MUSIC BY DEREK HATLEY
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This web site lists my original songs and barbershop arrangements, gives a brief description of each work, provides an electronic sound clip and a partial preview copy of each one, and provides a direct means for buying the works and their electronic, part-specific learning tracks.
Each work on this web site has a partial preview copy of the score in PDF format and an electronic sound clip. The preview copies can be viewed and downloaded directly. These copies have a notice embedded on each page stating that they may not be used for performance and must be destroyed after previewing: see Authorized Copies under Buying for information on copyright restrictions and penalties.
The sound clips use computer-generated tones to provide an idea of what the arrangements sound like. These are not the same as the learning tracks described in the next section.
You may optionally purchase electronic learning tracks for each work. The learning tracks are created directly from the scores with computer-synthesized voices. They ain't beautiful, but they are guaranteed to have all the correct notes and words. In addition, the "singers" never breath in the wrong place - in fact they never breath at all! The learning part on each track has a higher volume than the other parts and is on just one of the stereo channels, with the other parts on just the other channel. In addition to the four learning tracks per arrangement there is a fifth track with the voices balanced roughly as they would be in a live performance to give you an idea how the arrangement will sound.
You will receive a single CD-ROM with the five tracks on it. You may then copy the tracks onto other CDs or tapes as needed. Copyright restrictions do not apply to learning tracks since they are not performance recordings, but you may not resell them.
The works are divided into three groups: Classic Barbershop; Pop/Rock/Jazz; and Potpourri. Each of these is described below.
Barbershop arrangements are listed with their contestablility indicated. Using the criteria given in the Barbershop Harmony Society's Contest and Judging Handbook, I have used my best judgement in providing these assessments: "Y" means I am very sure the arrangement is contestable; "N" means I am equally sure it is not; "?" means I believe it is contestable, but you should definitely seek the advice of a Music Judge (which I am not) before using it in contest. In fact, it never hurts to ask a Music Judge regardless of my assessment.
The judging criteria for Sweet Adelines International and Harmony Incorporated may be different from those for the BHS, so all women's arrangements should be checked with a Music Judge of the applicable society before being used for contest.
Although the Barbershop Harmony Society was founded in the 1930s, the "Golden Era" of barbershop songs was roughly from 1890 to 1920, and most of the old barbershop favorites are American songs from this era. In this same era many similar songs became popular in the UK, notably through the British Music Hall (similar to American Vaudeville). Some of these British songs made it across the Atlantic, but most did not, and the songs in the Classic Barbershop section are selected from these old British songs. They are all delightful, and most are contestable, with a high percentage of barbershop sevenths and cycle-of-fifths harmonies.
The Barbershop Harmony Society is engaged in an effort to reinvigorate the Society and to increase its membership, especially with younger members. Part of this effort is to modernize the barbershop repertoire, and one goal of the Pop/Rock/Jazz arrangements here is to support this modernization. Some of the arrangements were commissioned by quartets and choruses; others were chosen because they have shown a lasting popularity and because I like them. There are just two basic criteria in choosing to arrange songs in this group:
In contrast with the Classic Barbershop section, most arrangements in the Pop/Rock/Jazz section are not contestable. This is likely to become an increasing fact of life as the Society transforms itself, and it may well turn out that fundamental changes in the definitions of contestability will be needed somewhere along the way.
This group is a mix of original songs and arrangements that do not fit into either of the other two groups. Some are sacred songs, others are traditional or classical songs that are not usually included in the barbershop repertoire. The one thing they have in common is that they are all personal favorites of mine.
The definition of Classic Barbershop is easy: It comprises songs from around 1890 to 1920, or songs in the style of that era, with numerous Barbershop sevenths and cycle-of-fifths sequences, sung by an ensemble (quartet or chorus) with the unique Barbershop format. Difficulties arise when we start arranging and singing songs that are not in that style, while still using the Barbershop ensemble. Some people feel passionately that this is no longer Barbershop. I avoid getting into this debate, and I believe there is a way around it.
The Barbershop quartet format is unique because, first, it is a cappela, allowing it to use just intonation producing the lock and ring that we all love; second, unlike most other ensembles, the highest voice does not carry the melody - instead the lead carries the melody, with the other three parts weaving around it. Even with songs that are not traditional or classic Barbershop, this unique format gives those songs a unique sound.
Since conventional mixed-voice ensembles are characterized as SATB, perhaps we should characterize the Barbershop ensemble as TLBB. This gets around the issue of whether a particular arrangement is or is not "true" Barbershop. I don't really care how we characterize an arrangement (a rose by any other name, etc.), so TLBB seems a good way to avoid any arguments.
Although I have been involved in music of various kinds throughout my (fairly long) life, I did not become a barbershopper until 1998. At various times I have studied music and harmony theory, played violin, written and arranged popular music, sung folk music with my own guitar accompaniment, sung and performed in amateur light opera (mostly Gilbert and Sullivan), played backup guitar in a small dance combo, studied classical guitar, sung in a symphony chorus, and sung and arranged Barbershop. I also write songs outside of the barbershop genre either as individual songs or as show songs. Throughout, I have been an avid fan of classical, jazz, folk, pop, rock and many other musical genres.
So, with this varied musical background, I am happy to arrange classic, contestable barbershop songs, as in the Classic Barbershop section, but I am equally happy arranging non-traditional songs and discovering different ways to use the unique Barbershop quartet format (TLBB). In fact, I see this as an exciting adventure into unknown territory in which I invite you to join me.
In 2003, I was co-winner of the Society's Lou Perry Arrangers' Scholarship. As a result, I attended Harmony College and studied arranging under the capable guidance of Burt Szabo and Rob Hopkins--two of the Society's finest arrangers. It was a wonderful experience! I also studied song writing with Val Hicks, another great who, sadly, has since passed away.
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