In the world of classical singing, vocal categorization plays a crucial role in shaping vocal development, repertoire choices, and professional opportunities. Among the most influential systems in this process are voice classification and the Fach system. This article briefly explores the difference between these two systems, their impact and implications on a singer’s journey.
The word Fach literally means “compartment”, “subject of study” or “vocal specialization”.
In the world of opera, Fach describes a certain voice category and the roles sung by that type. - Sandra Cotton
This system was created in the twentieth century in Germany, as a way to protect singers’ vocal longevity from the diversity of demands in orchestration, tessitura and range that was arising. Singers began signing contracts that specified their particular Fach, allowing opera houses to assign them any role within that category. If a company wished the singer to perform a role outside of their designated Fach, it had to be explicitly listed in the contract. This system ensured that singers were fully informed of all role expectations before committing to a contract.
Over time and with regional differences, the Fach System became less and less clear. However, general definitions across sources are in agreement, such as the six main categories of the voice - soprano, mezzo-soprano, contralto, tenor, baritone and bass. Each category may be further divided into subtypes, such as __ and __ (lighter to darker timbre). Additionally, the term lyric dramatic coloratura may be used to describe voices with exceptional agility and flexibility. These subcategories are more prone to subjectivity and ongoing debate.
In the early stages of a singer’s journey, it is typically the voice teacher who determines what their “voice type” most likely is. Such classification depends primarily on ease of tessitura, range, timbre and agility. Classification involves primary and secondary groupings. The primary categories have been in use for at least two centuries. The ones for female voice classification are:
The secondary categories, considering sub-categories of the primary categories, developed over the last century. The most common are lyric (lighter timbre), dramatic (darker timbre) and coloratura (great agility).
It is argued that “pedagogues who delay classification and focus primarily on teaching a student simply to sing well and efficiently will fall short in preparing singers for the marketplace”.
Tessitura and Passaggi
Tessitura is a term that is often confused with “range”. Vocal coach John Henny offers an example that helps clarify the difference between the two: the ladder represents your vocal range (it goes from bottom to top and can vary in lenght), while the most comfortable steps - where you spend most of your time - represent your tessitura.
Singing within an appropriate tessitura is essential for the health and longevity of any singer. - Sandra Cotton
A singer experiences ease in the production of the sound when singing within their tessitura. However, spending too much time singing outside of their tessitura can cause vocal fatigue and have a negative impact on the longevity of their voice. There is ongoing debate among vocal pedagogues about how best to identify this area within an individual’s vocal range, as it can be deeply influenced by vocal technique. For this reason, some teachers begin by first discovering the passaggi (transition points in the voice between registers). A comfortable tessitura is usually found not in the passaggi.
Range
There is wide discussion among pedagogues about whether “range” should be used as a key factor in determining someone’s voice type. Some argue that “range” is largely dependent on the length of the vocal folds. On the other hand, others say that a lack of technique, especially in young or beginner singers, can limit the full potential and range of an individual’s voice, which is gradually explored and developed over the years and may change with age.
Timbre
“Timbre” refers to the color or quality of the sound produced, as well as how “big”, “dark”, “light” or “full” the voice is - qualities often measured by its ability to project over other instruments. Determining someone’s primary voice classification based solely on “timbre” can be dangerous, especially with beginner voices.
Barbara M. Doscher states: “Since timbre is so closely related to formant frequencies, it should give some indication of the size and dimensions of the vocal tract. At the same time, timbre is determined to a great extent by the particular method of training. (…) Many a big-voiced soprano has sung as a mezzo into her mid-twenties, only to find that her voice was misclassified. (…) The sad thing about this kind of classification by timbre alone is that the rare voices, such as the spinto soprano and the dramatic tenor, are the ones most often misclassified. At best, their potential is never realized; at worst, permanent vocal damage results.”
Agility
This is the least controversial criterion, as it is deeply connected to one’s muscle fibers, not just muscle coordination. Vocal technique is helpful, but a coloratura voice will anatomically have more agility than a dramatic voice.
Richard Miller states in his book, In The Training of Soprano Voices, that when a teacher gives repertoire to a student, both students and colleagues often presume that the teacher is making a statement about that singer’s voice classification. He also discusses the danger of trying to determine a student’s Fach in the early stages of his singing journey, as this could lead to false technical and repertoire expectations.
Above all, it is not the duty of the singing teacher to attempt Fach determination in the early stages of voice instruction. After the singer has achieved basic technical proficiency – has established vocal freedom – her voice itself will determine the Fach. - Richard Miller
Although the terminology used in Voice classification and the Fach system is often identical, their purposes differ. Voice classification focuses on describing the physiological characteristics of a singer’s instrument, while the Fach system is primarily concerned with assigning appropriate operatic roles. The most debated aspects of the Fach system usually involve which roles belong to each category and which roles are considered unsuitable for certain Fächer. Sandra Cotton argues that Voice classification and Fach are two separate and independent systems of voice categorization, and that the combination of the two can significantly affect a singer’s future career.
The Fach system was indeed conceived as a list of appropriate repertoire according to voice type, yet over the years each system has developed independently and the assumption that Fach still offers roles according to voice classification can lead the singer/teacher to the wrong repertoire. - Sandra Cotton
In order to maintain vocal health and still “make it” in the competitive world of singing, Vocal Classification and Fach must be considered separately, not as synonymous terms. Unfortunately, this is not the reality of a singer nowadays. This presents a challenge for teachers, for instance, to assign the “right” repertoire to their students, since the arias and roles they wish to assign a student may not be considered appropriate for that singer’s Fach. It is therefore proposed that vocal pedagogues educate singers about the differences between Voice classification and Fach, which “will result in the more accurate education of the singers and teachers of future generations”.
1 - Ingo Titze, Principles of Voice Production. Iowa City, Iowa: National Center for Voice Studies, 2000, 185
2 - McKinney, The Diagnosis and Correction of Vocal Faults. Nashville: Genevox Music Group, 1994, 110
3 - https://johnhenny.com/difference-range-tessitura/
4 - https://www.ginkauchkova.com/single-post/what-is-your-fach
5 - Cotton Sandra, Voice classification and Fach: Recent, historical and conflicting systems of voice categorization