1834:, p. 132: "The split occurred after the 1957 convention in Miami, at which the outgoing board introduced a resolution to restrict membership to Caucasians...Sweet Adelines had no black members, and no one was aware of any black singers who had petitioned to join the organization. Still, the board argued that there had always been tacit agreement about racial exclusion and it was time to formalize this policy.... chapters split, quartets broke up, members resigned, and arguments ensued at all levels of the organization... starting in July 1958, a number of northern chapters dropped out of Sweet Adelines... and met in Providence, Rhode Island... to start Harmony, Incorporated."
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did not want a cappella to fall by the wayside. Thousands of men responded. Later the "Society for the
Preservation and Encouragement of Barber Shop Quartet Singing in America" was established, known by the abbreviation S.P.E.B.S.Q.S.A. at a time when many institutions in the US used multiple initials to denote their function. 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 2004.
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sound, some answers to questions of race, gender, and other social factors shaping the genre, and exploration of the ideology surrounding the so-called revival around 1940. Still, the debate about the origins of this genre seems to be widely unsettled. The current models that chart the birth of barbershop harmony are diverse and often contradictory with regard to categories such as race, gender, regional context, social environment, amateur or professional, impromptu or composed-arranged, and highbrow or lowbrow."
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president. Sweet
Adelines went international on March 23, 1953, when the first chapter outside the U.S. was chartered in Brandon, Manitoba, Canada. Even though there were international chapters, it was not until May 1991 that the name officially changed to Sweet Adelines International. It has a current membership of 23,000 and holds an annual international singing competition.
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ring, such as diminished or augmented fifths. 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.
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Filling the gap between the chorus and the quartet is what is known as a VLQ or Very Large
Quartet, in which more than four singers perform together, with two or more voices on some or all of the four parts. A VLQ possesses greater flexibility than a standard quartet, since they can perform even with
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to promote mixed harmony barbershop quartets and choruses within the three major organizations and internationally. The
Society for the Preservation and Propagation of BarberShop Quartet Singing in the U.S. (SPPBSQSUS) formed in 2018 as a fraternal organization to preserve and perpetuate the all-male
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The revival of a cappella singing took place circa 1938 when tax lawyer Owen C. Cash sought to save the art form from the threat of radio. He garnered support from investment banker Rupert I. Hall. Both came from Tulsa, Oklahoma. Cash was a partisan of quartet singing who advertised the fact that he
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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 1938) have self-consciously tuned their dominant seventh and tonic chords in just intonation to maximize the overlap of common
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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
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While these traditional songs still play a part in barbershop today, barbershop music also includes more current titles. Most music can be arranged in the barbershop style, and there are many arrangers within the aforementioned societies with the skills to include the barbershop chord structure in
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chorus, or for an established quartet affiliated with a given chorus to lose a member (to death, retirement, or relocation) and recruit a replacement from the ranks of the chorus. Choruses can also provide "spare parts" to temporarily replace a quartet member who is ill or temporarily out of town.
761:(BinG), Finnish Association of Barbershop Singers (FABS), Holland Harmony (HH), Irish Association of Barbershop Singers (IABS), Ladies Association of Barbershop Singers (LABBS) in the United Kingdom, Spanish Association of Barbershop Singers (SABS) and Society of Nordic Barbershop Singers (SNOBS).
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After the establishment of the above organizations, other countries have begun their organizations to promote
Barbershop music. These international organizations are often affiliated with one of the United States organizations listed above or by the World Harmony Council. Some are gender exclusive
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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"
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Döhl, Frédéric (2014): From
Harmonic Style to Genre. The Early History (1890s–1940s) of the Uniquely American Musical Term Barbershop. American Music 32, no. 2, 123–171, here 123–124. "In recent years, new insights and greater clarity have been acquired, which include aesthetic issues relating to
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music in the barbershop style. Most barbershop choruses belong to a larger association of practitioners such as the
Barbershop Harmony Society, Sweet Adelines International, LABBS (Ladies Association of British Barbershop Singers), BABS (British Association of Barbershop Singers) or Harmony, Inc.
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In North
America, the Barbershop Harmony Society hosts contests for all singers. Female barbershop quartet singers can also compete in Sweet Adelines International or Harmony, Inc., and the Society for the Preservation and Propagation of BarberShop Quartet Singing in the U.S. is available to male
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Sweet
Adelines International was established in 1945 by Edna Mae Anderson of Tulsa, Oklahoma. The aim was to teach and train its members in music and to create and promote barbershop quartets and other musical groups. By year's end, the first chapter incorporated in Oklahoma with Anderson as its
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In the United States, there are three major organizations which are intended to preserve the style of Barbershop music: The Barbershop Harmony Society, a historically men's organization until 2018, Sweet Adelines International, a women's organization and Harmony, Incorporated which splintered off
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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
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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
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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 example, favored chords in the jazz style are characterized by intervals which do not audibly
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In the Barbershop Harmony Society, a chorus is the main performing aspect of each chapter. In competition, choruses may have as few as 12 members singing, with no upper limit. Choruses normally sing with a director, as distinct from quartets. It is not uncommon for a new quartet to form within a
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on the forearm ... the fifth note has almost mysterious propensities. It's the consummation devoutly wished by those of us who love Barbershop harmony. If you ask us to explain why we love it so, we are hard put to answer; that's where our faith takes over." Averill notes too the use of the
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Harmony, Inc. was incorporated in the State of Rhode Island on February 26, 1959. The founding member chapters of Harmony, Inc. were the Melody Belles of Providence, Rhode Island; Sea Gals of New Bedford, Massachusetts; The Harmonettes from North Attleboro, Massachusetts; Harmony Belles of
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considers the 19-century origins of the quartet style as "obscure", possibly referring back to barber's music, or dating to when barbershops served as community centers, where men would gather for social and musical activities with barbers traditionally being musicians. Later, white
245:(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
733:(SAI) broke from the organization in protest of the policy limiting membership to Caucasian women. In 1958, chapters from Rhode Island, Massachusetts, and Orillia, Ontario, also left SAI to form Harmony, Incorporated. (Sweet Adelines changed their policy in 1966).
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can be created. 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. Occasional passages may be sung by fewer than four voice parts.
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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.g. as sounded on a tempered-scale keyboard instrument.
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He notes too that "barbershoppers almost never speak of 'singing' a chord, but almost always draw on a discourse of physical work and exertion; thus, they 'hit', 'chop', 'ring', 'crack', 'swipe', and 'bust.' Vocal harmony is interpreted as an embodied
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In 1963, a Sweet Adeline chapter in Ottawa, Ontario was threatened with expulsion after accepting a black woman, Lana Clowes, as a member. As a result, Ottawa's Capital Chordettes left SAI to become the seventh chapter to join Harmony, Incorporated.
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Barbershop music is promoted through the use of competition for quartets and choruses run by not-for-profit organizations. Barbershop organizations often provide judging, education, coaching and promotion services for local choruses and quartets.
509:, "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
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their arrangements. Today's barbershop quartets and choruses sing a variety of music from all eras—show tunes, pop, and even rock music has been arranged for choruses and quartets, making them more attractive to younger singers.
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to prevent the distracting introduction of equal-tempered intonation, and because listening to anything but the other three voices interferes with a performer's ability to tune with the precision required.
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Unlike a quartet, a chorus need not have equal numbers singing each voice part. According to BHS, the ideal balance in a chorus is about 40% bass, 30% lead, 20% baritone and 10% tenor singers.
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overtones." However, "In practice, it seems that most leads rely on an approximation of an equal-tempered scale for the melody, to which the other voices adjust vertically in just intonation."
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The Origins of Barbershop Harmony: A Study of Barbershop's Musical Link to Other African-American Musics as Evidenced Through Recordings and Arrangements of Early Black and White Quartets
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was common in the late nineteenth century. A 1910 song called "Play That Barber Shop Chord" (often cited as an early example of "barbershop" in reference to music) contains the lines:
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For the majority of its history, the society had all-male membership. It was all-white until 1963 when it allowed black members, and since 2018, it allows women to join as members.
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related to several musical features popular around 1900, including quartet singing and the use of the barbershop chord, but effectively created during the 1940s in the ranks of the
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The Origins of Barbershop Harmony: A Study of Barbershop's Links to Other African American Musics as Evidenced through Recordings and Arrangements of Early Black and White Quartets
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While the modern era of barbershop music is accepted to have begun with a 1940s revival, opinions as to the genre's origins vary with respect to race, gender, region, and context.
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2172:. Perspectives on Males and Singing (= Landscapes: the Arts, Aesthetics, and Education, vol. 10), ed. Scott D. Harrison/Graham F. Welch/Adam Adler. Dordrecht: Springer, 201–214.
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An Historical Perspective of International Champion Quartets of the Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America, 1939–1963
249:, while making frequent use of other resolutions." Slower barbershop songs, especially ballads, often eschew a continuous beat, and notes are often held (or sped up)
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writer traced the development of this singing as a home-grown amusement, arising from the exclusion of Black people from theaters and concert halls. Jazz musician
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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
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288:. Barbershop singing is performed both by men's and women's groups; the elements of the barbershop style and the names of the voice parts are the same for both.
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completes the chord, usually below the lead. The melody is not usually sung by the tenor or baritone, except for an infrequent note or two to avoid awkward
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An Historical View of Barbershop Music and the Sight-Reading Methodology and Learning Practices of Early Championship Barbershop Quartet Singers, 1939–1963
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adopted the style, and in the early days of the recording industry their performances were recorded and sold. Early standards included songs such as "
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stress chords and chord progressions that favor "ringing", at the expense of suspended and diminished chords and other harmonic vocabulary of the
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The physics and psychophysics of the effect are fairly well understood; it occurs when the upper harmonics in the individual voice notes, and the
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which have strongly reinforcing overtones (fifths and octaves, for example) that fall in the audible range; and when the chord is sung in perfect
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In 2013, Harmony, Inc. announced the creation of the Affiliate membership category, extending membership to men involved with the organization.
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language of addiction, "there's this great big chord that gets people hooked." An early manual was entitled "A Handbook for Adeline Addicts".
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Brooks, Tim (2005): Lost Sounds. Blacks and the Birth of the Recording Industry, 1890–1919. Urbana-Champaign/IL: University of Illinois Press
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purpose shall be to preserve and perpetuate the historic tradition and American cultural institution of the all-male barbershop quartet
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The Barbershop Harmony Society announced on May 28, 2015, that the "Polecat" program would be expanded to include the following songs:
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one or more singers missing, as long as all four parts are covered. Like a normal quartet, a VLQ usually performs without a director.
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tuned and balanced. It is not heard in chords sounded on modern keyboard instruments, due to the slight tuning imperfection of the
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Averill, Gage (2003): Four Parts, No Waiting. A Social History of American Barbershop Harmony. New York: Oxford University Press.
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260:, the voice parts in barbershop singing do not correspond closely to their classical music counterparts; the tenor range and
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From „the Chord Was King“ to „a Dynamic Journey“. Changes in the Barbershop Quartet Style in Contetsts since the 1950s.
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618:. The genre gradually faded into obscurity in the 1920s, although barbershop-style harmonies remained in evidence in
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Abbott, Lynn (1992). "'Play That Barber Shop Chord': A Case for the African-American Origin of Barbershop Harmony".
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604:. Modern barbershop quartets often costume themselves in gaudy versions of the vaudeville dress of this time, with
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The Oxford Handbook of Public Music Theory, ed. J. Daniel Jenkins, Oxford University Press, New York/Oxford 2021,
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Most elements of the "revivalist" style are related to the desire to produce these ringing chords. Performance is
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From Harmonic Style to Genre. The Early History (1890s–1940s) of the Uniquely American Musical Term Barbershop
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Heritage of Harmony: Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America
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1799:"Barbershop Singing in San Antonio Fights The Music's Racist Past, Embraces Its African American Creators"
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2165:. Popular History Now and Then, ed. Barbara Korte and Sylvia Paletschek. Bielefeld: transcript, 169–183.
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Barbershop music was very popular between 1900 and 1919, and some of the most popular quartets were the
1444:"SPEBSQSA (Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America)"
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864:"Polecats"—12 songs which all Barbershop Harmony Society members are encouraged to learn as a shared
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2195:. The Drama of Social Life: A Dramaturgical Handbook, ed. Charles Edgley. Farnham: Ashgate, 229–244.
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The Sounds of Liberty: Nostalgia, Masculinity, and Whiteness in Philadelphia Barbershop, 1900–2003
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Garnett, Liz (2005): The British Barbershopper: A Study in Socio-musical Values. London: Ashgate.
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men, gathering informally to "crack up a chord". This was acknowledged as early as 1882, when a
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Creating Popular Music History: The Barbershop Harmony Revival in the United States around 1940
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2087:(PhD diss., UMI Microform 9972671, Washington University in St. Louis). Ann Arbor: ProQuest.
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Historical memoirs and journalism indicate a strong tradition of quartet singing among young
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https://www.barbershop.org/files/documents/contestandjudging/CJBook-03%20Contest%20Rules.pdf
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of classical repertoire, with some singers possessing a tessitura more similar to that of a
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That Old Barbershop Sound: Die Entstehung einer Tradition amerikanischer A-cappella-Musik
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Play That Barber Shop Chord: A Case for the African-American Origin of Barbershop Harmony
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Historically Informed Jazz Pedagogy: New Orleans Counterpoint and Barbershop Harmony.
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2126:(PhD diss., UMI Microform 3152085, University of Pennsylvania). Ann Arbor: ProQuest.
2094:(PhD diss., UMI Microform 9962373, The Ohio State University). Ann Arbor: ProQuest.
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Barbershop Quartets on 78rpms: How Quartet Harmonizing Became Known as Barbershop
589:". Johnson noted in the 1920s how the genre had already crossed racial barriers.
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A harmonic seventh chord, or "barbershop" chord, as it might be tuned on a piano
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165:, as codified during the barbershop revival era (1930s–present), is a style of
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897:"My Wild Irish Rose" (words and music by Chauncey Olcott, arr. Floyd Connett)
757:, Barbershop Harmony Australia (BHA), Barbershop Harmony New Zealand (BHNZ),
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Barrie-Orillia, Ontario; and the Harborettes from Scituate, Massachusetts.
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from Sweet Adelines in 1959. A minor organization began in 2014 called the
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Creating Jazz Counterpoint: New Orleans, Barbershop Harmony, and the Blues
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1710:"After 80 Years, The Barbershop Harmony Society Will Allow Women To Join"
201:
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Bell Tones and Ringing Chords. Sense and Sensation in Barbershop Harmony
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939:" (by Andrew B. Sterling and Harry Von Tilzer, arr Warren "Buzz" Haeger)
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singers. Similar organizations exist in other continents and countries.
2108:
Four Parts, No Waiting. A Social History of American Barbershop Harmony
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Four Parts, No Waiting: A Social History of American Barbershop Harmony
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331: in this section. Unsourced material may be challenged and removed.
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2131:
Lost Sounds. Blacks and the Birth of the Recording Industry, 1890–1919
1205:"Society Contest & Judging Committee publishes revisions for 2018"
2149:. Journal for the Society of American Music 1, no. 3 (2007), 453–483.
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repertoire—all famous, traditional examples of the barbershop genre:
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whilst creating a system of singing contests and its contest rules.
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Ringing the Chord. Sentimentality and Nostalgia among Male Singers
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522:. Barbershoppers never lose sight (or sound) of its physicality."
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The same chord with just intonation, as tuned by singers to "ring"
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147:
126:
2071:
The Barbershop Singer: Inside the Social World of a Musical Hobby
1768:"Sweet Adelines, A Society Of Women In Harmony, Hits A Milestone"
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texture. Each of the four parts has its own role: generally, the
482:
2216:
Creating the Jazz Solo: Louis Armstrong and Barbershop Harmony.
2119:. International Journal of Research in Choral Singing 4, 53–59.
1386:"The African-American Roots of Barbershop (and why it matters)"
975:"From The First Hello To The Last Goodbye" (words & music:
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1772:
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English "barber's music" was described in the 17th century by
300:
2193:
Puttin' on Your Face: Staged Emotions among Barbershop Singer
1470:"History of the Barbershop Quartet, A Time-Honored Tradition"
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Examples of other songs popular in the barbershop genre are:
887:"Honey/Little 'Lize-Medley" (Traditional, arr. Floyd Connett)
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Other researchers argue that today's barbershop music is an
361:
230:, a group of four singers with one on each vocal part, or a
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The defining characteristic of the barbershop style is the
2225:
Jazz Education in Research and Practice 1, no. 1, 155–166.
2138:
The British Barbershopper: A Study in Socio-musical Values
2179:. Journal of Contemporary Ethnography 51, no. 5, 581–606.
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The Sounds of Gender: Textualizing Barbershop Performance
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percentage of the chords present) to sound "barbershop".
2211:. Jackson, Mississippi: University Press of Mississippi.
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1790:
965:"(When It's) Darkness On The Delta" (Levinson, Neiburg,
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I feel your fingers slipping and a grasping at my heart,
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in tessitura, and the lead generally corresponds to the
2237:
Music Theory, Race, and the Barbershop Harmony Society.
894:" (words by Beth Slater Whitson, music by Leo Friedman)
884:" (by Al Stedman & Fred Hughes, arr. Floyd Connett)
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Jackson, Mississippi: University Press of Mississippi.
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incorporated a barbershop quartet into his 1911 opera
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Muir, Lewis (music); Tracy, William (lyrics) (1910).
2133:. Urbana-Champaign/IL: University of Illinois Press.
2025:
Committee, Society Contest and Judging (June 2020).
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List of Barbershop Harmony Society quartet champions
782:
List of Barbershop Harmony Society quartet champions
224:
Barbershop music is generally performed by either a
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List of Barbershop Harmony Society chorus champions
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Wedding Bells Are Breaking Up That Old Gang of Mine
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List of Barbershop Harmony Society chorus champions
753:organizations while some are mixed. They include;
608:and vertically striped vests. Composer and pianist
102:
39:
34:
2275:Listen to Barbershop music at the Internet Archive
2185:Plantation Song: Delius, Barbershop, and the Blues
1998:"Intro to Barbershop: More ways to start singing!"
1895:"Canadian Adelines asked to form own 'open' group"
1870:"'Sweet Adelines' rebel at ruling barring Negroes"
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238:with the notable exception of the genre of music.
1921:"Harmony, Inc. welcomes men as affiliate members"
1448:The Encyclopedia of Oklahoma History and Culture
1412:
1410:
1267:. Oxford University Press. p. 164 and 166.
2146:White Masculinity in Barbershop Quartet Singing
1743:. Sweet Adelines International. Archived from
1147:Documentary Film (2009) about Barbershop music
942:"You Tell Me Your Dream (I'll Tell You Mine)"
916:Sweet Adeline (You're The Flower Of My Heart)
8:
2254:Present at the Creation: Barbershop Quartets
2034:. Barbershop Harmony Society. Archived from
1685:. Barbershop Harmony Society. Archived from
1341:(3). University of Illinois Press: 289–325.
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497:'Cause Mister when you start that minor part
200:sings the lowest harmonizing notes, and the
1632:"Barbershop Quartets To Trim Tunes at Show"
932:" (Oscar F. Jones and Martin S. Peake 1915)
2100:The Historical Roots of Barbershop Harmony
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1737:"History of Sweet Adelines International"
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755:British Association of Barbershop Singers
347:Learn how and when to remove this message
2028:Contest and Judging Handbook (June 2020)
1683:"Who is the Barbershop Harmony Society?"
1294:. New York: J. Fred Helf. Archived from
1138:Sweet Adelines International competition
811:in the exacting barbershop music genre.
792:Sweet Adelines International competition
2073:. Toronto: University of Toronto Press.
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373:Equally tempered harmonic seventh chord
2103:. The Harmonizer (July/August), 13–17.
2080:. The World of Music 41, no. 1, 37–51.
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1307:
1305:
1133:List of BABS quartet champions by year
559:"grew up singing barbershop harmony".
417:
264:are similar to those of the classical
1574:"Inaugural Convention in San Antonio"
1066:"Last Night Was the End of the World"
184:for every melody note in a primarily
7:
2204:. American Music 32, no. 2, 123–171.
2188:. American Music 31, no. 3, 314–339.
2110:. New York: Oxford University Press.
2066:. American Music 10, no. 3, 289–325.
1552:Mixed Barbershop Harmony Association
661:Mixed Harmony Barbershop Association
501:Oh Lord play that Barber shop chord!
460:of the waveforms of the four voices
329:adding citations to reliable sources
566:as amateur instrumental music. The
2158:. Stuttgart: Franz Steiner Verlag.
1708:Flanagan, Andrew (June 20, 2018).
1006:"Lida Rose / Will I Ever Tell You"
686:Sweet Adelines International (SAI)
418:Problems playing these files? See
25:
2280:The Origins of Barbershop Harmony
2232:American Music 38, no. 1, 78–101.
1630:Triplett, Gene (March 10, 1985).
1172:BinG! - Barbershop in Germany e.V
1001:I've Been Working on the Railroad
925:" (by Norm Starks, arr. Mac Huff)
196:harmonizes above the melody, the
2059:. Friendship/WI: New Past Press.
1061:Jeanie with the Light Brown Hair
937:Wait 'Til the Sun Shines, Nellie
668:Barbershop Harmony Society (BHS)
399:
377:
305:
1168:"Judging Categories & Jury"
316:needs additional citations for
1868:Cote, Starr (March 12, 1963).
1657:"Keeping The World In Harmony"
1608:. December 30, 2021. p. 4
996:"I Don't Know Why (I Just Do)"
786:List of BABS quartet champions
442:sum and difference frequencies
1:
2191:Nash, Jeffrey Eugene (2013):
2175:Nash, Jeffrey Eugene (2012):
1845:"History book – Harmony, Inc"
1450:. Oklahoma Historical Society
1071:Love Me and the World Is Mine
984:Goodbye, My Coney Island Baby
551:street corners as a boy, and
547:told of having harmonized on
268:, the baritone resembles the
2113:Ayling, Benjamin C. (2004):
2090:Ayling, Benjamin C. (2000):
2069:Stebbins, Robert A. (1996):
1971:Barbershop Harmony Society.
1572:Bagby, Jim (March 4, 2019).
1418:"Barbershop quartet singing"
1232:"Barbershop Quartet Singing"
731:Sweet Adelines International
729:In 1957, several members of
708:Sweet Adelines International
692:Sweet Adelines International
234:, which closely resembles a
2228:Hopkins, Robert G. (2020):
1901:. Gary Nott. March 21, 1963
1766:NPR Staff (July 11, 2015).
1291:Play That Barber Shop Chord
1054:In the Good Old Summer Time
875:Down by the Old Mill Stream
748:International organizations
505:Averill notes the hints of
395:Just harmonic seventh chord
216:, or when some appropriate
2341:
2097:Henry, James Earl (2001):
2083:Henry, James Earl (2000):
2002:Barbershop Harmony Society
1977:Barbershop Harmony Society
1505:Henry, James Earl (2000).
1209:Barbershop Harmony Society
930:Sweet, Sweet Roses of Morn
892:Let Me Call You Sweetheart
858:Barbershop Harmony Society
822:
789:
779:
773:
722:
719:Harmony, Incorporated (HI)
689:
674:Barbershop Harmony Society
671:
639:Barbershop Harmony Society
243:Barbershop Harmony Society
112:Music of the United States
1935:"Associations world wide"
1826:Oxford University Press,
1239:. Oxford University Press
706:the highest ever scoring
107:
44:
2310:American styles of music
1509:. Washington University.
1442:Everett, Dianna (2009).
1033:Alexander's Ragtime Band
853:Typical barbershop songs
624:traditional black gospel
2285:Barbershop Wiki Project
2268:April 18, 2010, at the
2198:Döhl, Frédéric (2014):
2161:Döhl, Frédéric (2012):
2152:Döhl, Frédéric (2009):
1824:Four Parts: No Waiting,
1494:. Primarily A Cappella.
1422:Encyclopædia Britannica
1106:Yes Sir, That's My Baby
569:Encyclopædia Britannica
475:Barbershop arrangements
2305:African-American music
2235:Boyd, Clifton (2021):
2168:Mook, Richard (2012):
2143:Mook, Richard (2007):
2122:Mook, Richard (2004):
2106:Averill, Gage (2003):
2076:Averill, Gage (1999):
1822:Averill, Gage (2003),
1263:Averill, Gage (2003).
1078:Shine On, Harvest Moon
959:"Bright Was The Night"
711:
579:Shine On, Harvest Moon
503:
366:
192:sings the melody, the
156:
145:
2136:Garnett, Liz (2005):
2062:Abbott, Lynn (1992):
1939:World Harmony Council
1747:on September 13, 2017
1298:on December 14, 2012.
905:The Story of the Rose
759:Barbershop in Germany
725:Harmony, Incorporated
699:
495:
365:
151:
130:
27:Type of vocal harmony
2221:Hobson, Vic (2020):
2214:Hobson, Vic (2018):
2207:Hobson, Vic (2014):
2182:Hobson, Vic (2013):
2129:Brooks, Tim (2005):
1857:on October 10, 2016.
1797:Lopetegui, Enrique.
862:Barberpole Cat Songs
664:barbershop quartet.
557:James Weldon Johnson
555:executive secretary
325:improve this article
2053:Hicks, Val (1988):
1803:San Antonio Current
1689:on January 14, 2014
1237:Oxford Music Online
1085:Sweet Georgia Brown
804:of four people who
710:barbershop chorus.
176:, characterized by
172:, or unaccompanied
2140:. London: Ashgate.
1899:The Ottawa Citizen
1874:The Ottawa Citizen
1663:. October 18, 1999
1599:"By-Laws: Purpose"
972:"Drivin' Me Crazy"
877:" (by Tell Taylor)
798:barbershop quartet
776:Barbershop quartet
765:Performance groups
712:
635:invented tradition
526:Historical origins
367:
227:barbershop quartet
157:
146:
135:barbershop quartet
2325:Retro-style music
2320:Four-part harmony
2041:on August 2, 2021
1973:"About Our Music"
1741:sweetadelines.com
954:After You've Gone
909:Heart of My Heart
405:
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1099:What'll I Do
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1019:Harold Arlen
1015:E.Y. Harburg
1013:" (words by
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103:Other topics
84:South Africa
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1693:January 13,
1667:January 13,
1641:January 13,
1454:February 5,
1427:February 5,
1399:February 7,
615:Treemonisha
549:New Orleans
511:goose flesh
434:just tuning
270:Heldentenor
174:vocal music
94:Netherlands
64:New Zealand
59:Scandinavia
2315:A cappella
2294:Categories
1548:"About Us"
1243:January 9,
1152:References
835:a cappella
823:See also:
809:a cappella
790:See also:
780:See also:
620:a cappella
600:, and the
470:a cappella
420:media help
251:ad libitum
180:four-part
167:a cappella
160:Barbershop
139:Disneyland
1606:SPPBSQSUS
1578:SPPBSQSUS
1363:191390367
962:"Caroline
622:forms of
520:musicking
458:synchrony
262:tessitura
178:consonant
69:Australia
2266:Archived
1661:CBS News
1612:March 5,
1583:March 5,
1492:"Take 6"
1476:July 23,
1118:See also
819:Choruses
802:ensemble
770:Quartets
585:", and "
202:baritone
2045:May 18,
2007:May 23,
1982:May 23,
1944:May 23,
1808:May 23,
1779:May 23,
1721:May 23,
1557:May 23,
1395:: 10–15
1355:3051597
1214:May 18,
1177:May 18,
866:canonic
606:boaters
507:rapture
485:forms.
479:ragtime
449:scale.
429:ringing
74:Germany
2241:online
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1636:NewsOK
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833:sings
831:chorus
800:is an
596:, the
182:chords
89:France
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2256:from
2039:(PDF)
2032:(PDF)
1855:(PDF)
1848:(PDF)
1602:(PDF)
1389:(PDF)
1359:S2CID
1351:JSTOR
967:Symes
553:NAACP
282:tenor
278:tenor
236:choir
214:codas
208:, in
194:tenor
137:, at
2047:2021
2009:2021
1984:2021
1958:url=
1946:2021
1907:2016
1881:2016
1828:ISBN
1810:2021
1781:2021
1753:2009
1723:2021
1695:2014
1669:2014
1643:2014
1614:2022
1585:2022
1559:2021
1478:2012
1456:2018
1429:2018
1401:2018
1269:ISBN
1245:2017
1216:2021
1179:2021
907:" ("
806:sing
784:and
626:and
581:", "
483:jazz
481:and
258:bass
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190:lead
2258:NPR
1773:NPR
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