V O I C E S A N D V O C A L M U S I C K N O W L E D G E O R G A N I S E R

Voices and Vocal Music – Knowledge Organiser

A. Voice Types and Ranges B. Types and Styles of Singing C. Vocal Textures
Each voice type has a VOCAL RANGE which gives the lowest and highest MONOPHONIC – a type of vocal texture
notes possible. However, many pieces of vocal music have a smaller which features a single melodic line
range of notes within this where most of the pitches of the song lie – which may be sung by one or more
this is called the TESSITURA. singers e.g. Gregorian Chant/Plainsong
FALSETTO – a method of voice production where male voices sing in a or a UNISON (all voices singing the same
particularly high register e.g. male altos or sometimes used by singers in pitches at the same time)
popular songs unaccompanied folk song
The WORD SETTING of a song may be SYLLABIC – each syllable is given HOMOPHONIC – can be BLOCK
one note only, or MELISMATIC –many different notes sung to a single CHORDAL (all voices singing same words
syllable. at the same time, but using different
WORD PAINTING is often used in vocal music – taking the meaning of a pitches/notes creating HARMONY
particular word and expressing this music through music e.g. “low” – (opposite of UNISON)) or MELODY &
low pitched notes. ACCOMPANIMENT – voice(s) singing in
The MELODIC CONTOUR of a vocal line may be described as CONJUNT unison or harmony with instrumental
(moving mainly by step) or DISJUNCT (moving mainly by leap) accompaniment
VIBRATO – the effect of tiny and rapid fluctuations in the pitch of notes, POLYPHONIC – a complex vocal texture
used by singers to bring warmth and expression to the tone (a popular where the voice parts weave in and out
technique with solo opera singers) of each other creating a dense sound e.g.
Singing may be accompanied by an instrument, instruments, orchestra in passages using IMITATION.
or band or may be unaccompanied – A CAPPELLA.

D. Madrigals and Folk Songs E. Opera and Oratorio F. Lieder

The MADRIGAL was a popular vocal form during the An OPERA is a SECULAR drama set to music, acted and sung with costumes, scenery and props, by solo singers LIEDER are German art songs
RENAISSANCE period. Madrigals are usually for four to six and a CHORUS, accompanied by an orchestra. The lyrics or text of an opera is called the LIBRETTO (written by a from the ROMANTIC PERIOD.
UNACCOMPANIED SOLO VOICES. They are often short SECULAR LIBRETTIST) (the plot or storyline being called the SYNOPSIS) and was developed in Florence in the late 1500’s by Music of the Romantic Period
(non-religious) pieces and make much use of IMITATION with the Camerata who wanted to place more importance on the words, rather than the music. Operas are performed was highly emotional and
contrasting vocal textures – MONOPHONIC, HOMOPHONIC and in theatres and concert halls. expressive with strong lyrical melodies and
POLYPHONIC (in passages of imitation). Madrigals often use ORATORIO developed at the same time but is a SACRED setting of religious words, often from the Bible, for solo rich harmony. Lieder are written for PIANO
WORD PAINTING where the meaning of the words is reflected in singers, chorus and orchestra. Unlike an opera, an oratorio is not “staged” – no costumes, scenery, acting or AND VOICE for performance in homes and
the music. Madrigals often use MELISMA where several notes are props and was not performed in theatres – mainly churches or concert halls. concert halls. The piano provides more than
sung to the same syllable and often have a “fa la la” CHORUS or Both OPERA and ORATOIOS are made up of different vocal forms (as well as the occasional instrumental interlude an ACCOMPANIMENT; it is in EQUAL
REFRAIN. or piece at the beginning – called the OVERTURE). PARTNERSHIP with the voice and has an
FOLK SONGS often have a simple accompaniment (e.g. strummed RECITATIVE – a type of “half spoken/reciting-half sung” singing developed to enhance the meaning of the words. important role in the song. The piano part
guitar chords or using traditional or “folk” instruments) or are The voice rises and falls following the natural speech rhythms of the words and used to “carry the plot/story often reflects the MOOD of the LYRICS (often
unaccompanied. They are usually in STROPHIC form, SECULAR forward”. RECITATIVE SECCO is accompanied only by the CONTINUO (often with sustained chords playing from a poem) and the poetic imagery. Lieder have
and sometimes, but not always, have a repeated CHORUS or FIGURED BASS with a slow HARMONIC RHYTHM); RECITATIVE STROMENTATO features a richer accompaniment rich, colourful harmony and frequent
REFRAIN. The lyrics often tell a story of sometimes have a by the strings. ARIA – a SOLO song sung by one of the main characters, often quite long and expressive and MODULATIONS. Common poetic themes are
political message (PROTEST SONG) and place reflecting the character’s mood or emotion at a particular point in the drama/story. The DA CAPO ARIA (popular love, longing and the beauty of nature with
secondary importance on the accompaniment, from early 1700’s) featured a repeated A section with a constrasting middle B section and instrumental frequent examples of WORD PAINTING both
with simple harmony often using chords I, IV & RITORNELLO sections - R A R1 A1 R2 B R A R1 A1 R2 and was VIRTUOSIC with MELODIC DECORATION and by the piano accompaniment and the voice.
V. Vocal harmonies are often creating using embellishment being added on the repeat of the A section. CHORUS – often written for SATB voices and Lieder can be STROPHIC or THROUGH-
the intervals of a FOURTH and FIFTH (giving a orchestra e.g. “And the Glory of the Lord” from Handel’s Messiah – based on motifs, using lots of IMITATION and COMPOSED in structure. Schubert and
‘sparse’ or ‘open’ sound). contrasting vocal textures. Schumann composed many Lieder.
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