffo), Charakterbass (Bassbariton), and Seriöser Bass. These classification systems can overlap. Rare is the performer who embodies a single ''Fach'' without also touching repertoire from another category.

History

Cultural influence and individual variation create a wide variation in range and quality of bass singers. Parts for basses have included notes as low as the B-flat two octaves and a tone below middle C (B₁), for example in Gustav Mahler's Symphony No. 2 and the Rachmaninov's All-Night Vigil, A below that in Frederik Magle's symphonic suite ''Cantabile'', G below that (e.g. Measure 76 of ''Ne otverzhi mene'' by Pavel Chesnokov) or F below those in ''Kheruvimskaya pesn (Song of Cherubim)'' by Krzysztof Penderecki. Many basso profondos have trouble reaching those notes, and the use of them in works by Slavic composers has led to the colloquial term "Russian bass" for an exceptionally deep-ranged basso profondo who can easily sing these notes. Some traditional Russian religious music calls for A₂ (110 Hz) drone singing, which is doubled by A₁ (55 Hz) in the rare occasion that a choir includes exceptionally gifted singers who can produce this very low human voice pitch.

Many British composers such as Benjamin Britten have written parts for bass (such as the first movement of his choral work ''Rejoice in the Lamb'') that center far higher than the bass tessitura as implied by the clef. The ''Harvard Dictionary of Music'' defines the range as being from the E below low C to middle C (i.e. E₂–C₄).

Vocal range

Bass has the lowest vocal range of all voice types, with the lowest tessitura. The low extreme for basses is generally C₂ (two Cs below middle C). However, some extreme bass singers, referred to as basso profondos and oktavists, are able to reach much lower than this.

In choral music

In SATB four-part mixed chorus, the bass is the lowest vocal range, below the tenor, alto, and soprano. Voices are subdivided into first bass and second bass with no distinction being made between bass and baritone voices, in contrast to the three-fold (tenor–baritone–bass) categorization of solo voices. The exception is in arrangements for male choir (TTBB) and barbershop quartets (TLBB), which sometimes label the lowest two parts baritone and bass.

Subtypes and roles in opera

Within opera, the lowest note in the standard bass repertoire is D₂, sung by the character Osmin in Mozart's ''Die Entführung aus dem Serail'', but few roles fall below F₂. Although Osmin's note is the lowest 'demanded' in the operatic repertoire, lower notes are heard, both written and unwritten: for example, it is traditional for basses to interpolate a low C in the duet "Ich gehe doch rathe ich dir" in the same opera; in Richard Strauss' ''Der Rosenkavalier'', Baron Ochs has an optional C₂ ("Mein lieber Hippolyte"). The high extreme: a few bass roles in the standard repertoire call for a high F or G (F₄ and G₄, the one above middle C), but few roles go over F₄. In the operatic bass repertoire, the highest notes are a G₄ (The Barber in '' The Nose'' by Shostakovich) and, in the aria "Fra l'ombre e gl'orrori" in Handel's serenata ''Aci, Galatea e Polifemo'', Polifemo reaches an A₄.

Within the bass voice type category are seven generally recognized subcategories: ''basso cantante'' (singing bass), ''hoher'' bass (high bass), ''jugendlicher'' bass (juvenile bass), ''basso buffo'' ("funny" bass), ''Schwerer Spielbass'' (dramatic bass), lyric bass, and dramatic ''basso profondo'' (low bass).

Basso cantante/lyric high bass/lyric bass-baritone

''Basso cantante'' means "singing bass". ''Basso cantante'' is a higher, more lyrical voice. It is produced using a more Italianate vocal production, and possesses a faster vibrato, than its closest Germanic/Anglo-Saxon equivalent, the bass-baritone.

* Max, '' Le chalet'' by Adolphe Adam
* Duke Bluebeard ''Bluebeard's Castle'' by Béla Bartók
* Don Pizarro, ''Fidelio'' by Ludwig van Beethoven
* Count Rodolfo, ''La sonnambula'' by Bellini
* Blitch, ''Susannah'' by Carlisle Floyd
* Méphistophélès, ''Faust'' by Charles Gounod
* The King of Scotland, ''Ariodante'' by George Frideric Handel
* Don Alfonso, ''Così fan tutte'' by Wolfgang Amadeus Mozart
* Don Giovanni, ''Don Giovanni'' by Wolfgang Amadeus Mozart
* Figaro, ''The Marriage of Figaro'' by Wolfgang Amadeus Mozart
* The Voice of the Oracle, ''Idomeneo'' by Wolfgang Amadeus Mozart
* Silva, ''Ernani'' by Giuseppe Verdi
* Philip II, ''Don Carlos'' by Giuseppe Verdi
* Count Walter, ''Luisa Miller'' by Giuseppe Verdi
* Ferrando, ''Il trovatore'' by Giuseppe Verdi
* Daland, ''Der fliegende Holländer'' by Richard Wagner

Hoher Bass/dramatic high bass/dramatic bass-baritone

' or "high bass" or often a dramatic bass-baritone.

* Igor, ''Prince Igor'' by Alexander Borodin
* Boris, ''Boris Godunov'' by Modest Mussorgsky
* Klingsor, ''Parsifal'' by Richard Wagner
* Wotan, ''Der Ring des Nibelungen'' by Richard Wagner
* Caspar, ''Der Freischütz'' by Carl Maria von Weber
* Banquo, ''Macbeth'' by Giuseppe Verdi
* Zaccaria, ''Nabucco'' by Giuseppe Verdi
* Fiesco, ''Simon Boccanegra'' by Giuseppe Verdi

Jugendlicher Bass

' (juvenile bass) denotes the role of a young man sung by a bass, regardless of the age of the singer.
* Masetto, ''Don Giovanni'' by Wolfgang Amadeus Mozart
* Colline, ''La bohème'' by Giacomo Puccini

Basso buffo/lyric buffo

''Buffo'', literally "funny", basses are lyrical roles that demand from their practitioners a solid coloratura technique, a capacity for patter singing and ripe tonal qualities if they are to be brought off to maximum effect. They are usually the blustering antagonist of the hero/heroine or the comic-relief fool in bel canto operas.

* Don Pasquale, ''Don Pasquale'' by Gaetano Donizetti
* Dottor Dulcamara, ''L'elisir d'amore'' by Gaetano Donizetti
* Doctor Bartolo, ''The Barber of Seville'' by Gioachino Rossini
* Don Magnifico, ''La Cenerentola'' by Gioachino Rossini
* Don Alfonso, ''Così fan tutte'' by Wolfgang Amadeus Mozart
* Leporello, ''Don Giovanni'' by Wolfgang Amadeus Mozart
* The Doctor, ''Wozzeck'' by Alban Berg

/dramatic buffo

English equivalent: dramatic bass

* Khan Konchak, ''Prince Igor'' by Alexander Borodin
* Baculus, ''Der Wildschütz'' by Albert Lortzing
* Ferrando, ''Il trovatore'' by Giuseppe Verdi
* Daland, ''Der fliegende Holländer'' by Richard Wagner
* Varlaam, ''Boris Godunov'' by Modest Mussorgsky

Lyric basso profondo

Basso profondo (lyric low bass) is the lowest bass voice type. According to J. B. Steane in ''Voices, Singers & Critics'', the basso profondo voice "derives from a method of tone-production that eliminates the more Italian quick vibrato. In its place is a kind of tonal solidity, a wall-like front, which may nevertheless prove susceptible to the other kind of vibrato, the slow beat or dreaded wobble."

* Rocco, ''Fidelio'' by Ludwig van Beethoven
* Osmin, ''Die Entführung aus dem Serail'' by Wolfgang Amadeus Mozart
* Sarastro, ''Die Zauberflöte'' by Wolfgang Amadeus Mozart
* Pimen, ''Boris Godunov'' by Modest Mussorgsky
* Baron Ochs, ''Der Rosenkavalier'' by Richard Strauss
* Baldassarre, ''La favorite'' by Gaetano Donizetti

Dramatic basso profondo

English equivalent: dramatic low bass. Dramatic basso profondo is a powerful basso profondo voice.

* Il Commendatore, ''Don Giovanni'' by Wolfgang Amadeus Mozart
* Hagen, ''Götterdämmerung'' by Richard Wagner
* Heinrich, ''Lohengrin'' by Richard Wagner
* Gurnemanz, ''Parsifal'' by Richard Wagner
* Fafner, ''Das Rheingold'' and ''Siegfried'' by Richard Wagner
* Marke, ''Tristan und Isolde'' by Richard Wagner
* Hunding, ''Die Walküre'' by Richard Wagner
* The Varangian (Viking) Guest, ''Sadko'' by Nikolai Rimsky-Korsakov
* The Grand Inquisitor, ''Don Carlo'' by Giuseppe Verdi
* Claggart, '' Billy Budd'' by Benjamin Britten

In Gilbert and Sullivan

All of the Gilbert and Sullivan Savoy operas, except ''Patience'' and ''The Yeomen of the Guard'', have at least one lead bass. Notable roles include:

* Adam Goodheart, ''Ruddigore''
* Arac, ''Princess Ida''
* Bob Becket (Carpenter's mate), ''H.M.S. Pinafore''
* Don Alhambra del Bolero, ''The Gondoliers''
* The Mikado of Japan, ''The Mikado''
* The Notary, ''The Sorcerer''
* Private Willis, ''Iolanthe''
* Sergeant of Police, ''The Pirates of Penzance''

See also

* Category of basses
* ''Fach'', the German system for classifying voices
* Voice classification in non-classical music
* List of basses in non-classical music

References

External links

Guide to the singing voice
BBC Wales

Basses in Bach’s vocal works
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Voice types
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Musical terminology
Opera terminology
Italian opera terminology
Choral music