STRONG AND OPEN, ESSENTIALLY THE MIDDLE OF THE TONE
FLATTED, HAS A STRONG FEEL TO IT especially when in CHOPSTIX position
These are challenging, and easier said than done. The root and the seventh are better tolerated if the octave apart voicing. Requires accuracy and stamina.
“SOUND-ALIKE” VOICES [esp. when close to the fifth]
The 6th tone needs to be a bit on the high side, and gives the “flavor”
[sometimes a chopstick
but different feel]
IMPORTANT TO MATCH VOCAL QUALITIES, try more “blending” quality. Usually a tender feel, use your ear! In the inverted position, the ninth [actually the second] will need to be strong and usually will be moving to the root to resolve the tension.
Most of these are used in passing; they need to be sung on the high side as their name implies- augmented [increased in pitch] the other parts must hold steady
Usually sung lower as the name implies…
The eleven chords used in BBS harmony
Major triad barbershop 7th major sixth
Major seventh major ninth ninth
Minor triad minor sixth minor seventh diminished triad augmented triad
The Tuning Point…. Page 6
A scale tone tuning method that helps you to stay in the key. The basic concept is to sing the 2nd, 3rd, 6th and 7th tones and any sharps in the key signature slightly raised…….
Compared to Equal Temperament Tuning, there is more or less
“space” between some note intervals than others…..
IF you want to delve deeper into the Pythagorean tuning concept, read on…
The frequency value tells you how many vibrations per second to create any given pitch.
Equal temperament tuning spaces 12 tones of the octave and EQUAL distance apart- the space from any tone to the next [half] step is always the same = 100 log cents.
Pianos, keyboards and pitchpipes are tuned this way. This allows the instrument to be played in any key with relative accuracy but does not allow creation of the harmonic structure that locks and rings a barbershop chord.
Pythagorean tuning requires that certain steps in the scale be raise or lowered to establish the harmonic structure which creates the overtones and ring of the barbershop chords we so love.
Let’s look at some of the tones on the chart.
“do” [A] remains constant.
Now look at E [fifth or ‘so’] Notice the difference in frequency between Equal Temperament and Pythagorean. [700 and 702] Not very much.
Take a moment to find the notes that are higher; maj 2= B; maj 3=C#; maj 6=F#; maj 7=G#; Aug 4=D#.
So that is why we sing the 2, the 3, the 6 and the 7th and the raised 4th higher
Okay- now find the notes that are lower; min 2=A#/Bb; min 3=Cnat; perf 4=D; min 6=Fnat; min 7=Gnat.
So as a rule, anything lowered from the key signature is tuned lower. But as you know, we generally have a tendency to sing on the low side so we don’t have to put much effort in here!! There will be times, though, that you will experience the ‘feel’ of this.
So now you can understand why checking notes on a pitchpipe or keyboard won’t give you the correct Pythagorean tuned notes, except for “do”. Try to use them only for beginning note learning and checking. Once you are past that stage, drop your dependence on them and begin to rely on your ears.