DOC s DO s, DON T s and DEFINITIONS

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Like any other organization, a Barbershop Chapter and Chorus has a variety of terms, phrases and rules that are applicable to the way it functions.

1 Like any other organization, a Barbershop Chapter and Chorus has a variety of terms, phrases and rules that are applicable to the way it functions. Below is a collection of those you will find used within DOC. If you think of another item that you think should be added to this list, please advise the Music VP. ETIQUETTE: Only leave or mount the risers while the chorus is not singing or information is not being provided by a director or coach. While on the risers, refrain from casual conversation and physical distraction. This is especially true when receiving information from a director or coach. Should you have a question regarding any aspect of a song notes, words, choreography, whatever raise your hand and get the director s attention before asking the question. Others may well have the same question you do and would benefit by hearing the answer too. This is particularly important when we re on the risers. Do not speak to others when the director is instructing the chorus, even if the director is working on a different section than yours. Should you absolutely need to ask something of the person next to you, on the risers or in the seats, whisper it to him. Please do not confuse talking softly with whispering If four guys are singing a song together as quartet, only join in singing with them if you are specifically asked to do so. Joining in without invitation ( fifth wheeling ) interferes with the quartet and is considered rude. Read the Hi-Notes! Tom publishes a wealth of information in the Hi-Notes every two weeks. He distributes it on Monday nights and Steve publishes it on the DOC web site. We re happy to answer questions during the business portion of the meeting regarding what s published in the Hi-Notes, or cover other topics not published in the Hi-Notes, but it s not the best use of our time to review calendar items or repeat discussion of items that have already been addressed in the Hi-Notes Learn your part! Notes, words, phrasing, dynamics, stage presence, choreography the whole works! We provide learning tracks, videos, sheet music, and our section leaders would be pleased to work with you before or after rehearsals, if needed. This means working on your music at home, in the car, at the office, or in some manner over and above Monday nights for most of us. TERMS: Musical: 1 to 10 scale We use this to denote how loud we should be singing, at different points of the song. Singing at a 1 is the softest level that we can sing with good vocal quality; singing at a 10 is the loudest that we can sing, again, with good vocal quality Accidental A note to be sung either higher or lower in pitch than would be indicated based on the key signature, based on notation of a sharp ( ), flat ( ) or natural ( ) symbol noted on the sheet music.

2 Backbeat Emphasis on beats two and four in a four-beat song Break (vocal) The passage point (passagio) between vocal registers, such as from chest voice or head voice to falsetto. For men, this typically happens around the E or F above middle C. Bridge Section of a song that connects one main section (e.g., chorus or verse) to another main section of the song Catch breath a quick, short, unobtrusive breath Chest voice Deep, full sound. Singing in the lower ( normal ) part of one s vocal range, where the chest is acting as the primary vocal resonator. In this voice, your vocal cords are closed or together and the air is passing over them as they vibrate as one along their entire length. Singers typically need good support, with an engaged diaphragm, in order get one s vocal cords to fully close for strong, clear, powerful singing Chinese seventh chord A barbershop seventh chord where the top two voices are singing the root and the (minor) seventh notes. These chords can be tough to tune; you typically would like nearly equal volume from the top two notes in the chord, with a strong fifth from the bass part as well. Chords Combinations of four notes to be sung by the four sections/parts. Singers may be singing the same or different words on a particular chord. Barbershop arrangements typically include up to six different types of chords: o Major Chord 1, 3, 5, 1 (Root, third, fifth, octave). o Minor Chord 1, 3, 5, 1 (Root, flatted third, fifth, octave). o Barbershop/Dominant Seventh 1, 3, 5, 7 (Root, third, fifth, flatted seventh). o Diminished Seventh 1, 3b, 5b, 6 o Half-diminished Seventh 1, 3b, 5b, 7b o Sixth Chord 1, 3, 5, 6; major chord with sixth added Other, more modern chords, are becoming increasing popular as our barbershop style evolves, include major seventh, ninth, and augmented chords Diaphragm The dome-shaped horizontal muscle that separates your chest cavity from your stomach cavity. It moves up and down as a singer takes appropriate deep breaths, with extension of the belly, as opposed to staying in place during shallow chest breathing Diphthong A combination of two vowel sounds sung within the same vocal syllable. Examples: now (ah+ow), I (ah+ee). Pronounced diff-thong. Downbeat The first beat in a measure Dynamics variation between soft and loud Edge The top-left portion of the first page of our sheet music. The beginning of the song. Beat one in measure number one Falsetto Singing above the break, typically in a thin, airy tone, where the vocal cords have popped apart, avoiding the strain of trying to sing higher and higher notes. Only a portion of the vocal cords are vibrating; air is typically escaping Head voice Singing in an upper register, where the mouth, nasal and sinus cavities ( mask ) are the primary resonators. In this voice, your vocal cords have made a switch over into a mode

3 where different muscles in the throat are pulling on them, making them thinner. Commonly (but improperly) used as a synonym for falsetto Intonation Refers to pitch, or sometimes pitch accuracy Inversions Different versions of the same chord, where the lowest note in the chord changes, e.g., from the root to the third to the fifth to the seventh Key signature Determined based on the number of flats or sharps in the first measure of the arrangement. Generally, this is the note that ll be blown in the pitch pipe before we sing the song. Notes on the sheet music are to be raised or lowered, if they have a sharp or flat in the key signature, respectively Nasal singing Singing with a lowered soft palate, which forces the sounds out through the nose Notes Musical symbols on the staff, denoting both the pitch to be sung (based on the line or space where the note head is located) as well as the duration of the note, such as: whole note ( ), half note ( ), quarter note ( ), or eighth note ( ). Overtone Additional audible notes/tones that are higher than the fundamental note(s) being sung, which may be generated when we sing in tune, with common vowel sounds and good vocal technique. These additional notes add to the fullness of the sound, creating what s also called expanded sound. Pitch The fundamental sound (frequency) of a particular note. Polecat A shorthand reference to songs contained in the Barberpole Cat songbooks. These are songs the Society has encouraged all barbershoppers to learn, in part so that members of different chapters can sing together, using the same arrangements, when they get together at conventions, contests and inter-chapter get-togethers. Repertoire A set of songs designated by the Music Team as the standard songs that our chorus members should know, that we should be able to perform for an audience with a minimal amount of preparation and rehearsal. Songs in our repertoire are generally the songs that we want to be included in our Guest Songbooks Rests Musical symbols on the staff representing time with no notes (no singing). Typical duration include whole rest (apple), half rest ( ), quarter rest ( ), and eighth rest (Ò) Root The fundamental note (the 1) of a chord Root, third, fifth, seventh, etc. These refer to notes in a chord, typically, and are based on the numbers along our musical scale Scale (major) A series of eight notes, progressing from the first note in the scale to the octave or eighth note of the scale. May be identified numerically (1, 2, 3, 4, 5, 6, 7, 8 or 1), phonetically (do, re, mi, fa, so, la, ti, do) or by notes in a particular key (e.g., C, D, E, F, G, A, B, C) Scoop Beginning to sing a note below the fundamental pitch of that note. To be avoided Soft palate the fleshy, flexible part towards the back of the roof of your mouth Staff The set of five horizontal lines and four spaces, each of which represent a different musical pitch, which contains a variety of musical symbols used to form music notation, including clef symbols (treble or bass), key signature, time signature, notes, rests, measures, repeats, accidentals, and so on. The pitch associated with each line or space is different for each clef, and is summarized as follows:

4 Clef Lines (bottom up) Spaces (bottom up) Treble (tenors & leads) EGBDF FACE (Every Good Boy Does Fine) Bass (baritones & basses) GBDFA (Good Burritos Don t Fall Apart) ACEG (All Cows Eat Grass) Stomp Portion of a song (often notated as such in the sheet music), characterized by strong, heavy beats, often at a slowed tempo, where one might imagine a kick-line move by a group of singers Swipe A progression from one chord (or inversion) to another chord (or inversion), where at least one voice part is gradually changing the pitch from an original note to an ending note. Things sound best when all moving parts start moving at the same time and end up landing on the final target note at the same time. Synchronization Singing together, where different singers (either within a section or across multiple sections) start and end a vocal syllable together, shift from consonant to vowel at the same time, and shift from one vowel sound to another vowel sound at the same time Tag The last few measures of a song, frequently featuring chord sequences arranged to bring the song to an appropriate conclusion. Some barbershoppers enjoy singing, teaching and learning tags more than singing an entire song! Time signature determines the number of beats in each measure and the value of a quarter note. Typical barbershop time signatures: o 4/4 Four beats to the measure; quarter note gets one beat o 3/4 Three beats to the measure; quarter note gets one beat. (Waltz tempo) o 2/2 or C- Also known as cut time or common time; 2 beats to the measure, half note gets one beat o 6/8 Six beats to the measure; eighth note gets one beat. Tonic The first note in the scale, based on the key signature of a song (for major key signatures). The tonal center. Home base. Vibrato Slight variation in pitch around a fundamental note or tone. Generally undesirable in barbershop singing, with the possible exception of the melody singer (particularly in a quartet) adding a little vibrato at the end of a musical phrase. Control may be possible through singing with good vocal support, from the diaphragm. Vocal fry Toneless rattle, roughness, or rasp, often at the lower end of a vocal range. Glottal. To be avoided during most barbershop singing. Performance: Choreography Planned actions or movements (moves) by our chorus members when performing. May differ from front to back or left to right. Should appear organic and natural, as if stemming from the lyrics and message of the song, in order to enhance our stage presence, rather than stiff, unnatural actions that we were told we need to do. Chorus position Feet shoulder width apart with one foot slightly ahead of the other, body and head and eyes facing the director.

5 Crouch Chorus Position or Mirror Image with back straight, knees bent, and arms bent at the elbows. Arms may be extended as if making a safe move, like a baseball umpire. Also known as the barbershop squat. Dig Move Slowly raise arm up and out, typically either toward the director or toward the audience. Typically coupled with bending at the knees to start, standing taller during the dig move. Down the tiles Toward the audience (rather than toward the director) Mirror image feet shoulder width apart with feet and shoulders parallel to the edge of the stage, with body, head and eyes facing the audience, down the tiles. Press back straight, chest up and out, arms at your sides in either Chorus Position or Mirror Image. Spread Move Chorographical move where the chorus extends outward and upwards with their outside hand, with the inside hand extended slightly for balance purposes Stage Presence Body and facial engagement, in support of the lyrics of a song. May include planned choreography. Strongly encouraged in barbershop singing, in all performances. Helps connect the audience with the performer Watermelon arms slightly bent and hands brought up to front as if holding and lifting a watermelon

2014A Cappella Harmonv Academv Handout #2 Page 1. Sweet Adelines International Balance & Blend Joan Boutilier

2014A Cappella Harmonv Academv Page 1 The Role of Balance within the Judging Categories Music: Part balance to enable delivery of complete, clear, balanced chords Balance in tempo choice and variation