Who thinks of this concept is rather to hair dryers instead of tones, is not wrong. "Barber Shops", the American hairdressing salons, were the end of the 19th Century places convivial meetings, where the gentlemen knew occasionally to distribute the waiting time with spontaneously improvised songs. Meanwhile, the barbershop music in the United States has long been a part of American culture, and some 60 years ago, women have conquered men synthesis domain for themselves. Originally a pure quartet singing, it soon developed to become a chorus singing style.

Stylistically Barbershop will gladly settle somewhere in between jazz and the "Comedian Harmonists". The core meets neither. Barbershop singing is overtone in pure culture and produced by optimized adaptation of vowels, pitch Intervals and volume among the four voices. The specific rules of harmony and the close rate cause a wealth of sound and volume, Which are among the outstanding features of this music.

With its rich sound this energizing music can reach your very core  - provided it is really precise intonation. The often challenging arrangements and intricate vocal guides are not always easy to tune. Barbershop is a cappella pure and offers the singer little opportunity to hide - not even behind sheets of music, because they are (at least in show preformances) frowned upon by Barbershoppers.

They do not want to hide anyway because in addition to the vocal quality presentation is very important in the Barbershop world, movement, facial expressions. (Source:

The vocal ranges in female as well as male Barbershop singing are:

  • The highest voice part is the tenor - they put the "icing on the cake".
  • The melody is the lead , they are the storytellers.
  • Harmonious below or above the lead moves the baritone, who supports the lead tone and strengthens the chord.
  • The lowest part is the bass , Often Largely responsible for the song rhythm and roots of chords.

And if all sing together perfectly, you will hear the 5th voice - the Overtones!