Music Theory

Interval Class and Vocal Style

One of the first aspects of barbershop harmony I wrote about in my early years of discovering it (and which found its way in into Chapter 2 of my book) was the genre’s idiosyncratic approach to the concepts of consonance and dissonance. Traditional music theory sees these as unfolding in alternation, with dissonance injecting energy into the sound which is released with the resolution into consonance. Much of our experience of musical tension and release comes from this harmonic process.

But the barbershop world associates the concept ‘consonant’ with its characteristic soundworld of lock and ring. So it includes the perfect intervals and triads of tonal theory, but also adds to the category a bunch of other chords – mostly notably the dominant-type (or barbershop) 7ths – that tonal theory would label dissonant for their capacity to generate a sense of forward motion.

Miscellaneous Observations from BinG! Harmony College

Cy Wood in actionCy Wood in actionAs I reported earlier in the month, I had a stupendously enriching time with the good people of Barbershop in Germany at their Harmony College. Having done all the big-picture reflections when I first came home, I find my notebook has a pile of interesting observations, none of which is big enough to blog about in themselves, but all of which are too useful not to share.

So here is a pleasant miscellany of observations of things I found stimulating. Mostly, I see now I write them up, because they were specific instances of general principles I have been writing about over the last couple of years. Always good to see something you theorise about played out in real life.

Miscellaneous Barbershop Arranging Thoughts

swipeOn reflection, these are all specific examples of general principles I have written about elsewhere. But they are points that have come to my notice through listening to performances and working with ensembles as details with which arrangers can help singers produce better performances with less rehearsal time.

  1. Keep the lead off 7ths. Obviously, if the melody is on the 7th of the chord, the lead will sing it. But if you want to write a swipe that involves the lead coming off the melody note, you have a choice. If you have them move upwards onto the 7th of a barbershop 7th chord, especially if it is in the mid-upper part of their range, my observation is that they will almost invariably treat it melodically, and swell into it. As a result, the 7th will pop out of a completely unbalanced chord.

    This is the case even with really quite good groups. I heard several instances of this with quartets scoring in the 70s at BABS Convention this year. Indeed, it was here that I spotted it as an issue: one unbalanced chord from an otherwise good quartet is just a momentary distraction, but three in an afternoon is a pattern.

On Counterfactual Emotions

I spend quite a lot of time thinking about emotions - not just because I am a musician (though that is the context for a lot of my thinking), but also because I am a human being. Our discourses about emotion often couch it in opposition to thinking, as irrational, as something natural rather than cultural. You see this whether emotion is regarded as a Good Thing or Not To Be Trusted - whether a celebration of expressive authenticity or an unruly intrusion into a well-ordered life, emotion is attributed to the body, not the mind.

And there are, it is true, certain base emotions that appear cross-culturally, and which seem to be instinctual: joy, fear, anger, grief. But to classify our entire emotional lives in that way just seems like an excuse to avoid reflection: ‘Oh it’s just how I feel’ may sound like an assertion of freedom, but it is in some ways as closed-minded as insisting on a stiff-upper lip.

How (and Why) to Identify Melodic Dissonances

I wrote in general terms last year about melodic dissonances in barbershop arranging as part of a wider discussion about the relationship between structure and ornament. I’m coming back to a specific, practical aspect of this today to try and help out with a something I see people struggling with in the arrangements they send to me for advice.

It is a reasonably common error to make an inappropriate choice of primary harmony for a whole bar through mistaking a non-harmony note in the melody for a note belonging to the main chord. And it matters because, while a very easy mistake to make, it throws the whole musical narrative off kilter. However well-controlled your use of voicing, tessitura and voice-leading is, life is more confusing for both singers and listeners when you get this wrong.

There are two conditions that commonly inveigle people into this mistake; when the non-harmony note is:

When to Use (and When to Avoid) Minor 7th Chords

So, if you’re not interested in the nitty-gritty of barbershop arranging, look away now. We have a very specific question to consider today, vital for anyone who has to choose which chords to use in a particular context, but pretty irrelevant for everyone else. Though, it does have a wider context, which both gives it a broader applicability and risks muddying the waters.

Here’s the question, raised in a group of barbershop arrangers, that set me off:

Question; why is the barbershop style opposed (for lack of a better word) to the min7 chord? I personally love the sound of it, and yet I have been told by other barbershop arrangers to avoid it where possible. Just curious why?

As you can imagine, we had some responses leaping in to the defence of the minor 7th’s beauty and/or the arranger’s right to pick whatever damn chord they choose (it wasn’t clear exactly which they were defending, but it was clear that they considered the advice out of order). So we need to step back and ask: is the barbershop style opposed to the minor 7th?

Cheshire Chord Analysis

CCCmar16

The Thursday afternoon before the long Easter weekend is not a sensible time to drive up the M6 from Birmingham to Warrington. Possibly you knew that already, but when we agreed the date for me to go and work with Cheshire Chord Company on their new ballad, it had escaped my notice that Easter was so early. Just as well, I thought as I crept along in nose-to-tail traffic for 80 miles, that I was going to have such fun making music when I got there. Bright-siding is easy when you’re visiting a chorus with such a culture of positivity.

My remit was, as in my previous visits, to help them explore the music at an early stage of development, to deepen their understanding of what the song and arrangement were doing, and why they were doing it like that.

On Phrase-Boundary Embellishments

I have written about phrase-boundary embellishments before - about the kinds of harmonic behaviours involved, and thence the implications for voicing. I have been thinking about them again just recently while wrestling an arrangement into an interesting shape from a formulaic-sounding first draft. And in the process, I have stopped referring in my head to ‘phrase-end’ embellishments, and have started thinking more in terms of ‘phrase-boundary’ embellishments.

The point about these moments in a song, whichever term we use for them, is that the melody often comes to rest before the end of a phrase - it cadences onto the first beat of bar 6 in an 8-bar unit, for instance. If you had a band to sing with, they would keep the rhythmic and harmonic momentum going until the start of the next phrase, possibly with some extra twiddles as fill. But in the absence of instrumental colleagues, the a cappella melodist looks to her fellow singers to keep the music going until the next phrase starts. Hence the concept of ‘phrase-end embellishment’.

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