A report on Choir and Boy soprano

The soprano's vocal range (using scientific pitch notation) is from approximately middle C (C4) = 261 Hz to "high A" (A5) = 880 Hz in choral music, or to "soprano C" (C6, two octaves above middle C) = 1046 Hz or higher in operatic music.

"Soprano" refers mainly to women, but it can also be applied to men; "sopranist" is the term for a male countertenor able to sing in the soprano vocal range, while a castrato is the term for a castrated male singer, typical of the 16th, 17th, and 18th centuries, and a treble is a boy soprano who has not reached puberty yet and still able to sing in that range.

In 4-part voice leading alto is the second highest part, sung in choruses by either low women's or high men's voices.

The explanation for the anomaly of this name is to be found not in the use of adult falsettists in choirs of men and boys but further back in innovations in composition during the mid-15th century.

It mostly consists of pieces written to be sung by a church choir, which may sing a cappella or accompanied by an organ.

An Anglican choir typically uses "SATB" voices (soprano or treble, alto or counter-tenor, tenor, and bass), though in many works some or all of these voices are divided into two for part or all of the piece; in this case the two halves of the choir (one on each side of the aisle) are traditionally named decani and cantoris which sing, respectively, Choir 1 and Choir 2 in two-choir music.

The people of Hainburg heard him sing treble parts in the church choir.

Unchanged voices were in high demand for church choirs, which historically excluded women.

The British cathedral choir ideal remains based on boy sopranos (or trebles), with the alto part executed by adult countertenors.