Catalonia PAU Choir and Vocal Technique (Cor i Tècnica Vocal II) key terms

A smooth, connected style of singing in which one note flows into the next without audible breaks. Achieved by sustaining breath pressure and moving vowels cleanly between pitches, it is the default touch for most choral lines.

A detached articulation in which each note is separated by a brief silence. In choir it depends on quick, coordinated abdominal recoil and clean onset, and must be unified so the whole section attacks and releases together.

The balanced management of breath pressure against the resistance of the vocal folds, felt mainly in the lower torso and rib cage. It stabilises pitch and dynamics without throat squeezing and underpins steady choral intonation.

The dome-shaped muscle separating chest from abdomen that drives inhalation. In singing it descends on inspiration and returns passively; singers coordinate it with intercostal and abdominal muscles rather than forcing it.

The amplification and colouring of the sung tone in the air-filled spaces of the throat, mouth and nasal cavity. Adjusting these spaces shapes vowel timbre and carrying power, and helps a choir blend without shouting.

The placement of the voice, meaning where the singer feels the tone resonating (mask, hard palate, chest). Consistent placement across a section produces a unified timbre and reduces individual voices standing out.

Italian term for breath supply and its sustained management over a phrase. Good fiato lets a singer carry a long line evenly and is a precondition for controlled messa di voce and reliable ensemble tuning.

The onset of a note. A coordinated or balanced attack starts tone without glottal shock; a hard attack (coup de glotte) is used sparingly, while an aspirated attack wastes air. Choirs rehearse attacks for precision.

The process of aligning vowel shape, tongue position and lip rounding across singers so that a chord sounds as one colour. It is central to blend and is usually drilled on sustained chords and on moving passages.

The perceived fusion of individual voices into a single choral sound, achieved through matched vowels, balanced dynamics, similar vibrato and consistent tone colour. Blend is a means, not an end: it should serve the music's character.

The relative loudness of voice parts and of individual singers within them. Choral balance follows the score's texture: melody forward, accompaniment subordinate, inner parts audible but not protruding, with adjustments for doubling and tessitura.

The prevailing range in which a part lies, as distinct from its absolute highest and lowest notes. Knowing tessitura helps conductors plan stamina, seating and transposition, and explains why a part may tire even within its range.

A series of pitches produced with a characteristic vocal-fold adjustment, such as chest (modal) and falsetto/head register. Smooth transitions between registers, without a break, are trained through messa di voce and slurs.

A controlled swell from soft to loud and back to soft on a single sustained note, without change of pitch or tone quality. It trains dynamic control and breath management and is a classic diagnostic exercise.

Accuracy of pitch, both melodic (singing the right notes) and harmonic (tuning intervals and chords within the ensemble). Choral intonation depends on breath support, vowel agreement, listening and careful balance of the chord.

A tuning system that adjusts pure intervals to fit a fixed scale. Choirs sing unaccompanied music by ear, tending toward pure intervals: thirds and sixths are narrowed or widened relative to equal temperament to sound in tune.

A chord tuned so that its intervals beat minimally, usually by lowering major thirds slightly and raising minor thirds in just intonation. Working from the bass and the fifth upward helps a choir settle such chords.

The habit of listening outward to other parts while singing, rather than monitoring only one's own voice. It underpins tuning, balance and rhythmic coordination, and is trained by part-work, quartets and staggered entries.

One or more notes preceding the first strong beat of a phrase or section (an upbeat). Conductors show it with a preparatory gesture; singers must breathe and articulate it so the downbeat lands together.

The regular grouping of beats indicated by the time signature. Recognising metre helps singers place accents, breathe at phrase boundaries and follow the conductor's pattern instead of guessing from the accompaniment.

The conductor's manual language: beat patterns, preparatory beats, cues, cut-offs and expressive gestures. A clear, economical gesture conveys tempo, dynamics and character, and reduces verbal explanation in rehearsal.

A rehearsal in which the conductor works from the full score, hearing inner parts and accompaniment. It supports accurate cueing, harmonic diagnosis and informed decisions about balance and tempo.

The study of a work's structure: phrases, periods, sections, key scheme and texture. It guides rehearsal planning, informs breathing points and helps singers shape a piece rather than reading notes bar by bar.

The shaping of a musical phrase through dynamics, agogics, articulation and breath placement. Good phrasing gives a line direction and climax, and should follow both the text's sense and the harmonic rhythm.

How voices are combined: monophonic, homophonic (chordal), polyphonic (imitative or contrapuntal), or antiphonal. Texture determines balance priorities, rehearsal method and how clearly the text will be heard.

The combination of independent melodic lines sounding together, often imitative. In choral polyphony each voice must be rhythmically self-reliant and textually clear while still tuning to the whole ensemble.

A polyphonic choral composition, typically sacred and unaccompanied, with a Latin text in the Renaissance and often a biblical or liturgical text in later periods. Its imitative texture demands independent part-singing.

A secular part-song, especially Italian in the sixteenth century, setting a short poem with vivid word-painting and expressive harmony. It is a key genre for studying text-music relationships in Renaissance repertoire.

A hymn tune, notably in Lutheran tradition, often set in four-part homophonic style with the melody in the soprano. Chorale settings are standard material for studying harmony, voice-leading and hymn-style singing.

A large-scale sacred dramatic work for soloists, chorus and orchestra, performed without staging. Its choruses range from narrative and contemplative to dramatic, and require varied tone colours and stamina.

The planning of a concert or season: repertoire selection, difficulty progression, duration, thematic coherence, forces required and audience context. Balanced programmes mix periods, textures and demands on the choir's voice.

The preparatory routine before singing that gradually raises breath flow, gently stretches the articulators and tunes the ear. It should progress from easy humming and glides to full-range, text-specific work.

A vocal exercise sung on vowels or syllables to develop technique, range, flexibility or blend. In choir, vocalisations are chosen to address a specific need in the repertoire being rehearsed.

Daily habits that protect the voice: hydration, adequate sleep, avoiding shouting and smoky environments, and warming up before demanding use. It reduces the risk of strain and supports consistent choral attendance and performance.

A small benign callus on the vocal folds caused by repeated vocal strain or misuse, producing hoarseness and reduced range. Singers should seek a laryngologist's assessment rather than pushing through persistent symptoms.

Any difficulty or alteration in voice production, such as hoarseness, weakness or loss of range. In a choir context it should be reported early; resting the voice and medical advice are preferable to singing through it.

Clear and intelligible pronunciation of text in singing, combining accurate consonants, correct vowel sounds and natural stress. Good diction projects meaning without forcing volume and must be coordinated across the ensemble.