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What part should I be singing?
Okay, you decided to check out this organization and you’ve definitely decided it’s for you. Now you’ve got to decide which part would be best for you.
There are several questions you should ask yourself first: What part do I sing in the church choir (because it just seems to be a given that we all sing in our church choirs)? Do I prefer singing melody or harmony? Do I have a powerful voice or one that blends easily? Am I an independent singer or do I feel more comfortable singing next to someone else singing my part?
The four parts in barbershop are a little different than the parts we sing in our church choirs, but there’s a place for all of us in Adelines (as long as you don’t possess any broken chromosomes). Click on the the underlined words to hear how each part sounds.
Let’s start from the bottom. . .
Basses. Basses are the female tenors in most choirs. They are the lowest part in barbershop and provide most of the foundation of any chord, as well as the percussion in many cases. They generally sing in a wedge on the risers, so they have plenty of support from each other as they sing. Women can feel isolated as the only female in the tenor section, but they’re right at home as basses in Sweet Adelines.
Baritones. Baris. . . they’re a little hard to explain. They’re the “garbage” singers. They’re the ones who fill in any missing note in the chord, so sometimes their part is not exactly. . . melodic. Baris sing in an alto range but also need to have a light, airy head range. They need to have a good ear and a good range. This part is for you if you like to sing harmony and like a good challenge. No chorus could sing barbershop without the bari part. They are truly what exemplifies the barbershop sound.
Leads. Barbershop is one of the few musical forms in which the melody is an internal part. Leads sing the melody most of the time in an alto range. It’s much easier to learn the lead part, but leads carry a lot of responsibility in the chorus, so it definitely has its challenges. Leads are often responsible for keeping up the pitch and providing the ambience for a song. Leads are the divas of any chorus. They sing their best when dressed in sequins. If you’re one to belt out a strong melody, lead is definitely for you.
Tenors. Tenors are the tip of the chord. They are the highest part and sing in the second soprano range. However, this part is particularly difficult for most sopranos to sing because we sopranos are used to belting out the melody. Tenors must sing very lightly and with a lot of air in their tone and their range is extremely limited. They tend to live in the C, D, E range, which is smack-dab in the middle of that uncomfortable crack for most first sopranos. Although all parts must sing as straight a tone as possible, tenors in particular must have absolutely no trace of vibrato. Very few firsts find this part to be for them, but that's okay since any given Adeline chorus only needs a few tenors.
So where does a good first soprano fit in in Sweet Adelines? Most firsts do well as leads where we can sing out the melody that we’re used to. I should know because I’m one of them. Sure, sometimes the part gets a little low, but I’ve found that my high range has not only not been compromised, but my full range has actually increased from singing lead.
Whatever part you decide is best for you, you’ll find it to be both challenging and rewarding, and we can’t wait for you to join us!