Education
LIFTING OFF INTO THE LAND OF CHORDS
Barbershop chords explained by a Sweet Adelines Music Judge
W
e Music Judges live in the land of chords, but sometimes singers may not understand why we are such sticklers for certain chords when it comes to the strength or weakness of competition music. Choosing competition music is always a challenge, because every song and arrangement has its strengths and weaknesses. However, the chords that singers are asked to sing have much to do with the success — or lack thereof — they will experience in competition. As judges, we are responsible for recognizing what chords are acceptable, in tune, balanced, aligned, and correct. Thus, knowing what makes chords strong is an important “instrument” in the musician’s tool belt that can go a long way in assisting chorus directors, quartets and coaches in making educated choices about what to sing in competition.
Before we proceed with this discussion of chords, let’s be clear about two things: 1. Chords are only a part of what makes music contestable — an important part, yes, but just one component of a much more complex set of criteria explained in the 16 pages of the Music Category description in the Judging Category Description Book (JCDB) which can be found online at www.sweetadelines.com/education/ JCDB. It’s a complex issue and is one reason that all Music Judges must pass an arranger test before entering the judging program. 2. Chord ring and overtone production are fully dependent upon the quality of vocal production of the sound; physics helps, but the overtone structures within each individual voice properly produced and resonated and then blended with those of others and singing a matched vowel are the final determiners of lock and ring. It isn’t easy, but it is fun!
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| April 2020
In barbershop arranging, eleven chords are available to us, but of these, only certain chords (the BIG THREE) are “sacred” — the major triad, the barbershop (flatted) 7th, and the barbershop 9th (a five-part chord that’s a barbershop 7th with the root [preferred] or the 5th omitted). These chords are particularly valuable in barbershop singing because of the relationships of the frequencies between their components and because when they are properly balanced, they produce overtones on their own. These acoustical overtones can then be reinforced by the overtones of the voices singing them. That combination then yields that unmistakable thrill of a ringing chord. For instance, the triad is so strong (and usually ends 99% of our arrangements) because when the low root and the high root are locked, the sound of the 5th becomes audible (even when no voice is singing that note). Then when the 5th becomes apparent, the 3rd can be audibly distinguished. The overtone series then continues ad infinitum. Thus, the physics of sound assists the singer in ringing this chord. This phenomenon also occurs with the other two strong chords (the Barbershop 7th and 9th) because of the frequency ratios and distances between the steps in each one, which also reinforces the strength of the overtone structure. The Barbershop 7th (with its 5th often voiced in the bass) is often the penultimate chord in an important progression because it “points” to the resolving chord and produces the musical tension that can then be released by the subsequent triad. It creates that wonderful feeling when a quartet or chorus holds that next-to-the-last chord and we just can’t wait to hear the ring of the final triad. The Barbershop 9th is often used at the highest vocal point of a ballad, when it lends its mysterious acoustical strength to the passion of the lyrics. Complicated, perhaps, but strong chords are simply “in tune” with the physics of sound discovered many years ago by ancients like Pythagoras. Often, the melody line and the voice leading (how a part goes from note to note) require arrangers to use a number
