Fokke de Jong in lead. the tenor-baritone-high

Merely got forgotten. I was in a hurry to get to jbex, so neither Larry Stephenson nor Randy Graham got mentioned. Randy was also one to get a little loud in the mix at times, so those records from the Cardinals that he was on would be a good source for learning to hear the tenor line. Larry's really good, but generally needs some ear training to suss, as he's got a good ear for the blend.

To briefly touch on Ron's post, I'm not quite sure what to think of the soundman working to adjust the blend. I'm mainly of the mind that the singers should get a good idea of the mix that's coming to the house and learn to adjust the trios to sound good. If they're not blending right, they should be made to listen to tapes of the last gig to hear what they did wrong. Then again, if they're really deaf to the blend, then something oughta be done about it.

And just in case Steve S. was needing more general and elementary information, the structure of the bluegrbutt harmonies (I'm talking trios, somewhat different roolz apply to duets, where someone ought to be on the third of the chord nearly all the time) is based on similar-paralell motion, with the melody (lead) essentially dictating where the other two parts are going. If the song's in G, and the melody's on the B note, then the baritone would be on G and the tenor on D. If the next note is a C, then the tenor would, in all likelihood, go to an E, and the baritone would either head up to an A, giving the trio a minor chord sound, or stay on G for a IV chord effect, or move from one to the other.

-- Lane Gray get the .lead out before replying (sorry for munging, I can only take so many copies of automat) Yes, I'm a minion of Satan, but my duties are largely ceremonial