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Doo-Wop: Subcategory Of Vocal Group Harmony

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Doo-wop represents a subcategory of vocal group harmony that includes the following musical qualities: group harmony, a wide range of vocal parts, nonsense syllables, a simple beat, light instrumentation, and simple music and lyrics. Above all, the focus is on ensemble singing. Single artists fit only when backed by a group (the possibility that the group may not be mentioned on the record label is immaterial). Typically solo billing simply means that this individual is more prominently placed in the musical arrangement (e.g., Dion, Bobby Day, Thurston Harris) as opposed to typical group productions. Group Harmony In doo-wop vocal harmonies echo--or, more commonly--run underneath the lead vocalist. Generally, the second tenor and baritone blend together as one sound, with the high tenor (or falsetto) running over the lead and the bass reverberating on the bottom end. The group harmony does not usually lead throughout; however, it may occasionally alternate with a tenor in this capacity (e.g., the Channels--"The Closer You Are"). …show more content…

The genre sometimes utilized the device of progressive entrances by different voices. In most cases, the bass would begin, with others entering one at a time, until full harmony was achieved. Two notable 1958 releases, Dion and the Belmonts' "Tell Me Why" and Danny and the Juniors' "At the Hop," employed this technique as a primary hook. In short, doo-wop harmonies evolved to a more complicated level than that reflected in the call-and-response format found in gospel. However, the genre lacked the musical depth—obtained through use of the minor keys--typifying the mature work of the Beach

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