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Vocal Chart

This document defines and provides examples of 11 vocal techniques characteristic of black music performance: 1) call and response, 2) guttural effects, 3) interpolated vocality, 4) falsetto, 5) blue notes, 6) Afro-melismas or melismas, 7) lyric improvisation, 8) rhythmic improvisation, 9) syncopation, 10) vocal rhythmization, and 11) rhythmic tension. These techniques include call-and-response structure, improvised vocals, bent notes, melismas, scat singing, and an emphasis on rhythm, syncopation, and rhythmic feeling.

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Leah Brock
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88 views1 page

Vocal Chart

This document defines and provides examples of 11 vocal techniques characteristic of black music performance: 1) call and response, 2) guttural effects, 3) interpolated vocality, 4) falsetto, 5) blue notes, 6) Afro-melismas or melismas, 7) lyric improvisation, 8) rhythmic improvisation, 9) syncopation, 10) vocal rhythmization, and 11) rhythmic tension. These techniques include call-and-response structure, improvised vocals, bent notes, melismas, scat singing, and an emphasis on rhythm, syncopation, and rhythmic feeling.

Uploaded by

Leah Brock
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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Characteristic Vocal Techniques in Black Music Performance

Known as African Vocality( to use Earl Stewart’s terminology)

Term Definition Additional Information


1. call and response a musical statement (the call) Also considered to be a binary form
immediately followed by a musical (two-part form); consisting of an
statement (the response). antecedent phrase that is followed by a
consequent phrase; different
formulations of call and response exist;
it is also heard in instrumental music;
2. Guttural effects Non-verbal sounds added to the lyrics, Common examples of this include:
used for emotive or expressive purposes screams, moans, groans, grunts, shouts,
humming, growling, use of raspy vocal
timbres;

3. Interpolated vocality improvised words (usually) that are spoken words; inserted text, not always
inserted into the text or lyrics; from the lyrics, but words that
complement, build on, or enhance the
meaning of the lyrics
4. Falsetto use of the head voice (the high-pitched, Literally, “false voice”; associated with
upper vocal range of male voices) male vocal styles, not female;
5. Blue notes notes that are slightly lowered in pitch, May be vocally- or instrumentally-
also called bent notes produced
6. Afro-melismas or a run of several pitches to a single A technique used as a means of
melismas syllable or several pitches to a one- embellishing or ornamenting (dressing-
syllable word; up) a melody
7. Lyric improvisation an extended section created by A vamp typically occurs at or near the
improvised lyrics. This may occur end of a piece of music.
during what is commonly known as the
vamp section – where the forward
motion and harmonic progression stops
or slows down, allowing the soloist to
improvise freely.

8. Rhythmic Improvising that focuses more on Function: primarily to provide rhythmic


improvisation rhythm than melody or lyrics. interest to a performance; a performer
alters the rhythm of a melody for
creative or expressive purposes
9. Syncopation accents on unusual or unexpected parts One of the most common characteristics
of the beat; of black music; occurs in vocal and
instrumental music;
10. Vocal rhythmization Vocal sounds used primarily for Examples include: rapping, (chanting or
rhythmic purposes, as opposed to speaking rhythmically); beat boxing;
serving melodic purposes; scat singing or scatting – (which could
be argued provides melodic as well as
rhythmic interest)
11. Rhythmic tension A set of rhythmic events that add a
feeling of intensity, interest, or drama to
the performance
12. Rhythmic the rhythm-driven, cumulative or overall Often referred to as groove, swing, feel,
concrescence effect or feeling in the music; or soul

R. Sands, Music Department 2009

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