Documenti di Didattica
Documenti di Professioni
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3-plane
X
X
X
X
(the
Checkmark)
X
X
X
X
X
X
X
X
X
X
X
X
4-plane
X
X
X
X
X
X
X
X
By
now
were
up
to
24x19=456
possible
arrangements.
The
most
common
arrangement
quartets
start
with
is
the
Classic.
It
is
one
of
the
less
frequently
seen
arrangements
when
all
is
said
and
done.
Much
more
common
are
the
two
Staggered
(2-plane)
and
the
four
Checkmark
(3-plane)
arrangements.
5)
The
finishing
touch
is
to
play
with
the
end
guys
in
turning
in
by
varying
degrees.
One
at
a
time
have
each
end
guy
experiment
from
Straight
Ahead,
to
15o
turn,
to
30o,
to
45o,
to
60o,
and
back
until
the
sound
is
as
solid
as
it
can
be.
Amazingly
this
is
often
a
step
function
and
you
will
hear
a
big
difference
with
just
a
tiny
turn.
Repeat
with
other
end
person
until
all
agree
the
sound
is
there!
Et
Voila,
you
are
at
OSP.
This
should
be
their
REFERENCE
position
from
which
they
might
move
away
from
but
always
return
to.
The
quartet
will
now
sing
more
relaxed
and
more
in
tune,
have
a
broader
range
of
dynamics
and
vocal
texture,
exhibit
better
synchronization,
and
make
a
bigger,
fuller
sound.
This
rubric
works
in
almost
all
cases.
Why
ALMOST
all?
There
are
some
oddball
situations:
a)
Sometimes
youll
have
to
turn
interior
guys
to
get
the
OSP.
b)
Sometimes
everyone
will
have
to
turn
in
like
in
a
1-plane
arrangement,
and
all
turn
the
same
way
like
in
the
4-plane
arrangements.
c)
Even
less
frequently
the
lead
and
bass
just
cant
find
a
position
that
works
with
them
next
to
each
other,
so
the
bass
will
be
on
the
end!
In
this
case
duet
the
lead
with
the
tenor
and
baritone
and
find
out
how
THAT
trio
best
works,
then
experiment
with
the
bass
on
each
end.
d)
Even
less
frequently
the
lead
will
wind
up
on
the
outside!
If
you
follow
this
process
you
have
Guided
the
Discovery
of
an
OSP
for
a
quartet.
This
is
the
highest
order
of
teaching
as
the
students
(the
quartet
members)
will
be
much
more
likely
to
invest
faith
in
the
outcome
because
THEY
came
up
with
the
solution.
In
addition,
youve
given
them
all
something
to
FEEL
that
is
better,
so
they
will
more
likely
replace
what
they
were
doing
before
because
of
that
feeling.
(We
like
to
repeat
things
that
feel
good,
even
if
theyre
not
good
for
us.
Dont
worry!
This
IS
good
for
you!)
Dont
let
them
get
bogged
down
in
why
it
works,
have
them
experience
the
fact
that
it
DOES
work.
Guiding
them
to
that
experience
IS
AN
ART
and
is
the
most
powerful
tool
in
a
coachs
bag-of-tricks
as
it
doesnt
require
the
singers
to
remember
anything!
Therefore
they
cant
forget
it
under
pressure.
Like
any
artistic
endeavor,
you
get
better
at
it
the
more
you
do
it!
You
can
own
this
process
as
a
coach
and
make
a
world
of
difference.
IF
YOU
ARE
INTERESTED
IN
THE
SCIENCE,
READ
ON!
Humans
have
significant
directional
hearing
(not
as
good
as
dolphins,
but
they
cant
sing
in
a
barbershop
quartet!).
But
our
direction
locator
works
with
more
than
just
sounds
waves,
and
with
more
than
just
our
ears.
We
also
have
two
hemispheres
of
the
brain
that
process
information
somewhat
differently
(most
people
are
familiar
with
the
left
brain
vs.
right
brain
idea),
and
each
ear
is
connected
to
a
different
hemisphere.
Explanation
of
the
side-to-side
effect:
In
step
1
when
you
move
the
bass
and
lead
side-to-side
you
almost
always
find
one
stance
that
beats
the
other
as
youve
aligned
them
to
process
what
they
are
hearing
in
a
more
optimal
way:
whoever
was
slightly
behind
before
is
now
in
sync
because
he
is
processing
what
he
hears
through
the
more
intuitive
side
of
his
brain
(which
allows
for
faster
and
more
accurate
temporal
and
frequency
anticipation
and
adjustment).
In
step
3
when
you
move
the
tenor
or
baritone
side-to-side
you
are
doing
much
of
the
same
thing.
This
is
NOT
a
new
proximity
effect.
Empirically
it
is
easy
to
demonstrate
that
one
position
beats
the
other.
Explanation
of
the
variable
planes
effect:
In
step
2
when
you
move
the
lead
and
bass
from
STS
to
BB
to
STS
to
LB,
etc.
you
are
tapping
into
our
significant
directional
hearing
sense.
Our
detection,
subliminal
recognition,
and
response
to
the
various
frequency
ranges
produced
by
singers
are
significantly
associated
with
the
three
apparent
sources
of
head
resonation.
Most
people
recognize
these
as
1)
the
front
or
mask
source
of
higher
overtones,
2)
the
middle
or
roof
of
the
mouth
source
of
the
pingy
overtones
most
sought
after
in
the
lock
and
ring
of
barbershop
quartet
singing,
and
3)
the
back
or
holy-moly
rich,
low
overtones
of
Elvis
thanking
people
very
much.
A
quartet
singers
response
to
another
quartet
singers
voice
is
not
limited
to
the
auditory
(sense
of
hearing)
but
includes
a
large
degree
of
tactile
(sense
of
feel).
A
singers
response
to
another
is
generally
more
positive
(in
tune,
sympathetic
resonance)
if
the
dominant
form
of
resonance
of
singer
A
falls
impinges
upon
the
surface
area
of
the
head
of
singer
B
that
is
related
most
directly
to
that
form
of
resonance!
For
example,
a
quartet
with
a
3
bass
and
a
1
lead
frequently
has
difficulty
singing
in
sync
and
in
tune,
and
often
sounds
empty
or
lacks
unit
sound
due
to
the
thin
sound
of
the
lead
and
the
mellow
sound
of
the
bass.
But,
if
the
appropriate
STS
exercise
is
done
FIRST
(so
the
more
intuitive
side
of
the
brain
takes
over
the
tuning
and
sync),
then
you
put
the
bass
behind
the
lead,
it
will
usually
greatly
improve
the
quality
(used
in
the
Physics
sense)
of
the
sound.
This
is
because
the
physical
vibrations
of
the
air
produced
by
the
bass
(3
dominant)
fall
upon
the
back
of
the
head
of
the
lead,
and
the
physical
vibrations
of
the
air
produced
by
the
lead
(1
dominant)
fall
upon
the
mask
of
the
bass.
This
enhanced
response
system
invariably
produces
a
better
quality
sound,
often
characterized
by
an
apparent
growth
in
the
leads
productions
of
middle
and
low
overtones
not
usually
displayed
in
his
own
voice.
Again,
empirical
evidence
supporting
the
concept
is
readily
displayed
in
the
process.
A
beneficial
by-product
is
a
more
relaxed
singer,
which
allows
for
freer
singing
and
a
happier
singer
(and
audience).
Explanation
of
the
turn
to
tune
effect:
This
is
truly
fine
tuning
as
minute
adjustments
in
the
direction
from
which
sounds
are
heard
can
make
significant
differences
in
the
temporal
and
frequency
anticipation
and
response.
If
it
follows
the
prior
procedures
(that
grossly
establish
optimum
directionality
and
intuitive
response)
it
allows
those
two
enhanced
sensory
systems
(explained
above)
to
guide
the
singer
to
his
best
orientation.
Watch
an
end
guy
singer
who
has
NOT
gone
through
the
optimization
process
and
hell
be
constantly
turning,
subconsciously
seeking
a
better
fit
but,
alas,
he
wont
find
it.