Barbershop music

Source: Wikipedia. Pages: 39. Chapters: The Four Freshmen, Louisville Thoroughbreds, Vocal Majority, Chorus of the Chesapeake, Sweet Adelines International, Virginians, Vocal FX, Westminster Chorus, British Association of Barbershop Singers, Ambassadors of Harmony, The Rich-Tone Chorus, Tag, Pride of Baltimore Chorus, Harmonic seventh chord, Barbershop arranging, Close harmony, Idaho Gateway Chorus, Alexandria Harmonizers, Northwest Sound Men's Chorus, Bryn Mawr Mainliners, Melodeers Chorus, Music Central, List of quartet champions by year, Boater, Singing Valentines, Mothfight, Far Western District, List of Sweet Adelines International quartet champions by year, List of chorus champions by year, Masters of Harmony, Barbershopera, Homestead Harmonizers, Metro Nashville Chorus, The Haydn Quartet, Toronto Northern Lights, New Tradition Chorus, Heralds of Harmony, Lions Gate Chorus, Creole Cutie, City of Sails Chorus, Association of Far Western District Champions, Alvin Devane, The Polyphonics, Mid-Atlantic District, Joe Connelly, List of LABBS quartet champions, Proud image chorus, Barbershop in Germany, Singing Buckeyes, Harmony Celebration Chorus, Shannon Express, Hanger, MegaCity Chorus, Big Apple Chorus, Goodbye, My Coney Island Baby, Wedding Bells Are Breaking up That Old Gang of Mine, Pacific Coast Harmony, Sweet, Sweet Roses of Morn, Ladies Association of British Barbershop Singers. Excerpt: Barbershop vocal harmony, as codified during the barbershop revival era (1940s - present), is a style of a cappella, or unaccompanied vocal music characterized by consonant four-part chords for every melody note in a predominantly homophonic texture. Each of the four parts has its own role: generally, the lead sings the melody, the tenor harmonizes above the melody, the bass sings the lowest harmonizing notes, and the baritone completes the chord, usually below the lead. The melody is not usually sung by the tenor or bass, except for an infrequent note or two to avoid awkward voice leading, in tags or codas, or when some appropriate embellishment can be created. Occasional traveling may be sung by fewer than four voice parts. According to the Barbershop Harmony Society (BHS), "Barbershop music features songs with understandable lyrics and easily singable melodies, whose tones clearly define a tonal center and imply major and minor chords and barbershop (dominant and secondary dominant) seventh chords that resolve primarily around the circle of fifths, while making frequent use of other resolutions." Slower barbershop songs, especially ballads, often eschew a continuous beat, and notes are often held (or sped up) ad libitum. The voice parts in barbershop singing do not correspond closely to the correspondingly named voice parts in classical music. Barbershop singing is performed both by men's and women's groups; the elements of the barbershop style and the names of the voice parts are the same for both. Barbershop chord on C ·) ·).The defining characteristic of the barbershop style is the ringing chord. This is a name for one specific and well-defined acoustical effect, also referred to as expanded sound, the angel's voice, the fifth voice, the overtone, or barbershop seventh. (The barbershopper's "overtone" is the same as the acoustic physicist's overtone or harmonic, although the numbers differ. The first overtone, at twice the fundamental frequency, is the second