Openai/6942c39b-1f14-8002-ba0d-60ae12b1d0f4

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User: show in musical notation the difference between "Barbershop" harmonies and the advanced vocal arrangements used by the …

show (in musical notation) the difference between "Barbershop" harmonies and the advanced vocal arrangements used by the four freshman or hi-los

Assistant: Below is a side-by-side, written-notation comparison that shows how the harmony is actually constructed in classic Barb…

Below is a side-by-side, written-notation comparison that shows how the harmony is actually constructed in classic Barbershop versus advanced jazz-vocal writing as used by The Four Freshmen and later The Hi-Lo’s.

To keep this concrete and readable, I’ll use concert C major, one bar per harmony, SATB-style layout, and explain what’s happening musically under each example.

1️⃣ Barbershop Harmony (Vertical, chord-locked)

Defining traits

• Every syllable = one complete chord
• Chords stack tightly (close position)
• Strong emphasis on dominant 7ths, ringing overtones
• Voices move together rhythmically
• Melody often sits inside the chord (not always on top)

Example: C → G7 → C (classic barbershop cadence)

Treble Clef
Tenor:     G4  | F4  | G4
Lead:      E4  | D4  | E4
Baritone:  C4  | B3  | C4
Bass:      C3  | G2  | C3
             C     G7     C

What’s happening

• Every beat spells a complete chord
• The G7 is tuned purely (7th often lowered slightly for ring)
• Motion is blocky and vertical
• No extensions beyond 7ths
• No independent counter-melody

🎯 Goal: harmonic “lock and ring,” not linear interest

2️⃣ Four Freshmen Harmony (Linear, jazz-driven)

Defining traits

• Melody on top, harmony supports it
• Extensions (9, 11, 13) are normal
• Inner voices move independently
• Frequent drop-2, open voicings
• Chords implied over time, not always fully spelled

Example: Cmaj9 → A7♭9 → Dm9 → G13

Treble Clef
Tenor:     D5   | C#5 | E5  | F5
Lead:      G4   | G4  | F4  | E4
Baritone:  E4   | C#4 | D4  | B3
Bass:      C3   | A2  | D3  | G2
           Cmaj9  A7♭9  Dm9   G13

What’s happening

• Melody (Lead) is lyrical and horizontal
• Harmony unfolds through voice-leading
• Bass defines roots; upper voices define color
• Chords often lack the root or fifth
• Jazz function > overtone lock

🎯 Goal: smooth swing, harmonic sophistication

3️⃣ Hi-Lo’s Harmony (Maximum sophistication)

The Hi-Lo’s pushed this even further.

Defining traits

• Counter-melodies everywhere
• Rootless voicings common
• Frequent chromatic inner-voice motion
• Voicings often derived from big-band sax sections
• Harmony may contradict the melody rhythmically

Example: G13♭9 → Cmaj9♯11 → F13 → B7♭9

Treble Clef
Tenor:     F5  | F#5 | A5  | A#5
Lead:      B4  | E5  | G4  | F#4
Baritone:  E4  | D4  | D4  | D4
Bass:      G2  | C3  | F2  | B2
          G13♭9 Cmaj9♯11 F13 B7♭9

What’s happening

• Each voice has its own logic
• Chords are implied, not stacked
• Extensions define identity
• No concern for “ringing” overtones
• Harmony is closer to Gil Evans than barbershop

🎯 Goal: modern jazz color and motion

🔍 Summary Table

| Feature | Barbershop | Four Freshmen | Hi-Lo’s | | ------------- | -------------------- | ----------------- | ---------------------- | | Harmony style | Vertical | Linear | Contrapuntal | | Chord types | Triads, 7ths | 9ths, 13ths | Altered, ♯11 | | Voice motion | Together | Independent | Highly independent | | Tuning goal | Overtone ring | Equal temperament | Expressive tension | | Influence | Hymns, Tin Pan Alley | Jazz combos | Big band / modern jazz |

🎷 Why this matters (musically)

Barbershop is chord-centric Four Freshmen are melody-centric Hi-Lo’s are texture-centric

Same four voices — completely different musical brains.

If you want, I can:

• Rewrite a barbershop tag in Four Freshmen style
• Show a Barry Harris lens on Freshmen voicings
• Convert a jazz lead sheet into each style side-by-side

Just tell me which direction you want to go.