The Musical Nuances of Tenor 1 and Tenor 2 in Choirs
In a typical choir setting, the tenor 1 (T1) part usually sings higher than the tenor 2 (T2) part. Generally, T2 parts are written about a third lower than T1 parts, which translates to approximately two tones or a whole step lower. This fundamental understanding is crucial for choir directors, arrangers, and composers alike when setting up their vocal sections.
Understanding Part Splits in Choir Music
When there is a split within choral music, the tenor 2 part is typically a third below the tenor 1 part. However, the decision on how the parts are assigned is significantly influenced by factors such as the composer, arranger, conductor, orchestration, ensemble size, and type. As a general rule, divisi splits in parts tend to create relatively tight harmonies, often in intervals of a second, third, or fourth.
Voicing and Timbre Considerations
The determination of T1 and T2 parts is less about vocal range and more about the weight and timbre of the voices involved. Second tenors (T2) typically handle the lower portions of their range more robustly, while first tenors (T1) are more comfortable in the upper parts of their range.
Choral Voice Fach vs. Musical Voice Designations
Within the context of voice fach, tenor 1 is generally the highest male voice type, with baritones being lower. However, within the choir, baritones can sing tenor 1 parts and tenors can sing tenor 2 parts. Vocal fach-wise, tenor 1 corresponds to high tenors and lyric tenors, while baritone usually corresponds to all the baritones. At times, when choir baritone parts can go as high as tenor parts, baritones can also correspond to lyric tenors with a solid bottom register. Thus, tenor 2 falls in between baritone and tenor 1, typically corresponding to dramatic tenors.
Variable Nature of Tenor 1 and Tenor 2 Notes
This distinction, however, is not absolute. It varies depending on the piece being performed. The selected composer, the specific composition, and the overall sound design of the choir play significant roles. There are no set rules in the composition of choral music since the designation 'tenor 1' and 'tenor 2' are more about the musical voice rather than actual voice types.
Reality of Part Splits in Choirs
It is often observed that in an SATB (Soprano, Alto, Tenor, Bass) choir, tenors typically only split when the composer needs two distinct notes. In such cases, the average interval between the split notes is usually a third or a fourth, varying between two to two and a half tones depending on the context. However, it is not a strict rule, and in most contexts, first tenors are not screaming high when there is a split. The second tenors are not "saved" from anything significant.
Composers who split their tenors in an SATB situation are relatively modern, and compiling a survey comparing the tessitura of average tenor 1 and tenor 2 singers in a choir would depend significantly on the period of the repertoire. Though I haven't precisely measured and calculated the average difference, the difference in tessitura between tenor 1 and tenor 2 works out to less than a semitone in most cases.
Understanding the nuances of tenor 1 and tenor 2 in choral arrangements is essential for choir directors, singers, and enthusiasts. It highlights the complexity and artistry involved in musical composition and the unique challenges faced by choir members. Whether through careful arrangement or practical necessity, the relationship between T1 and T2 remains a fascinating aspect of choral music.