Song Interpretation (6)

Harmony is both the most obvious and the most problematic element of our style to discuss. On the one hand, it is the most fundamental feature of our style; on the other, it often seems to be the most forbiddingly technical. (I sometimes find it strange that the Music Category, which defines the style, does so in terms that many barbershoppers would find difficult.) Still, it is possible to exercise musical understanding without necessarily being able to give the technical names for every element of that experience. Indeed, technical language itself can only help articulate this understanding if it is linked in with direct musical experience.

A useful vocabulary to access this musical experience for those who don't currently have the technical jargon is that of Brian Wilson of the Beach Boys (who themselves owed a little something to the sounds of the barbershop quartet!). He used to refer to the basic chord sequences that were the starting point for his song-writing as 'feels'. This captures the sense in which one combination of chords can have a quite different impact or effect than a different combination of what are essentially the same types of chord. (I also find myself thinking in terms of harmonic 'flavour' - but then I like food metaphors.) The qualities that these 'feels' present can be thought of in terms of bodily experience: motion, stasis, tension, relaxation, alertness, depression, anticipation, fulfilment. Indeed, as a director, I find a constant interaction between harmonic 'feel' and physical gesture.

Once you start paying attention to this harmonic ebb and flow, you realise why barbershop as a style makes such a big deal about the cleanliness of sound required to get really ringing chords. For, the better the quality of the singing and the unit sound, the more you can literally feel the harmonic progressions as a direct visceral experience. Not only is this intensely pleasurable (which is itself alone a good reason to aim for it), but it also starts to give further insight into other elements of the song.

For instance, you will notice how the more intense harmonies tend to be placed strategically in relation to the emotional shape of the song: at the lyrical and/or melodic climax, at a turning point in the form. You will sense how some chords demand to be lingered on, and this will give you clues as to which are the points that matter most to that song's protagonist. You will develop a sense of when the harmonies travel smoothly in their expected directions, and where there are surprises. You will also start to understand judgements you have already made about the overall character of songs: why you dismiss some as cheery but frivolous ditties, and why you find others really emotionally intense.

The way to develop this awareness is through primarily imaginative activity. While you are on the risers in the middle of the sound, pay attention to how the sound as a whole is behaving; your own part is only a fragment of the effect. On the way home, or in the shower the next morning, or whenever you have a few moments of thinking time, re-run the memory of the harmonic 'feels' you experienced on the risers. Find ways of conceptualising them, to identify them to yourself: in terms of physical motion, colours, flavours, emotional states, whatever is meaningful to you. As you start to build up an internal sense vocabulary of harmonic motion, start to see if you can recognise 'feels' which you have identified in one song occurring in other songs. Does it have the same effect there? If not, what's different - tempo, vocal range, dynamic level?

Of course, if you want to talk about these feels with your friends, then you will need some vocabulary in common - and you might even choose the technical terms. But if this is your first foray into learning that language, you'll find that your sensitivity of listening from paying close attention on the risers will pave the way for you.

Liz Garnett,  June 2000