Ratings

Ratings are a way to classify a singer according to their singing skills in this blog. Each rating has a series of achievements the singer must possess to be able to be catalogued in any of them, but since singing isn't only black and white, and the singer can possess different levels of skill in each aspect, then they will be classified according to the overall evaluation and on some occasions could be classified in the middle of two categories.

The standards used are based on the ability of the individuals to manage their voices correctly; the more skillful the singer is in terms of singing, the higher their level as vocalist, based on the fundamentals of vocal pedagogy (health and science).

Here the ratings used in this blog, each with its achievements, shown from highest to lowest:

Exceptional

• Support is present consistently throughout their supported range.
• Full connection to head voice.
• Almost no intonation, stability and tonality issues.
• Resonance is consistent throughout their supported range on every register.
• Voice is fully connected and fluid (Passaggi-wise).
• Developed agility.
• Well-developed musicianship/musicality.
• All three registers developed well and fairly equally.

Good

• Support is present throughout their supported range most of the time.
• Connection to head voice, at least more than few times.
• Almost no intonation, stability and tonality issues.
• Resonance is fairly consistent.
• Voice may not be fully connected and fluid (Passagi-wise).
• Somewhat developed agility.
• Developed musicianship/musicality.
• At least two good-rated registers or one exceptional-rated register.

Adequate

• Support is present throughout their supported range with some inconsistency.
• Has shown the ability to proper connect to head voice.
• Some issues with intonation, stability and tonality.
• Resonance is commonly present.
• Connection may or may not be present (Passagi-wise).
• Decent agility.
• Somewhat developed musicianship/musicality.
• At least two adequate-rated registers or one good-rated register.

Regular

• Support is established and solid but inconsistent.
• Head voice isn’t present.
• Issues with intonation, stability and tonality.
• Lacks of resonance production.
• Connection is not present (Passagi-wise).
• Agility lacks in development.
• Lack of development in terms of musicianship/musicality.
• At least two regular-rated registers or one adequate-rated register.

Deficient

• Support (if present) is shallow and inconsistent.
• Head voice isn’t present at all.
• Constant issues with intonation, stability and tonality.
• Resonance isn’t achieved.
• Connection is not present (Passagi-wise).
• Underdeveloped agility.
• Underdeveloped musicianship/musicality.
• Any register is enough developed.

Ratings of registers

Singers have different levels of skill in terms of the different registers, and because of this it would be more complicated and unfair to evaluate just by "modal voice", so every register is individually evaluated to make the rating process easier. These ratings of registers are based on passagi and the tessitura of each voice type (adapted to contemporany singing).

It should be noted that falsetto register and whistle register, despite not presenting the proper support in theoretical aspects, have a certain level of relevance in the overall result of the singer. Falsetto register can be postivide if used in a stylistic and controlled manner in terms of musicality; if the case is the opposite, and it is used as a replacement for head voice due to a lack of development, then it's a negative aspect.

Something similar happens with the whistle register; it doesn't have the proper connection of the vocal cords and goes against the definition of "support", but it still can be executed correctly without strain. However, this register (according to its execution) is considered an extra, and not something definitive for the singer as such.

The ratings are structured as follows: "NO1-NO2-NO3", where N corresponds to the sung note, O to the octave in which the note was sung and 1 corresponds to the lowest supported note in chest voice, 2 to the highest supported note in mixed voice and 3 to the highest supported note in head voice. The rest depends on the achievements of the overall categories.

Exceptional

• Soprano: E3-G5-C6
• Mezzo-Soprano: D3-F5-B5
• Contralto: C3-E5-A5
• Tenor: A2-C#5-F#5
• Baritone: F#2-A4/Bb4-E5

Good

• Soprano: F#3-E5-Bb5
• Mezzo-Soprano: E3-D5-A5
• Contralto: D3-D5-G5
• Tenor: B2-Bb4-E5
• Baritone: G#2-G#4-D5

Adequate

• Soprano: G#3-D5-G#5
• Mezzo-Soprano: F#3-C5-F#5
• Contralto: E3-B4-F5
• Tenor: C#3-G#4-D5
• Baritone: Bb2-F4-C5

Regular

• Soprano: A3-B4-F#5
• Mezzo-Soprano: G#3-A4-E5
• Contralto: F3-G4-D5
• Tenor: D3-F#4-C5
• Baritone: C3-Eb4-Bb4

Deficient

• Soprano: B3-A4-Eb5
• Mezzo-Soprano: A3-G4-C#5
• Contralto: G3-F4-B4
• Tenor: F3-E4-Bb4
• Baritone: D3-C#4-G#4