Specific Choreo Notes
FACES Choreography

It takes only four (4) muscles to smile, 
but thirteen (13) to frown.

In any case, it does take muscles to make the face do anything but just hang there in a blank expression. Most of us spend our lives in an environment where showing emotion is regarded as a lack of control. As a result, we have allowed those facial muscles to waste away to such an extent that when we think we are showing some extreme emotion, all of the inner feelings may be there, but the external expression is pretty blank.

The performance of barbershop music allows us to take off the "mask" (or put it on) and get the facial muscles in shape along with the vocal muscles.

Try expressing the emotions pictured below in front of the bathroom mirror ... with the door closed. Discover just how much PHYSICAL SENSATION it takes to produce a VISUAL RESULT to compliment the EMOTIONAL FEELINGS needed. Then in rehearsals and performances, try to reproduce the same intensity of physical sensation to go with the emotional feelings we need to express the mood of every song we sing.

YOUR CHORUS VISUALS TEAM WILL HELP READY YOU FOR PERFORMANCES

They can give instruction, and provide chorus performance tapes, to update you on choreography that has been taught prior to your joining the chorus. Many hold regular early choreography sessions with a member of the visuals team for review and catch-up and to provide individual instruction and help should that prove necessary. Most choruses also require that a new member be "approved" by a visuals team member for contest songs before they may perform it with the chorus.

Choreography is usually presented as soon as is possible after the music is learned. Occasionally planned moves are changed after a song has been performed for a while. This is often done to strengthen the visual impact of the piece or correct a move that does not work visually or does not allow proper breath support for the singer. Problem areas are not always identified when the choreography is first taught and may arise as the performance of the piece improves with practice.

In addition, there are videos of past show and competition performances (both regional and international) available from the Library for you to watch and study. Check these out and enjoy a total performance!! Take advantage of the education sessions at Regional Music Schools.

A PERFORMER WHO IS READY KNOWS ALL THE PLANNED MOVES ... AND MORE!

When you join a Chorus you join more than "just" a singing organization. You give yourself the opportunity to become a well rounded performer through the exploration of emotional impact achieved by adding visual expression and movement to your musical performance.

In the Barbershop Style, to enhance our musical performance, we create a series of planned or staged movements -- not necessarily dance, but called "choreography" -- to go with the words and rhythms and to help tell the story of our songs. This enables the chorus to make eye contact at the appropriate time with the director or audience. It also gives a more exciting, entertaining quality to our music.

GAIN STAGE PRESENCE!

Choreography should not be thought of as only the planned moves taught to you by the choreography committee, but it is a combination of your face, posture, attitude and planned moves (when needed). Every song has "choreography" and the mood and story of the song is communicated through your visual performance. This choreography helps you to present an energized performance every time and everywhere (even at rehearsal).

Choreography needs to be consistent throughout the chorus; thereby, creating a "unit look". The plan is to create a large visual effect by combining your moves with the persons around you - not to "oversell" or make your own individual performance standout -- no prima-donnas -- don't be the one "distraction" -- keep your eyes on the director ... UNLESS IT'S PLANNED and helps to enhance the overall intended story picture of the music.

Your music and visuals team need to coordinate their plans so they are telling the same story. Their plan needs to enhance the intended dynamics, harmonies and lyric line of the musical arrangement (eg. strong uptune calls for stronger movements and dynamics -- chords moving in an upward scale may call for visuals that lift the body).

The chorus works as a TEAM to create a harmonious experience visually and vocally. The front row is a part of the chorus team that happens to be positioned closer to the audience. Generally, the chorus as a whole moves uniformly although the front row may be given additional moves to EMPHASIZE what the main chorus is doing.

PROPER SINGING POSTURE FROM THE TOES UP
from "Pitchpipe" (July 1997)

  1. One foot (outside) slightly in front of the other, feet comfortably apart for good balance
  2. Weight forward (slightly) on the balls of the feet, heels on the floor
  3. Knees relaxed and flexible
  4. Buttocks tucked under
  5. Chest lifted high and spread wide
  6. A feeling of the ribs being lifted up and out of the waistline
  7. Shoulders relaxed, as if hanging on a coat hangar
  8. Neck relaxed, head able to move freely (but not too much)
  9. Chin parallel to the floor, neither lifted nor lowered

Choreography Terminology

Below is a summary of terms and "expressions" frequently used to describe the various moves for stage / choreography / and the barbershop  visual performance. Use these references to assist you in understanding the terms used by your visuals team. Then work with one of the team to perfect your style. 

  • INSIDE means moving toward the center of the chorus; using the arm, or stepping on the foot closest to the center of the chorus

  • OUTSIDE means moving toward the outside edge of the riser, using the arm or stepping on the foot closest to the outside edge of the riser

  • UPSTAGE farthest away from the audience 

  • DOWN STAGE closest to the audience

  • BLOCK MOVE everyone doing the same move the same direction at the same time

  • SPLIT MOVE split the chorus down the center, and each side does the move in the opposite direction

  • DOWN THE TILES head and body angle are turned out to the audience as if there were tiles on the floor going out straight from the risers to the audience

  • RESET to change your body position slightly, to re-energize. Pick up a foot and reposition it, to change the position of the weight

  • CHORUS STANCE (see posture above) ("Home Position") feet are placed with toes of the OS foot pointed toward the audience, the IS foot is angled slightly to your comfort. Body carriage is tall and erect and the face is "on" with eyes on the director

  • FRAME persons performing in the back row, front row, and on the outside ends of each row on the risers

  • WINDOWS the space between the two people in front of you is your "window".  Try to remain centered between those two people

  • SPOKES achieved when the people in the second and fourth rows step to the right and end up standing directly behind someone

  • CONTAGION ("Ripple or add-on") a move is begun at one end of the chorus and passed along down the rows. Similar to the "wave" you see at sporting events

  • JAZZ HAND hand position with the palm flat out to the audience, fingers spread

  • SLICE HAND hand is in profile to the audience so that only the little finger is visible, fingers locked tightly together
Back to Top