World records and extremes of vocal range
A. писал(а):Вапще был ф свайо времиа некий опирный пиветс из СШП кажысь с пятьйу (!!!) октаваме. Имиа тока зобыл иво. Но он вроде быстро са сцэны ушол али помер рано. Тем не менейэ пхакт астайоццоу пхактам.
As noted above, claims of exceptionally wide vocal ranges are not uncommon among some singers. Charles Kellogg, who claimed to have a vocal range of 12.5 octaves, could accurately imitate birdcalls, which sometimes went up into the ultrasonic range. According to Kellogg his calls could go as high as 14,000 Hz (14 080Hz is A9). Some recordings of Kellogg's birdcalls still exist. However, Kellogg's claims are very hard to verify. Nicola Sedda hit an A9 (14079 Hz), broke Adam Lopez's record for highest vocal note and claims to have a vocal range spanning 8.5 octaves but has not been recognized by the Guinness Book of Records yet. In late 2006, Edward Morgan hit an E8, showing his range of 7 octaves from E1-E8, breaking Adam Lopez's previous record, which has yet to be verified by the Guinness Book of Records. It is claimed that the sound clip was verified by J.M.Lindeijer of the Dutch Divas Opera site. In 2006 the Guinness Book of Records published several categories relating to extremes of "Human vocal range." It stated the following:
Greatest range and Highest vocal note: Eight octaves, G2-G10, Georgia Brown, Brazil, August 18, 2004
Guinness lists the highest demanded note in the classical repertoire as G6 in 'Popoli di Tessaglia,' a concert aria by W. A. Mozart. However, this is not a standard repertory piece. (One should also note that the instruments used when Mozart composed were pitched a whole step lower than contemporary instruments such that a G6 as he wrote it would be produced in the same anatomical position as the contemporary F6. The fact that Mozart composed with a G6 does not, therefore, indicate that the human voice is broadly capable of producing that pitch as it is contemporarily defined. A contemporary F6 is a different matter, however; the F6 (which is the contemporary tone produced if one were to sing "Popoli di Tessaglia" with period instruments) is a commonly produced pitch for sopranos as "Der Hölle Rache," for instance, is performed as written--with an F6--on today's instruments <producing what would have for Mozart been a G6>) The highest note in the standard repertoire is F6 in Mozart's aria "Der Hölle Rache kocht in meinem Herzen" (sometimes called "The Queen of the Night's aria," though this character actually has two arias) from the opera Die Zauberflöte. It calls for four F6's, which is often cited as the highest note in classical vocal music (she sings an additional F6 during the first Act aria, "O zittre nicht, mein lieber Sohn"). Also the opera Esclarmonde by composer Massenet called for high F, and even high G. Several little-known works call for pitches higher than G6. For example, the soprano Mado Robin, who was known for her exceptionally high voice, sang a number of compositions created especially to exploit her highest notes, reaching C7 according to the Concise Oxford Dictionary of Opera (edited by Harold Rosenthal)
Greatest range: Six octaves, Tim Storms, USA
Highest vocal note: C#8 Adam Lopez, Australia
Guinness lists the lowest demanded note in the classical repertoire as a "Low D" (two Ds below Middle C) in Osmin's aria in Mozart's Die Entführung aus dem Serail. Although Osmin's note is the lowest demanded and commonly performed in the operatic repertoire, Leonard Bernstein composed an optional low B (a minor third below the low D) in a bass aria in the opera house version of Candide. In a Russian piece combining solo and choral singing, Pavel Chesnokov directs the bass soloist in "Do not deny me in my old age" to descend even lower, to G1, depending on the arrangement. Composers have sometimes called upon the bass voice to sing extremely low pitches in choral arrangements. Mahler's second symphony contains an optional B♭1 in the choral section at the end of the piece: basses who cannot reach it are requested to remain silent rather than sing a B♭2. In Rachmaninoff's Vespers the composer actually requires the B♭1.