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Barbershop music
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Barbershop music
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A cappella vocals
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vocal harmony
The Dapper Dans barbershop quartet, at Walt Disney World's Main Street, USA
WPA poster, 1936
Barbershop vocal harmony, as codified during the barbershop revival era (1930s–present), is a style of a cappella close harmony, or 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: 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.[1] 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 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. Female barbershop quartets are sometimes referred to as Sweet Adelines quartets, in association with the organization of that name.
According to the Barbershop Harmony Society (BHS), "Barbershop music features songs with understandable lyrics and easily singable melodies, whose tones clearly define a tonal center and imply major and minor chords and barbershop (dominant and secondary dominant) seventh chords that resolve primarily around the circle of fifths, while making frequent use of other resolutions."[2] Slower barbershop songs, especially ballads, often eschew a continuous beat, and notes are often held (or sped up) ad libitum.
Except for the bass, the voice parts in barbershop singing do not correspond closely to their classical music counterparts; the tenor range and tessitura are similar to those of the classical countertenor, the baritone resembles the Heldentenor or lyric baritone in range and a tenor in tessitura, and the lead generally corresponds to the tenor of classical repertoire, with some singers possessing a tessitura more similar to that of a high baritone. Barbershop singing is performed both by men's and women's groups; the elements of the barbershop style and the names of the voice parts are the same for both.
Contents
[hide]
1 Ringing chords
2 Historical origins
3 Organizations
3.1 Barbershop Harmony Society
4 Female barbershop music
5 Notable artists
5.1 Quartets
5.2 Choruses
5.2.1 BHS
5.2.2 British Association of Barbershop Singers
5.2.3 Sweet Adelines International
5.2.4 Barbershop Harmony New Zealand
5.2.5 Sweet Adelines Australia
5.2.6 Irish Association of Barbershop Singers
5.2.7 The Ladies Association of British Barbershop Singers
6 Typical barbershop songs
7 See also
8 References
9 Further reading
10 External links
Ringing chords[edit]
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Equally tempered harmonic seventh chordA harmonic seventh chord, or "barbershop" chord, as it might be tuned on a piano
Just harmonic seventh chordThe same chord with just intonation, as tuned by singers to "ring"
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The defining characteristic of the barbershop style is the ringing chord, one in which certain overtones of the four voices reinforce each other, sometimes so strongly that the overtone is perceived by the listener as a distinct tone, even though none of the voices are perceived as singing that tone. This effect occurs when the chord, as voiced, contains intervals which have strongly reinforcing overtones (fifths and octaves, for example) that fall in the audible range; and when the chord is sung in perfect just tuning without excessive vibrato. Both of these characteristics are important in many styles of singing, but in Barbershop there is an extreme emphasis on them that tends to override other musical values. For example, favored chords in the jazz style are characterized by intervals which don't audibly ring, such as diminished or augmented fifths. For another example, Barbershop music is always a cappella, because the presence of fixed-pitch instruments (tuned to equal-temperament rather than just temperament), which is so highly prized in other choral styles, makes perfect just tuning of chords impossible.
The physics and psychophysics of the effect are fairly well understood; it occurs when the upper harmonics in the individual voice notes, and the sum and difference frequencies resulting from nonlinear combinations within the ear, reinforce each other at a particular frequency, strengthening it so that it stands out separately above the blended sound. The effect is audible only on certain kinds of chords, and only when all voices are equally rich in harmonics and justly tuned and balanced. It is not heard in chords sounded on modern keyboard instruments, due to the slight tuning imperfection of the equal-tempered scale.
Gage Averill writes that "Barbershoppers have become partisans of this acoustic phenomenon" and that "the more experienced singers of the barbershop revival (at least after 1938) have self-consciously tuned their dominant seventh and tonic chords in just intonation to maximize the overlap of common overtones." However, "In practice, it seems that most leads rely on an approximation of an equal-tempered scale for the melody, to which the other voices adjust vertically in just intonation."[3]
What is prized is not so much the "overtone" itself, but a unique sound whose achievement is most easily recognized by the presence of the "overtone". The precise synchrony of the waveforms of the four voices simultaneously creates the perception of a "fifth voice" while at the same time melding the four voices into a unified sound. The ringing chord is qualitatively different in sound from an ordinary musical chord e.g. as sounded on a tempered-scale keyboard instrument.
Most elements of the "revivalist" style are related to the desire to produce these ringing chords. Performance is a cappella to prevent the distracting introduction of equal-tempered intonation, and because listening to anything but the other three voices interferes with a performer's ability to tune with the precision required. Barbershop arrangements stress chords and chord progressions that favor "ringing", at the expense of suspended and diminished chords and other harmonic vocabulary of the ragtime and jazz forms.
The dominant seventh-type chord is so important to barbershop harmony that it is called the "barbershop seventh". BHS arrangers believe that a song should contain dominant seventh chords anywhere from 35 to 60 percent of the time (measured as a percentage of the duration of the song rather than a percentage of the chords present) to sound "barbershop".
Historically barbershoppers may have used the word "minor chord" in a way that is confusing to those with musical training. Averill suggests that it was "a shorthand for chord types other than major triads", and says that the use of the word for "dominant seventh-type chords and diminished chords" was common in the late nineteenth century. A 1910 song called "Play That Barber Shop Chord"[4] (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!
Averill notes the hints of rapture, "quasi-religion" and erotic passion in the language used by barbershoppers to describe the emotional effect. He quotes Jim Ewin as reporting "a tingling of the spine, the raising of the hairs on the back of the neck, the spontaneous arrival of goose flesh on the forearm ... the fifth note has almost mysterious propensities. It's the consummation devoutly wished by those of us who love Barbershop harmony. If you ask us to explain why we love it so, we are hard put to answer; that's where our faith takes over." Averill notes too the use of the language of addiction, "there's this great big chord that gets people hooked." An early manual was entitled "A Handbook for Adeline Addicts".[3]
He notes too that "barbershoppers almost never speak of 'singing' a chord, but almost always draw on a discourse of physical work and exertion; thus, they 'hit', 'chop', 'ring', 'crack', 'swipe', and 'bust.' Vocal harmony is interpreted as an embodied musicking. Barbershoppers never lose sight (or sound) of its physicality."[3]
Historical origins[edit]
While the modern era of barbershop music is accepted to have begun with a 1940s revival, opinions as to the genre's origins vary with respect to race, gender, region and context.[5]
Historical memoirs and journalism indicate a strong tradition of quartet singing among young African American men, gathering informally to "crack up a chord".[6] This was acknowledged as early as 1882, when a New York Age writer traced the development of singing as a home-grown amusement, arising from the exclusion of Blacks from theaters and concert halls.[6]
Barbershops have a long history of serving as community centers, where men would gather for a variety of activities. English "barber's music", for example, was described in the 17th century by Samuel Pepys as amateur instrumental music.[6] In the United States, the role of the barbershop continued, particularly for African American men, who passed time there singing spirituals, folk songs and popular songs. This generated a new style, consisting of unaccompanied, four-part, close-harmony singing. Later, white minstrel singers adopted the style, and in the early days of the recording industry their performances were recorded and sold. Early standards included songs such as "Shine On, Harvest Moon", "Hello, Ma Baby", and "Sweet Adeline".
Barbershop music was very popular between 1900 and 1919, and modern barbershop quartets often costume themselves in gaudy versions of the dress of this time, with boaters and vertically striped vests.[7] The music gradually faded into obscurity in the 1920s, although barbershop-style harmonies remained in evidence in a cappella forms of traditional black gospel and white gospel.[6][8][9]
Other researchers argue that today's barbershop music is an invented tradition related to several musical features popular around 1900, including quartet singing[10] and the use of the barbershop chord,[11][12] but effectively created during the 1940s in the ranks of the Barbershop Harmony Society whilst creating a system of singing contests and its contest rules.[12][13][14]
Organizations[edit]
Barbershop Harmony Society[edit]
Main article: Barbershop Harmony Society
The revival of a cappella singing took place around 1938 when a tax lawyer named Owen C. Cash sought to save the art form from a threat by radio.[15] He garnered support from an investment banker named Rupert I. Hall. Both came from Tulsa, Oklahoma.[16] Cash was a true partisan of quartet singing who advertised the fact that he did not want a cappella to fall by the wayside.
Cash had struck a chord, albeit unwittingly, and soon, across North America, men responded in their thousands and later in the same year the "Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America" was set up, known by the abbreviation S.P.E.B.S.Q.S.A.[17] at a time when many institutions in the United States were in the habit of using multiple initials to denote their function. The group adopted the alternate name "Barbershop Harmony Society" early in its history. While its legal name has never changed, it changed its official brand name to "Barbershop Harmony Society" in 2004.
Sharp Harmony, a Norman Rockwell painting, appeared on the cover of The Saturday Evening Post magazine issue dated September 26, 1936; it depicts a barber and three clients enjoying a cappella song. The image was adopted by SPEBSQSA in its promotion of the art.
Female barbershop music[edit]
Rönninge Show, the highest ever scoring Sweet Adelines International barbershop chorus.
Traditionally, the word "barbershop" has been used to encompass both men's and women's singing in the barbershop style – in quartets and choruses. Sweet Adelines International and Harmony, Inc. are two women's barbershop singing organizations.
Notable artists[edit]
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Quartets[edit]
Main article: Barbershop quartet
A barbershop quartet is an ensemble of four people who sing a cappella in the exacting barbershop music genre.
In North America most male barbershop quartet singers belong to the Barbershop Harmony Society,[citation needed] while most female barbershop quartet singers are in either Sweet Adelines International or Harmony, Inc.[citation needed] Similar organizations have sprung up in many other countries.
Most barbershop quartet singers also choose to sing in a chorus.[citation needed]
The Haydn Quartet, an early 1900s quartet also known as the Edison Quartet
American Quartet, recorded in the first quarter of the 20th century
The Buffalo Bills, 1950 International Quartet Champions, appeared in stage and screen productions of The Music Man, frequently appeared on Arthur Godfrey's radio show
The Suntones, 1961 International Quartet Champions, were regulars on The Jackie Gleason Show in the 1960s and introduced many contemporary songs into their performances.
The Dapper Dans of Disneyland, regularly appearing at Disneyland and Disney World, as The Be Sharps in Season 5, Episode 1 of The Simpsons, and as the Singing Busts in Disney's 2003 Haunted Mansion movie
The Singing Senators, a quartet of U.S. Senators
Nightlife, the 1996 International Champion Quartet of the S.P.E.B.S.Q.S.A. Inc. from Los Angeles
Finest Hour, the 2016 BABS Quartet Champions
Ringmasters, a Swedish quartet that became the first BHS International Champion Quartet from outside the U.S. in 2012.
Vocal Spectrum won the BHS International Championship for quartets in 2006. The group is known for its tight ringing harmonies and wide range of tones.
Choruses[edit]
A barbershop chorus sings a cappella music in the barbershop style. Most barbershop choruses belong to a larger association of practitioners such as the Barbershop Harmony Society, Sweet Adelines International or Harmony, Inc.[citation needed]
In the Barbershop Harmony Society, a chorus is the main performing aspect of each chapter. Choruses may have as few as 12 or as many as 150 members singing. Choruses normally sing with a director, as distinct from quartets. It is not uncommon for a new quartet to form within a chorus, or for an established quartet affiliated with a given chorus to lose a member (to death, retirement, or relocation) and recruit a replacement from the ranks of the chorus. Choruses can also provide "spare parts" to temporarily replace a quartet member who is ill or temporarily out of town.
Unlike a quartet, a chorus need not have equal numbers singing each voice part. The ideal balance in a chorus is about 40% bass, 30% lead, 20% baritone and 10% tenor singers.
Filling the gap between the chorus and the quartet is what is known as a VLQ or Very Large Quartet, in which more than four singers perform together, with two or more voices on some or all of the four parts. A VLQ possesses greater flexibility than a standard quartet, since they can perform even with one or more singers missing, as long as all four parts are covered. Like a normal quartet, a VLQ usually performs without a director.
BHS[edit]
The Vocal Majority, based in Dallas, TX twelve-time International Chorus Champions
The Masters of Harmony, nine-time International Chorus Champions. Based in Los Angeles County, California.
The Louisville Thoroughbreds, seven-time International Chorus Champions from Louisville, Kentucky.
The Alexandria Harmonizers, based in Alexandria, VA. four-time International Chorus Champions.
The Ambassadors of Harmony, 2004, 2009, 2012, and 2016 International Chorus Champions. Based in St. Charles, Missouri.
The Westminster Chorus, a youth barbershop chorus in California started by young members of the Masters of Harmony are International Chorus Champions of 2007, 2010 and 2015.
Chorus of the Chesapeake, two-time International Champion chorus, based in the Baltimore, Maryland area.
Southern Gateway Chorus, of Cincinnati, Ohio, has earned 22 medals (including two gold) while competing since 1963 in International contests.
The Toronto Northern Lights, 2013 International Chorus Champions, five-time International Chorus Silver Medalists. Based in Toronto, Ontario, Canada.
The Great Northern Union, based in Minneapolis/St. Paul, Minnesota, consistent top-ten finisher and nine-time International Chorus Medalists.
The Alliance, 2003 and 2004 International Chorus Medalists. Based in Columbus, Ohio.
Voices of Gotham, based in Hell's Kitchen, New York City, are the 2011 Mid-Atlantic District Champions and a top-ten finisher in the international competition in 2013, 2015, and 2017.
Brothers in Harmony, top-ten finisher in 2010 and 2013
Pacific Coast Harmony, based in La Jolla, California, small Far Western District chorus that competed internationally in 2005, 2006, and 2012.
Vocal Revolution, based in Lexington, Massachusetts, are the 2011–2015 Northeastern District Champions.[18]
British Association of Barbershop Singers[edit]
The Cottontown Chorus: Five times British champions in 2005, 2007, 2009, 2011 and 2013; four times BABS silver medalists (2001, 2002, 2004, 2015) and bronze medalist for 2003; European Barbershop Convention silver medalists for 2005 and 2009; winners of the adult section of BBC Radio 3 Choir of the Year for 2008; Irish Association of Barbershop Singers international gold medalist for 2008; winning chorus at the Manchester Amateur Choral Competition for 2008; four-time BHS International competitor, in 2006, 2010, 2014, and 2017; based in Bolton, Greater Manchester, England.
Cambridge Chord Company: twice European barbershop chorus champions (2001 & 2005) and bronze medalist (2009); four times British Association of Barbershop Singers chorus champions (1999, 2002, 2004, 2006); BABS Millennium champions (2000); five time BABS silver medalists (1994, 1997, 1998, 2009, 2010); "Choir of the World" National Eisteddfod of Wales 2004; chorus based in Cambridge, England.
The Great Western Chorus of Bristol winners of a record ten gold medals (1977, 1980, 1981, 1983, 1990, 2008, 2010, 2015, 2017), four times BABS silver medalists and five times bronze medalists. The Great Western Chorus hold more chorus competition medals than any other chorus in the association; Radio 3 "Choir of the Year" 2006 Finalists; based in Bristol, England. They won the inaugural Barnardo's Adult Male Choir Competition, have always placed within the top five nationally, and are one of two choruses to have won contests back to back due to the "Year Out" rule (wherein a chorus that wins the national contest takes a year out) not being active at the time. They competed at the International contest in 2009 and 2011
The Grand Central Chorus: Five times British Champions (1993, 1996, 2001, 2003, 2012); four times BABS silver medalists (2005, 2006, 2007, 2016); winner of the 2016 Ladies Association of British Barbershop Singers Performance Award; based in Long Eaton, Derbyshire, England.[19]
Hallmark of Harmony: Seven times British champions, formed in 1978 and based in Sheffield, South Yorkshire, England.
Shannon Express: twice champion chorus formed in 1978 and based in Potton, Bedfordshire, England.
Mantunian Way: a youth chorus from the University of Manchester; part of the Manchester University Barbershop Singers (MUBS); the association's first and so far only full youth chorus (in which all members and committee members are under 26 years of age); 2014 British Bronze Medalist Chorus; the first youth chorus to win national medalist ranking and the first chorus in the association's history to win a medal in their national contest debut (other than within the first contest in 1975).[citation needed]
Crawley Chordsmen: Four time British champions (1975, 1976, 1978, 1984), and one of two choruses to have won contests back to back due to the "Year Out" rule (wherein a chorus that wins the national contest takes a year out) not being active at the time. Defunct as of 2011 due to low membership.[citation needed]
Sweet Adelines International[edit]
Gem City Chorus, five-time Sweet Adelines International Chorus Champions from Dayton, OH.
Lace City Chorus, six-time (four times consecutively) Sweet Adelines Region 31 Gold Medal chorus from Nottingham, United Kingdom.
Melodeers Chorus, six-time Sweet Adelines International Gold Medal chorus from Northbrook, Illinois.
North Metro Chorus, four-time Sweet Adelines International Chorus Champions from Toronto, Ontario.
Pride of Kentucky Chorus, eight-time Sweet Adelines Region 4 Chorus Champions from Louisville, Kentucky.
The Rich-Tone Chorus, five-time Sweet Adelines International Chorus Champions from Richardson, Texas.
Surrey Harmony Chorus, five-time Sweet Adelines Region 31 Gold Medal chorus from, United Kingdom.
Celebrity City Chorus, five time Sweet Adelines Region 11 Chorus Champions from Las Vegas, Nevada.
Barbershop Harmony New Zealand[edit]
Musical Island Boys, Wellington, New Zealand, 3 times New Zealand champions, 3 times International Quartet Silver Medallists, 2014 International Quartet Champions
Vocal FX, Wellington, New Zealand, 6 times New Zealand Chorus champions, 2014 Pan Pacific Chorus Champions
Polytonix, Auckland, New Zealand, 2014 Pan Pacific Silver Medalists
The Mission, Wellington, New Zealand, 2015 BHNZ Quartet Champions, 2016 International Youth Quartet Bronze Medalists[20][21]
Sweet Adelines Australia[edit]
31 chartered women's barbershop choruses all around Australia, including champions:[22]
Endeavour Harmony Chorus, Sydney – NSW
Perth Harmony Chorus, Perth – WA
The Melbourne Chorus, Melbourne – VIC
Circular Keys Chorus, Sydney – NSW
Vocalescence Chorus, Gold Coast – QLD
Irish Association of Barbershop Singers[edit]
4 in a Bar, 2008, 2009, 2011, 2013, 2015 IABS national male quartet champions, from Dublin.
Autotunes, 2014 IABS national male quartet champions, 2015 IABS International quartet champions, from Dublin.
The Polyphonics, fifteen times male chorus champions, most recently 2015, from Cork.
[23]
The Ladies Association of British Barbershop Singers[edit]
Amersham A Cappella, LABBS 2016 and 2010 gold medallist chorus; 2015, 2014, 2013, 2012 silver medallist chorus from Amersham
Cheshire Chord Company, LABBS 2012 and 2014 gold medallist chorus from Warrington
Crystal Chords, LABBS 2011 Bronze medallist chorus from Greater Manchester
The White Rosettes, LABBS Chorus Champions: 2015, 2013, 2011, 2009, 2007, 2005, 2003, 2000, 1996, 1993, 1990, 1987, 1986, 1984, 1983 Leeds[24]
[25]
Typical barbershop songs[edit]
Barbershop Harmony Society's Barberpole Cat Songs "Polecats"—12 songs which all Barbershop Harmony Society members are encouraged to learn as a shared canonic repertoire—all famous, traditional examples of the barbershop genre:
"Down by the Old Mill Stream" (by Tell Taylor)
"Down Our Way" (by Al Stedman & Fred Hughes, arr. Floyd Connett)
"Honey/Little 'Lize-Medley" (Traditional, arr. Floyd Connett)
"Let Me Call You Sweetheart" (words by Beth Slater Whitson, music by Leo Friedman)
"My Wild Irish Rose" (words and music by Chauncey Olcott, arr. Floyd Connett)
"Shine on Me"
"The Story of the Rose" ("Heart of My Heart")
"Sweet Adeline (You're The Flower Of My Heart)"
"Sweet and Lovely" (by Norm Starks, arr. Mac Huff)
"Sweet, Sweet Roses of Morn" (Oscar F. Jones and Martin S. Peake 1915)
"Wait 'Til the Sun Shines, Nellie" (by Andrew B. Sterling and Harry Von Tilzer, arr Warren "Buzz" Haeger)
"You Tell Me Your Dream (I'll Tell You Mine)"
The Barbershop Harmony Society announced on May 28, 2015, that the "Polecat" program would be expanded to include the following songs:
"Bright Was The Night"
"Caroline
"(When It’s) Darkness On The Delta" (Levinson, Neiburg, Symes)
"Drivin’ Me Crazy"
"From The First Hello To The Last Goodbye" (words & music: Johnny Burke)
"Goodbye, My Coney Island Baby / We All Fall"
"Hello Mary Lou (Goodbye Heart)
"I Don’t Know Why (I Just Do)"
"I've Been Working on the Railroad"
"Lida Rose / Will I Ever Tell You"
"Over The Rainbow" (words by E.Y. Harburg and music by Harold Arlen)
Examples of other songs popular in the barbershop genre are:
"Alexander's Ragtime Band"
"Come Fly with Me"
"Hello Ma Baby"
"In the Good Old Summer Time"
"Jeanie with the Light Brown Hair"
"Last Night Was the End of the World"
"Love Me and the World Is Mine"
"Shine On Harvest Moon"
"Sweet Georgia Brown"
"Wedding Bells Are Breaking Up That Old Gang of Mine"
"What'll I Do"
"Yes Sir, That's My Baby"
While these traditional songs still play a part in barbershop today, barbershop music also includes more current titles. Most music can be arranged in the barbershop style, and there are many arrangers within the aforementioned societies with the skills to include the barbershop chord structure in their arrangements. Today's barbershop quartets and choruses sing a variety of music from all eras—show tunes, pop, and even rock music has been arranged for choruses and quartets, making them more attractive to younger singers.
See also[edit]
List of Barbershop Harmony Society quartet champions & List of Barbershop Harmony Society chorus champions
List of BABS quartet champions by year & List of LABBS quartet champions by year
Sweet Adelines International & Sweet Adelines International competition
American Harmony Documentary Film (2009) about Barbershop music
References[edit]
Jump up ^ Mook, Richard. "Barbershop Quartet Singing" . Oxford Music Online. Oxford University Press. Retrieved January 9, 2017.
Jump up ^ "Definition of the Barbershop Style, from the Contest and Judging Handbook". Barbershop Harmony Society. July 11, 2002. Archived from the original on June 7, 2007. Retrieved June 6, 2007.
^ Jump up to: a b c Averill, Gage (2003). Four Parts, No Waiting: A Social History of American Barbershop Harmony. Oxford University Press. p. 164 and 166. ISBN 0-19-511672-0.
Jump up ^ Muir, Lewis (music); Tracy, William (lyrics) (1910). Play That Barber Shop Chord. New York: J. Fred Helf.
Jump up ^ Döhl, Frédéric (2014): From Harmonic Style to Genre. The Early History (1890s–1940s) of the Uniquely American Musical Term Barbershop. American Music 32, no. 2, 123–171, here 123–124. "In recent years, new insights and greater clarity have been acquired, which include aesthetic issues relating to sound, some answers to questions of race, gender, and other social factors shaping the genre, and exploration of the ideology surrounding the so-called revival around 1940. Still, the debate about the origins of this genre seems to be widely unsettled. The current models that chart the birth of barbershop harmony are diverse and often contradictory with regard to categories such as race, gender, regional context, social environment, amateur or professional, impromptu or composed-arranged, and highbrow or lowbrow."
^ Jump up to: a b c d Abbott, Lynn (1992). "'Play That Barber Shop Chord': A Case for the African-American Origin of Barbershop Harmony". American Music. University of Illinois Press. 10 (3): 289–325. doi:10.2307/3051597.
Jump up ^ "History of the Barbershop Quartet, A Time-Honored Tradition". May 8, 2012. Retrieved July 23, 2012.
Jump up ^ "Take 6". Primarily A Cappella.
Jump up ^ Henry, James Earl (2000). The Origins of Barbershop Harmony: A Study of Barbershop's Links to Other African American Musics as Evidenced through Recordings and Arrangements of Early Black and White Quartets. Washington University.
Jump up ^ Brooks, Tim (2005): Lost Sounds. Blacks and the Birth of the Recording Industry, 1890–1919. Urbana-Champaign/IL: University of Illinois Press
Jump up ^ Abbott, Lynn (1992): Play That Barber Shop Chord: A Case for the African-American Origin of Barbershop Harmony. American Music 10, no. 3 (1992), 289–325.
^ Jump up to: a b Döhl, Frédéric (2014): From Harmonic Style to Genre. The Early History (1890s–1940s) of the Uniquely American Musical Term Barbershop. American Music 32, no. 2, 123–171.
Jump up ^ Averill, Gage (2003): Four Parts, No Waiting. A Social History of American Barbershop Harmony. New York: Oxford University Press.
Jump up ^ Garnett, Liz (2005): The British Barbershopper: A Study in Socio-musical Values. London: Ashgate.
Jump up ^ Triplett, Gene (March 10, 1985). "Barbershop Quartets To Trim Tunes at Show". NewsOK. Retrieved January 13, 2014.
Jump up ^ "Keeping The World In Harmony". CBS News. October 18, 1999. Retrieved January 13, 2014.
Jump up ^ "Who is the Barbershop Harmony Society?". Barbershop Harmony Society. Archived from the original on January 14, 2014. Retrieved January 13, 2014.
Jump up ^ "Chorus Contest Scores". Barbershop Music Database. Retrieved October 14, 2016.
Jump up ^ "Chorus Locator". British Association of Barbershop Singers. Retrieved August 8, 2016.
Jump up ^ "Official Results". Barbershop Harmony New Zealand. Retrieved March 22, 2017.
Jump up ^ "Youth Quartet Contest". The Harmonizer (published October 24, 2016). October 2016. pp. 21, 24–25. Retrieved March 22, 2017. Youth bronze medalist The Mission (New Zealand)
Jump up ^ "Past Convention Results". Sweet Adelines Australia. Retrieved October 31, 2016.
Jump up ^ "Irish Association of Barbershop Singers". Irish Association of Barbershop Singers. Retrieved October 31, 2016.
Jump up ^ Crutchley, Alison (December 11, 2015). "More blusher, less beatboxing: inside the Ladies' British Barbershop Convention". Music. The Guardian. Retrieved October 31, 2016.
Jump up ^ "LABBS Chorus Champions Table". Ladies Association of British Barbershop Singers. Retrieved October 31, 2016.
Further reading[edit]
Hicks, Val (1988): Heritage of Harmony: Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America. Friendship/WI: New Past Press.
Abbott, Lynn (1992): Play That Barber Shop Chord: A Case for the African-American Origin of Barbershop Harmony. American Music 10, no. 3, 289–325.
Stebbins, Robert A. (1996): The Barbershop Singer: Inside the Social World of a Musical Hobby. Toronto: University of Toronto Press.
Averill, Gage (1999): Bell Tones and Ringing Chords. Sense and Sensation in Barbershop Harmony. The World of Music 41, no. 1, 37–51.
Henry, James Earl (2000): The Origins of Barbershop Harmony: A Study of Barbershop’s Musical Link to Other African-American Musics as Evidenced Through Recordings and Arrangements of Early Black and White Quartets (PhD diss., UMI Microform 9972671, Washington University in St. Louis). Ann Arbor: ProQuest.
Ayling, Benjamin C. (2000): An Historical Perspective of International Champion Quartets of the Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America, 1939–1963 (PhD diss., UMI Microform 9962373, The Ohio State University). Ann Arbor: ProQuest.
Henry, James Earl (2001): The Historical Roots of Barbershop Harmony. The Harmonizer (July/August), 13–17.
Averill, Gage (2003): Four Parts, No Waiting. A Social History of American Barbershop Harmony. New York: Oxford University Press.
Ayling, Benjamin C. (2004): An Historical View of Barbershop Music and the Sight-Reading Methodology and Learning Practices of Early Championship Barbershop Quartet Singers, 1939–1963. International Journal of Research in Choral Singing 4, 53–59.
Mook, Richard (2004): The Sounds of Liberty: Nostalgia, Masculinity, and Whiteness in Philadelphia Barbershop, 1900–2003 (PhD diss., UMI Microform 3152085, University of Pennsylvania). Ann Arbor: ProQuest.
Brooks, Tim (2005): Lost Sounds. Blacks and the Birth of the Recording Industry, 1890–1919. Urbana-Champaign/IL: University of Illinois Press.
Garnett, Liz (2005): The British Barbershopper: A Study in Socio-musical Values. London: Ashgate.
Mook, Richard (2007): White Masculinity in Barbershop Quartet Singing. Journal for the Society of American Music 1, no. 3 (2007), 453–483.
Döhl, Frédéric (2009): That Old Barbershop Sound: Die Entstehung einer Tradition amerikanischer A-cappella-Musik. Stuttgart: Franz Steiner Verlag.
Döhl, Frédéric (2012): Creating Popular Music History: The Barbershop Harmony Revival in the United States around 1940. Popular History Now and Then, ed. Barbara Korte and Sylvia Paletschek. Bielefeld: transcript, 169–183.
Mook, Richard (2012): The Sounds of Gender: Textualizing Barbershop Performance. Perspectives on Males and Singing (= Landscapes: the Arts, Aesthetics, and Education, vol. 10), ed. Scott D. Harrison/Graham F. Welch/Adam Adler. Dordrecht: Springer, 201–214.
Nash, Jeffrey Eugene (2012): Ringing the Chord. Sentimentality and Nostalgia among Male Singers. Journal of Contemporary Ethnography 51, no. 5, 581–606.
Hobson, Vic (2013): Plantation Song: Delius, Barbershop, and the Blues. American Music 31, no. 3, 314–339.
Nash, Jeffrey Eugene (2013): Puttin’ on Your Face: Staged Emotions among Barbershop Singer. The Drama of Social Life: A Dramaturgical Handbook, ed. Charles Edgley. Farnham: Ashgate, 229–244.
Döhl, Frédéric (2014): From Harmonic Style to Genre. The Early History (1890s–1940s) of the Uniquely American Musical Term Barbershop. American Music 32, no. 2, 123–171.
Hobson, Vic (2014): Creating Jazz Counterpoint: New Orleans, Barbershop Harmony, and the Blues. Jackson/MI: University Press of Mississippi.
External links[edit]
Present at the Creation: Barbershop Quartets from NPR
Barbershop Quartets on 78rpms: How Quartet Harmonizing Became Known as Barbershop
List of Barbershop Groups
Website of Barbershop-o-gram (aka The Quidco Quartet)
Listen to Barbershop music at the Internet Archive
The Origins of Barbershop Harmony
Retrieved from "https://en.wikipedia.org/w/index.php?title=Barbershop_music&oldid=800439697"
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1999 Tour de France
From Wikipedia, the free encyclopedia
Jump to: navigation, search
1999 Tour de France
Route of the 1999 Tour de France
Race details
Dates
3 July 1999 (1999-07-03)–25 July 1999 (1999-07-25)
Stages
20 + Prologue
Distance
3,870 km (2,405 mi)
Winning time
91h 32' 16"
Results
Winner Lance Armstrong none[n 1]
Second Alex Zülle (SUI) (Banesto)
Third Fernando Escartín (ESP) (Kelme–Costa Blanca)
Points Erik Zabel (GER) (Team Telekom)
Mountains Richard Virenque (FRA) (Polti)
Youth Benoît Salmon (FRA) (Casino–Ag2r Prévoyance)
Combativity Jacky Durand (FRA) (Lotto–Mobistar)
Team Banesto
← 1998
2000 →
The 1999 Tour de France was a multiple stage bicycle race held from 3 to 25 July, and the 86th edition of the Tour de France. It has no overall winner—although American cyclist Lance Armstrong originally won the event, the United States Anti-Doping Agency announced in August 2012 that they had disqualified Armstrong from all his results since 1998, including his seven consecutive Tour de France wins from 1999 to 2005 (which were, originally, the most wins in the event's history); the Union Cycliste Internationale confirmed the result. There were no French stage winners for the first time since the 1926 Tour de France. Additionally, Mario Cipollini won 4 stages in a row, setting the post-World War II record for consecutive stage wins (breaking the record of three, set by Gino Bartali in 1948.)
Contents
[hide]
1 Teams
2 Route and stages
3 Race overview
3.1 Doping
3.2 Other incidents
4 Classification leadership
5 Final standings
5.1 General classification
5.2 Points classification
5.3 Mountains classification
5.4 Young rider classification
5.5 Team classification
5.6 Combativity classification
6 Notes and references
6.1 Footnotes
6.2 References
6.3 Sources
7 Further reading
8 External links
Teams[edit]
For a more comprehensive list, see List of teams and cyclists in the 1999 Tour de France.
After the doping controversies in the 1998 Tour de France, the Tour organisation banned some riders from the race, including Richard Virenque, Laurent Roux and Philippe Gaumont, manager Manolo Saiz and the entire TVM–Farm Frites team.[3] Virenque's team Polti then appealed at the UCI against this decision, and the UCI then forced the organisers of the Tour, Amaury Sport Organisation (ASO), to allow Virenque and Saiz entry in the Tour.[4] Initially, the Vini Caldirola team had been selected, but after their team leader Serhiy Honchar failed a blood test in the 1999 Tour de Suisse, the ASO removed Vini Caldirola from the starting list, and replaced them by Cantina Tollo–Alexia Alluminio, the first reserve team.[5] Each team was allowed to field nine cyclists.[3][6]
The teams entering the race were:[5][6]
Qualified teams
Mapei–Quick-Step
Rabobank
ONCE–Deutsche Bank
Team Polti
Saeco Macchine per Caffè–Cannondale
Lotto–Mobistar
Casino–Ag2r Prévoyance
Mercatone Uno–Bianchi
Kelme–Costa Blanca
Cofidis
Vitalicio Seguros
Team Telekom
Crédit Agricole
Festina–Lotus
Banesto
Cantina Tollo–Alexia Alluminio
Française des Jeux
Invited teams
U.S. Postal Service
BigMat–Auber 93
Lampre–Daikin
Route and stages[edit]
Stage characteristics and winners[6][7][8]
Stage
Date
Course
Distance
Type
Winner
P
3 July Le Puy du Fou 6.8 km (4.2 mi) Individual time trial Lance Armstrong (USA)[n 1]
1
4 July Montaigu to Challans 208.0 km (129.2 mi) Plain stage Jaan Kirsipuu (EST)
2
5 July Challans to Saint-Nazaire 176.0 km (109.4 mi) Plain stage Tom Steels (BEL)
3
6 July Nantes to Laval 194.5 km (120.9 mi) Plain stage Tom Steels (BEL)
4
7 July Laval to Blois 194.5 km (120.9 mi) Plain stage Mario Cipollini (ITA)
5
8 July Bonneval to Amiens 233.5 km (145.1 mi) Plain stage Mario Cipollini (ITA)
6
9 July Amiens to Maubeuge 171.5 km (106.6 mi) Plain stage Mario Cipollini (ITA)
7
10 July Avesnes-sur-Helpe to Thionville 227.0 km (141.1 mi) Plain stage Mario Cipollini (ITA)
8
11 July Metz 56.5 km (35.1 mi) Individual time trial Lance Armstrong (USA)[n 1]
12 July Le Grand-Bornand Rest day
9
13 July Le Grand-Bornand to Sestrières 213.5 km (132.7 mi) Stage with mountain(s) Lance Armstrong (USA)[n 1]
10
14 July Sestrières to Alpe d'Huez 220.5 km (137.0 mi) Stage with mountain(s) Giuseppe Guerini (ITA)
11
15 July Le Bourg-d'Oisans to Saint-Étienne 198.5 km (123.3 mi) Hilly stage Ludo Dierckxsens (BEL)
12
16 July Saint-Galmier to Saint-Flour 201.5 km (125.2 mi) Hilly stage David Etxebarria (ESP)
13
17 July Saint-Flour to Albi 236.5 km (147.0 mi) Hilly stage Salvatore Commesso (ITA)
14
18 July Castres to Saint-Gaudens 199.0 km (123.7 mi) Plain stage Dmitri Konychev (RUS)
19 July Saint-Gaudens Rest day
15
20 July Saint-Gaudens to Piau-Engaly 173.0 km (107.5 mi) Stage with mountain(s) Fernando Escartín (ESP)
16
21 July Lannemezan to Pau 192.0 km (119.3 mi) Stage with mountain(s) David Etxebarria (ESP)
17
22 July Mourenx to Bordeaux 200.0 km (124.3 mi) Plain stage Tom Steels (BEL)
18
23 July Jonzac to Futuroscope 187.5 km (116.5 mi) Plain stage Giampaolo Mondini (ITA)
19
24 July Futuroscope 57.0 km (35.4 mi) Individual time trial Lance Armstrong (USA)[n 1]
20
25 July Arpajon to Paris (Champs-Élysées) 143.5 km (89.2 mi) Plain stage Robbie McEwen (AUS)
Total 3,870 km (2,405 mi)[9]
Race overview[edit]
Main articles: 1999 Tour de France, Prologue to Stage 10 and 1999 Tour de France, Stage 11 to Stage 21
This section is empty. You can help by adding to it. (October 2016)
Doping[edit]
Main article: Doping at the 1999 Tour de France
See also: Lance Armstrong doping case
This tour also saw the mistreatment of Christophe Bassons by his fellow riders of the peloton (notably Armstrong) for speaking out against doping. The 1998 tour had been marred by the Festina doping scandal. Bassons later told Bicycling, "The 1999 Tour was supposed to be the "Tour of Renewal," but I was certain that doping had not disappeared."[10] He quit the tour without finishing after "cracking" mentally due to his treatment by the peloton, especially in stage 10.[11]
Subsequent to Armstrong's statement to withdraw his fight against United States Anti-Doping Agency's (USADA) charges, on 24 August 2012, the USADA said it would ban Armstrong for life and stripped him of his record seven Tour de France titles.[12][13] Later that day it was confirmed in a USADA statement that Armstrong was banned for life and would be disqualified from any and all competitive results obtained on and subsequent to 1 August 1998, including forfeiture of any medals, titles, winnings, finishes, points and prizes.[1] On 22 October 2012, the Union Cycliste Internationale endorsed the USADA sanctions, and decided not to award victories to any other rider or upgrade other placings in any of the affected events.[2]
Other incidents[edit]
The 1999 edition of Tour de France had two bizarre moments. The first was on stage 2 when a 25 rider pile-up occurred at Passage du Gois. Passage du Gois is a two-mile causeway which depending on the tide can be under water. The second bizarre incident was on stage 10, one kilometre from the summit of Alpe d'Huez. Leading Italian rider Giuseppe Guerini was confronted by a spectator holding a camera in the middle of the road. Guerini hit the spectator but recovered and went on to win the stage.
Classification leadership[edit]
There were several classifications in the 1999 Tour de France. The most important was the general classification, calculated by adding each cyclist's finishing times on each stage. The cyclist with the least accumulated time was the race leader, identified by the yellow jersey; the winner of this classification is considered the winner of the Tour.[14]
Additionally, there was a points classification, which awarded a green jersey. In the points classification, cyclists got points for finishing among the best in a stage finish, or in intermediate sprints. The cyclist with the most points led the classification, and was identified with a green jersey.[14]
There was also a mountains classification. The organisation had categorized some climbs as either hors catégorie, first, second, third, or fourth-category; points for this classification were won by the first cyclists that reached the top of these climbs first, with more points available for the higher-categorized climbs. The cyclist with the most points lead the classification, and was identified with a polkadot jersey.[14]
The fourth individual classification was the young rider classification, which was not marked by a jersey. This was decided the same way as the general classification, but only riders under 26 years were eligible.[14]
For the team classification, the times of the best three cyclists per team on each stage were added; the leading team was the team with the lowest total time. The riders in the team that led this classification wore yellow caps.[15]
For the combativity award classification, a jury gave points after each stage to the cyclists they considered most combative. The cyclist with the most votes in all stages lead the classification.
Classification leadership by stage
Stage
Winner
General classification
Points classification
Mountains classification
Young rider classification[n 2]
Team classification
Combativity award
P
Lance Armstrong[n 1] Lance Armstrong[n 1] Lance Armstrong[n 1] Mariano Piccoli Rik Verbrugghe U.S. Postal Service no award
1
Jaan Kirsipuu Jaan Kirsipuu Thierry Gouvenou
2
Tom Steels Jaan Kirsipuu Christian Vande Velde Jacky Durand
3
Tom Steels Frédéric Guesdon
4
Mario Cipollini Gianpaolo Mondini
5
Mario Cipollini Mariano Piccoli
6
Mario Cipollini François Simon
7
Mario Cipollini Lylian Lebreton
8
Lance Armstrong[n 1] Lance Armstrong[n 1] Magnus Bäckstedt no award
9
Lance Armstrong[n 1] Stuart O'Grady Richard Virenque Benoît Salmon José Luis Arrieta
10
Giuseppe Guerini ONCE Stéphane Heulot
11
Ludo Dierckxsens Festina Rik Verbrugghe
12
David Etxebarria Erik Zabel Massimiliano Lelli
13
Salvatore Commesso ONCE Roland Meier
14
Dimitri Konishev Festina Jacky Durand
15
Fernando Escartín Banesto Fernando Escartin
16
David Etxebarria Pavel Tonkov
17
Tom Steels Carlos Da Cruz
18
Gianpaolo Mondini Frédéric Bessy
19
Lance Armstrong[n 1] no award
20
Robbie McEwen Anthony Morin
Final
Lance Armstrong[n 1]
Erik Zabel
Richard Virenque
Benoît Salmon
Banesto
Jacky Durand
In stage 1, Alex Zülle wore the green jersey.
In stages 3 through 6, Tom Steels wore the green jersey.
In stage 7, Erik Zabel wore the green jersey.
In stage 8, Mario Cipollini wore the green jersey.
Final standings[edit]
Legend
Denotes the leader of the points classification[17] Denotes the leader of the mountains classification[17]
Denotes the winner of the super-combativity award[17]
General classification[edit]
Final general classification (1–10)[6]
Rank
Rider
Team
Time
1 Lance Armstrong (USA)[n 1] U.S. Postal Service 91h 32' 16"
2 Alex Zülle (SUI) Banesto + 7' 37"
3 Fernando Escartín (ESP) Kelme–Costa Blanca + 10' 26"
4 Laurent Dufaux (SUI) Saeco Macchine per Caffè–Cannondale + 14' 43"
5 Ángel Casero (ESP) Vitalicio Seguros + 15' 11"
6 Abraham Olano (ESP) ONCE–Deutsche Bank + 16' 47"
7 Daniele Nardello (ITA) Mapei–Quick-Step + 17' 02"
8 Richard Virenque (FRA) Team Polti + 17' 28"
9 Wladimir Belli (ITA) Festina–Lotus + 17' 37"
10 Andrea Peron (ITA) ONCE–Deutsche Bank + 23' 10"
[show]Final general classification (11–141)
Rank
Rider
Team
Time
11 Kurt Van De Wouwer (BEL) Lotto–Mobistar + 23' 32"
12 David Etxebarria (ESP) ONCE–Deutsche Bank + 26' 41"
13 Tyler Hamilton (USA) U.S. Postal Service + 26' 53"
14 Stéphane Heulot (FRA) Française des Jeux + 27' 58"
15 Roland Meier (SUI) Cofidis + 28' 44"
16 Benoit Salmon (FRA) Casino–Ag2r Prévoyance + 28' 59"
17 Alberto Elli (ITA) Team Telekom + 33' 39"
18 Paolo Lanfranchi (ITA) Mapei–Quick-Step + 34' 14"
19 Carlos Contreras (COL) Kelme–Costa Blanca + 34' 53"
20 Georg Totschnig (AUT) Team Telekom + 37' 10"
21 Mario Aerts (BEL) Lotto–Mobistar + 39' 21"
22 Giuseppe Guerini (ITA) Team Telekom + 39' 29"
23 Gianni Faresin (ITA) Mapei–Quick-Step + 40' 28"
24 Álvaro González de Galdeano (ESP) Vitalicio Seguros + 43' 39"
25 Marcos Antonio Serrano (ESP) ONCE–Deutsche Bank + 45' 03"
26 Francisco Tomas García (ESP) Vitalicio Seguros + 45' 31"
27 Christophe Moreau (FRA) Festina–Lotus + 45' 34"
28 Francisco Mancebo (ESP) Banesto + 50' 31"
29 Luis Perez (ESP) ONCE–Deutsche Bank + 52' 53"
30 François Simon (FRA) Crédit Agricole + 53' 21"
31 Armin Meier (SUI) Saeco Macchine per Caffè–Cannondale + 1h 00' 10"
32 Stefano Garzelli (ITA) Mercatone Uno–Bianchi + 1h 00' 45"
33 Javier Pascual Rodríguez (ESP) Kelme–Costa Blanca + 1h 01' 20"
34 Massimiliano Lelli (ITA) Cofidis + 1h 01' 27"
35 Alexander Vinokourov (KAZ) Casino–Ag2r Prévoyance + 1h 02' 23"
36 Kevin Livingston (USA) U.S. Postal Service + 1h 06' 10"
37 José Castelblanco (COL) Kelme–Costa Blanca + 1h 08' 05"
38 Salvatore Commesso (ITA) Saeco Macchine per Caffè–Cannondale + 1h 09' 15"
39 César Solaun (ESP) Banesto + 1h 10' 01"
40 Udo Bölts (GER) Team Telekom + 1h 11' 51"
41 Steve De Wolf (BEL) Cofidis + 1h 11' 54"
42 Frédérick Bessy (FRA) Casino–Ag2r Prévoyance + 1h 15' 26"
43 Miguel Angel Peña (ESP) Banesto + 1h 19' 26"
44 Laurent Madouas (FRA) Festina–Lotus + 1h 20' 42"
45 Geert Verheyen (BEL) Lotto–Mobistar + 1h 23' 24"
46 José Luis Arrieta (ESP) Banesto + 1h 24' 29"
47 Francisco Javier Cerezo (ESP) Vitalicio Seguros + 1h 26' 50"
48 Thierry Bourguignon (FRA) BigMat–Auber 93 + 1h 27' 43"
49 Manuel Fernández (ESP) Mapei–Quick-Step + 1h 30' 20"
50 Mariano Piccoli (ITA) Lampre–Daikin + 1h 31' 21"
51 Lylian Lebreton (FRA) BigMat–Auber 93 + 1h 32' 51"
52 Jean-Cyril Robin (FRA) Française des Jeux + 1h 33' 14"
53 Marco Fincato (ITA) Mercatone Uno–Bianchi + 1h 36' 57"
54 Jon Odriozola (ESP) Banesto + 1h 41' 55"
55 Marco Serpellini (ITA) Lampre–Daikin + 1h 42' 04"
56 Michael Boogerd (NED) Rabobank + 1h 42' 22"
57 Fabian Jeker (SUI) Festina–Lotus + 1h 42' 25"
58 Rafael Díaz (ESP) ONCE–Deutsche Bank + 1h 43' 36"
59 José Javier Gomez (ESP) Kelme–Costa Blanca + 1h 45' 50"
60 Jens Voigt (GER) Crédit Agricole + 1h 47' 47"
61 Santos González (ESP) ONCE–Deutsche Bank + 1h 48' 21"
62 Dmitri Konychev (RUS) Mercatone Uno–Bianchi + 1h 49' 10"
63 Peter Farazijn (BEL) Cofidis + 1h 55' 01"
64 Hernán Buenahora (COL) Vitalicio Seguros + 1h 55' 33"
65 Frankie Andreu (USA) U.S. Postal Service + 1h 59' 01"
66 Stefano Cattai (ITA) Team Polti + 1h 59' 49"
67 Christophe Oriol (FRA) Casino–Ag2r Prévoyance + 2h 01' 06"
68 José Vicente Garcia (ESP) Banesto + 2h 01' 46"
69 Fabrice Gougot (FRA) Casino–Ag2r Prévoyance + 2h 02' 05"
70 Christophe Mengin (FRA) Française des Jeux + 2h 04' 03"
71 Rik Verbrugghe (BEL) Lotto–Mobistar + 2h 04' 31"
72 Marc Lotz (NED) Rabobank + 2h 08' 08"
73 Steffen Wesemann (GER) Team Telekom + 2h 09' 22"
74 Stéphane Goubert (FRA) Team Polti + 2h 10' 58"
75 José Luis Rebollo (ESP) ONCE–Deutsche Bank + 2h 12' 57"
76 Prudencio Indurain (ESP) Vitalicio Seguros + 2h 14' 15"
77 Laurent Brochard (FRA) Festina–Lotus + 2h 14' 42"
78 George Hincapie (USA) U.S. Postal Service + 2h 16' 35"
79 Christophe Rinero (FRA) Cofidis + 2h 16' 35"
80 Jörg Jaksche (GER) Team Telekom + 2h 16' 44"
81 Giampaolo Mondini (ITA) Cantina Tollo–Alexia Alluminio + 2h 17' 34"
82 Gilles Maignan (FRA) Casino–Ag2r Prévoyance + 2h 18' 02"
83 Cédric Vasseur (FRA) Crédit Agricole + 2h 18' 23"
84 Maarten den Bakker (NED) Rabobank + 2h 19' 03"
85 Christian Vande Velde (USA) U.S. Postal Service + 2h 23' 58"
86 Javier Otxoa (ESP) Kelme–Costa Blanca + 2h 24' 14"
87 Riccardo Forconi (ITA) Mercatone Uno–Bianchi + 2h 25' 02"
88 Laurent Lefèvre (FRA) Festina–Lotus + 2h 25' 08"
89 Erik Zabel (GER) Team Telekom + 2h 26' 01"
90 Dominique Rault (FRA) BigMat–Auber 93 + 2h 27' 17"
91 Pascal Chanteur (FRA) Casino–Ag2r Prévoyance + 2h 28' 00"
92 Elio Aggiano (ITA) Vitalicio Seguros + 2h 28' 33"
93 Alexei Sivakov (RUS) BigMat–Auber 93 + 2h 29' 40"
94 Stuart O'Grady (AUS) Crédit Agricole + 2h 30' 07"
95 Massimo Giunti (ITA) Cantina Tollo–Alexia Alluminio + 2h 30' 25"
96 Thierry Gouvenou (FRA) BigMat–Auber 93 + 2h 32' 11"
97 Patrick Jonker (AUS) Rabobank + 2h 32' 20"
98 David Navas (ESP) Banesto + 2h 33' 31"
99 Fabio Sacchi (ITA) Team Polti + 2h 33' 39"
100 Laurent Desbiens (FRA) Cofidis + 2h 34' 01"
101 José Angel Vidal (ESP) Kelme–Costa Blanca + 2h 34' 22"
102 Jaime Hernández (ESP) Festina–Lotus + 2h 36' 04"
103 Davide Bramati (ITA) Mapei–Quick-Step + 2h 36' 15"
104 Tom Steels (BEL) Mapei–Quick-Step + 2h 36' 28"
105 Anthony Morin (FRA) Française des Jeux + 2h 36' 37"
106 Frédérick Guesdon (FRA) Française des Jeux + 2h 37' 27"
107 Erik Dekker (NED) Rabobank + 2h 38' 05"
108 Fabien De Waele (BEL) Lotto–Mobistar + 2h 39' 21"
109 Beat Zberg (SUI) Rabobank + 2h 39' 29"
110 Kai Hundertmarck (GER) Team Telekom + 2h 39' 32"
111 Ludovic Auger (FRA) BigMat–Auber 93 + 2h 39' 38"
112 Peter Wuyts (BEL) Lotto–Mobistar + 2h 39' 50"
113 Marco Pinotti (ITA) Lampre–Daikin + 2h 40' 00"
114 Silvio Martinello (ITA) Team Polti + 2h 43' 14"
115 Christophe Capelle (FRA) BigMat–Auber 93 + 2h 45' 17"
116 Lars Michaelsen (DEN) Française des Jeux + 2h 46' 20"
117 Claude Lamour (FRA) Cofidis + 2h 46' 26"
118 Rolf Huser (SUI) Festina–Lotus + 2h 47' 27"
119 Chris Boardman (GBR) Crédit Agricole + 2h 47' 48"
120 Mirko Crepaldi (ITA) Team Polti + 2h 49' 14"
121 Henk Vogels jr (AUS) Crédit Agricole + 2h 49' 17"
122 Robbie McEwen (AUS) Rabobank + 2h 49' 23"
123 Sébastien Hinault (FRA) Crédit Agricole + 2h 51' 03"
124 Sergio Barbero (ITA) Mercatone Uno–Bianchi + 2h 51' 09"
125 Gabriele Colombo (ITA) Cantina Tollo–Alexia Alluminio + 2h 51' 43"
126 Carlos De La Cruz (FRA) BigMat–Auber 93 + 2h 51' 48"
127 Rossano Brasi (ITA) Team Polti + 2h 52' 01"
128 Thierry Marichal (BEL) Lotto–Mobistar + 2h 54' 06"
129 Juan José De Los Angeles (ESP) Kelme–Costa Blanca + 2h 54' 40"
130 Sebastien Demarbaix (BEL) Lotto–Mobistar + 2h 58' 32"
131 Marcus Ljungqvist (SWE) Cantina Tollo–Alexia Alluminio + 3h 00' 09"
132 Anthony Langella (FRA) Crédit Agricole + 3h 02' 20"
133 Bart Leysen (BEL) Mapei–Quick-Step + 3h 03' 11"
134 Massimiliano Napolitano (ITA) Mercatone Uno–Bianchi + 3h 05' 09"
135 Pedro Horrillo (ESP) Vitalicio Seguros + 3h 05' 31"
136 Jan Schaffrath (GER) Team Telekom + 3h 05' 41"
137 Luca Mazzanti (ITA) Cantina Tollo–Alexia Alluminio + 3h 06' 28"
138 Alessandro Baronti (ITA) Cantina Tollo–Alexia Alluminio + 3h 07' 07"
139 Thierry Loder (FRA) Cofidis + 3h 11' 55"
140 Pascal Deramé (FRA) U.S. Postal Service + 3h 14' 19"
141 Jacky Durand (FRA) Lotto–Mobistar + 3h 19' 09"
Points classification[edit]
Final points classification (1–10)[6][18]
Rank
Rider
Team
Points
1 Erik Zabel (GER) Team Telekom 327
2 Stuart O'Grady (AUS) Crédit Agricole 275
3 Christophe Capelle (FRA) BigMat–Auber 93 196
4 Tom Steels (BEL) Mapei–Quick-Step 188
5 François Simon (FRA) Crédit Agricole 186
6 George Hincapie (USA) U.S. Postal Service 166
7 Robbie McEwen (AUS) Rabobank 166
8 Giampaolo Mondini (ITA) Cantina Tollo–Alexia Alluminio 141
9 Christophe Moreau (FRA) Festina–Lotus 140
10 Silvio Martinello (ITA) Team Polti 130
Mountains classification[edit]
Final mountains classification (1–10)[6][18]
Rank
Rider
Team
Points
1 Richard Virenque (FRA) Team Polti 279
2 Alberto Elli (ITA) Team Telekom 226
3 Mariano Piccoli (ITA) Lampre–Daikin 205
4 Fernando Escartín (ESP) Kelme–Costa Blanca 194
5 Lance Armstrong (USA)[n 1] U.S. Postal Service 193
6 Alex Zülle (SUI) Banesto 152
7 José Luis Arrieta (ESP) Banesto 141
8 Laurent Dufaux (SUI) Saeco Macchine per Caffè–Cannondale 141
9 Andrea Peron (ITA) ONCE–Deutsche Bank 138
10 Kurt Van De Wouwer (BEL) Lotto–Mobistar 117
Young rider classification[edit]
Final young rider classification (1–10)[6][18]
Rank
Rider
Team
Time
1 Benoit Salmon (FRA) Casino–Ag2r Prévoyance 92h 01' 15"
2 Mario Aerts (BEL) Lotto–Mobistar + 10' 22"
3 Francisco Tomas García (ESP) Vitalicio Seguros + 16' 32"
4 Francisco Mancebo (ESP) Banesto + 21' 32"
5 Luis Perez (ESP) ONCE–Deutsche Bank + 23' 54"
6 Salvatore Commesso (ITA) Saeco Macchine per Caffè–Cannondale + 40' 16"
7 Steve De Wolf (BEL) Cofidis + 42' 55"
8 José Javier Gomez (ESP) Kelme–Costa Blanca + 1h 16' 51"
9 Rik Verbrugghe (BEL) Lotto–Mobistar + 1h 35' 32"
10 Jorg Jaksche (GER) Team Telekom + 1h 47' 45"
Team classification[edit]
Final team classification (1–10)[6][18]
Rank
Team
Time
1 Banesto 275h 05' 21"
2 ONCE–Deutsche Bank + 8' 16"
3 Festina–Lotus + 16' 13"
4 Kelme–Costa Blanca + 23' 48"
5 Mapei–Quick-Step + 24' 13"
6 Team Telekom + 41' 00"
7 Vitalicio Seguros + 42' 44"
8 U.S. Postal Service + 57' 13"
9 Cofidis + 58' 02"
10 Lotto–Mobistar + 1h 09' 02"
Combativity classification[edit]
Final combativity classification (1–10)[18]
Rank
Rider
Team
Points
1 Jacky Durand (FRA) Lotto–Mobistar 61
2 Stéphane Heulot (FRA) Française des Jeux 55
3 Thierry Gouvenou (FRA) BigMat–Auber 93 51
4 Anthony Morin (FRA) Française des Jeux 46
5 François Simon (FRA) Crédit Agricole 42
6 Fernando Escartin (ESP) Kelme–Costa Blanca 40
7 Lylian Lebreton (FRA) BigMat–Auber 93 40
8 Frédéric Guesdon (FRA) Française des Jeux 40
9 Alberto Elli (ITA) Team Telekom 39
10 Mariano Piccoli (ITA) Lampre–Daikin 36
Notes and references[edit]
Footnotes[edit]
^ Jump up to: a b c d e f g h i j k l m n o On 24 August 2012, the United States Anti-Doping Agency announced that they had disqualified Armstrong from all his results since 1998, including his victory in the 1999 Tour de France.[1] The Union Cycliste Internationale, responsible for the international cycling, confirmed this verdict on 22 October 2012.[2]
Jump up ^ The white jersey was not awarded between 1989 and 1999.[16]
References[edit]
^ Jump up to: a b "Lance Armstrong Receives Lifetime Ban And Disqualification Of Competitive Results For Doping Violations Stemming From His Involvement In The United States Postal Service Pro-Cycling Team Doping Conspiracy". United States Anti-Doping Agency. 24 August 2012. Retrieved 17 October 2016.
^ Jump up to: a b "Lance Armstrong stripped of all seven Tour de France wins by UCI". BBC News. BBC. 22 October 2012. Retrieved 17 October 2016.
^ Jump up to: a b "Richard Virenque banned from Tour de France". Cyclingnews.com. Future plc. 17 June 1999. Retrieved 21 August 2011.
Jump up ^ "Virenque in the Tour". Cyclingnews. Future Publishing Limited. 30 June 1999. Retrieved 21 August 2011.
^ Jump up to: a b "Vini Caldirola now out of Tour". Cyclingnews.com. Future plc. 19 June 1999. Retrieved 21 August 2011.
^ Jump up to: a b c d e f g h "86ème Tour de France 1999" (in French). Mémoire du cyclisme. Archived from the original on 13 August 2012. Retrieved 26 September 2016.
Jump up ^ Augendre 2016, p. 90.
Jump up ^ Zwegers, Arian. "Tour de France GC Top Ten". CVCC. Archived from the original on 10 June 2009. Retrieved 15 August 2011.
Jump up ^ Augendre 2016, p. 110.
Jump up ^ Bassons: ‘People Now See I Wasn’t Lying’ Archived 2013-11-04 at the National and University Library of Iceland, James Startt, Bicycling.com, October 15th, 2012
Jump up ^ Peddlers - Cycling's Dirty Truth, 54:00, Mark Chapman, including interviews with Tyler Hamilton, Bassons, and others. BBC Radio 5 live, 2012 10 15, retr 2012 10 16
Jump up ^ "Lance Armstrong will be banned from cycling by USADA after saying he won’t fight doping charges". The Washington Post. 24 August 2012. Retrieved 24 August 2012.
Jump up ^ "USADA to ban Armstrong for life, strip Tour titles". CBS News. Retrieved 24 August 2012.
^ Jump up to: a b c d Christian, Sarah (2 July 2009). "Tour de France demystified — Evaluating success". RoadCycling.co.nz Ltd. Archived from the original on 9 February 2013. Retrieved 17 April 2012.
Jump up ^ Chauner, David; Halstead, Michael (1990). The Tour de France Complete Book of Cycling. Villard. ISBN 0679729364. Retrieved 17 April 2012.
Jump up ^ Mallon, Bill; Heijmans, Jeroen (9 September 2011). Historical Dictionary of Cycling. Lanham, MD: Scarecrow Press. p. 230. ISBN 978-0-8108-7369-8.
^ Jump up to: a b c Race regulations 1999, p. 7.
^ Jump up to: a b c d e "Tour de France, Grand Tour, Other Classifications after Stage 20". Cyclingnews. Future Publishing Limited. 1999. Retrieved 29 April 2012.
Sources[edit]
Augendre, Jacques (2016). Guide historique [Historical guide] (PDF). Tour de France (in French). Paris: Amaury Sport Organisation. Archived (PDF) from the original on 17 August 2016. Retrieved 27 October 2016.
Race regulations (PDF). Tour de France. Paris: Amaury Sport Organisation. 1999. Archived from the original (PDF) on 13 July 2003. Retrieved 27 October 2016.
Further reading[edit]
Wilcockson, John; Pelkey, Charles (1999). Lance Armstrong and the 1999 Tour de France. Boulder, CO: VeloPress. ISBN 978-1-884737-69-5.
External links[edit]
Wikimedia Commons has media related to 1999 Tour de France.
Official website at the Wayback Machine (archived 1 October 1999)
1999 Tour de France at Cyclingnews.com
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