A Cappella

LABBS Chorus Day: Reflections on Style and Emotional Experience


One of my premieres for the weekend that exemplifies cheerful diatonicism

One of the things we saw coming with the LABBS Big Weekend was how, freed from the constraints of contest rules, choruses took the opportunity to share all kinds of repertoire we’d never hear on a contest stage. At a personal level, this gave me the opportunity to hear a bunch of arrangements I’d had commissioned last year that I might not otherwise have had the chance to hear at all. There was even one chart that was commissioned several years ago but that I had never heard before.

What I hadn’t anticipated was coming to the end of the day feeling that the musical diet we’d been treated to was less varied than I had expected. For sure there were lots of songs we wouldn’t normally get to hear at Convention, but in the event that also entailed hearing a lot more primarily diatonic music than usual.

LABBS Quartet Day and the Subversion of Performativity

Elena from Sonic gives the executive summary of this postElena from Sonic gives the executive summary of this postFancy title, eh? This is what happens when a familiar event takes on an unfamiliar form: you learn all kinds of things about your ‘normal’ experience that might not have come into focus without the contrast. And sometimes the things you learn inspire the use of poncy words to articulate them.

The familiar event in this case is the quartet day at the Ladies Association of British Barbershop Singers convention. In a normal year, this would involve both the semi-finals and finals of the quartet contest, featuring those ensembles who had qualified to compete at a Preliminary event back in June that combines elements both of contest and of coaching. This year it was replaced by an invitation for all quartets registered with LABBS to submit a video of up to 5 minutes; and almost 40 quartets ended up contributing.

A Weekend with the LABBS Family

I have spent every last weekend in October since 1997 at the Ladies Association of British Barbershop Singers Convention. In the year when everything was cancelled, through the vision and dedication of the LABBS Social Media team, that generalisation remains true. We were treated to the entire three-day event online: the opportunity for all member quartets and choruses to share what they had been working on, all-star shows, communal singing, the presentation of awards, the lot. We even had times when Fringe education events clashed with the main stream, only this time you only had to choose which to watch live and which on catch-up, not which to miss.

On the Melody of Harmony Parts in the Time of Covid

The value of writing harmony parts that are intuitive to sing is something I have been going on about, in various contexts, for years. At a practical level, it saves you rehearsal time; at an artistic level, it allows performers to focus on singing expressively without needing their technical brains monitoring the detail all the time.

As with so many things, the exigencies of life under covid have brought this imperative into even sharper relief. When we first took our rehearsals online, and found ourselves in a world where people can’t viably sing together, there was a lot of bright-siding on the theme of how this would require all our singers to take more individual responsibility for learning their music.

Reflecting on the Craft: an Evening with Chorus Iceni

I forgot to take a screenshot, so borrowed a nice pic from their websiteI forgot to take a screenshot, so borrowed a nice pic from their website

On Monday evening I had the pleasure of visiting Chorus Iceni as part of the series of masterclasses they are running over this autumn. It is always a delight to be invited to share my craft (you can tell from my blog title I get my kicks from increasing the world’s capacity to harmonise), but it was a particular joy to visit this chorus, as this was the group, under their previous name of Colne Harmony, in which I had started my barbershop journey back in 1996.

There were still three faces from the club back then, including Sally who was membership secretary at the time, and Maxine with whom I sang in my first quartet. I’d normally be looking forward to seeing them at LABBS Convention at the end of October, but as this has – like so much else this year – had to become a virtual event instead, it was lovely to get the chance to say hello in person, if not to hang out and gossip at such leisure.

Reflections on Texture, Persona, and Sharing the Candy

When I joined the Telfordaires, the chorus repertoire included an arrangement of a popular ballad in which the leads had the melody, and, apart from a couple of short passages where the tenors duetted with them, everyone else sang ‘doo’ throughout. Members of the harmony parts had mixed feelings about the song. On the one hand, they recognised that it was very beautiful in performance and went down well with audiences (the Telfordaires really get their kicks from pleasing audiences), but on the other, having no lyrics to sing left them feeling a bit left out of the story.

I have been alert to the need to share the narrative and musical candy around ever since Sandra Lea-Riley commissioned me to arrange Moondance for Heartbeat with the memorable specification that they wanted a bassline that wasn’t just ‘all those damn dms’. So when I started to think about how I was going to approach another popular ballad I’ve recently been asked to arrange for a quartet, I went in with the thought that whilst the voice+guitar texture of the original lent itself beautifully to a melody+doo arrangement, I would find ways to move beyond this as the arrangement went on to keep all singers involved.

Researching the Background to Your Music

Regular readers may remember how earlier this year Elizabeth Davies raised the ante for the project of relegating racist repertoire from the barbershop stage to the history books in her articulation of the Power of Boo. This prompted me into becoming more proactive into trying to ensure I never need to enact this power.

So, I’ve had an article about the problems with these old songs come out in both Harmony Express and VoiceBox over the summer, and on Monday night I taught a session on Researching the Background to Your Music for the LABBS eOnline programme as a follow-up to that article. I figured that if I’d drawn attention to a problem, it would be helpful to offer ways for people to solve it.

Exploring Implicit Knowledge with the Red Rosettes

Screenshot or it didn't happen...Screenshot or it didn't happen...

I had a productive session on Tuesday evening with the music team of the Red Rosettes, exploring musical features of the ballad I arranged for them last year. I would have met with the whole chorus, but their rehearsal clashes with my own, and while under normal circumstances I don’t mind occasionally abandoning my team to get on with things while I visit another chorus, under current conditions I’d rather not. Not that my team aren’t awesome, you understand, I just want to be there for them.

Anyway, the Red Rosettes were very understanding, and we recorded the session to share with the rest of their singers. There is an advantage in a smaller group that you have a more genuinely interactive session, so there were upsides too.

They had sent me a recording of the chorus singing the ballad just before lockdown, and whilst it was clearly still work-in-progress, you could hear that they are on the case: they have a clear intuitive feel for what the music is doing and what it asks of the singers. Our session largely involved bring this intuition to the surface, articulating things they have felt implicitly to help them understand their instincts.

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