Chord Analysis of 'Guilty' by the Four Freshman: A Barber Shop Quartet Version

The song "Guilty" performed by the Four Freshman is a classic in the traditional barber shop style. This form, known for its rich harmonies and unique vocal arrangements, presents a unique challenge when trying to decipher the exact chords used. In this analysis, we provide an in-depth look into the chord progressions and the subtle harmonic variations that the Four Freshman employ, making the song even more engaging and interesting.

Transcription of the First 8 Measures

The first 8 measures of "Guilty" are particularly intriguing, showcasing the complexity and depth of the Four Freshman's harmonies. While the song maintains a traditional AABA form and adheres to a basic chord progression, there are several chords and harmonies that deviate from the expected, adding an extra layer of complexity and interest.

Here are the chords for the first 8 measures:

Measure 1: Cmaj7 Measure 2: Fmaj7 Measure 3: G7 Measure 4: Cmaj7 Measure 5: A7 Measure 6: D7 Measure 7: Gmaj7 Measure 8: Cmaj7

While these chords form a relatively straightforward progression, the true complexity lies in the way these chords are voiced and the subtle substitutions that the Four Freshman use within the form.

Harmonic Variations Within the AABA Form

The AABA form of "Guilty" presents an excellent opportunity for the Four Freshman to show their mastery of barbershop harmony. Rather than repeating the same chord sequence every time they reach a section, they introduce subtle harmonic variations to keep the piece from becoming monotonous. For instance, in the bridge section, they may use a minor 7th chord followed by a dominant 7th, avoiding the predictable diminished 7th chord progression.

Example of Subtle Harmonic Changes

In the measure where a diminished 7th chord is typically expected, the Four Freshman substitute a 2-5 progression, using a Bm7-E7 instead of the standard Ab diminished. This substitution is particularly notable because:

The Bm7 chord is closely related to the E7 chord, creating a strong resolution. The G7 chord that follows the E7 provides a strong, Tonic Dominant relationship.

This changes the harmonic landscape of the song, making it more interesting for the listener. The Ab diminished 7th chord, while commonly used, can sometimes sound clichéd. In contrast, the Bm7-E7 substitution adds a fresh, unexpected element to the harmony.

Barbershop Harmony Techniques

The barbershop style is characterized by its unique approach to harmony, often including inverted chords, voice leading, and a focus on clear, resonant sound. The Four Freshman masterfully employ these techniques throughout the song, ensuring that each section not only fits within the form but also enhances the overall musical experience.

One of the key aspects of barbershop harmony is the use of close harmonies and close positions. The Four Freshman often find themselves in such close positions that the exact chord might not always be clear from the vocal arrangement alone. However, by analyzing the underlying harmony, one can understand the complexity and depth of their arrangement.

Conclusion

While "Guilty" by the Four Freshman may present a challenge in terms of chord transcriptions, it offers a wealth of musical insight into the art of vocal harmony. By understanding the subtle harmonic changes and the unique approach to traditional barbershop style, one can not only learn to perform the song but also appreciate the complexity and beauty of this form of music.

As you work on your version of the song for your class, delve into the harmonic details and the subtle changes that make this arrangement so compelling. By doing so, you'll not only improve your performance but also develop a deeper understanding of the rich tradition of barbershop harmony.