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Have the singers pay special attention to
things like note length, when exactly to come
off a note and how, and if a long note ends
with a sharp consonant like a T or K that they
can't seem to hit exactly in sync, ask all but one
singers to simply not sing that consonant. One
will suffice, better than three conflicting ones.
To double or not to double:
Doubling any vocal, lead or background,
can add girth and vibe. It's a great tool, and it
has a particular sound. Doubling background
vocals can give them a fatness that is very satisfying. But it can also make a production
sound very different, and in some cases too
big! The best way to figure out whether it will
work to double the vocals is to try it. In some
cases just a doubled lead vocal is all that's
needed! Consider The Beatles' "Something". There are fully harmonized
lyrics in the bridges and some harmonies in the last verse. But the choruses
are only a doubled melody vocal! Way cool.
And what if you're looking to build a choir out of only a few singers? Doubling,
tripling, quadrupling and more can work great. In these cases, it can be effective
to have your singers change their voice a bit from take to take, use falsetto on one
or two, move their voice back or forward in their throat, or swap mics between
takes. This way, it is less obvious that it's only a few singers, and doesn't sound as
homogenous. On the other hand, there are times when this homogenous sound
can work for you... consider Queen's "Bohemian Rhapsody". Enough said.

ahhs make a great pad in the right song. But unlike
any other instrument they can include lyrics, and
not necessarily the same ones the lead is singing,
which makes them a great tool!
Adding harmonies to the lead vocal, singing the
same lyrics at the same time, as we all know, sounds
awesome. But you can also fill in space, add energy
and emphasis by using the same lyric sung at a different time, for instance an echo. Or use completely
different lyrics sung in counterpoint to the lead vocal.
A great example, and one with which we're all
familiar is The Beatles' "Getting Better". In the first
verse, the lead vocal sings "I used to get mad at my
school," and the background vocals answer "No I
can't complain." And in the Chorus, the lead sings,
"I've got to admit it's getting better," and the background vocals sing "better" in a longer, drawn out
way. Then the lead sings, "A little better all the time,"
and the background vocals sing "It can't get no
worse." Brilliant.
This can be a very useful tool in building the meaning of a song. In cases where the words in the lead
vocal are not saying a lot, or repeating a short
phrase, the background vocals can say something different and add meaning to the lyric as well as interest to the arrangement. As in the above example,
using a combination of harmonized lyrics and oos
and ahhs can make a good song sound way better.

First and foremost, remember-the song is king. The meaning of
the song dictates the kinds of decisions you make in any production.
Matching the chords, not the melody
When singing harmonies-solo lines in verses, or multiple harmonies in
bridges or choruses-it's important to pay attention to what the chords are
doing. This is especially true in songs with fewer vocals, like just a lead vocal
and one harmony. I've noticed that many background singers tend to simply
harmonize a third above the melody, singing parallel to it no matter what's
underneath. But this can clash badly with the chords and make things sound
less than stellar. Singing a third above the melody can be awesome, but listen
to what chords are being implied by that harmony, and be sure it matches the
chord you're singing with at every moment. In some cases, changing the harmony up or down a half tone or so outside of that parallel third is necessary.
Sometimes leaving a note hanging a bit longer, past where the melody
changes, or using pedal tones (singing a one-note harmony on a note that's
common to more than one chord throughout a section) can yield great results.
But you may need to alter notes here and there to be sure all is well.
A great example of all of this is The Beatles' "Nowhere Man". As the harmonies
move through the verses, they are not completely parallel to the melody, but rather
move with the chords-to the extent that when the song starts a cappella the chords
are all there! In particular, check out the lower harmony in the verses!
For an example in a completely different style, listen to almost any Gillian
Welch song. David Rawlings, her brilliant guitarist and harmony singer, is a
master at picking out the right harmony notes to match the melody and the
chords, also to add meaning, emphasize a word, phrase or note, and just to
make the song more interesting.
Lyrics, or ooos and ahhs
The voice is an amazing instrument. And it can be used in so many ways.
Oos and ahhs can add something wonderful to verses or choruses. (Check
out the Beatles' "Oh! Darling", in the second half of each verse. Listen to the
harmonies used. Listen to where they come in!) Doing big doubled oos and
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Handle with care
Throughout this process, it is important to keep in
mind that you are dealing with the human voice.
Yes, it is an incredible instrument. It is also something to which listeners are particularly attuned and
sensitive. If it is not treated with care, listeners can
be turned off by it. Keep this in mind when arranging any background vocal part. It ought not to be
trampled on by or clash with other things in the production-especially not the lead vocal!
Some arrangers prefer to have the background
vocals mimic or sing the same notes as another instrument is playing. This way, there's not too much harmony happening, which can be confusing to a listener. But however you do it, in addition to thinking about
what notes the background vocals sing, so that they
match the chords, think too about what rhythms, styles
and dynamics are happening in the other instruments,
and be sure that the background vocals fit with these.
And, as with the lead vocal, each vocalist has their
own set of talents, limitations, stylistic leanings, and
points of view about music and their own abilities.
Aspire to being a producer who knows how songs, productions and particularly background vocals work, and
being someone who can listen to ideas and make suggestions about them, or come up with completely new
ideas. Then you need to be able to communicate them
to artists and singers, in a respectful way that keeps
everyone happy and excited about the direction the
song is heading. That is a worthwhile talent to develop!

Recording - February 2014

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