exactly! as a baritone in a quartet myself, definitely I relate to that lol, we just fill in the notes in the chords, the afterthought most of the time :( but it's ok, it's usually pretty fun and satisfying when it works together well
@@jasonfieler Its painful sometimes, but I won't every give up singing bari for the world. Not only does bari get (In my opinion) the most engaging parts, Bari is what creates interest in the chords often. You make everything cooler by being a baritone. Its like playing support in a hero shooter lol
Important note about the key I wrote it in: The original arrangement (the version on Instant Classic's album) is in Db major (linked below) but this version, which is live, drifted down closer to C. I decided to write it in Db anyway because it shouldn't matter for anyone who doesn't have perfect pitch, and this just makes it all easier for people to sing along in the original key of the song. Hope that makes sense :) original version: ruclips.net/video/iNyP2EcUOLk/видео.html&ab_channel=InstantClassic-Topic
Lol i noticed and was about to write something but saw this comment. I believe Db and C are different enough from each other that it could be noticed by someone without perfect pitch, but i wouldnt know.
I think most even slightly musical people could notice it sounds different from the original, you don't have to have perfect pitch, but I do understand writing it in the original key. I wonder if because they were in a theater, that the song sounded lower pitched because of the large space it filled? Just a thought
White American folk music from Copland on uses a lot of 2nd inversion tonics! I actually had issues in my first music theory class because I heard the 2nd inversion tonic as the most resolved and my German-born professor was not in agreement lol. Since I grew up in concert bands, I played a lot of American folksy stuff and got used to playing a 5th on the bottom in the tuba/trombone part. My college’s alma mater also features a 2nd inversion ending, an Eb major chord with a low Bb in the tubas and trombones.
I think for a bass with the range you could keep the baritone on the Fb the whole measure and give the Eb/Gb voice exchange to the bass an octave lower, followed by the Db.
I was “away” when we learned to play this song in my last piano class that semester. It’s also in Oregon Trail, some of the other songs I learned on the piano.
This is actually a personal favorite performance of mine, I think everything about this is perfect. But I definitely think older quartets sang ballads more beautifully lol.
The last 3 bars are absolutely stunning just some great harmonies it reminds me of "without you" by Dale Trumbore. Hal Leonard has a pretty decent recording of it on their channel, give it a listen, it's really something else. Great transcription keep up the great work. :D
As an amateur bass, without using piano, it is really difficult to be sure, with all these damn bb's, whether they sang it ok, or not. And if in the group there was some sliding downwards, all the notation is almost useless. We might as well agree, that instead of some clean low marked note, there would just be: "Lower, about ½, from what you feel is the current thing".
lmao what? it’s a double flat, they’re used for reference to the chords, deal with it. Also It’s a transcription, so what you hear is what’s written. There is some drifting but that doesn’t render the notation useless
I agree, but the original was written in Db and they started this version in that key, but it drifted down a bit so I just put it in the original so that people can see it with other recordings too, glad you liked it! :)
Those are things I debated on for a while, and in the end I just decided to go with the notation that's "technically" correct for the chords, and when reading individual parts, I've found it's not actually that much more difficult to read than if it were B and A naturals, sometimes even easier because you can see the relative motion from one note to the other a little more, so I went with that, but yeah I can understand why some people might be in favor of B and A instead in most cases
unfortunately for you, the person you're talking about isn't the lead. seems kinda weird that a "musician" would not know how to read the music to realise that the melody is actually sung by the baritone here... hmm, weird!
Uhhggg. People like you are so damn annoying. No, you aren't the only musician here, your the only pretentious musician here. So what if he sang like two notes with iffy tuning (and it really was only two-that low note and the height of the phrase-all the rest are done very well) he's literally singing hundreds of notes per song. Plus, conventional tuning isn't even a real thing in barbershop as most of the tuning is done by ear, which means he working doubly as hard as any normal musician as there is not ""correct"" pitch for him to sing to be in tune. And even if he completely fucked up the solo, why would you care? The composition would still be extremely beautiful past that section. You are literally being the stereotype everyone gives the classical music community and part of the reason why that entire catalogue of beautiful music has such a bad stigma to it.
that suspension on "away".... musical perfection
The jump in the baritone in bars 8 and 9 is the epitome of what it's like to sing baritone.
exactly! as a baritone in a quartet myself, definitely I relate to that lol, we just fill in the notes in the chords, the afterthought most of the time :( but it's ok, it's usually pretty fun and satisfying when it works together well
forgive my ignorance, but at what point in the video does that happen?
@@TheFirstDidjeridude 0:23
you forgot to mention that in the middle of the baritone feature, the lead snags the melody from him for two bars.
@@jasonfieler Its painful sometimes, but I won't every give up singing bari for the world. Not only does bari get (In my opinion) the most engaging parts, Bari is what creates interest in the chords often. You make everything cooler by being a baritone. Its like playing support in a hero shooter lol
Important note about the key I wrote it in:
The original arrangement (the version on Instant Classic's album) is in Db major (linked below) but this version, which is live, drifted down closer to C. I decided to write it in Db anyway because it shouldn't matter for anyone who doesn't have perfect pitch, and this just makes it all easier for people to sing along in the original key of the song. Hope that makes sense :)
original version: ruclips.net/video/iNyP2EcUOLk/видео.html&ab_channel=InstantClassic-Topic
I don't have perfect pitch but I noticed 😂
Same! I was singing along to the bass line thinking "This is no A flat!". Maybe even a tone down?
i heard it right away lol i flew right to the comments
Lol i noticed and was about to write something but saw this comment. I believe Db and C are different enough from each other that it could be noticed by someone without perfect pitch, but i wouldnt know.
I think most even slightly musical people could notice it sounds different from the original, you don't have to have perfect pitch, but I do understand writing it in the original key. I wonder if because they were in a theater, that the song sounded lower pitched because of the large space it filled? Just a thought
if your close you eyes you can feel the horizon
wow last chord is second inversion, sounds really interesting
White American folk music from Copland on uses a lot of 2nd inversion tonics! I actually had issues in my first music theory class because I heard the 2nd inversion tonic as the most resolved and my German-born professor was not in agreement lol. Since I grew up in concert bands, I played a lot of American folksy stuff and got used to playing a 5th on the bottom in the tuba/trombone part. My college’s alma mater also features a 2nd inversion ending, an Eb major chord with a low Bb in the tubas and trombones.
Tune it up right and balance it right, and your brain will hear the low tonic below.
@@chrisring123 Certainly the case with the studio version. Almost sounds like a fifth guy steps in.
@@Turt3752 very interesting
I think for a bass with the range you could keep the baritone on the Fb the whole measure and give the Eb/Gb voice exchange to the bass an octave lower, followed by the Db.
The undertone Db at the end is just crazy
Sing along with that grace note lol
the whole thing was amazing, like the highs and then the low of the last bar UGHH
The harmony of the first part is amazing.
I was “away” when we learned to play this song in my last piano class that semester. It’s also in Oregon Trail, some of the other songs I learned on the piano.
This is actually a personal favorite performance of mine, I think everything about this is perfect. But I definitely think older quartets sang ballads more beautifully lol.
Holy undertone batman
One of my all time favorite songs!
The last 3 bars are absolutely stunning just some great harmonies it reminds me of "without you" by Dale Trumbore. Hal Leonard has a pretty decent recording of it on their channel, give it a listen, it's really something else. Great transcription keep up the great work. :D
I like it- a lot.
I kept waiting for a Db2 in the bass 🤣
but you got the Db1 undertone at the end
@@nxyuu 😏
This is freakin' stunning! Absolute perfection!
How many times did you watch this?
Me:yes
Dude you’ve gotta transcribe the climax to Cottage for sale (NF4)!!
Yes!
Kohl is INCREDIBLE here
agreed!
Perfection
Goodness!
CHILLS!!!!
As an amateur bass, without using piano, it is really difficult to be sure, with all these damn bb's, whether they sang it ok, or not. And if in the group there was some sliding downwards, all the notation is almost useless. We might as well agree, that instead of some clean low marked note, there would just be: "Lower, about ½, from what you feel is the current thing".
lmao what? it’s a double flat, they’re used for reference to the chords, deal with it.
Also It’s a transcription, so what you hear is what’s written. There is some drifting but that doesn’t render the notation useless
Though I love this quartet they are a prime example that you don’t need to full voice everything
It’s rare to hear a barbershop shop song with a low C in it.
Congrats and thanks, Jason! But I think this piece is in C Major, not in D flat Mayor 😄
I agree, but the original was written in Db and they started this version in that key, but it drifted down a bit so I just put it in the original so that people can see it with other recordings too, glad you liked it! :)
@@jasonfieler Ok, thanks for explaining!
@Jason Fieler my favorite thing about singing barbershop. Just you and your 3 mates so the key doesn't matter as much 😅
What’s with the C-flat and the B-double flats?
Those are things I debated on for a while, and in the end I just decided to go with the notation that's "technically" correct for the chords, and when reading individual parts, I've found it's not actually that much more difficult to read than if it were B and A naturals, sometimes even easier because you can see the relative motion from one note to the other a little more, so I went with that, but yeah I can understand why some people might be in favor of B and A instead in most cases
That's jazz baybe
Slimccl?
it took me quite some time to figure out what this comment meant lol
That bass's tone is fat.
first
My quartet was far better than that in 1978!
I guess I’m the only actual musician here. The lead is out of tune already in the second bar. Kinda turned me off from watching the rest…sorry
unfortunately for you, the person you're talking about isn't the lead. seems kinda weird that a "musician" would not know how to read the music to realise that the melody is actually sung by the baritone here... hmm, weird!
Uhhggg. People like you are so damn annoying. No, you aren't the only musician here, your the only pretentious musician here. So what if he sang like two notes with iffy tuning (and it really was only two-that low note and the height of the phrase-all the rest are done very well) he's literally singing hundreds of notes per song. Plus, conventional tuning isn't even a real thing in barbershop as most of the tuning is done by ear, which means he working doubly as hard as any normal musician as there is not ""correct"" pitch for him to sing to be in tune. And even if he completely fucked up the solo, why would you care? The composition would still be extremely beautiful past that section. You are literally being the stereotype everyone gives the classical music community and part of the reason why that entire catalogue of beautiful music has such a bad stigma to it.
Who wrote the heading? You can't be serious!