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Duane Cottrell, editor

Categorizing and Notating Timbres for Vocal Ensembles
by Fahad Siadat

Exploring Timbre conductors and singers to engage even though the harmonics they pro-
The voice is an exceptionally with a greater breadth of repertoire, duce are the same. One way of visu-
versatile instrument capable of ex- it also expands their expressive pal- alizing this difference in timbre is by

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pressing innumerable sounds and ette and makes available to ensem- using a spectrograph which shows
styles of singing. Often, however, bles of all experience levels a new the balance of harmonics in any
we confine our ensembles to what depth of musicality. By familiariz- given sound. The particular “shape”

we think is an “appropriate” timbre ing themselves with the acoustics of of a sound is referred to as the Spec-
decided through our understanding diff erent timbres, conductors (and tral Envelope. With this defi nition
of the performance practice for the by extension the singers with whom in mind, there are four over-arch-
style and genre of any given piece. they work) open the door to a world ing spectral shapes I propose we use
This is tricky for contemporary mu- of compositions that are gaining as a starting point when discussing
sic which does not necessarily have popularity in the wider vocal ensem- tone and color in a vocal ensemble
a set performance practice and style ble community. setting. Roughly described, these
can vary from piece to piece, rely- four timbres show a gradation from
ing on the conductor to make a de- “dark” to “extremely bright” based
cision based on personal preference Categorizing Timbre Based On on how strong the fundamental (ac-
and the abilities and limitations of the Spectral Envelope tual pitch being sung) is and which
their ensemble. Contemporary com- Merriam-Webster defi nes timbre harmonics in the sound are empha-
posers are increasingly interested in as “the quality given to a sound by sized and which are de-emphasized,
using sound and style as an expres- its overtones: such as…the quality of or attenuated. The four timbres are:
sive device even utilizing diff erent tone distinctive of a particular sing-
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timbres within a single composition ing voice or musical instrument.” • Fundamental dominant with atten-
and are relying on conductors to While all sounds produce overtones, uated upper harmonics (Fundamen-
build flexible and diverse ensembles it is the relative strength of the vari- tal Dominant)

that can engage effectively with their ous overtones that gives each sound
creative intentions. Exploring vocal its unique quality, which is why a • Wide spectrum of emphasized har-
timbre provides an opportunity for fl ute doesn’t sound like a clarinet, monics (Wide Spectrum)

CHORAL JOURNAL April 2021 Volume 61 Number 9 53