In classical music from Western culture, the tritone ( Play (help·info), tri- "three" and tone) is traditionally defined as a musical interval composed of three whole tones. In a chromatic scale, each whole tone can be further divided into two semitones. In this context, a tritone may also be defined as any interval spanning six semitones.
Since a chromatic scale is formed by 12 pitches, it contains 12 distinct tritones, each of which starting from a different pitch. According to a widely used naming convention, six of them are classified as augmented fourths, and the other six as diminished fifths. In a diatonic scale there is only one tritone, classified as an augmented fourth. For instance, in the C major diatonic scale the only interval formed by three adjacent tones (F-G, G-A, and A-B) is that from F to B.
In the above-mentioned naming convention, a fourth is an interval encompassing four staff positions, while a fifth encompasses five staff positions (see interval number for more details). The augmented fourth (A4) and diminished fifth (d5) are defined as the intervals produced by widening and narrowing by one chromatic semitone the perfect fourth and fifth, respectively.[2] They both span six semitones, and they are the inverse of each other, meaning that their sum is exactly equal to one perfect octave (A4 + d5 = P8). In 12-tone equal temperament, the most commonly used tuning system, the A4 is equivalent to a d5, as both have the size of exactly half an octave. In most other tuning systems, they are not equivalent, and neither is equal to half an octave. The d5 is also called semidiapente.
The tritone is often used as the main interval of dissonance in Western harmony, and is important in the study of musical harmony. "Any tendency for a tonality to emerge may be avoided by introducing a note three whole tones distant from the key note of that tonality.
Definitions
A tritone (abbreviation: TT) is traditionally defined as a musical interval composed of three whole tones. As the symbol for whole tone is T, this definition may be also written as follows:
TT = T+T+T
Only if the three tones are of the same size (which is not the case for many tuning systems) can this formula be simplified to:
TT = 3T
This definition, however, has two different interpretations (broad and strict).
Broad interpretation (chromatic scale)
If a chromatic scale is used, with its 12 notes it is possible to define 12 different tritones, each of which starting from a different note. Six of them are A4, and the other six are d5. Therefore, in this case both A4 and d5 are considered to be tritones. Since each whole tone, in a chromatic scale, can be divided into two semitones:
T = S+S
then three tones are equal to six semitones. In this case, we can generalize the definition of tritone as follows:
TT = T+T+T = S+S+S+S+S+S.
This means that a tritone can be also defined as any musical interval spanning six semitones (indeed, both A4 and d5 are intervals spanning 6 semitones).
Only when the semitones (and the tones formed by pairs of semitones) are equal in size can this formula be simplified to:
TT = 3T = 6S.
Strict interpretation (diatonic scale)
In a diatonic scale, whole tones are regarded as incomposite intervals (that is, they do not divide into smaller intervals). Therefore, in this context the above mentioned "decomposition" of the tritone into six semitones is typically not allowed.
If a diatonic scale is used, with its 7 notes it is possible to form only one sequence of three adjacent whole tones (T+T+T). This interval is an A4, and it is sometimes called the proper tritone. For instance, in the C major diatonic scale (C-D-E-F-G-A-B-...), the only tritone is from F to B. It is a tritone because F-G, G-A, and A-B are three adjacent whole tones. It is a fourth because the notes from F to B are four (F, G, A, B). It is augmented (i.e., widened) because most of the fourths found in the scale have smaller size (they are perfect fourths).
According to this interpretation, the d5 is not a tritone. Indeed, in a diatonic scale, there's only one d5, and this interval does not meet the strict definition of tritone, as it is formed by one semitone, two whole tones, and another semitone:
d5 = S+T+T+S.
For instance, in the C major diatonic scale, the only d5 is from B to F. It is a fifth because the notes from B to F are five (B, C, D, E, F). It is diminished (i.e. narrowed) because most of the fifths found in the scale have larger size (they are perfect fifths).
Alternative definition
Some contemporary authors define a tritone as any interval spanning exactly half an octave, including both the A4 and d5 as tuned in 12-tone equal temperament. This is not consistent with the above mentioned traditional definition (TT = T+T+T).
In this case, context may resolve the tritone to more an A4, a d5, or a "neutral" interval with no clear conventional classification.
Size in different tuning systems
In 12-tone equal temperament, the A4 is exactly half an octave (i.e., a ratio of √2:1 or 600 cents; play (help·info)). The inverse of 600 cents is 600 cents. Thus, in this tuning system, the A4 and its inverse (d5) are equivalent.
The half-octave A4 is unique in being equal to its own inverse. In other meantone tuning systems, besides 12-tone equal temperament, A4 and d5 are distinct intervals because neither is exactly half an octave. In any meantone tuning near to 2⁄9-comma meantone the A4 will be near to the ratio 7⁄5 and the d5 to 10⁄7, which is what these intervals are taken to be in septimal meantone temperament. In 31 equal temperament, for example, the A4, a 10⁄7, or tritone proper, is 617.49 cents, whereas a 7⁄5 is 582.51 cents. This is perceptually indistinguishable from septimal meantone temperament.
Since they are the inverse of each other, by definition A4 and d5 always add up to exactly one perfect octave:
A4 + d5 = P8.
On the other hand, two A4 (proper tritones) add up to six whole tones. In equal temperament, this is equal to exactly one perfect octave:
A4 + A4 = P8.
In quarter-comma meantone temperament, this is a diesis (128/125) less than a perfect octave:
A4 + A4 = P8 - diesis.
In just intonation several different sizes can be chosen both for the A4 and the d5. For instance, in 5-limit tuning, the A4 is either 45/32[4][5][6] or 25/18,[7] and the d5 is either 64/45 Play (help·info) or 36/25,[8] or 1024:729 Play (help·info). The 64:45 just diminished fifth arises in the C major scale between B and F, consequently the 45:32 augmented fourth arises between F and B.[9]
These ratios are not in all contexts regarded as strictly just, but they are the justest possible in 5-limit tuning. 7-limit tuning allows for the justest possible ratios, namely 7/5 for the A4 (about 582.5 cents, also known as septimal tritone) and 10/7 for the d5 (about 617.5 cents, also known as Euler's tritone).[4][10][11] These ratios are more consonant than 17/12 (about 603.0 cents) and 24/17 (about 597.0 cents), which can be obtained in 17-limit tuning, yet the latter are also fairly common, as they are closer to the equal-tempered value of 600.0 cents.
Dissonance and expressiveness
Compared to other commonly occurring intervals like the major second or the minor third, the augmented fourth and the diminished fifth (both two valid enharmonic interpretations of the tritone) are considered awkward intervals to sing. Western composers have traditionally avoided using it explicitly in their melody lines, often preferring to use passing tones or extra note skipping instead of using a direct leap of an augmented fourth or diminished fifth in their melodies. However, as time went by, composers have gradually used the tritone more and more in their music, disregarding its awkwardness and exploiting its expressiveness.[citation needed]
The unstable character of the tritone sets it apart, as discussed in [28] [Paul Hindemith. The Crafts of Musical Composition, Book I. Associated Music Publishers, New York, 1945]. It can be expressed as a ratio by compounding suitable superparticular ratios. Whether it is assigned the ratio 64/45 or 45/32, depending on the musical context, or indeed some other ratio, it is not superparticular, which is in keeping with its unique role in music.[12]
Although this ratio [45/32] is composed of numbers which are multiples of 5 or under, they are excessively large for a 5-limit scale, and are sufficient justification, either in this form or as the tempered "tritone," for the epithet "diabolic," which has been used to characterize the interval. This is a case where, because of the largeness of the numbers, none but a temperament-perverted ear could possibly prefer 45/32 to a small-number interval of about the same width.[13]
In the Pythagorean ratio 81/64 both numbers are multiples of 3 or under, yet because of their excessive largeness the ear certainly prefers 5/4 for this approximate degree, even though it involves a prime number higher than 3. In the case of the 45/32, 'tritone' our theorists have gone around their elbows to reach their thumbs, which could have been reached simply and directly and non-'diabolically' via number 7.[13]
THE TRIAD AND THE TRITONE
The Triad is a chord constructed of three notes, spelled out in thirds, 1-3-5. There are four triads in a major key. They are major (M=1-3-5), minor (m=1-3b-5), diminished (d=1-3b-5b) and augmented (A=1-3-5#). The quality of the chords are the same in every key, and are shown in the table below.
I mention the Triad because it makes it easier to understand the Tritone which is another interval used widely in music. The Tritone (also called the Devil's interval) means 3 tones (3 whole steps apart) according to Sheet Music Magazine, Winter 2005.vol 29, No 1, New York, Noreen Lienhard, pg. 43. It is dissonant and divides the octave perfectly in half, 3 tones up or 3 tones down, it is the same. The diminished chord uses Tritones. The Tritone also makes chord substitutions possible. E and Bb are the 3rd and 7th of the C7 chord while they are also 7th and 3rd of the Gb7 chord. I won't go in to these details here but one thing I was puzzled about was the fact that a 1-3-5 of a C Chord ascending is the same as a 1-3-5 of a G chord descending. I have included the tritone in the Chart below in the last column. Note that different chord roots can have the same tritone. The keys of F# and Gb both have C as the Tritone. The Key of C has F# ascending and Gb descending, which is the same tone.
KEY (M)1-3-5 (m)1-3b-5 (d)1-3b-5b (A)1-3-5# Tritone
C C-E-G C-Eb-G C-Eb-Gb C-E-G# F#-Gb
G G-B-D G-Bb-D G-Bb-Db G-B-D# C#-Db
D D-F#-A D-F-A D-F-Ab D-F#-A# G#-Ab
A A-C#-E A-C-E A-C-Eb A-C#-E# D#-Eb
E E-G#-B E-G-B E-G-Bb E-G#-B# A#-Bb
B B-D#-F# B-D-F# B-D-F B-D-F## F
F# F#-A#-C# F#-A-C# F#-A-C F#-A#-C## C
C# C#-E#-G# C#-E-G# C#-E-G C#-E#-G## G
F F-A-C F-Ab-C F-Ab-Cb F-A-C# B
Bb Bb-D-F Bb-Db-F Bb-Db-Fb Bb-D-F# E
Eb Eb-G-Bb Eb-Gb-Bb Eb-Gb-Bbb Eb-G-B A
Ab Ab-C-Eb Ab-Cb-Eb Ab-Cb-Ebb Ab-C-E D
Db Db-F-Ab Db-Fb-Ab Db-Fb-Abb Db-F-A G
Gb Gb-Bb-Db Gb-Bbb-Db Gb-Bbb-Dbb Gb-Bb-D C
Cb Cb-Eb-Gb Cb-Ebb-Gb Cb-Ebb-Gbb Cb-Eb-G F
Here is basically my notes of the Youtube video.
Video - http://www.youtube.com/watch?v=KYcCq8YadLM
Key of C
Chord Progression
I-IV Groove in C
CMaj9-FMaj9
CMaj9 LH(C,G) RH(B,D,E,G)
FMaj9 LH(F,G,A) RH(C,E,G)
Substitute CMaj9 with Key of C Tritone (E-Bb)
Substitute FMaj9 with Key of F Tritone (F-Eb)
Triads in the right hand over tritones in the left hand.
Amin (E,A,C) triad over C Tritone
Gmin (D,G,Bb) triad over C Tritone
D7b5 (D,Ab,C) triad over C Tritone
Abmaj (Eb,Ab,C) triad over C Tritone
Amaj (E,A,Db) triad over C Tritone
F#maj (C#,F#,A#) triad over C Tritone
Ebmaj (Eb,G,Bb) play together - triad over C Tritone
Dbmaj (Db,F,Ab) play together - triad over C Tritone
Ebmin (Eb,Gb,Bb) triad over C Tritone
Dmin (D,F,A) triad over C Tritone
Gdim (G,Bb,Db) triad over C Tritone
F#min (C#,F#,A) triad over C Tritone
Dmaj (D,Gb,A) triad over C Tritone
Fmin (C,F,Ab) triad over C Tritone
DbAug (Db,F,A) triad over C Tritone
Dbmin (Db,E,Ab) triad over C Tritone
E7sus4 (E,A,D) triad over C Tritone
Eb7sus4 (Eb,Ab,Db) triad over C Tritone
A7sus4 (A,D,G) triad over C Tritone
Now the triads are played over the C Tritone, but it was mentioned that you can basically mix and match triads interchangeably over the F Tritone as well. I find this works particularly well with the Sus4 chords. If correct, you can play for example:
A7sus4 over the C tritone and then back to E7sus4 over the F tritone to substitute the entire progression. It sounds good to my ear and kind of funky as well.
Thanks for any input. Much appreciated.
Friday, May 25, 2012
Monday, May 21, 2012
Vocal Singing Exercises & Scales
Vocal singing exercises online complete with midi scales to help you practice, plus singers articles and links to sites offering vocal exercises.
When you have mastered your breathing, the following free singing exercises will help you on the path to improving and understanding your voice.
The key to a good rehearsal is to ensure that you achieve the following before starting:
Abdominal breathing
Good posture
Breath during natural pauses
Keep your chin level
Keep your knees loose
Keep your head up
Keep your shoulders sloping and relaxed
Keep your toes pointed forward with your weight on heels and soles
Keep the front of your neck loose - don't stretch it
Keep abdominal muscles relaxed
Keep your back muscles relaxed
Avoid holding your shoulders lifted and puffed out
Relax and SMILE.
If your having a bad day or feel tense and stressed, this can affect your practices and performance. To help achieve consistancy do a few Relaxation Exercises before your rehearsal. If it all starts going horribly wrong, take a break, relax or do something else and try again later.
Stand with your shoulders relaxed, arms by your side.
Breath in slowly.
Sing one note, holding the note for as long as you can without becoming short of breath.
Do NOT suck in your stomach!
Repeat the exercise with different notes using doh, ray, me, far, so, la, te, doh.
Use different mouth shapes and vowels like "ooh", "ee", "a" and "aah"
Try singing up and down a scale (called an arpeggio).
Sing short notes (known as Staccato) as well as long ones.
Practice along with our free online midi scales!!
Vocal Scales - Click Here
Sing phrases to improve diction: Examples:-'I really love to sing' (going up the scale)
'Do,re,me,fa,so,la,te,do'
'La, Lo, Le, Lo'
'Ma, Mo, Me, Mo'
'Ta, To, Te, To'
'Hi, He, Ha, Ho, Hu'
'Qua, Quo, Que, Quo'
'Fluffy Floppy Puppy'
'Lolli, lolli, lolli, lolli pop'
'Bring back the boys big brown blue baseball bats'
'Sally saw silvester stacking silver saucers side by side'
(c-e-d-f-e-g-f-a-g-b-a-c--b-d-c up the scale then down the opposite way)
(suggested by Erica Zweig posted to Vocalist Newsgroup.
To feel the difference between raised and normal positioning of the larynx, place your fingers gently on your throat and try to talk as if you were a child or use 'baby talk'.
Record your efforts, notice the notes that do not sound right and concentrate on those until they do! Listen to the difference in your recordings over the next few weeks practice sessions to hear the improvement in your voice.
Singers seeking more advanced exercises, Vocalises, or songs without words, range from basic vocal scales and exercises to classical works of art designed to test intonation and phrasing, control and nuance, visit the section for online vocalise andvocalise books containing singing exercises.
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| Head voice is not just for tenors, IMO. I believe that all singing voices are entitled to this healthy aspect of vocalism, and that it can be learned by almost all who study and practice to learn it, and by many just by playing around. 'Finding' a head voice is most problematical for those who have sung by forcing... by trying to sing high with the same registration as they use for the lower part of the voice. Next after that in difficulty (IMO) is the singer whose singing habits are very light, wispy tones. Over time, these singers have become used to expect that their voices should feel a certain way when they sing, and those expectations (and their associated mental images and physical sensations) are habit. To learn to sing head voice, which is a co-ordinated use of the musculature of the voice, the student must progressively replace their habits (and expectations) with new, practised ones. The expectations (and images) seem to play leapfrog with the muscle coordinations during this time, in something like 6 week cycles, in my experience. The teacher guides the process by (in my approach) moving the student's mental image by asking the student to make sung sounds that are a little different, maybe even experimental. The earlier discussion about lip trills, 'wonky' falsetto-like whoops and hollers are reasonable examples, based on the student's starting point. For example, for the 16-yr-old bass with nothing above middle C, and altogether too much 'muscle' feeling and concept in the tone, the teacher might start with messa di voce (cresc-decresc) patterns, and coax the singer to include softer dynamics into the student capabilities. The very act of trying this, over time, will induce a gentleness of thought which will allow the voice to rebalance a little, dropping some of the weight at the softer dynamics. From there, the student must learn how to move the voice from pitch to pitch without 'selling up' the higher pitches. Its remarkable that, after all the 'performance' weight has been removed, that a given voice will move nicely up, readjusting the balance of registration in a nice gradual fashion. At a certain point in this development, I think the teacher gets the sense, partly by watching, partly by listening, that the singer is ready for a breakthrough to a head voice co-ordination. Its commonly felt that many fine singers have a noticeable sensation transition as their voice moves into head voice on the way up, or when coming out of it. These sensation transitions can be substantial, but as a general rule singers work to 'allow' such a transition to occur without adding unnecessary extra work and tension in the throat, jaw and tongue regions. Under the guidance of a good teacher, the student will learn how these sensations change note to note as the teacher assists them in finding their right 'sound' in that area, and begin to accept the fact that these new sensations, and their accompanying sounds are 'right' for their voice. From an exercise point of view, I think that low tension, well supported 'leaps' across the change region allow the voice to 'go wonky' a little, and spontaneously respond to the pitch change in the student mental concept. With a little, non-judgemental vocal play, the student can 'find' a nicely co-ordinated head voice. I think its best to expect it to occur accidentally, spontaneously, as any 'control' mental images that the student is using, or concerted efforts to 'make' it happen, seem to induce just enough restricting tension to prevent the spontaneous reco-ordination. Others have cited their pet approaches to this. They are all excellent. Once the new sound has been found, it must be smoothed out, made dependable and predictable.... a habit.
I am excited to tell you about some truly superb free online vocal lessons. But first... Can I ask you...
Do you know the biggest lie about singing?
I’ll give you a clue... What does your vocal teacher always tell you to do?
Do you know the answer? If you don't know... you will soon!
But first… I want to share with you this tremendous resource...
Right now, you can subscribe (for free) to world renowned vocal coach 'Roger Burnley's vocal tips newsletter.
When you do this, you will receive many exciting and useful tips that you can apply to your singing. Not only can you apply them, but you can IMPROVE with them.
Roger Burnley is a teacher well known for the lightning results that he gets with his students.
Time after time, singers come to him, frustrated and distressed, thinking they will never develop a truly great voice. But one by one, Roger takes them by the hand and changes their voice, in minutes... and the changes are permanent...
One of the most important things in singing, is learning how to navigate your bridges. This means that, as you move up your range, you change gears (zip up your vocal chords) so you can continue to sing higher.
This 'changing gears' will allow you to use all areas of your voice. As well, you will experience your full range (which in most cases, is more than three octaves)
Can you sing over three octaves, easily, without changing your tone quality?
If you can't, I suggest you check out this amazing free resource and receive many valuable free online vocal lessons, including 'the biggest lie about singing'.
IMPORTANT
To sign up for this amazing free resource, look to the right of the screen when you get to the site and follow the instructions on how to receive your free online vocal lessons. Included is a video lesson where you will see Roger add an octave to a singers voice, right in front of a live audience!
Watch this video, and you can imitate, and see the results for yourself.
You will be pleasantly surprised at how easy singing actually is, when you have the right exercises to practice. Learn correct technique, and your singing will flow with as much effort as when you talk.
It's only when you practice incorrect technique when singing becomes hard. Your voice becomes tense, and it just doesn't sound like you want it to.
So have you thought of the No. 1 lie in singing yet?
If this is still bothering you, head over to Roger's site , and sign up for his free newsletter. You will be amazed at the answer.
A Dozen Voice Training Exercises
And some other bits of advice
Your vocal cords are muscles, and like any muscles they can become tired and damaged. The following exercises have been devised and compiled by my friend and singing teacher, Andrea, and typed up by me with various enhancements and addition of theory.
The first two exercises are to loosen off the muscles in the next, around the vocal cords.
1. Starting with your tongue on the RHS of your mouth, make a figure of 8, so that your tongue goes across your top teeth, to the middle, then crosses to the bottom teeth, along to the LHS of your mouth, then, up, and across the top. Keep your mouth closed for this.
2. Put the tip of your tongue behind your bottom set of front teeth. Let your jaw drop and gently push out your tongue. Repeat a few times.
The following exercises are mainly for exploring your natural range, and should be tried at different pitches, preferable gently undulating pitches:
3. Ga-ga! - Make baby noises up and down randomly within your natural voice range. Try with all the vowel sounds, e.g. ga-ga, ge-ge, gi-gi, go-go, goo-goo
4. Bzzzzzz! - Make buzzing noises like a bee. The idea here is to find resonances in your mouth and sinuses. Try changing the shape of your mouth.
5. Innnnnnnng-uh!. This is mainly to find natural resonances in your sinuses. Try words like: Ding, Ping, Zing, Ting. Hold the 'i' sound so that it makes your sinuses tickle.
6. Mmmmmm! - Close your lips, but pull your lips back into your mouth over your teeth. Make a humming noise, and allow your lips to relax, so they are just closed. Change the pitch of your voice until your lips start to tickle. Hold this note for a while and then find other notes / frequencies where this happens.
7. Hah! - Imagine you are digging a hole (you have to do the actions too!): as you dig into the ground, exhale with a "HUH!" sound. Lift the soil, and as you chuck it over your shoulder, make a "HAH!" noise. Repeat until it gets too silly. You can also practise this by pretending to do Kung-Fu moves - punches and kicks and the likes.
8. Oooooh! - Slidey continuous journey up and down your natural range - Okay, you have to move your arms for this one: high notes - arms up in the air, low notes, bend your knees and hang your arms like a monkey.
9. Me - me - me... etc., up and down your natural range, for ages, for fun..., then all of the following: mah, mi, may, my, moo, mu. You can mix them up too.
10. Yah! or Yar! - for this one, just let your jaw drop loosely to a loose hanging - don't force it open, do it for a while - 20 times or so.
11. Wow! - Start as low as you like, and go up to as high as you like within your natural range, then back down again. Wwwww-aaaaaaaa-oooooo-wwwww. You gotta open your mouth as wide as it needs.
12. La-la-la - this is the classic, and most heard of the exercises. Try using different scales, ascending through natural major / minor scales, and also chromatic and triadic (chord) scales, or just mess around with arbitrary notes or pitches. Try this with ah-ah-ah-ah..., and then all the other vowel sounds, instead. It's more difficult, apparently (thanks Claire).
Natural range - this is from the bottom note of your vocal range to the highest note you can reach before your voice breaks and goes into "falsetto". You can practise most of these in a falsetto too, but be warned it can sound silly. It's best to learn just not to care about how silly it sounds.
Other things to do...
General Advice
Media Students
Read sections of books, newspapers and magazines out loud. Try recording it with a tape recorder (remember those?), a mini-disk, mp3 stick recorder, on your computer. Don't worry if it only has a cheap microphone.
Analyse what you have recorded - be careful not to go "this is rubbish, I have a rubbish voice, I hate it... etc.." The important thing to think is "How can I improve my voice?" (or reading, or singing, or whatever...)
Listen to other voice artists. Ask the question: What makes them good?
Also ask this of yourself: Could you improve the definition of the words? Could you improve your breathing technique? Would it help if you moved your mouth or lips more? Would it sound better if you were more relaxed?
Try getting involved in a local, college or hospital radio station. It'll be voluntary, but the experience will be invaluable.
Vocalists / Singers
Relax. Try exercises 1 and 2 if you feel your voices is tense. You can also try other relaxation or yogic exercises to relax you before singing. What about having a bath?
Sing along with anything. It's probably best to start with stuff you like. As with, spoken word, try recording it with a tape recorder, a mini-disk, mp3 stick recorder, onto your computer, etc. You can get karaoke backing disks, or download midi or mp3 karaoke files off the internet. Sing everywhere, as quiet, or as loud as you like. To hell with whoever my be listening.
Analyse what you have recorded - be careful not to go "this is rubbish, I have a rubbish voice, I hate it... etc.." The important thing to think is "How can I improve my voice?". Watch for lead-ins to notes, try to keep the notes you want to deliver as precise as you can - don't forget the gaps are as important as the notes.
Try singing through a PA / amplified system, and get used to your own voice. Remember: the microphone is your best friend, learn to use and love it. You can use it to amplify even the quietest, most subtle sounds that you would just not hear in most performance situations without a mic.
Listen to other voice artists. Ask the questions: What makes them good? What do I like about their voice / style? Do they talk like that in normal day to day life?
Also ask this of yourself: Could you improve the definition of the words? Could you improve your breathing technique? Would it help if you moved your mouth or lips more? Would it sound better if you were more relaxed?
When recording, try using as many voices, characters, pitches, octaves, harmonies, or whatever. If you are using computer based recording, go nuts, record everything. What is there to lose other than time? Use as many voice resonances as you like and try mixing / blending them together.
You can make your voice sound sweet, rough, distorted, angry, childish, silly or whatever. Try getting as many emotions or imitations into your practise, but be careful not to push your voice too hard - you may damage your vocal chords. Try exercises 1&2 above if your voice gets tired, and stop if it begins to hurt. Drink plenty of water.
Try editing out parts of your recording - remember what I said about gaps (or rests). Edit out waste noises, use fades to clean up the recording, and apply this to your singing style. It saves time in a studio in the long run if your vocals are right from the off, so learn what sounds good in the recording.
Learning to sing well can be a long process. Take your time to learn your own voice and what you can do with it. Over time your voice will develop to be more adaptable. Choose songs that are easy for you to sing at first, then gradually bring in more challenging songs as you get better.
Remember: Bob Dylan is a world famous singer. As is Dave Vanian from the Damned, Leonard Cohen, Johnny Rotten, and Nick Cave.
And Jennifer Lopez (Oh no she dit'n!). In fact, most manufactured bands... especially the ones by soap stars are not reknowned for their amazing nutural vocal talent. You have nothing to worry about.
A lot of it is about having something to sing about, and having the guts to go out and do it. Many may mock, but are they prepared to go out and do the same?
Most of all - enjoy it. Love what you are doing because you want to be doing it. Have fun, or what's it all for?
inging Exercises & Scales
We have provided a full list of scales A to G including sharps/flats. The following is a list of midi files for you to practice online. Each of the midi scales has 3 Octaves (apologies to those who require higher or lower than this) pick the most comfortable or you can practice to all three if your range reaches to that extent. DO NOT OVERSTRETCH YOUR VOICE - if you cannot reach a note do not attempt to push your voice or you may damage your vocal chords. Practice each scale using one shape at a time i.e., Ooh - then repeat with Ee, Aa, Aah. A Scale - 3 Octaves of the A scale. A#/Bb Scale - 3 Octaves. B Scale - 3 Octaves of the B scale. C Scale - 3 Octaves of the C scale. C#/Db Scale - 3 Octaves. D Scale - 3 Octaves of the D scale. D#/Eb Scale - 3 Octaves. E Scale - 3 Octaves. F Scale - 3 Octaves. F#/Gb Scale - 3 Octaves. G Scale - 3 Octaves. Ohh, Ee, Aa, Aah - 1 Octave split into 2 bars of each note including sharps/flats - sing the whole section with all the shapes starting with Ooh for 2 beats, then Ee, Aa, Aah for 2 beats each which will complete the 2 bar section, continue through the whole exercise. Staccato - 1 Octave split into 2 bars of each note including sharps/flats - begin with one shape i.e., Aah and sing all the way through then repeat with each shape. Practice all of the above with various mouth shapes & sounds and take note of how your voice sounds with each, the position of your tongue and the feeling it creates in your body. Watch yourself in a mirror and ensure that you remain relaxed whilst you practice - do not tense your neck, shoulder or throat muscles during these exercises. Practise these every day if possible - Once a week is the minimum you need to exercise your vocal scales but we recommend you use a daily routine which includes breathing exercises and relaxation - this can be achieved in an hour so theres no excuse! We hope you find this useful - please let us know via the Frequently Asked Questions, or Contact Form if you encounter problems or have any queries. Enjoy!! Please Note - These Midi files are NOT available for download at this time Return to Exercises Section or Click Here - If you have reached this page via a search engine. |
Saturday, May 19, 2012
INTRODUCTION TO THE SCALE SYLLABUS
Each chord/scale symbol (C7, C—, C∆+4, etc.) represents a series of tones which the improvisor can use when
improvising or soloing. These series of tones have traditionally been called scales. The scales listed here are the
ones I most often hear musicians play. I have listed the Scale Syllabus in the key of C Concert so you can have
a frame of reference and can compare the similarities and differences between the various chords/scales.
This SCALE SYLLABUS is intended to give the improvisor a variety of scale choices which may be used over
any chord - major, minor, dominant 7th, half-diminished, diminished and suspended 4. Western music, especially
jazz and pop, uses major, dominant 7th, Dorian minor and Blues scales and chords more than any other. Scales
and chords used less often are the half-diminished, diminished and suspended 4. If we agree on these five chord/
scale families as being the most predominant, then we can set up categories and list substitute scales beneath
each heading ... see the Scale Syllabus page. You should also check out Volume 26 "The Scale Syllabus" for
more help with scales.
Each category begins with the scale most closely resembling the chord/scale symbol given to the left. The scales
are arranged according to the degree of dissonance they produce in relation to the basic chord/scale sound.
Scales near the top of each category will sound mild or consonant. Scale choices further down the list will become increasingly tense or dissonant. Each player is urged to start with the scales at the top and with practice
and experimentation gradually work his way down the list to the more dissonant or tension-producing scales. You
should work with a new scale sound on your instrument until your ears and fingers become comfortable with all
the tones in the scale. Also try singing the scale with your voice. Improvise with your voice over the scale you are
learning and then reproduce on your instrument what your voice has created.
Music is made of tension and release. Scale tones produce either tension or relaxation. The improvisor's ability
to control the amount and frequency of tension and release will, in large measure, determine whether he is successful in communicating to the listener. Remember - you, the player, are also a listener! Read Volume 1 JAZZ:
How To Play And Improvise for a more detailed explanation of tension and release in melodic development.
Any of the various practice procedures and patterns listed in Volumes 1, 2, 3, 21, 24 or 84 can be applied to any of
the scale choices listed in this Scale Syllabus. Needless to say, any scale you want to learn should be transposed
and practiced in all twelve keys. The column on whole and half step construction I have listed for each scale on
For additional information on scale substitution, I recommend Scales for Jazz Improvisation by Dan Haerle,
Jazz Improvisation by David Baker, Patterns for Jazz (Treble-Clef or Bass Clef) and Complete Method for
Jazz Improvisation by Jerry Coker, and Repository of Scales & Melodic Patterns by Yusef Lateef. These
books are available from your favorite music source or visit www.jazzbooks.com for more information.
Several Play-A-Long sets offer you an opportunity to practice the various scales in all twelve keys. They are:
Vol. 24 Major & Minor; Vol. 84 Dominant 7th Workout; Vol.21 Gettin’ It Together; and Vol.16 Turnarounds,
Cycles & II/V7’s. You might also check out the Play-A-Longs which have tunes in all keys: Vol. 42 Blues In All
Keys; Vol. 47 Rhythm In All Keys; Vol. 57 Minor Blues In All Keys; and two more volumes, Vol. 67 Tune Up
and Vol. 68 Giant Steps - each has several classic tunes in all twelve keys.
Scales and chords are the backbone of our music and the better you equip yourself, the more fun you will have
CHORD/SCALE SYMBOL SCALE NAME WHOLE & HALF STEP SCALE IN KEY OF C BASIC CHORD
CONSTRUCTION IN KEY OF C
C Major W W H W W W H C D E F G A B C C E G B D
C7 Dominant 7th (Mixolydian) W W H W W H W C D E F G A B∫ C C E G B∫ D
C— Minor (Dorian) W H W W W H W C D E∫ F G A B∫ C C E∫ G B∫ D
CØ Half Diminished (Locrian) H W W H W W W C D∫ E∫ F G∫ A∫ B∫ C C E∫ G∫ B∫
C
° Diminished (8 tone scale) W H W H W H W H C D E∫ F G∫ A∫ A B C C E∫ G∫ A (B∫∫)
5. DIMINISHED SCALE SCALE NAME W & H CONSTRUCTION SCALE IN KEY OF C BASIC CHORD
CHOICES IN KEY OF C
C
° Diminished (8 tone scale) W H W H W H W H C D E∫ F G∫ A∫ A B C C E∫ G∫ A
4. HALF DIMINISHED SCALE NAME W & H CONSTRUCTION SCALE IN KEY OF C BASIC CHORD
SCALE CHOICES IN KEY OF C
CØ Half Diminished (Locrian) H W W H W W W C D∫ E∫ F G∫ A∫ B∫ C C E∫ G∫ B∫
CØß2 (CØ9) Half Diminished #2 (Locrian #2) W H W H W W W C D E∫ F G∫ A∫ B∫ C C E∫ G∫ B∫ D
CØ (with or without ß2) Bebop Scale H W W H H H W W C D∫ E∫ F G∫ G A∫ B∫ C C E∫ G∫ B∫
3. MINOR SCALE SCALE NAME W & H CONSTRUCTION SCALE IN KEY OF C BASIC CHORD
CHOICES* IN KEY Of C
C— or C—7 Minor (Dorian) W H W W W H W C D E∫ F G A B∫ C C E∫ G B∫ D
C— or C—7 Pentatonic (Minor Pentatonic) —3 W W —3 W C E∫ F G B∫ C C E∫ G B∫ D
C— or C—7 Bebop (Minor) W H H H W W H W C D E∫ E F G A B∫ C C E∫ G B∫ D
C—∆ (maj. 7th) Melodic Minor (ascending) W H W W W W H C D E∫ F G A B C C E∫ G B D
C— or C—6 or C— Bebop Minor No. 2 W H W W H H W H C D E∫ F G Gß A B C C E∫ G B D
C— or C—7 Blues Scale —3 W H H —3 W C E∫ F Fß G B∫ C C E∫ G B∫ D
C—∆ (∫6 & maj. 7th) Harmonic Minor W H W W H —3 H C D E∫ F G A∫ B C C E∫ G B D
C— or C—7 Diminished (begin with W step) W H W H W H W H C D E∫ F Fß Gß A B C C E∫ G B D
C— or C—∫9∫6 Phrygian H W W W H W W C D∫ E∫ F G A∫ B∫ C C E∫ G B∫
C— or C—∫6 Pure or Natural Minor, Aeolian W H W W H W W C D E∫ F G A∫ B∫ C C E∫ G B∫ D
2. DOMINANT 7th SCALE NAME W & H CONSTRUCTION SCALE IN KEY OF C BASIC CHORD
SCALE CHOICES IN KEY OF C
C7 Dominant 7th W W H W W H W C D E F G A B∫ C C E G B∫ D
C7 Major Pentatonic W W —3 W —3 C D E G A C C E G B∫ D
C7 Bebop (Dominant) W W H W W H H H C D E F G A B∫ B C C E G B∫ D
C7∫9 Spanish or Jewish scale H —3 H W H W W C D∫ E F G A∫ B∫ C C E G B∫ (D∫)
C7+4 Lydian Dominant W W W H W H W C D E Fß G A B∫ C C E G B∫ D
C7∫6 Hindu W W H W H W W C D E F G A∫ B∫ C C E G B∫ D
C7+ (has ß4 & ß5) Whole Tone (6 tone scale) W W W W W W C D E Fß Gß B∫ C C E Gß B∫ D
C7∫9 (also has ß9 & ß4) Diminished (begin with H step) H W H W H W H W C D∫ Dß E Fß G A B∫ C C E G B∫ D∫ (Dß)
C7+9 (also has ∫9, ß4, ß5) Diminished Whole Tone H W H W W W W C D∫ Dß E Fß Gß B∫ C C E Gß B∫ Dß (D∫)
C7 Blues Scale —3 W H H —3 W C E∫ F Fß G B∫ C C E G B∫ D (Dß)
DOMINANT 7th
SUSPENDED 4th
C7 sus 4 Dom. 7th scale but don’t emphasize the third W W H W W H W C D E F G A B∫ C C F G B∫ D
C7 sus 4 Major Pentatonic built on ∫7 W W —3 W —3 B∫ C D F G B∫ C F G B∫ D
C7 sus 4 Bebop Scale W W H W W H H H C D E F G A B∫ B C C F G B∫ D
CHOICES IN KEY OF C
C∆ (Can be written C) Major (don’t emphasize the 4th) W W H W W W H C D E F G A B C C E G B D
C Major Pentatonic W W —3 W —3 C D E G A C C E G B
C∆+4 Lydian (major scale with +4) W W W H W W H C D E Fß G A B C C E G B D
C∆ Bebop (Major) W W H W H H W H C D E F G Gß A B C C E G B D
C∆∫6 Harmonic Major W W H W H —3 H C D E F G A∫ B C C E G B D
C∆+5, +4 Lydian Augmented W W W W H W H C D E Fß Gß A B C C E Gß B D
C Augmented —3 H —3 H —3 H C Dß E G A∫ B C C E G B D
C 6th Mode of Harmonic Minor —3 H W H W W H C Dß E Fß G A B C C E G B D
C Diminished (begin with H step) H W H W H W H W C D∫ Dß E Fß G A B∫ C C E G B D
C Blues Scale —3 W H H —3 W C E∫ F Fß G B∫ C C E G B D
LEGEND: H = Half Step, W = Whole Step.; ∆ = Major 7th; + or ß = raise H; ∫ or - = lower H; Ø = Half-diminished; —3 = 3H (Minor Third)
THE SCALE SYLLABUS
FIVE BASIC
CATEGORIES
MAY BE
WRITTEN
G-/C
NOTES: 1) The above chord symbol guide is my system of notation. I feel it best represents the sounds I hear in jazz.
Players should be aware that each chord symbol represents a series of tones called a scale. 2) Even though a C7+9 would appear
to have only a raised 9th, it also has a ∫9, +4 and +5. The entire C7+9 scale looks like: Root, ∫9, +9, 3rd, +4, +5, ∫7 & root (C, D∫,
Dß, E, Fß, Gß, B∫, C). My chord symbol C7+9 is therefore an abbreviation, while the complete name of this scale is Diminished
Whole Tone (sometimes called Super Locrian or Altered Scale). Similarly, C7∫9 also appears to have only one altered tone (∫9) but
it actually has three: ∫9, +9 and +4. The entire scale looks like: Root, ∫9, +9, 3rd, +4, 5th, 6th, ∫7 & root (C, D∫, Dß, E, Fß, G, A, B∫,
C). This is called a Diminished scale and my chord symbol abbreviation is C7∫9. 3) All scales under the Dominant 7th category are
scales that embellish the basic Dominant 7th sound. Some scales provide much more tension than the basic dominant 7th sound
and require practice and patience to grasp the essence of their meaning. I encourage you to work with Volume 3 “The 11-V7-1
Progression” since it emphasizes Diminished and Diminished Whole Tone scales and chords. 4) In category #3, MINOR SCALE
CHOICES, the PURE MINOR scale choice is not used very often. I have found the order of preference to be Dorian, Bebop, Melodic,
The triangle symbol can be useful for major7 (Δ or Δ7) when in a hurry, but be careful as it can sometimes look like a badly drawn o)
The capital M for major 7 can also be confused for lower case m.
C major 7 Cmaj7 Cma7 CΔ or CΔ7 CM7
C minor 7 Cm7 Cmin7 C-7
C minor major 7 Cm maj7 Cmin ma7 C - Δ7 C -
C half diminished Cø7 Cm7 b5 Cmin7 b5
C diminished (7) Co (7) C dim (7)
C7 C7
C9 C9
C11 C11 Gm7/C
C7 suspended 4th C7 sus4
C13 C13
C7 augmented C7 + C7 aug C7+5
C7 flat 5th C7 b5 C7 -5
C7 #11 C7 #11 C7 +11
C7 flat 9th C7 b9 C7 -9
C7 sharpened 9th C7 #9 C7 +9
C7 flat 10th C7 b10 C7 -10
C7 flat 9th flat 13th C7 b9 b13 C7 alt
C7 flat 10th flat 13th C7 b10 b13 C7 alt
C13 sharp 11th C13 #11 C13 +11
Notes ... Go to http://www.8notes.com to get more practical veiw of all my lesson and notes ..
Voicing (music)
In music composition and arranging, a voicing is the instrumentation and vertical spacing and ordering of the pitches in a chord (which notes are on the top or in the middle, which ones are doubled, which octave each is in, and which instruments or voices perform each). Which note is on the bottom determines the inversion.
Voicing is "the manner in which one distributes, or spaces, notes and chords among the various instruments" and spacing or "simultaneous vertical placement of notes in relation to each other."[1]
For example, the following three chords are root-position C major triads voiced differently:
All three voicings above are in root position, while the first is in close position, the most compact voicing, and the second and third are in open position, which includes wider spacing. In triadic chords, close root position voicing is the most compact voicing in thirds which has the root in the bass. Open and closed harmony are harmony and harmonization constructed from open and close position chords, respectively.
The Psalms chord is noted for its characteristic spacing of an E-minor triad.
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Doubling.....
Melodic doubling in parallel is the addition of a rhythmically similar or exact melodic line or lines at a fixed interval above or below the melody to create parallel movement[3] while octave doubling (and doubling at other intervals, also called parallelism[2]) of a voice or pitch is the number of other voices duplicating the same part at the same pitch or at different octaves. The doubling of an octave is the number of individual voices on each pitch within the chord. For example, in the three images in the introduction above only one pitch is doubled, the G in the rightmost image (above).
J.S. Bach - "Gigue" from English Suite no. 1 in A Major, BWV 806, m. 38 Play (help·info).
Parallelism destroys, creates, or maintains independence of lines; for example, in preference for the practices of his day always requiring and desiring a degree of independence in all lines, in Bach's "Gigue" from his English Suite no. 1 in A Major, BWV 806, m. 38 note that neither thirds (at the beginning) nor sixths (at the end) are maintained throughout the entire measure, nor any interval for more than four consecutive notes, but rather that the bass line is given its own part[2].
The Italian sixth moving to V. Play (help·info) Note that the third of the first chord (tonic, C) is doubled.
Consideration of doubling is important when following voice leading rules and guidelines, for example when resolving to an augmented sixth chord never double either notes of the augmented sixth, while in resolving an Italian sixth it is preferable to double the tonic (third of the chord)[4].
Some pitch material may be described as autonomous doubling in which the part being doubled is not followed for more than a few measures often resulting in disjunct motion in the part that is doubling, for example, the trombone part in Mozart's Don Giovanni
Blind octave..
In music, a blind octave is the alternate doubling above and below a successive scale or trill notes: "the passage being played...alternately in the higher and lower octave."[1] The device is not to be introduced into the works of "older composers," (presumably those preceding Liszt).[2]
Blind octave passage on C major scale followed regular two octave passage (with blind octave notes in red) Play (help·info).
Alternately, a blind octave may occur, "in a rapid octave passage when one note of each alternate octave is omitted."[3] The effect is to simulate octave doubling using a solo instrument.
In music, consecutive fifths (sometimes known as parallel fifths) are progressions in which the interval of a perfect fifth is followed by a different perfect fifth between the same two musical parts (or voices): for example, from C to D in one part along with G to A in a higher part. Intervening octaves are irrelevant to this aspect of musical grammar; for example, parallel twelfths (i.e., as created by successive intervals of an octave plus a fifth) are equivalent to parallel fifths.[nb 1]
Though used and evocative of various kinds of popular, folk, and medieval musics, parallel motion in perfect consonances (P1, P5, P8) is strictly forbidden in species counterpoint instruction (1725–present)[2] and during the common practice period, the use of consecutive fifths was strongly discouraged. This was primarily due to the notion of voice leading in tonal music, in which, "one of the basic goals...is to maintain the relative independence of the individual parts."[3] A common theory is that the presence of the 3rd harmonic of the overtone series influenced the creation of the prohibition.
Development of the prohibition
Singing in consecutive fifths may have originated from the accidental singing of a chant a perfect fifth above (or a perfect fourth below) the proper pitch. Whatever its origin, singing in parallel fifths became commonplace in early organum and conductus styles. Around 1300, Johannes de Grocheo became the first theorist to prohibit the practice.[citation needed] However, parallel fifths were still common in 14th-century music. The early 15th century composer Leonel Power likewise forbade the motion of "2 acordis perfite of one kynde, as 2 unisouns, 2 5ths, 2 8ths, 2 12ths, 2 15ths,"[cite this quote] and it is with the transition to Renaissance-style counterpoint that the use of parallel perfect consonances was consistently avoided in practice. The convention dates approximately from 1450.[3]
Composers avoided writing consecutive fifths between two independent parts, such as tenor and bass lines.
The fifths did not have to be undisguised, or the only two notes of a melodic line.[clarification needed] The interval may form part of a chord of any number of notes, and may be set well apart from the rest of the harmony, or finely interwoven in its midst. But the interval was always to be quit by any movement that did not land on another fifth.
The prohibition concerning fifths did not just apply to perfect fifths. Some theorists objected also to the progression from a perfect fifth to a diminished fifth in parallel motion; for example the progression from C and G to B and F (B and F forming a diminished fifth).
"The reason for avoiding parallel 5ths and 8ves has to do with the nature of counterpoint. The P8 and P5 are the most stable of intervals, and to link two voices through parallel motion at such intervals interferes with their independence much more than would parallel motion at 3rds or 6ths."[3] "Since the octave really represents a repetition of the same tone in a different register, if two or more octaves occur in succession, the result is a reduction in the number of voices; for example, in a two-voice setting, one of the voices would temporarily disappear, and along with it the rationale of the intended two-voice setting. The octave acts merely as a doubling; if, in a particular instance, it is not intended to act as such, this must be sufficiently emphasized by what precedes and follows it. But even the succession of two octaves brings the sense of doubling into the foreground. Of course, this must not be confused with an intentional doubling used to strengthen sonority, for which, however, strict counterpoint offers no motivation."[4] Similarly, "Parallel 8ves...reduce the number of voices...since the voice that [momentarily] doubles at the 8ve...is not an independent voice but merely a duplication. Parallel 8ves...may also confuse the functions of the voices...If the upper voice succession...is merely a duplication of the bass, then the actual soprano must be...the alto voice. This interpretation of course makes no sense, for it turns the texture inside out."[5] "Parallel 5ths are avoided because the 5th, formed by scale degrees 1 and 5, is the primary harmonic interval, the interval that divides the scale and thus defines the key. The direct succession of two 5ths raises doubt concerning the key.
The identification and avoidance of perfect fifths in the instruction of counterpoint and harmony help to distinguish the more formal idiom of classical music from popular and folk musics, in which consecutive fifths commonly appear in the form of double tonics and shifts of level. The prohibition of consecutive fifths in European classical music originates not only in the requirement for contrary motion in counterpoint but in a gradual and eventually self-conscious attempt to distance classical music from folk traditions. As Sir Donald Tovey explains in his discussion of Joseph Haydn's Symphony no. 88, "The trio is one of Haydn's finest pieces of rustic dance music, with hurdy-gurdy drones which shift in disregard of the rule forbidding consecutive fifths. The disregard is justified by the fact that the essential objection to consecutive fifths is that they produce the effect of shifting hurdy-gurdy drones."[6] A more contemporary example would be guitar power chords.
In the course of the 19th century consecutive fifths became more common, arising out of new textures and new conceptions of propriety in voice leading generally. They even became a stylistic feature in the work of some composers, notably Chopin; and with the early 20th century and the breakdown of common-practice norms the prohibition became less and less relevant.[7]
Related progressions
Unequal fifths
Unequal fifths, motion between perfect and diminished fifths is often avoided, with some avoiding only motion one way (diminished to perfect fifth or perfect to diminished fifth) or only if the bass is involved.[8] Notice that unequal fifths resemble similar rather than parallel motion, since the perfect fifth is seven semitones and the diminished fifth is six semitones.
[edit]Parallel octaves and fourths
Introduction to Sousa's "Washington Post March," m. 1-7 Play (help·info) features octave doubling.[9] Prohibition does not apply as the parts are not independent, octaves are not parallel but doubled.
Consecutive fifths are avoided in part because they cause a loss of individuality between parts. This lack of individuality is even more pronounced when parts move in parallel octaves or in unison. These are therefore also generally forbidden among independently moving parts.[nb 2]
Parallel fourths (consecutive perfect fourths) are allowed, "even though a P4 is the inversion of a P5."[1] The literature deals with them less systematically however, and theorists have often restricted their use.[citation needed] Theorists commonly disallow consecutive perfect fourths involving the lowest part, especially between the lowest part and the highest part. Since the beginning of the common practice period, it has been theorized that all dissonances should be properly resolved to a perfect consonance (there are few exceptions). Therefore, parallel fourths above the bass are generally dismissed in voice leading as a series of consecutive unresolved dissonances. However parallel fourths in upper voices (especially as part of a parallel "6-3" sonorities) are common, and formed the basis of fifteenth-century fauxbourdon style. As an example of this type of allowed parallel perfect fourth in common practice music, see the the final movement of Mozart's great A minor sonata whose theme in mm. 37-40 consists of parallel fourths in the right hand part (but not above the bass).
Hidden consecutives
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So-called hidden consecutives, also called direct or covered octaves or fifths,[10][nb 3] occur when two independent parts approach a single perfect fifth or octave by similar motion instead of oblique or contrary motion. A single fifth or octave approached this way is sometimes called an exposed fifth or exposed octave. Conventional style dictates that such a progression be avoided; but it is sometimes permitted under certain conditions, such as the following: the interval does not involve either the highest or the lowest part, the interval does not occur between both of those extreme parts, the interval is approached in one part by a semitone step, or the interval is approached in the higher part by step. The details differ considerably from period to period, and even among composers writing in the same period.
An important acceptable case of hidden fifths in the common practice period are horn fifths. Horn fifths arise from the limitation of valveless brass instruments to the notes of the harmonic series (hence their name). In all but their extreme high registers, these brass instruments are limited to the notes of the major triad. The typical two-instrument configuration would have the high instrument playing a scalar melody against a lower instrument confined to the notes of the tonic chord. Horn fifths occur when the upper voice is on the first three scale degrees.
Traditional horn fifths actually come in pairs. Begin with the upper instrument on the third scale degree and the lower instrument on the tonic. Then move the upper instrument to the second scale degree and the second instrument down to the fifth of the chord. Because the distance from 5 up to 2 is a perfect fifth, we have just created a hidden fifth by descending motion. The first instrument can then complete its descent to 1 as the lower instrument moves to 3. The second hidden fifth of the pair is obtained by making the upward maneuver a mirror image of the downward maneuver. The reason that these fifths are acceptable is that one would otherwise have to commit the gaffe of doubling the third scale degree at the octave, or else forbid the low instrument from using that degree (therefore giving him only the tonic and fifth to work with). Although traditional horn fifths come in pairs and in passing, the acceptability of horn fifths has been generalized to any situation of hidden fifths where the top voice moves by step.
Special uses and exceptions in early music
Consecutive fifths are typically used to evoke the sound of music in medieval times or exotic places. The use of parallel fifths (or fourths) to refer to the sound of traditional Chinese or other kinds of Eastern music was once commonplace in film scores and songs. Since these passages are an obvious oversimplification and parody of the styles that they seek to evoke, this use of parallel fifths declined during the last half of the 20th century.
In the medieval period, large church organs and positive organs would often be permanently arranged for each single key to speak in a consecutive fifth. It is believed this practice dates to Roman times. A positive organ having this configuration has been reconstructed recently by Van der Putten and is housed in Groningen, and is used in an attempt to rediscover performance practice of the time.
In Iceland, the traditional song style known as tvísöngur, "twin-singing", goes back to the Middle Ages and is still taught in schools today. In this style, a melody is sung against itself, typically in parallel fifths.
Georgian music frequently uses parallel fifths, and sometimes parallel major ninths above the fifths. This means that there are two sets of parallel fifths, one directly on top of the other. This is especially prominent in the sacred music of the Guria region, in which the pieces are sung a cappella by men. It is believed that this harmonic style dates from pre-Christian times.
Consecutive fifths (as well as fourths and octaves) are commonly used to mimic the sound of Gregorian plainsong. This practice is well-founded in early European musical traditions. Plainsong was originally sung in unison, not in fifths, but by the ninth century there is evidence that singing in parallel intervals (fifths, octaves, and fourths) commonly ornamented the performance of chant. This is documented in the anonymous ninth-century theory treatises known as Musica enchiriadis and its commentary Scolica enchiriadis. These treatises use Daseian music notation, based on four-note patterns called tetrachords, which easily notates parallel fifths. This notation predates Guido of Arezzo's solmization, which divides the scale into six-note patterns called hexachords, and the modern octave-based staff notation into which Guido's gamut evolved.
Mozart fifths
In Brahms' essay "Octaven und Quinten," he identifies many cases of apparent consecutive fifths in the works of Mozart. Most of the examples he provides involve accompaniment figuration in small note values that moves in parallel fifths with a slower moving bass. The background voice-leading of such progressions is oblique motion, with the consecutive fifths resulting from the ornamentation of the sustaining voice with a chromatic lower neighbor. Such "Mozart Fifths" occur in bar 254-255 of the Act I finale of Così fan Tutte, and in bar 80 of the Act II sextet from Don Giovanni.
Another use of the term "Mozart fifths" results from the non-standard resolution of a German augmented sixth chord in the retransition of the finale of the Jupiter Symphony (bars 222-223). Mozart (and all common-practice composers) almost always resolve German augmented sixth chords to cadential six-four chords to avoid these fifths. The Jupiter example is unique in that Mozart spells the fifth enharmonically (A-flat and d-sharp) as a result of the progression arising from a B-major harmony (presented as a dominant of e-minor). Arnold Schoenberg humorously refers to these as acceptable only because Mozart wrote them.[11] Other theorists have tried to make the case that this resolution of the augmented sixth chord is more frequently acceptable. "The parallel fifths [in the German sixth] arising from the natural progression to the dominant are always considered acceptable, except when occurring between soprano and bass. They are most often seen between tenor and bass. The third degree is, however, frequently tied over as a suspension, or repeated as an appoggiatura, before continuing down to the second degree" [12]. However, seeing as the vast majority of German augmented sixth chords in common-practice works resolve to cadential six-four chords to avoid parallel fifths, it can be concluded that common-practice composers deemed these fifths undesirable in most situations.
Open chord
Violoncello chord on C Play (help·info). Bottom two strings are opeIn music, especially guitar, an open chord (open-position chord) is a chord that includes one or more strings which are not fretted (not fingered), as opposed to a barre chord, where all of the strings are fretted. Thus in an open chord the strings ring, or sound, freely and fully.
'Cowboy' chord on C Play (help·info)[1].
Partial 'cowboy' chord on C Play (help·info)[1] (diminished chord).
In music, cowboy chord refers to open chords, chords with one or more open strings played within the first few frets, for example G major[2]. See voicing (music). Angus Young of AC/DC is particularly well known for his use of open-position chords[3].
The following sus and seventh chords (dominant and minor seventh) are also examples[4]:
Dsus4:[XX0233]
Dsus2:[XX0230]
Asus4:[X02230]
Asus2:[X02200]
Gsus4:[3X0013]
D7: [XX0212]
A7: [X02020]
G7: [320001]
E7: [020100]
B7: [X21202]
Em7: [0200(3)0], note: "(3)" is optional, may be 0 for an Em chord
Am7: [X0201(3)]
Dm7: [XX0211]
Bm7: [X20202]
The 'cowboy' chord is the dominant seventh chord fretted on the guitar[1]. If C7 the chord is played on the eighth fret.
Chords
By type
Triad
Major Minor Augmented Diminished Suspended
Seventh
Major Minor Dominant Dominant seventh flat five Diminished Half-diminished Diminished major Minor-major Augmented major Augmented minor Altered seventh Nondominant Harmonic seventh chord
Extended
Ninth Eleventh Thirteenth Upper structure
Added
/ omitted
Sixth Minor sixth Augmented sixth Power chord Lydian chord Seven six chord
By function
Diatonic
Tonic Dominant Subdominant Supertonic Mediant Submediant Leading / Subtonic
Altered
Approach Borrowed Chromatic mediant Dominant 7♯9 chord Neapolitan chord Passing
Secondary
Secondary dominant Secondary leading-tone Secondary supertonic
With names
Complexe sonore Dream chord Elektra chord Farben chord µ chord Mystic chord Northern lights chord Petrushka chord Power chord Psalms chord So What chord Spider chord Tristan chord Viennese trichord
Other
Common chord (music) Mixed interval Open chord Polychord Primary triad Quartal and quintal Slash chord Subsidiary chord Synthetic chord Tone cluster
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