I heard that the best baritones can't be heard in quartet - and that's not an opportunity for the basses to make some lame joke - but that we should blend so well to really create the homophonic sound. Of course - I'm just a noob and don't really know what I'm talking about, so I'd appreciate the advice as well! Personally, I look up to guys like Gary Lewis [Max Q] because of his tonal quality across his whole range, which is extensive!

Gary's OK, but if you want pure un-adulterated Baritone singing ya need to listen to Keepsake or Platinum.......Tony Derosa is by far and above the best baritone the association has ever had.......and to disagree slightly with Joe here,you can here him as clear as day and he sounds Awesome. Baritones should no longer be seen and not heard, there is now a Revolt on........as a baritone in a chorus situation, yes, you try to blend your voice in with those around you to create that unified,homophonic tone Joe was speaking of. However when singing in a quartet situation you want to be always balancing to the Lead, but tuning to the Bass. This will ultimately create that lock and ring sound that everyone should be aiming for!!!!! As for Baritone's in this country, you COULD start by listening to your section leader,whether it be at your own chorus or the Yout' one. They are generally there because they have an ear for the part and the voice to go with it!!!!!, GENERALLY!!!!!!

As there have been no replies to this, I guess you are all feverishly looking out your Keepsake and Platinum c.d's to listen to Tony!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Hope so, , wonder what they would call that??????

Ive ordered Keepsake from Harmony marketPlace al;ong with MaxQ and 4voices so am currently looking forward to hearing some quality bari singing! Mind you its been almost 2 and a half weeks so not sure when i'll actually get to hear them.

Ok - so I took your advice Timm and got to searching for some Tony DeRosa bari clips... http://206.180.232.42/clips/ram/platinumauldlang.ram It might not be the best example, but DAMN what a tag...!

Hey Joe, Ya got a little secret hiding place for anymore of those songs ya pulled out the bag. It may very quickly solve the Baritone sections issues as well as them not having to search so long for them???? :D

Sure - I'm not sure if these clips are 100% legal, they're on the sites as previews so it should be ok, just don't go compiling any CDs with this stuff... Barbershop Harmony Society Jukebox: http://www.barbershop.org/web/groups/public/documents/webassets/jukebox.hcst (Old) SPEBSQSA Jukebox: http://av.spebsqsa.org/jukebox/ Singers.com Jukebox: http://www.singers.com/juke/

I found this article on BHS website a couple of months ago and have found it really helpful, but I'll let you chaps make up your own minds: How to be a great baritone An oxymoron, perhaps... but it's worth exploring. -------------------------------------------------------------------------------- Updated: 12/12/2002 3:26:00 PM submitted by Ron Knickerbocker, The Regents, 1974 champion There are only two things one must do to be a great baritone: use proper vocal production and understand (and obey) the baritone's job description. For purposes of this discussion, let's pretend we all produce sound correctly and focus on the job. A quartet baritone or baritone section in a chorus has three basic responsibilities: Tuning chords Balancing chords Staying out of the way. (Some people, mostly basses, feel that the bari has a fourth job -- making the bass sound good -- but I won't address the impossible here.) In both tuning and balancing it is critical to know what part of the chord you are singing. For mathematical reasons, fifths should be sung a tad sharp, and minor (barbershop) sevenths need to be tuned a bit flat. Thirds should be sung sharp, because we habitually sing them way too flat). As a general rule, it is easier to tune to the bass than to the lead. A bari's balance responsibility is dictated by two things. The first is where your note is with respect to the melody. Bari notes above the melody need to be sung somewhat softer (how much softer depends on how far above the melody your note is), while notes below the melody should be sung relatively louder. Some coaches maintain that balancing isn't necessary as long as your quality matches that of the lead. I agree that a bari can sing a bit more loudly if he matches the lead well, but the melody must still be predominant. Thus, balance is no less important than it used to be thought, just a little easier to do. The second factor in balancing chords is the part of the chord you are singing. As a general rule, sing roots and fifths more loudly than other parts of the chord. Staying out of the way means the bari must do whatever he can to enhance the musical flow. Maintain vowel integrity, energize singable consonants and soften hard consonants. Most of the time it is desirable to substitute softer consonants for the hard ones, like using d instead of t. The substitutions must be subtle, however. Don't hit the listener over the head with the fact that you are using a different consonant. Most rules have exceptions, but if you adopt these general suggestions, you will be well on your way to becoming a great baritone. Now, if we could only find a bass that deserves you! RON'S 10 TIPS FOR BETTER BARIS Produce sound correctly. Balance to the lead, butâ?¦ Tune to the bass. Know what part of the chord you are singing. Sing thirds and fifths a little sharp, ANDâ?¦. Sing minor (barbershop) sevenths a bit flat. Balance to the melody. (So important he says it twice.... :D) In general, roots and fifths should be a little louder than other notes in the chord. Extend the duration of vowels Reduce the duration and percussiveness of consonants.

Thats great Joe. Thanks for being such a sport and sharing the info with the section!! :D 8)

at the end of the day my lovely bari section lol you should all be bass coz u know we rock the barbershop world hahahahahahahhahahahahahahahahahahahahahahahahahahahahahahaha lol only jokin u lot are mint keep up the good work gays x