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"The Lost Chord" is a song composed by Arthur Sullivan in 1877 at the bedside of his brother Fred during Fred's last illness. The manuscript is dated 13 January 1877; Fred Sullivan died five days later. The lyric was written as a poem by Adelaide Anne Procter called "A Lost Chord", published in 1860 in The English Woman's Journal. [1]
A chord consisting of the root, third, fifth, and flatted seventh degrees of the scale. It is characteristic of barbershop arrangements. When used to lead to a chord whose root is a fifth below the root of the barbershop seventh chord, it is called a dominant seventh chord. Barbershoppers sometimes refer to this as the 'meat 'n' taters chord'.
Barbershop harmony is a style of unaccompanied vocal music characterized by consonant four-part chords for every melody note in a predominantly homophonic texture. Each of the four parts has its own role: the lead sings the melody, with the tenor harmonizing above the melody, the bass singing the lowest harmonizing notes, and the baritone completing the chord.
A 1910 song called "Play That Barber Shop Chord" [6] (often cited as an early example of "barbershop" in reference to music) contains the lines: 'Cause Mister when you start that minor part I feel your fingers slipping and a grasping at my heart, Oh Lord play that Barber shop chord!
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This chord is often used on the tonic (written as I 7) and functions as a "fully resolved" final chord. [ 20 ] The twenty-first harmonic (470.78 cents) is the harmonic seventh of the dominant, and would then arise in chains of secondary dominants (known as the Ragtime progression ) in styles using harmonic sevenths, such as barbershop music.
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1926 – Americana – "That Lost Barber Shop Chord" (lyrics by Ira Gershwin) 1930 – Nine-Fifteen Revue – "Toddlin' Along" (lyrics by Ira Gershwin) 1936 – The Show Is On – "By Strauss" (lyrics by Ira Gershwin). Revived in 1937