Soft voices daycare: Soft Voices Daycare Inc – Day Care Center
Soft Voices Day Care Inc.
About the Provider
Description: SOFT VOICES DAY CARE INC. is a Group Family Day Care in Springfield Gardens NY, with a maximum capacity of 16 children. The home-based daycare service helps with children in the age range of Total Capacity: 12 children, ages 6 weeks to 12 years AND 4 additional school-aged children . The provider does not participate in a subsidized child care program.
Additional Information: This facility is authorized to administer over-the-counter topical ointments only; Initial License Date: 9/18/2009;
Program and Licensing Details
- License Number:
407313 - Capacity:
16 - Age Range:
Total Capacity: 12 children, ages 6 weeks to 12 years AND 4 additional school-aged children - Enrolled in Subsidized Child Care Program:
No - Schools Served:
Queens 29 School District - Initial License Issue Date:
Sep 18, 2009 - Current License Issue Date:
Sep 18, 2019 - Current License Expiration Date:
Sep 17, 2023 - District Office:
New York City Dept. of Health – Regional Office - District Office Phone:
(718) 553-3981 (Note: This is not the facility phone number.)
Inspection/Report History
Where possible, ChildcareCenter provides inspection reports as a service to families. This information is deemed reliable,
but is not guaranteed. We encourage families to contact the daycare provider directly with any questions or concerns,
as the provider may have already addressed some or all issues. Reports can also be verified with your local daycare licensing office.
Date | Type | Regulations | Status |
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2021-09-30 | Violation | 416.7(l) | Not Corrected |
Brief Description: Other than for school age children, sleeping and napping arrangements must be made in writing between the parent and the program. Such arrangements shall include: the area of the home where the child will nap; whether the child will nap on a cot, mat, bed or a crib; and how the napping child will be supervised, consistent with the requirements of section 416. 8 of this Part. |
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2021-09-30 | Violation | 416.11(a)(1) | Not Corrected |
Brief Description: No child may be accepted for care in a child care program unless the program has been furnished with a written statement signed by a health care provider verifying that the child is able to participate in child care and currently appears to be free from contagious or communicable diseases. A child’s medical statement must have been completed within the 12 months preceding the date of enrollment. |
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2021-09-30 | Violation | 416.11(a)(3) | Not Corrected |
Brief Description: The program must keep documentation of immunizations the child has received to date, in accordance with New York State Public Health Law. |
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2021-09-30 | Violation | 416.15(b)(25)(iii) | Not Corrected |
Brief Description: At the two-year calendar date in a four year licensing cycle, a program must be in compliance with the following mid-point requirements and be able to show proof of compliance to the Office when requested: proof of compliance with the training requirements of section 416. 14. |
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2021-09-30 | Violation | 416.7(l) | Corrected |
Brief Description: Other than for school age children, sleeping and napping arrangements must be made in writing between the parent and the program. Such arrangements shall include: the area of the home where the child will nap; whether the child will nap on a cot, mat, bed or a crib; and how the napping child will be supervised, consistent with the requirements of section 416.8 of this Part. |
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2021-09-30 | Violation | 416.11(a)(1) | Corrected |
Brief Description: No child may be accepted for care in a child care program unless the program has been furnished with a written statement signed by a health care provider verifying that the child is able to participate in child care and currently appears to be free from contagious or communicable diseases. A child’s medical statement must have been completed within the 12 months preceding the date of enrollment. |
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2021-09-30 | Violation | 416.11(a)(3) | Corrected |
Brief Description: The program must keep documentation of immunizations the child has received to date, in accordance with New York State Public Health Law. |
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2021-09-30 | Violation | 416.15(b)(25)(iii) | Corrected |
Brief Description: At the two-year calendar date in a four year licensing cycle, a program must be in compliance with the following mid-point requirements and be able to show proof of compliance to the Office when requested: proof of compliance with the training requirements of section 416.14. |
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2020-02-04 | Violation | 416.7(l) | Corrected |
Brief Description: Other than for school age children, sleeping and napping arrangements must be made in writing between the parent and the program. Such arrangements shall include: the area of the home where the child will nap; whether the child will nap on a cot, mat, bed or a crib; and how the napping child will be supervised, consistent with the requirements of section 416.8 of this Part. |
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2020-02-04 | Violation | 416.11(a)(1) | Corrected |
Brief Description: No child may be accepted for care in a child care program unless the program has been furnished with a written statement signed by a health care provider verifying that the child is able to participate in child care and currently appears to be free from contagious or communicable diseases. A child’s medical statement must have been completed within the 12 months preceding the date of enrollment. |
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2020-02-04 | Violation | 416.11(a)(3) | Corrected |
Brief Description: The program must keep documentation of immunizations the child has received to date, in accordance with New York State Public Health Law. |
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2020-02-04 | Violation | 416.11(h)(1)(i) | Corrected |
Brief Description: The caregivers also must: obtain written consent at the time of admission from the parent which authorizes the provider or other caregivers to obtain emergency health care for the child; |
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2020-02-04 | Violation | 416.12(n) | Corrected |
Brief Description: The program must obtain a written statement, from the parent of each infant in care, setting forth the breast milk, formula and feeding schedule instructions for the infant and must be updated as changes are made. |
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2020-02-04 | Violation | 416.15(c)(4) | Corrected |
Brief Description: The program must maintain on file at the group family day care home, available for inspection the names and addresses of persons authorized to take the child(ren) from the group family day care home; |
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2020-02-04 | Violation | 416. 7(l) | Corrected |
Brief Description: Other than for school age children, sleeping and napping arrangements must be made in writing between the parent and the program. Such arrangements shall include: the area of the home where the child will nap; whether the child will nap on a cot, mat, bed or a crib; and how the napping child will be supervised, consistent with the requirements of section 416.8 of this Part. |
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Soft Voices Daycare Inc | Daycare Services
- 718-949-3640
Welcome to Soft Voices Day Care
A Multi-Cultural and Diverse Day Care Program
located in
Springfield Gardens, New York
License: 00407313GFDC
Mission Statement
The Mission of Soft Voices is to operate as a primary provider of an important community service.
We seek to provide high-quality childcare and age-appropriate education for children and families.
We believe that a positive start during the first five years of life is critical to a child’s future and development.
We believe that each child is unique and deserves respect.
We believe that having an ethnically diverse clientele and staff lead to a richer experience for all.
We seek to provide a positive work environment, treating our staff as professionals, and paying reasonable wages and
providing generous benefits, and by allowing them autonomy in the caring and teaching of children.
We seek to provide an environment that is rich in language, art and sensorial exploration, thus complementing the child’s home life.
We seek to provide ample opportunities for children to practice self-expression and develop their social skills.
We seek to provide a sense of community among the families served by our daycare.
About Us
Soft Voices Day Care was founded by Frances Tatum, current President, in 2007 with the dream and goal of providing quality daycare to the community.
Ms. Tatum has been of the belief that the key to successful learning for a child is a combination of sensitive and caring care providers and supportive parents who are involved with the child’s learning at home.
Soft Voices Day Care from its inception set out as one of its goals to meet the needs of parents in the community in a multi-cultural and diverse setting.
This goal would be obtained by providing enjoyable, safe and protective surroundings, where the child can explore and develop new abilities through outside and inside free play with age-appropriate toys and interesting outings.
The team at Soft Voices Day Care commits itself to ensure that your child will explore sight, sound, and touch, in a caring environment that will develop your child’s confidence and self-control.
Our Classes
We’re proud to be a vital part of Springfield Gardens’s past, present, and future.
Infant Care
Our daycare programs in Springfield Gardens utilize a holistic approach designed to treat your infant as an individual. From being flexible about nap and eating times to adapting on the fly to their needs, you’ll know that your baby is receiving high quality care.
Unlike older children that can easily be assimilated into a single schedule, infants require constant attention and an ever-evolving daycare program. As such, the Soft Voices Daycare Inc solution puts a high emphasis on following your child’s progress and gradually adjusting their schedule as needed to incorporate more or less time with other infants as needed.
Because this style of infant daycare in Springfield Gardens can be difficult to achieve, Soft Voices Daycare Inc hires only the best local staff and each member of our team has received excellent training to reach the high standards of care that have become our hallmark.
To find out more about our Springfield Gardens infant daycare options, simply call Soft Voices Daycare Inc at 718-949-3640.
Toddler Care
As your toddler grows older and spends more time interacting with others in Springfield Gardens, Soft Voices Daycare Inc will be there to help guide their development, encourage positive social habits, and teach them the basics of independent thought.
The years spent as a toddler in Springfield Gardens will be some of the most important and formative of your child’s life. For exactly that reason, Soft Voices Daycare Inc wants to help by ensuring that their journey into exploring the world around them is complete with professional chaperones that make sure they’re both given the freedom to learn as well as the resources needed to excel.
Our space at Soft Voices Daycare Inc has been designed with your toddler in mind. Sharp edges are nonexistent and shelving is reachable for even the littlest of arms.At our innovative Springfield Gardens facility, your toddler will be able to explore and learn to their heart’s content.
To schedule a visit or enroll your toddler into one of our Springfield Gardens daycare programs, contact Soft Voices Daycare Inc by email or phone at 718-949-3640.
Pre-School
It may sound simple, but before starting school, any child can benefit from learning how to learn. With Springfield Gardens pre-school daycare by Soft Voices Daycare Inc, your child will be well prepared for the structure, social life, and learning opportunities of school.
While some Springfield Gardens pre-school programs offer rigid instruction, Soft Voices Daycare Inc prefers to create a dynamic environment where behavior and social interaction matter just as much as letters and numbers. Your child’s care provider will take the time to respond to all questions fully and deeply rather than only giving superficial answers.
Kindergarten
when your child enters Kindergarten, they’ll face challenges of every stripe and color, from learning obstacles to new social situations. With our small class size and superior instructors, we’ll help your young one turn these challenges into success stories.
All of our Kindergarten programs in focus on developing a core knowledge set that will not only aid your child in their first years of elementary school, but also give them the boost they need to truly excel. From learning the basics of math and writing to gaining a new appreciation of music, the well-rounded Soft Voices Daycare Inc approach will cover all bases.
In addition to beginning academics, the Soft Voices Daycare Inc Kindergarten program in Springfield Gardens also addresses social issues as well. Providing opportunities to accept responsibility, learn healthy habits, and interact positively to all types of children, we’re certain your child will be ready for their new experiences at school.
Find out more about Soft Voices Daycare Inc starting dates and age requirements by calling our Springfield Gardens location at 718-949-3640.
A good voice leads to a dizzying career
Women leaders have strong “vocal energy”, as the researchers called it / Fotolia / PhotoXPress
A strong deep bass increases the chances of becoming a CEO. A shrill or hoarse voice with aching intonations annoys others. “People are tempted to say, ‘Why don’t you finally shut up? But everyone drops hints for fear of hurting people’s feelings,” explains Phyllis Hartman, a human resource management consultant in Ingomar, Pennsylvania.
Meet by Voice
Quantified Impressions, an Austin, Texas-based communications analytics firm, analyzed 120 top executives’ speeches and found that the sound of a speaker’s voice is twice as important as the content of the speech. The researchers used a special computer program for the analysis, and also collected feedback from 10 experts and 1000 ordinary listeners. The assessment of the timbre and sound of the speaker’s voice accounted for 23% of the respondents’ assessments, and only 11% were interested in the content of the speech. Among other factors that aroused the interest of the listeners were the emotionality of the speaker, his knowledge of the topic and his personal charm.
People who listen to rough, weak, tired, or breathy voices on a recording perceive the speaker negatively as weak, passive, or tense. Speakers with normal voices appear to be successful, sexy, outgoing and smart, according to another study published recently in the Journal of Voice. “We are programmed to evaluate other people. You hear someone’s voice and immediately form an opinion about the person,” says Linda Stuckey, president of ClearlySpeaking, a coaching company in Pittsburgh.
Gérard Vignuli, a CFO in New York, once sought the help of pathologist Jane Lutz because he knew he was in trouble. He spoke too fast, swallowed the endings of words, and used parasitic words when he needed to think a little. “I spoke so chaotically that those around me did not understand the meaning of my speech. Lutz taught me to make semantic pauses and think about what and how I should say next, instead of saying a meaningless “uh-huh” at this time, the man admits.
His friends noticed the difference right away, says Vignuli: “They didn’t tell me anything before I started. And then suddenly they said that I had really changed. They told me: “We couldn’t stand it when you started pronouncing parasitic words.” And I asked them, “So why didn’t you tell me about this before?” Now he asks his friends to listen carefully to his speech and point out his mistakes right there if he slips into the previous style of presentation of thoughts.
sing boss
Recent studies have shown that men in positions of power, whether CEOs or politicians, have richer, deeper voices. The voices of successful women, on the other hand, differ little from the voices of other members of the fair sex, researchers from Quantified Impressions found out during a comparative analysis of the voices of 10 successful women with the voices of 423 ordinary employees. The study used recordings of speeches by Indra Nooyi, CEO of PepsiCo, Sheryl Sandberg, COO of Facebook, and Marissa Meyer, CEO of Yahoo!.
However, female leaders still have their vocal advantages: they differ from other representatives of the fair sex in their strong “vocal energy”, as the researchers called it. This means that they often change the volume of their voice, thereby attracting the attention of listeners. Their voice seems genuine and trustworthy to the audience, explains Kerry Goldberger, an analyst and researcher at Quantified Impressions. In general, researchers characterize “vocal energy” as the ability to change the volume, range and intensity of the voice.
True, the voices of the top 10 male business leaders also have extraordinary “vocal energy,” the researchers found. The last three US presidents, Bill Clinton, George W. Bush and Barack Obama, are more energetic than their six predecessors, according to the study. Obama’s voice is higher in tone than the voices of other presidents, and he speaks with the most energy of all, Goldberger notes. The more equality between the sexes appears in the corporate and political environment, the more leadership characteristics change and the more attention is paid to “vocal energy”, the researchers say.
Relax and breathe
More and more women today turn to coaches with a request to teach them how to speak beautifully. Women who lack self-confidence or are under stress often speak in a weak or high-pitched voice, which devalues their work, shares her observations Brenda Smith, a presentation and speech coach at Voice Power Training Services. In order for the voice to become stronger and more resonant, one must learn to breathe differently, relaxing the neck and shoulders, she explains.
Smith remembers one of his clients. The woman always responded in a frightened and high-pitched voice when her boss interrupted her work and gave her a task that she had to complete immediately.
After coaching, the employee learned to speak with a strong and confident voice. Now she resolutely informed the boss that she would first finish the previous task and only then take on the new one. Receiving a rebuff, the chief quickly withdrew.
However, the problem of incorrect intonation and tone is not always solved so easily. In most cases, people around avoid talking about this topic, and the owner of an unpleasant voice is not even aware of the problem. “We need to talk about it in a positive way. For example, you might start with a compliment and say, “I love the way you talk to customers. I learned a lot from listening to you,” Hartman explains. She suggests always using the “I…when you…because” formula. For example, you could say, “I can’t think when you’re talking loudly because I can’t concentrate. ”
Hear the candidate
Gillian Florentine, a human resources consultant at Howland Peterson Consulting in Pittsburgh, advises employers to judge potential candidates by how they speak. The fact is that hiring managers most often focus on such practical aspects as skills and work experience. As a result, they take on a person whose voice irritates colleagues and clients.
When Jim Roddy, president of Jameson Publishing, interviewed potential recruiter John Dudenhoffer five years ago, he was pleased with everything but the applicant’s voice. Finally, Roddy interrupted the candidate in mid-sentence and told him that the publishing house employs energetic, enthusiastic people who would not like a person with a quiet, barely audible voice.
Dudenhoffer says he learned to speak in a low, ingratiating voice over 20 years as a trainer and expert in military aviation. He was surprised that Roddy noticed his voice, but promised to improve. Dudenhoffer made an effort and began to speak more energetically and emotionally at his new job. Some time later he was promoted. He became a sales director.
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Types of voices in singing – solonext.ru
Author
Arina Shushnina
for reading
11 – 14 min
Updated
02.09.2021
- Classification of votes
2. Male votes in the singing of
.1 3.1 Soprano 9000 9000 3 Female voices in singing
2.1 Tenor
Content
2.2 Baritone
2.3 Bass
3.2 There are 5 subspecies of soprano
3.3 Mezzo-contra 9003
003
4. How to determine your voice timbre
Contralto, tenor, bass – many have heard about these and other types of voices in singing, but few know how they differ. But you can sing beautifully only by developing natural vocal abilities. The article will talk in detail about the classification of voices, as well as how to determine your timbre.
Classification of voices
They were all divided by range and gender in the 14th century, when many-voiced choral singing began to develop actively. Later, in one of the Italian opera schools, timbre, tessitura and tonality were still taken into account in the characteristics. As a result, the following classification of singing voices appeared:
- Male (from lowest to highest) – bass, baritone, tenor.
- Female (high to low) – soprano, mezzo-soprano, alto or contralto.
This official division is taken from Italy, and the names themselves reflect the height of the voice, for example, “basso” means “low”. In some countries (America, Russia, Germany, for example), minor differences have been added to the classification. There is also a division by types of voice registers:
- Lower or chest. It is considered the most common. Low, coarser sounds are pronounced with vibration in the chest.
- Top, falsetto, head or tonal. Vibrations when pronouncing thin, ringing sounds are concentrated in the nose, head and face. In such a register, the rate of vibration of the vocal cords increases, they are strongly stretched.
- Whistle or flute. This register lies above the falsetto, reminiscent of the sound of a whistle.
- Not tonal or noisy. Translated from German means: “straw bass”. To understand what it is, you can recall the singing of Vysotsky or Leps.
Male voices in singing
They are officially divided into tenor, baritone and bass. In turn, each of them is divided into 5-6 subspecies. Below we will take a closer look at what types of male voices are in singing.
The most popular and well-known type of male voice in singing with a strong upper register. The range covers two octaves: from small to second. There are 6 subspecies of tenors:
- Lyric. Mobile, melodious, a little feminine with light coloratura tenor with notes up to the first octave – up to “to” the third. Examples of singers: Beniamino Gigli and Josse Carreras.
- Altino. Light, light, ringing tenor with silvery notes, a relatively rare type. The register reaches F of the second octave. Altino singers: Gennady Pishaev and Ivan Kozlovsky.
- Characteristic. The specific tenor is used mainly for the performance of short, sharply expressive parts.
- Countertenor. The rarest and very high male voice, its height is comparable to a female contralto or mezzo-soprano. A singer with such vocals (for example, Alfred Deller, Franco Fagioli) performs parts in a developed falsetto and takes notes from C and D of the first octave to the third.
- Dramatic. A strong, voluminous tenor with a wide dynamic span. “Working” notes: from la small octave, to si and to the third. Roles in dramatic tenor roles: Othello, José from Carmen and Herman from The Queen of Spades.
- Lyrical and dramatic. It does not have such power and richness as the dramatic one, but at the same time it is not as light and feminine as the lyrical one. Example: Gradsky’s singing.
Sometimes they also talk about the Wagnerian or heroic tenor, which is distinguished by great sound power and incredible endurance, since it is required to maintain one pace for a long time.
Tenor
Medium pitch between tenor and bass. In the last type can “pass” in the course of long studies and practices. Working number of notes: from la of the big octave to la of the first. There are 3 types of baritone:
- Tenor baritone and lyric. Combined in one category, since only a professional will understand the differences between them, it is too small. These two types of baritone have a light timbre, a little high. It is somewhat reminiscent of a tenor, and the range can reach up to the second octave. Yuri Gulyaev and Muslim Magomaev have just a tenor-baritone.
- Dramatic. It sounds strong, powerful and voluminous in the upper and central parts of the range (from the salt of a large octave to the salt of the first), but it cannot always withstand a high tessitura for a long time. Examples of singers: Ettore Bastianani and Titta Ruffo.
- Lyrical and dramatic. Differs in versatility, bright and light timbre, suitable for performing both lyrical and dramatic parts. Range: from salt and la of a large octave to la of the first.
- Bass-baritone. Intermediate voice with massive low notes reaching to the F of a large octave.
Baritone
The lowest and rarest type of voice in singing in men with a range from F of the big octave to F (G) of the first. This vocal is divided into 5 subspecies:
- Low (Basso Profundo). The rarest type, it is also called “Bass octavist”. Distinguished by a thick, powerful sound, often used in church choirs. A man with such a vocal can take the notes of the F-sol of the contra-octave. Example: in “Prince Igor” M.D. Mikhailov’s performance of the party “Konchak”.
- High or melodious (Basso Contante). Its average operating range is from the salt of a large octave to the middle one. It looks a bit like a baritone and most likely only specialists will distinguish it from it. Outstanding representatives are Boris Gmyrya and Boris Hristov.
- Central. Bass with a wide range with a solid, formidable, commanding sound. In the head resonator, it loses its timbre coloration, therefore it is more often used in the chest. Range: mi large – mi first. Nikolay Gyaurov sang both lyrically and dramatically due to his soft bass. Ferruccio Furlanetto also has a central bass.
- Baritone. A musical voice with features of both bass and baritone. In fact, the same high bass, but sometimes it is classified separately in the opera.
- Comic or buffo. More related to the role than the type of vocals.
Bass
Women’s voices in singing
They are characterized by richness of sound, strength, transparency and lightness. All types of voices in women’s singing are divided into (from highest to lowest):
- Soprano with 5 subtypes.
- Mezzo-soprano with 2 subspecies.
- Alto or contralto (the exact name depends on where the term is used – in the choir or in the opera).
Soprano
Sonority, openness, flight, mobility of sound and pitch of voice – this is all about the soprano. Notes are played from the first (la small) to the third octave (do, re).
There are 5 subtypes of soprano:
- Lyric . It is characterized by softness, a beautiful and rich timbre, as well as a large and dynamic range (from medium B to medium C). Lyric soprano singers: Anna Moffo, Mirella Freni and Violetta Valeri.
- Coloratura . The highest female operatic voice with a dominant head range. It is distinguished by grace, lightness and even some fragility. Singers (Edita Gruberova and Evgenia Miroshnichenko and others) can take notes from the first octave to, reaching mi in the third, while some even reach G.
- Lyrical drama . Notes used: la small octave – re in the third. It features a rich chest, but at the same time soft timbre. The voice has light high notes, but the performance of dramatic climaxes occurs without tension.
- Lyric coloratura . Delicate, light and high timbre of voice – all about this subspecies of soprano, which was with Ruth Ann Swenson, Bela Rudenko and Lucia Popp. Range: up to the first octave – mi and fa third.
- Dramatic . A rare species with a sonorous top and a filled center, with a thick and rich timbre. A bit like a mezzo-soprano. Range: for a small octave – do and re in the third.
Mezzo-soprano
This is a vocal, saturated in the middle registers, its working range: from the note of the small octave A to A second. It has a low, thick, slightly velvety sound. In the opera, singers with such a voice are assigned the roles of strong-willed women or young people. There are 2 subspecies of mezzo-soprano:
- Coloratura. This type is rare, it is endowed not only with depth and density, but also with flexibility, mobility and brightness.
- High. The sound is less saturated in the low and middle registers. It is located in the middle between dramatic and mezzo-soprano.
Mezzo-soprano roles:
- Cherubino in Le nozze di Figaro.
- In “Faust” – Siebel.
- In the “Stone Guest” – Laura.
In a choral performance, a female low voice is called an alto, but in an opera it is called a contralt. The rarest type of timbre, thicker, richer than mezzo-soprano, somewhat reminiscent of a high male tenor. There are not many parties written under it, mostly boys, teenagers or young men. The working range of this type of female voices in singing: mi small first octave to F second. The upper register is small, but the low one is varied and there is resonance in the middle. Arias with female contralto roles:
- “Orpheus” – Sigrid Onegin.
- “Blind” – Eva Podles.
- “Erda” – Lily Chukasyan.
Alto or contralto
It is impossible to determine the type of voice by yourself at home. It is possible only conditionally and roughly, having performed a few notes, to understand what timbre and key it belongs to.