A Cappella

Sopebocks: On thuh Spelling Uv Kawdz

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I rooteenlee trie anned tawk them owt uv thiss on thuh baysiss that it maycks thuh myoozick mutch hahda two reed four thohz hoo undastanned hahmunny. Ewe haff two stop anned puzzul owt wot awl thee individyoual nohtz ah anned tranzlayt that ennhahmonickly intwo uh kawd rahtha than chust reeding thuh myoozick. At bessed it sloes ewe up, at wurst it chaynjezz thuh meeningz.

A Weekend with the Barberlights

Barberlights
Unless something unexpected happens very soon, last weekend was my last coaching trip to Germany for 2018. This time I was with the Barberlights in Remseck, near Stuttgart, and we had a full schedule together, starting Friday evening and continuing all day Saturday and most of Sunday too. To say this allowed us to get a lot done together would be an understatement.

It wasn’t just the sheer number of hours we spent together, I’d add, it was the chance to sleep on our experiences together and revisit the next day. In this sense, the session on Friday, though only an hour and a half long, really punched above its weight. Not only did we start Saturday having done some groundwork together, we’d also given our brains the chance to process, sort and embed the work.

A Brand New Endeavour

Warm-up action picWarm-up action pic

I spent Sunday working with Endeavour, a brand new mixed barbershop chorus. They have been in the planning for some time, but actually sang together for the first time on Saturday, so I had the honour being their first ever visiting coach. Their singers are drawn from barbershop groups in Ireland, the UK and Germany, so their rehearsals take the form of intensive weekends in locations handy for airports.

It is an auditioned chorus, and many of the singers know each other from participating in the various Harmony Brigades. Hence, it is populated with people with considerable experience and skill as singers, and who are accustomed to learning music independently. Their challenge is melding these vocal and musical resources into a coherent ensemble within a short timescale so as to make the most of the artistic potential available.

More on the Icicle 7th

Chinese 7thOr at least, on the name that chord has gone by hitherto. My previous blog post on this got quite a bit of discussion going amongst barbershop arrangers. Not over the new name – most people were as happy to recognise Karri’s suggestion as very fit for purpose as I was – but about the necessity to replace the old one.

There were two types of responses overall. There were the ‘thank goodness, this has been bugging me too,’ type – which I’m not going to dwell on except to acknowledge their existence, as I’ve already written quite a lot to meet those needs. And there were the, ‘this has never struck me as racist so I don’t see the need to change’ ones. These ones need a more detailed response.

LABBS Convention 2018

The White Rosettes during their monumental mic-cooling setThe White Rosettes during their monumental mic-cooling set

The last weekend in October is the traditional moment for the Ladies Association of British Barbershop Singers to hold their annual Convention. This year we were back in Harrogate, at the venue in which I experienced my very first one, 21 years ago. The Cheshire Chord Company won the chorus competition on that occasion too.

After the extravangzas of the last two years (the 40th anniversary Convention in 2016, and the European Convention last year), this years’ was always going to feel smaller. But the experience of that was a positive change: it was more intimate, easier to spend quality time with friends, less of a scrummage trying to get round the building.

On the Icicle 7th

Chinese 7thRecently Sofia Layarda started off an interesting conversation on Facebook about the chord that barbershoppers have traditionally called the ‘Chinese 7th’. For those not familiar with it, it’s a particular voicing of the dominant-type 7th, with the root and 7th close together at the top, with 3rd dangling a tritone below and the 5th a 6th below that.

It’s a dramatic sonority when sung well, though it takes a bit of nous to balance correctly. Arrangers use it as a kind of ‘statement chord’, placing it strategically to attract attention at moments of heightened expression in a song’s narrative.

David Wright’s List of Key Changes

One of the subjects that came up at the arrangers’ day with David Wright back in August, unsurprisingly, was key changes. In fact, it came up each time we studied a chart that included one, and so David periodically gathered together the threads to give us an overview of the range of possibilities we had explored so far. And once I had likewise gathered them together in my notes, it looked like the kind of list to share.

So, here are four ways that came up that day to get into a new key:

Workshopping with Just Voices

Warm-up action shot!Warm-up action shot!

I spent the weekend down in the second most eastward point of the UK, where Just Voices had convened to hold a weekend’s retreat in Broadstairs. We structured it as two one-day workshops on contrasting themes, but addressing a common core of pieces from their repertoire.

Saturday saw us focusing on the singers as musicians, with a bespoke workshop on Aural Skills for Choral Groups, while Sunday took our attention back out onto the audience with the theme Perform with Panache. We had slightly less time at our disposal on Sunday, though, so we compensated for that by taking the opportunity of the Saturday evening together to prime some ideas to be working on overnight.

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