Bass singing. High bass russia

Bass is the lowest male singing voice. The bass range is from large octave F to F (G) first. True, the center bass and profundo bass range can pick up lower notes. The brightest note in the high bass is the first octave, the working middle is the B flat of the large octave - the D of the first octave. Bass is a very expressive and rich voice, but unfortunately there are very few singers with such a voice, and few opera parts have been written for the bass either. The range is distinguished by high (bass cantato), middle (central) bass and low (profundo bass). By the nature of the sound, they distinguish baritone bass, characteristic bass or comic bass (bass-buffo).

High bass - it is a melodious bass, timbre it is the brightest and brightest voice. The character of the sound is similar to a baritone, especially in the upper tessiture. Its working range is from G of a large octave to G of the first.

Central bass – it is bass that has a wider range of possibilities. It has a solid, sonorous and formidable timbre color. The working middle of such voices is the salt of a large octave - up to the first octave. The entire range of such a voice sounds good only in the chest resonator; in the head resonator, the bass greatly loses its timbre coloration.

Low bass, bass profundo – another name for this extremely rare male voice is bass octavist. Vocalists with these vocal characteristics can sing the lowest notes (f-sol of the controctave). It even seems that the human voice cannot produce such sounds. Bass profundos are often performed in the opera or church choir. A deep, low sound reminiscent of a rumble or boil is mesmerizing. Such a phenomenon, according to critics and vocal connoisseurs, can only be found in Russia, they are called "Russian miracle", rewarding such a voice with the title of a unique natural phenomenon.

Baritone bass— it is a voice with features of both bass and baritone. Has a good top and bottom, but no profundum notes. Often bass-baritones have a very rich timbre and powerful sound, and are capable of singing a repertoire of baritones.

Bass buffo— this O usually bass-buffo sings the parts of the second plan. Often these are comic parties or the parties of old people. From the owner of such a voice, acting is required first of all, and they might not have any singing features or beauty of timbre at all. In the opera-series of the 18th century, basses were rarely used, and recognition came to them only with the advent of the opera-buff, where the bass was given a significant place.

By its nature, the singing voice bass is less common than other male voices, often it does not appear immediately, and for a long time the singer can classify himself as a baritone, but as a result of training over time, the baritone can develop into a bass. The fact is that the signs by which a particular voice is determined may be blurred in beginners or not yet developed. The only exception can be voices delivered by nature. The exercises for the bass voice are the same as for the other singing voices only in their tessiture. So if you have bass, then you are a representative of very rare singing voices.

On February 13, 1873, 140 years ago, Fyodor Ivanovich Chaliapin, the great Russian opera singer, was born.

High bass - this is how the singer's voice was characterized in the professional language, which could also sing in baritone. But he really became the high and tragic bass of a turning era. The son of simple peasants, he did not receive any special education: neither musical, nor acting, even a general education he had minimal (three years of primary school in the provincial city of Kazan), but this nugget ascended to the top of the performing operatic art, became the most cultured a man of his time. All great conductors and directors reckoned with him. Despite the poor quality of the recordings of that time, Chaliapin continued to exert a tremendous influence on the entire Russian art world. In his declining years, the late poet Viktor Fedorovich Bokov made an amazing confession in an interview with Literaturnaya Gazeta: “I learned to write poetry not from anyone - from Chaliapin. I walked around with a backpack containing ten records of the singer. I believe that all my drama and Russianness came from Chaliapin ... "

“We shouldn't exaggerate, but we shouldn't underestimate,” recalls his comrade Ivan Alekseevich Bunin, “he spent himself quite a lot ... Somehow we rushed with him on a dashing winter night Moscow from“ Prague ”to“ Strelna ”: the frost is fierce, the reckless driver rushes at full speed, and he sits to his full height, his fur coat open, speaks and laughs with all his might, smokes so that sparks fly in the wind. I broke down and shouted:

What are you doing on yourself! Shut up, wrap yourself up and drop your cigarette!

You are smart, Vanya, "he replied in a sweet voice," you just needlessly worry: you lived with me, brother, special, Russian, she will endure everything. "

Yes, Fedora lived through everything. Chaliapin's childhood was poor and hungry: from the age of 10 he was a shoemaker's student, then a turner, he worked as a scribe, a loader. I got acquainted with musical literacy while participating in church choirs. However, the autobiography of the singer is not worth retelling, especially since he himself wrote two books about himself. As a child, Fedor received a religious upbringing from his parents, about which he wrote in the book Pages from My Life. In the summer of 1922, the singer and his family left Russia "for treatment, rest and tours" - with this wording he was given a long vacation. Permission for long tours was a hidden form of expulsion from the country of a famous artist who was increasingly resisting the established regime.

When the singer settled in Paris, began to give grandiose tours, he had an idea to give a large amount of money to help the Russian unemployed and donate it through the priest Father George, although, according to contemporaries, he loved money and repeated often: "Only birds sing for free" ... So, when a report from Father George about the distribution of this donation from the singer appeared in a Paris newspaper, Moscow was outraged that the singer had entrusted the distribution of money to the priest. In those years in the USSR, the anti-religious campaign was intensified through the efforts of the atheist aliens.

The proletarian poet V. Mayakovsky reacted immediately: he wrote the poem "Mr. People's Artist", where he castigated the singer for "thrown 5,000 francs on the bottom of the priest's hat." Mayakovsky himself, without a twinge of conscience, took such fees for his propaganda that he brought Lilechka Brik not only fashionable fur coats, but also a Ford of the latest model, while not sharing with any compatriots.

By the way, during the First World War, the already recognized first bass in the world quite often gave free concerts in favor of wounded compatriots. After the revolution, which he met with enthusiasm, he returned to the Mariinsky Theater, which, having ceased to be imperial, experienced a crisis, lost its former audience, and even was attacked by proletkultists, who demanded that the building and all theatrical props be handed over to amateur workers' circles. Chaliapin actually became the artistic director of the theater, made - the only one - huge fees, supported others, traveled to Moscow, met with Lenin, achieved the creation of an association of academic theaters with the preservation of property and rations.

Having become the first People's Artist of the USSR, as he became the first soloist of the imperial theaters immediately from among the peasants, Chaliapin continued his foreign tours, and again the fabulous fees after the starving Petrograd poured in. Before leaving for France for good, he performed at Butyrka prison "for those in need" at Christmas. Maybe in memory of the benefactor Mamontov, whom he never visited in prison, where he ended up after bankruptcy. And in April 1922 he sang goodbye to Boris Godunov in Petrograd and a few days later, as we said, left forever, which entailed the deprivation of the title of People's Artist of the USSR in 1927. Ten years later, doctors found that he had an incurable disease, and in early April 1938, the Russian genius died of leukemia. He was buried in France, but in October 1984, according to the last will of the singer, who wanted to be buried in his homeland, his ashes were transferred to the cemetery of the Novodevichy Convent.

At the Russian Cultural Foundation, the commission on the legacy of Fyodor Chaliapin is sluggish, and there is a house-museum on the Garden Ring, next to the US Embassy. The well-known writer and TV journalist Alexander Artsibashev, who is the confidant of Fyodor Chaliapin's children in Russia, conducted a private investigation and presented its results in the documentary novel "Shalyapin's Diamonds". But, of course, the largest diamond in the tarnished crown of Russian culture is Shalyapin Fedor himself, which means "Gift of God"!

Alexander Alexandrovich MOSKALEV

Amandy sadaқasy. Zheke basy ushin bereletin sadaқa, pіtіr. Keshkіlіkti auyzashar, taңerteңgіlіkti sәresі deidі. Oraza uaқytynda msylmandar familysynyң rbir basyna basamandy қ (pіtіr) s ad a қ asy n tuleidі (Ana tili, 26.04.1990, 6). Bass ... ... Kazakh tilinin tusindirme sozdigi

BASS- BASK bactericidal activity of blood serum honey. BASK Source: http://www.zzr.ru/archives/2002/12/article6.htm BAS BAS dry anode battery BAS Dictionaries: Dictionary of abbreviations and abbreviations of the army and special services. Compiled by A. A. Shchelokov. M .: OOO ... Dictionary of abbreviations and acronyms

bass- a, m. basse f., it. basso. 1. Low male voice. Sl. 18. Bass, the lowest voice in singing. LP 6. A voice began to sing in a hoarse bass. Osipov Eneida 3 15. All possible sopranos, contraltos, tenors, baritones, ... were elected from the serfs and votes taken to the courtyard. Historical Dictionary of Russian Gallicisms

A; pl. bass, s; m. [ital. basso low]. 1. The lowest male voice; the singing voice of such a timbre. Talk, sing in bass. Velvet, thick bass. 2. A singer with such a voice. 3. String or wind musical instrument of low register. Bass ... ... encyclopedic Dictionary

- (French basse, from bas low). 1) the lowest, male voice. 2) a musical instrument similar to a violin, but much larger than it. Dictionary of foreign words included in the Russian language. Chudinov AN, 1910. ALS 1) the lowest male ... ... Dictionary of foreign words of the Russian language

See singer ... Dictionary of Russian synonyms and similar expressions. under. ed. N. Abramova, M .: Russian dictionaries, 1999. bass (low, thick) (sound, voice), singer; trombone, double bass, trumpet, bass, octave, bass Dictionary of Russians ... Synonym dictionary

- [low tone, voices] n., m., upotr. infrequently Morphology: (no) what? bass, what? bass, (see) what? bass than? bass, about what? about bass and bass; pl. what? bass, (no) what? bass, why? bass, (see) what? bass than? bass, about what? about bass 1. Bass ... ... Dmitriev's Explanatory Dictionary

- (1603-1694) the largest representative of the poetic genre "haiku" (see); in Japanese literature, this genre is inextricably linked with his name. The real name of the poet is Matsuo Chuzaemon Munefusa. According to the custom of writers and artists of the Tokugawa era (1603-1868) ... Literary encyclopedia

Bass- (from Italian basso low) 1) Low husband. chorister. voice. Approximate range in solo parts: FA FA1, in chorus up to MI pe1. Notated in the bass clef. There are high, melodious (basso cantante), center. and low (basso profundo) B. High B. usually ... ... Russian humanitarian encyclopedic dictionary

Books

• Bass guitar for dummies (+ audio and video course), Pfeiffer Patrick, Bass guitar is used in almost any genre of music - from hard rock and country to jazz and funk. Regardless of what style of music you associate your future with, in this book ... Category: Music Publisher: Dialectics,
• Basho, Basho Matsuo, Matsuo Basho - the great Japanese poet, theorist of verse. Born in 1644 in the small castle town of Ueno, Iga province (Honshu island). Died October 12, 1694 in Osaka. Feeling the ideological ... Category: Literary criticism. Prose. Poetry. Drama Series: Publisher: YoYo Media,

Height By timbre

• baritone bass
• characteristic bass
• deep bass (bass-profundo)
• comic bass (bass buffo)

High bass, melodious bass (cantanto), live bass - has an operating range from F 2 (F large octave) to F 4 (F 1 octave), and sometimes F 4, F # 4, G 4, Ab 4 (F sharp, salt and even A-flat of the first octave) at the top. This voice is light, bright, reminiscent of a baritone tone. However, the mids and lows are absolutely bass. Singers with this type of voice and lows sing perfectly, as well as the center bass can go down to a large octave (however, some singers did not sing below the working F of a large octave). Working middle: Bb 2 -D 4 (B-flat of a large octave - D of the first octave).

Central bass has wider range capabilities, the timbre has a pronounced bass character. This type of voice sometimes has problems with the upper register, although it sounds very powerful in the delivered voice (up to the first octave it is much more powerful than in high bass). These voices have access to parts that require a rich sound in the lower range up to F 2 (F large octave), and sometimes E 4 (E large octave). Working middle: G 2 -C 4 (large octave G - up to the first octave).

Low bass has a particularly thick bass flavor, velvety, rolling timbre, a shorter upper part of the range, has deep, powerful low notes. In opera, this voice is called the bass-profundo, the range in operatic parts is C 2 -D 4 (C, D of a large octave is C, D of the first octave). Working middle: E 2 -B 4 (mi, fa large octave - la, si small octave).

Octavists In choral Orthodox church practice, there are singers with a special character of sound production, i.e. singing not in the chest register, but in the third low register (vibrations of other parts of the sound apparatus), which are called bass-octavists ("octave"). Here, the lower register of low bass is used as much as possible - up to G, less often E, very rarely even up to a controctave (Zlatopolsky). Usually this voice is not used in classical music and is not sung below a large octave.

Some famous bass lines in operas

Operas in Russian

• Susanin ("A Life for the Tsar" by M. I. Glinka)
• Ruslan, Farlaf, Svetozar ("Ruslan and Lyudmila" by M. I. Glinka)
• Miller ("Mermaid" by A. Dargomyzhsky)
• Quasimodo ("Esmeralda" by A. Dargomyzhsky)
• Leporello (The Stone Guest by A. Dargomyzhsky)
• Boris Godunov, Pimen, Varlaam ("Boris Godunov" by M. P. Mussorgsky)
• Ivan Khovansky, Dosifei ("Khovanshchina" by M. P. Mussorgsky)
• Vladimir Galitsky, Konchak ("Prince Igor" by A.P. Borodin)
• Varangian Guest, Sea Tsar ("Sadko" by N. A. Rimsky-Korsakov)
• Frost ("The Snow Maiden" by N. A. Rimsky-Korsakov)
• Tsar Saltan ("The Tale of Tsar Saltan" by N. A. Rimsky-Korsakov)
• Sobakin, Skuratov (The Tsar's Bride by N. A. Rimsky-Korsakov)
• Holofernes ("Judith" by A. Serov)
• Prince Gudal ("The Demon" by A. G. Rubinstein)
• Gremin (Tchaikovsky's Eugene Onegin)
• Kochubei ("Mazepa" by P. I. Tchaikovsky)
• King Rene (Tchaikovsky's Iolanta)
• Surin, Narumov ("The Queen of Spades" by P. I. Tchaikovsky)
• Old Gypsy ("Aleko" by S. V. Rachmaninov)
• Kutuzov ("War and Peace" by S. Prokofiev)
• King of Clubs, Magician Chely, Cook, Farfarello ("The Love for Three Oranges" by S. Prokofiev)

Operas in other languages

• Basilio (The Barber of Seville by G. Rossini)
• Bartolo (The Barber of Seville by G. Rossini; bass-buffo)
• Don Magnifico, Alidoro (Cinderella by G. Rossini)
• Don Profondo, Lord Sydney, Baron Trombonok, Don Alvaro, Don Prudenzio (Journey to Reims by G. Rossini)
• Mustafa ("Italian in Algeria" by G. Rossini)
• Douglas, Bertram ("The Lady of the Lake" by G. Rossini)
• Walter Fuerst, Melchtal, Gesler ("Wilhelm Tell" by G. Rossini)
• Governor ("Count Ory" by G. Rossini)
• Assur, Oroy ("Semiramis" by G. Rossini)
• Zambri (Cyrus in Babylon by G. Rossini)
• Elmiro (Othello by G. Rossini)
• Moses, Pharaoh ("Moses in Egypt" by G. Rossini)
• Bruschino (Signor Bruschino by G. Rossini)
• Bartolo (The Marriage of Figaro by W. A. ​​Mozart)
• Leporello, Commander, Masetto ("Don Giovanni" by W. A. ​​Mozart)
• Sarastro ("The Magic Flute" by W. A. ​​Mozart)
• Figaro (The Marriage of Figaro by W. A. ​​Mozart; high bass)
• Osmin (The Abduction from the Seraglio by W. A. ​​Mozart)
• Uberto ("The Maid-Lady" by D. B. Pergolesi)
• Henry VIII, Rochefort (Anne Boleyn by G. Donizetti)
• Dulcamara ("Love Potion" by G. Donizetti)
• Raymond ("Lucia di Lammermoor" by G. Donizetti)
• Oroveso ("Norma" by V. Bellini)
• Mephistopheles ("Faust" by C. F. Gounod; high bass)
• Lorenzo, Count of Capulet (Romeo and Juliet by C. F. Gounod)
• Zúñiga (“Carmen” by J. Bizet)
• Nilakanta (Lakme by L. Delibes)
• Abemelech ("Samson and Delilah" by C. Saint-Saens)
• Lindorf, Coppelius, Dappertutto, Dr. Miracle ("The Tales of Hoffmann" by J. Offenbach; baritone, high bass)
• Kuno, Kaspar, the Hermit ("Free Shooter" by K. M. Weber)
• Mephistopheles ("Mephistopheles" by A. Boito)
• Attila, Leone (Attila by G. Verdi)
• Ramfis, Pharaoh (Aida by G. Verdi)
• Philip II, Grand Inquisitor ("Don Carlos" by G. Verdi)
• Tom, Samuel ("Masquerade Ball" by G. Verdi)
• Banquo (Macbeth by G. Verdi)
• Zacharia (Nabucco by G. Verdi)
• Sparafucile, Count Ceprano (Rigoletto by G. Verdi)
• Ferrando ("Troubadour" by G. Verdi)
• Marquis Calatrava ("The Force of Destiny" by G. Verdi)
• Marquis d "Aubigny, Dr. Grenville (La Traviata" by G. Verdi)
• Alvise (La Gioconda by A. Ponchielli)
• Wotan, Donner, Fasolt, Fafner ("Rhine Gold" by R. Wagner)
• Hunding ("Valkyrie" by R. Wagner)
• Wotan, Alberich, Fafner ("Siegfried" by R. Wagner)
• Gunther, Hagen, Alberich ("The Death of the Gods" by R. Wagner)
• Prince of Bouillon, Quino ("Adriana Lecouvreur" F. Chilea)
• Fleuville, Rocher, Fouquier-Tenneville (Andre Chenier by W. Giordano)
• Stromminger, Pastor ("The Valley" by A. Catalani)
• Collin, Benoit, Alcindor (La Boheme by G. Puccini)
• Bonza ("Madame Butterfly" by G. Puccini)
• Timur ("Turandot" by G. Puccini)
• Doctor ("Wozzeck" A. Berg)
• Porgy ("Porgy and Bess" by J. Gershwin, bass-baritone)
• The genius of cold ("King Arthur" by G. Purcell)
• Karas, Ibrahim-Ali ("Zaporozhets beyond the Danube" S. S. Gulak-Artemovsky)
• Taras Bulba ("Taras Bulba" by N. V. Lysenko)
• Makogonenko (Natalka Poltavka by N. V. Lysenko)
• Moses ("Moses" by M. Skorik)
• Yaroslav the Wise, Sylvester, Svechkogas, Ludomir, Stemir ("Yaroslav the Wise" by G. Mayboroda)

Parts in operettas

• Pluto, Bacchus ("Orpheus in Hell" by J. Offenbach)
• Calchas ("Beautiful Helena" by J. Offenbach)
• General Boom ("The Grand Duchess of Gerolstein" J. Offenbach)
• Theater Director (Mademoiselle Nitouche by F. Herve)
• Frank ("The Bat" by I. Strauss)
• Bartolomeo Delacqua ("Night in Venice" by I. Strauss)
• Koloman Zupan ("The Gypsy Baron" I. Strauss)
• Booms, Janos (Light Cavalry by F. von Suppe)
• Würmchen ("The Bird Seller" by K. Zeller)
• First Minister, Master of Ceremonies ("Tsarevich" F. Lehar)
• Manuel Biffy, Lieutenant Antonio, Professor Martini ("Giuditta" F. Lehar)
• Ferry, Ronsdorf, Prince Leopold ("The Czardash Queen (Silva)" by I. Kalman)
• Karl Stefan Lienberg ("Maritza" by I. Kalman)
• Circus Director Stanislavsky ("Princess of the Circus" I. Kalman)
• Louis-Philippe (Bayadere by I. Calment)
• Count Kutaisov (Servant by N. Strelnikov)

see also

Write a review on the article "Bass"

Notes (edit)

Literature

• // Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - SPb. , 1890-1907.

Womens Mens Other Extreme see also

Excerpt from Bass

“I don’t like to borrow from my own people, I don’t like it,” Denisov grumbled.
“And if you don’t take money from me in a comradely manner, you will offend me. Indeed, I have, ”Rostov repeated.
- No.
And Denisov went to the bed to get a wallet from under the pillow.
- Where did you put it, Rostov?
- Under the bottom pillow.
- No, no.
Denisov threw both pillows on the floor. There was no wallet.
- What a miracle!
- Wait, did you drop it? Said Rostov, lifting the pillows one by one and shaking them out.
He kicked off and brushed off the blanket. There was no wallet.
- Haven't I forgotten? No, I also thought that you were definitely putting a treasure under your head, ”said Rostov. - I put my wallet here. Where is he? - he turned to Lavrushka.
- I didn’t come in. Where they put it, there it should be.
- Well no…
- You are all right, throw it where, and you will forget. Look in your pockets.
“No, if I hadn’t thought about the treasure,” said Rostov, “otherwise I remember what I put.
Lavrushka ransacked the entire bed, looked under it, under the table, ransacked the whole room and stopped in the middle of the room. Denisov silently watched Lavrushka's movements, and when Lavrushka threw up his hands in surprise, saying that he was nowhere, he looked back at Rostov.
- G "skeleton, you are not a schoolboy ...
Rostov felt Denisov's gaze on him, raised his eyes and at the same instant lowered them. All his blood, which had been trapped somewhere below his throat, gushed into his face and eyes. He couldn't catch his breath.
- And there was no one in the room, except for the lieutenant and yourself. It's somewhere here, ”said Lavrushka.
- Well, you, chog "tova doll, walk around, look," Denisov suddenly shouted, turning purple and rushing at the footman with a threatening gesture. All zapog "yu!
Rostov, looking around Denisov, began to button up his jacket, whipped up his saber and put on his cap.
“I told you to have a wallet,” shouted Denisov, shaking the orderly's shoulders and pushing him against the wall.
- Denisov, leave him; I know who took it, ”said Rostov, going up to the door and not looking up.
Denisov stopped, thought, and, apparently understanding what Rostov was hinting at, grabbed his hand.
“Leap!” He shouted so that the veins, like ropes, swelled around his neck and forehead. “I'm telling you, you're crazy, I won't allow it. The wallet is here; I will skim this mega-owner, and he will be here.
“I know who took it,” Rostov repeated in a trembling voice and went to the door.
- And I told you, don't you dare to do this, - Denisov shouted, rushing to the cadet to restrain him.
But Rostov pulled out his hand and, with such malice, as if Denisov were his greatest enemy, fixed his eyes directly and firmly on him.
- Do you understand what you are saying? - he said in a trembling voice, - except for me there was no one in the room. Therefore, if not that, so ...
He could not finish and ran out of the room.
- Oh, chog "t with you and with everyone," were the last words that Rostov heard.
Rostov came to Telyanin's apartment.
“The master is not at home, we have left for the headquarters,” Telyanin's orderly told him. - Or what happened? Added the orderly, surprised at the cadet's upset face.
- There is nothing.
“We missed a bit,” said the orderly.
The headquarters was located three versts from Salzeneck. Rostov, without going home, took the horse and went to the headquarters. In the village occupied by the headquarters, there was a tavern visited by officers. Rostov arrived at the tavern; at the porch he saw Telyanin's horse.
In the second room of the inn the lieutenant was sitting at a platter of sausages and a bottle of wine.
“Oh, and you stopped by, young man,” he said, smiling and raising his eyebrows high.
“Yes,” said Rostov, as if it took a lot of effort to pronounce the word, and sat down at the next table.
Both were silent; in the room were two Germans and one Russian officer. Everyone was silent, and the sounds of knives on plates and the sound of the lieutenant's champing were heard. When Telyanin finished breakfast, he took out of his pocket a double purse, parted the rings with small white fingers curved upward, took out a gold one and, raising his eyebrows, gave the money to the servant.
“Please hurry,” he said.
The gold one was new. Rostov got up and went up to Telyanin.
“Let me see the wallet,” he said in a low, barely audible voice.
With shifting eyes, but still raised eyebrows, Telyanin handed in the purse.
- Yes, a pretty wallet ... Yes ... yes ... - he said and suddenly turned pale. “Look, young man,” he added.
Rostov took the purse in his hands and looked at it, and at the money that was in it, and at Telyanin. The lieutenant looked around, according to his habit, and, it seemed, suddenly became very cheerful.
“If we’re in Vienna, I’ll leave everything there, and now there’s nowhere to go in these crappy little towns,” he said. - Well, come on, young man, I'll go.
Rostov was silent.
- What about you? have breakfast too? They are decently fed, - continued Telyanin. - Let's go.
He reached out and took hold of the wallet. Rostov released him. Telyanin took the wallet and began to lower it into the pocket of his leggings, and his eyebrows were carelessly raised, and his mouth opened slightly, as if he were saying: "Yes, yes, I put my wallet in my pocket, and it's very simple, and nobody cares about this." ...
- Well, what, young man? He said, sighing and looking into Rostov's eyes from under raised eyebrows. Some kind of light from the eyes, with the speed of an electric spark, ran from Telyanin's eyes to Rostov's eyes and back, back and forth, all in an instant.
“Come here,” said Rostov, grabbing Telyanin by the hand. He almost dragged him to the window. - This is Denisov's money, you took it ... - he whispered over his ear.
- What? ... What? ... How dare you? What? ... - said Telyanin.
But these words sounded like a plaintive, desperate cry and a plea for forgiveness. As soon as Rostov heard this sound of a voice, a huge stone of doubt fell from his soul. He felt joy and at the same instant he felt sorry for the unfortunate man standing in front of him; but it was necessary to complete the work begun.
“Here, God knows what they might think,” Telyanin muttered, grabbing his cap and heading into a small empty room, “we need to explain ...
“I know that, and I will prove it,” said Rostov.
- I AM…
The frightened, pale face of Telyanin began to tremble with all its muscles; the eyes still darted, but somewhere below, without rising to Rostov's face, sobs were heard.
- Count! ... do not ruin the young man ... this unfortunate money, take it ... - He threw it on the table. - My father is an old man, my mother! ...
Rostov took the money, avoiding Telyanin's gaze, and, without a word, walked out of the room. But at the door he stopped and came back. “My God,” he said with tears in his eyes, “how could you do that?
“Count,” said Telyanin, approaching the cadet.
“Don't touch me,” said Rostov, pulling back. - If you need it, take this money. He threw his wallet at him and ran out of the inn.

In the evening of the same day, a lively conversation of the officers of the squadron was going on at Denisov's apartment.
- And I tell you, Rostov, that you need to apologize to the regimental commander, - said, referring to the crimson red, agitated Rostov, the high headquarters captain, with graying hair, a huge mustache and large wrinkled features.
The headquarters captain Kirsten was twice demoted to the soldier for the cause of honor, and twice he was served.
- I will not allow myself to tell anyone that I am lying! - Rostov cried out. - He told me that I was lying, and I told him that he was lying. It will remain so. He can appoint me on duty even every day and put me under arrest, but no one will force me to apologize, because if he, as a regimental commander, considers himself unworthy to give me satisfaction, so ...
- Wait a minute, father; you listen to me, - the captain interrupted the headquarters in his bass voice, calmly smoothing his long mustache. - You tell the regimental commander in front of other officers that the officer stole ...
“It’s not my fault that the conversation turned up in front of other officers. Maybe I shouldn't have spoken in front of them, but I'm not a diplomat. Then I joined the hussars and went, thinking that there was no need for subtleties, but he tells me that I am lying ... so let him give me satisfaction ...
- It's all good, no one thinks that you are a coward, but that's not the point. Ask Denisov, does it look like something for the cadet to demand satisfaction from the regimental commander?
Denisov, biting his mustache, listened gloomily to the conversation, apparently not wanting to intervene in it. When asked by the captain's headquarters, he shook his head.
“In front of the officers, you tell the regimental commander about this dirty trick,” the captain went on to headquarters. - Bogdanych (they called the regimental commander Bogdanych) laid siege to you.
- I did not siege, but said that I was not telling the truth.
- Well, yes, and you told him stupid things, and I must apologize.
- Never! - shouted Rostov.
“I didn’t think that from you,” the captain of the headquarters said seriously and sternly. “You don’t want to apologize, but you, father, not only to him, but to the whole regiment, to all of us, you are all to blame. And here's how: if you thought and consulted how to deal with this matter, and then you just, and in front of the officers, and thumped. What should the regimental commander do now? Should the officer be brought to justice and the whole regiment should be smeared? Shame the whole regiment for one scoundrel? So, what do you think? But in our opinion, not so. And Bogdanych is great, he told you that you are not telling the truth. It’s unpleasant, but what to do, father, they ran into it themselves. And now, as they want to hush up the case, you don't want to apologize because of some fanaticism, but want to tell everything. You are offended that you are on duty, but why should you apologize to an old and honest officer! Whatever Bogdanych may be, but all honest and brave, old colonel, you are so offended; Is there nothing to dirty the regiment with? - The voice of the captain's headquarters began to tremble. - You, father, have been in the regiment for a week without a year; here today, tomorrow we have moved to aide-de-camp; you don't give a damn what they say: "there are thieves among the Pavlograd officers!" And we care. So, what, Denisov? Not all the same?

Singing voices have their own classification, which is distinguished by a variety. Differences in classification systems can be based on a variety of factors: on the strength of the voice, on the degree of virtuosity and clarity of performance, etc. However, experts note the need for a powerful foundation under all the possibilities of the performer's voice, which is the support of singing.

Quite often, the classification is based on the performer's voice range and gender. However, these two criteria provide grounds for formulating a large number of classification varieties. Singling out a certain group of voices, professionals specify the presence of narrower groups in it.

Bass - low male voice

A group of male voices called Basses is combined into a classification based on the sound of a very low range of voice, for which the characteristic features are called: breadth, "darkness", the richness of the timbre formed by the chest resonator.

Concerning the issue of bass range, experts are mixed in their conclusions. However, the traditional classical concept of the position of the bass on the stave is that it is united by the frames of the FA of the large and the first octave.

Bass tone

In accordance with the quality side of sounding, bass is considered in three groups:

High-pitched bass, also called baritone or cantante bass: a voice that has a high-pitched working range, with a large G and first octave S-note frames; the maximum resemblance to the timbre of the baritone is felt in the upper tessiture; the timbre of this type of voice, in comparison with other basses, is characterized by kindness and radiance;

Central or dramatic bass: characterized by the maximum expression of authority, menacing, wisdom and firmness of the bass timbre;

The bass is low, also called profundo or octavist.

Each subgroup has its own characteristics. For example, a peculiarity of dramatic bass can be called the inability of the singer to play the notes of F and G of the first octave. However, the range of the MI note is large and takes the first octave with confidence. It is associated with the ease of sounding the range on the chest resonator. The percentage of use of the head resonator decreases as the sound of the voice decreases.

We'll talk about bass-profundo below. In the meantime, it is worth noting that for the basses, opera parties are created with fairly representative heroes, among whom you can find representatives of the royal, princely, boyar and other families, sages of generals and other characters for which masculinity and confidence are characteristic. All this can be heard in the voice of the performer, which, according to experts, always inspires confidence among listeners.

Another remarkable fact is the evidence that in Italy Russia is recognized as the primacy of a state rich in beautiful bass. And Italy itself is famous as the birthplace of excellent tenor voices.

Bass profundo

Returning to this type of bass, it is worth noting that the translation of a word with Italian roots sounds like "deep". The owner of such a voice is recognized as unique. The difference between this type of male voice from others lies in the lowest tessiture of the sound. Experts note the possibility of going beyond the imaginable capabilities of a person.

The exclusivity that bass-profundo shows is recorded in all aspects of vocal art: in timbre and range, in physiological structure and resonance, and other parameters.

Timbre is deep, but quantitatively, within the framework of a low sound, it is limited in overtones, that is, not excluding attractiveness, it is characterized by a lack of timbre saturation. The bass profundo is almost never heard in solo parts. A rare exception is the church choir. Octavist bass can often be heard in choirs, while its sound is minimal, and is required to emphasize the spaciousness of the timbre.

Another use of profundo bass is doubling the root tone of major and minor triad chords. When the sound of the bass timbres of ordinary and octavist, occurring in the choral bass parts, merges, the latter acquire the character of massiveness and monumentality. Such a technique is important in terms of influencing the listener, who will certainly have feelings of anxiety and association with the sound of the alarm bell.

Dwelling on the question of the range for bass-profundo, it is worth noting that the note PA of the counter octave and the DO of the first octave can serve as its framework.

Considering the resonance factor for bass-profundo, professionals point to the peculiarity of the process, in which only the larynx and chest resonator are involved. The structure of the ligaments (long) and their characteristics (dense, elastic) exclude the possibility of using a head resonator in this case.