Vocal harmony in the context of Choral music


Vocal harmony in the context of Choral music

⭐ Core Definition: Vocal harmony

Vocal harmony is a style of vocal music in which a consonant note or notes are simultaneously sung as a main melody in a predominantly homophonic texture. Vocal harmonies are used in many subgenres of European art music, including Classical choral music and opera and in the popular styles from many Western cultures ranging from folk songs and musical theater pieces to rock ballads. In the simplest style of vocal harmony, the main vocal melody is supported by a single backup vocal line, either at a pitch which is above or below the main vocal line, often in thirds or sixths which fit in with the chord progression used in the song. In more complex vocal harmony arrangements, different backup singers may sing two or even three other notes at the same time as each of the main melody notes, mostly with a consonant, pleasing-sounding thirds, sixths, and fifths (although dissonant notes may be used as short passing notes).

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Vocal harmony in the context of Backup vocals

A backing vocalist is a singer who provides vocal harmony with the lead vocalist or other backing vocalists. A backing vocalist may also sing alone as a lead-in to the main vocalist's entry or to sing a counter-melody. Backing vocalists are used in a broad range of popular music, traditional music, and world music styles.

Solo artists may employ professional backing vocalists in studio recording sessions as well as during concerts. In many rock and metal bands (e.g., the power trio), the musicians doing backing vocals also play instruments, such as guitar, electric bass or keyboards. In Latin or Afro-Cuban groups, backing singers may play percussion instruments or shakers while singing. In some pop and hip-hop groups and in musical theater, they may be required to perform dance routines while singing through headset microphones.

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Vocal harmony in the context of Barbershop music

Barbershop vocal harmony is a style of a cappella close harmony, or unaccompanied vocal music, characterized by consonant four-part chords for every melody note in a primarily homorhythmic texture. Each of the four parts has its own role: generally, the lead sings the melody, the tenor harmonizes above the melody, the bass sings the lowest harmonizing notes, and the baritone completes the chord, usually below the lead. The melody is not usually sung by the tenor or baritone, except for an infrequent note or two to avoid awkward voice leading, in tags or codas, or when some appropriate embellishment can be created. One characteristic feature of barbershop harmony is the use of what is known as "snakes" and "swipes". This is when a chord is altered by a change in one or more non-melodic voices. Occasional passages may be sung by fewer than four voice parts.

Barbershop music is generally performed by either a barbershop quartet, a group of four typically male singers with one on each vocal part, or a barbershop chorus, which closely resembles a choir with the notable exception of the genre of music.

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Vocal harmony in the context of Brian Wilson

Brian Douglas Wilson (June 20, 1942 – June 11, 2025) was an American musician, singer, songwriter and record producer who co-founded the Beach Boys and received widespread recognition as one of the most innovative and significant musical figures of his era. His work was distinguished for its high production values, complex harmonies and orchestrations, vocal layering, and introspective or ingenuous themes. He was also known for his versatile head voice and falsetto.

Wilson's formative influences included George Gershwin, the Four Freshmen, Phil Spector, and Burt Bacharach. In 1961, he began his professional career as a member of the Beach Boys, serving as the band's songwriter, producer, co-lead vocalist, bassist, keyboardist, and de facto leader. After signing with Capitol Records in 1962, he became the first pop musician credited for writing, arranging, producing, and performing his own material. He also produced acts such as the Honeys and American Spring. By the mid-1960s he had written or co-written more than two dozen U.S. Top 40 hits, including the number-ones "Surf City" (1963), "I Get Around" (1964), "Help Me, Rhonda" (1965), and "Good Vibrations" (1966). He is considered the first rock producer to apply the studio as an instrument and one of the first music producer auteurs.

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Vocal harmony in the context of Pet Sounds

Pet Sounds is the eleventh studio album by the American rock band the Beach Boys, released on May 16, 1966, by Capitol Records. It was produced, arranged, and primarily composed by Brian Wilson with guest lyricist Tony Asher. Recorded largely between January and April 1966, it furthered the orchestral sound introduced in The Beach Boys Today! (1965). Initially promoted as "the most progressive pop album ever", Pet Sounds is recognized for its ambitious production, sophisticated harmonic structures, and coming of age themes. It is widely regarded as among the greatest and most influential albums in music history.

Wilson viewed Pet Sounds as a solo album and attributed its inspiration partly to marijuana use and an LSD–rooted spiritual awakening. Galvanized by the work of his rivals, he aimed to create "the greatest rock album ever made", surpassing the Beatles' Rubber Soul (1965) and extending Phil Spector's Wall of Sound innovations. His orchestrations blended pop, jazz, exotica, classical, and avant-garde elements, combining rock instrumentation with layered vocal harmonies, found sounds, and instruments not normally associated with rock, such as French horn, flutes, Electro-Theremin, bass harmonica, bicycle bells, and string ensembles. Featuring the most complex and challenging instrumental and vocal parts of any Beach Boys album, it was their first in which studio musicians, such as the Wrecking Crew, largely replaced the band on their instruments, and the first time any group had departed from their usual small-ensemble pop/rock band format to create a full-length album that could not be replicated live. Its unprecedented total production cost exceeded $70,000 (equivalent to $680,000 in 2024).

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Vocal harmony in the context of Middle of the road (music)

Middle of the road (also known by its acronym MOR) is a commercial radio format. Music associated with this term is strongly melodic and uses techniques of vocal harmony and light orchestral arrangements. The format was similar to soft adult contemporary. In the mid-late 2000s the term "middle of the road" became used by journalists as a way to describe musicians and bands such as Train and Westlife who calibrated their musical appeal to commercial, popular music taste and avoided more innovative material.

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Vocal harmony in the context of Alice in Chains

Alice in Chains (often abbreviated as AiC) is an American rock band formed in Seattle in 1987. Since 2006, the band's lineup has consisted of vocalist/guitarists Jerry Cantrell and William DuVall, bassist Mike Inez, and drummer Sean Kinney. Vocalist Layne Staley and bassist Mike Starr are former members of the band. Often associated with grunge music, Alice in Chains' sound and style is rooted in heavy metal. The band is known for its distinctive vocal style, which often included the harmonized vocals between Staley and Cantrell (and later Cantrell and DuVall). They are one of the most popular rock bands from the 1990s.

Alice in Chains' original lineup consisted of Cantrell, Kinney, Staley, and Starr. They took the name from Staley's previous band, Alice N' Chains. The band rose to international fame as part of the grunge movement of the early 1990s, along with other Seattle bands such as Nirvana, Pearl Jam, and Soundgarden. They broke through on MTV and mainstream rock radio with the single "Man in the Box" (from their 1990 debut album Facelift). After releasing the EP Sap in early 1992, the band achieved major mainstream and commercial success with their follow-up album Dirt later that same year. Dirt contained the popular singles "Rooster" and "Would?", among others. Starr was replaced on bass by Inez in early 1993. The following two records, 1994's Jar of Flies (which included the popular singles "I Stay Away" and "No Excuses") and 1995's Alice in Chains (also contained radio hits such as "Heaven Beside You" and "Grind"), both topped the US Billboard 200 chart and earned the band several Grammy Award nominations.

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