Singer Profile

Thank you so much for filling out this form. Please answer each question to the best of your ability and as completely as possible. Your answers will help our composers better understand your voice and how it works and will help them compose vocal parts for you that are as effective as possible for your voice. This information will only be used by the faculty and composers and will not be given to anyone else. See below for a reference diagram that indicates where the various note names are on a piano keyboard.

Special thanks to The American Opera Project Composers & The Voice Program and Steven Osgood for originating and inspiring these questions.

Name

First Name

Last Name

Phone

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Preferred method of communication:

This is for the composers to contact you if they have questions for you about your voice.

If you selected "Other" above, let us know what it is.

Voice Type of Fach

Choose the voice type that best describes your voice

Roles in the standard. repertoire you sing or expect to sing

Do you have any favorite contemporary roles or works written for your voice or fach?

Top of Range

(That you would sing in public, C4 is middle C, etc.)

Bottom of Range

(That you would expect to sing in public)

Absolute highest you vocalize

Absolute lowest you vocalize

Within the complete range of your voice, how many subsections, ranges, or voices do you think of?

Could you describe each of those ranges as specifically as possible? Use terms such as full chest, mix, full head, etc.

In what range do you feel you have the greatest palette of colors available?

Below this range how are your choices more limited?

Above this range how are your choices more limited?

What range do you consider your passagio?

What must you do technically to negotiate your passagio?

Do you have another, secondary passagio?

What range do you consider your secondary passagio?

Are the technical considerations for your secondary passagio the same as with the first?

At what point in your range do you have to begin sacrificing clear enunciation of text for reasons of vocal production?

In what ways do you modify the text?

At what point in your range do you lose the text entirely?

What considerations should be made in crossing between ranges or voices within a single phrase?

What dangers are there for you in covering a wide range in the course of a single phrase?

How do areas of passagio weigh into these considerations?

What dangers are there for you in staying for an extended period of time in one range or voice?

What notes would you consider the climactic high notes in your voice?

How many of them do you feel you have for a 5-8 minute aria or number?

How many of them do you feel you have for a 2 hour evening?

How do you like to approach these notes, by leap, by step?

Are there particular vowels that make these notes easier to produce? If so, which ones?

Would you consider any particular low notes to be climactic in your voice? If yes, which ones?

How many of them do you feel you have for a 5-8 minute aria or number?

How many of them do you feel you have for a 2 hour evening?

How do you like to approach climactic notes, by leap or step?

Are there particular vowels that make these low notes easier to produce? If so, which?

What other considerations are there in negotiating the climactic low notes of your voice?

How would you say your voice is different from others in your same voice type or fach?

What special skills or abilities do you have that others in your voice type might not have?

For example, can you sing in different styles, throat singing, improvising, etc.