For musicians and non-musicians alike, 'barbershop singing' recalls The Music Man's Ice Cream Quartet and the bright hum of a pitch pipe. Audiences won't guess that participation in barbershop singing can entail three-hour rehearsals, vowel-matching, breath plans, lyric mapping, and international competition.
Gambling Man The Overtones Buy This Song. FAVORITE (1 fan) The Overtones. The Overtones are a five-piece British-Irish-Australian Vocal Harmony boy band from London. The Overtones (3) – Gambling Man Label: Warner Bros. Records – 8 7 8, Warner Music Entertainment – 8 7 8. Aiming for giggles people, not a Grammy. Me in the official video This is my submission for The Overt.
Barbershop is a cappella four-part harmony marked by elaborate slides, inverted chords, and attention to overtones. Its lighthearted performance often belies the musicianship needed to 'ring the chords' — to sing with such accurate pitch and pronunciation that the chords create more notes than voices.
How does that work? Well, the four parts of barbershop are designed to produce overtones. Singing the melody, the lead defines the musical interpretation. Providing a secondary lyrical line, the bass lays the foundation for the overtone series. The tenor sings into the overtones created by the bass, her part resembling a descant. The baritone gets the notes that only a music theory nerd could love: major sevenths, tritones, accidentals.
Though I've been singing baritone with Jacksonville Harmony Chorus for eight years, I've recently started singing lead in a new quartet called Chordinated. The change has been an incredible musical challenge. As the lead, I designate the dynamics, breaths, and emotions of the music: I am the authority onstage.
As a classical soprano, I've been in several performance ensembles — but this is my first time in a quartet. Jeanie (bass) and Danielle (tenor) are also beginners. Our experienced baritone, Debbie, helps plan rehearsals and directs rigorous vowel-matching warmups. A quartet will only ring chords when each singer produces every vowel identically: the guide for pronunciation is the lead's voice. After routines of sliding scales, chords, and arpeggios, we focus on our music for competition. In April, we'll compete in a regional contest with other choruses and quartets. Winners of regional competition progress to international competition, and quartets who win international are called 'Queens of Harmony.' We want to be Queens.
Work on contest songs often includes duetting: where two parts rehearse to produce a unified sound. As we duet, we change position — singing cheek-to-cheek, behind one another, or beside each other. Sometimes we sing in 'quartet formation,' a semicircle with lead and bass in the center. Occasionally we form a tight circle, singing across to one another.
Barbershop demands my classical training in music theory as I navigate through difficult chords and key changes. However, most of the singing technique I apply here does not come from my classical training. Singing lead requires more frontal resonance: sending the tone 'into the mask' so that it resonates in my cheekbones and forehead. I also use my hard palate when the lead has a 'post' — a sustained note that grows while the other parts move around it.
Barbershop singing allows me to be more physically expressive. Chordinated has been coached by two Queens who emphasized using our legs and arms to help produce sound. While singing barbershop, I allow my knees and hands to express tension, invitation, anticipation, relief. The physical movement produces a more consistent sound.
Though I've only been singing lead since November, I'm discovering an intense love for musical interpretation. My quartet indulges me as I change the keys of our songs until I find the key that best suits our voices. Barbershop singers are notoriously lax about the written score. Our sheet music functions like the loose guidelines for medieval chants: rhythms can be rushed or stretched depending on the lead's design and the quartet's abilities. The lead is harmonically situated like the cantus firmus of centuries past, unlike the soprano-centric melodies of most SATB arrangements.
Working toward competition, Chordinated are rehearsing for several hours each week — in addition to our chorus's three-hour practices. We've lined up coaching sessions with chorus directors and Queens from our region. And on the advice of one Queen, we sing our music on lip trills for 10 minutes every day. In this quartet, I'm a novice again, singing in a new place both musically and physically.
The Overtones Gambling Man Vocal Challenge Questions
Emily Michael is a writer, musician, and English instructor living in Jacksonville, Florida. When she's not involved in academic pursuits, she works with blind and visually impaired people and their families, teaching self-advocacy and independent living skills.
Interested in writing about classical music for Classical MPR? Have a story about classical music to share? We want to hear from you!
| Higher | ||
|---|---|---|
| Studio album by | ||
| Released | 1 October 2012 | |
| Recorded | 2011-2012, Thesamplefactory, London Sarm Studios, Notting Hill, London Capitol Recording Studios, Hollywood, CA WallyWorld Studios, Studio City, CA; Northern Sky Studios | |
| Genre | Pop, Doo-wop, Soul | |
| Length | 37:18 | |
| Label | Rhino Entertainment | |
| Producer | Trevor Horn, Future Cut, Walter Afanasieff, Steve Robson, Steve Booker | |
| The Overtones chronology | ||
| ||
| Singles from Higher | ||
|
Higher is the second studio album by the five-piece British-Irishdoo-wopboy bandThe Overtones. The album was released on 1 October 2012 in the UK via Rhino Entertainment.[1] The album was preceded by the release of the lead single, 'Loving the Sound'. The band worked with a number of well-known producers on the album, including Trevor Horn, Walter Afanasieff and Steve Robson, as well as production team Future Cut, who produced most of the original tracks on the album.
Promotion[edit]
On 29 September 2012 the band appeared on an episode of Red or Black?, appearing as part of a challenge involving using a handkerchief in their performance. They performed three songs in a medley, including the album's lead single 'Loving the Sound'. On 9 December 2012 they appeared as special guest performers in the final episode of the ninth series of The Xtra Factor. Despite not being a single from the album, 'Runaround Sue' has been a staple of the band's live set since its inception and is one of the crowd favourites on tour. On 4 October 2012, Higher entered the Irish Albums Chart at #19, before entering the UK Albums Chart at #6 two days later, becoming the band's second top ten album in the UK.
Singles[edit]
- 'Loving the Sound' was released as the lead single from the album on 14 September 2012. It charted at 100 on the Official UK Charts on 7 October 2012 and became their second top 100 single to date. The band promoted the song with performances on The National Lottery, This Morning and The Xtra Factor.
- 'Higher' was released as the second single from the album on 30 November 2012. It was the second original song to be released as a single from the album. The track was co-written by the band and Steve Booker and produced by Future Cut.
- 'Love Song' was released as the third and final single from the album on 18 February 2013. It was the third original song to be released as a single from the album. The track was again co-written by the band and produced by Future Cut.
For musicians and non-musicians alike, 'barbershop singing' recalls The Music Man's Ice Cream Quartet and the bright hum of a pitch pipe. Audiences won't guess that participation in barbershop singing can entail three-hour rehearsals, vowel-matching, breath plans, lyric mapping, and international competition.
Gambling Man The Overtones Buy This Song. FAVORITE (1 fan) The Overtones. The Overtones are a five-piece British-Irish-Australian Vocal Harmony boy band from London. The Overtones (3) – Gambling Man Label: Warner Bros. Records – 8 7 8, Warner Music Entertainment – 8 7 8. Aiming for giggles people, not a Grammy. Me in the official video This is my submission for The Overt.
Barbershop is a cappella four-part harmony marked by elaborate slides, inverted chords, and attention to overtones. Its lighthearted performance often belies the musicianship needed to 'ring the chords' — to sing with such accurate pitch and pronunciation that the chords create more notes than voices.
How does that work? Well, the four parts of barbershop are designed to produce overtones. Singing the melody, the lead defines the musical interpretation. Providing a secondary lyrical line, the bass lays the foundation for the overtone series. The tenor sings into the overtones created by the bass, her part resembling a descant. The baritone gets the notes that only a music theory nerd could love: major sevenths, tritones, accidentals.
Though I've been singing baritone with Jacksonville Harmony Chorus for eight years, I've recently started singing lead in a new quartet called Chordinated. The change has been an incredible musical challenge. As the lead, I designate the dynamics, breaths, and emotions of the music: I am the authority onstage.
As a classical soprano, I've been in several performance ensembles — but this is my first time in a quartet. Jeanie (bass) and Danielle (tenor) are also beginners. Our experienced baritone, Debbie, helps plan rehearsals and directs rigorous vowel-matching warmups. A quartet will only ring chords when each singer produces every vowel identically: the guide for pronunciation is the lead's voice. After routines of sliding scales, chords, and arpeggios, we focus on our music for competition. In April, we'll compete in a regional contest with other choruses and quartets. Winners of regional competition progress to international competition, and quartets who win international are called 'Queens of Harmony.' We want to be Queens.
Work on contest songs often includes duetting: where two parts rehearse to produce a unified sound. As we duet, we change position — singing cheek-to-cheek, behind one another, or beside each other. Sometimes we sing in 'quartet formation,' a semicircle with lead and bass in the center. Occasionally we form a tight circle, singing across to one another.
Barbershop demands my classical training in music theory as I navigate through difficult chords and key changes. However, most of the singing technique I apply here does not come from my classical training. Singing lead requires more frontal resonance: sending the tone 'into the mask' so that it resonates in my cheekbones and forehead. I also use my hard palate when the lead has a 'post' — a sustained note that grows while the other parts move around it.
Barbershop singing allows me to be more physically expressive. Chordinated has been coached by two Queens who emphasized using our legs and arms to help produce sound. While singing barbershop, I allow my knees and hands to express tension, invitation, anticipation, relief. The physical movement produces a more consistent sound.
Though I've only been singing lead since November, I'm discovering an intense love for musical interpretation. My quartet indulges me as I change the keys of our songs until I find the key that best suits our voices. Barbershop singers are notoriously lax about the written score. Our sheet music functions like the loose guidelines for medieval chants: rhythms can be rushed or stretched depending on the lead's design and the quartet's abilities. The lead is harmonically situated like the cantus firmus of centuries past, unlike the soprano-centric melodies of most SATB arrangements.
Working toward competition, Chordinated are rehearsing for several hours each week — in addition to our chorus's three-hour practices. We've lined up coaching sessions with chorus directors and Queens from our region. And on the advice of one Queen, we sing our music on lip trills for 10 minutes every day. In this quartet, I'm a novice again, singing in a new place both musically and physically.
The Overtones Gambling Man Vocal Challenge Questions
Emily Michael is a writer, musician, and English instructor living in Jacksonville, Florida. When she's not involved in academic pursuits, she works with blind and visually impaired people and their families, teaching self-advocacy and independent living skills.
Interested in writing about classical music for Classical MPR? Have a story about classical music to share? We want to hear from you!
| Higher | ||
|---|---|---|
| Studio album by | ||
| Released | 1 October 2012 | |
| Recorded | 2011-2012, Thesamplefactory, London Sarm Studios, Notting Hill, London Capitol Recording Studios, Hollywood, CA WallyWorld Studios, Studio City, CA; Northern Sky Studios | |
| Genre | Pop, Doo-wop, Soul | |
| Length | 37:18 | |
| Label | Rhino Entertainment | |
| Producer | Trevor Horn, Future Cut, Walter Afanasieff, Steve Robson, Steve Booker | |
| The Overtones chronology | ||
| ||
| Singles from Higher | ||
|
Higher is the second studio album by the five-piece British-Irishdoo-wopboy bandThe Overtones. The album was released on 1 October 2012 in the UK via Rhino Entertainment.[1] The album was preceded by the release of the lead single, 'Loving the Sound'. The band worked with a number of well-known producers on the album, including Trevor Horn, Walter Afanasieff and Steve Robson, as well as production team Future Cut, who produced most of the original tracks on the album.
Promotion[edit]
On 29 September 2012 the band appeared on an episode of Red or Black?, appearing as part of a challenge involving using a handkerchief in their performance. They performed three songs in a medley, including the album's lead single 'Loving the Sound'. On 9 December 2012 they appeared as special guest performers in the final episode of the ninth series of The Xtra Factor. Despite not being a single from the album, 'Runaround Sue' has been a staple of the band's live set since its inception and is one of the crowd favourites on tour. On 4 October 2012, Higher entered the Irish Albums Chart at #19, before entering the UK Albums Chart at #6 two days later, becoming the band's second top ten album in the UK.
Singles[edit]
- 'Loving the Sound' was released as the lead single from the album on 14 September 2012. It charted at 100 on the Official UK Charts on 7 October 2012 and became their second top 100 single to date. The band promoted the song with performances on The National Lottery, This Morning and The Xtra Factor.
- 'Higher' was released as the second single from the album on 30 November 2012. It was the second original song to be released as a single from the album. The track was co-written by the band and Steve Booker and produced by Future Cut.
- 'Love Song' was released as the third and final single from the album on 18 February 2013. It was the third original song to be released as a single from the album. The track was again co-written by the band and produced by Future Cut.
Track listing[edit]
| No. | Title | Writer(s) | Producer(s) | Length |
|---|---|---|---|---|
| 1. | 'Loving the Sound' | Jon Green • Phil Thornalley | Future Cut | 3:13 |
| 2. | 'Perfect' | Mark E. Nevin | Trevor Horn | 3:36 |
| 3. | 'Call Me Up' | Edvard Førre Erfjord • Henrik B. Michelsen • Marco Bernardis • Mark Franks • Michael Craig Davis • Paul Martin Burton • Timmy Matley | Future Cut | 3:09 |
| 4. | 'Runaround Sue' | Dion DiMucci • Ernie Maresca | Trevor Horn | 3:05 |
| 5. | 'When You Say My Name' | Matley • Lachie Chapman • Steve Robson • Wayne Hector | Steve Robson | 3:11 |
| 6. | 'Groovin' | Felix Cavaliere • Eddie Brigati | Walter Afanasieff | 4:12 |
| 7. | 'Unforgettable' | Irving Gordon | Walter Afanasieff | 3:33 |
| 8. | 'Love Song' | Erfjord • Michelsen • Bernardis • Franks • Davis • Burton • Matley • Chapman • Darren Everest • Mike Crawshaw | Future Cut | 3:26 |
| 9. | 'The Glory of Love' | Billy Hill | Walter Afanasieff | 2:10 |
| 10. | 'You've Lost That Lovin' Feelin' | Phil Spector • Barry Mann • Cynthia Weil | Trevor Horn | 4:34 |
| 11. | 'Reet Petite' | Berry Gordy • Tyran Carlo | Trevor Horn | 2:42 |
| 12. | 'You Keep Me Hangin' On' | Holland–Dozier–Holland | Trevor Horn | 3:25 |
| 13. | 'Higher' | Franks • Matley • Chapman • Everest • Crawshaw • Steve Booker | Future Cut | 3:50 |
Charts[edit]
| Chart (2012) | Peak position |
|---|---|
| UK Albums Chart | 6 |
| Irish Albums Chart[2] | 19 |
Release history[edit]
The Overtones Death
| Region | Date | Format | Label |
|---|---|---|---|
| United Kingdom | 1 October 2012[3][4] | CD, Digital download | Rhino Entertainment |
References[edit]
The Overtones Gambling Man Vocal Challenge Against
- ^'Archived copy'. Archived from the original on 2012-09-26. Retrieved 2012-09-29.CS1 maint: archived copy as title (link)
- ^'Irish Albums Chart > Archive > Week Ending: October 4, 2012'. GFK. Archived from the original on April 29, 2013. Retrieved 2012-10-04.
- ^Higher: Amazon.co.uk: Music
- ^iTunes - Music - Higher by The Overtones
The Overtones Youtube
