Essentials in
Direct and Teach

Singing in the barbershop style is probably more gratifying for male singers than any other style of music in the world today. There is the greatest joy to be derived from the practice of it, so it would seem that a major part of the coach’s job might be to encourage the performer in this belief.

The ultimate goal of the performer is the successful communication of the message of the composer’s song, so that the audience is affected and entertained. This implies singing the melody, as well as the meter, form, lyric and rhythm, as closely as practical to what the composer intended, supported by the harmony implied by that melody. These are the elements that make up the song, and although one or more of these elements may be stronger than the others, they are all important.

The performer should be “the humble servant of the music, and the faithful messenger of the composer.” He cannot be either unless he comes to the music with humility, and with a sincere desire to understand and believe in it.

The best proven technique to start understanding the music is to sing it, melody and lyric, in unison, in the meter written (in order to discover pulsation and form), and to the rhythm of the melody. In doing so, everyone has the opportunity to participate intellectually, physically and emotionally in all the elements of the song (except harmony, of course), and thereby reach a consensus of understanding, which serves as a reference point for further development.

Unison singing is not effectively accomplished unless:

All voices are targeted toward the same vowel sound. This serves as a painless check on vowel sound maintenance.
The varied strengths and timbres of voice are adapted, as necessary, by proper support and placement, to the unison sound. This becomes an exercise in cooperation, by humbling various egos to a common denominator. It might well be the first time everyone enjoyed doing the same thing together, because the results are so evident and satisfactory. This spirit of cooperation is the basis of successful group singing, whether quartet or chorus.
All ears are listening! Is not the art of singing in the barbershop style (primarily an aural art) dependent in large degree upon the development of this habit and ability?

The coach serves as monitor to the accomplishment of the unison, and offers techniques to maintain it only when problems arise.

Next, the final element of the song is introduced. Irving Berlin says, “A song may be enhanced by its harmony, or simply well-dressed by it.” Having already become familiar with all the other elements of the song, there should be a sense of expectation and anticipation. Now you will learn whether the song is well-dressed or enhanced; whether the arranger just did his job, or whether he beautifully enriched the music; or, as sometimes happens, whether he got in the way by over-doing.

The function of the coach now is to see that the performers hear the proper sound of each chord. This is not as difficult as it might seem, since there are only four sounds in music: major, minor, diminished and augmented. Sixths, sevenths, ninths and alterations may be added, but the basic sound is one of the four mentioned. Of these, the majors and minors predominate by far in the barbershop style.

By this time, the composer’s intentions should be reasonably clear. Does he want to make us cry, laugh, have fun, reminisce, or just tap our toes? Is the melody the big sales pitch? Or is it the lyric? Or the harmony? Or the rhythm? Or some of each?

Once the decision is arrived upon, the coach has the opportunity of a lifetime. With his talent, knowledge and experience, he is in position to furnish tools to implement bringing the song to life! Every song has something to offer if we take the time to analyze and understand it. Some songs offer more than others, but the decision now is whether they are suitable for the particular needs of the people you are working with.

Because of the coach’s knowledge of techniques, the temptation will be great to impose them on the subjects for quick results. He must constantly remind himself that his function is:

To help the performers toward realization of their goals of self-expression by sharing his tools.
To realize that techniques are to be used only to solve problems, not to be made ends to themselves.
To use care and restraint, so that his personal taste does not intrude upon the development of the performer’s natural instincts for creativity, originality and spontaneity.
To stress that the ultimate goal is the delivery of the message of the song, in the barbershop style; with good vocal quality; with pride, joy, and above all, much heart and love.
To encourage, encourage, encourage!

Rex Stuart, one of the great trumpeters in the world-renowned Duke Ellington orchestra, says this in a discussion of small jazz groups in his book, Jazz Masters of the Thirties:

“A group with sufficient talent, and also the intelligence to understand that together they are a strong composite voice, able to project and communicate as an entity, frequently attains greatness.”

It might be apropos to add that, although the members of a group may not have the talent and energy to accomplish greatness, the only chance it has to be great is to discover who they are and be it. They cannot be great trying to be someone else.

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Essentials inDirect and Teach

Some thoughts on the aims, purposes and responsibilities of a coach