alto

The musical term alto, meaning "high" in Italian (Latin: altus), refers to the second highest part of a contrapuntal musical texture and is also applied to its associated vocal range, especially in choral music. More rarely it describes the highest male solo voice type (usually designated countertenor), and it is also the root word of contralto, the lowest standard female voice type. When designating instruments, "alto" likewise can refer either to the corresponding vocal range (alto flute & alto trombone, respectively the lowest and highest common instruments of their families) or to musical role (treble or alto recorder and alto clarinet, with ranges of F4-F6 and G2-B♭5).

Etymology

In choral music for mixed voices, "alto" describes the lowest part commonly sung by women. The explanation for the anomaly of this name is to be found not in the use of adult falsettists in choirs of men and boys but further back in innovations in composition during the mid-15th century. Before this time it was usual to write a melodic cantus or superius against a tenor (from Latin tenere, to hold) or 'held' part, to which might be added a contratenor, which was in counterpoint with (in other words, against = contra) the tenor. The composers of Ockeghem's generation wrote two contratenor parts and designated them as contratenor altus and contratenor bassus; they were respectively higher and lower than the tenor part. From these derive both the modern terms "alto" (and contralto) and "bass".

Description

The alto range in choral music is approximately from G3 (the G below middle C) to F5 (the F in the second octave above middle C). In common usage, alto is used to describe the voice type that typically sings this part, though this is not strictly correct: alto, like the other three standard modern choral voice classifications (soprano, tenor and bass) was originally intended to describe a part within a homophonic or polyphonic texture, rather than an individual voice type;^[1] neither are the terms alto and contralto interchangeable or synonymous, though they are often treated as such. Although some women who sing alto in a choir are contraltos, many would be more accurately called mezzo-sopranos (a voice of somewhat higher range and different timbre), and many male countertenors (this latter term is a source of considerable controversy, some authorities preferring the usage of the term "male alto" for those countertenors who use a predominantly falsetto voice production). The contralto voice is a matter of vocal timbre and tessitura as well as range, and a classically-trained solo contralto would usually have a range greater than that of a normal choral alto part in both the upper and lower ranges. However, the vocal tessitura of a classically trained contralto would still make these singers more comfortable singing in the lower part of the voice. A choral non-solo contralto may also have a low range down to D3 (thus perhaps finding it easier to sing the choral tenor part), but some would have difficulty singing above E5. In a choral context mezzo-sopranos and contraltos might sing the alto part, together with countertenors, thus having three vocal timbres (and two means of vocal production) singing the same notes.^[2]

Alto is rarely used to describe a solo voice, though there is a multitude of terms in common usage in various languages and in different cultures for solo singers in this range. Examples include contralto, countertenor, haute-contre, and tenor altino among others.

The term "alto" is also used to designate a specific kind of musical clef. See alto clef.

See also

• Fach, the German system for classifying voices
• Voice classification in non-classical music

References

Further reading

• Appelman, D. Ralph (1986). The Science of Vocal Pedagogy: Theory and Application. Indiana University Press. ISBN 978-0-253-20378-6. 
• Boldrey, Richard (1994). Guide to Operatic Roles and Arias. Caldwell Publishing Company. ISBN 978-1-877761-64-5. 
• Coffin, Berton (1960). Coloratura, Lyric and Dramatic Soprano, Vol. 1. Rowman & Littlefield Publishers, Inc.. ISBN 978-0-8108-0188-2. 
• Peckham, Anne (2005). Vocal Workouts for the Contemporary Singer. Berklee Press Publications. ISBN 978-0-87639-047-4. 
• Smith, Brenda (2005). Choral Pedagogy. Plural Publishing, Inc. ISBN 978-1-59756-043-6. 
• Stark, James (2003). Bel Canto: A History of Vocal Pedagogy. University of Toronto Press. ISBN 978-0-8020-8614-3.