Barbershop Quartets – Then and Now
August 28, 2009
If you were to ask any man or woman on the street what a “barbershop quartet” is, you’d very likely get a description that goes something like this: “Well, there are four guys singing together in harmony. They don’t have any instruments to sing along with. They usually wear a striped coat and white pants and white shoes, sometimes with a straw hat. They sing really old-fashioned songs about their mothers, their buddies, or their sweet gal.”
Is that what you imagine too? I’m not surprised. After all, it is the image portrayed so frequently in the movies and television. This image represents a specific slice of Americana, a truly unique American art form that began nearly 100 years ago.
But all things change, and so has the barbershop quartet. First of all, it’s not just for men anymore. Both men and women enjoy singing in barbershop quartets. Usually a quartet will have either all men or all women, just because it’s easier that way to make their voices match and blend in good harmony.
Today’s barbershop quartet enjoys a wider breadth of music to sing than did our predecessors back at the turn of the 20th century. After all, time passes, new music is written, and the catalog of available songs grows and grows.
Quartets today have moved past pinstripes suits, too. You’ll now see all styles of contemporary performance apparel, or “costumes” as we say. Quartets are in tune with their audiences, and we are very careful to tailor our costumes appropriately to match the dress code of the event.
The image of four straight-laced guys singing about dear old mom has loosened up a little. We maintain our professionalism, of course, but we also have a lot of fun singing songs that engage and entertain today’s audience. We love having a good laugh between songs, and just being ourselves during our performances. The connection between the audience and the performer is palpable as we eliminate any barrier that might be introduced by that old-fashioned prim and proper image.
While all these changes bring barbershop quartets up to date, we are still true to the art form. We still follow the structural rules for barbershop music (yes, there are rules! Learn more about that in an upcoming article). We still sing about our former, current and prospective loves. And the singing itself is now better than ever, in terms of vocal technique, emotional connection, and showmanship.
Maybe the best change of all from 100 years ago is that barbershop music is now more popular and more accessible than ever before. All across America there are local chapters of the Barbershop Harmony Society (for men) and Sweet Adelines International (for women). There are other organizations as well, including Harmony, Inc. in the US, and an impressive list of organizations in the United Kingdom and around the world. (A quick google search will yield a lot of options.) This wealth of opportunity means that anyone who likes to sing can very easily find a barbershop chorus or quartet to sing with, and a prospective audience can very easily find an entertainer to hire!
We’d love to hear from you about your impressions of barbershop music. Was it what you expected?
You might also like:
A Very Basic Intro to Barbershop
Side Benefits of Quartet Singing
August 20, 2009
Sometimes in the course of daily events, little things happen that make me want to stop and ponder for a moment, to count my blessings in life…
I was lucky enough to have an opportunity the other day to sing with five other HCMC women in a small group performance. We are forming an impromptu performance group for a private “Fall Fest” talent show next month. So the other day we gathered to go over a couple of songs and to give our audition for the festival committee.
Now, in this small group of women we have four singers who have performed in other small groups or quartets for many years, and we have two singers who have not. In fact, I think these two ladies have never performed in any group other than our very large, wonderful HCMC chorus setting. But both ladies did a great job in this group! Only in speaking with each of them afterward did I realize that they both had been nervous or unsure of their ability to do well in this performace, to one degree or another. So I was very happy for each of them that they overcame their personal worries, stepped into this new setting and really shined.
There was a day not too long ago when I would have been nervous in the same setting. And really, who wouldn’t be at first? But singing with Lustre these last four years has been a great blessing. It has given me so much more than the simple joy of singing – it has been a fantastic personal growth experience, too, in many dimensions. Overcoming personal doubts and gaining self confidence has been a real benefit of quartet singing.
I am really pleased to learn today that one of these “newbie” singers is looking into the possibility of forming a quartet. I hope she finds three like-minded ladies to sing with, and that their experience is just as wonderful as mine has been with Lustre.
Sweet Adelines International is a wonderful organization providing music, learning, fun, and growth all wrapped up with the joy of singing. Interested? Visit the SAI website to find a chapter near you.
A Very Basic Intro to Barbershop
August 16, 2009
So, what is this music called “barbershop”, anyway? We could not possibly provide a comprehensive description in this limited space – there’s just so much to be said! – but here is perhaps the most basic introduction to the barbershop style that you can find. Let’s take it one concept at a time.
Barbershop music is sung a cappella. That is, there are no accompanying instruments – the singers simply listen to a starting pitch and go from there with just their voices. Singers depend on their ability to hear and sing accurate intervals (to go from one note to the next with accuracy) in order to keep the song in tune and in harmony.
Barbershop music is sung in four-part harmony. There are four voices in the barbershop style, and together they sing four notes in a music chord:
- The melody of the song is sung by the Lead voice.
- The Tenor voice sings the harmony part higher than the melody.
- The Bass voice sings the lowest notes in the chord.
- The Baritone voice sings those notes which are needed to fill out the chord. Sometimes the Baritone sings higher than the Lead, but usually sings lower than the Lead.
The names of the voice parts (Tenor, Lead, Baritone and Bass) are taken from the men’s choral voice ranges. Even when women sing barbershop, we still call the voice parts Tenor, Lead, Baritone and Bass, rather than using the more common choral voice names of Soprano or Alto.
Barbershop music has a certain musical structure. In order to be considered true barbershop, the musical arrangement must adhere to certain rules and guidelines. Without getting too deep into music theory technicalities, here’s a very simplified summary:
- The lyrics are understandable.
- The melodies are easily singable and recognizable, and you can easily hear what key the song is in.
- The harmonies and chords used in the song’s arrangement come from a specifically defined list of options. Chords that are not on the list are used sparingly, if at all.
Perhaps it is this last bullet that makes a barbershop arrangement so distinctive. Modern Western music has evolved into some very elaborate harmonic structures. Many chords found in pop, jazz, blues, or other modern styles of Western music are not included in the barbershop style, so when we hear barbershop, we can recognize it as being unique. This limitation on chords has a very good reason, and that is that…
Barbershop music contains “ringing chords.” In fact, this could be called the defining characteristic of barbershop. When a chord “rings”, it produces a specific acoustical effect called an “overtone”. If the four voices sing with proper vocal technique, properly tuned, on the right combination of notes (i.e., the right chord), then the frequencies and harmonics in their sounds combine to create an overtone, which sounds (somewhat magically) like a fifth note being sung. At the same time, the four voices combine into one blended, unified sound. The result is a musical sound that is incredibly exciting and pleasing to the ear, both for the singer and the listener.
It all boils down to the Ringing Chord. The goal of barbershop singers is to create this ringing sound as much as possible – to ring as many chords as possible. That’s why we rehearse, take vocal training, hire coaches, and attend workshops to learn how to sing with this vocal quality. That’s why barbershop arrangements only use a limited set of chords – because only those certain chords can combine to create that ringing sound. That’s why barbershop is sung a cappella – to eliminate any sound frequencies that might ruin the vocal effects of the ringing sound.
Barbershop is so much more! I wish we had space to more fully describe the origins and traditions of barbershop, the ways that barbershop is different from other a cappella styles, the ways that the voice parts differ from choral music, the science of the overtone effect, the music theory behind the barbershop arrangement, and so on… there’s just so much! Maybe we can cover some of that info in later articles. In the meantime, if you are interested in learning more, we encourage you to check out the resources below. Or better yet, hire a barbershop performance group, or attend a barbershop show, contest or educational event. You’ll be glad you did! We’ll see you there!
- Sweet Adelines International website
- Barbershop Harmony Society website
- Wikipedia pages about barbershop
Max Q’s Newest CD: Journey – a review
August 14, 2009
Here’s a review of “Journey”, the newest release from the 2007 International Championship quartet, Max Q. (Disclaimer – the opinions expressed here don’t reflect the views of all members of Lustre, just me and my opinionated self. 
). I got a chance to buy this new CD from Tony DeRosa (Lead in Max Q) when he was in town to coach HCMC and Lustre earlier this month, and it’s been pretty much all I’ve listened to since then.
My first impression of the CD, from the very first note on the very first track, was “Wow! These guys are clean!” The vocal quality and consistency, the synchronization, the musical delivery – everything about every track is just pristine, dare I say flawless. Since they’ve not really given any opportunity to pick apart their technique, maybe I’ll just talk about the songs themselves.
My very favorite song on the CD is the haunting, beautiful (non-barbershop) version of “The Windmills of Your Mind.” Oh. My. Gosh. Now that is one finely sung piece! This song has been playing in my head for over a week, nearly every waking moment (and sometimes while I’m sleeping too). “Like a circle in a spiral, like a wheel within a wheel, never ending or beginning…” The song itself is a masterful composition, and the way Max Q delivers this arrangement is just, well, stunning.
Two tracks stand out as particularly fine barbershop uptunes: “Put Your Arms Around Me Honey / Them Girls Medley,” and “Somebody Loves Me.” I especially like the way both of these songs feature a slow accelerando – the rhythmic melody that starts out very slowly, then like a locomotive gaining speed, revs up to a driving and exciting high-tempo climax.
The quartet shows off their jazzier side with the syncopated rhythms and fun interpretations in “Steppin’ Out With My Baby,” “Royal Garden Blues,” and “Rhythm Medley.” They cover a fairly straightforward barbershop version of the John Denver hit “Take Me Home, Country Roads.” I kind of wonder why this song is included on the CD – it seems like a “filler” song to me.
Turning to the ballads, my favorite on this CD is “I Heard You Singing” – it’s got many lovely passages tucked into the arrangement, and the melody moves around all four parts, giving each singer a chance to shine. Also featured is “Somewhere,” from the musical “The West Side Story.” While there’s technically nothing wrong with this track, I get a little distracted by the original verse that starts the song, and I find myself wishing that the arrangement was a little less “barbershoppy.” The third ballad, “Little Pal,” is well sung, but the lyrics are a little over the top for my personal tastes.
The last track on the CD is a fun, snappy version of “Don’t Rain on My Parade.” I love the message, I love the arrangement, I love the way it’s delivered. It’s one of the two songs on this CD that you’ll not find in the barbershop purist’s song book, but it’s so well done! If you see Tony, ask him how long it took for them to learn the song well enough to record it – the answer may surprise you! (or maybe not, given how talented these men are – here’s a hint: you can count the hours on one hand!)
All in all, a great CD, lots of great music – go get it for your own collection here.
Already heard the CD and want to share your opinion? I’d love to hear what you think! Leave us a comment below to give your review.
Lustre Judges National Anthem Contest
August 13, 2009
Event Date: September 11, 2009 – 6pm to 7:30pm
Last September, Lustre had the great pleasure to sing the National Anthem at WPOC’s Sunday in the Country . As the winners from last years contest, we have been asked to judge the contest this year.
Come on out and watch the competitors as they sing one song of their choosing and the National Anthem. (No promises…but last year they handed out free concert tickets while we were there!)
Interested in the opportunity to kick off this years Sunday in the Country? Go to www.wpoc.com. You’ll find all the details for the contest are here. Hurry – video submissions are due by August 28th.
Or if you just want to be entertained – be sure to stop by and say hi if you’re in the area – and sing a tag with us! We’d love to see you!
Annapolis Subaru
149 Solomons Island Rd
Annapolis MD
Ambassadors of Harmony – Pretty darned amazing!
August 11, 2009
Last month, the men’s international barbershop competition for the Barbershop Harmony Society was held in Anaheim, CA. The winning chorus performed a nearly-perfect show, and we still can’t believe it! Check out this fantastically entertaining performance by the Ambassadors of Harmony. Representing the barbershop style with a performance like this, their chorus name surely suits them well.
About “I Look At You”
August 9, 2009
We have lately been working on a new song: ”I Look At You”, as recorded by Johnny Mathis in 1958 on his album “Certain Smile”. The song was later re-released on two different “greatest hits” compilation albums in 1958 and in 1994. This lovely, haunting ballad about “love that might never be” was written by Jessie Mae Robinson. As the story goes, Jessie Mae had completed most of the song, but got stuck with writer’s block on one line. Johnny proposed the lyric for that one line, earning him a rare song writing co-credit on the song’s publication.
“I Look At You” was arranged for us by our dear friend and HCMC chorus director, Michael Gellert. Michael’s ballad arrangements are known throughout the barbershop world for their lush harmonies and beautiful chord structures that make the listener melt. Michael’s arrangement of “I Look At You” is another of these songs. In classic Gellert style, the arrangement lifts and soars to beautiful heights. We’re still learning this new song, but we know already that this Gellert arrangement is a new favorite of ours, and will soon be a favorite of audiences as well.
What a week!
August 3, 2009
Oh my gosh, I’m exhausted! But in a good kind of way, you know? We just completed a marathon week of singing with Lustre and HCMC, and it feels so good!
First, last Monday night Lustre had a fantastic coaching session with our wonderful friend, Michael Gellert. As you know, he is the Master Director of HCMC. With Michael we always learn great lessons in musicianship, vocal skills, and the barbershop craft. And last Monday we had a great session with him. We worked specifically on a couple of new songs, but as always, the theme of the night was “better singing on every song.”
On Wednesday night, Lori, Lori and I had our regular weekly rehearsal with HCMC. Lori D. starts the night off and does a great job leading the chorus in the learning of our choreography – she’s such a great performer herself, and she’s a great teacher too. And then there’s the intense and fun work of the singing – Michael brings fresh energy and top-notch vocal instruction to us week in and week out. At the end of the night, we are always pleasantly worn out from the concentration and stamina that is required for our chorus rehearsals.
On Friday, HCMC began a full weekend “retreat”. This is when every member of the chorus checks in to an area hotel and we spend the weekend in one of the ballrooms singing, singing and more singing. Literally from Friday night at 7pm until Sunday at noon, we stand on the risers and rehearse, pretty much non-stop. We take breaks only for meals and a little bit of sleep. Ok, maybe there is a little party on Saturday night too… For these retreats we always bring in a top caliber coach from the Sweet Adelines International faculty. This weekend we had Tony DeRosa. Tony is hands-down one of the most energetic, talented coaches I’ve ever seen. He’s a stellar performer himself, having won the gold medal in the men’s Barbershop Harmony Society’s international quartet contest three times, and he’s the director of the top ten Sweet Adelines International chorus, the Toast of Tampa. All I can say is – wow!
And the weekend wasn’t over yet – Lustre had a quartet coaching session with Tony for three hours on Sunday afternoon. Even after such a long weekend of stamina-testing rehearsals with the chorus, we still found that Tony’s energy was contagious and we had a great session. He helped us take our stuff to a higher level, and we had a lot of fun doing it.
After such a crazy week full of quartet and chorus singing, I can say that my feet, my back and my voice are all very tired, but my spirit is flying high!
A Night of Champions
June 18, 2009
Event Date: Sun Aug 23, 2009 Shows at 2pm and 7pm
Lustre will be attending “A Night of Champions”, the special benefit concert supporting Region 19 quartets who are competing in Nashville for SAI International in October 2009. Unfortunately, Laura is out of town visiting family and is unable to join the fun, so we will be singing as a trio. Afterward we are pleased that Sue Taylor, tenor of a.k.a. quartet and fellow HCMC member, will join us for one song, since her quartet is spread far and wide across the eastern seaboard and unable to attend. We’re going to be a great time!
This special concert will feature MAXX Factor, Capri and The Fource, with special appearances by other Region 19 quartets and personalities from SAI.
Come on out and join in the fun!
Chapel Street Theater
27 N. Chapel Street
Newark, DE
Two Shows: 2:00pm and 7:00pm
$30 per person
You can see the Facebook page for this event here.