I LIKE SINGING THREE AND FOUR PART HARMONY WHEN SINGING GOSPEL MUSIC,BUT WHEN SINGING BARITONE, SOMETIMES I HAD TROUBLE FINDING THE CORRECT NOTE. SOMEONE ONCE TOLD ME THAT THREE PART SINGING IS NO MORE THAN PLAYING A CHORD ON A GUITAR IN WHICH FOR EXAMPLE, THERE ARE THREE NOTES TO THE CHORD,G-MAJOR WHICH ARE G,B AND C . OR NOTES FOR D-CHORD, F#,A AND D. AND WENT ON SAYING TO PRETEND WE ARE THREE NOTES IN A CHORD. AFTER ALL THESE YEARS IT WAS RIGHT THERE IN FRONT OF ME……………………DUH!
… AFTER ALL THESE YEARS IT WAS RIGHT THERE IN FRONT OF ME……………………DUH!
Indeed! And that can be said about most everything in life. Sigh
Some ToneWay books cover this chord nature of harmony in more hopefully useful detail.
Finley, it makes perfect sense. Think alto, soprano, baritone as “notes” in the treble clef & the 4th part “bass” in the bass clef of written music. Also, the resources that Carl pointed out are great.
One thing, the notes for G Major chord are G B and D, for C it would be C E and G, to make a major chord you use the base note, the 3rd in the scale and the 5th in the scale of that key.