(Sing in the Barbershop Quartet). These great collections let men sing four-part a cappella harmony with a professionally recorded barbershop quartet. They include TTBB parts and the audio features full performances. Just turn on the audio, pick your part, and sing along! This volume includes: Do You Hear the People Sing? * Feliz Navidad * Give Me a Barbershop Song * Good Night Ladies * Harmony Leads the Way * Honey/Little 'Lize Medley * Sound Celebration * You'll Never Walk Alone.

In 1951, the Schmitt Brothers won an international singing competition, besting the top 40 quartets in the U.S. and Canada. They blasted to fame in 18 short months and didn't stop singing for 35 years-making them the first to win on their first try and the longest performing quartet to retain its original members. But there's more to the story. The Schmitt Brothers were really brothers-from a family of 17. They were devoted husbands and fathers-with 35 children among them. They were businessmen and civic leaders-who never missed an opportunity to serve and promote their community. They traveled more than 2 million miles and performed in 3,000 programs including the Ed Sullivan, Arthur Godfrey and Lawrence Welk shows as well as Carnegie Hall, Madison Square Garden and the top stages in the country. The Schmitt Brothers were capable of perfectly blending delicate tones, thundering crescendos, cascading decrescendos and chords that-if you didn't know better-made you think there was an entire orchestra backing them up. For everyone who heard the Schmitt Brothers, the magic of their singing brought harmony and joy to all who knew them. This is their amazing story.

The author grew up in South Africa. His book describes a life style of education both in Johannesburg and then in Oxford in the mid-20th Century. A medical career in physiology, general surgery and neurosurgery led to encounters with patients, medical colleagues and tort lawyers whose personal stories, talents and idiosyncrasies colour the book. These histories are painted against the background of the trials and tribulations of the practice of medicine in South Africa in the era when Verwoerd and his successors strode the stage. Interspersed throughout are excerpts from the life stories and scientific contributions of researchers in the fields of surgical physiology, general and spinal surgery. The dramatic progress of neuroadiology and aspects of medicine and surgery across the century form a backdrop to the catalogue of life in the "Black" hospitals of Johannesburg. The problems of medical ethics of survival from womb to tomb, and the conflicts that arise from cultures and legal constraints against the practice of euthanasia, are always in play. Right to life issues contrast with a death wish of some personalities in a morbid field of medicine and add to the drama of life and death played out in the story. This volume will appeal to doctors, lawyers, patients, road crash victims, and anybody with an interest in the wide fields of medical and social history of the 20th Century.

Throughout his life, Louis Armstrong tried to explain how singing with a barbershop quartet on the streets of New Orleans was foundational to his musicianship. Until now, there has been no in-depth inquiry into what he meant when he said, “I figure singing and playing is the same,” or, “Singing was more into my blood than the trumpet.” Creating the Jazz Solo: Louis Armstrong and Barbershop Harmony shows that Armstrong understood exactly the relationship between what he sang and what he played, and that he meant these comments to be taken literally: he was singing through his horn. To describe the relationship between what Armstrong sang and played, author Vic Hobson discusses elements of music theory with a style accessible even to readers with little or no musical background. Jazz is a music that is often performed by people with limited formal musical education. Armstrong did not analyze what he played in theoretical terms. Instead, he thought about it in terms of the voices in a barbershop quartet. Understanding how Armstrong, and other pioneer jazz musicians of his generation, learned to play jazz and how he used his background of singing in a quartet to develop the jazz solo has fundamental implications for the teaching of jazz history and performance today. This assertive book provides an approachable foundation for current musicians to unlock the magic and understand jazz the Louis Armstrong way.

Investigates the role that vernacular, barbershop-style close harmony has played in American musical history, in American life, and in the American imagination. It critiques the myths that have surrounded the barbershop revival, but also celebrates the participatory spirit of the harmony.

"Harmony in Four Voices: The Barbershop Quartet Tradition" delves into the rich history and enduring legacy of barbershop harmony. From its humble beginnings to its modern resurgence, this book explores the tradition of four-part a cappella singing, celebrating the unique blend of voices and tight-knit harmonies that define this beloved musical genre. Through captivating storytelling and insightful analysis, readers are invited to discover the cultural significance and timeless appeal of barbershop quartet music. Whether you're a seasoned enthusiast or new to the world of vocal harmony, this book offers an engaging journey through the evolution and artistry of barbershop quartet singing.

Pop/Rock/R&B Vocal Solos