Alto

Alto. In choral music and classical music, the term alto describes the second-highest vocal range, typically sung by lower female voices or higher male voices, notably countertenors. It occupies a crucial harmonic position between the soprano and tenor, providing richness and depth to vocal textures. The term is distinct from, though often conflated with, the solo voice type of contralto.

Etymology and terminology

The word "alto" originates from the Latin term "altus," meaning "high," reflecting its historical role as the high part in early polyphony sung by male voices. In the context of Renaissance music and the Baroque era, this line was often performed by castrato singers or falsettists. The modern choral usage solidified in SATB (soprano, alto, tenor, bass) divisions, where it denotes a specific vocal part rather than a natural voice type. This differs from operatic classification, where the lowest female voice is termed contralto, a distinction clear in the works of composers like Giuseppe Verdi and Richard Wagner.

Vocal range and voice type

The typical written range for an alto in choral music extends from approximately F3 to F5, though solo repertoire may demand greater extension. As a voice type, the true alto is synonymous with the contralto, characterized by a dark, resonant timbre and strength in the lower vocal register, known as the chest voice. This contrasts with the brighter, higher mezzo-soprano, though the terms are sometimes used interchangeably in non-specialist contexts. The German Fach system classifies such voices into specific categories like Dramatic contralto or Coloratura contralto, as exemplified by singers like Marian Anderson.

In choral music

In choral music, the alto part provides the inner harmony, often moving contrapuntally between the melody of the soprano and the foundation of the tenor and bass. This role is central in works ranging from Bach's Mass in B minor to Mendelssohn's Elijah. In British cathedral choirs, the alto line is traditionally sung by boy altos or countertenors, a practice maintained at institutions like King's College, Cambridge. Contemporary a cappella groups and pop music ensembles also utilize the alto range for its warm, blending quality.

In opera and classical music

Within opera and classical music, the alto voice is most precisely defined as the contralto. This voice type is relatively rare and is often cast in specific, dramatic roles such as witches, mothers, or noblewomen. Notable operatic parts include Azucena in Verdi's *Il trovatore*, Ulrica in *Un ballo in maschera*, and Erda in Wagner's *Der Ring des Nibelungen*. In oratorio and art song, the repertoire includes works by Brahms, including his Alto Rhapsody, and the profound solo in Beethoven's Missa Solemnis.

Notable alto singers

Historically significant contraltos and altos have left a profound mark on music history. Pioneers like Marian Anderson, who performed at the Lincoln Memorial, and Kathleen Ferrier, renowned for her performances in Mahler's *Das Lied von der Erde*, are iconic figures. The 20th century saw celebrated artists such as Maureen Forrester, Clara Butt, and Ewa Podleś. In contemporary classical music, Joyce DiDonato (a mezzo-soprano often singing alto-range roles) and Sara Mingardo are prominent. The countertenor tradition, effectively a male alto, is exemplified by performers like Alfred Deller and Philippe Jaroussky.

Category:Vocal ranges Category:Musical terminology