A Guide to Vocal Techniques Across Genres: Part 8 of 10

 

Vocal Techniques for Barbershop Chorus Singing: One Voice in Many

Disclaimer Reminder: These explanations are meant to give an overview only, and it should be understood that there is considerably more complexity and detail than what I can disseminate in this platform.

The world of Barbershop Harmony Singing is wonderfully diverse, with opportunities for both solo and ensemble performers. While the Quartet style we discussed in the previous blog post allows individual voices to shine, singing in a Barbershop Chorus emphasizes collective sound and harmony. Today, let's explore how the chorus experience differs from quartet singing and discover techniques to excel as a chorus singer.

Introduction: The Chorus Experience in Barbershop Harmony Singing

Barbershop Chorus Singing is a captivating expression of vocal harmony, offering singers the chance to contribute to a powerful, unified sound. A chorus typically consists of a dozen or so, to even a hundred singers, or more, divided into the four traditional barbershop voice parts: tenor, lead, baritone, and bass. Singing in a chorus differs from singing in a quartet primarily due to the sheer number of voices involved, which affects dynamics, balance, and blend.

The Shift from Individual Prowess to Ensemble Skills

In a Barbershop Chorus, the focus is less on individual vocal prowess and more on how each singer contributes to the overall ensemble sound. It requires a different set of skills from quartet singing. Chorus singers need to have excellent listening skills to blend their voices with the group and should be able to adapt their vocal tone and dynamics to match the ensemble. Furthermore, they need to work as a team, following the director's guidance to create a coherent, unified performance.

Importance of Matching Tone, Vowels, Dynamics, and Expression

In a Barbershop Chorus, it is essential for all singers to match their vocal tone, dynamics, and even their expression to create a unified sound. Tone matching involves adjusting the quality of your voice to match the chorus's overall timbre. Vowel matching is essential and requires one’s ear to be rather refined to recognize even the slightest variance between their own vowel (and tone) and the others around them. Dynamic matching requires all singers to adjust their volume to create a balanced sound. Expression unification aligns many subtle nuances that come from an authentic/genuine performance.

Exercises and Tips for Effective Chorus Singing

  1. Blend and Balance Exercises: Practice singing sustained notes in unison, or even chords, focusing on tuning, tone/vowel matching, balance, and blend. Work on matching your volume and tone to the rest of the group.
  2. Listening Exercises: During rehearsals, take the time to listen to the ensemble sound and adjust your voice accordingly. Focus on matching your dynamics and tone to the rest of the chorus. Record and listen back to help guide you.
  3. Vibrato Management: Work on managing and adjusting (it may be helpful to get some help from a professional voice coach for this) so that it is acceptable inside the ensemble sound. Some barbershop chorus singers may sing with little audible vibrato, while others use a healthy vibrato while they sing. It is important to avoid a vibrato that is too wide, or too fast.  Learning to manage this parameter can be a useful thing to develop.
  4. Follow the Director: Pay close attention to the director's cues for dynamics, phrasing, and tempo. They guide the chorus to ensure a unified performance.

Singing in a Barbershop Chorus is a fantastic way to improve your vocal technique and musicianship, develop your ensemble skills, and experience the sheer joy of creating harmonious music with others. Stay tuned for the next article in this series, where we'll take a deeper dive into the intricate world of Barbershop Harmony Singing!

Up Next! Here's the link to the next part 2 of 10 in the series: Comparing Vocal Techniques in Barbershop Quartet and Chorus Singing: From Solo to Ensemble and Back Again

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