Learn more about TENOR, LEAD, BARI, and BASS parts here…
TIPS FOR TENORS
Prepared by Kay Keating Tenor,
Wink Quartet for Sing Your Part Smart Feb 2020
1. The tenor is responsible for the precision of the quartet. The first sound that your ear registers is the highest pitch and if that sound is mushy, then the chord sounds mushy. If the sound is clear, the chord sounds crisp.
2. Due to the head space in which tenors sing, clear annunciation is difficult so we must over -articulate to not ‘blur’ the sound. Soft palate must be raised – this adds vibrancy. Be careful not to move your jaw too much or the sound will get distorted.
3. Sing with energy and spin and then send the sound soaring out to the back wall of the room that you are in. Spinning a sound is to keep the sound in motion because a tone that loses energy loses pitch.
4. We make up 25% of the quartet, and at all times, we need to contribute 100% of our energy!!
5. When singing above the lead, the tenor sound should have a clear and focused quality to it. The closer we get to the lead, we must fill in the sound by being more present (sing like the lead). At all times, sing with resonance.
6. In most barbershop arrangements, we spend a lot of time living on the 3rd and 7th scale tones, which means we need to sing ‘light and high’ so as not to interfere with the overtone.
7. Reducing tension in the tongue, jaw, neck, back, and knees will make it easier to sing the higher notes with finesse, resonance and effortlessness.
8. Engaging the rib cage and chest muscles will create a more supportive foundation to sing the high tones and hold a long post.
THE LEAD STORY…
Prepared by Melanie McGuire Lead, Wink Quartet for Sing Your Part Smart ~ Feb 2020
Contrary to the delusional beliefs of the other parts, the Lead is the MOST IMPORTANT part in any chorus or quartet. I’m joking of course, but in a very real sense, it’s true. Why? Think about it, without the Lead, it would be nearly impossible for a listener to recognize the song! Most people, including the other parts, think that the Lead has the easiest part since she’s the one who sings the melody. This is far from the truth. The Lead has the most responsibility. The other parts will take musical and physical cues from the Lead, so she must work harder and be fully prepared. She is the personality of the ensemble and must have a commitment to be “on” at all times, in terms of both the key and the stage.
A quartet Lead must have a good solo voice that is freely produced with resonance throughout her range so that the melody is never lost. The sound must have plenty of strength and openness for the other parts to blend and sing into. The Lead must use her FULL voice, incorporating all resonators in order to constantly achieve this. There should be no change in the Lead’s timbre throughout her range. The chorus Lead must have all these qualities as well, but doesn’t necessarily need to be a soloist. In both cases, keeping the tonal center is always the #1 priority. Why?
The Lead must perform each song as though it is her favorite song in the world. She must be able to sing with true feeling, giving the song life, and telling its story. The Lead should study the melody and be creative with the delivery, paying attention to the important (key) words and message while always keeping forward motion in mind. Creating a story, really thinking about the words, knowing what’s coming next and projecting that to the audience with genuine sincerity.
The Lead must set the example and be open to critique, in order to improve and continue to improving, even after reaching previously set goals. The Lead must have passion and soul with a sense of personal style that can sell the message – Super saleswoman! The accuracy of the Lead will make or break the quartet/chorus. She must know her place in the chord, especially when she doesn’t have the melody. You have it 98% of the time! Give someone else a chance to shine and back off! You’ll get it back in a moment and, if done correctly, will have a bigger impact and will show that you really know what you’re doing.
Don’t settle to warm up just in the “Lead” range. Warm up your upper/lower registers with the other parts. It won’t be pretty at first, but the more you do it, the wider and stronger your range will be!
Taking a quote from Michelle Little, Lead of Martini Quartet who wrote, “You are the emotion and heart – the others can only do as much as you give them the freedom to do. Paint a visual picture for your audience. Music is a joy not only to sing, but also to hear – give your listeners every opportunity to be a part of your music!”
Being a Brilliant Baritone
Prepared by Megan Hofkamp (adapted from Anna Chamberlain)
Baritone, Wink Quartet for Sing Your Part Smart Feb 2020
1. You are the Anti-Lead! Meaning, you are the yin to her yang, together you make the middle of the quartet. The middle of the quartet should be blended and seamless. You are NOT merely a support role. You are VITAL in all aspects of barbershop performance.
2. Don’t be timid! A common misconception is that baritones need to be seen and not heard. While a fabulous baritone may be difficult to pick out of a quartet sound, she is not singing quieter than other parts.
3. Be aware of your position in the chord relative to the lead. Sing richer and fuller below, and lighter and more sparkly above the lead. THIS IS NOT A VOLUME CHANGE.
4. It is the baritone’s job to make the lead and bass match. Absorb all the resonance of the bass and the artistry of the lead. Always keep buzz and shimmer in your voice and sing into the wall of sound.
5. Magic moments – Make the most of the embellishments. Use your clarity and focus when you have a swipe or duet!
6. Sing with the unit, don’t wait to hear where it’s going. Do everything the lead does, simultaneously. Know the lead part and how your lead handles it. Match her timing, colors and textures.
7. Tuning the, 2nd, 3rd, 6th, and 7th of the scale on the high side to reinforce the overtone and fine tune chords.
8. Passagio – Learn to sing using a mixed voice – use enough air, get your tongue out of the way, and keep consistent quality above and below.
Beautiful Basses!
Connie Alward, Bass, Wink Quartet - Sing Your Part Smart Feb 1, 2020
The Bass…
♪ Range is comparable to that of a contralto in traditional choral music. (low C to F above middle C or sometimes even higher)
♪ Sings with a relatively straight tone/minimum of vibrato and with a full, broad tone that is rich, mellow and melodic with ring, clarity and focus.
♪ Sings with vocal freedom throughout her range with proper weight in the sound to maintain barbershop balance.
♪ Maintains the tempo, pulse and drive and keeps the song in pitch.
♪ Must have sufficient volume and projection on the lowest tones so that the firm foundation of the bass sound is not overshadowed by the other parts.
♪ Sings with confidence, authority and command. This provides the solid foundation that the Barbershop sound is built upon.
♪ Primarily focuses on being in tune with the lead. She needs to support, complement and enhance the quality of the lead voice.
♪ Sings like a lead – using artistry and finesse in the sound.
♪ Sings with spot-on unison, octave and sister notes with other parts.
♪ Maintains open “space” and a lifted soft palate for proper resonation in the higher range.
♪ Adds sufficient presence to her voice when taking the melody to make it easily identifiable. The bass notes will always need to be louder in volume to maintain the cone-shaped barbershop sound. Take command of your part, but don’t ever compromise accuracy, beauty, finesse and artistry.
You are the “True Melody” in Barbershop!
Credit given here to Joni Bescos, Sharon Babb, Dale Syverson, Darlene Rogers, Ryan Heller, Shannon Harris, Susan Kegley and many, many others!