DeWood 1 Dale DeWood Dr. Kyle Ferrill, Graduate Vocal Pedagogy University of Memphis, Rudi E Scheidt School of Music The Fach System origin, function, and the dangers of perception The human voice is a spectrum of brazen boldness and nuanced subtlety with as much variation as a color wheel; from deep velvety purples to sharp bright reds. Every singer you meet will land somewhere all her own on that swathe. So how do we begin to build a language for categorization of something so wide open, so versatile? In who's interest would it be to classify the spectrum into its primary colors? How could we account for the tints and tones diversifying a selection of yellows? Should be separate the myriad of greens into a Crayola 64 pack of Hunter, Kelly, Moss, and so on? By dividing, are we losing the scope of the primary shade, or are we providing ourselves with the control to precisely select exactly the shade we want? Ultimately, do we clarify or truncate? Perhaps both, but at some point you've got to pick a crayon, and some classification is the best way to know you've got the one you want. When it comes to opera, the Fach system has become the gold standard for describing the character of the voice. This system can be and frequently is viewed out of context, especially by young American singers. This paper will discuss the Fach system and elements of it, and also address concerns and risks when considering application of the system to young professional and pre-professional singers, particularly collegiate singers. I will additionally offer my thoughts on a more beneficial lens through which American singers in particular can view the system and make it more serviceable to their needs. The Fach system emerged in central Europe the early 19 th century. 1 While the initial development was largely in Germany, other parts of Europe adopted the system as well. Many houses 1 Pearl McGinnis, The Opera Singer's Career Guide: Understanding the European Fach System (Lanham, Maryland: Scarecrow Press Inc, 2010), 20-21.