LEAD SECTIONAL Common Lead Traps Your vowel doesn t automatically win Lead, but don t drag Don t cue twice Know your skill level: own what you need to work on, own what you do well Just because you re the lead doesn t make you automatically right If you give a signal and they don t follow, its THEIR fault Accept blame for a cue you didn t give, but don t accept blame for a cue they didn t follow Sound Correct notes and words every single time Accurate intervals speed, same accents, same stretches, same dynamics, quality of voice don t stretch things, create Clarity of sound your voice must be balanced of space and ring, and fluid throughout entire range and every vowel and consonant. Music Know everyone else s part to a certain degree, especially swipes, moves, held notes, chord resolutions Know the key of the song Consistency - Ability to sing the same thing every single time same flow, same speed, same accents, same stretches, same dynamics, quality of voice Tempo it s really the bass s job Expression Accurate sense of plan basic to complex Ability to craft a simple and successful plan, leave the interp for coaches --To create a successful musical plan, a Lead must have a good feel for the melody and the lyrics, but understand that the most impactful, interpretive plans are often simple, successful for every singer every time, and reply on more than interesting breaths, fermatas and dynamics to create drama. speed, same accents, same stretches, same dynamics, quality of voice Accept blame for a cue you didn t give, but don t accept blame for a cue they didn t follow
Showmanship speed, same accents, same stretches, same dynamics, quality of voice Physically and facially comfortable on stage people look at your first, so you must look confident own the stage -- Owning the Stage a term often used, often strived for, but rarely seen. Owning the stage refers to a person s confidence while performing. It cannot be faked or pretended, or tried for. Its feeling comfortable in our skills, our choices, and our talents at the present time, understanding it s all a work in progress and it doesn t need to be perfect it needs to be authentically where you are, with just enough of a degree of difficulty undertaken that we are learning new skills. Confidence freedom risk. Be yourselves on the stage regardless of your skill, not trying to be someone else, that s owning the stage.
Sing Your Part Smart - Baritone Anne Downton Region 34 August 2018 The Basics Sing Your Part Smart - Baritone Where you are in relation to other parts? How do you glue your lead and bass together? Find your octaves, rubs Mark your p-theory notes always know your relationship to do! We make it barbershop! Baritone vs. alto Embellishments! Why Baritones Need More Credit We are ¼ of the unit! Singing music, instead of baritones notes we are the REAL melody! Be prepared to not sound pretty The art of coning quality vs. full voice To listen or not to listen Know when to come out of the blend Your relationship to other 3 parts The perfect mix of left and right brain all the technique of left brain, with the illusion of right brained performance BARITONES ROCK!!!
Sing Your Part Smart - BASS Region 34 - August 2018 Judy Pozsgay Germany 2017 SING YOUR PART SMART - BASS Characteristics of a Great Bass Is a good singer. Period. Sings freely not making bass. Works on extending upper range as well as lower range. Exhibits both vocal and visual presence. Possesses good sense of tempo and rhythm. Sings with melodic authority. Sings accurate notes and observes tuning. Sings with lyric clarity. Sings with awareness of her relationship to other parts and to doh. Continues to develop basic vocal production skills: breathing & posture. Performance is energized. Sings with quality in all parts of the bass range. Sings with emotion and character of the song. We know it s ALL ABOUT THE BASS!! BASS BASICS The Well- Balanced Bass Bass is the foundation of the barbershop sound. In relation to the other 3 parts, the bass is sung a little louder and is predominant in the chord. Within the bass line itself, the higher notes in the vocal line are perceived as not as loud, and lower notes are loudest. When singing higher in the bass range, goal is to lighten up; conversely to sing fuller when lower in the range. Be aware of what your vocal line is doing. Even if don t read music, you can see when the notes go up and down. Be attentive to the dynamic plan and remember that the bass doesn t get as soft as the other parts. Be the foundation - provide a consistent, well-supported tone flow. 1
Sing Your Part Smart - BASS Judy Pozsgay Region Germany 34 2017 - August 2018 The Well Blended Bass A/ Relaxed and freely produced sound throughout range. In the cone, need to have more bass sound always than the other 3 parts, however the achievement of more bass is desired by freely produced notes in all parts of the bass range. Ensure there is no press or cramming when trying to be louder or more foundational. Typically happens in the mid-range, when trying to use full chest voice in the higher area of the bass range. To avoid cramming or muscling the sound, ease up and breathe for the highest notes. Be aware of larynx and provide lifted singing space when needed. Continue to incorporate the use of head tone while in the mixed range. Resist choices of forced low notes. Aim for free, relaxed low notes. B / Resonance Aim to maximize the resonating spaces to create rich, full, consistent sound. Breathe with dimension to set the space. Add space & support for higher tones; space still needed for lower tones but not as much as the higher tones. No dumping! Maintain singing space while descending. Sing with a space that can be shared. C/ Focus Sing as you speak. Focus sound behind the teeth. Maintain the forward placement not swallowed as descend. Aim for consistency in the placement of the sound in the mouth and avoid sound rocking back and forth. 2