Barbershop is always sung by single voice groups – either all male or all female – and the singing is in four parts, named after the male voices who traditionally sing them. These names are used even in women’s choruses. The parts are:
On Saturday 13 September 2014 a Quartet of BlueBelles travelled to Bath to sing at a Concert in St Saviour’s Church, Larkhall. We were invited to participate by Grenville Jones who runs a number of choirs in and around Bath as he wanted a contrasting choir to sing alongside his Welcome Choir.
Singing out of tune is a recurring problem that we hear from performers. An important element of the barbershop “lock and ring” sound is in-tune singing. We need to sing quality musical tones that are specifically in pitch to the anticipated melodic line. To make this happen, we must sing in tune both horizontally and vertically.
By definition, Barbershop vocal harmony, as categorised during the barbershop revival era (1930s–present), is the art of singing a cappella, or unaccompanied vocal music. A lot of the music sung by Barbershop choirs will come from this era of the 1930s although nowadays there is a much wider repertoire available.