On This Page:
Links
Definition Of Barbershop Harmony
History Of The Barberpole
Steps To Membership
Barbershop Glossary
Links
Definition Of Barbershop Harmony
History Of The Barberpole
Steps To Membership
Barbershop Glossary
Links:
Barbershop Harmony Society
Rocky Mountain District (The Barbershop Harmony Society is divided into districts)
Sweet Adelines International (For Ladies who like to sing)
Four The Good Times Quartet Facebook
Off The Chart Quartet Facebook
Valentine City Chorus Facebook
A Playground for Music Education and Music Theory (playgroundequipment.com)
https://www.theaterseatstore.com/blog/musical-glossary-kids -- "Music Glossary for Kids"
Barbershop Harmony Society
Rocky Mountain District (The Barbershop Harmony Society is divided into districts)
Sweet Adelines International (For Ladies who like to sing)
Four The Good Times Quartet Facebook
Off The Chart Quartet Facebook
Valentine City Chorus Facebook
A Playground for Music Education and Music Theory (playgroundequipment.com)
https://www.theaterseatstore.com/blog/musical-glossary-kids -- "Music Glossary for Kids"
Definition of Barbershop Harmony by Dick Johnson
Barbershop Harmony is a style of unaccompanied vocal music characterized by consonant four part chords for every melody note. Occasional brief passages may be sung by fewer than four parts.
The voice parts are called tenor, lead, baritone and bass. The melody is consistently sung by the lead, with the tenor harmonizing above the melody, the bass singing the lowest harmonizing notes below the melody, and the baritone completing the chord either above or below the melody. The melody may occasionally be sung by the bass, but not by the tenor except for an infrequent note or two to avoid awkward voice leading, and in introductions or tags (codas).
Barbershop music features major and minor chords and barbershop (dominant-type) seventh chords, resolving primarily on the circle of fifths. Sixth, ninth and major seventh chords are to be avoided except where demanded by the melody, while chords containing the minor second interval are not used. The basic harmonization may be embellished with additional chord progressions to provide harmonic interest and rhythmic momentum, to carry over between phrases, or to introduce or close the song effectively.
Barbershop interpretive style permits relatively wide liberties in the treatment of note values -- staying within proper musical form -- and uses changes in tempo and volume to more effectively create a mood and tell a story artistically.
Relative to an established sense of tonality, the melody line and the harmony parts are enharmonically adjusted in pitch to produce an optimum consonant sound. The resulting pitch relationships are often considerably at variance with those defined by the equal temperament of fixed pitch instruments. Use of similar word sounds in good quality and optimum volume relationships by each of the voice parts further enhances the sensation of consonance by mutual reinforcement of the harmonics (overtones) to produce the unique full or ÒexpandedÓ sound characteristic of barbershop harmony.
Barbershop Harmony is a style of unaccompanied vocal music characterized by consonant four part chords for every melody note. Occasional brief passages may be sung by fewer than four parts.
The voice parts are called tenor, lead, baritone and bass. The melody is consistently sung by the lead, with the tenor harmonizing above the melody, the bass singing the lowest harmonizing notes below the melody, and the baritone completing the chord either above or below the melody. The melody may occasionally be sung by the bass, but not by the tenor except for an infrequent note or two to avoid awkward voice leading, and in introductions or tags (codas).
Barbershop music features major and minor chords and barbershop (dominant-type) seventh chords, resolving primarily on the circle of fifths. Sixth, ninth and major seventh chords are to be avoided except where demanded by the melody, while chords containing the minor second interval are not used. The basic harmonization may be embellished with additional chord progressions to provide harmonic interest and rhythmic momentum, to carry over between phrases, or to introduce or close the song effectively.
Barbershop interpretive style permits relatively wide liberties in the treatment of note values -- staying within proper musical form -- and uses changes in tempo and volume to more effectively create a mood and tell a story artistically.
Relative to an established sense of tonality, the melody line and the harmony parts are enharmonically adjusted in pitch to produce an optimum consonant sound. The resulting pitch relationships are often considerably at variance with those defined by the equal temperament of fixed pitch instruments. Use of similar word sounds in good quality and optimum volume relationships by each of the voice parts further enhances the sensation of consonance by mutual reinforcement of the harmonics (overtones) to produce the unique full or ÒexpandedÓ sound characteristic of barbershop harmony.
History Of The Barberpole
In the Middle Ages, hair was not the only thing that barbers cut. They also performed surgery, tooth extractions, and bloodletting. French authorities drew a fine distinction between academic surgeons (surgeons of the long robe) and barber surgeons (surgeons of the robe). The latter were sufficiently accepted by the fourteenth century to have their own guild, and in 1505 they were admitted to the faculty of the University of Paris. As an indication of their medical importance, Harry Perelman points out that Ambroise Pare, The father of modern surgery and the greatest surgeon of the Renaissance, began as a barber surgeon. The barber pole, as a symbol of the profession, is a legacy of bloodletting. The barber surgeons necessities for that curious custom were a staff for the patient to grasp (so the veins on the arm would stand out sharply), a basin to hold leeches and catch blood, and a copious supply of linen bandages. After the operation was completed, the bandages would be hung on the staff and sometimes placed outside as advertisement. Twirled by the
wind, they would form a red and white spiral pattern that was later adopted for painted poles. The earliest poles were surmounted by a leech basin, which in time was transformed into a ball. One interpretation of the colors of the barber pole was that red represented the blood, blue the veins, and white the colors of the bandages.
In the Middle Ages, hair was not the only thing that barbers cut. They also performed surgery, tooth extractions, and bloodletting. French authorities drew a fine distinction between academic surgeons (surgeons of the long robe) and barber surgeons (surgeons of the robe). The latter were sufficiently accepted by the fourteenth century to have their own guild, and in 1505 they were admitted to the faculty of the University of Paris. As an indication of their medical importance, Harry Perelman points out that Ambroise Pare, The father of modern surgery and the greatest surgeon of the Renaissance, began as a barber surgeon. The barber pole, as a symbol of the profession, is a legacy of bloodletting. The barber surgeons necessities for that curious custom were a staff for the patient to grasp (so the veins on the arm would stand out sharply), a basin to hold leeches and catch blood, and a copious supply of linen bandages. After the operation was completed, the bandages would be hung on the staff and sometimes placed outside as advertisement. Twirled by the
wind, they would form a red and white spiral pattern that was later adopted for painted poles. The earliest poles were surmounted by a leech basin, which in time was transformed into a ball. One interpretation of the colors of the barber pole was that red represented the blood, blue the veins, and white the colors of the bandages.
Steps To Membership:
Week 1: At your first visit to the Loveland, CO chapter of the Barbershop Harmony Society, you should have been…
• Greeted and signed our guest register
• Given a packet of information about the Society and our chapter
• Given a guest book of music for the evening
• Placed in a voice section suitable to your voice range
• Introduced to members and other guests
Week 2: This week you will be…
• Given a guest book of music for the evening
• Placed in a voice section suitable to your voice range
• Re-introduced to members and other guests
Week 3: This week you will be…
• Given a private voice placement interview to demonstrate your singing ability
• Assigned a singing section based on your voice and preference
• Given a membership application
• Given a guest book of music for the evening
• Re-introduced the members and other guests
Application: You may continue as a guest for as long as you choose. Once you choose to become a member, then you will be continually phased into our total program. The first step is to complete and return your membership application with the necessary dues. Your application will be presented to the Board of Directors for action. After approval by the Board, it will be about two to three weeks until your membership card is presented to you. Related membership materials will be mailed to you from the Society.
Time: Our chapter meets every Tuesday from 7:00 p.m. to 10:00 p.m. We perform regularly and have an opportunity each fall to compete with other Rocky Mountain District barbershop choruses. We also participate in a program called Singing Valentines, where various quartets form and deliver singing valentines to those interested. We eagerly await your participation in all of these activities.
Cost: Annual membership dues for a regular member are currently $10 (chapter), $33 (district), and $115 (society), which totals $158. There is also a one time registration fee of $10. This makes the grand total $168. There are discounted rates based on age, terms of service, student eligibility, etc. Please see the Membership Dues document for more information about dues. Also, if members wish to perform with us, then they are asked to place a deposit down for a formal uniform (tux) and/or purchase the informal uniform (polo shirt). (Deposit monies may be paid over a three month period, if requested.)
If you ever have any questions, then I hope you will not hesitate to ask anyone around you. You may certainly contact us with queries or comments, too.
mail@valentinecitychorus.com
Week 1: At your first visit to the Loveland, CO chapter of the Barbershop Harmony Society, you should have been…
• Greeted and signed our guest register
• Given a packet of information about the Society and our chapter
• Given a guest book of music for the evening
• Placed in a voice section suitable to your voice range
• Introduced to members and other guests
Week 2: This week you will be…
• Given a guest book of music for the evening
• Placed in a voice section suitable to your voice range
• Re-introduced to members and other guests
Week 3: This week you will be…
• Given a private voice placement interview to demonstrate your singing ability
• Assigned a singing section based on your voice and preference
• Given a membership application
• Given a guest book of music for the evening
• Re-introduced the members and other guests
Application: You may continue as a guest for as long as you choose. Once you choose to become a member, then you will be continually phased into our total program. The first step is to complete and return your membership application with the necessary dues. Your application will be presented to the Board of Directors for action. After approval by the Board, it will be about two to three weeks until your membership card is presented to you. Related membership materials will be mailed to you from the Society.
Time: Our chapter meets every Tuesday from 7:00 p.m. to 10:00 p.m. We perform regularly and have an opportunity each fall to compete with other Rocky Mountain District barbershop choruses. We also participate in a program called Singing Valentines, where various quartets form and deliver singing valentines to those interested. We eagerly await your participation in all of these activities.
Cost: Annual membership dues for a regular member are currently $10 (chapter), $33 (district), and $115 (society), which totals $158. There is also a one time registration fee of $10. This makes the grand total $168. There are discounted rates based on age, terms of service, student eligibility, etc. Please see the Membership Dues document for more information about dues. Also, if members wish to perform with us, then they are asked to place a deposit down for a formal uniform (tux) and/or purchase the informal uniform (polo shirt). (Deposit monies may be paid over a three month period, if requested.)
If you ever have any questions, then I hope you will not hesitate to ask anyone around you. You may certainly contact us with queries or comments, too.
mail@valentinecitychorus.com
Glossary of Barbershop Terms
Afterglow.................... Party after a chapter meeting or show.
AHSOW...................... Ancient and Harmonious Society of Woodshedders (A SPEBSQSA subsidiary devoted to preserving the practice of harmonizing without arrangements); see woodshedding
AIC............................. Association of International Champions
AISQC........................ Association of International Seniors Quartet Champions
Barberpole Cat Songs.. The twelve songs every barbershopper should know. See the Barberpole Cat Songbook in your new member kit.
Barbershop Seventh..... The cornerstone chord of the barbershop style, consisting of the root, the major third above, the perfect fifth above, and the minor seventh above, as in a chord consisting of F, A, C, Eb.
Bell Chord................... A musical arranging device in which a chord is sung as a succession of notes by each voice in turn.
BOTY/BOTM.............. Barbershopper of the Year/Month Ð award presented by many chapters and districts recognizing outstanding efforts.
C&J............................ Contest and Judging program, which trains judges for singing competitions.
CBQC......................... MBNA America Collegiate Barbershop Quartet Contest
COTS.......................... Chapter Operations Training Seminar Ð a weekend administrative training session.
District........................ One of the sixteen geographic and administrative regions of the Society.
DP.............................. District President
DVP............................ District Vice-President
Evaluation................... Analysis and recommendation session Ð the post-competition performance review provided by judges.
Fifth-wheeling............. Joining in without invitation when a quartet is singing; a breach of manners. Wait for the quartet to finish, then ask if you can sing along.
Frank H. Thorne......... chapter-at-large. An ÒinternationalÓ chapter for men who are not active in a SPEBSQSA chapter.
Gang singing............... Informal group singing.
Harmony College......... Weeklong summer educational program for barbershoppers, held at Missouri Western State College.
Harmony Foundation.. A separate, but related organization to SPEBSQSA. The Foundation is the SocietyÕs charity.
HX.............................. Harmony Explosion Camps for high school and college singers.
Lead............................ The man who sings the melody part. The lead line is the melody of a song.
Overtones.................... Tones of higher pitch that are present in every musical sound and whose presence determines the quality of the musical sound. Chords locked in tune and proper volume relationship ÒringÓ with reinforced overtones.
PROBE....................... A SPEBSQSA subsidiary organization of Public Relations Officers and Bulletin Editors.
Registered quartet....... A quartet whose name and personnel have been catalogued at headquarters. Registration gives the quartet exclusive use of its name. Only registered quartets may sing in competition.
Swipe.......................... A progression of two or more chords sung on a single word or syllable; a hallmark of the barbershop style.
Tag............................. A coda; the ending of a song, often repeating the final words and designed to make a complete and satisfying arrangement.
Tune........................... As a noun, the melody of a song; as a verb, to blend and make a more accurate or pleasing sound.
Woodshedding............. Impromptu quartet singing without arrangements; singing by ear.
YMIH......................... Young Men In Harmony
Afterglow.................... Party after a chapter meeting or show.
AHSOW...................... Ancient and Harmonious Society of Woodshedders (A SPEBSQSA subsidiary devoted to preserving the practice of harmonizing without arrangements); see woodshedding
AIC............................. Association of International Champions
AISQC........................ Association of International Seniors Quartet Champions
Barberpole Cat Songs.. The twelve songs every barbershopper should know. See the Barberpole Cat Songbook in your new member kit.
Barbershop Seventh..... The cornerstone chord of the barbershop style, consisting of the root, the major third above, the perfect fifth above, and the minor seventh above, as in a chord consisting of F, A, C, Eb.
Bell Chord................... A musical arranging device in which a chord is sung as a succession of notes by each voice in turn.
BOTY/BOTM.............. Barbershopper of the Year/Month Ð award presented by many chapters and districts recognizing outstanding efforts.
C&J............................ Contest and Judging program, which trains judges for singing competitions.
CBQC......................... MBNA America Collegiate Barbershop Quartet Contest
COTS.......................... Chapter Operations Training Seminar Ð a weekend administrative training session.
District........................ One of the sixteen geographic and administrative regions of the Society.
DP.............................. District President
DVP............................ District Vice-President
Evaluation................... Analysis and recommendation session Ð the post-competition performance review provided by judges.
Fifth-wheeling............. Joining in without invitation when a quartet is singing; a breach of manners. Wait for the quartet to finish, then ask if you can sing along.
Frank H. Thorne......... chapter-at-large. An ÒinternationalÓ chapter for men who are not active in a SPEBSQSA chapter.
Gang singing............... Informal group singing.
Harmony College......... Weeklong summer educational program for barbershoppers, held at Missouri Western State College.
Harmony Foundation.. A separate, but related organization to SPEBSQSA. The Foundation is the SocietyÕs charity.
HX.............................. Harmony Explosion Camps for high school and college singers.
Lead............................ The man who sings the melody part. The lead line is the melody of a song.
Overtones.................... Tones of higher pitch that are present in every musical sound and whose presence determines the quality of the musical sound. Chords locked in tune and proper volume relationship ÒringÓ with reinforced overtones.
PROBE....................... A SPEBSQSA subsidiary organization of Public Relations Officers and Bulletin Editors.
Registered quartet....... A quartet whose name and personnel have been catalogued at headquarters. Registration gives the quartet exclusive use of its name. Only registered quartets may sing in competition.
Swipe.......................... A progression of two or more chords sung on a single word or syllable; a hallmark of the barbershop style.
Tag............................. A coda; the ending of a song, often repeating the final words and designed to make a complete and satisfying arrangement.
Tune........................... As a noun, the melody of a song; as a verb, to blend and make a more accurate or pleasing sound.
Woodshedding............. Impromptu quartet singing without arrangements; singing by ear.
YMIH......................... Young Men In Harmony