Definition
Pop backing vocals (BV) support the lead voice with harmonies, responses and vocal pads. Unlike a classical choir, they are almost always overdubbed by a few singers (often the artist alone) and designed for the mix. The basic tools are few: unison, octave, thirds, sixths, chords in close or open position.
The main choices
- Unison (double): the same melody sung again. It reinforces without changing the harmony (see Doubles and Triples).
- Octave below or above: adds weight (below) or brightness (above). A whispered octave below is widely used in contemporary pop.
- Third above: the most natural and “sweet” harmony. Diatonic: in C major, above E you sing G, above D you sing F, above C you sing E.
- Third below: warmer and less intrusive; it is often the answering harmony in a duet.
- Sixth below: equivalent to the third above an octave lower; full but soft sound.
- Fifth: hollow, powerful sound, typical of rock and country (in combination with the third).
Diatonic harmonization: watch the chord
A diatonic third above the melody is not always a chord tone. Example in C: melody D over a G chord → the third above is F (the seventh of G7, acceptable). Melody A over an F chord → the third above is C (the fifth of F, perfect). Melody B over C → the third above is D (the ninth, color). Rule: check every harmonized note on strong beats; if it sounds wrong, use the nearest chord tone (harmonizing “by chords” instead of in parallel).
Close and open
- Close: three voices within an octave, e.g. over C: G4–E4–C4 under a melody on G. Compact sound, typical of vocal groups (Andrews Sisters, Beach Boys).
- Open: the voices are spread beyond the octave, e.g. melody G4, harmonies E4 and C3 (or a voice an octave below the melody). Wide sound, typical of rock or stadium choirs.
- In the final chorus you often go from close to open to widen things out.
Types of choral parts
- Harmonies on the lyrics: the BVs sing the same words as the lead, in harmony.
- Responses (call and response): the BVs repeat or comment (Motown, gospel).
- Vocal pads (“ooh”, “aah”, “mm”): sustained chords, replacing strings and synths. Vowels: “oo” is soft and dark, “ah” is open and bright, “mm” is intimate.
- Choir hooks: choral phrases repeated as a signature (e.g. “ooh-ooh” in dance choruses).
- Group stack: everyone in unison and at the octave for mass phrases (see Gang Vocals).
Arrangement by section
- Verse 1: no BVs, or a discreet double.
- Pre-chorus: a third below on some key words.
- Chorus: third above + doubles + “ooh” pad.
- Verse 2: short responses.
- Final chorus: open voicing, harmony above and below, countermelody.
Examples
- The Beach Boys — Wouldn't It Be Nice (1966): close harmonies and interwoven parts.
- ABBA: female harmonies in thirds and sixths, doubled many times.
- Fleetwood Mac — The Chain, Go Your Own Way: three-part harmonies by Buckingham, McVie and Nicks.
- The Beatles — This Boy, Because (1969): tight three-part harmonies (Because tripled, for nine voices in total).
Mixing BVs
- 6–12 dB below the lead, heavier compression, HP at 120–250 Hz.
- Strong de-esser, or sibilants cut by hand on the BVs (the sibilant stays only on the lead).
- Symmetrical panning for doubled parts (L/R), higher harmonies wider.
Practice exercise
Take the chorus of one of your own songs in C major. Write: a diatonic third above (fix the notes that don't work over the chord), a sixth below, a three-voice “ooh” pad in close voicing that follows the chords with minimal motion. Record each part twice and pan the pairs left and right.
Links
Vocal Harmonies and Voicing for Choir, Vocal Stacks, Doubles and Triples, Parallel vs. Independent Harmonies, Call and Response.