In the male voice we have the tenor robusto, a little lower than the pure tenor and more powerful; next the baritone, a voice between the tenor and bass, but possessing very much the quality of the bass.

The tones in the range of every voice can be divided into three parts—­the lower, medium and higher.  Thus we would say of a performer, he or she used the lower or higher tones, or whatever the case may be.  This applies to every kind of voice.

The soprano voice ranges generally from the middle C, first added line below on the treble clef, upwards to A, first added line above the staff.  Contralto voices range generally from G, below middle C in the treble clef, up to F, the upper line of the clef.

The tenor voice ranges from C, second space of the F clef, to D, second space in the treble clef.

The bass voice ranges from lower F, first space below of the F or bass clef, to D, second space above of this clef.[2]

The first perception of the human voice imperatively demands, 1.  That the voice be tried and its compass measured in order to ascertain to what species it belongs.  Its name must be known with absolute certainty.  It would be shameful in a musician not to know the name of the instrument he uses. 2.  That the ear be trained in order to distinguish the pitch upon which one speaks.

We should be able to name a sound and to sound a name.  The Orientals could sing eight degrees of tone between C and D. There may be a whole scale, a whole air between these two tones.  It would be unpardonable not to know how to distinguish or at least to sound a semitone.

There is a fact proved by experience, which must not be forgotten.  The high voice, with elevated brows, serves to express intensity of passion, as well as small, trivial and also pleasant things.

The deep voice, with the eyes open, expresses worthy things.

The deep voice, with the eyes closed, expresses odious things.

The Voice in Relation to Vowels.

As already stated, the vocal apparatus is composed of the lungs, the larynx and the mouth; but its accessories are the teeth, the lips, the palate and the uvula.  The tip and root of the tongue, the arch of the palate and the nasal cavities have also their share in perfecting the acoustic apparatus.

In classifying the different varieties of voice, we have considered them only in their rudimentary state.  Ability to name and distinguish the several tones of voice is the starting point.  We have an image more or less perfect, leaving the mould; we have a canvas containing the design, but not the embroidery—­the mere outline of an instrument, a body without a soul.  The voice being the language of the sensitive life, the passional state must pass entirely into the voice.

We must know then how to give it an expression, a color answering to the sentiment it conveys.  But this expressive form of the voice depends upon the sound of its vowels.