Confessions of a Harmony Addict

My name is Kristin, and I am addicted to harmony.

 

As a singer, I intend for this statement to be interpreted musically. But as I find daily, as I go in Music, so I go in Life. So, let’s start, as is my wont, with a story on a seemingly unrelated topic…

 

I have a student who works with a Myers-Briggs life coach. This ideology reaches far beyond the personality assessment that you took at work, or that adorable quiz that pops up on your socials; according to Carl Jung, every personality type has a stack of pre-defined, corresponding cognitive functions, that predict their individual strengths, challenges and approaches to situations. This has far-reaching implications – in my and my student’s case, facilitating the comprehension of technical singing concepts, and finding effective teaching methods to help them stick. 

 

As I started to dive deeper in my research, I discovered a contradiction in my own cognitive stack. According to the experts, and truly, who am I to argue with Carl Jung?, I am supposed to be proficient at “Introverted Feeling” – in tune and decisive with my inwardly focused emotional experiences. Instead, I tend to wrap everything I do in “Extroverted Feeling” – an acute awareness and prioritization of outwardly focused group consonance, to the extent that I will put my own subjective feelings on the back-est of burners. But that’s not supposed to be a strong function for my personality type. Why the disconnect?

 

Apparently, maybe arising out of some need to manage and diffuse volatility, for me a safe internal emotional experience relies upon a safe external emotional environment. For me to be able to move through the world with confidence, curiosity, and delight, I must observe, adapt, and relate with ease and comfort to the world at large. I am addicted to Harmony, inside and out.

 

And this makes me one hell of a backup singer!

 

But why would anyone want to do that?

 

Backup singers are notoriously under-paid, under-estimated, and under-appreciated. Vocal harmonies are often dismissed as superfluous and unnecessary, or so simple that any toddler with amplification could pull them off. If we are hired at all, we are usually denied rehearsals, or we decide we don’t need one. “We’re good with harmonies!” we chirp. “We’ll figure it out!” we promise. We show up and set up in some dark dusty corner of the stage, usually right next to an overly ambitious smoke machine, where we share one underly ambitious monitor. Let’s face it, we are treated as second class citizens. The redheaded stepchildren of any band scenario.

 

But why would we expect otherwise? Why would we be taken as serious musicians, unless we act like serious musicians?

 

Serious musicians spend hours in practice, honing their craft and learning their parts.

 

Serious musicians do not “figure it out” onstage. 

 

Serious musicians do not show up to a gig like some sort of Thanksgiving afterthought guest, ready to eat the dinner you’ve been cooking over a hot stove all day, but whom it would apparently kill to pick up a towel to dry a single dish, preferring to watch Dolly Parton on the halftime show. Maybe you would have liked to watch Dolly Parton on the halftime show, she sounded really great under the din of the running faucet. This has become a strangely specific analogy. I’ll make a note of that.

 

My point is, if we backup singers want to be recognized for our value, we need to demonstrate value, and act in accordance with the fact that BG Vox is a service role.

 

I’ll say that again.

 

BG Vox is a service role. It’s not about looking good, it’s about making other people look good. We exist to support other musicians, to add texture to the musical environment, to elevate the experience. We are a value-add. We serve at the pleasure of the King. If we are lucky, we serve at the pleasure of Queen! (We wish. They haven’t returned our calls.)

 

And as such, we’ve got some boxes to check off. You and me both, because I’m not giving up my Harmony addiction. On the contrary, I’m taking you all with me, and we’re taking it global. If you’ve read this far, we’re in it together. And we’re on a mission, in this wild world, to have harmony and those who honor it be taken seriously.

 

So, here’s all you need to do to become the Best Backup Singer Ever…

 

If had a penny for every time I said this, I’d have a lot of pennies: know your stuff. Learn basic music theory, enough so you can identify keys, spell chords, and speak the same language as the rest of the band. Take actual notes on the actual notes you are going to sing, rather than playing it by ear every time. Not only does this streamline your preparations, but you can also make quick adjustments when you know how your part exists within the harmonic structure. And it commands respect. Do you know how great it feels when an instrumentalist turns to you and asks you what chord the band should be playing, based on your harmonic choices? (I mean, I barely do either, it’s only happened once, but that one time was seriously awesome.)

 

Let me be clear on this: I don’t propose for you to be the showiest, or to upstage your colleagues – remember, we create a harmonious environment, not a competitive one! But to be a great backup vocalist, you need to cultivate a deep toolbox. We are constantly adapting to every situation, be it blending with other voices, rapidly shifting through registers and productions, constantly listening and evaluating and reinventing our voices to handle a vast variety of transitions and needs. And we sound good doing it. This is some seriously technical stuff. We should be the most flexible and the most solid. We are not Titanium. We are Kevlar. Sharpen your technique, and you will be bulletproof.

 

Here’s my hot take: there is no such thing as over-preparation. You prepare until you feel prepared. Then you stop preparing. 

 

If you don’t want to trigger a patented Kristin Henry rant, don’t utter the words “I’m good with harmonies” within my ear shot. Because…are you? Any schmo with half an ear can eventually wander onto an obvious harmony part; this skill and $4 gets you a Frappuccino. But can you find a second part? Can you switch parts halfway through a line because someone has wandered onto yours? Can you shift gears and take over the melody when the lead singer suddenly and inexplicably breaks into ad libs or a coughing fit? Can you not just react to, but anticipate these situations? And can you really get a Frappuccino with $4 anymore?

 

Practice discovery, recovery, and resilience. Because here’s the thing: the difference between “figuring it out” and nailing it requires SO little extra effort. 

 

As always, never ever forget that we do this because we love it. While this entire article has been about being in service to others, the strength of that aforementioned Introverted Feeling is that it enables you to stay true to your emotions and beliefs, and make decisions based on how you feel inside, rather than reacting to external influences. Remember that you, as a backup vocalist, are a value-add. Always be actively listening to your environment, and be confident that your contribution enhances, augments, and elevates it. Know your worth, put in the work to show it, and it will shine through. In Music, and in Life.

 

Welcome to the club! 

 

I feel much better.