1. Music Appreciation: The History of Rock
Doo-Wop

2. What does “HARMONY” mean to you?

3. harmony [hahr-muh-nee] agreement; accord; harmonious relations.
noun, plural harmonies.
agreement; accord; harmonious relations.
2.consistent, orderly, or pleasing arrangement of parts; congruity.
Music.
any simultaneous combination of tones.
the simultaneous combination of tones, especially when blended into chords pleasing to the ear; chordal structure, as distinguished from melody and rhythm.
the science of the structure, relations, and practical combination of chords.

4. Aha! Pentatonix

5. Doo-wop represents a subcategory of vocal group harmony that includes the following musical qualities:
group harmony
wide range of vocal parts
nonsense syllables
simple beat
light instrumentation
simple music and lyrics
Above all, the focus is on ensemble singing.

6. Doo-wop is a genre of music that was developed in urban, African-American communities in New York, Philadelphia, Chicago, Baltimore, Newark, Pittsburgh, 
Cincinnati, Detroit, Washington, D.C. and Los Angeles in the 1940s, achieving mainstream popularity in the 1950s and early 1960s.

7. Doo Wop resembled earlier styles of music that was typically slow songs in swing time with simple instrumentation and close four-part harmony reminiscent of the barbershop quartet—The Mills Brothers evolved from there. The subject of the lyrics was generally love and relationships.

8. I–vi–IV–V The typical doo-wop chord progression
was a slight but significant variation of the I-vi-ii-V- loop that generated several American 1930s hits such as Rodgers and Hart's "Blue Moon" (1934), and Hoagy Carmichael's "Heart and Soul" (1938);

9. I-vi-ii-V (30s progression)

10. I-vi-IV-V (50s progression)

11. It later become closely associated with doo-wop such that it is sometimes referred to as the 50s progression. This characteristic harmonic layout was combined with the AABA chorus form typical for Tin Pan Alley pop. A second stream of doo-wop oriented itself to the harmonic, formal and melodic structures of jump blues.
The
Moonglows

12. Singer Bill Kenny (1914–1978) is often called the "Godfather of Doo-wop" for his introducing the "top and bottom" format which featured a high tenor singing the lead and usually a bass singer reciting the lyrics in the middle of the song.

13. Don’t Get Around Much Anymore

14. Little Darlin’ The Diamonds

15. From the outset, singers gathered on street corners, and in subways, generally in groups of three to six. They sang a cappella arrangements, and used wordless onomatopeia to mimic instruments since instruments were little used: the bass singing "bom-bom-bom", a guitar rendered as "shang-a-lang" and brass riffs as "dooooo -wop-wop". For instance, "Count Every Star" by The Ravens (1950), includes vocalizations imitating the "doomph, doomph" plucking of a double bass. This art dates to The Mills Brothers, who first came to fame in the 1930s with their mimicking of instrumental music.

16. The Mills Brothers

17. The first record to use the syllables "doo-wop" was the 1955 hit "When You Dance" by the Turbans. 

18. The term "doo-wop" first appeared in print in 1961
The term "doo-wop" first appeared in print in The 1956 smash "In the Still of the Night" by The Five Satins, features a plaintive "doo-wop, doo-wah" refrain in the bridge. After some time, the term "doo-wop" finally caught on as both a description and category for R&B vocal group harmony. The definition expanded backward to include rhythm and blues groups from the mid-1950s, then cascaded even further back to include groups from the 1940s.

19. In the Still of the Night

20. The late 1940s and early 1950s brought the so-called "bird groups"; The Swallows, the Ravens, The Orioles, The Penguins, The Crows, The Flamingos, The Blue Jays and The Larks. A number of band names are also drawn from cars: The Edsels, The Cadillacs, The Fleetwoods, The Impalas, and Little Anthony & The Imperials
The Cadillacs
The Flamingos

21. https://youtu.be/8UaN86G6K90
Hushabye The Mystics
Phil Cracolici
Barbara Ann The Regents
Ernie Maresca

22. There’s a Moon Out Tonight The Capris
Sixteen Candles
The Crests
Johnny Mastrangelo
(Johnny Maestro)
There’s a Moon Out Tonight The Capris
Nick Santa Maria
(Nick Santo)

23. As a teenager Dion Dimucci had two things, other than girls, to occupy his time when he wasn't in school. One was the local gang, he belonged to the Fordham Daggers. The other was spending evenings singing on street corners.
Early in 1957, Dion booked some studio time and recorded four rock and roll songs as a Valentines Day present for his mother. The demo reached the producers of Teen Club TV show out of Philadelphia, where he made his performing debut in 1954.
Dion's reputation eventually spread far enough to reach Irv Spice who owned Mohawk Records. Using unknown studio musicians and backing vocalist Dion recorded "The Chosen Few" and "Out Of Colorado." After selling a few copies locally it was released by Jubilee, a larger New York record company. However, it was still unable to find an audience.

24. When approached by Spicer to record a second single Dion said he'd only do it with his own backing group. Spicer agreed and Dion found the three best street singers he knew. Two were  Carlo Mastrangelo and Freddy Millano, members of rival gang, the Imperial Hoods. Along with Angelo D' Aleo they made up the Belmonts named after Belmont Avenue.
Dion began listening to street doo wop and composing in this style, and in early 1958, Mohawk issued "Tag Along" b/w "We Went Away.“
With a sound that was raw and crude it's no wonder that few records were sold. However, they served another purpose. The opened the door for them to join another record company.

26. In 1958 Bob and Gene Schwartz, Elliott Greenberg and Allen Sussel began Laurie Records. Gene Schwartz had written "Tag Along," so when looking for an opening act for Laurie, Schwartz looked no further than Dion and the Belmonts. Dion’s first single "I Wonder Why" was recorded by Laurie Records in one afternoon at New York's Bell Sound Studios. Dion's vocal was slightly flat with slight nasal overtones - a style that would become his trademark, but the Belmonts were right on the money. "I Wonder Why" wasn't really what Dion and the Belmonts were all about, but it made people sit up and listen.

27. Released the first week of May, 1958 it was on the national charts two weeks later. Before the month was out, they were on Dick Clark's Saturday night CBS-TV show. For Dion, there would be no turning back. Immediately they were booked on a one-nighter tour that crisscrossed the country. He also began dabbling in drugs where he picked up a heroin habit that he didn't kick until 1968.
The Belmonts second single "I Wonder Why" was a hit, almost making the Top Twenty. "No One Knows" and "Don't Pity Me" followed, but the Belmonts big break out hit came in the spring of 1959 with "A Teenager in Love" (#5). The next year "Where or When" made it to #3.

28. I Wonder Why

29. A Teenager in Love

30. By the early 60s Dion and the Belmonts broke up
By the early 60s Dion and the Belmonts broke up. The main reason was Dion's heroin habit which he had been nurturing since he was sixteen. At first, those around him tried to cover it up. In October 1959, While "When and Where" was nearing the top of the charts, Dion was hospitalized; in an attempt to kick the habit. Variety magazine quietly noted that he had been ordered by his doctor to "take a leave of absence." The outward impression was that Dion was overworked.

31. By early 1960 the unaccredited Del-Satins were brought in to sing background vocals in the style of the Belmonts. Dion had Top Ten hits with "Runaround Sue" (#1), "The Wanderer" (#2), "Lovers Who Wander" (#3), and "Little Diane" (#8) in

32. Runaround Sue

33. The Wanderer

34. Dion Dimucci and Doo-Wop

35. Doo-wop songs featured both fast beats and slow beats
Doo-wop songs featured both fast beats and slow beats. In 1954, doo-wop groups played a significant role in ushering in the rock and roll era when two big rhythm and blues hits by vocal harmony groups, "Gee" by The Crows and "Sh-Boom" by The Chords crossed over onto the pop music charts.
Quickly, other R&B vocal groups entered the pop charts, particularly in 1955, which saw such cross-over doo-wop hits as "Sincerely" by The Moonglows, "Earth Angel" by The Penguins, and "Only You" by The Platters. The same year saw a number one pop chart hit, "The Great Pretender" by The Platters.

36. Earth Angel
The Penguins
The Great Pretender
The Platters

37. The contribution of Hispanics is often overlooked
The contribution of Hispanics is often overlooked. Early, especially in U.S. East Coast cities, Puerto Ricans were lead singers in some groups with black and white members, including The Crests, Frankie Lymon and the Teenagers, the Five Discs and the Tune Weavers. "Racially integrated" groups with both black and white performers, included The Del-Vikings, who hit big in 1957 with "Come Go With Me" and "Whispering Bells"; and The Crests, whose "Trouble in Paradise" appeared in All-white doo-wop groups were also appearing: The Mello-Kings' 1956 "Tonight, Tonight" and The Diamonds' chart-topping "Little Darlin'" in , The Skyliners' 1959 "Since I Don't Have You" and "This I Swear", The Tokens' 1961 "Tonight I Fell In Love" and "I Love My Baby", all saw success.

38. The Del-Vikings
The Crests

39. Doo-wop's influence continued in soul, pop, and rock groups of the 1960s, including The Four Seasons, girl groups, and vocal surf music performers such as Jan and Dean and the Beach Boys. In the Beach Boys' case, the doo-wop influence is evident in early hits such as "Surfin'" and "Surfer Girl", and in albums recorded within their psychedelic era, during which the group experimented and innovated with the human voice as an instrument (similar to the Mills Brothers) in a self-described effort to "expand modern vocal harmony".

40. Surfer Girl
The Beach Boys
Little Pad
The Beach Boys

41. At the Hop Danny and the Juniors