Arrangers' Corner 

 

Diane M. Clark, Region 2 Arrangers’ Coordinator

 

             In  one of our previous Arrangers’ Corner columns we discussed the importance of the big three chords that we use in barbershop music – the major triad, the dominant 7th (a.k.a. the barbershop 7^th), and the dominant 9^th (barbershop 9^th) chords. We said that arrangements suitable for competition contain a majority of these chords, and they typically occur in strong places – downbeats, cadences, key changes, & climaxes.

           

            It is not enough, however, just to use the big three chords and their eight friends – the color chords. We also must make sure that we use the strongest voicings of these chords. And of course, the strong voicings are those that will do the best job of engaging the harmonics of the overtone series. Thus we almost always put the root of the chord in the bass part. The exception to this rule is when the lead is already singing the root as part of the given melody, so then the bass typically get to sing the 5^th of the chord.

           

            There are also rules about doubling the notes of three-note chords, like the major and minor triads. To make it easier, here’s a little chart I made to help me remember the strong voicings:

 

CHORD                                 BASS NOTE                                      DOUBLE

major triad                             root                                                     root

barbershop 7^th                       root or 5^th                                           none

barbershop 9^th                       root or 5^th                                           root or 5^th omitted

major 6^th                                root                                                     none

major 7^th                                root                                                     none

major 9^th                                root                                                     7^th omitted

minor triad                              root (or 3rd)                                       root (or 3^rd)

minor 6^th                                root                                                     none

minor 7^th                                root or 5th                                           none

augmented triad                    root                                                     root

diminished 7^th                       any note                                              none

           

           If you stick to these voicings, you will have a much stronger barbershop arrangement. And if you depart from these rules, you need to have a very good reason for doing so. As you get more experience with arranging, you will understand better when it is okay to break the rules.

           

           I am eager to hear from anyone who is interested in learning more about arranging. Please contact me at granddiva@charter.net, if you have questions or if you would like help with your arranging.