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NOTE: The focus in this article is for singers using a PA system (or working in a recording studio) with Microphones for the vocalizations. It is not directly aimed for those who are singing without amplification. The same general rules apply, however, solving some problems will not be the same. Suggestions provided for dealing with PA related issues will involve recommendations that are meaningful only with proper use of Microphones and some electronic processing gear. This is a very complex topic area and I may not address your needs very well. You will want to discuss other options with people who focus on your specific area of need or are vocal instructors.
2 part harmony is a great start point to work from - this limits you to 2 voices to decipher; the 'lead' vocalist and one other 'harmony' voice. The 'lead' vocal often follows the melody line, and is usually very easy to hear. The 'harmony' vocal usually does not sing the same notes as the lead vocalist - this is where chord theory comes in - the notes that the 'harmony' singer uses are notes that complement the 'lead' vocalist by forming a chord (just like a guitar or piano would do). Some people may need some help to work these out - there are music teachers in schools and local colleges that can provide general help, or you may want to seek out a vocal instructor to assist you. Be aware that your goals may not always fit in with peoples experiences in this area; learn what you can from them and apply it to your needs. One big difference between the 'lead' and 'harmony' part is that the 'harmony' part may need a bigger vocal range. You need to know what your vocal range limitations are in order to define what you are going to sing. If you can't hit certain notes, you may have to either change the key of the song, swap some notes by an octave, or swap notes with the 'lead' vocalist for that part. Your vocal range limitations may impact your ability to sing along with pre-recorded music.
be normalized in a way that it does not compete with the other vocalists, this may be very hard for the vocalists to deal with (some demand that its other persons task to 'follow' them - this is not always possible). A good exercise is to take a chord (a major triad - root/third/fifth) and practice single words - each singer holding their notes for 2 to 4 counts - matching the vowels up.
NOTE: Having a guitar, piano or an electronic keyboard handy to help people find notes and can solve a lot of confusion that can arise. Being able to select notes at different octaves may allow you to better choose your parts.
Singing is about melody and rhythm. Different songs have different rhythmic styles. Examples are Jazz (sometimes using 5/4 and other uncommon time signatures), Swing, Hip-Hop, Funk, Shuffle, Waltz (3/4 time), Slow and Fast Rock. You need to be aware of the basic timing of the music and how it relates to your ability to feel if you have to work in time with the rest of the band. You only have so many notes available to put your parts into to follow the beat. There may be syncopation associated with the vocals and the band - its all very dynamic. Listen to everything - its a whole lot more than just your vocal part. Some people have difficulty with timing - singing 'harmony' requires that you have worked to resolve your timing issues so that you complement the performance.
Hearing Yourself
Singers without floor (or near field) monitors are at a great disadvantage - too many sounds and the inability to hear what is coming out of your mouth. Monitors are often mixed very differently than the main mix, for good reason - you want to be able to hear what you really sound like. As a result, monitors are normally mixed dry (ie. no, or few signal processing effects add ons) - this is different than what comes out of the PA main speakers. Why mix it dry? Trying to sing along with slap-back echo of yourself is quite a challenge (not impossible, but very very hard to do). Floor monitors usually have limited frequency response that happens to be strongest in the vocal ranges, usually having the Bass and very high treble cut (attenuated) so that you hear only what you need to hear. Usually, the Monitors will have EQ and Compression from the vocalists, but not the reverb or any other vocal signal processing (such as those that will 'tune' your voice and fix slight flats/sharps). The monitor mix often brings up the vocal levels so that the people singing can actually hear themselves. Some monitor systems are wireless giving the vocalist their mix into a single headset speaker or earphone. As a singer, you don't want the processed signal coming back at you - you will not have the ability to respond to your own voice if you do. The Mains will have reverb and other effects added, so what you hear will not exactly be the same as the audience hears. If you are singing harmonies, you have to be able to hear the vocals. If you can't hear yourself in the monitors, you tend to sing louder to compensate - this messes up any practicing that you have done to get a good blend, and most likely you will strain your voice. After 4 or 5 hours of this, you might find that you can barely speak, much less sing. Make sure that you have worked out hand signals with the person running the sound to adjust those levels while performing - Sound changes when the room is empty (your sound check) and then filled with people. Listen for your voice in the monitors background vocals, any instruments, and finally the percussion.
This is a loaded question. You may find that some people can hit the high notes and others can't. As a result, you might end up singing mostly the lead part and an occasional high note harmony that the other singers cannot. Its likely that when you sing your part, it sounds out of place compared to what you think its supposed to sound like (and only sounds right when others are singing thier parts). Its a learned skill. You will not always be singing harmony notes when singing with other people - you may find that only some of the words will be harmonized. You might also have to slide in and out of these notes. You may need help working this out in your own compositions; don't be afraid to ask someone to help you. A Cassette recorder (or other Audio recording method) may be very useful to work out complex harmonies. Figuring out what your 'harmony' notes are is simpler when you are copying someone elses well defined 'harmony' part. This is a good starting point for people to learn from - find some recordings that you like (even if its not in the style of your long term goals) and figure out how they put together the sound. The notes will always form some sort of chord, like the chart below shows. Components I - III - V I - III - V - VI I - III - V - VI - IX I - III - V - VII I - III - V - VII - IX I - III - V - bVII I - III - V - bVII - bX I - III - #V - bVII I - IV - V - bVII I - III - V - bVII - IX I - IV - V - bVII - IX I - IV - V - bVII - IX I - III - V - bVII - IX - XI I - III - V - bVII - IX - XI XIII I - III - #V You will probably find that you don't really need to know all of these possible relationships and you will settle into mostly using 'Major', 'Major 7', 'Minor', and 'Minor 7' chord types. Depending on what you are performing, you might need some of the others. As an example, the last vocal 'harmony' in the Beatles tune 'I want to hold your hand' is a 'Major 6'. In order to read this chart, you need to know what the Components symbols mean.
o o o o o o o o o o
Chord Type Major Major 6 Major 6 add 9 Major 7 Major 9 Dominant 7 Dominant 7b10 Dominant 7 aug 5 Dominant 7 sus 4 Dominant 9 Dominant 9 sus 4 Dominant 9 sus 4 Dominant 11 Dominant 13 Augmented
I = Root II = 2nd III = 3rd IV = 4th V = 5th VI = 6th VII = 7th IX = 9th XI = 11th XIII = 13th
If preceded by 'b' then its a flated note, if preceded by a '#' the note is sharp. These are relationships to the key of a song or the notes in a chord. Many
Minor Minor 6 Minor 7 Minor 7 Flat 5 Diminished Diminished 7 Suspended 4 Suspended 2 Add 9
Musicians know what these are (and many times musicians will simply be told the songs key and the pattern it uses to perform it - these relationships define it clearly). For more on what this all means (and it is complex to describe, but simple once you understand it), see Music Theory 101 Once you know how to play basic chords on a guitar or Piano, you will discover that many require only 3 notes, most use 4 or less. If you are trying to do 2 part harmonies, obviously, you can only pick 2 of them to use. Normally, you always use the Root note, so you really only need to find the other note that you will be utilizing. and a 3 note chord, it can only be one of the remaining 2 notes. For a 4 note chord, you pick one of the remaining 3 (most often the one that is in addition to the regular 'Major' or 'Minor' chord. Once you start working with these, you'll hear what the relationships sound like, and you'll be able to feel what you are supposed to do to get the desired effect. Occasionally, you'll need to refer to a relationship that you don't encounter often, thats what this chart is for. Please note, no Octaves specifics are listed here - match that up to your singers and thier vocal range.
Sample Chords as they relate to the Root note ('C' shows many variations):
C Chords C C6 CMaj7
Db (C#) Chord Notes Used s Db Db7 Dbm Dbm7 D Chords D D7 Dm Dm Db F Ab Db F (Ab) Bb Db E Ab Db E (Ab) Bb Notes Used D Gb A D Gb (A) C DFA D F (A) C
G Chords G G7 Gm Gm7
CMaj7(#11 C E F# B ) Cadd(9) CMaj7(9) C6(9) Caug Cm Cm6 Cm7 Cm7b5 Cm7(9) Cm7(11) CmMaj7 Cdim Cdim7 C7 C7sus4 C7b5 C7(9) C7(#11) C7(13) C7(b9) C7(b13) C7(#9) C7aug Csus4 C1+2+5 CEGD CEDB CEDA C E G# C Eb G C Eb G A C Eb (G) Bb C Eb F# Bb C Eb D Bb C Eb F Bb C Eb G B C Eb F# C Eb F# A C E (G) Bb C F G Bb C E F# Bb C E D Bb C E F# Bb C E A Bb C E C# Bb C E G# Bb C E Eb Bb C E G# Bb CFG CDG
Ab (G#) Chord Notes Used s Ab Ab7 Abm Abm7 A Chords A A7 Am Am7 Ab C Eb Ab C (Eb) Gb Ab Bb Eb Ab Bb (Eb) Gb Notes Used A Db E A Db (E) G ACE A C (E) G
Eb (D#) Chord Notes Used s Eb Eb7 Ebm Ebm7 E Chords E E7 Em Em7 F Chords F F7 Fm Fm7 Eb G Ab Eb G (Ab) Db Eb Gb Ab Eb Gb (Ab) Db Notes Used E Ab B E Ab (B) D EGB E G (B) D Notes Used FAC F A (C) Eb FBC F B (C) Eb
Cmadd(9) C Eb G D
CmMaj7(9) C Eb D B
Bb (A#) Chord Notes Used s Bb Bb7 Bbm Bbm7 B Chords B B7 Bm Bm7 Definitions X X7 Xm Xm7 Bb D F Bb D (F) Ab Bb Db F Bb Db (F) Ab Notes Used B Eb Gb B Eb (Gb) A B D Gb B D (Gb) A X = Root Chord 7th Minor Minor 7th
CMaj7aug C E G# B
Possible Problems
Normally you think of acid reflux as heartburn, but it can also affect your throat. If you have this condition, don't eat for at least two hours before you sing and take medication if it acts up. If you are doing all day performances, eat something immediately after your finish your set that has the largest break in it and give your stomach time to digest the food. As many as 40 percent of Americans suffer from acid reflux, when stomach-produced acid washes into the esophagus, the tube connecting the mouth and stomach. But singers are exceptionally prone to it due to heightened throat sensitivity, lifestyles that force late-night eating after performances or singing in smoky rooms, and the mechanics of singing, in which abdominal muscles press against the stomach. Acid reflux is a major cause of problems in singers. Often the esophagus doesn't get sick, but vocal cords are more sensitive. Don't try to sing too loud. If you can't hear yourself in the Monitor mix, work out with the sound person how you will address this issue. Screaming is not good for your voice and probably the wrong thing to do for the song.
Making it happen
Singing 'harmony' is a big step up for people who have never done it before. Its far too complex for a one page write up such as this, however, when I work with vocalists that have never done it before, they hunt wildly for notes instead of understanding the relationships. To be successful requires that you all rehearse everything thoroughly so that each singer knows exactly what parts they are supposed to be singing. That will prevent your mind from going blank and accidently singing the wrong part when you get in front of an audience. Over time, it will become second nature. When it works, it can really be an amazing effect and can make you (and your band) really stand out from your competition.
NOTE: Frank Sinatra often did not sing the medoly notes for his songs, he often mixed up notes from melody and the harmony parts. It makes for a unique singing style. You may want review some of his recordings to see if you can pick out what he is doing. You may not care for the style of music, however you can learn from his approach.
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Part I in a series of II. Focuses mainly on exercises. Demonstration followed by an opportunity to sing along. Part I Lessons: 1) Introduction; 2) Round - Are You Sleeping; 3) Round - Are You Sleeping (cont); 4) Round - Three Blind Mice; 5) Round - Are You Sleeping & Three Blind Mice; 6) Scale - Numbers; 7) Scale - Numbers: singing in parallel 3rds; 8) Scale - Numbers: singing in parallel 3rds; stopping & holding chords while ascending & descending; 9) Scale - Solfeg: singing in parallel thirds; 10) Scale - Solfeg: singing in parallel thirds; stopping & holding chords; 11) Scale - Solfeg: singing in parallel thirds; stopping & holding chords while ascending & descending; 12) Chord progression using numbers; 13) Chord progression using solfeg; 14) Parallel 3rds exercise using numbers; 15) Parallel 3rds exercise using solfeg; 16) Finding harmony a 3rd above or below the melody line; 17) Harmonizing in 3rds above the melody; 18) Harmonizing in 3rds below & above the melody, including skips; 19) Practicing harmonizing a 3rd below the melody; 20) Practicing harmonizing a 3rd above the melody. RUNNING TIME: 71:41 minutes
Part II Lessons: 1) Beginning to hear what it sounds like if you are in or out of tune; 2) Examples of what it sounds like if you are in or out of tune; 3) Understanding when to sing a 3rd or 4th above or below the melody line; 4) Adjusting a lower harmony line in order to not clash with the accompaniment; 5) Adjusting an upper harmony line in order to not clash with the accompaniment; 6) Harmonizing "Are You Sleeping", lower harmony; 7) Harmonizing "Are You Sleeping", upper harmony; 8) Harmonizing "Are You Sleeping", upper harmony (cont); 9) Harmonizing "If You're Happy and You Know It", upper harmony; 10) Harmonizing "Jesus Loves Me", lower harmony; 11) Harmonizing "Jingle Bells", upper harmony; 12) Harmonizing "Jingle Bells", lower harmony; 13) Harmonizing "Amazing Grace", upper harmony; 14) Harmonizing "Amazing Grace", lower harmony; 15) Four-part harmony, "Turn Your Eyes Upon Jesus"; 16) Closing comments RUNNING TIME: 74:25 minutes
Part I in a series of II. Focuses mainly on exercises. Demonstration followed by an opportunity to sing along. Part I Lessons: 1) Introduction; 2) Round - Are You Sleeping; 3) Round - Are You Sleeping (cont); 4) Round - Three Blind Mice; 5) Round - Are You Sleeping & Three Blind Mice; 6) Scale - Numbers; 7) Scale - Numbers: singing in parallel 3rds; 8) Scale Numbers: singing in parallel 3rds; stopping & holding chords while ascending & descending; 9) Scale - Solfeg: singing in parallel thirds; 10) Scale - Solfeg: singing in parallel thirds; stopping & holding chords; 11) Scale - Solfeg: singing in parallel thirds; stopping & holding chords while ascending & descending; 12) Chord progression using numbers; 13) Chord progression using solfeg; 14) Parallel 3rds exercise using numbers; 15) Parallel 3rds exercise using solfeg; 16) Finding harmony a 3rd above or below the melody line; 17) Harmonizing in 3rds above the melody; 18) Harmonizing in 3rds below & above the melody, including skips; 19) Practicing harmonizing a 3rd below the melody; 20) Practicing harmonizing a 3rd above the melody.RUNNING TIME: 71:41 minutes Part II in a series of II. Individual exercises and examples. Part II Lessons: 1) Beginning to hear what it sounds like if you are in or out of tune; 2) Examples of what it sounds like if you are in or out of tune; 3) Understanding when to sing a 3rd or 4th above or below the melody line; 4) Adjusting a lower harmony line in order to not clash with the accompaniment; 5) Adjusting an upper harmony line in order to not clash with the accompaniment; 6) Harmonizing "Are You Sleeping", lower harmony; 7) Harmonizing "Are You Sleeping", upper harmony; 8) Harmonizing "Are You Sleeping", upper harmony (cont); 9) Harmonizing "If You're Happy and You Know It", upper harmony; 10) Harmonizing "Jesus Loves Me", lower harmony; 11) Harmonizing "Jingle Bells", upper harmony; 12) Harmonizing "Jingle Bells", lower harmony; 13) Harmonizing "Amazing Grace", upper harmony; 14) Harmonizing "Amazing Grace", lower harmony; 15) Four-part harmony, "Turn Your Eyes Upon Jesus"; 16) Closing comments RUNNING TIME: 74:25 minutes