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=== The Pink Panther Theme (Henri Mancini) ===
=== The Pink Panther Theme (Henri Mancini) ===
Source: https://www.youtube.com/watch?v=th1WRzHfooI
Source: https://www.youtube.com/watch?v=th1WRzHfooI
The 59¢ steps really bring this melody to life!


Chords
Chords
<tt>
<tt>
  E^m  /  /  /  |  /  /  /  /   (intro)
intro E^m  /  /  /  |  /  /  /  /  
E^m  /  /  /  |  /  /  /  /  
        E^m  /  /  /  |  /  /  /  /  
   
   
E^m  /  /  /  |  /  /  /  /
        E^m  /  /  /  |  /  /  /  /
^Cv7  /  /  /  |  /  /  /  /  
        ^Cv7  /  /  /  |  /  /  /  /  
E^m  /  /  /  |  /  /  /  /  
        E^m  /  /  /  |  /  /  /  /  
^Fv7  /  /  /  |  /  /  /  /  
        ^Fv7  /  /  /  |  /  /  /  /  
   
   
E^m  /  /  /  |  /  /  /  /  
        E^m  /  /  /  |  /  /  /  /  
^Cv7  /  /  /  |  /  /  /  /  
        ^Cv7  /  /  /  |  /  /  /  /  
  E^m  .  .  .  |  ^Cv7 .  Bv7 .   (break)
break E^m  .  .  .  |  ^Cv7 .  Bv7 .  
E^m  /  /  /  |  ^Cv7 /  /  /  
        E^m  /  /  /  |  ^Cv7 /  /  /  
E^m  /  /  /  |  /  .  .  E^mvM7,9
        E^m  /  /  /  |  /  .  E^mvM7,9
</tt>
</tt>


Lead into the chords with a fretwise bass melody:  
Lead into the chords with a fretwise bass melody:  
<tt>
<tt>
  ^D vD# ^D# | E...    D vvD Db | ^C...  ^D vD# ^D# | E...  ^D# E ^^E | ^F...
  ^D vD# ^D# | E...    D vvD Db | ^C...  ^D vD# ^D# | E...  ^D# E ^^E | ^F...
  </tt>
</tt>
 
But leading into the E^m just before the break, walk up with the entire chord: ^D^m vD#^m ^D#^m E^m
<tt>
  and  xx2113
four  xx3224
and  xx4335
one  xx5446
</tt>


But leading into the E^m just before the break, walk up with the entire chord:
The final chord can be simplified to 18 17 17 17 x x or even x x 31 31 31 x.
<tt>
x x 2 1 1 3
x x 3 2 2 4
x x 4 3 3 5
x x 5 4 4 6
</tt>


Melody
Melody, E' means high E:
<tt>
<tt>
  ^M7 | P1              vm3 ^m3
  ^D# | E        .    vG ^G        .    ^D# |
  ^M7 | P1  vm3 ^m3    vm6 P5    P1 vm3
    | E    vG ^G    vC B      E ^G    vvB |
~5  | b5--------------------P4 ^m3 P1 ^m7
    | Bb----------------------A ^G  E ^D  E---|
  P1 |                  
    | .        .        .        .    ^D# |
    | E        .    vG ^G        .    ^D# |
^M7 | P1              vm3 ^m3
    | E    vG ^G    vC B    ^G  B    vvE |
  ^M7 | P1  vm3 ^m3    vm6 P5    vm3 P5
    | Eb--------------------------------------|
^M7 | vM7--------------------------
     | ---------------------        .    ^D# |
     |                  
    | E        .    vG ^G        .    ^D# |
    | E    vG ^G    vC B      E ^G    vvB |
^M7 | P1              vm3 ^m3
    | Bb----------------------A ^G  E ^D  E---|
  ^M7 | P1  vm3 ^m3    vm6 P5    P1 vm3
    | .        .        .        .        |
~5  | b5---------------------P4 ^m3 P1 ^m7
     | .        E'   ^D  B      A ^G    E   |
  P1 |                  
     |^^A A    ^^A A    ^^A A     ^^A A       |
 
     | ^G  E ^D  E      E----        .        |
     |           P8   ^m7 P5    P4 ^m3
     | ^G  E ^D  E      E----        .        |
   P1 | ~4 P4    ~4 P4      ~4 P4    ~4 P4   
    | ^G E ^D  E      E----------------------|
     | ^m3  P1 ^m7     P1       P1 
    | ---------------------        .        |
     | ^m3  P1 ^m7    P1      P1 
</tt>
     | ^m3  P1 ^m7    P1      P1 
  </tt>


Bass line, E' means high E, ^F' means high ^F, etc.
<tt>
  E chord:  |  E'    E    ^G    B ^D | -    -    -    -  |
^C chord:  | ^C    ^G    Bb  ^D  E'| -    -    -    -  |
  E chord:  |  E'    E    ^G    B ^D | -    -    -    -  |
^F chord:  | ^F'    Eb  ^C    A ^F | -    -    -    -  |
  E chord:  |  E'    E    ^G    B ^D | -    -    -    -  |
^C chord:  | ^C    ^G    Bb  ^D  E'| -    -    -    -  |
    break:  |  E    .    .    .    | ^C    .    B    .  |
            |  E    ^G  B -    -    | ^C    E' ^G'-    -  |
            |  E'    E    ^G    B ^D | -    -    -    -  |
</tt>
The bass line can optionally lead into the chords fretwise along with the rhythm guitar, especially just before the break.


== Barbershop tags ==
== Barbershop tags ==
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Barbershop generally uses mostly harmonic and stacked chords, and rarely uses subharmonic chords. But the first "time" chord is subharmonic, voiced 7/(7:6:5:4). It works here because the voicing makes all the intervals be 5-over or 7-over, and none are 5-under or 7-under. in fact, the harmonic alternative to vdv7 aka ^9noR would be ^d^7 aka v9noR, voiced 5:6:7:9. Comparing the 6 intervals in each tetrad, both have 3/2, 6/5, 7/6 and 7/5. The subharmonic chord has 5/4 and 7/4, and the harmonic chord has 9/7 and 9/5. So i<u>n this voicing</u>, the subharmonic chord is actually smoother!  
Barbershop generally uses mostly harmonic and stacked chords, and rarely uses subharmonic chords. But the first "time" chord is subharmonic, voiced 7:6:5:4. It works here because the voicing makes all the intervals be 5-over or 7-over, and none are 5-under or 7-under. in fact, the harmonic alternative to vdv7 aka ^9noR would be ^d^7 aka v9noR, voiced 5:6:7:9. Comparing the 6 intervals in each tetrad, both have 3/2, 6/5, 7/6 and 7/5. The subharmonic chord has 5/4 and 7/4, and the harmonic chord has 9/7 and 9/5. So i<u>n this voicing</u>, the subharmonic chord is actually smoother!  


What about other voicings? In a lo3 voicing, 14/(12:7:5:4) has larger ratios than 3:5:7:9, and thus is inferior to it. But in a hi3 voicing, 7/(7:5:4:3) is far superior to 5:7:9:12. The math works like this: in 5:6:7:9, to raise a note up an octave, double its number. To lower it, if it's even, halve it. If not, double all the other numbers. Then put the numbers back in ascending order. Thus the hiR voicing is 5:6:7:9 --> 10:6:7:9 --> 6:7:9:10. But in 7/(7:6:5:4), it's the opposite: lower a note by doubling it, and raise a note by halving it (or doubling the others). To find the ratios, just pair off the 4 numbers into 6 pairs and factor out common factors. The smaller the ratios, the sweeter the chord. One can use this math to choose how to tune the chord, as we are doing here, or one can use it to arrange the tag for maximum vertical consonance, which generally requires an [[Odd limit|all-odd or nearly all-odd voicing]].
What about other voicings? In a lo3 voicing, 12:7:5:4 has larger ratios than 3:5:7:9, and thus is inferior to it. But in a hi3 voicing, 7:5:4:3 is far superior to 5:7:9:12. The math works like this: in 5:6:7:9, to raise a note up an octave, double its number. To lower it, if it's even, halve it. If not, double all the other numbers. Then put the numbers back in ascending order. Thus the hiR voicing is 5:6:7:9 --> 10:6:7:9 --> 6:7:9:10. But in 7:6:5:4, it's the opposite: lower a note by doubling it, and raise a note by halving it (or doubling the others). To find the ratios, just pair off the 4 numbers into 6 pairs and factor out common factors. The smaller the ratios, the sweeter the chord. One can use this math to choose how to tune the chord, as we are doing here, or one can use it to arrange the tag for maximum vertical consonance, which generally requires an [[Odd limit|all-odd or nearly all-odd voicing]].


The subharmonic chord has an advantage not just vertically (harmonic) but also horizontally (melodic). In the previous chord, the baritone, lead and tenor make an upminor triad in root position. They hold their notes into this chord, and only the bass moves. Using the subharmonic chord lets them keep this same upminor triad, but the harmonic chord would force them into a downminor triad. The lead would have to fall by a full fret, or the bari and tenor would rise by a full fret, or the lead would fall by a half-fret with the others rising by a half-fret. The first two options would sound very jarring. The final option would spoil the simplicity of the steady post. Thus the first "time" chord <u>must</u> be subharmonic.  
The subharmonic chord has an advantage not just vertically (harmonic) but also horizontally (melodic). In the previous chord, the baritone, lead and tenor make an upminor triad in root position. They hold their notes into this chord, and only the bass moves. Using the subharmonic chord lets them keep this same upminor triad, but the harmonic chord would force them into a downminor triad. The lead would have to fall by a full fret, or the bari and tenor would rise by a full fret, or the lead would fall by a half-fret with the others rising by a half-fret. The first two options would sound very jarring. The final option would spoil the simplicity of the steady post. Thus the first "time" chord <u>must</u> be subharmonic.  


The second "time" chord is also subharmonic, but the advantage over the harmonic one is far less: 14/(14:12:10:9) vs. 5:6:7:8. Four of the ratios are the same, and 10/9 and 14/9 would become 8/7 and 8/5. Again, -over intervals would become -under, but the integer limit of both ratios would decrease. Furthermore, a wider 2nd is generally more consonant than a narrow one. And 14/9 is a little too close to 3/2 to be very consonant. The 3rd harmonic of the bass's voice is only ~60¢ away from the 2nd harmonic of the tenor's voice. All in all, the harmonic chord is more consonant, despite its -under intervals.
The second "time" chord is also subharmonic, but the advantage over the harmonic one is far less: 14:12:10:9 vs. 5:6:7:8. Four of the ratios are the same, and 10/9 and 14/9 would become 8/7 and 8/5. Again, -over intervals would become -under, but the integer limit of both ratios would decrease. Furthermore, a wider 2nd is generally more consonant than a narrow one. And 14/9 is a little too close to 3/2 to be very consonant. The 3rd harmonic of the bass's voice is only ~60¢ away from the 2nd harmonic of the tenor's voice. All in all, the harmonic chord is more consonant, despite its -under intervals.


I chose to use the subharmonic chord for melodic simplicity. It allows the baritone, lead and tenor to be rock-steady during their posts. The harmonic dissonance can be lessened by not holding the chord as long. Aaron Wolf has proposed using the more consonant harmonic chord, with vII^7 becoming ^IIv7. He has the baritone move upwards by a full fret from the previous chord, from vM6 to ^M6. However it makes a less coherent scale, as the scale degrees are no longer plain or downward, but now also upward. Thus the tag gains vertical consonance but loses horizontal consonance. Since barbershop seems to prioritize the former over the latter, barbershoppers would probably prefer this version. Changes are '''bolded'''.
I chose to use the subharmonic chord for melodic simplicity. It allows the baritone, lead and tenor to be rock-steady during their posts. The harmonic dissonance can be lessened by not holding the chord as long. Aaron Wolf has proposed using the more consonant harmonic chord, with vII^7 becoming ^IIv7. He has the baritone move upwards by a full fret from the previous chord, from vM6 to ^M6. However it makes a less coherent scale, as the scale degrees are no longer plain or downward, but now also upward. Thus the tag gains vertical consonance but loses horizontal consonance. Since barbershop seems to prioritize the former over the latter, barbershoppers might prefer his version. Changes are '''bolded'''.
{| class="wikitable"
{| class="wikitable"
! rowspan="2" |Lyrics
! rowspan="2" |Lyrics
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