Throughout high school or college choir, singers deeply identify with their vocal parts. Honestly, our parts were worn on sleeves. Every vocal line had its own personality. Our best friends were sitting right beside us as we developed into experienced musicians. Of course, the alto part has its own brand complete with a list of individualized experiences, memories, and expectations. No other voice part endures the life of an alto, for we are a special breed. Here are a few things that every former or current alto remembers:
1. We always expect repetitive and pulsating vocal lines...
The altos are singing an E flat for fifteen consecutive measures, and we are surprised. It's time to get comfortable! Nap time anyone?
2. ...and we are shocked when the melody appears in our part.
Are you sure that you're playing that correctly? Did the composer mistake our section of the music for the sopranos?
3. Altos save every sight-reading expedition.
If you can't find tonic, listen to the alto section. We can sing DO-MI-SO-DO almost immediately. Bring it on!
4. "Can you sing tenor for this piece?"
For every director, we are the male replacements. No men? No problem! Manly-girls to the rescue! Snag an alto or two, and any choir can have a men's section.
5. Or... "Can you sing Soprano on this piece?"
Every alto has paid her dues as a Soprano II. We all dreaded the experience, but our vocal ranges stretched as a result. Hopefully, we earned some Brownie points with the director along the way!
6. One individual voice always stands out from the rest of the crowd.
I have (too often) been guilty of the dreaded "SSS," which is dreadfully known as "Solo-Singer Syndrome." Of course, every alto has suffered from this syndrome. We love to channel our Broadway Belter!
7. Competition is always tough because there are more altos than openings.
Men are sought after, but women travel in hoards. All-State auditions are hellish because women (especially altos) know that there are hundreds of singers but only a handful of openings. **cue "The Hunger Games" Mockingjay call**
8. We give death glares to the individual who doesn't smoothly drop the octave.
The alto section is the meat of an ensemble, and there is always one person on the voice part that should be a soprano. If you haven't gotten the memo, we are the men of the group, so grow a pair and drop the bass.
9. Other voice parts look to altos for the beat.
Sopranos are tasked with fleeting chromatic runs. Sadly, they often lose positioning in those parts. Do not panic! The altos always have the song's pulse in our vocal line.
10. We love dissonance!
Nothing can match the clash of a dissonant chord, and the altos usually introduce the uncomfortable battle. I always loved have the final word before the concluding cadence.
11. Ultimately, we are the glue of the ensemble.
I have always considered the alto section to be the utility sections. Altos always say or ask things like "Where do you need me?" or "I'm willing to move if needed." We are in the group for the good of the ensemble, not for the beauty of a vocal line.
Once you're an alto, you're always an alto! #ChoirDays
