Vocal Dictionary K Through N

Here’s your Third Vocal Dictionary offering. It covers Letters K Through N, and has MANY wonderful, practical entries. I hope you will read and utilize this terrific resource often. Here goes:

·      Karaoke:  A music entertainment where the singer sings along to a pre-recorded track and follows the lyrics on a video screen.

·      Key – This is the term used to describe the particular scale that serves as the musical basis for any specific composition. The Key may be determined by in several different ways. It could be simply where the composer CHOOSES to write the composition, such as Johann Sebastian Bach’s Bourree in E Minor or Fugue in G Minor, BWV 578. It can be written around the vocal range of a singer, written where it is most easily played, or chosen at random because the composer likes the sound of the piece in a particular Key.

·      Key Signature – A Key Signature is written at the beginning of each stave of a Grand Staff to indicate through the presence of Sharps or Flats or their absence, which Key the piece of music should be played around. Examples of a Key Signature would the evidence of NO Sharps and NO Flats, indicating the Key of C Major, or the presence of 5 Sharps on each stave of the Grand Staff, indicating the Key of either B Major or G# Minor.

·      Larynx:  The Larynx is, arguably, one of the most important anatomical structures in the body for singing. Its content is mainly cartilage but is also muscular, skeletal, and lined with mucus membrane. It is located at the top of the Trachea or Windpipe but also under the root of the tongue, as well as the Hyoid Bone. The Larynx houses Vocal Folds, which are attached from front to back, and are essential to sound production. Categorically, the Larynx is part of the Respiratory System because air must pass through the Larynx to get to the Pharynx, Trachea, and into the Lungs. Muscles in the Larynx control the tension of the Vocal Folds, processing air from your Lungs, thus creating your Vocal sound. 

·      Lead Sheet – This is the name given to a printed sheet music, which only includes Song Lyrics, the Melody Line, and the Guitar and/or Piano Chords; specific accompaniment is not included. Therefore, the keyboard/piano player must improvise the piano part and it can vary with each performance. Lead Sheets are, however, the preferred mode of choice by accompanists because they require much less space, can easily be loaded into a Tablet, and also, allow the accompanist much greater creative expression.

·      Legato: Singing as though all the notes were tied together; the notes flow together smoothly, as if connected, similarly to being linked or related to one another on a string.

·      Legitimate Voice (also called a “Legit” Voice) – Usually, this would refer to a Classically-Trained Head Voice. However, its origin began in the days of “Vaudeville”, which was juxtaposed to “legitimate theater”, such as Operettas, Opera, and serious Dramas. Even today, a “Legit” stage voice more strictly adheres to a style of singing, which includes a strong focus on articulation and enunciation, powerful projection ability, and oftentimes, a tendency toward broader Vibrato (see definition under “V” words later).

·      Lento – This is a Tempo term, which means to play or sing a passage or piece of music slowly.

·      Lyric – This term has two distinctive definitions. The first is reference to the text or words of a song, for example, the beginning lyrics to the American National Anthem are, “Oh, Say Can You See.” The second definition refers to a Vocal Type that is lighter in quality, and might even be described as “bell-like”. There are Lyric Tenors, Lyric Baritones, and Lyric Sopranos, which would be juxtaposed to a darker, richer-toned “Dramatic” Tenor, Baritone, or Soprano. Altos are not, characteristically classified as Dramatic or Lyric, however because the Alto voice is, my nature, richer, more round, and tending toward a darker tone.

·      Major Scale: This is one of the two types of scales in Western Music Theory. It is a Diatonic Scale, which means it is a scale from one note to the same note an octave above or below that note, which follows the pattern: Tonic + Whole Step + Whole Step + Half Step + Whole Step + Whole Step + Whole Step + Half Step (ascending to the same Tonic note but one octave higher). To descend on a Major Diatonic Scale, the formula/pattern is: Tonic + Half Step + Whole Step + Whole Step + Whole Step + Half Step + Whole Step + Whole Step (descending one Octave to that Tonic note).

·      Marking – This is something EVERY singer needs to learn to do. It is ALSO, however, important for a singer to learn WHEN to “Mark”. “Marking” is singing “half-voice”, in other words, NOT belting out all the high notes, powering through the passages where breathing is difficult, and/or singing as loudly or strongly as you will for an actual performance. A singer MUST learn when it is wise to “mark” and when it is NECESSARY to sing “full out.” Examples of when to “mark” might be: during a rehearsal when the focus is on something OTHER THAN the singing, perhaps rehearsing Blocking or Choreography, or even, entrances or exits for Lighting and Sound Cues; when a singer is “vocally challenged” (maybe you’ve had a very grueling rehearsal or Press schedule with little time to rest your voice OR maybe you are “trying” to get sick); when YOUR songs are not the focus of the rehearsal but primary work is being done for another character or singer; when the singer has already sung the song several times, and the real performance is later that day or evening; or when you are rehearsing for orchestral cues, tempos, or initiating new players (this MAY require certain parts of your song to be sung full out but conserving energy and vocal strength is wise when performance-level singing is unnecessary). I have known MANY singers, including MYSELF when I was young, who “blew out” his or her voice in rehearsals, only to find that when the performance rolled around, there was nothing left. LEARN to pace yourself and to exercise wisdom and control when it comes to your instrument. If you have already been cast, you don’t have to “prove yourself” over and over. Your job is to prepare EVERY aspect of your performance from your physical body, to psychological preparation to stretches for dancing or relaxation, to articulation exercises, etc. Your voice is your “treasure” and you MUST treat it as such!

·      Mask: The area around and including the eyes which is often used to create head resonance. There are different schools of thought regarding Placement for Vocal Tone and Resonance. Personally, I believe the healthiest sound, the strongest, and most pleasing tone is focused high and forward is the Mask Area. As many of you have heard me explain, the front of your face or head has a NUMBER of Sinuses or “spaces” in your head, which are PERFECT for vocal resonance. There are FOUR “sets” of Sinuses in your head: the Maxillary Sinuses, which are in the Cheekbones and are the LARGEST of the Sinuses; the Sphenoid Sinuses, which are behind your Nasal Cavity and look similar to a butterfly; the Ethmoid Sinuses, which are found around the middle of your Nasal Bridge, between your eyes; AND the Frontal Sinuses, which are the HIGHEST of the Sinus cavities, located between and on top of your eyebrows, as well as near the bottom center of the forehead. ALL of these Sinuses are connected into one system and serve as filters and lubricators but also, when healthy and empty of “drainage”, as glorious Resonators for our voices. There used to be “blond” jokes implying that people with blond hair tended to be “spacier” than others. Well, in truth, we are ALL “spacey”, since our heads are pretty full of these wonderful sinuses or spaces, naturally. Think of these sinuses as little mini bathrooms, which is to say that, like singing in a ceramic-tiled bathroom, the sound/tones of your voice will be “warmed”, “carry” or project further, and have a more distinctive “edge” and quality by utilizing your sinuses for added resonance. A voice “placed” in this Mask area will not harm your throat and will, generally, have a more pleasing power and tone without any additional effort on the part of the singer.

·      Measure – This is the musical term used to describe all the notated music between any two Bar Lines on a piece of written music. It also represents that amount of time and/or space needed to complete one cycle of the piece’s Time Signature, for example, 4 beats of notes and rests in a piece written in 4/4 Time. Oftentimes, a Measure is referred to as a “Bar” from the Bar Lines surrounding it, and measures or Bars may be numbered on a piece of music for easier access to specific areas of a song for the singer to reference, rehearse, or give instruction regarding.

·      Medley – This is the term used to describe a musical arrangement of a number of different songs or parts of those songs, so that the resulting musical collection flows seamlessly from section to section, creating a strong, independent piece of music in its own right. Often, medleys are created around some kind of a “theme,” such as a medley of songs from “Les Miserables”, or a medley of Patriotic songs. It is NOT necessary that songs in a medley have a common thread but most commonly, they do.

·      Melody – This is the term used for a sequence or string of individual, musical notes that form a pleasing, satisfying sound when heard together. Many times, the melody of a song is the primary portion of a song that makes it memorable and carries with it important lyrics or text, essential to understanding the message of the piece of music.

·      Metronome:  This musical term describes an instrument, whether mechanical or electrical, that provides a consistent tempo or speed of a song by means of a “clicking” sound, and a regular, persistent rhythm. A metronome is fully adjustable at any point, allowing a song to be practiced at a slower or faster tempo. In fact, a metronome is very useful for practice, allowing a player to learn all the nuances of a specific song before attempting to play it fully at a rapid pace from the start. It is also important for singers to use metronomes so they can learn to MAINTAIN tempos. Drummers will, frequently, use a type of metronome to ESTABLISH a tempo in their minds before beginning to play the song in earnest. Drummers also often practice with metronomes, in order to learn to hold a given tempo without slowing down or speeding up during the course of the entire piece.

·      Mezzo Forte – This is a “Dynamic” designation for a song, indicating the piece or portion of the piece should be played and/or sung at a Medium Loud volume. “Mezzo” means medium or middle in Italian; “Forte” is defined as strong or loud in music. This is its symbol - F

·      Mezzo Piano - This is a “Dynamic” designation for a song, indicating the piece or portion of the piece should be played and/or sung at a Medium Soft volume. “Mezzo” means medium or middle in Italian; “Piano” means soft in Italian. The symbol for this is - P

·      Mezzo-Soprano – This is a Vocal Register designation in music for females. It indicates a Medium or mid-range Soprano voice, from approximately a3 (the “a” below Middle “C”) to about A5 (almost 2 octaves above Middle “C”). Somewhat strangely, this is also the typical range of the “Castrati” or castrated male singers of the 17^th and 18^th centuries. For greater detailed information about this Vocal Register, see the blog post from October 17, 2016 or the post on Vocal Types from November 6, 2016.

·      Minor Scale: This is a diatonic scale presented in one of three possible versions:  Natural Minor; Harmonic Minor; and Melodic Minor. A Natural Minor Scale is composed using the formula: Tonic; Whole Step; Half Step; Whole Step; Whole Step; Half Step; Whole Step; and Whole Step, back to the Tonic an octave from the beginning Tonic note. The Harmonic Minor Scale is made up of: Tonic; Whole Step; Half Step; Whole Step; Whole Step; Half Step’ Whole Step; and Half Step, ending on the Tonic Note one octave above the original starting Tonic. The Melodic Minor Scale is not frequently used, especially in singing, though it MAY be included occasionally in Jazz vocal pieces, as well as some Classical pieces. Mozart used the Melodic Minor Scale in several of his vocal pieces. The Melodic Minor Scale is composed of: Tonic; Whole Step; Half Step; Whole Step; Whole Step; Whole Step; Whole Step; then, Half Step. HOWEVER, the Descending Melodic Minor Scale is different. Descending, the scale is: Tonic; Whole Step; Whole Step; Half Step; Whole Step; Whole Step; Half Step; then, Whole Step. This Descending Melodic Minor Scale is the identical to the Descending Natural Minor Scale. It is, essentially, a combination of the Natural Minor, Harmonic Minor, and Dorian Minor scales, to be completely, musically technical. Elton John uses the Melodic Minor Scale in his pop song, “Sorry Seems to Be the Hardest Word.”

·      Modulation – This is the term used when you move or transition from one musical Key (one scale base) to another musical Key or scale base. There are many ways to accomplish a modulation, but the most common one is to play a suspension version of Dominant 7 chord of the Key you are modulating TO. An example of this “common” method of Modulation would be as follows: Song #1 is in the Key of C Major and ends with the Chords G Major and C Major; Song #2 is in the Key of F Major, so to move from the Key of C Major AFTER ending Song #1 with a G Major Chord, you have to play a Csus7 to a C7 to an F Major chord.

·      Musical Director – Every singer needs to understand the role and importance of a Musical Director. A GOOD Musical Director is someone who: creatively arranges each Song or Medley you perform, making certain all music is in YOUR correct Key; ascertains all Rhythmic and Tempo considerations for your program; and coordinates the hiring, rehearsing, arranging, firing, and administration of all the Musical Charts, Musicians, as well as overseeing the care, cartage, procurement, and even placement of all Musical Equipment on Stage, during a Show, and/or on a Tour. Additionally, the MD handles decisions regarding phrasing, balance of volume levels (other than those which can be controlled by the Sound Engineer at the Sound Board, cueing of each and every musician, as well as your cues, as a singer, throughout the arrangement of every song and medley. Other than yourself, your Musical Director is REALLY the MOST important person related to your performance as a singer, even if a particular gig doesn’t require his or her services. The man who served as the Musical Director for MY Show, based out of Atlanta, Georgia, has remained my years over the years, and he is STILL my all-time favorite PIANO PLAYER, ACCOMPANIST, and ARRANGER; he was and REMAINS an INCREDIBLE musician, orchestrator, arranger, and friend. This is NOT a position you should fill quickly or without MUCH thought and investigation; this position is a VITAL one to the success of your life AND your career.

·      Nasal: This is a term to describe a voice that is VERY forward, unfortunately sounding as if it comes, exclusively, from your nose.  As has been mentioned before, focusing your vocal placement in a high, forward position is the healthiest and, generally, the most pleasant sounding voice there is. However, a “Nasal” voice is TOO forward and focused. Your Vocal Placement should be more balanced to maintain a tonal sound, which is consistent and forward but still round, resonant, and clear.

·      Natural:  This is what’s called an “Accidental”, and in this case, a Natural Sign N, denotes the return of a note to its “Original” pitch from its previous pitch, which was either augmented by a Sharp, # , or diminished by a Flat, f .

·      Nodes:  A Vocal Node begins as a “thickening” on one or both of the Vocal Folds. Without the cessation of whatever is irritating the Vocal Folds, a harder callous will develop. Vocal Nodes are noncancerous BUT left un-treated or with continued abuse, the situation will get much worse. Nodes can be the result of over-fatigue, an infection, poor technique, or simply un-bridled vocal abuse.  The consequence of such challenges is swelling of the Vocal Folds, or more commonly, Vocal Cords. However, the Cords are not necessarily swollen in their entirety; particular areas on the Folds may receive more of the abuse than others, or a virus may settle in one side or Fold. The first symptom of vocal distress is hoarseness. We have all experienced hoarseness accompanying a cold or possibly after screaming at a football game. Wisdom dictates resting, warm liquids, and maybe honey. However, circumstances may seem to REQUIRE the singer to continue singing but when this happens, THAT’s when nodes can develop and more serious issues may advance.  Many years ago, I was having financial troubles and had a very serious personal relationship issue pressing on me. I took two different singing jobs, requiring me the perform SEVEN hours a day, SIX days a week, from 4 PM to 7 PM and then, 8 PM to Midnight. In those days, people still smoked in bars, so in addition to all the singing, cigarette smoke was drying out my throat, and when I got home, I still had personal problems to deal with. The combination of stress, fatigue, over-singing, and lack of sleep started taking a toll but I needed the money, and thought I HAD to keep doing what I was doing. I started going to my Ear, Nose, and Throat (ENT) doctor’s office, though he was out of town. The nurse would give me injections of Prednisone. In the beginning, the shots worked miraculously but soon the trauma overwhelmed those “miracles”, and I had to “force and push” to sing notes I had always taken for granted. Finally, my friend the nurse wouldn’t provide anymore “relief” and sent me to another ENT who diagnosed me with the pre-formed nodule on my right Vocal Fold. That had the IMMEDIATE effect of me quitting both my jobs, going home to visit my parents for homemade chicken soup, and seven, solid days of NO speech, no whispering, only writing on a toy called a “Magic Slate”. By the end of that week, when I went back to the new ENT, my nodule was gone but I had also learned a priceless, lifelong lesson. My voice, YOUR voice is a TREASURE! It is NOT to be taken for granted and not to be abused. Your Vocal Folds are essential to your body’s functioning but they are even more CRITICAL if you want to sing. Take care of your throat; there is NO substitution! If you EVER suspect you might have a real problem with your Vocal Folds or voice, you need to see an ENT and preferably one known to work with singers (check Google or look for members of ASHA, the American Speech-Language-Hearing Association). Simple hoarseness probably doesn’t require a trip to the ENT but frequent hoarseness or a constant sore throat definitely call for a visit. It is also wise to be proactive about vocal health and care. If you are intending to sing professionally or have booked a long-running vocal job or show, it is wise to research and locate an ENT near where you will be. For Actors’ Equity shows, the local Union office will, almost certainly, have a list of recommended doctors you can consult. Normally, vocal rest can alleviate immature “growths” but you absolutely never want to leave this to chance, as surgery is often required in more severe cases and, I don’t know about you, but I don’t want ANYONE using a knife/scalpel on MY Vocal Cords. Remember, your voice is your treasure, your priority, and you MUST treat it with respect and great care. 

Thanks so much for reading this Blog Post. I SO hope it has been valuable for you, and will prove to be an essential tool in your singing life. Please send me ANY further suggestions you have to enhance the Vocal Dictionary, any questions about current entries, and/or any mistakes you find or corrections you want to offer. If YOU have questions about my lessons or about me, check out my website at http://www.SingitForward.net.  I greatly appreciate each of you! Thanks again! Sing it Forward!