--- title: Song Transposition and Voice Classification System --- | Voice Types | Vocal Synth Character References | |---------------------------------------|----------------------------------------------| | High Treble / E-Flat High (Eb'; rare) | Akane and Aoi Kotonoha | | Treble / C High (C') | Akari Kizuna, Seika Kyōmachi, Xīngchén, Gumi | | Meane / B-Flat High (Bb) | Eleanor Forte, Luka Megurine, Anri, Solaria | | Alto-Tenor / G Middle (G) | Mùxīn, Yohio, Saros, Yuzuru Iori | | Tenor / E-Flat Middle (Eb) | Kaito, Kevin, Genbu, VY2 | | Baritone / C Low (C) | Frimomen | | Bass / B-Flat Low (Bb°) | Asterian, Ryūsei Aoyama | | Sub-Bass / F Low (F°; rare) | | | Voice Types | Remarks to Do a Do-Re-Mi TikTok Filter Challenge | |----------------------------------------|-------------------------------------------------------------------| | High Treble / E-Flat High (Eb'; rare) | Key is low but effortless to do, as long as the singer is in tune | | Treble / C High (C') | Perfectly suited | | Meane / B-Flat High (Bb) | Doable, but requires effort | | Alto-Tenor / G Middle (G) | Proceed with caution as it leads to voice cracks | | Tenor / E-Flat Middle (Eb) | Either sing in falsetto or belt very powerfully | | Baritone / C Low (C) | To be sung in falsetto | | Bass / B-Flat Low (Bb°) | To be sung in falsetto with slightly more effort | | Sub-Bass / F Low (F°; rare) | To be sung in falsetto but needs more effort | **Range guide in a voice type of Treble / C High (C'):** ··· ‐ G3 - [C4 ‐ C5] ‐ F5 ‐ ··· **Falsetto transition point for Treble / C High (C'):** at least around A4 or Bb4 **Note:** Middle C is notated as C4. Use the widely accepted tuning system which is 12-tone equal temperament, associated with its standardized reference note for A4 which is 440Hz. **Criteria for identifying the person's voice type:** * average spoken pitch * gender factor of the voice (formant) **Short singing voice test for voice classification:** * Let a singer sing a major scale solmization (Do-Re-Mi-Fa-Sol-La-Si-Do) in a key referring the table above. **Note:** The person who identifies the another person's voice type must have an absolute/perfect pitch. The person who has an absolute/perfect pitch to sing, especially in a choir, is very advantageous. For choral performances, expect that all choristers should have their own absolute/perfect pitch to stay in tune when singing homophonically, or especially, polyphonically, by striving to be accustomed to the widely accepted tuning system and reference pitch, which is 12-tone equal temperament (12-TET) at 440Hz. Of course, choristers must know how to read and write sheet music. | Choral Parts | Voice Types to Sing | |------------------------------------------------------|------------------------------------------------------------------------------------| | Treble / Normal C High (C') | | | Meane / Normal B-Flat High (Bb) | | | Alto-Tenor / Normal G Middle (G) | | | Tenor / Normal E-Flat Middle (Eb) | | | Baritone / Normal C Low (C) | | | Bass / Normal B-Flat Low (Bb°) | | | Soprano / Choral Falsetto F High (F') | Treble / C High (C'), Meane / B-Flat High (Bb), or Alto-Tenor / G Middle (G) | | Mezzo-Soprano / Choral Falsetto E-Flat High (Eb') | Meane / B-Flat High (Bb), Alto-Tenor / G Middle (G), or Tenor / E-flat Middle (Eb) | | Countertenor / Choral Falsetto C High (C') | Alto-Tenor / G Middle (G), Tenor / E-flat Middle (Eb), or Baritone / C Low (C) | | Low Countertenor / Choral Falsetto B-Flat High (Bb) | Tenor / E-flat Middle (Eb), Baritone / C Low (C), or Bass / B-Flat Low (Bb°) | | Strohbass I / Fry C Very Low (C°) | Tenor / E-flat Middle (Eb), or Baritone / C Low (C) | | Strohbass II / Fry Bb Very Low (Bb°°) | Baritone / C Low (C), or Bass / B-Flat Low (Bb°) | | Choral Roles | Choral Parts Used from My Setup | Vocal Synth Voices Used from My Setup | |-----------------------------------|---------------------------------------|---------------------------------------| | Lead | Treble / Normal C High (C') | Akari Kizuna | | Accompaniment I | Soprano / Choral Falsetto F High (F') | Eleanor Forte, or Prima | | Accompaniment II | Treble / Normal C High (C') | Xīngchén, or VY1 | | Accomp. III and beyond (optional) | | | | Bass Role | Strohbass II / Fry Bb Very Low (Bb°°) | Asterian | --- **Song transposition method:** using C4 - C5 range basis (other name: Treble's centralized range basis) **Transposition examples:** * Example 1: * Song's original key and its range: Ab; Eb4 - Eb5 (octave (even-numbered range interval, 12 semitones)) * Note distribution assumption: normally distributed * After transposition: F; C4 - C5 * Target vocal type to sing: Meane / B-Flat High (Bb), or Bass / B-Flat Low (Bb°) * Final transposed key: Eb; Bb3 - Bb4 * Example 2: * Song's original key and its range: G; D4 - E5 (major ninth (even-numbered range interval, 14 semitones)) * Note distribution assumption: negatively skewed * After transposition: Eb; Bb3 - C5 (Note: if normally distributed, E; B3 - C#5; but if positively skewed, F; C4 - D5) * Target vocal type to sing: Alto-Tenor / G Middle (G) * Final transposed key: Bb; F3 - G4 * Example 3: * Song's original keys and its range: Bb and B; F3 - Bb4 (eleventh (odd-numbered range interval, 17 semitones)) * Note distribution assumption: slightly negatively skewed * After transposition: D and Eb; A3 - D5 (Note: if positively skewed slightly, Eb and E; Bb3 - Eb5) * Target vocal type to sing: Treble / C High (C'), or Baritone / C Low (C) * Final transposed keys: D and Eb; A3 - D5 * Example 4: * Song's original key and its range: C; G3 - E5 (major thirteenth (odd-numbered range interval, 21 semitones)) or even wider * Note distribution assumption: extremely negatively or positively skewed, or even normally distributed * After transposition: Something is wrong with the melody; needs a decision to be revised. * Target vocal type to sing: Tenor / E-flat Middle (Eb) * Final transposed key: will be transposed after revising the melody **Rating system for difficulty based on every song's range interval:** * A (Beginner): less than a minor third - diminished fifth * B (Novice): fifth - minor seventh * C (Intermediate): major seventh - major ninth * D (Advanced): minor tenth - diminished twelfth * E (Expert): twelfth or more Interval between two rating levels: major third **Transposition modes:** * According to the entire song's melody range and note distribution (only for fixed melodies) * According to the original singer's voice type If we do not wish to transpose a song, just select a voice type that centrally fits the entire song's notes to the vocal range guide. --- **Composing a song based on centralized C4~C5 rule for Treble / C High (C') singers** **C major or A minor:** (B3)-**C4**-D4-E4-F4-G4-*A4*-B4-**C5**-(D5) **Db major or Bb minor:** (*Bb3*)-C4-**Db4**-Eb4-F4-Gb4-Ab4-*Bb4*-C5-(**Db5**) **D major or B minor:** (*B3*)-C#4-**D4**-E4-F#4-G4-A4-*B4*-(C#5-**D5**) **Eb major or C minor:** (Bb3)-*C4*-D4-**Eb4**-F4-G4-Ab4-Bb4-*C5*-(D5) **E major or C# minor:** (B3)-*C#4*-D#4-**E4**-F#4-G#4-A4-B4-(*C#5*) **F major or D minor:** (Bb3)-C4-*D4*-E4-**F4**-G4-A4-Bb4-C5-(*D5*) **Gb major or Eb minor:** (Bb3-Cb4)-Db4-*Eb4*-F4-**Gb4**-Ab4-Bb4-Cb5-(Db5) **G major or E minor:** (B3)-C4-D4-*E4*-F#4-**G4**-A4-B4-C5-(D5) **Ab major or F minor:** (Bb3)-C4-Db4-Eb4-*F4*-G4-**Ab4**-Bb4-C5-(Db5) **A major or F# minor:** (B3)-C#4-D4-E4-*F#4*-G#4-**A4**-B4-(C#5-D5) **Bb major or G minor:** (**Bb3**)-C4-D4-Eb4-F4-*G4*-A4-**Bb4**-C5-(D5) **B major or G# minor:** (**B3**)-C#4-D#4-E4-F#4-*G#4*-A#4-**B4**-(C#5) --- **Primary modal frames for melody composition (in a key of C for this example)** References: https://en.wikipedia.org/wiki/Modal_frame https://en.wikipedia.org/wiki/Parlour_music * Tonic-octave mode; my alias: "Major Scale Solfege" * Set of notes: [C], D, E, F, G, A, B, [C'] * Notes used for major scale solfege singing practice: (B°), C, D, E, F, G, A, B, C', (D') * Dominant-octave mode; my alias: "Natural Trumpet Notes" * Set of notes: G°, A°, B°, [C], D, E, F, G * Typical melodic notes from natural trumpet: G°, (A°, Bb°, B°,) C, D, E, F, (F#), G, (A) * Mediant-octave mode; my alias: "Treble Clef Staff Notes" * Set of notes: E, F, G, A, B, [C'], D', E' * Notes used to create a melody with treble clef, without a key signature and ledger lines: (D), E, F, G, A, B, C', D', E', F' **Variants derived from primary modal frames (in a key of C for this example)** * Example 1: * Set of notes: [C], D, E, F, G, A * Modal frame variant: Tonic-octave, highs removed * Example 2: * Set of notes: A°, B°, [C], D, E, F, G, A * Modal frame variant: Dominant-octave, lows removed, highs added * Example 3: * Set of notes: D, E, F, G, A, B, [C'], D' * Modal frame variant: Tonic-octave, lows removed, highs added * Example 4: * Set of notes: G°, A°, B°, [C], D, E, F, G, A * Modal frame variant: Dominant-octave, highs added * Example 5: * Set of notes: G°, A°, B°, [C], D, E, F * Modal frame variant: Dominant-octave, highs removed * Example 6: * Set of notes: B°, [C], D, E, F, G, A, B * Modal frame variant: Tonic-octave, lows added, highs removed * Example 7: * Set of notes: B°, [C], D, E, F, G, A * Modal frame variant: Tonic-octave, lows added, highs removed * Example 8: * Set of notes: E, F, G, A, B, [C'], D', E', F' * Modal frame variant: Mediant-octave, highs added * Example 9: * Set of notes: E, F, G, A, B, [C'], D', E', F', G' * Modal frame variant: Mediant-octave and dominant-octave combo * Example 10: * Set of notes: D, E, F, G, A, B, [C'], D', E', F', G', A' * Modal frame variant: Mediant-octave and dominant-octave combo, lows and highs added * Example 11: * Set of notes: [C], D, E, F, G, A, B, [C'], D', E', F', G' * Modal frame variant: Tonic-octave and dominant-octave combo * Example 12: * Set of notes: [C], D, E, F, G, A, B, [C'], D', E' * Modal frame variant: Tonic-octave and mediant-octave combo * Example 13: * Set of notes: [C], D, E, F, G, A, B, [C'], D', E', F' * Modal frame variant: Tonic-octave and mediant-octave combo, highs added * Example 14: * Set of notes: G°, A°, B°, [C], D, E, F, G, A, B, C' * Modal frame variant: Dominant-octave and tonic-octave combo #### List of diatonic modes on C Note: Letters in [brackets] are relative major keys.
No. Mode Scales
1 C Major (I) [C] D E F G A B [C']
2 C Dorian (II) C D Eb F G A [Bb] C'
3 C Phrygian (III) C Db Eb F G [Ab] Bb C'
4 C Lydian (IV) C D E F# [G] A B C'
5 C Mixolydian (V) C D E [F] G A Bb C'
6 C Minor (VI) C D [Eb] F G Ab Bb C'
7 C Locrian (VII) C [Db] Eb F Gb Ab Bb C'
8 B Mixolydian (V) B° C# D# [E] F# G# A B (C#')
9 B Dorian (II) B° C# D E F# G# [A] B (C#')
10 B Minor (VI) B° C# [D] E F# G A B (C#')
#### Chromatic inversion in F#/Gb origin (C4~C5 flip)
No. Mode Scales
1 C Phrygian (III) C' Bb [Ab] G F Eb Db C
2 C Dorian (II) C' [Bb] A G F Eb D C
3 C Major (I) [C'] B A G F E D [C]
4 C Locrian (VII) C' Bb Ab Gb F Eb [Db] C
5 C Minor (VI) C' Bb Ab G F [Eb] D C
6 C Mixolydian (V) C' Bb A G [F] E D C
7 C Lydian (IV) C' B A [G] F# E D C
8 C# Minor (VI) C#' B A G# F# [E] D# C# (B°)
9 C# Dorian (II) C#' [B] A# G# F# E D# C# ([B°])
10 Db Mixolydian (V) Db' Cb Bb Ab [Gb] F Eb Db (Cb°)