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VOICE PARTS EXPLAINED
& OTHER ARTICLES
Barbershop Harmony -- A Brief
Definition:
Barbershop harmony is a style
of unaccompanied vocal music characterized by consonant
four-part chords for every melody note. The voice parts are
tenor, lead, baritone, and bass. The melody is consistently
sung in the second voice down, the lead (2nd
tenor). The tenor harmonizes above the melody, the bass
singing primarily roots and fifths, and the baritone
completing the chord either above or below the melody.
Barbershop interpretive style permits relatively wide
liberties in the treatment of note values, staying within
proper musical form, and uses changes in tempo and volume to
create a mood more effectively and tell a story
artistically. The use of similar word sounds in good quality
and optimum volume relationships of each voice part further
enhances the sensation of consonance by mutual reinforcement
of harmonics (overtones) to produce the unique full or
“expanded” sound that is characteristic of barbershop
harmony.
 Boys
Voicings:
Barbershop is close harmony a cappella. If the music
notation were written as sung the notes would all be close
to each other an mostly in the bass clef. To make it easier
to read and keep the notes apart the notes in the treble
clef are written an octave higher than sung. So in men’s
barbershop harmony arrangements
sing the treble clef notes as written; sing
the bass clef notes one octave higher than written.
The voice parts in barbershop harmony for men
have different names and functions than they do in other
TTBB vocal styles. Men’s barbershop harmony is arranged TTBB.
1st Tenor, 2nd Tenor, Baritone, Bass. The second tenor is
the lead voice, who generally sings the melody, which is
below the tenor harmony. The tenor part sings the highest
note in the chord, a harmony above the melody of lead voice.
The lead part sings the melody, the baritone part fills in
the all-important missing note in a chord that may be above
and below the melody and the bass part supplies the harmonic
foundation (root or fifth) of the chord.
Tenor
is a harmony part sung consistently above the lead. Tenor is
the highest voice in barbershop harmony. The tenor should
have a light, sweet, pure tone that will compliment but not
overpower or overshadow the lead voice. Strong falsetto
singers make good tenors. The range for adolescent young men
is from D-flat below middle C to B-flat or C above middle C.
Lead is the
melody and must be sung with authority, clarity, and with
consistent quality throughout his range. The lead sings with
just enough if any vibrato to add color and warmth to the
sound while not loosing the tonal center of the note. With
too much use of vibrato the chord will not “lock” or “ring”
or create the sensation of consonance by mutual
reinforcement of harmonics (overtones) to produce the unique
full or “expanded” sound that is characteristic of
barbershop harmony. The lead is responsible for conveying
the interpretation, emotion, and inflections of the song.
The other three parts literally “follow his lead” in
delivery of dynamics and tempo, and support his inflection,
artistry, and finesse. Some lead jest in saying, “It is
their song and the other parts are there by invitation only.
Just follow me and make me sound better!” The range for
adolescent young men is from D or E-flat below middle C to F
above middle C.
Baritone covers
approximately the same range as lead. The baritone harmony
notes cross the lead notes; sometimes sung below and
sometimes above, depending on where the melody is situated.
Baritones must constantly adjust their balance to
accommodate their position in the chord. They have to have
good ear tuning to balance the chord in both pitch and
volume. When singing below the lead, he uses a rich, full
sound that helps solidify the relationship between lead and
bass. When above the lead he uses a lighter production,
similar to that used by the tenor. The baritone sings a
relatively straight, well-produced tone with a minimum if
any vibrato. The range for adolescent young men range is
from B or C below middle C to E above middle C.
Bass singers should
have a rich, mellow voice and generally sings the root and
fifth of each chord. The lead and bass work together as a
team to establish a strong and accurate relationship. The
bass sings a relatively straight, well-produced tone with a
minimum if any vibrato. The range the adolescent young men
is from F or G-flat 2 octaves below
middle C to middle C.
Ranges for Male Barbershop
Voice Parts
Tenor-
D-flat below
middle C to B-flat or high C above middle C(strong
falsetto singers)
Lead- D or E-flat below middle C to F above middle C
(melody)
Baritone- B or C below middle C to E above middle C
(singers with good ears)
Bass- low F or G to about middle C
 Girls
Voicings:
Barbershop is close harmony a cappella. If
the music notation were written as sung the notes would all
be close to each other an mostly in the treble clef. To make
it easier to read and keep the notes apart the notes in the
bass clef are written an octave lower than sung. So in
women’s barbershop harmony arrangements
sing the treble clef notes as written; sing
the bass clef notes one octave higher than written.
The voice parts in barbershop harmony for
women have different names and functions than they do in
other SSAA vocal styles. Women’s barbershop harmony is
arranged TTBB. 1st Tenor, 2nd Tenor,
Baritone, Bass. The second tenor is the lead voice, who
generally sings the melody, which is below the tenor
harmony. The tenor part sings the highest note in the chord,
a harmony above the melody of lead voice. The lead part
sings the melody, the baritone part fills in the
all-important missing note in a chord that may be above and
below the melody and the bass part supplies the harmonic
foundation (root or fifth) of the chord.
Tenor
is a harmony part sung consistently above the lead. Although
tenor is the highest voice in barbershop harmony, it should
not be confused with soprano melodic line of conventional
singing groups. In range it is equivalent to a Soprano I.
The tenor should have a light, sweet, pure tone that will
compliment but not overpower or overshadow the lead voice.
Lyric sopranos generally make good tenors. The coloratura,
dramatic or mezzo soprano must be able to lighten the voice
quality and remove excessive if not all vibrato in order to
fulfill the requirements of this voice part. The range for
young women is from G above middle C to high F on the top
line of the clef. For adults the range can be from C
above middle C to high A.
Lead
is the melody and must be sung with authority, clarity, and
with consistent quality throughout her range. The lead sings
with just enough limited vibrato to add color and warmth to
the sound while not loosing the tonal center of the note.
With too much use of vibrato the chord will not “lock” or
“ring” or create the sensation
of consonance by mutual reinforcement of harmonics
(overtones) to produce the unique full or “expanded” sound
that is characteristic of barbershop harmony.
The lead is
responsible for conveying the interpretation, emotion, and
inflections of the song. The other three parts literally
“follow her lead” in delivery of dynamics and tempo, and
support her inflection, artistry, and finesse. Some lead
jest in saying, “It is their song and the other parts are
there by invitation only. Just follow me and make me sound
better!” The range is equivalent to a soprano II, for young
women is from middle C, and D above middle C. For
adults from D above middle C to high F on the top line of
the clef.
Baritone
covers approximately the same range as lead. The baritone
harmony notes cross the lead notes; sometimes sung below and
sometimes above, depending on where the melody is situated.
The voice part is equivalent to Alto I. Baritones must
constantly adjust their balance to accommodate their
position in the chord. They have to have good ear tuning to
balance the chord in both pitch and volume. When singing
below the lead, she uses a rich, full sound that helps
solidify the relationship between lead and bass. When above
the lead she uses a lighter production, similar to that used
by the tenor. The baritone sings a relatively straight,
well-produced tone with a minimum if any vibrato. The range
is from A below middle C to C above middle C.
Bass
singers should have a rich, mellow voice and generally sings
the root and fifth of each chord. The lead and bass work
together as a team to establish a strong and accurate
relationship. The bass sings a relatively straight,
well-produced tone with a minimum of vibrato. The range is
comparable to that of a contralto or Alto II in traditional
choral music. For young women the range is from E below
middle C to G above middle C. For adults from G below
middle C to C above middle C.
Barbershop music, with its close,
unaccompanied four-part harmonies and ringing chords, is a
uniquely American folk art. It evolved in much the same way as
other forms of vocal music. Although no one can say exactly when
or where barbershop music began, the growth of the tradition was
certainly aided between the 1860s and 1920s by the types of
songs popular at the time - songs characterized by sentimental
lyrics and uncomplicated melodies that could be harmonized with
a variety of four-part chords.
In the early years of American barbershop music, singers
improvised harmonies. When the printing press was adapted to
produce musical notation, there was further advancement of the
barbershop idiom. Many early pieces of sheet music were printed
with standard vocal line and piano accompaniment, and with an
additional quartet arrangement on the final page.
At the turn of the century amateur singers, usually men, could
often be heard singing improvised barbershop harmony at parties
and picnics. Minstrel shows also featured barbershop quartets,
who sang in front of the curtain as an "olio" act while
performers and stage hands prepared for the next act. It was
convenient to use a quartet for this purpose, since no props or
instruments were required.
Barbershop harmony's four voice parts are still called by their
traditional names - tenor, lead, baritone and bass - whether
referring to men's or women's vocal groups. One of the
distinctive qualities of barbershop harmony is that the melody,
sung by the lead voice, is below the tenor harmony. This follows
the pattern of many early American
hymns
written for men and women, with the melody in the male tenor
voice and the women singing harmony above. The barbershop
harmony of today is a highly stylized art form requiring the
same high degree of singing skill as other types of choral
music.
As the popularity of barbershop harmony has grown, so has the
type of participation. Barbershop singing is no longer
restricted to male quartets; there are many women's quartets,
and both men's and women's choruses now enjoy this unique art
form. Choruses ranging in size from 15 to 150 or more members
have found this singing style a challenging and exciting musical
experience.
1.
It has four parts - no more, no less.
2.
It has melodies that are easily remembered.
3.
Barbershop harmonic structure is characterized by:
o
a strong bass line
o
melody in an internal part
o
complete chords without any non-chord tones
o
mostly major triads, dominant 7th chords and dominant 9th chords
with other chords used in passing as demanded by the implied
harmony
o
traditional harmonic movement and resolutions
4.
It has rhythmic interest as an important and vital part of an
uptune.
5.
It has clear, recognizable form.
6.
It has lyrics that are clear and understandable.
7.
It is challenging to perform because:
o
it requires great vocal skill and is usually sung by amateur
singers
o
all chords must be heard with clarity requiring singers to sing
precise intervals
8.
Properly tuned barbershop chords are congruent with the physics
of sound.
9.
Energy and physical involvement are required from the singer in
a degree of intensity not usually found in other choral forms.
10.
The artistic potential is unlimited since we are not bound by
the printed page.
11.
It is emotionally satisfying to both the listener and the
performer.
12.
You can't do it alone.
Lock and Ring:
The ultimate barbershop sound. To achieve it requires excellence
in all phases of singing -- a good musical arrangement, good
vocal technique, well balanced and blended voices and accuracy
of intonation. In combination, these qualities can create an
audible overtone that sends a chill up the spine of singers and
listeners alike.
Mass Sing:
A Sweet Adelines tradition. This is a public event integrated
into the business of a convention. Everyone in attendance is
invited to gather in a public place and present listeners with a
sample of barbershop harmony. It is often used as a way to thank
the city hosting the gathering.
Pitch Pipe:
A chromatic scaled instrument which is blown to establish a
pitch or key tone. The one most generally used by a cappella
singers is small and round, containing 13 pitches.
A cappella:
Choral music without instrumental accompaniment. Cappella
(Italian) chapel; a cappella in the manner of the chapel.
Woodshedding:
An impromptu gathering of singers who improvise the harmony of a
song by ear. This is the very heart of barbershop singing and is
the essence of barbershop's heritage.
Tag:
The final portion of a barbershop arrangement, usually
containing very interesting chord progressions that are fun to
sing. Tags may be sung separately from the song and are often
used both by quartets and choruses for the purpose of practicing
to achieve complete chord excellence. Many barbershoppers may
not remember entire songs, but many will memorize hundreds of
tags.
 How
to Use a Pitch Pipe
First:
Know what key the song is in.:
Look at the key signature for the presence
of sharps and flats. When there are no sharps and flats in
the key signature you are in the key of C. You blow the C on
the pitch pipe.
Note: b = flat symbol and # = sharp symbol
Flats:
1b = F major. 2b = Bb major 3b =
Eb major 4b = Ab major
5b = Db major 6b = Gb
major 7b = Cb major
A good guide to follow is to look from
right to left and count back to the second flat in the key
signature. Or the second to last flat when going left to
right. With 5 Flats, the second flat from right to left is on
the D line, the key is Db major.
Sharps:
1# = G major 2# = D major 3# = A major
4 # = E major
5# = B major 6# = F# major 7# = C# major
A good guide is to look at the last sharp
to the right and what note that sharp is lying on. Now go up
a half tone and you have found the key the song is in. For
example, with 3 # the last sharp is on the G space, making it
G#, go up a half tone and you are on A, the key is A major.
Second:
Tuning the key signature chord:
Blow the correct pitch of the key
signature. For this example lets use C major. Blow the C, or
key note or tonic note, this will be the Do of the key. Give
it a solid steady blow without fluctuating the air volume or
pressure. Blow a nice steady note for about 2 seconds.
Third:
All four parts sing the starting vowel
sound of the song on this pitch.
Fourth:
Now you will split the chord out “Taking
pitch” To establish tonality or the tonal center the key
note is sounded by the pitch pipe. Then each part sings a
prescribed note of the tonic chord. The major chord is
spread to the tenth interval using “do-sol-do-mi”
The Lead sings the tonic or tonal pitch.
“do” In C major “C”
Bass matches the leads an octave lower.
“do” In C major “C”
Baritone sings the perfect fifth of the
scale between the lead and bass. “sol” In C major “G”
Tenor sings the major third above the
lead. “mi” In C major “E”
Often the first vowel of the song is used.
Fifth:
Many choral directors then have the
singers move to the first chord of the song. Otherwise you
have to know where your note is relative to the tune up note
in the chord.
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