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tessitura

American  
[tes-i-toor-uh, tes-see-too-rah] / ˌtɛs ɪˈtʊər ə, ˌtɛs siˈtu rɑ /

noun

tessituras, plural tessiture plural
  1. the general pitch level or average range of a vocal or instrumental part in a musical composition.

    an uncomfortably high tessitura.


tessitura British  
/ ˌtɛsɪˈtʊərə /

noun

  1. the general pitch level of a piece of vocal music

    an uncomfortably high tessitura

  2. the compass or range of a voice

"Collins English Dictionary — Complete & Unabridged" 2012 Digital Edition © William Collins Sons & Co. Ltd. 1979, 1986 © HarperCollins Publishers 1998, 2000, 2003, 2005, 2006, 2007, 2009, 2012

Other Word Forms

Etymology

Origin of tessitura

1890–95; < Italian: literally, texture < Latin textūra; see texture

Explanation

If you're a singer with a remarkably wide tessitura, the range of notes that you can sing without straining is impressive. You could comfortably sing a piece of music with very high and very low notes. Without training, the average person’s tessitura is only about six consecutive notes. That doesn't mean that they can't sing other notes at all; it just means that singing lower or higher notes is a strain. A piece or passage of music also has a tessitura, the range that a singer's voice or an instrument stays within for most of the piece. A piece with a low tessitura has notes that are mostly in the lower part of a singer's or an instrument's range; one with a high tessitura has notes mostly in the higher part of a singer's or instrument's range.

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Example Sentences

Examples are provided to illustrate real-world usage of words in context. Any opinions expressed do not reflect the views of Dictionary.com.

Instead, voice type is a function of tessitura and vocal weight — a woman singing low almost always sounds like a woman singing low, not like a tenor.

From Los Angeles Times • Oct. 25, 2021

“The note,” Mr. Adès said, “the range, the tessitura, is a metaphor for the ability to transcend these psychological and invisible boundaries that have grown up around them.”

From New York Times • Nov. 7, 2017

She also struggled, as many cellists do, with the treacherously high tessitura of the sixth suite, which was originally written for a five-stringed instrument.

From Washington Post • Oct. 17, 2016

Though managing the difficult high tessitura well, Aikin did not, probably could not under these extreme circumstances, sing pianissimo.

From Los Angeles Times • Sep. 9, 2014

This smaller range is called the tessitura of the part.

From "Understanding Basic Music Theory" by Catherine Schmidt-Jones and Russel Jones

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