{"id":18391,"date":"2016-09-17T10:03:52","date_gmt":"2016-09-17T14:03:52","guid":{"rendered":"http:\/\/johnesimpson.com\/blog\/?p=18391"},"modified":"2016-09-17T10:03:52","modified_gmt":"2016-09-17T14:03:52","slug":"weekend-music-break-gq-bei-mir-bist-du-schon","status":"publish","type":"post","link":"https:\/\/johnesimpson.com\/blog\/2016\/09\/weekend-music-break-gq-bei-mir-bist-du-schon\/","title":{"rendered":"Weekend Music Break: GQ, “Bei Mir Bist Du Sch\u00f6n”"},"content":{"rendered":"

\"GQ\"N<\/span>ot at all a men’s style magazine, GQ<\/a> is a girls <\/em>quartet<\/em>, each described at the group’s Web site as “a recent graduate” of Baltimore’s Towson University. Although they often use the a capella<\/em> descriptor for themselves, the phrase most others reach for seems to be barbershop quartet<\/em>. Toe-MAY-toe, toe-MAH-toe<\/em> maybe: they made their first public splash in 2012 by winning the regional Harmony Sweepstakes A Cappella Festival, “the premier American showcase for vocal harmony music” — regardless of specific genre label — and then went on to place second in the nationals<\/em>, performing against groups who’ve adopted one or the other of those labels.<\/p>\n

(Happily, as far as I can tell, no one — least of all, GQ themselves — uses the rather hokey term for a “women’s quartet”: Sweet Adelines. In a recent Tweet, one of the group expressed gratitude for the other three and for “our barbershop family.”)<\/p>\n

The core of the Barbershop Harmony Society’s “definition of the barbershop style<\/a>” goes like this:<\/p>\n

Barbershop music features songs with understandable lyrics and easily singable melodies, whose tones clearly define a tonal center and imply major and minor chords and barbershop (dominant and secondary dominant) seventh chords that often resolve around the circle of fifths, while also making use of other resolutions.<\/p><\/blockquote>\n

That’s quite a mouthful, almost none of which makes sense to me (or, I’d wager, to many other non-musicians). But the sound<\/em> and style<\/em> of barbershop singing is instantly recognizable. Stereotypically, a bass vocalist provides a sort of beatbox bum-bum-bum-BUM<\/em> rhythm in the background, while three foreground voices — a couple of tenors and a baritone — twine around one another and sometimes merge, for sustained notes, in a glorious three- or four-part harmony. The content<\/em> of barbershop music also follows stereotypical paths: “traditional” popular songs, often from the early 20th century.<\/p>\n

(“Down by the Old Mill Stream” is not only considered typical, but also a frequent\u00a0target for humor, especially parody. See, for instance, this clip<\/a> from Eddie Murphy’s 2003 film, The Haunted Mansion<\/em> — in which four haunted statues perform the song.)<\/p>\nB<\/span>ut GQ (and similar groups), while honoring the tradition, are also determined to break from it. They showcase offbeat and often very contemporary songs, and explore ways to adapt traditional techniques to “modern” ears. For example, GQ’s big hit at that 2012 regional competition was “Timshel,” by Mumford & Sons. (Here’s a video<\/a> they made, sometime later.)<\/p>\n

GQ’s second album just dropped this summer, as the result of a successful Kickstarter campaign. At the Kickstarter project page<\/a>, they chose to feature the video below to demonstrate their approach, using the old swing hit — think the Andrews Sisters — “Bei Mir Bist Du Sch\u00f6n.” Among other attractions, the video offers a nice visual demonstration of classic barbershop style: adding a voice at a time, melding them into a single layer. I really like it.<\/p>\n