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these principles, I would simply say “Rule 4” instead of vowel for tone clarity and beauty. It is important, therefore,
“Stronger ending consonant on the word ‘love’” or “Rule to match resonances even when the pure vowel is not neces-
1” instead of “These four notes all sound the same. Cre- sarily 100% aligned. When teaching this rule, your ensem-
scendo through this phrase instead of having everything ble must know exactly what vowel choice you want from
having equal weight or importance.” These rules helped us them. Either using basic International Phonetic Alphabet
streamline rehearsal and maximize singers singing instead symbols or simply spelling out the vowel choice is vital. For
of the directors talking. As I introduce these concepts with example, the word “sing” could either be sung as [i] or [I]
my students, I start with singing a simple song or round or as “seeng” or “sihng.” Vowel work is tedious, but unify-
without paying any attention to the concepts. Then, I in- ing vowels helps provide clarity of lyric and tone beauty.
troduce and reinforce each concept with that simple song.

Rule 4: Every Consonant Must be Observed, Technically
Rule 1: No Two Consecutive Notes Can Sound the Same and Emotionally

Monotony and direct repetition are the enemies of ar- While vowels provide art and beauty to language, conso-
tistic, expressive singing. Therefore, our first “rule” is that nants provide drama, excitement, and clarity to words. In
“no two consecutive notes can sound the same.” There barbershop, we are a lyrically driven, vernacular art form,
should always be a difference in dynamic, color, articula- where we often refer to spoken language to inform how we
tion, mood, emotion, or something else because the lyric, pronounce sung text. This rule focuses not only on precise
pitch, or meaning shifts. To make the phrase interesting for consonants but emotionally driven consonants that propel
singers and audiences, each note should be given its value the musical and lyrical message. The first step is making
and importance. This is like lyrical development, where sure that the audience understands your text. However, the
there are natural stresses and releases built into the poetry. greater objective is a human connection through lyrical
and musical delivery.
Another consideration for consonant and vowel clarity
Rule 2: Long Notes Must Go Somewhere is stylistic considerations. For example, directors may have
different value sets for spiritual consonants and vowels as
Any rhythmic duration longer than one beat in a piece opposed to Brahms. Instead of “proper diction,” a value
must have life, dynamic contrast, twang change, or another might be “lyrics, performed in a stylistic appropriate man-
modification. For instance, when a quarter note gets the ner, should be heard and understood by the audience.” This
beat in a piece, any duration longer than a quarter note definition might provide more clarity for singers as opposed
must grow or decay in terms of dynamics, tone color, or to simply “proper diction.” It is important for directors and
excitement. This rule partners with rule one because long singers to know the genre-specific values and incorporate
notes that are simply held increase a feeling of monotony them into these expression “rules.”
or “flat lining.” Monotony and “flat lining” are not musi-
cal choices. Instead, think of notes as always growing to-
ward a destination or coming back from that destination. Rule 5: End the Phrase in Preparation for the Next One
Additionally, think of the lyric and which words within the
phrase are more important. Emphasize the most important Musical and lyrical phrases are sequential; they build off
words and de-emphasize the less important words. each other. How we end a phrase can connect the phrases
or temporarily break this connection. If the dynamic level
at the end of a phrase is dramatically different from the

Rule 3: Unified Target Vowels/Matched Resonances start of the next phrase, the audience gets confused, un-
less there is a purposeful reason. Additionally, the ensemble
Vowels provide art and beauty to words. Unifying the should sing the end of a phrase, with the intent to highlight
vowel increases the opportunity for lock and ring. In the the next lyrical or emotional point in the story. Emotional
extremes of our range, singers oftentimes must modify the shifts occur in the breath between phrases, but the line and

ChorTeach Volume 15 • Issue 4 13 Summer 2023