Professional Documents
Culture Documents
This demonstration will present and compare aural examples sung by quartets and
choruses of yesterday and today. The purpose is to make observations about the
progress and evolution of the barbershop style and especially to point out the strong
thread of heritage and continuity born out by these comparisons, a thread that binds us
with our past. Although I haven't provided the names of the arrangers in most cases,
many listeners will notice a disproportionate presence of my own arrangements amongst
the modern excerpts. With apologies, let me offer that the reason is two-fold: (1) some of
them well-represent the musical issues at hand, and (2) this presentation was prepared
somewhat hastily and these examples were in my possession.
The Flat Foot Four's rendition of this song was considered by O.C. Cash, Sigmund
Spaeth, and other early Society leaders to the the epitome of the barbershop style. It
contains much rich barbershop tradition, some of which was lost for a time and now is
beginning to reappear.
Degree Of Embellishment
One of the most hallowed aspects of the barbershop tradition as it developed
indigenously was its affinity for free and frequent use of traditional embellishments such
as echoes, bell chords, patter, back time, lead-ins, and later, key changes, elaborate
introductions and extended tags.
Moreover, the style has often borrowed elements from jazz, blues, and other styles when
those elements are naturally accommodated and pose no threat to the consonant, solid
harmony on which the style is based.
Some have decried a current trend toward "over-arranging", calling this "indulgence" on
the part of arrangers or quartets. We hear accusations that arrangements are too fancy,
that they obscure and/or alter the composer's song, have too many chords or unusual
chord sequences, evoke jazz/blues elements, are not sufficiently homophonic, etc.
The following excerpts demonstrate that the barbershop penchant for such adventure
("indulgence") is traditional and represents an important part of our culture.
2
(Oh Suzanna) Dust Off That Old Piana - Four Harmonizers (Mid 1940s)
Note the "wild" tag which juxtaposes the major sixth and major seventh chords.
When The Red Red Robin Comes Bob Bob Bobbin' Along - Schmitt
Brothers (Early 1950s)
True to hallowed barbershop practice, the tag repeatedly presents one more event, just
when the listener begins to believe it is over.
Wedding Bells Are Breaking Up That Old Gang Of Mine - Four Pitchikers
(Late 1950s)
Here is a classic old extended tag.
3
Sugar Cane Jubilee - Four-Tissimos (Mid 1950s)
Another old extended tag. This is from the day when quartets relished the idea of
throwing in one more chord.
4
I'm Just Wild About Moonshine - Columbia Colored Quartet (Early 1920s)
Confirming that non-homophonic embellishment goes back to the very roots of our style,
this passage is driven by the bass propellants.
5
Art For Art's Sake - The Bobs
This is a popular recording in the contemporary a cappella arena. Even though we hear
four-part a cappella harmony and a few fleeting chords that might appear a in
barbershop arrangement, the parallel nature of the voice leading invites many
incomplete chords, unsolid doublings, and chords which are not in the barbershop
vocabulary.
Moreover, the harmonization does not use sevenths and other tritone chords which
richly spice any barbershop treatment.
Concluding Remarks
The barbershop style as currently defined and practiced is uniquely distinguished
amongst vocal styles and has achieved a place of respect and admiration in the world of
vocal music. It is my perception, as a student of barbershop harmony as it existed over
many generations, that the trends we hear today are generally in line with the natural
development and evolution of the style that has been occurring for 150 years.
6
As the above examples demonstrate, many things which are seen by some observers as
new additions are in fact old habits. The misdiagnosis arises from comparing today’s
barbershop music only with that of the period 1970-1990 while neglecting preceding
episodes in the development of the style.
• an unhistoric preoccupation with fidelity to the composer's song which is out of place
in barbershop or any musical style which is rooted in improvisation, and
(1) Four part a cappella harmony. (This is the way the style developed on the street
corner and in the barber's shop.)
(2) Chord vocabulary consisting of consonant chords, frequently using the barbershop
seventh.
(4) Solid voicings, meaning the bass generally occupies the root or fifth of the chord, and
doublings of triads occur on the root or the fifth.
(5) Just intonation and emphasis on match, blend, ring, and lock. (6) The use of
embellishments.
It should be noted that all the barbershop examples exude all of these characteristics,
and that none of the non-barbershop examples posses all of these characteristics. In
fact one would be hard put to find a non-barbershop example which possesses any two
characteristics listed above. I believe that (1), (2), and (4) alone completely distinguish
the barbershop style in the world of music.
Just as important as preserving the basic characteristics of our style is NOT attaching
baggage to its definition which does not belong and which limits the style in unhistorical
ways. Here are some elements which we do not attach to the definition because they
have varied over time. Freedom in these areas allows the style to have life, breath,
variation, diversity, and musical interest.
7
(1) Diction, articulation, and accentuation. Styles of such vary over our history to include
formal to informal, to include all kinds of stylization, including jazz/blues approaches and
crooning, as well as the basic "hit-the-note-on-the-head" approach.
(2) Vocal color and texture. It is possible to lock and ring chords with different textures of
vocalization, and these vary from age to age and from quartet to quartet. We should not
impose one vocal approach on everyone.
(3) Degree of embellishment. It is very important not to attach to the style any one
particular philosophy about "appropriateness" or "over-arrangement", especially one
which discards treatments which clearly are central and integral in our tradition.
(4) Styles of rhythm and tempo. We see through the 20th century the quartets in every
decade adopting new rhythmic trends which would not have been heard in the previous
decade. This process rightfully continues today.
(5) Type of songs. As long as a song can plausibly be harmonized with the consonant
chords and progressions of barbershop and can be embellished by it's traditional
devices, that song can be included in the barbershop repertoire. It is a mistake to
arbitrarily restrict song choice to those of any one era or type. Over the course of history
barbershop quartets have embraced widely varying types of songs, including civil war
songs, minstrel songs, songs in the high-brow popular style of the 1800s, folk songs, gay
nineties songs, Tin Pan Alley songs reflecting early jazz influences, turn-of-the-century
ballads, waltzes, marches, roaring twenties songs reflecting jazz influences, Broadway
songs, songs from movies, indigenous street songs, thirties songs reflecting jazz
influences of that era, and on and on. O.C. Cash's favorite woodshed song was "White
Cliffs Of Dover", which was a contemporary song of his day. Songs found in barbershop
have always had vastly differing origins, styles of lyric, rhythms, types and range of
melody, degree of formalness or informalness, degree of simplicity or complexity, etc. If
a modern song works, it should be sung. The same applies to a very old song. Just a
few years ago our style was uncomfortably confined to basically two song types: the fast
driving up tune and the power ballad, neither of which would have been heard in 1900.
One of the most appealing aspects of todays contest music is the variety song types,
both new and old - a status which well reflects our musical heritage.
Final Example
The Sunshine Of Your Smile - Confederates (Mid-1950s)
With this I make no point whatsoever. It is included purely for the listener's enjoyment.
Let us keep the chords ringing, and let us remember what our style of music has been
so we can discern wisely what it will be.