 The Different Voice Parts
Barbershop harmony is unaccompanied, four-part a cappella
harmony. Although barbershop-style music is usually built
on simple melodies and is relatively easy to sing, the a
cappella style and the ear training necessary for
independent part singing make it one of the most challenging
and rewarding accomplishments of a vocal ensemble. When the
music is sung accurately and with good breath support and
vocal techniques, barbershop harmony produces overtone
vibrations that create a resonant ring unique to this form
of music.
The voice parts in barbershop for women have different
names and functions than they do in other SSAA vocal styles.
The lead voice, who generally sings the melody, is below
the tenor harmony; the tenor part sings the highest note in
the chord; the baritone part fills in the all-important
missing note in a chord that may be above and below the
melody; and the bass part supplies the harmonic foundation
(root or fifth) of the chord
- LEAD is the melody and must be sung with
authority, clarity, and consistent quality throughout
her range. The lead sings with limited vibrato to add
color and warmth to the sound. With too much use of
vibrato the chord will not “lock” or “ring” or produce
the unique full or “expanded” sound that is
characteristic of barbershop harmony. The lead is
responsible for conveying the interpretation, emotion,
and inflections of the song. The range is equivalent to
a soprano II and is from middle C, and D above middle C.
- TENOR is a harmony part sung consistently
above the lead. The tenor should have a light, sweet,
pure tone that will compliment but not overpower or
overshadow the lead voice. Lyric sopranos generally make
good tenors. The range for young women is from G above
middle C to high F on the top line of the clef.
- BARITONE covers approximately the same range
as lead. The baritone harmony notes cross the lead
notes; primarily sung below and sometimes above,
depending on where the melody is situated. The voice
part is equivalent to Alto I. Baritones must constantly
adjust their balance to accommodate their position in
the chord. They have to have good ear tuning to balance
the chord in both pitch and volume. When singing below
the lead, she uses a rich, full sound that helps
solidify the relationship between lead and bass. When
above the lead she uses a lighter production, similar to
that used by the tenor. The range is from A below middle
C to C above middle C.
- BASS is the lowest note in the barbershop
chord. Singers should have a rich, mellow voice and
generally sing the root and fifth of each chord. The
bass sings a relatively straight, well-produced tone
with a minimum of vibrato. The range is comparable to
that of a contralto or Alto II in traditional choral
music. The range is from E below middle C to G above
middle C.
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