Baritone in the context of Vocal range

A barbershop quartet is a group of four singers who sing music in the barbershop style, characterized by four-part harmony without instrumental accompaniment (a cappella). The four voices are: the lead, the vocal part which typically carries the melody; a bass, the part which provides the bass line to the melody; a tenor, the part which harmonizes above the lead; and a baritone, the part that frequently completes the chord. The baritone normally sings just below the lead singer, sometimes just above as the harmony requires. Barbershop music is typified by close harmony—the upper three voices generally remain within one octave of each other.

While the traditional barbershop quartet included only male singers, contemporary quartets can include any gender combination. All-female barbershop quartets were often called beauty shop quartets, a term that has fallen out of favor. The voice parts for women's and mixed barbershop groups use the same names as those for male groups since the roles perform similar functions in the quartet although the vocal ranges may be different.

Richard Walter Burton (/ˈbɜːrtən/; born Richard Walter Jenkins Jr.; 10 November 1925 – 5 August 1984) was a Welsh actor.

Noted for his mellifluous baritone voice, Burton established himself as a formidable Shakespearean actor in the 1950s and gave a memorable performance as Hamlet in 1964. He was called "the natural successor to Olivier" by critic Kenneth Tynan. Burton's perceived failure to live up to those expectations disappointed some critics and colleagues; his heavy drinking added to his reputation as a great performer who had wasted his talent. Nevertheless, he is widely regarded as one of the finest actors of his generation.

The euphonium (English: /juˈfoʊniːəm/ yoo-FOH-nee-əm; Italian: eufonio; Spanish: bombardino) is a tenor- and baritone-voiced valved brass instrument pitched in 9-foot (9′) B♭ an octave below the B♭ trumpet or cornet, employed chiefly in brass, military, and concert bands. The euphonium is a member of the large family of valved bugles, along with the tuba and flugelhorn, characterised by a wide conical bore. Most instruments have four valves, usually compensating piston valves, although instruments with four or five rotary valves are common in Eastern and Central Europe.

Euphonium repertoire can be notated in concert pitch in the bass clef, or in the treble clef as a transposing instrument in B♭. In British brass bands, it is typically treated as a treble-clef instrument, while in American band music, parts may be written in either treble clef or bass clef, or both. A musician who plays the euphonium is known as a euphoniumist, a euphonist, or simply a euphonium player.

Jean-Baptiste Faure (French pronunciation: [ʒɑ̃batist fɔʁ]; 15 January 1830 – 9 November 1914) was a French operatic baritone and art collector who also composed several classical songs.

Barbershop vocal harmony is a style of a cappella close harmony, or unaccompanied vocal music, characterized by consonant four-part chords for every melody note in a primarily homorhythmic texture. Each of the four parts has its own role: generally, the lead sings the melody, the tenor harmonizes above the melody, the bass sings the lowest harmonizing notes, and the baritone completes the chord, usually below the lead. The melody is not usually sung by the tenor or baritone, except for an infrequent note or two to avoid awkward voice leading, in tags or codas, or when some appropriate embellishment can be created. One characteristic feature of barbershop harmony is the use of what is known as "snakes" and "swipes". This is when a chord is altered by a change in one or more non-melodic voices. Occasional passages may be sung by fewer than four voice parts.

Barbershop music is generally performed by either a barbershop quartet, a group of four typically male singers with one on each vocal part, or a barbershop chorus, which closely resembles a choir with the notable exception of the genre of music.

The tenor is a type of male singing voice whose vocal range lies between the countertenor and baritone voice types. It is the highest male chest-voice type. Composers typically write music for the tenor in the range from the second B below middle C, to the G above middle C (i.e. B₂ to G₄) in choral music – and from the second B-flat below middle C, to the C above middle C (B♭₂ to C₅) in operatic music – but the range can extend at either end. Subtypes of the tenor include the leggero tenor, lyric tenor, spinto tenor, dramatic tenor, heldentenor and tenor buffo (also known as the spieltenor).

Vasily Vasilyevich Smyslov (Russian: Васи́лий Васи́льевич Смысло́в, romanized: Vasíliy Vasíl'yevich Smyslóv; 24 March 1921 – 27 March 2010) was a Soviet and Russian chess grandmaster who was the seventh World Chess Champion from 1957 to 1958. He was a Candidate for the World Chess Championship on eight occasions (1948, 1950, 1953, 1956, 1959, 1965, 1983, and 1985). Smyslov twice tied for first place at the USSR Chess Championships (1949, 1955), and his total of 17 Chess Olympiad medals won is an all-time record. In five European Team Championships, Smyslov won ten gold medals.

Smyslov remained active and successful in competitive chess well over the age of sixty. Despite his failing eyesight, he remained active in the occasional composition of chess problems and studies until shortly before his death in 2010. Besides chess, he was an accomplished baritone singer.

Peter, Paul and Mary was an American folk group formed in New York City in 1961 during the American folk music revival. The trio consisted of Peter Yarrow (guitar, tenor vocals), Paul Stookey (guitar, baritone vocals), and Mary Travers (contralto vocals). The group's repertoire included songs written by Yarrow, Luis Manuel and Stookey, early songs by Bob Dylan, and covers of other folk musicians.

They were very successful in the early- and mid-1960s, with their debut album topping the charts for weeks, and helped popularize the folk music revival. Following Travers's death in 2009, Yarrow and Stookey continued to perform as a duo. Yarrow died in 2025, leaving Stookey the sole surviving member of the group.

Eight Songs for a Mad King is a monodrama by Sir Peter Maxwell Davies with a libretto by Randolph Stow, based on words of George III. The work was written for the South-African actor Roy Hart and the composer's ensemble, the Pierrot Players. It was premiered on 22 April 1969.

Lasting half an hour, it is scored for a baritone with an extraordinary command of extended vocal techniques covering more than five octaves, and six players (Pierrot ensemble + percussion):

The War Requiem, Op. 66, is a choral and orchestral composition by Benjamin Britten, composed mostly in 1961 and completed in January 1962. The War Requiem was performed for the consecration of the new Coventry Cathedral, in the English county of Warwickshire, which was built after the original fourteenth-century structure was destroyed in a World War II bombing raid. The traditional Latin texts are interspersed, in telling juxtaposition, with extra-liturgical poems by Wilfred Owen, written during World War I.

Britten scored the work for soprano, tenor and baritone soloists, chorus, boys' choir, organ, and two orchestras (a full orchestra and a chamber orchestra). The chamber orchestra accompanies the intimate settings of the English poetry, while soprano, choirs and orchestra are used for the Latin sections; all forces are combined in the conclusion. The Requiem has a duration of approximately 80–85 minutes. In 2019, Britten's 1963 recording of the War Requiem was selected by the Library of Congress for preservation in the National Recording Registry for being "culturally, historically, or aesthetically significant".

José Plácido Domingo Embil (born 21 January 1941) is a Spanish opera singer, conductor, and arts administrator. He has recorded over a hundred complete operas and is well known for his versatility, regularly performing in Italian, French, German, Spanish, English and Russian in the most prestigious opera houses in the world. Although primarily a lirico-spinto tenor for most of his career, especially popular for his Cavaradossi, Hoffmann, Don José and Canio, he quickly moved into more dramatic roles, becoming the most acclaimed Otello of his generation. In the early 2010s, he transitioned from the tenor repertory into exclusively baritone parts, including Simon Boccanegra. As of 2020, he has performed 151 different roles.

Domingo has also achieved significant success as a crossover artist, especially in the genres of Latin and popular music. In addition to winning fourteen Grammy and Latin Grammy Awards, several of his records have gone silver, gold, platinum and multi-platinum. His first pop album, Perhaps Love (1981), spread his fame beyond the opera world. The title song, performed as a duet with country and folk singer John Denver, has sold almost four million copies and helped lead to numerous television appearances for the tenor. He also starred in many cinematically released and televised opera movies, particularly under the direction of Franco Zeffirelli. In 1990, he began singing with fellow tenors Luciano Pavarotti and José Carreras as part of The Three Tenors. The first Three Tenors recording became the best-selling classical album of all time.

"Ol' Man River" is a show tune from the 1927 musical Show Boat with music by Jerome Kern and lyrics by Oscar Hammerstein II, who wrote the song in 1925. The song contrasts the struggles and hardships of African Americans with the endless, uncaring flow of the Mississippi River. It is sung from the point of view of a black stevedore on a showboat, and is the most famous song from the show. The song is meant to be performed in a slow tempo; it is sung complete once in the musical's lengthy first scene by the stevedore "Joe" who travels with the boat, and, in the stage version, is heard four more times in brief reprises. Joe serves as a sort of musical one-man Greek chorus, and the song, when reprised, comments on the action, as if saying, "This has happened, but the river keeps rolling on anyway."

The song is notable for several aspects: the lyrical pentatonic-scale melody, the subjects of toil and social class, the metaphor to the Mississippi, and as a bass solo (rare in musicals, solos for baritones or tenors being more common).

The patter song is characterised by a moderately fast to very fast tempo with a rapid succession of rhythmic patterns in which each syllable of text corresponds to one note. It is a staple of comic opera, especially Gilbert and Sullivan, but it has also been used in musical theatre and elsewhere.

The lyric of a patter song generally features tongue-twisting rhyming text, with alliterative words and other consonant or vowel sounds that are intended to be entertaining to listen to at rapid speed. The musical accompaniment is lightly orchestrated and fairly simple, to emphasise the text. The song is often intended as a showpiece for a comic character, usually a bass or baritone. The singer should be capable of excellent enunciation while singing quickly to perform the song to maximum effect.

A countertenor (also contra tenor) is a type of classical male singing voice whose vocal range is equivalent to that of the female contralto or mezzo-soprano voice types, generally extending from around E₃ to D₅ or E₅, although a sopranist (a specific kind of countertenor) may match the soprano's range of around C₄ to C₆. Countertenors often have tenor or baritone chest voices, but sing in falsetto or head voice much more often than they do in their chest voice.

The nature of the countertenor voice has radically changed throughout musical history, from a modal voice, to a modal and falsetto voice, to the primarily falsetto voice that is denoted by the term today. This is partly because of changes in human physiology (increase in body height) and partly because of fluctuations in pitch.

Kullervo (sometimes referred to as the Kullervo Symphony), Op. 7, is a five-movement symphonic work for soprano, baritone, male choir, and orchestra written from 1891–1892 by the Finnish composer Jean Sibelius. Movements I, II, and IV are instrumental, whereas III and V feature sung text from Runos XXXV–VI of the Kalevala, Finland's national epic. The piece tells the story of the tragic hero Kullervo, with each movement depicting an episode from his ill-fated life: first, an introduction that establishes the psychology of the titular character; second, a haunting "lullaby with variations" that portrays his unhappy childhood; third, a dramatic dialogue between soloists and chorus in which the hero unknowingly seduces his long-lost sister; fourth, a lively scherzo in which Kullervo seeks redemption on the battlefield; and fifth, a funereal choral finale in which he returns to the spot of his incestuous crime and, guilt-ridden, takes his life by falling on his sword.

The piece premiered on 28 April 1892 in Helsinki with Sibelius conducting the Helsinki Orchestral Association and an amateur choir; the baritone Abraham Ojanperä and the mezzo-soprano Emmy Achté sang the parts of Kullervo and his sister, respectively. The premiere was a resounding success—indeed, the definitive breakthrough of Sibelius's nascent career and the moment at which orchestral music became his chosen medium. The critics praised the confidence and inventiveness of his writing and heralded Kullervo as the dawn of art music that was distinctly Finnish. Sibelius's triumph, however, was due in part to extra-musical considerations: by setting the Finnish-language Kalevala and evoking—but not directly quoting—the melody and rhythm of rune singing, he had given voice to the political struggle for Finland's independence from Imperial Russia.

Psalm 112 is the 112th psalm of the Book of Psalms, beginning in English in the King James Version: "Praise ye the LORD. Blessed is the man that feareth the LORD". In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 111. In Latin, it is known as Beatus vir qui timet Dominum. It is a psalm "in praise of the virtuous". This psalm, along with Psalm 111, is acrostic by phrase, that is, each 7-9 syllable phrase begins with a letter of the Hebrew alphabet in order.

The psalm forms a regular part of Jewish, Catholic, Lutheran, Anglican and other Protestant liturgies. Musical settings abound, as the psalm was a common part of Vespers, such as Monteverdi's 1610 Vespro della Beata Vergine and Mozart's Vesperae de Dominica and Vesperae solennes de confessore (K. 339). Górecki composed Beatus Vir as an extended work for baritone, choir and orchestra in 1979.