Bass (voice type)

Cultural influence and individual variation create a wide variation in range and quality of bass singers. Parts for basses have included notes as low as the B-flat two octaves and a tone below middle C (B♭₁), for example in Gustav Mahler's Symphony No. 2 and the Rachmaninov's All-Night Vigil, A below that in Frederik Magle's symphonic suite Cantabile, G below that (e.g. Measure 76 of Ne otverzhi mene by Pavel Chesnokov) or F below those in Kheruvimskaya pesn (Song of Cherubim) by Krzysztof Penderecki. Many basso profondos have trouble reaching those notes, and the use of them in works by Slavic composers has led to the colloquial term "Russian bass" for an exceptionally deep-ranged basso profondo who can easily sing these notes. Some traditional Russian religious music calls for A₂ (110 Hz) drone singing, which is doubled by A₁ (55 Hz) in the rare occasion that a choir includes singers who can produce this very low human voice pitch.

Many British composers such as Benjamin Britten have written parts for bass (such as the first movement of his choral work Rejoice in the Lamb) that center far higher than the bass tessitura as implied by the clef.^[1] The Harvard Dictionary of Music defines the range as being from the E below low C to middle C (i.e. E₂–C₄).^[5]

In SATB four-part mixed chorus, the bass is the lowest vocal range, below the tenor, alto, and soprano. Voices are subdivided into first bass and second bass with no distinction being made between bass and baritone voices, in contrast to the three-fold (tenor–baritone–bass) categorization of solo voices. The exception is in arrangements for male choir (TTBB) and barbershop quartets (TLBB), which sometimes label the lowest two parts baritone and bass.

Bass has the lowest vocal range of all voice types, with the lowest tessitura. The low extreme for basses is generally C₂ (two Cs below middle C). Some extreme bass singers, referred to as basso profondos and oktavists, are able to reach much lower than this. Within opera, the lowest note in the standard bass repertoire is D₂, sung by the character Osmin in Mozart's Die Entführung aus dem Serail, but few roles fall below F₂.

Although Osmin's note is the lowest 'demanded' in the operatic repertoire, lower notes are heard, both written and unwritten: for example, it is traditional for basses to interpolate a low C in the duet "Ich gehe doch rathe ich dir" in the same opera; in Richard Strauss' Der Rosenkavalier, Baron Ochs has an optional C₂ ("Mein lieber Hippolyte"). The high extreme: a few bass roles in the standard repertoire call for a high F♯ or G (F♯₄ and G₄, the one above middle C), but few roles go over F₄. In the operatic bass repertoire, the highest notes are a G♯₄ (The Barber in The Nose by Shostakovich) and, in the aria "Fra l'ombre e gl'orrori" in Handel's serenata Aci, Galatea e Polifemo, Polifemo reaches an A₄.

Within the bass voice type category are seven generally recognized subcategories: basso cantante (singing bass), hoher bass (high bass), jugendlicher bass (juvenile bass), basso buffo ("funny" bass), Schwerer Spielbass (dramatic bass), lyric bass, and dramatic basso profondo (low bass).^[6]

Basso cantante means "singing bass".^[2] Basso cantante is a higher, more lyrical voice. It is produced using a more Italianate vocal production, and possesses a faster vibrato, than its closest Germanic/Anglo-Saxon equivalent, the bass-baritone.

Hoher Bass or "high bass" or often a dramatic bass-baritone.

Jugendlicher Bass (juvenile bass) denotes the role of a young man sung by a bass, regardless of the age of the singer.

• Masetto, Don Giovanni by Wolfgang Amadeus Mozart
• Colline, La bohème by Giacomo Puccini

Buffo, literally "funny", basses are lyrical roles that demand from their practitioners a solid coloratura technique, a capacity for patter singing and ripe tonal qualities if they are to be brought off to maximum effect. They are usually the blustering antagonist of the hero/heroine or the comic-relief fool in bel canto operas.

English equivalent: dramatic bass

Basso profondo (lyric low bass) is the lowest bass voice type. According to J. B. Steane in Voices, Singers & Critics, the basso profondo voice "derives from a method of tone-production that eliminates the more Italian quick vibrato. In its place is a kind of tonal solidity, a wall-like front, which may nevertheless prove susceptible to the other kind of vibrato, the slow beat or dreaded wobble."

English equivalent: dramatic low bass. Dramatic basso profondo is a powerful basso profondo voice.

All of the Gilbert and Sullivan Savoy operas, except Patience and The Yeomen of the Guard, have at least one lead bass. Notable roles include:

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

• Guide to the singing voice, BBC Wales
• Basses in Bach’s vocal works
•   Media related to Bass vocalists at Wikimedia Commons
•   The dictionary definition of Bass at Wiktionary