Solo Vocal

Solo Vocal




🔞 ALL INFORMATION CLICK HERE 👈🏻👈🏻👈🏻

































Solo Vocal
A vocal solo occurs when an artist decides to vocally improvise during a song. They are marked by either intense and sudden crescendos or quick octave fluctuations.

Vocal solos are very difficult to perform because creating a new set of lyrics on the spot is something many artists cannot do. As a result, vocal solos often feature artists singing indiscernible lyrics or repeating a word/phrase.

Also see: " Bonus chorus "
"I thought the shat had hit the roof until Aretha laid down that vocal solo ... Improvising was a good move because that shit was bunk. But it was powerful, man! It brought a tear to my eye."

Number of letters 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Enter which letters you already have
Below are possible answers for the crossword clue Vocal solo .
If you're still haven't solved the crossword clue Vocal solo then why not search our database by the letters you have already!
© 2022 Crossword Clue Solver. All Rights Reserved. Crossword Clue Solver is operated and owned by Ash Young at Evoluted Web Design . Optimisation by SEO Sheffield .
The Crossword Solver is designed to help users to find the missing answers to their crossword puzzles. The system can solve single or multiple word clues and can deal with many plurals.





Browse




Search




Entertainment & Pop Culture
Geography & Travel
Health & Medicine
Lifestyles & Social Issues
Literature
Philosophy & Religion
Politics, Law & Government
Science
Sports & Recreation
Technology
Visual Arts
World History


On This Day in History
Quizzes
Podcasts
Dictionary
Biographies
Summaries
Top Questions
Week In Review
Infographics
Demystified
Lists
#WTFact
Companions
Image Galleries
Spotlight
The Forum
One Good Fact


Entertainment & Pop Culture
Geography & Travel
Health & Medicine
Lifestyles & Social Issues
Literature
Philosophy & Religion
Politics, Law & Government
Science
Sports & Recreation
Technology
Visual Arts
World History


Britannica Classics Check out these retro videos from Encyclopedia Britannica’s archives.
Britannica Explains In these videos, Britannica explains a variety of topics and answers frequently asked questions.
Demystified Videos In Demystified, Britannica has all the answers to your burning questions.
#WTFact Videos In #WTFact Britannica shares some of the most bizarre facts we can find.
This Time in History In these videos, find out what happened this month (or any month!) in history.


Student Portal Britannica is the ultimate student resource for key school subjects like history, government, literature, and more.
COVID-19 Portal While this global health crisis continues to evolve, it can be useful to look to past pandemics to better understand how to respond today.
100 Women Britannica celebrates the centennial of the Nineteenth Amendment, highlighting suffragists and history-making politicians.
Britannica Beyond We’ve created a new place where questions are at the center of learning. Go ahead. Ask. We won’t mind.
Saving Earth Britannica Presents Earth’s To-Do List for the 21st Century. Learn about the major environmental problems facing our planet and what can be done about them!
SpaceNext50 Britannica presents SpaceNext50, From the race to the Moon to space stewardship, we explore a wide range of subjects that feed our curiosity about space!



While every effort has been made to follow citation style rules, there may be some discrepancies.
Please refer to the appropriate style manual or other sources if you have any questions.


Corrections? Updates? Omissions? Let us know if you have suggestions to improve this article (requires login).


Feedback Type

Select a type (Required)
Factual Correction
Spelling/Grammar Correction
Link Correction
Additional Information
Other


Articles from Britannica Encyclopedias for elementary and high school students.

Please select which sections you would like to print:


While every effort has been made to follow citation style rules, there may be some discrepancies.
Please refer to the appropriate style manual or other sources if you have any questions.


Corrections? Updates? Omissions? Let us know if you have suggestions to improve this article (requires login).


Feedback Type

Select a type (Required)
Factual Correction
Spelling/Grammar Correction
Link Correction
Additional Information
Other


Articles from Britannica Encyclopedias for elementary and high school students.

By


William V. Porter










Last Updated:


































Sep 7, 2022




Edit History





Key People:

Wolfgang Amadeus Mozart
Johannes Brahms
Arnold Schoenberg
Anton Webern
Pierre Boulez


... (Show more)



Related Topics:

opera
choral music
song
minnesinger
concerto delle donne


... (Show more)



Are you a princess of Pop? The king of Culture? See if you’re an entertainment expert by answering these questions.

Get a Britannica Premium subscription and gain access to exclusive content.
Subscribe Now

Our editors will review what you’ve submitted and determine whether to revise the article.
Our editors will review what you’ve submitted and determine whether to revise the article.
vocal music , any of the genres for solo voice and voices in combination, with or without instrumental accompaniment . It includes monophonic music (having a single line of melody) and polyphonic music (consisting of more than one simultaneous melody). This article deals with Western art music preserved in staff notation , either for a single solo voice or for voices in unison, and briefly discusses the differences between Western and non-Western traditions. It excludes the complex forms of opera , oratorio , cantata , mass , and requiem , in which solo singing is frequently combined with choral music . The earliest written examples date from the 10th century, prior to which music was transmitted principally by oral tradition .
The chant most important for Western music is the so-called Gregorian repertory, earliest preserved in French manuscripts beginning from c. 900. Music for other major early medieval Latin repertories either has not survived (old Frankish, or Gallican, chant ), is indecipherable ( Mozarabic chant from Spain), or did not serve as the basis for later musical development ( Ambrosian chant from Milan).
From c. 750 to 850, music and musicians moved freely between the north and south with the intention of transferring Roman chant to France , but the methods and the extent of the process cannot be documented. The French greatly expanded their repertory until c. 1150 through the addition of both melodies and texts. Particularly important for future developments in vocal music were the new hymns , sequences , and other poetic settings, which were organized into regular stanzas with rhymes and metrical patterns . Gregorian chants not only served a liturgical function but also provided source material for much of the polyphonic music of the Middle Ages and Renaissance .
The degree of elaboration in a particular chant melody generally relates to its function within the liturgy . In chants that serve for recitations, such as psalms, lessons, or prayers, the music is secondary to a clear projection of the text; these settings are predominately syllabic (i.e., only one note per syllable) and use relatively few pitches . Somewhat more ornate are melodies that accompany a liturgical action (such as processionals or communions in the mass), while chants completely independent of these functions, such as mass graduals and alleluias, tend to become the most elaborate. In these last two types, settings vary from neumatic (two to five notes per syllable) to highly melismatic (many notes per syllable).
Unlike the Gregorian repertory, the medieval chants of the major Eastern churches no longer continue as living traditions. The Byzantine liturgy, codified by the 11th century, has been subject to continual change since the fall of Constantinople in 1453. The early chants, preserved in manuscripts from the 11th to the 15th centuries, show fascinating parallels with the Gregorian repertory, suggesting close relationships or common origins between the two liturgies. Other Eastern churches developed independent chant repertories: Coptic (Egyptian), Abyssinian, and Armenian; but written sources for these chants are either nonexistent or presently indecipherable. Russian ( znamenny ) chant evolved from the Byzantine liturgy imported in the 10th century and reached a classical stage in the 15th–17th centuries; but the only legible manuscripts date from the end of this period.
Latin songs by wandering scholars as early as the 7th century survive in a musical notation now unreadable. But the largest repertories of monophonic songs come from the troubadours in southern France (late 11th to early 13th centuries), the trouvères in northern France (mid-12th through 13th centuries), and the German minnesingers (mid-12th to late 15th centuries). These musicians and poets from all classes of society composed and performed for the nobility until well into the 13th century, after which patronage gradually shifted to the bourgeoisie and prosperous clergy. Their texts most frequently treat the ideals of chivalry and courtly love , using polished and often obscure language; at times similar poems offer praise to the Blessed Virgin. Service songs, called sirventes in southern France ( Spruch in German), deal with didactic , political, or personal matters, perhaps in a satirical fashion. Other texts record events of the court, such as marriages, deaths, or participation in Crusades . Among the more traditional songs from northern France are the chansons de geste , extended narratives glorifying earlier heroes or saints.
The poetic texts inherited strophic (stanzaic) design, rhyming, and metrical schemes from earlier medieval Latin. To these devices the trouvères added the idea of a refrain , varying in length from a single word to several poetic lines and placed at any position within the stanza. Eventually certain arrangements became fixed forms: the ballade or German Bar form (a a B), the rondeau (A B a A a b A B), and the virelai (A b b a A). In the diagrams, identical letters indicate same rhymes, and capitals show the refrain; as a rule, two sections of music are repeated according to the design of the poem. Shown here in their simplest structures, the forms were regularly expanded or varied in detail. Less standard designs were the lai in northern France ( Leich in German), with irregular groupings of couplets, and the lengthy chansons de geste, probably repeating a simple melodic formula for each text line.
Many monophonic songs resemble Gregorian chant , although without lengthy melismas. Others present a more modern sound through the use of the major scale and organization in short symmetrical phrases . Most of the earlier songs (before 1200) have no written indications of metre . Scholarship in the late 20th century suggested a free rendition for songs with irregular phrasing and embellishments but more regulated rhythms for the simple dancelike tunes. Improvised accompaniments were often appropriate, although not indicated in the original manuscripts.
Vernacular songs spread to the courts of England, Spain, and Italy, although the surviving examples from these regions are primarily religious. The monophonic art eventually declined during the 14th century for three principal reasons: the rise of interest in polyphonic composition , the loss of aristocratic patronage, and the substitution of theoretical rules for creative instinct. The last phenomenon is best illustrated in the works of the German middle class meistersingers from the 15th and 16th centuries.
The most characteristic and persistent type of early polyphonic song is the French chanson , in the form of a rondeau, ballade, or virelai. Chanson composers included the most outstanding musicians of the 14th and 15th centuries, among them Guillaume de Machaut , Guillaume Dufay , Gilles Binchois , Antoine Busnois , and Jean d’Ockeghem . Their activities centred in the courts of France and Burgundy, although many travelled to other areas, particularly Italy and northern Spain. Indigenous forms developed in the 14th century in Italy ( madrigal , ballata, and caccia ), and in the 15th century in Spain ( villancico and romance ), England ( carol ), and German ( Bar ); but these types shared many features of the Franco-Burgundian compositions . The chanson consists of two principal sections of music, with no text repetition except as required by the poetic structure. Three contrasting voices are standard: cantus , tenor , and countertenor . The cantus typically moves in a high tenor or alto range, in counterpoint with the lower tenor . To this two-part framework is added the countertenor , at times following the style and range of the cantus but at other times that of the tenor. Although most performances undoubtedly combined the voice(s) with instruments, it is by no means certain how the parts were distributed. Evidence suggests that performances were quite flexible, depending upon the singers or instruments available and upon the style of the individual song.
During the later 15th century new ideals for vocal composition arose that were incompatible with the earlier fixed-form songs. The different voice parts, now at least four in number, tended toward more equalization in style. All voices were underlain with a text, or were potentially singable; they either imitated the same melody or had similar rhythmic and melodic characteristics. Poetic structure was now obscured by a continuous overlapping of sections, and the words of the text were often blurred by the activity of the various voices. Native Italian part-songs ( frottole , carnival songs, and villanelle ) generally presented texts with clearer declamation, but, as the century advanced, even these simpler types gave way to the more complex Renaissance madrigal, with frequent use of melodic imitation. Musicians regularly arranged these polyphonic works for solo performance with instrumental accompaniment. But no significant part of this artistic repertory, with the possible exception of Spanish vihuela songs, was designed exclusively for the solo singer.
The advent of the modern art song depended upon a rejection of two prevailing attitudes found in mid-16th-century polyphony: the principle that a piece of vocal music was performable in any conceivable medium (for solo, for ensemble of voices, or even for instruments alone) and the idea that the text needed only be the servant of the music. An increasing concern for textual interpretation and declamation began to appear in late 16th-century polyphonic compositions. Texts were often delivered in a speechlike recitation ; emotionally charged words were emphasized through special rhythms, unexpected harmonic progressions, chromaticism (use of notes foreign to the song’s mode), and coloratura (florid ornamentation ); and simultaneous rhythms in the different voices made possible a clearer projection of the words. Of more temporary influence were the French experiments with quantitative metre in poetry and music ( musique mesurée ). But the final step in the transfer of these various techniques from part music to genuine solo music came at the end of the century, notably in Italian monody (expressive melody with chordal accompaniment) and English lute songs.

New as of
October 10, 2022: I have been intending for some time to
revise The Solo Bank to make it easier to identify sources of music. 
To that end, there is now a column of codes that indicate vendors like
Watchfire Music, Darcy Press, etc. The multi-functional box below
can give explanations of those codes, as well as other features of The 
Solo Bank.

Instructions:
1. Click on the purple
codes to play or download the music .
2 .
The column
with the single-digit codes indicates sources of the sheet music.

( click
here for the week's featured solos)
Glaser, Eliot (arr.) of traditional Irish melody
Byrne, Mary (trans.) & Eleanor Hull (versifier)
Pourroy, Arlene & Ross D. Harrington
Create in Me a Clean Heart, O God
(35)
Hakes, Derek & Craig Courtney (arr.)
Schumann, Robert (arr. V. Stanley Brown)
Brown, Scott W., Jeff Nelson & Carl Seal (arr.)
Healer of Galilee/I Love to Tell the Story
Morris, Mrs. C.H. & Susan Lindquist
Schutte, Daniel L. (arr. Susan Lindquist)
Hine, Stuart K. (arr. Robert C. Wilson)
Haydn, Joseph (arr. Katherine K. Davis)
I Will Sing of the Mercies of the Lord
Card, Michael and Marty Parks (arr.)
Ewing, Alexander ( arr. Katrina Wylie)
Let Not the Wise Man Glory in His Wisdom
Wesley, Samuel S. (arr. Randall Dennis)
Allen, Peter B., Katrina Wylie, Albert H. Malotte
Schjorring, Jens N.L. & Adrienne Tindall (paraphr.)
Copeland, Roger & Jack Schrader (arr.)
Schliapin, Nicholas P. (arr. of early
American melody "Salvation")
Mozart, W.A. & John F. Wilson (arr.)
Hine, Stuart K. (arr. Robert C. Wilson)
Barrett, Grace O. (arr. Avelyn M. Kerr)
Seek the Lord and Ye Shall Live
(35)
This Little Light of Mine / Shine, Jesus, Shine
Thou Wilt Keep Him in Perfect Peace
Mangum, Dave (arr. Lyndell Leatherman)
Wherewith Shall I Come Before the Lord?
Ross, M. Keith (arr.) & Smith, James C. (arr.)
Wesley, Charles (add. words Helene Mills)


Your browser does not support inline frames or is currently configured not to display inline frames.



Featured solo - 10/15/22 - for this
week's Lesson

(see also "Twenty-Third Psalm," "Psalm 23" and "The Lord Is My
Shepherd")

Monk, Wm. H. & Carolyn Kardinal (arr.)

Monk, William H., arr. Sally DeFord

Abide With Me, Fast Breaks the Morning Light

Schliapin, Nicholas P. (arr. of hymn by Henry Francis Lyte)

Pourroy, Arlene with refrain from A. Dvorák

Fleer, Mildred, arr. Susan Lindquist

Kirkpatrick, Wayne and Michael W. Smith

All Manner of Sickness and Disease (14)

American folk tune, arr. Craig Courtney

And There Were Shepherds Abiding in the Field

Arise and Shine Forth / Pilgrim on Earth (4)

Arise, Shine, For Thy Light Is Come

Arise, Shine, For Thy Light Is Come

Fleer, Mildred (arr. Susan Lindquist)

As One Whom His
Vr Porno Orgy
Get Horny
Porn Video Slim

Report Page