Portugal Versus Bulgaria: To What Extent Do They Share Vocal Characteristics Focusing On The Songs Of Dulce Pontes And Pirin Vocal Music

3763 words - 16 pages

IntroductionAs a singer I am very interested in different vocal techniques, especially those found in world music. This was the great influence on the music I chose for this piece of research. I live in Portugal therefore it is inevitable that I came in contact with one singer in particular - Dulce Pontes. This singer is currently famous in Portugal for her strong and beautiful, soulful interpretation of Fado. Her singing has often been called a worthy successor of the great Amália Rodrigues. The study of world music also brought me into contact with Bulgarian vocal music. This genre has always captured my attention in an uncanny way due to its dissonant ambiguities, which sound so ...view middle of the document...

Chapter IV. This chapter comprises of any conclusions obtained from the discussion presented in the section prior to this one, and any possible suggestions for further in depth research in this area.Chapter I: Analysis of Vocal Techniques"As Sete Mulheres do Minho""As Sete Mulheres do Minho" begins with a legato introduction that moves into the chorus. The chorus is repeated and sung in synthesised scat singing. The piece moves on to demonstrating it is binary, section A repeats itself then gives place to section B - also repeated - which moves on o the repeated scat chorus. The melody maintains itself through out the piece but is slightly differently ornamented as to maintain interest in the piece. The third chorus for example ends on a sustained note. The fourth chorus is ornamented not only by the synthesiser but also harmonic voices. The whole song has a strong pentatonic feeling based around C. When harmonics are concerned the piece goes from the tonic - C - to the dominant - G. Throughout the song a strong close harmony can be heard, the song is acapella . The last section ends on the dominant in a codetta ."Achegate a mim Maruxa"The song begins with a synthesizer playing a D pedal. The voice begins on a high D then slides to an A achieving a call-like effect. No words are used during this introduction; the natural echo found on the recordings of the Bulgarian vocal music of Pirin is mimicked with the use of synthesizers in order to produce reverberation. The synthesizer, which creates a drone , sets the mood - this use of drone, as a mood-setter is very common in Bulgarian vocal music. It is sung a great majority of the time legato and rubato and like "As Sete Mulheres do Minho" it fits into the following structure; :|| AA BB Chorus ||: The first verses are based on a D minor, the melody line is sung in words and is ornamented by trills at the end of phrases, and mordents. The chorus that follows is solo scat singing harmonized by the use of a synthesizer. The melody at this point is more allegro and marcato . The second verses are harmonized versions of the first ones. The chorus that follows is the same as its predecessor except that it is sung in a two-part harmony. The third verses are sung just as the second. The final chorus is repeated but begins as the second does, however a syncopated rhythmic clapping is used on the repetition of it. The dynamics remain the same through out the entire piece. The piece ends with a synthesizer drone which merges in a pedal note D; it ends as it begins."Tirioni"The song begins with the chanting of 'Tirioni' with the beat of a shaker accompanying the solo vocal part. The guitar follows and repeats its simple phrase before the vocal part returns, this time with words and repeating the guitar's tune. Every verse or chorus is repeated. The chorus is as the introduction, the voice chants 'tirioni' this time accompanied by the guitar. This chorus is repeated and the last note sustained by the vocal part....

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