#fachsystem

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Spinto

A spinto voice can be best described as a hybrid between the lyric and dramatic voice. Spinto voices are very big, but not as large as a dramatic. They possess the warm timbre of lyric voices, but have the dark and metallic tone of a dramatic (Listen here). Often people believe that spintos are dramatics (eg. Jennifer Hudson), but their voice contains a warmth that a dramatic won't have. In regards to agility, again they sit in the middle.

They are not the most agile, but can harness the skill well (eg. Whitney Houston). Much confusion arises from the fact that spinto translates to ‘pushed’. Spintos are not singers who push their voices and force a bigger sound. They are voices that can be ‘pushed’ to dramatic climaxes. This means that they can acheive dramatic climaxes, not just singers who overly force air through the vocal folds. So Christina Aguilera is not a spinto.

Spintos are also known for their ability to slice through heavy instrumentation. They are one of the rarest voice types and are restricted to sopranos and tenors only, so there is no such thing as a spinto mezzo or baritone.

Examples in pop music include: Whitney Houston, Jennifer Hudson, Michael Bolton and Cee Lo Green. The spinto fach includes:

Spinto Soprano

Spinto Tenor

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Keala Settle Voice Type

Voice Type: Light-Lyric Soprano

Range: D3-D6-Eb6

Keala has recently gained attention for her stunning performance in The Greatest Showman. Keala stands out for her high belting, making it quite clear her tessitura lives high up. Lets find out what type of a soprano she is...

Spinto

Keala is most often called a spinto soprano. As she is noted for having a powerful voice, this label was bound to come up. Spintos posses dark and heavy voices. Keala’s voice does not match this description, as her voice is bright and girly. It doesn’t matter how powerful one perceives her voice to be, she doesn’t have the timbre of a spinto. 

Light-Lyric

A light-lyric voice is characterised by a youthful, bright and warm timbre. This is an accurate description of Keala’s voice, and so she would be classified as such. It is often thought that light-lyrics must have very small voices. Lyrics have the smallest voices, so it does not mean that they necessarily have very small voices. This applies to Keala. 

Vocal View: I loved Keala’s performance in the greatest showman and can’t wait to see what is next from her. 

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Alessia Cara Voice Type

Voice Type: Light-Lyric Soprano

Range: C3-F#5-G5

One of the best talents to emerge in the last few years has to be Alessia Cara. With an incredible voice and a refreshingly down-to-earth attitude, its easy to like Alessia. Often the debate for Alessia’s voice type sits between light-lyric soprano and lyric mezzo. 

Mezzo-Soprano

In order for one to be a mezzo-soprano, natural comfort down low is needed. When Alessia enters her lower register, her voice is inconsistent and seems to disappear at times (Wild G3, Stay F3). While she has better moments, it is evident that this is not where her voice shines. She also has too much ease in the upper 4th octave. A mezzo would be belting here and Alessia glides through these notes (How Far I’ll Go A4). So while she doesn’t go super high all that often, her lack of comfort down low means she must be a soprano. Her lower and mid belts are easy for Alessia. Her lack of development in the soprano area stops her from shining there. 

Lyric

I have seen Alessia called a dramatic once, and I’m not really sure why. Her voice is light, warm and youthful. These are the traits of a light-lyric, making Alessia one. 

Vocal View: I am a massive fan of Alessia’s music. Not only does she have a great voice, her songs have such positive and down-to-earth themes. 

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Jessie J Voice Type

Voice Type: Light-Lyric Soprano

Range: D3-Bb5-C6

Many struggle to classify Jessie’s voice as it seems as if it has characteristics of many different fachs. Her slicing belts and great agility seem to confuse most. 

Mezzo-Soprano 

Jessie’s strong mid belts get her labeled as a mezzo, yet she really sounds nothing like a mezzo. Jessie’s voice sits really high up (Bang, Bang, Burnin’ Up, Laserlight), too high to be a mezzo. In addition, her lows are uncomfortable and the weakest part of her voice (eg. E3 in Titanium, G3s in Thunder). She gains comfort as she ascends her range. A mezzo-soprano would have comfort down low, which Jessie doesn’t. Her tessitura means she must be a soprano. 

Spinto 

Jessie is thought of having a ‘larger’, slicing and even metallic voice. This completely throws people, making them think she is a spinto soprano. Jessie’s voice isn’t large or dark enough to be a spinto. Take a listen to Jessie’s duet with Jennifer Hudson (a true spinto soprano), one will hear their timbre is just not the same. Jessie’s voice is actually bright and light, nothing like a spinto.

Coloratura 

As mentioned above, Jessie can complete complex melisma with ease. While it may seem that this makes Jessie a coloratura, there are a few will have the lightest, brightest, most youthful voices, with a very high tessitura. Jessie’s voice is just not light or youthful enough to be a coloratura. She is just a lyric soprano who has developed her agility very very well. 

Full-Lyric

With a darker voice for a typical lyric soprano people seem to gravitate towards full over light lyric for Jessie. While her voice can sound more mature at times, it most often sounds youthful (eg. Who You Are). Overall, Jessie’s voice is too youthful to be a full-lyric. 

Vocal View: Jessie's agility is amazing. She can sing some really complex runs, but some restraint would also go a long way. 

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Brendon Urie Voice Type

Voice Type: Light-Lyric Tenor

Range: E2-E5-Bb5

Brendon Urie is loved by many, often noted for his expressive voice and wide vocal range. Brendon’s voice is pretty high, and most agree he is a tenor, its just what type...

Spinto Tenor

Some tend to confuse Brendon for a spinto due to his technique. Brendon’s uses a chest-dominant mix and throatiness which makes his voice seem bigger and edgier than it actually is. We must look at how a singer sounds naturally, without the effects of technique. Brendon’s voice is far too bright to be a spinto. A spinto will have a much darker voice than a lyric, which Brendon does not. 

Leggiero 

Most often Brendon is called a leggiero tenor. This classification does not suit Brendon’s voice at all. A leggiero will have a very agile voice. Brendon’s voice is not overly agile at all, meaning he could not be a leggiero. 

Light-Lyric 

A light-lyric tenor’s voice will be youthful, bright and warm. Brendon’s voice is distinctively bright and youthful (For example). This intense brightness and boyish timbre means he cannot be anything but a light-lyric. 

Vocal View: I have always been a fan of Panic! At The Disco and I love Brendon’s tone. 

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Cher Voice Type

Voice Type: Lyric Contralto

Range: C3-E5-F6

With a career spanning 6 decades, countless of hit songs and legendary outfits, it is clear that Cher is an icon. Besides her unique style, Cher has also stood out with her one-of-a-kind voice. This is reflected in her fach, which is very rare. 

Contralto

Cher provides a great example of a true contralto. Her voice is distinctly low, but most importantly it is androgynous. One would not describe her voice as light, girly and bright. It is remarkably masculine and dark (Take a listen). This is the defining feature of a contralto. On a side note, Cher proves that a contralto is not restricted to the lower half of the fifth octave, as she can reach right up into the 6th octave (Just This One Time). 

Lyric

The darkness and thickness of Cher’s voice can throw some people off. With contraltos we have two main distinctions: lyric and dramatic. A lyric voice will be warm, while a dramatic will be icy. As Cher’s voice is very warm, she has to be a lyric. The lyric contralto voice will be a bit thicker than your usual lyric mezzo or soprano, but that does not make Cher a dramatic. 

Vocal View: Cher has proven to be extremely adaptable, allowing her to stay relevant and being the only woman having a top 10 single in every decade since the 1960s. 

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Ivy Grace Paredes Voice Type

Voice Type: Full-Lyric Soprano

Range: Eb3-G5-C6

Ivy Grace Paredes auditioned for the 13th seasons of the UK X Factor, astounding the judges. Unfortunately, Ivy had to leave the competition due to visa troubles. Hopefully she’ll be back next time, as she really has a lot to offer. While I do see her voice often misclassified, her great technique allows us to see where she really shines, making it easier for us to classify her. 

Spinto

Most often Ivy is called a spinto. Its not hard to see why, as full-lyrics are often mistaken for spintos, let alone ones with good projection and placement. While her voice is quite big and not overly bright, her voice doesn’t have the true darkness and metallic qualities of a spinto. Lets compare Ivy to Whitney (a true spinto soprano) and the difference will become more clear (yes that was just an excuse to hear Whitney sing). Ivy’s voice is too light to be a spinto. 

Full-Lyric

Ivy’s voice is not as big as a spinto’s but it is not your typical sweet and bright soprano voice. Her timbre is smooth, womanly and warm. Lyric sopranos (and tenors) can be broken down into full and light lyric. A light lyric voice will be very bright and have a youthful quality, while a full-lyric is not as intensely bright with a more mature quality. The latter describes Ivy’s voice and hence she must be a full-lyric. 

Vocal View: I fell in love with Ivy after her X Factor audition and was devastated when she did not get to continue in the competition, hopefully she will get another chance. 

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Sam Smith Voice Type

Voice Type: Light-Lyric Tenor

Range: C3-C5-G5

Sam Smith is best known for his angelic voice and emotional love songs. Sam stands out as an artist whose sole focus is his voice. He knows how to challenge himself vocally, making him one of the few current male singers considered a vocalist. 

Tenor

Sam possesses a high lying male voice. Despite the strain, he has ease in the 4th octave that only a tenor can have (Latch F#4, Lay Me Down G4, I’m Not The Only One A4, Stay With Me B4). While he has comfort up high, his lows tend to be weak and don’t contain the same ease. All these expose that Sam possesses a high tessitura and must therefore be a tenor. 

Light-Lyric

Sam has a very light voice. Moreover, his timbre is bright, warm and very youthful. Together, this means Sam must belong to the light-lyric fach. 

Vocal View: Sam is a personal fave. I love his timbre so much. However, I am worried if he doesn’t fix his technique he may have another vocal injury. 

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Mitch Grassi Voice Type

Voice Type: Light-Lyric Tenor

Range: A2-E5-G#5-B7

To wrap up our series of Pentatonix posts, Mitch Grassi’s voice type will be discussed. Mitch is one of the lead singers of the group. He has caught the attention of many for his vocal skill and high voice. Mitch is also one half of Superfruit, who announced their first album recently. 

Countertenor

Ok, so this one isn’t exactly black and white. As we are adapting the fach system from classical music, there are some terms and voice types that don’t fit all that well in pop music. In classical music women would use head voice, while men would use their mixed voices. So women weren’t belting out their repertoire, while men would- except the countertenor. Like females, countertenors would use their head voice, allowing them to sing higher and giving their voice a lighter more feminine sound. Mitch Grassi is one of the few men with a great head voice. Often people confuse his head voice with his mix as he most often uses a mask placed head voice to give the register a ‘belty’ sound (eg. Defying Gravity, Can’t Hold Us, Worth It (Perfect), Bad 4 Us), although he can place it in his head (Do You Want To Build A Snow Man?). Mitch often uses his head voice to ascend into the typical female range. One needs that developed head voice and to be a countertenor. One does not need a developed head voice to be a tenor, baritone or bass, making a countertenor somewhat of a technique. There has been much debate over where and how the countertenor fach fits into pop music. Should it be used for men with very high voices (eg. Alex Newell)? Men who use head voice to reach a females range (eg. Mitch)? Or not at all? No one has reached a general consensus. I would personally argue it should not be used outside of classical music, as I view it as a way of using one’s voice. It has been noted that over the years men with lower voices have taken on countertenor roles. Secondly, if there voices were naturally so high why did they need to use their head voice over mixed voice? I am going to be staying away from this fach outside classical music, but I encourage you to form your own opinions. 

High Tenor

High tenor is a label that seems to pop up for any tenor who is not lazy. While it may be an accurate description of Mitch’s voice, it is not a legitimate fach. The tenor fach is broken down into lyric, dramatic and spinto (there are a few other ones but are far more rare), and high tenor is not included. 

Light-Lyric

For tenors (and sopranos) the lyric fach is broken down into light and full lyric. Light-lyrics will have youthful, warm and bright voices. As Mitch possesses a boyish, bright and light voice, he would be classified as a light-lyric. 

Vocal View: Mitch is a personal fave on mine. He is one of my favourite male singers of all time. Here are some examples of Mitch just sounding beautiful/doing amazing this: Blessed, PYT, Break Free, Let It Go, Stay With Me.

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Luther Vandross Voice Type

Voice Type: Full-Lyric Tenor

Range: G2-D5-F5

Luther Vandross was known for his soothing and velvety voice. Tragically, Luther was taken from us in 2005. He is often mistaken for a baritone, although he is not one...

Baritone

As most are aware, a tenor’s tessitura is higher than that of a baritone. People tend to focus on timbre instead of tessitura. Because Luther possessed a darker and masculine voice, people automatically jump to the conclusion that he must be a baritone. People think that a tenor’s timbre has to be intensely bright, but thats what we have lyric, spinto, dramatic, etc, to describe the timbre and weight of the voice. So we must look at where a voice sits. Luther’s voice is simply too high to be a baritone, meaning he must be a tenor. 

Full-Lyric

As mentioned above, Luther does not possess your typical bright tenor voice. His timbre was rather masculine and voice was larger than your light-lyric tenors. His voice is still warm and light, meaning he must has to be a lyric. A full-lyric tenor is a lyric tenor with a mature and manly timbre. As this matches Luther’s voice (Take a listen), he would be classified as such. 

Vocal View: Dance With My Father is a beautiful and touching song, and I absolutely love it!

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Avi Kaplan Voice Type

Voice Type: Lyric Bass

Range: F#1-F#4-D5

Its Avi Kaplan, the man with the seemingly never ending lower register. Although Avi often sticks to background harmonies, his incredible voice has allowed him to stand out. Avi possesses an amazingly wide vocal range, with heavy lows and light top notes. Recently Avi has released solo music under the name Avriel & the Sequoias. While he has sadly announced he would be leaving the Pentatonix, he will continue to create music. 

Bass

It is clear that Avi has a very low voice. His lows are were he is most comfortable. He ascends well into the first octave, and second octave with ease (G#1, A1, C2, Eb2). His belts lie very low, C4+ are big belts for Avi. Due to his voice type and great technique, his mix shines in the upper 3rd and lower 4th octave (Standing By, Ring Of Fire, Drummer Boy), just like a bass should. Avi is an amazing bass and the development of his voice allows him to shine exactly where he should!

Lyric

Avi possesses a very warm voice. As he ascends, the lightness of the voice becomes apparent (Take A Listen). Lyric voices are defined by these qualities, meaning Avi must be one.

Vocal View: I am obsessed with Avi’s mixed voice. It is so gentle and controlled, which is very different from most singers. Of course I also love his mind-boggling lows. 

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Keke Wyatt Voice Type

Voice Type: Full-Lyric Soprano

Range: Bb2-Bb5-F6

Keke Wyatt is an best known for her underrated R&B vocals. As a woman who takes her vocals seriously, her voice type is subject to debate. 

Mezzo-Soprano

Keke’s extensive lower range can throw some people off. Being able to go very low does not make someone a mezzo-soprano, what we are looking for is comfort down low. Keke is very uncomfortable down low (Listen here), she often lowers her larynx to create some semblance of tone (Take a listen). People hear this and mistake it for comfort, when really there is little. Despite straining very low in her mix, she uses it with frequency and ease (phrased E5s, F5s, G5s, Bb5). She can easily phrase notes and sustain in the soprano range. The lack of development makes it harder for her to sing there, yet she has no issue, meaning she must be a soprano. 

Coloratura

Keke’s agility is an area that she shines in, yet that is not enough the earn the label of coloratura. The lyric coloratura soprano will have the lightest, brightest and highest voice. Keke’s timbre simply isn’t girly or bright enough to be a coloratura. She’s simply worked on her agility and developed it to a high standard. 

Spinto/Dramatic

Keke has been mistaken for a spinto or dramatoc numerous times. Her fuller voice tends to confuse some, but her timbre isn’t dark or metallic enough to be a spinto or dramatic. A dramatic will have a icy voice and Keke’s timbre is warm. In addition, a dramatic and spinto voice will carry more weight and have a bigger output than Keke’s. 

Full-Lyric

Keke’s voice is warm and light, yet full and womanly (Listen here). These are the traits of a full-lyric soprano.

Vocal View: I love how Keke challenges herself vocally. Some training in her lower and mixed voice would go a long way and really secure her place as a serious vocalist. 

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Freddie Mercury Voice Type

Voice Type: Full-Lyric Tenor

Range: F2-F5-F6

It’s the legendary Freddie Mercury! The Queen frontman is widely considered one of the best male vocalists of all time. He seems to have one of those voices that is impossible to classify. He has been called almost anything, from some sort of baritone to countless types of tenors. There also seems to be some who claim his voice did not fit a fach and was a creation of his own. While it may be confusing, once you break it down it’s not overly complex. 

Baritone/Baritenor 

Often noted for his expansive vocal range, Freddie was bound to be called a baritone/baritenor by some. Yes he could go very low, but that’s not enough to be a baritone. People tend to underestimate how low male voices can go (even tenors). All male voices should be making it well into the 2nd octave. It really doesn’t matter how low one can go, it’s where their voices sits. Freddie’s voice was just too high to be a baritone/baritenor. He was often belting in the upper 4th and lower to mid 5th octave with ease (Love Is The Hero, We Are The Champions, Who Wants To Live For Forever, Innuendo). He only really went low when it was called for in harmonies. It’s not really where his voice naturally shone, and it’s not where he had natural comfort. Others claim he was a baritone with well developed upper belts. (I’m going to get into trouble for saying this) His belts were rather underdeveloped technically, as they are tight and trapped in the throat. He also used a chest-dominant mix. His mix was not well developed and despite that he still accessed the tenor area with ease. Even if a baritone had really well developed upper mixed voice they would not spend the time Freddie did in his upper mix. As his voice was underdeveloped up high, yet he still had such ease there, his natural comfort was that of a tenor, and hence he must have been one. Furthermore, people use his speaking voice as ‘proof’ he was a baritone. One’s speaking voice and singing voice do not need to match up. Take Australian Season 1 The Voice winner Karise Eden. Her speaking voice is nothing like her singing voice. Sometimes it may give a clue into one’s voice type, but like in Freddie’s case, this doesn’t always happen. 

Dramatic/Spinto/Heldentenor 

As Freddie’s voice was rather powerful and mature he is often given the label of dramatic/spinto/heldentenor. His timbre was far too warm to be a dramatic or heldentenor. His voice also wasn’t dark enough to be a spinto. His chest-dominant mix and manly voice seems to confuse some, but his voice was too warm and light to be anything but a lyric. 

Leggiero 

Another common, yet strange misconception about Freddie’s voice. A leggiero tenor will have the lightest, brightest and most agile tenor voice. Freddie’s voice was nowhere near bright or agile enough to be a leggiero. 

Full-Lyric 

Freddie had a lyric voice. Lyric tenors (and sopranos) are broken down into light and full lyric. Light-lyrics will have bright and youthful voices. While a full-lyric will have a more masculine and mature voice. The voice will also be less bright than a light-lyric. This fits Freddie’s voice as it was mature and bigger than a light-lyric. Full-lyrics are often mistaken for baritones, but there tessitura will be different. 

Vocal View: I love that Freddie represents the male vocalists. Often people glaze over male vocalists as they are called lazy and boring, but Freddie really explored all parts of his voice and challenged himself vocally. 

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Josh Groban Voice Type

Voice Type: Lyric Baritone

Range: G2-B4-G5

People often debate whether Josh is a tenor or baritone. Having a well trained voice, Josh makes it pretty clear where his voice shines. Lets take a look…

Tenor

Anyone who can go above A4 seems to be called a tenor. His well trained voice makes it clear where his voice shines. While he can go up into a tenor’s range his voice doesn’t bloom there (You Raise Me Up), it is best lower in the 4th octave (Vincent, O Holy Night, To Where You Are). A tenor with an equally developed voice would be using his A4+ range much more often. As F4, F#4 and G4 are big belts for Josh, his voice shows the characteristics of a baritone. Furthermore, Josh has comfort in the second octave (You Raise Me Up, Falling Slowly, Pure Imagination). All this demonstrates that Josh must be a baritone. 

Lyric

Josh possesses a manly, full and warm voice. Lyric voices are characterised by their warmth and hence Josh must be one. 

Vocal View: I love how Josh manages to convey beautiful emotions while maintaining his technique. 

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Scott Hoying Voice Type

Voice Type: Lyric Baritone

Range: D2-C#5-G#5

After Avi announced he would be leaving the Pentatonix, I wanted to celebrate the group with a series of posts. Today, we are starting off with lead singer, Scott. Scott has a lighter voice than what one may associate with a baritone. He, like the rest of the group, is immensely talented and versatile. He is also one half of Superfruit, with their first album coming out this month.

Baritone

Scott makes for a great baritone. His training allows for strong lows and great mixed notes. Scott has comfort in the 2nd octave (Halo, Save The World/Don’t You Worry Child, Problem). His mixed voice shines in the E4-F#4 area (I Need Your Love, Can’t Sleep Love, Evolution Of Beyonce). As he steps in the tenor range, he looses his ease and comfort (For Example). The great development of his voice makes it clear that he is most comfortable in the baritone area. 

Lyric

Scott has a light, bright and warm voice. Lyric voices are defined by these qualities, meaning Scott must be one. 

Vocal View: Scott is amazing! He has a consistently resonant mixed voice and superb agility (Take a listen!). He easily beats all male singers today.

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Kevin Olusola Voice Type

Voice Type: Lyric Baritone

Range: G2-G4-G#5

Onto the beatboxer of the Pentatonix. While not often thought of as a singer, Kevin has shown the ability to do some damn good singing. While he is often overlooked, Kevin is extremely talented, being able to sing, beatbox, play the cello, rap and write songs. 

Tenor

Kevin is most often called a tenor. Kevin just doesn’t have the comfort in the upper 4th and lower 5th octave that a tenor should. He’s great in the mid 4th octave (What Do You Mean?, The First Noel, FourFiveSeconds) but when he ascends past E4 there is a noticeable difference in his voice, as he starts to become uncomfortable (F4, G4). A tenor would not have such discomfort in the F4-G4 range. Kevin’s lows are also quite easy for him (Love Lockdown). Its quite hard to classify Kevin’s voice as it is underused, it is possible that he is a tenor but from what we have been shown so far, he fits the baritone fach better. 

Vocal View: I wish Kevin would get the opportunity to use his voice more, as it is beautiful.