English (UK) 
Nederlands TTBB is next; we'll turn to groups Boyz II Men and Acappella for this. In fact, a male quartet is more difficult than a mixed quartet because of the difficulty to discern the individual voicings... To make it even a little harder, the last transcription of Acappella deals with a (simple) overdub!
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Artist: | Boyz II Men |
| Album: | II (1994) | |
| Track: | 13 Yesterday |
Download the pdf file of the transcription here. For your convenience, a midi file has been added.
- Transcription: Ton Schreuders
;MCCARTNEY / LENNON
Thursday, 02 February 2012 01:00
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Thursday, 02 February 2012 01:00 9.34 KB 2,183 |
| I've written down the embellishments, as wel as the melisma at the end. I feel it is really what makes this arrangement work. |
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Artist: | Acappella |
| Album: | SWEET FELLOWSHIP (1989) | |
| Track: | 01 Sweet Fellowship |
HELP ME ON THIS ONE!
I just can't hear what lyrics the 2nd tenor has in bar 11-12.
If you do know, please mail me! ()
Furthermore I suspect that in bar 31/32 the 2nd tenor and baritone sing something like “His lide" (2nd tenor) or “in - lide" (baritone); a kind of blending “inside" and “His love". The gents seem to be slipping their tongue there and trying to correct it; on the other hand they could have altered ‘His love' because it did not sound well with ‘inside' of the 1st tenor and bass...
- Transcription: Ton Schreuders
;K. LANCASTERThursday, 02 February 2012 01:00 116.42 KB 2,166Thursday, 02 February 2012 01:00 12.71 KB 2,152 |
| I noticed that only the baritone is singing “hearts" in bar 35/36; the rest sings “heart"! That is most likely deliberate. “ts" sounds pretty sharp and is easily ‘off', especially when four people pronounce it simultaneously... It's a pity, because with some training (and clear agreements) it's really possible to pronounce it as if one person said it! Why didn't they bother? Or did they try but couldn't get it right? |
| In bar 39/40, where the same word is found, none of them pronounce the s. Blatantly, I left it out as well... By the way, you can find ‘Sweet Fellowship' here as well: https://acappella.org/store/sheet-music-song-books/sweet-fellowship Did anyone buy this song? Would you mind comparing it with the transcription? |
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Artist: | Acappella |
| Album: | SWEET FELLOWSHIP (1989) | |
| Track: | 02 Criminal On The Cross |
Sometimes a recording can make you wonder... The fact that a vocalgroup can go flat on a CD, proves Acappella: from bar 27, they start going flat, especially the first tenor...
Yet they sing with a lot of expression (at the bridge).
Download the pdf and midi file of the transcription here.
- Transcription: Ton Schreuders
;TRAD / arr KEVIN SCHAFFERThursday, 02 February 2012 01:00 130.23 KB 2,240Thursday, 02 February 2012 01:00 13.2 KB 2,137 |
| Due to the inflections it is hard to provide the correct notes... The baritone overdubbed his “soul"-o's too, which makes it impossible to write down both parts without leaving the fourpart character of the song. That's why I chose to combine the overdub and the original (see bars 36/37, 38/39, 40/41.) |
| Just before the modulation (bar 58) they reach a semitone downdrop. Now it is unclear if they took a new chord at the modulation... They sing now in A-flat. But it ‘hears´ like they're continuing a tone higher (so that should be in A major). I chose the latter option; in this case they are in bar 59 still a semitone too low... |
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Artist: | Acappella |
| Album: | SWEET FELLOWSHIP (1989) | |
| Track: | 03 For The Lost |
This is a very nice example of a (short) song with a simple overdub. In fact just double chorus. Easy to transcribe because the overdub joins LATER.
- Transcription: Ton Schreuders
;K. LANCASTERThursday, 02 February 2012 01:00 115.87 KB 2,107Thursday, 02 February 2012 01:00 10.8 KB 2,128 |
| It always surprises me that the original usually sounds different than the midi file. In the original for instance the 2nd tenor often sings SOFTER than the baritone does, thus masking the clashes of a against b-flat (i.e. bar 1 and 3). Yet, if you listen very closely, they do sing it that way... Other example: the midi notes ring the b-flat of the bass all throughout bar 2. This creates a clash with the baritone at the end of the bar. In reality, the bass quickly diminishes his tone and the baritone comes in forcibly (perhaps aided by technical means...). This phenomenon of ‘acceptable clashes' is found in ‘Criminal On the Cross' as well (the lead often sings b-flat against an accompanying a). |
| I had a little difficulty in placing the baritone and 2nd tenor in the overdub (bar 10); because the tune of the 2nd tenor is so easily heard, they might sing some notes TOGETHER. |
| As for the lay out: I tried hard to keep the amount of pages limited. Where the overdub has no notes, I chose not to print those staves. To save space and increase legibility, I printed the scat word “doo" as “do". |