Hey, Susan:

I wish there was a doo wop sound. When you compare Shep and The Limelights with the Monotones and the Magnificents, and toss in the Coasters and the Platters, it's hard to find a unifying thread. Off the top of my head, I think the phrase "doo wop" (which I've never liked) may hold the key in the difference of the two styles. Even there, I can immediately think of exceptions.

In black gospel, vocals sounds that help the harmonies fill the role of back-up instruments are usually limited to Ooohs and Ahhhs... Oohs are softer, and the lead vocalist can float over a sea of Ooohs. Ahhs are harder and are used more for emphasis, generating more power for particular lines, or the chorus.

In doo wop, vocal sounds run the gamut from rat-a-tat, to dip-dip-dip-dip, shoo-doobe-doo-be doo, wah-ooh, rama lama ding dong... the sounds are only limited by the imagination of the singers. The bass singer in doo wop has a much wider pallete of sounds to choose from than the bass singer in black gospel. And then there is the whole body of novelty songs in doo wop that you don't find in black gospel.

As I say, all these generalities are just that. We're working out a new arrangement of a song Oh, Why? with our new tenor. Listening to the original recording by the Five Blind Boys of Mississippi, their range of vocal sounds is just as wide as any doo wop group, and the chord progression of the song is very doo-wop, Earth Angel sounding.

But you know, folks, I was hoping that someone would step in and talk about doubling a note in sea chanties, works songs and other kinds of music. I appreciate the comments on classical arrangements and music theory, being completely ignorant in that realm. The same goes for groups like the Watersons (who I really like) and other traditional group singing in England. I can only talk about what I know, and I am still a learner even there.

Jerry