Document 6472471

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Document 6472471
INTERVALS IN SINGING (how to find your first note from the pitch blown)
NOTE:
U = unison; m = minor interval; M = major interval; P = Perfect interval;
TT = Tritone Augmented 4th; O = Octave.
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U:
MY COUN-try 'tis of thee/GOOD-BYE my coney island baby
• A SCENDING INTERVALS
m2:
P4:
YOU MUST remember this ("As Time Goes By")/I LEFT my heart in San Francisco/ Theme
from the movie "JAWS"
DOE, A deer/hap-PY BIRTH-day to you/OH THE sun shines bright on my old Kentucky
home/ PEO-PLE who need people...
A-LAS my love you do me wrong ("Greensleeves") /WHY DO birds ("Close to You") / TO
DREAM the impossible dream...
"Blue Danube Waltz", CAM-E-lot/FROM THE halls of Montezuma/HAVE YOUR-self a very
merry Christmas...
HERE COMES the bride/ THE EYES of Texas/ DAY's DONE ("Taps")/ A-MAZ-ing Grace...
TT:
MAR-I-a/ BOY BOY crazy boy ("West Side Story")...
P5:
Theme from '2001'/ Bass-Bari standard tuneup/ HEY THERE Georgie Girl/ YO-EE-oh
("Wizard of Oz")
FOR PA-pa make him a scholar ("Matchmaker" from "Fiddler On The Roof")
M2:
m3:
M3:
m6:
M6:
m7:
MY WILD irish rose/N-B-c (chimes)/DASH-ING through the snow/ MY BON-nie lies over the
ocean...
THERE'S A place for us ("West Side Story"/ Theme from 'Star Trek'
M7:
BAL (li) HIGH ("South Pacific")
O:
BAL-LI high/ WHEN YOU wish upon a star/ SOME-WHERE over the rainbow.
• D ESCENDING INTERVALS
m2:
M2:
DOE-TEA la so (descending scale)/ MEOW-MEOW (commercial for cat food/SHALL WE
dance? ("King & I") / BEAU-TI-ful Dreamer
SWEET AD-eline/WHIS-TLE while you work/ MA-RY had a little lamb/ THREE BLIND mice...
m3:
OH, OH say can you see/ I, I wish I was in the land of cotton/ LOOK AT me ("Misty")...
M3:
SWING LOW, sweet chariot/ GOOD NIGHT ladies/ SUM-MER-time and the living is easy...
P4:
TT:
BORN FREE/ HUT TWO, three, four/ MY GIRL, talking 'bout my girl/ SHAVE AND a haircut/
I'VE BEEN working on the railroad...
European police siren/ DEAR KIND-ly Sargeant Krupke (West Side Story)
P5:
FEEL-INGS/ THIS LAND is mine ("Exodus")...
m6:
WHERE DO I begin...("Love Story")
M6:
NO-BO-dy knows the trouble I've seen/ OV-ER there / SCHOOL DAYS, school days...
m7:
M7:
Opening notes of "An American in Paris"/DOE, A deer (lead note then bass picks up
melody an octave lower)
<see ascending minor 2nd tunes; first note by lead, 2nd note by bass one octave lower>
O:
WIL-LOW weep for me / YOU ARE my lucky star/ standard lead-bass tune-up
page 2
05/21/2012
THE ELEVEN (11) BARBERSHOP CHORDS
THE ELEVEN (11) BARBERSHOP CHORDS -- continued
WEAK CHORDS:
(continued)
(w. typical symbol)
For Example
(Interval Construction-bottom to top)
7.
Chord Make-Up
(in root position)
MAJOR SIXTH
(C6)
Major 3rd+minor 3rd+major 2nd
(or) Major Triad + added 6th
(used by arranger -- 4 voice parts)
C-E-G-A
4-note chord and all notes must
[1-3-5-6]
be present. (Omitting 5th creates
minor triad - useful to know this.)
(a modern-sounding chord)
*
*
8.
(CM7)
MAJOR SEVENTH
C-E-G-B
[1-3-5-7]
Major 3rd+minor 3rd+major 3rd
(or) Major Triad + natural 7th
(same notes as Minor 7th)
When 6th is in bass, it's more
likely a minor 7th.
When 5th & 6th are voiced as
adjacent pitches, the chord
is most likely a Major 6th.
4-note chord requiring all notes
for this name. (Because it's
extremely weak, it should be
avoided whenever possible.)
(very modern-sounding chord)
(extremely weak!)
9.
(CM9)
MAJOR NINTH
(Omitting the root creates a
minor triad, often a substitute.)
C-E-G-(B)-D'
Major 3rd +minor 3rd +Perfect 5th
(always omit 7th)
(or) Major triad + added 9th
1-3-5-9
5-note chord so you must omit
one. In BBS, the 7th is omitted.
Bass Voicing
(for maximum strength)
Root is strongest; weakness
progresses w. 5rd, 3th &
6th, respectively, in bass.
Better for BBS when voicing is
spread to the 10th or more;
(closed voicing sounds 'modern').
This chord arises when the
melody falls on the 6th. If not,
it may be better to substitute a minor triad instead.
Root only! Always voice root
and 7th as far apart as is
possible. Found in music
when melody falls on 7th.
Often replaced by minor triad
for a stronger BBS sound.
Root only! Typically arises if
melody falls on the 9th.
(extremely weak!)
SYMMETRICAL CHORDS:
So named because intervals between notes are all the same (equal).
( all these chords are WEAK )
Only 3 possible:
10. DIMINISHED
(Cdim)
minor 3rd +minor 3rd +minor 3rd
C-Eb-Gb-A
+ C#-E-G-A#
& D-F-Ab-B
4-note chord and each must be
present in BBS.
[1-b3-b5-bb7]
(Diminished Seventh)
==>
name used in men's BBS.
(Caug)
C-E-G#-C'
3-note chord so we double one
Major 3rd +Major 3rd +Major 3rd
[1-3-#5-8]
of these and call it the root.
11. AUGMENTED
(Assign the root so that melody
note is the raised 5th of chord.)
ANY tone may be named the
root. Used as 'connecting'
chord, esp. with BBS 7ths.
Any note in chord, dropped by
1/2-step, forms a BBS 7th; it
can sometimes replace dim.
ANY tone may be named the
root. Used only if melody
falls on the raised 5th and
harmony demands its use.
Compiled (2011) & later revised (2012) by Joan D'Agostino after Region 21's ADP Retreat, May 18-20, 2012
05/21/2012
THE ELEVEN (11) BARBERSHOP CHORDS
page 2
THE ELEVEN (11) BARBERSHOP CHORDS -- continued
WEAK CHORDS:
(continued)
(w. typical symbol)
For Example
(Interval Construction-bottom to top)
7.
Chord Make-Up
(in root position)
MAJOR SIXTH
(C6)
Major 3rd+minor 3rd+major 2nd
(or) Major Triad + added 6th
(used by arranger -- 4 voice parts)
C-E-G-A
4-note chord and all notes must
[1-3-5-6]
be present. (Omitting 5th creates
minor triad - useful to know this.)
(a modern-sounding chord)
*
*
8.
(CM7)
MAJOR SEVENTH
C-E-G-B
[1-3-5-7]
Major 3rd+minor 3rd+major 3rd
(or) Major Triad + natural 7th
(same notes as Minor 7th)
When 6th is in bass, it's more
likely a minor 7th.
When 5th & 6th are voiced as
adjacent pitches, the chord
is most likely a Major 6th.
4-note chord requiring all notes
for this name. (Because it's
extremely weak, it should be
avoided whenever possible.)
(very modern-sounding chord)
(extremely weak!)
9.
(CM9)
MAJOR NINTH
(Omitting the root creates a
minor triad, often a substitute.)
C-E-G-(B)-D'
Major 3rd +minor 3rd +Perfect 5th
(always omit 7th)
(or) Major triad + added 9th
1-3-5-9
5-note chord so you must omit
one. In BBS, the 7th is omitted.
Bass Voicing
(for maximum strength)
Root is strongest; weakness
progresses w. 5rd, 3th &
6th, respectively, in bass.
Better for BBS when voicing is
spread to the 10th or more;
(closed voicing sounds 'modern').
This chord arises when the
melody falls on the 6th. If not,
it may be better to substitute a minor triad instead.
Root only! Always voice root
and 7th as far apart as is
possible. Found in music
when melody falls on 7th.
Often replaced by minor triad
for a stronger BBS sound.
Root only! Typically arises if
melody falls on the 9th.
(extremely weak!)
SYMMETRICAL CHORDS:
So named because intervals between notes are all the same (equal).
( all these chords are WEAK )
Only 3 possible:
10. DIMINISHED
(Cdim)
minor 3rd +minor 3rd +minor 3rd
C-Eb-Gb-A
+ C#-E-G-A#
& D-F-Ab-B
4-note chord and each must be
present in BBS.
[1-b3-b5-bb7]
(Diminished Seventh)
==>
name used in men's BBS.
(Caug)
C-E-G#-C'
3-note chord so we double one
Major 3rd +Major 3rd +Major 3rd
[1-3-#5-8]
of these and call it the root.
11. AUGMENTED
(Assign the root so that melody
note is the raised 5th of chord.)
ANY tone may be named the
root. Used as 'connecting'
chord, esp. with BBS 7ths.
Any note in chord, dropped by
1/2-step, forms a BBS 7th; it
can sometimes replace dim.
ANY tone may be named the
root. Used only if melody
falls on the raised 5th and
harmony demands its use.
Compiled (2011) & later revised (2012) by Joan D'Agostino after Region 21's ADP Retreat, May 18-20, 2012