when you can hold a chord for a billion years
ฝัง
- เผยแพร่เมื่อ 28 ก.ย. 2024
- Old School performing Bob Brock's arrangement of "Last Night Was The End Of The World" at the Nashville 2008 Barbershop Harmony Society International Convention. Original video: • Old School - Last Nigh...
Edit: The F3 in the bass in m26 (the first measure), should be an F2, an octave lower. Sorry!
Yes the rhythm is all off. This is because I did the transcription based on the rhythm of the original arrangement just because they take so many liberties with time in this performance (hence "extremely slow and rubato").
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transcriptions: • Transcriptions
I've listened to them lock on the chord at 0:42 no less than 10 times. That's one of the cleanest I've maybe ever heard.
Legend says they are still holding it....
I so wish Rick had stayed with the quartet. Thanks so much for his sound with these three over Kipp.
Rick Taylor on Tenor, Ladies and Gents. One of the best in the biz
So early they haven't stopped holding the chord
I sang that tag with Rick at last year's internationals, what a guy
Rick Taylor is golden in this; one of my favorite Old School performances.
i love minor four chords
Meow
I recognize old schools sound anywhere!
Hold my chord...
Just found out you are a Sinfonian! All Hail!!!
Pi Chi Spr 22!
Holy Molly
My favorite version of this tag for sure. They take it slow in all the right places
Love that old school Old School!
The octave overtone at the end was screeeeeaming😭 the resolve wasssss worth it completely
I've never understood the barbershop application of the term "overtone". All resonant singing voices produce overtones.
It’s the same it’s just when locking in perfect tuning and vowels can make specific overtones pop out a lot more than others😊
@@P-Funk_ interesting. I can’t say that I hear extra pitches that aren’t being sung, but I certainly enjoy a well tuned chord, sung by robust voices.
A great way to hear them the first time is hear someone use overtone singing because it pulls mostly overtone pitches out. But another way is to find a pitch you can sing with your rich voice but not pushed and change vowels slowly until you hear small notes from the overtone series, and improve your vowels from there
@@P-Funk_ I've played around with overtone singing before, and can hear the differing pitches in that series. I've never heard the same phenomenon in a barbershop or choral chord, though. Would you say it's a phenomenon which audio recordings capture well? I've listened to plenty of barbershop recordings, and never seem to hear the "extra pitch" pop out as some others declaim.