Introduction to Tenor Roles in Choirs

In the world of choral singing, the terms first tenor (Tenor 1) and second tenor (Tenor 2) refer to specific vocal parts and roles. These terms are often used in both classical and non-classical settings, but the distinction in their vocal ranges and responsibilities vary across different musical arrangements.

Vocal Range Comparative Analysis

The vocal range of a first tenor (Tenor 1) is typically higher, often singing from approximately C4 (middle C) to C5 (high C), or even higher in some cases. This range is optimal for leading melodies and often takes on the role of the melody line in many vocal arrangements.

In contrast, the second tenor (Tenor 2) has a slightly lower range, generally singing from about A3 to A4 or B4. This range is still higher than that of baritones but lower than that of the first tenor. The second tenor plays a crucial role in providing harmonic support, often filling in the middle parts of the harmony.

The Musician's Perspective: Real vs. Not-So-Real Tenors

From a musical and vocal identity standpoint, being classified as a first tenor (Tenor 1) or second tenor (Tenor 2) is more about the part assigned than the actual vocal classification of a tenor. Let's delve deeper into this:

Classical and Symphonic Choirs: In classical and symphonic choirs, vocal parts like first tenor (Tenor 1) and second tenor (Tenor 2) are divisi, meaning the parts are often split among tenors. Tenor 2, for instance, typically does not sing above F4, with occasional passages up to G4. On the other hand, Tenor 1 may be asked to sing up to A4 or higher. Many Tenor 1s are known for their lighter, sometimes operatic tones. All-Male Singing Ensembles: In all-male ensembles, the part assigned to first tenor (Tenor 1) can vary widely. In some arrangements, it can be very high, reaching D5 or even higher, and may be sung in falsetto. The second tenor (Tenor 2) typically sings in the range of D3 to F4 or G4, with some passages reaching up to A4. Interestingly, the Tenor 1 part in these groups may not always be filled by a "real" tenor, and can sometimes be sung by a lighter voice that feasibly operates in the alto range.

A Note from the Expert

Consider the case of Clark Burroughs, a member of the early 1940s American all-male vocal group Hi-Lo’s. Burroughs was renowned for his high vocal range and often took on the role of the leading voice in the group. His voice would reach up to F5, establishing him as a prime example of an ideal Tenor 1 in a glee club setting. You can watch him perform with the Hi-Lo’s in this video:

Conclusion

The primary differences between a first tenor (Tenor 1) and second tenor (Tenor 2) lie in their vocal ranges and musical roles within a choir or ensemble. While both parts are vitally important, the first tenor is more likely to lead the melody with a higher range compared to the second tenor, who provides harmonic support. These distinctions are crucial for understanding the dynamics and flow of choral pieces across different genres and settings.

Understanding and appreciating these roles helps in the effective interpretation and execution of choral works, enhancing the overall musical experience.