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I bought the Voiceworks because I love groups like the Eagles, Chicago, Simon and Garfunkle, Bee Gees, Beach Boys, Abba (for when my wife sings), Franky Valli and the 4 seasons. But I have no idea what types of harmonies these groups use - it's done so well, it often sounds like 'one voice' (I guess that's the point).




Maybe a quick word concerning the nuts 'n bolts of pop vocal harmonies might help as well.

There's really only a few things that can be done (and still sound good within the context).

Old School harmony singers and lots of Session Singers often use terminology that goes like this:

"One up and one down." -- this is the ubiquitous three part harmony where the Melody voice is in the middle and one singer sings "one up" which is the next note of the chord or triad that is higher than the Melody note, while the other singer covers the "one down" with then must be the next lower note below the Melody note.

For example, if the Melody note is a C over a C Major chord, the "one up" would be covering the 3rd, or E while the "one down" would be singing the 5th of the scale below the C, which is G.

"Two Up" not used that often, but may be needed because that fellow on lead doesn't guite have the range to make it to the main note. Voice Switching is not kosher in classical harmony on paper, but who cares about that in a pop tune. Git-R-Done. in this case, the lead singer would be wanting to sing the bottom note of the triad so the two harmony singers have to take the two notes that would then be above that.

"Two Down" is, of course also used sometimes. The opposite of the above.

There are a lot of cases where it is not 3 part harmony as well. Singing "One Up" creates that rather marvelous harmony where there is one other background singer only. The Beatles' recordings from the 60s are very good examples of this that come to mind readily at the moment. "Love Me Do" is a great example.

Having performed the role of background singer while either bangin' a geetar or a keyboard, the above terms, if understood by other members of the ensemble, are great ways to quickly get the right harmonies for a cover tune at rehearsal. "I'm UP, You're DOWN..." -- But these days, I'm finding way too many who are trying desperately to be great musicians and performers but looking for too many shortcuts. I say these things at rehearsals and people just stare and don't even want nor try to understand. sigh.

TIP: Even if you don't like the genre, perhaps *especially* if you don't like the genre, there ain't a pop or rock band anywhere that couldn't benefit from at least attempting to sing some modicum of barbershop for a bit. A Capella Hymns. One of the bands I was part of back when we all had hair on our heads and acne was noted for very strong vocals -- which is actually the PICTURE of any pop song, all the rest being the FRAME -- were each and every one of us just kids who had been subjected to singing in school choir, church choir, church quartet and even a barbershop quartet together. After working and performing something like "Fairest Lord Jesus" in 4-part, A Capella, and making the church audience have that pregnant pause of shock before breaking out into applause, well, that is a lesson that kids will take with them.

Older kids can also learn to sing as well.

And Harmony is not hard, it is FUN.

Have Fun,


--Mac

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