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. ```````````````````````````````````````````````````````````````````````````````````````````````````````````````````````````` 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