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One characteristic feature of barbershop harmony is the use of what is known as "snakes" and "swipes". This is when a chord is altered by a change in one or more non-melodic voices.
Barbershop music is generally performed by either a barbershop quartet , a group of four singers with one on each vocal part, or a barbershop chorus , which closely resembles a choir with the notable exception of the genre of music.
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.
Except for the bass , the voice parts in barbershop singing do not correspond closely to their classical music counterparts; the tenor range and tessitura are similar to those of the classical countertenor , the baritone resembles the Heldentenor or lyric baritone in range and a tenor in tessitura, and the lead generally corresponds to the tenor of classical repertoire, with some singers possessing a tessitura more similar to that of a high baritone.
The defining characteristic of the barbershop style is the ringing chord, one in which certain overtones of the four voices reinforce each other, sometimes so strongly that the overtone is perceived by the listener as a distinct tone, even though none of the voices are perceived as singing that tone.
This effect occurs when the chord, as voiced, contains intervals which have strongly reinforcing overtones fifths and octaves, for example that fall in the audible range; and when the chord is sung in perfect just tuning without excessive vibrato.
Both of these characteristics are important in many styles of singing, but in Barbershop there is an extreme emphasis on them that tends to override other musical values.
For another example, Barbershop music is always a cappella, because the presence of fixed-pitch instruments tuned to equal-temperament rather than just temperament , which is so highly prized in other choral styles, makes perfect just tuning of chords impossible.
The physics and psychophysics of the effect are fairly well understood; it occurs when the upper harmonics in the individual voice notes, and the sum and difference frequencies resulting from nonlinear combinations within the ear, reinforce each other at a particular frequency, strengthening it so that it stands out separately above the blended sound.
The effect is audible only on certain kinds of chords, and only when all voices are equally rich in harmonics and justly tuned and balanced.
It is not heard in chords sounded on modern keyboard instruments, due to the slight tuning imperfection of the equal-tempered scale.
Gage Averill writes that "Barbershoppers have become partisans of this acoustic phenomenon" and that "the more experienced singers of the barbershop revival at least after have self-consciously tuned their dominant seventh and tonic chords in just intonation to maximize the overlap of common overtones.
What is prized is not so much the "overtone" itself, but a unique sound whose achievement is most easily recognized by the presence of the "overtone".
The precise synchrony of the waveforms of the four voices simultaneously creates the perception of a "fifth voice" while at the same time melding the four voices into a unified sound.
The ringing chord is qualitatively different in sound from an ordinary musical chord e. Most elements of the "revivalist" style are related to the desire to produce these ringing chords.
Barbershop arrangements stress chords and chord progressions that favor "ringing", at the expense of suspended and diminished chords and other harmonic vocabulary of the ragtime and jazz forms.
The dominant seventh-type chord is so important to barbershop harmony that it is called the "barbershop seventh".
BHS arrangers believe that a song should contain dominant seventh chords anywhere from 35 to 60 percent of the time measured as a percentage of the duration of the song rather than a percentage of the chords present to sound "barbershop".
Historically barbershoppers may have used the word "minor chord" in a way that is confusing to those with musical training. Averill suggests that it was "a shorthand for chord types other than major triads", and says that the use of the word for "dominant seventh-type chords and diminished chords" was common in the late nineteenth century.
A song called "Play That Barber Shop Chord"  often cited as an early example of "barbershop" in reference to music contains the lines:.
Averill notes the hints of rapture , "quasi-religion" and erotic passion in the language used by barbershoppers to describe the emotional effect. He quotes Jim Ewin as reporting "a tingling of the spine, the raising of the hairs on the back of the neck, the spontaneous arrival of goose flesh on the forearm Barbershoppers never lose sight or sound of its physicality.
Historical memoirs and journalism indicate a strong tradition of quartet singing among young African American men, gathering informally to "crack up a chord".
Barbershop music was very popular between and , and some of the most popular quartets were the Haydn Quartet , the American Quartet , and the Peerless Quartet.
Modern barbershop quartets often costume themselves in gaudy versions of the vaudeville dress of this time, with boaters and vertically striped vests.
The revival of a cappella singing took place around when a tax lawyer named Owen C. Cash sought to save the art form from a threat by radio.
Both came from Tulsa, Oklahoma. Cash had struck a chord, albeit unwittingly, and soon, across North America, men responded in their thousands and later in the same year the "Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America" was set up, known by the abbreviation S.
The group adopted the alternate name "Barbershop Harmony Society" early in its history. While its legal name has never changed, it changed its official brand name to "Barbershop Harmony Society" in Slaughterhouse-Five by Kurt Vonnegut.
Download this Lit Guide! Only after remembering—not traveling through time—does Billy see that the barbershop quartet resembles the four German soldiers standing together, along with the US POWs, in the slaughterhouse during the bombing.
The colored dots and icons indicate which themes are associated with that appearance. They sing Polish songs and Billy The German guards drew together, standing, and resembled the barbershop quartet singing downstairs at the party.
After the firebombing, guards ordered the
Barbershop Symbol VideoHere’s the disturbing reason why barber poles are red, white, and blue
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