HarmonySite - the easy way to manage your chorus
Search for tags

Advanced Search
Browse tags
Developing this site has cost a great deal of money, and it costs still more to keep it alive (hosting, domain names, etc). Any help you can offer in offsetting these costs is greatly appreciated.

Other Useful Information
Programmers API
If you are a programmer, and would like to develop an application for the iPhone, Android smartphone or any other platform, please visit our API page

Tag Teaching Guidelines
Updated Apr 8 2019  Darwin Scheel has compiled and made available his Barbershop Tag Teaching Guidelines

How to Multitrack
Anyone interested in creating their own multitrack recordings should check out the excellent guides we've collected on our Multitrack page.

SmartPhone Apps
Access all the tags on our site from the following smartphone (iPhone, etc) applications:
  • Tag Master - DePollSoft (iPhone/iPad, Android and Windows Phone)
  • Tagly - Peter Bryant (Android)
  • Tag You're It - Trevor Holder (Android)
  • Goodtags - Kenji Matsuoka (Android, iPhone coming soon)
With thanks to...
Matt Henderson, for designing our site's logo free of charge
Daniel Gillis from vocalharmonies.com, for providing the learning tracks for all 125 Classic Tags
Dean Martin from singersdaily.com, for making the domain name available
Favorited 1 time
Add to Favorites
Attach a Video
Add Missing Details

In Love at Twilight Time

(aka "Matching Overtones")

Rating: 3.6/5
(72 votes - mouse-over to vote now!)

Posted By: jmdougherty, Mon, 4 Sep 2017 More from this user
Key written in: E Major
How many parts: 4
Type: Barbershop
Lyrics:In love at twilight time
Comments:This tag was written as an experiment to have singers match the natural overtone series as closely as
possible, thereby making it easy to tune. The first and last chords specifically have the bass singing the
fundamental while the other voice parts sing the bass's literal overtones. Sung correctly, the top three parts
in these two chords will seem to nearly disappear as a result. In addition, the middle four chords should
conceivably produce psychoacoustic undertones.

Each chord matches the overtone series in manner indicated below. The notes in parenthesis are the
harmonics not being sung:

In: 1 (1) 5 1 3
Love: (1) 1 5 1 3
At: (1) (1) (5) 1 3 5 7
Twi: (1) (1) 5 1 3 (5) 7
Light: (1) 1 5 (1) 3 (5) 7
Time: 1 1 5 (1) 3

1 Downloadable File

Downloaded 107 times
Sheet Music: Download View/Print  


Arranger:Jay Doughertywww.ArtisticSinging.comYear: unknown
Made famous by:unknown Year: unknown