2014A Cappella Harmonv Academv Handout #2 Page 1. Sweet Adelines International Balance & Blend Joan Boutilier

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1 2014A Cappella Harmonv Academv Page 1 The Role of Balance within the Judging Categories Music: Part balance to enable delivery of complete, clear, balanced chords Balance in tempo choice and variation appropriateness Balance in integrity of rhythmic components and how they satisfactorily fill the time allotted to them Balance in terms of contrast of phrasing and dynamic plans Balance in terms of structural symmetry of arrangements and rhyme scheme Expression: Balance of pulse, rhythmic delivery, emphasis/no emphasis Contrast of dynamics that enhance lyrical delivery Dynamic flow and power and movement to climax Balance of moods conveyed Appropriate allotment of word sounds Showmanship: Natural, planned choreography that enhances (balances) the musical presentation Costuming and appearance that enhance (balance) the musical presentation The balance of all-out raw energy and artistic restraint Sound: Bass/lead match; baritone "fill"; tenor relation to lead and ratio of tenor "size" to bass Balance of vocal registers; our harmony relates to the natural cone of the human voice: resonators in chest, throat, mouth and sinuses-they get progressively smaller and lighter Matched resonating spaces and choices; coning of vocal range

2 2014A Cappella Harmony Academy Page 2 Barbershop Technique Singing barbershop harmony is an exciting experience indeed, and many thrills are in store for the singer as she explores the many facets of this unique form of music. She will experience the excitement of "ringing a chord," the feeling of accomplishment as each new song is learned and the challenge of learning to apply techniques which will help to perfect and polish the musical performance. Those whose musical experience includes participation in other vocal groups will find that barbershop harmony has several characteristics which make its sound distinctive... and in fact, different from the sounds experienced in those other vocal groups. Barbershop music is sung "a cappella." Instrumental accompaniment is used only on a rare occasion for variety or special effects. The melody in a barbershop arrangement is generally carried by the second voice part (lead) rather than the top voice as in most other forms of choral music. Barbershop arrangements are voiced in such a manner that complete chords are always present. The bass usually sings one of the strong components of each chord, which provides a firm foundation while emphasizing the "bassy" sound characteristic of a barbershop chorus or quartet. The treble clef is sung as written; the bass clef is sung an octave higher than written. This superimposes the bass clef onto the treble clef, and when it is played on the piano in this manner the notes are in proper position. Rhythm numbers are sung with a solid, swingy beat, occasionally punctuated and embellished by a swipe or chord progression which retards or breaks the rhythm of the song. The ballad, on the other hand, is usually NOT sung with a metered cadence, but generally sung with free-flowing phrasing which serves to accent the meaning of the words. While the inherent rhythm is never completely abandoned, the primary emphasis is on artistic delivery of the message of the song rather than strict adherence to written tempo.

3 2014 A Cappella Harmony Academy Page 3 The Tenor Voice with its distinctive qualities, lightness and almost bell-like clarity, has sufficient maturity of sound to complement the other voices. Lyric sopranos generally make good barbershop tenors. Since the tenor part is sung primarily above the lead (the natural harmony part sung high), the voice must be capable of singing high notes (e'-f") with consistent quality and control. Unlike the soprano voice, the barbershop tenor uses very little vibrato; any vibrato should be almost imperceptible. The lead Voice generally carries the melody line of the song, so she must sing with authority. Ideally the lead voice has clarity, brilliance, depth, maturity and a sense of "style" which will set her voice apart from others. She utilizes a sufficient amount of vibrato to add interest to the tone, but not so much as to distort chord accuracy. Since the lead sings in the same range as the baritone (G -c"), the quality of her voice will make the distinction. She sings primarily in the chest register but, for consistency, it is important that she be able to make the transition easily from chest to head register and that quality remain consistent. The lead voice should be capable of a wide range of expressive dynamics. The Bass Voice must also possess the ability to sing with authority, for it is she who puts a solid foundation on every single chord. The bass voice must have a mellow, melodic quality, but with sufficient weight to add the desirable bass timbre to the group sound. She must be capable of sufficient volume and projection on her lowest tones so that the firm foundation of the bass sound is not overshadowed by the other parts. The average bass range is C - f'. (Note: high school girls' range may be E-flat to g'.) The Baritone Voice is the important fourth tone of the chord and she must be the most flexible in vocal quality. She sings in the same range as the lead (G - c") but with less clarity; in most arrangements she sings in the lower portion of her range more frequently than in the upper. Though consistency of qu;;llity between head ;;Ind chest registers is desirable, it is less important here than in the lead voice for this transition to be made imperceptibly, for the baritone actually sings with two voices. When she is below the lead she sings with a depth of tone that fills the gap between bass and lead; when she is above the lead her quality becomes more tenor-like, so as not to overshadow the melody. Proper handling of the intricacies of the baritone part plays an important role in achieving the lock and ring characteristic of a barbershop sound.

4 2014 A Cappella Harmony Academy Page 4 BARBERSHOP SOUND OBLIGATIONS OF ALL FOUR PARTS: Since we sing in an ensemble devoted to creating a cone-shaped sound, we must understand our responsibilities in making and maintaining our special kind of a cappella music: Good vocal production is the key to everything! Breathing, alignment, support, and energy are fundamental to all singing. All singers must commit to singing the right notes, the right words, the right intervals, the right rhythms-every time. Every performance of a song needs a musical plan, and each singer must know and rehearse the plan, performing it with accuracy and precision consistently. Then every singer must sing with energy in the body, face, and voice, all in an effort to create a better quality sound. Some additional personal responsibilities we also have as part singers: Respect the singers of other parts. Understand that there is a discrete craft to singing each part. Be responsible for one's own voice, its care, production, quality and development Strive to give 1000/0 all the time When being coached, be unafraid to ask questions and stay open to suggestions. Remember that confusion is the beginning of knowledge. Have fun singing!

5 Basic Rules for CHORD TUNING [don't confuse scale intervals with chord spellings] 2014 A Cappella Harmony Academy Page S ROOTS OCTAVES 3RDS Minor 3rds 5THS FLATTED 7 TH MIDDLE OF NOTE AND STRONG CONED, OPEN, LIGHTER, general rule is 50% volume on the upper note HIGHER AND LIGHTER AND CONED Just a little lighter and do not raise it, Sing on the low side of it. It is the "flavor" of the chord STRONG AND OPEN, ESSENTIALL Y THE MIDDLE OF THE TONE FLATTED, HAS A STRONG FEEL TO IT especially when in CHOPSTIX position Major 7th These are challenging, and easier said than done. The root and the seventh are better tolerated if the octave apart voicing. Requires accuracy and stamina. SIXTHS "SOUND-ALIKE" VOICES [esp. when close to the fifth] The 6 th tone needs to be a bit on the high side, and gives the "flavor" NINTHS [sometimes a chopstick but different feel] IMPORTANT TO MATCH VOCAL QUALITIES, try more "blending" quality. Usually a tender feel, use your ear! In the inverted position, the ninth [actually the second] will need to be strong and usually will be moving to the root to resolve the tension. Augmented Diminished IDemented] The eleven chords used in BBS harmony Most of these are used in passing; they need to be sung on the high side as their name implies- augmented [increased in pitch] the other parts must hold steady Usually sung lower as the name implies... Major triad barbershop 7th major sixth Major seventh major ninth ninth Minor triad minor sixth minor seventh diminished triad augmented triad The Tuning Point... Page 6

6 PYTHAGOREAN TUNING 2014A Cappella Harmony Academy Page 6 A scale tone tuning method that helps you to stay in the key. The basic concept is to sing the 2 nd, 3 rd, 6 th and 7th tones and any sharps in the key signature slightly raised.... Compared to Equal Temperament Tuning, there is more or less "space" between some note intervals than others... COMPARISON OF SELECTED FREQUENCIES Scale tone A A#/Bb 8 C C#/Db D D#/Eb E F F#/Gb G G#/Ab A EQUAL-TEMPERAMENT PYTHAGOREAN SCALE SCALE Interval from Root LOG Freq Hz LOG Freq. HZ CENTS CENTS Unison Min Maj Min Maj Perf Aug 41 Dim / / / Perf Min MaJ Min Maj octave IF you want to delve deeper into the Pythagorean tuning concept, read on... The frequency value tells you how many vibrations per second to create any given pitch. Equal temperament tuning spaces 12 tones of the octave and EQUAL distance apart- the space from any tone to the next [half] step is always the same = 100 log cents. Pianos, keyboards and pitch pipes are tuned this way. This allows the instrument to be played in any key with relative accuracy but does not allow creation of the harmonic structure that locks and rings a barbershop chord. Pythagorean tuning requires that certain steps in the scale be raise or lowered to establish the harmonic structure which creates the overtones and ring of the barbershop chords we so love. Let's look at some of the tones on the chart. "do" [A) remains constant. Now look at E [fifth or 'so') Notice the difference in frequency between Equal Temperament and Pythagorean. [700 and 702) Not very much. Take a moment to find the notes that are higher; maj 2= B; maj 3=C#; maj 6=F#; maj 7=G#; Aug 4=D#. So that is why we sing the 2, the 3, the 6 and the i h and the raised 4th higher Okay- now find the notes that are lower; min 2=A#/Bb; min 3=Cnat; perf 4=D; min 6=Fnat; min 7=Gnat. So as a rule, anything lowered from the key signature is tuned lower. But as you know, we generally have a tendency to sing on the low side so we don't have to put much effort in herell There will be times, though, that you will experience the 'feel' of this.