we are Metro vocal group today we’re going to be talking about acapella music
going to be talking about acapella music
going to be talking about acapella music and how it’s been developing over the
and how it’s been developing over the
and how it’s been developing over the past 150 years and how this has affected
past 150 years and how this has affected
past 150 years and how this has affected Metro vocal group sound acapella music
Metro vocal group sound acapella music
Metro vocal group sound acapella music is singing without instruments all the
is singing without instruments all the
is singing without instruments all the music that you hear is created by only
music that you hear is created by only
music that you hear is created by only the human voice the style of a cappella
the human voice the style of a cappella
the human voice the style of a cappella music that has influenced Metro the most
music that has influenced Metro the most
music that has influenced Metro the most is called barbershop music back before
is called barbershop music back before
is called barbershop music back before there was recorded music we all had to
there was recorded music we all had to
there was recorded music we all had to physically create the music to entertain
physically create the music to entertain
physically create the music to entertain ourselves in nineteen nineteen ten the
ourselves in nineteen nineteen ten the
ourselves in nineteen nineteen ten the first usage of barbershop music was in a
first usage of barbershop music was in a
first usage of barbershop music was in a musical score called play that
musical score called play that
musical score called play that barbershop chord in 1912 the first
barbershop chord in 1912 the first
barbershop chord in 1912 the first Chinese barbershop quartet was created
Chinese barbershop quartet was created
Chinese barbershop quartet was created in San Francisco and they were called
in San Francisco and they were called
in San Francisco and they were called the Jang Hwa for or in Cantonese Jang
the Jang Hwa for or in Cantonese Jang
the Jang Hwa for or in Cantonese Jang Hwa say from that basically during this
Hwa say from that basically during this
Hwa say from that basically during this time in America in the mid 1800s to late
time in America in the mid 1800s to late
time in America in the mid 1800s to late 1800s guys would go around and would go
1800s guys would go around and would go
1800s guys would go around and would go to social events minstrel shows and of
to social events minstrel shows and of
to social events minstrel shows and of course barbershops and they were
course barbershops and they were
course barbershops and they were influenced by African American singing
influenced by African American singing
influenced by African American singing european hymn singing and also american
european hymn singing and also american
european hymn singing and also american folk singing but they would go to these
folk singing but they would go to these
folk singing but they would go to these events and they would harmonize popular
events and they would harmonize popular
events and they would harmonize popular songs of the day they would start off
songs of the day they would start off
songs of the day they would start off with a simple melody
very nice
very nice next you adhere next you adhere a
next you adhere next you adhere a
next you adhere next you adhere a harmony part that was above the melody
[Music]
[Music] and there always seemed to be a bass in
and there always seemed to be a bass in
and there always seemed to be a bass in the crowd so they added the bass part to
the crowd so they added the bass part to
the crowd so they added the bass part to give that foundation to the sound
very nice but very nice but just a
very nice but very nice but just a little bit incomplete so they added a
little bit incomplete so they added a
little bit incomplete so they added a fourth part which would be known as the
fourth part which would be known as the
fourth part which would be known as the baritone part to fill out those chords
baritone part to fill out those chords
baritone part to fill out those chords and make that fluid barbershop sound
[Music]
[Music] [Laughter]
[Laughter]
[Laughter] [Music]
that’s it now barbershop the sounds they
that’s it now barbershop the sounds they didn’t always have to be soft and sweet
didn’t always have to be soft and sweet
didn’t always have to be soft and sweet they could also be very strong and quite
they could also be very strong and quite
they could also be very strong and quite rhythmical
thank you that’s that’s barbershop music
thank you that’s that’s barbershop music now barbershop was very popular in them
now barbershop was very popular in them
now barbershop was very popular in them in America until the invention of radio
in America until the invention of radio
in America until the invention of radio and then it started to fade a little bit
and then it started to fade a little bit
and then it started to fade a little bit in popularity but barbershop music
in popularity but barbershop music
in popularity but barbershop music started to change and morph into other
started to change and morph into other
started to change and morph into other styles of music thank you
styles of music thank you
styles of music thank you that led us into the doo-wop era now
that led us into the doo-wop era now
that led us into the doo-wop era now doo-wop originated in the United States
doo-wop originated in the United States
doo-wop originated in the United States in the 1940s and it originally started
in the 1940s and it originally started
in the 1940s and it originally started in New York and Philadelphia before
in New York and Philadelphia before
in New York and Philadelphia before expanding west into Cincinnati and
expanding west into Cincinnati and
expanding west into Cincinnati and Chicago and then eventually ending up in
Chicago and then eventually ending up in
Chicago and then eventually ending up in Los Angeles now generally it would be
Los Angeles now generally it would be
Los Angeles now generally it would be about three to six people and they would
about three to six people and they would
about three to six people and they would just gather around on street corners or
just gather around on street corners or
just gather around on street corners or in Subway’s and they would just start
in Subway’s and they would just start
in Subway’s and they would just start singing doo-wop was built upon simple
singing doo-wop was built upon simple
singing doo-wop was built upon simple music and simple lyrics and the use of
music and simple lyrics and the use of
music and simple lyrics and the use of vocal group harmony which derived from
vocal group harmony which derived from
vocal group harmony which derived from the barbershop style as Eric talked
the barbershop style as Eric talked
the barbershop style as Eric talked about it was also known for its swing
about it was also known for its swing
about it was also known for its swing like rhythms and its use of the offbeat
like rhythms and its use of the offbeat
like rhythms and its use of the offbeat or the upbeat to keep time as well as
or the upbeat to keep time as well as
or the upbeat to keep time as well as the use of nonsense syllables or
the use of nonsense syllables or
the use of nonsense syllables or onomatopoeia to imitate musical
onomatopoeia to imitate musical
onomatopoeia to imitate musical instruments so for instance if they
instruments so for instance if they
instruments so for instance if they wanted to imitate a bass sound someone
wanted to imitate a bass sound someone
wanted to imitate a bass sound someone would do something like this
would do something like this
would do something like this Bom Bom Bom Bom Bom a bidet of the ding
Bom Bom Bom Bom Bom a bidet of the ding
Bom Bom Bom Bom Bom a bidet of the ding a ding a dong ding Bluemoon so they
a ding a dong ding Bluemoon so they
a ding a dong ding Bluemoon so they would continue on with that if they want
would continue on with that if they want
would continue on with that if they want to do imitate guitars they would do
to do imitate guitars they would do
to do imitate guitars they would do something like Shang Liang Liang Shang
something like Shang Liang Liang Shang
something like Shang Liang Liang Shang Shang Shang Shang Liang Liang or if they
Shang Shang Shang Liang Liang or if they
Shang Shang Shang Liang Liang or if they wanted a group of horns it would sound
wanted a group of horns it would sound
wanted a group of horns it would sound something like this
Wow Wow
Wow Wow now do up thank you
now do up didn’t reach its peak until
now do up didn’t reach its peak until the late 1950s early 1960s with groups
the late 1950s early 1960s with groups
the late 1950s early 1960s with groups such as the Drifters Dion and the
such as the Drifters Dion and the
such as the Drifters Dion and the Belmonts as well as Frankie Lymon and
Belmonts as well as Frankie Lymon and
Belmonts as well as Frankie Lymon and the teenagers with their 1956 hit why do
the teenagers with their 1956 hit why do
the teenagers with their 1956 hit why do fools fall in love now as do up began to
fools fall in love now as do up began to
fools fall in love now as do up began to increase in popularity
increase in popularity
increase in popularity it started to influence the rock pop and
it started to influence the rock pop and
it started to influence the rock pop and soul artists of the 1960s and since then
soul artists of the 1960s and since then
soul artists of the 1960s and since then it started to show revivals in the 70s
it started to show revivals in the 70s
it started to show revivals in the 70s 80s and the 90s with groups like the del
80s and the 90s with groups like the del
80s and the 90s with groups like the del Vikings and Huey Lewis and the news as
Vikings and Huey Lewis and the news as
Vikings and Huey Lewis and the news as well as a popular artist by the name of
well as a popular artist by the name of
well as a popular artist by the name of Billy Joel with his 1984 hit the longest
Billy Joel with his 1984 hit the longest
Billy Joel with his 1984 hit the longest time
time
time [Music]
so with artists of today like Bruno Mars
so with artists of today like Bruno Mars the Backstreet Boys Meghan Trainor using
the Backstreet Boys Meghan Trainor using
the Backstreet Boys Meghan Trainor using this iconic style in their music it’s
this iconic style in their music it’s
this iconic style in their music it’s safe to say that doo-wop lay the
safe to say that doo-wop lay the
safe to say that doo-wop lay the foundation for many musical innovations
foundation for many musical innovations
foundation for many musical innovations in the rock pop world of today
in the rock pop world of today
in the rock pop world of today thank you thank you Michael
thank you thank you Michael
thank you thank you Michael well now I’d like to tell you about a
well now I’d like to tell you about a
well now I’d like to tell you about a style of acapella that started around
style of acapella that started around
style of acapella that started around 1980 and still continues to evolve today
1980 and still continues to evolve today
1980 and still continues to evolve today [Music]
[Music]
[Music] contemporary acapella so let’s get
contemporary acapella so let’s get
contemporary acapella so let’s get started with the 80s now there are two
started with the 80s now there are two
started with the 80s now there are two elements that I’m going to mention that
elements that I’m going to mention that
elements that I’m going to mention that we’re changing from previous styles
we’re changing from previous styles
we’re changing from previous styles number one small percussion instruments
number one small percussion instruments
number one small percussion instruments group started using small percussion
group started using small percussion
group started using small percussion instruments like egg shakers and
instruments like egg shakers and
instruments like egg shakers and tambourines to add an underlying rhythm
tambourines to add an underlying rhythm
tambourines to add an underlying rhythm to their arrangements and number two
to their arrangements and number two
to their arrangements and number two microphones group started to use
microphones group started to use
microphones group started to use microphones for each individual member
microphones for each individual member
microphones for each individual member of the group which allowed them to move
of the group which allowed them to move
of the group which allowed them to move around stage a little more and allow
around stage a little more and allow
around stage a little more and allow them to try new audio effects that
them to try new audio effects that
them to try new audio effects that hadn’t been tried before and some of our
hadn’t been tried before and some of our
hadn’t been tried before and some of our favorite groups from this time period
favorite groups from this time period
favorite groups from this time period are the nylons take six and the real
are the nylons take six and the real
are the nylons take six and the real group now this moves us into the 90s now
group now this moves us into the 90s now
group now this moves us into the 90s now in the 90s contemporary acapella starts
in the 90s contemporary acapella starts
in the 90s contemporary acapella starts to take off with groups like Rockefeller
to take off with groups like Rockefeller
to take off with groups like Rockefeller making regular television appearances on
making regular television appearances on
making regular television appearances on PBS like do it acapella and where in the
PBS like do it acapella and where in the
PBS like do it acapella and where in the world is Carmen Sandiego and in 1991 the
world is Carmen Sandiego and in 1991 the
world is Carmen Sandiego and in 1991 the contemporary acapella Society was
contemporary acapella Society was
contemporary acapella Society was started by mr. deke Sharon now this was
started by mr. deke Sharon now this was
started by mr. deke Sharon now this was an opportunity that still goes on today
an opportunity that still goes on today
an opportunity that still goes on today that allows groups to come together
that allows groups to come together
that allows groups to come together perform meet each other compete and
perform meet each other compete and
perform meet each other compete and allow their music to be heard
allow their music to be heard
allow their music to be heard now also in 1991 deke Sharon started the
now also in 1991 deke Sharon started the
now also in 1991 deke Sharon started the a cappella group called the house jacks
a cappella group called the house jacks
a cappella group called the house jacks now the house jacks are very significant
now the house jacks are very significant
now the house jacks are very significant because they are one of the first
because they are one of the first
because they are one of the first acapella groups to have a full-time
acapella groups to have a full-time
acapella groups to have a full-time vocal percussionist now this is a member
vocal percussionist now this is a member
vocal percussionist now this is a member whose main focus is to create percussion
whose main focus is to create percussion
whose main focus is to create percussion sounds with the mouth and the voice mic
sounds with the mouth and the voice mic
sounds with the mouth and the voice mic would you be so kind
nice man that was pretty good
nice man that was pretty good [Applause]
[Applause]
[Applause] now other changing elements during this
now other changing elements during this
now other changing elements during this time period groups started to use more
time period groups started to use more
time period groups started to use more intricate rhythms which led to more
intricate rhythms which led to more
intricate rhythms which led to more difficult Arrangements and sometimes
difficult Arrangements and sometimes
difficult Arrangements and sometimes even more vocal manipulation now Mike
even more vocal manipulation now Mike
even more vocal manipulation now Mike mentioned this before this is creating
mentioned this before this is creating
mentioned this before this is creating and emulating instrumental sounds by
and emulating instrumental sounds by
and emulating instrumental sounds by using the voice now like I said this had
using the voice now like I said this had
using the voice now like I said this had been back as far as the 30s by the Mills
been back as far as the 30s by the Mills
been back as far as the 30s by the Mills Brothers but it really became more
Brothers but it really became more
Brothers but it really became more popular in the contemporary time so
popular in the contemporary time so
popular in the contemporary time so we’ll give you a couple examples here
we’ll give you a couple examples here
we’ll give you a couple examples here I’ll do a trumpet for you trumpet sound
I’ll do a trumpet for you trumpet sound
I’ll do a trumpet for you trumpet sound Eric if you’d be so kind would you give
Eric if you’d be so kind would you give
Eric if you’d be so kind would you give us a trombone sound maybe a muted turn
us a trombone sound maybe a muted turn
us a trombone sound maybe a muted turn bone sound very good and I’ll have the
bone sound very good and I’ll have the
bone sound very good and I’ll have the guys join me here we’re gonna do a song
guys join me here we’re gonna do a song
guys join me here we’re gonna do a song this is guitar sounds now this is the
this is guitar sounds now this is the
this is guitar sounds now this is the intro to a song we do called stuck in
intro to a song we do called stuck in
intro to a song we do called stuck in the middle with you and now this moves
the middle with you and now this moves
the middle with you and now this moves us into the new millennium 2000 on
us into the new millennium 2000 on
us into the new millennium 2000 on groups like pentatonix mosaic and
groups like pentatonix mosaic and
groups like pentatonix mosaic and home-free they all become popular with
home-free they all become popular with
home-free they all become popular with the introduction of competition
the introduction of competition
the introduction of competition television shows like The Sing Off
television shows like The Sing Off
television shows like The Sing Off social media is introduced which allows
social media is introduced which allows
social media is introduced which allows groups to stay in contact with their
groups to stay in contact with their
groups to stay in contact with their fans on a regular basis and allows them
fans on a regular basis and allows them
fans on a regular basis and allows them to get their content out for the world
to get their content out for the world
to get their content out for the world to see and of course with changing
to see and of course with changing
to see and of course with changing technologies the music industry changes
technologies the music industry changes
technologies the music industry changes as well we see groups using looper
as well we see groups using looper
as well we see groups using looper pedals sometimes even more live audio
pedals sometimes even more live audio
pedals sometimes even more live audio effects and sometimes even auto-tune in
effects and sometimes even auto-tune in
effects and sometimes even auto-tune in live performance so now we’d like to do
live performance so now we’d like to do
live performance so now we’d like to do a song for you as an example this is an
a song for you as an example this is an
a song for you as an example this is an arrangement by Michael Lantz but it’s
arrangement by Michael Lantz but it’s
arrangement by Michael Lantz but it’s originally sung by mkto
originally sung by mkto
originally sung by mkto this is classic
[Applause]
[Applause] [Music]
[Applause]
[Applause] thank you very much that’s pretty much
thank you very much that’s pretty much
thank you very much that’s pretty much contemporary acapella thank you so much
contemporary acapella thank you so much
contemporary acapella thank you so much Metro vocal group started in the summer
Metro vocal group started in the summer
Metro vocal group started in the summer of 1998 we’ve been together for 18 years
of 1998 we’ve been together for 18 years
of 1998 we’ve been together for 18 years and this is what we looked like back
and this is what we looked like back
and this is what we looked like back then
I’m on the left side and as you can see
I’m on the left side and as you can see I had a lot more hair than that’s what
I had a lot more hair than that’s what
I had a lot more hair than that’s what eighteen years of singing acapella will
eighteen years of singing acapella will
eighteen years of singing acapella will do to you because a lot of us had were
do to you because a lot of us had were
do to you because a lot of us had were exposed to barbershop music at an early
exposed to barbershop music at an early
exposed to barbershop music at an early age most of our repertoire at the the
age most of our repertoire at the the
age most of our repertoire at the the time we were hired was barbershop music
time we were hired was barbershop music
time we were hired was barbershop music and as Eric pointed out barbershop has a
and as Eric pointed out barbershop has a
and as Eric pointed out barbershop has a lot of different aspects that make it a
lot of different aspects that make it a
lot of different aspects that make it a barbershop sound there are four very
barbershop sound there are four very
barbershop sound there are four very important aspects one of it is blend of
important aspects one of it is blend of
important aspects one of it is blend of sound the blend of sound is all of us
sound the blend of sound is all of us
sound the blend of sound is all of us singing almost like we’re one voice if
singing almost like we’re one voice if
singing almost like we’re one voice if I’m singing a certain way Eric and Kevin
I’m singing a certain way Eric and Kevin
I’m singing a certain way Eric and Kevin and Michael have to sing the same way
and Michael have to sing the same way
and Michael have to sing the same way and that creates a certain overtone
and that creates a certain overtone
and that creates a certain overtone series in the course which is very
series in the course which is very
series in the course which is very pleasant to the audience’s ear another
pleasant to the audience’s ear another
pleasant to the audience’s ear another thing is called the balance of the sound
thing is called the balance of the sound
thing is called the balance of the sound sometimes in a chord
sometimes in a chord
sometimes in a chord I might have to sing a little bit less
I might have to sing a little bit less
I might have to sing a little bit less my volume might have to be less but Mike
my volume might have to be less but Mike
my volume might have to be less but Mike might have to sing a little bit more so
might have to sing a little bit more so
might have to sing a little bit more so again the sound is pleasing to the
again the sound is pleasing to the
again the sound is pleasing to the audience’s ear the number-one rule in a
audience’s ear the number-one rule in a
audience’s ear the number-one rule in a cappella is tuning you must be able to
cappella is tuning you must be able to
cappella is tuning you must be able to sing chords in tune right and seeing the
sing chords in tune right and seeing the
sing chords in tune right and seeing the notes in tune but one thing that we
notes in tune but one thing that we
notes in tune but one thing that we really love about barbershop music is
really love about barbershop music is
really love about barbershop music is what they call a fluid line of sound
what they call a fluid line of sound
what they call a fluid line of sound meaning that the sound never really
meaning that the sound never really
meaning that the sound never really stops from phrase to phrase you’re
stops from phrase to phrase you’re
stops from phrase to phrase you’re hearing a constant sound through the
hearing a constant sound through the
hearing a constant sound through the whole song and so we incorporated this
whole song and so we incorporated this
whole song and so we incorporated this into our repertoire when we first
into our repertoire when we first
into our repertoire when we first started and we decided that we wanted to
started and we decided that we wanted to
started and we decided that we wanted to come up with a sound that was different
come up with a sound that was different
come up with a sound that was different that no one had really heard in the
that no one had really heard in the
that no one had really heard in the acapella world before and we thought
acapella world before and we thought
acapella world before and we thought well what if we take both the sound of
well what if we take both the sound of
well what if we take both the sound of barbershop with that fluid line and then
barbershop with that fluid line and then
barbershop with that fluid line and then we mix it with some contemporary
we mix it with some contemporary
we mix it with some contemporary acapella and so we did that but that’s a
acapella and so we did that but that’s a
acapella and so we did that but that’s a problem because in contemporary acapella
problem because in contemporary acapella
problem because in contemporary acapella you usually have five people or six
you usually have five people or six
you usually have five people or six people in your group well we only have
people in your group well we only have
people in your group well we only have four so we decided that we wanted to
four so we decided that we wanted to
four so we decided that we wanted to take the bass and have him sing both the
take the bass and have him sing both the
take the bass and have him sing both the bass line and the vocal percussion at
bass line and the vocal percussion at
bass line and the vocal percussion at the same time
[Applause]
[Applause] so once we incorporated that we were
so once we incorporated that we were
so once we incorporated that we were able to make a new sound with acapella
able to make a new sound with acapella
able to make a new sound with acapella music and we’re gonna close with a song
music and we’re gonna close with a song
music and we’re gonna close with a song that you’ll recognize that incorporates
that you’ll recognize that incorporates
that you’ll recognize that incorporates both the barbershop fluid line sound but
both the barbershop fluid line sound but
both the barbershop fluid line sound but also contemporary a cappella this is our
also contemporary a cappella this is our
also contemporary a cappella this is our version of buy-ins Tsushima Ronghua who
version of buy-ins Tsushima Ronghua who
version of buy-ins Tsushima Ronghua who G&J young Tony Hsieh taja
[Music]
[Music] don’t
don’t
don’t [Music]
[Music]
[Music] or enjoy Swedish
[Music]
[Music] go
Oh jumper
Oh jumper [Music]
[Music]
[Music] or enjoys way that’s way
[Music]
[Music] we all get so me
let me show me
let me show me [Music]
ginger
ginger oh geez I I sent among
in
in [Music]
[Music]
[Music] my my my
yeah cuz I sign
yeah cuz I sign [Applause]
”
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