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Barbershop Harmony Guide

The document discusses the voice parts in barbershop music, including tenor, lead, baritone, and bass. It explains that while barbershop music is published using TTBB, SATB, or SSAA formats, the actual voice parts consist of tenor, lead, baritone, and bass. It provides descriptions of each voice part and the vocal qualities suited to singing each part. It also explains how SATB, SSAA, and TTBB arrangements notate the voice parts using different clefs.

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227 views1 page

Barbershop Harmony Guide

The document discusses the voice parts in barbershop music, including tenor, lead, baritone, and bass. It explains that while barbershop music is published using TTBB, SATB, or SSAA formats, the actual voice parts consist of tenor, lead, baritone, and bass. It provides descriptions of each voice part and the vocal qualities suited to singing each part. It also explains how SATB, SSAA, and TTBB arrangements notate the voice parts using different clefs.

Uploaded by

Young
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd

Barbershop Voice Parts

Barbershop publishers use the familiar voicings of TTBB, SATB or SSAA on the cover. However, once you open to
the sheet music, all three voicings are converted to TLBB: barbershop Tenor, Lead, Baritone and Bass. Because
barbershop is close harmony and a cappella, experiment with different keys to fit the voices in your group. To learn
more about suggested relative balance for each voice part, turn to the back page under Barbershop Performance Best Practices.

Tenor is the highest part, harmonizing above the Lead. Notated in the top stave, Tenor stems always point up.
Tenor singers should have a light, lyric vocal quality. Male tenors usually sing this part in falsetto.

Lead is the second highest part, singing the melody. Notated in the top stave, Lead stems always point down.
Lead singers should be prominent and have a dramatic and compelling vocal quality.

Baritone sings above and below the Lead. Notated in the bottom stave, Baritone stems always point up.
Baritone singers should have a lyric vocal quality. Because the Baritone is constantly filling in different parts of a
chord, the unusual voice leading can be very challenging, especially to the novice barbershop Baritone.

Bass is the lowest part, singing foundational notes. Notated in the bottom stave, Bass stems always point down.
The Bass part should be as prominent as the Lead, with a big, robust vocal quality.

Barbershop Voicings Vocal Range


SATB is notated with a traditional treble and bass clef,
and does not use the vocal tenor or octave bass clef
SATB found in most barbershop arrangements.

SATB is intended for medium voices. The Soprano and Alto sing in the treble clef in the roles of barbershop Tenor and
Lead. The Tenor and Bass sing in the bass clef in the roles of barbershop Baritone and Bass. SATB works well for mixed groups.

The octave bass clef is used in SSAA


arrangements, which may not be as familiar but
SSAA is the correct notation. This indicates that the
parts in the bass clef are sung an octave higher.
Note the superscript 8 at its top.

SSAA is broadly intended for higher voices. Soprano 1 & 2 sing in the treble clef in the roles of barbershop Tenor and Lead.
Alto 1 & 2 sing in the octave bass clef in the roles of barbershop Baritone and Bass. SSAA works well for women, mixed, or
unchanged male voices.

The vocal tenor clef is used in TTBB


arrangements. This indicates that the parts in
TTBB the treble clef are sung an octave lower.
Note the subscript 8 at its bottom.

TTBB is broadly intended for lower voices. Tenor 1 & 2 sing in the vocal tenor clef in the roles of barbershop Tenor and Lead.
Bass 1 & 2 sing in the bass clef in the roles of barbershop Baritone and Bass. TTBB works well for men or mixed groups.

Learn more at Barbershop.org/MusicInfo

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