A long time ago, in a galaxy far away, I had NO concept of why music worked, why chords were formed the way they are, and so on. I looked in libraries and tried to find the information that I wanted, but nearly everything was oriented on spending years in school taking some class that I had absolutely no time for, because of one thing or another. Then, I stumbled on a rather concise book written by a guy named "Bugs Bower", a horn player, called "Chords and Progressions", which had everything laid out in a rather straightforward manner. I found THIS to be what I was looking for. Incidentally, it was being used by Joe Marillo, a local San Diego musician (sax player), to teach theory to his students. So, for those who want to know the basics of music theory, without going through a lot of 'garbage' to get the information, it's all here. All of it. Well, most of it, anyway.
Modern music, derived from the music of the European Rennaissance, is based on a 12-note scale that is formed
logarithmically. Each octave doubles the pitch (or frequency) of the previous octave. It is the way in which we
hear the sounds with our ears, so naturally our music reflects the same 'logarithmic' pattern. Each note in the
scale can therefore be formed by increasing the pitch (multiplying its frequency) of the previous note by the
12th root of 2, and the difference between 2 notes in the 12-note scale is referred to as a 'half step'. OK, in
English: The standard 12-note scale defines 'A' at 440Hz, or 440 cycles per second. 'A' at the next octave up
would be 880Hz, and the next octave up would be 1760 Hz. About half-way (in pitch) between 'A' and the
next 'A' is 'E', which happens to be the '5' note in the scale, and is also the 8th 'half step'
(more on this later). It's frequency is approximately 660Hz (though not exactly). These two notes, 'A' and 'E',
form the basis of most of the 'A' chords, because the mixture of the two tones of 'A' (440 Hz) and 'E' (660 Hz)
form a 'sum' and 'difference' set of frequencies at 220Hz (also an 'A'), and 1100Hz (5 times the 'A' one octave below),
both of which are frequency multiples of 'A'. It should be worth noting that it is the relationship between the
frequencies of the various notes which give each chord its tonal qualities, and those notes which form
sum and difference frequencies that are multiples of the 'fundamental' note for the chord are considered
to be most pleasing to the ear.
Fortunately, nobody is going to make you sit down with a calculator and determine which notes form pleasant frequency combinations. Rather, let's rely on the work done by centuries of musicians (some famous, some not) and music theoreticians, and provide a list of these valid combinations.
Of important note: though other scales exist, such as that used by Chinese classical music, or Middle-Eastern music, the focus of this page is on the 'European Rennaissance' 12-note scales. I have already received one e-mail reminding me of this, so I have taken the effort to distinguish which scale I am referring to, while at the same time edifying others who may not be aware that other musical scales exist.
The 12-note MAJOR scale follows the pattern indicated below:
whole step, whole step, half step, whole step, whole step, whole step, half step
This forms a full 8-note "octave", consisting of 7 notes plus the first note at the next highest pitch. An example of this is the 'C' scale, which consists of 'C, D, E, F, G, A, and B', plus 'C' again at the next highest octave. By convention, each note in the scale is referred to by number, such that the 'C' would be the '1' note in the 'C' scale, the 'D' the '2' note, the 'E' the '3' note, and so on. This is how various chords are named, so that a 6th chord contains the '6' note, and so forth. For some chords this continues on into the next octave, such as a '9' or a '13' chord, and by convention some extra notes may be thrown in to make it sound nice (as with the '9' chord), generally a flatted (or dominant) 7.
Other scales also exist (minor, whole-tone, etc.) but can usually be expressed in terms of one of the major scales, with sharps or flats added in appropriate places. The major scale, though, corresponds with the 'do re mi' notes that we are all so familiar with, and forms the basis of the other scales.
Incidentally, if you are not already aware, a 'sharp' note merely adds a half step to a note. The notes in the 'C' scale have no sharps or flats in their names, and correspond to the white keys on a modern piano (some really old pianos have mostly black keys, contrary to modern ones). Other scales, beginning with notes other than 'C', can be formed by starting on the appropriate note, and using the 'whole step whole step half step whole step whole step whole step half step' pattern to form the scale, thus adding a 'sharp' or 'flat' to the appropriate notes to form the scale, according to a few rules (indicated below):
OK - those of you who already know something about music theory: Since F has one flat, and B-flat has two flats, and F-flat has 8 flats (the 'B' is double-flat), what has 17 flats?
Answer: An 18-wheeler with one good tire.... :)
In a nutshell, the following is a list of each major scale, and the appropriate number of sharps or flats that it uses, in their appropriate 'cycle of 5th' order:
Incidentally, some musicians will denote a key (major scale) by indicating the number
of sharps or flats that it has with the number of fingers pointed up (sharps) or down
(flats). In other words, 3 fingers down means key of Eb, a really nice key for alto
sax players. So, next time you see a piano player or band leader point 3 fingers at
the floor right before beginning a song, you'll know why...
A discussion of minor scales and major scales, leads us right into CHORD FORMATION. The following is a brief list of all of the basic chords, and the notes that form them.
Other chords also exist, and follow some simple rules. Basically, any numbers following the letter indicate additional notes other than the standard ones. A 'Maj' in front of a number indicates that the 7 is not flatted for this chord. A 'Dom' (or no 'Maj') indicates that the 7 *is* flatted. A 'Minor' chord has a flatted 3 note, and always a flatted 7 (when present). 'Sus' chords use a 4 in place of the 3, 'Dim' chords use a flatted 3 and flatted 5, and 'Aug' chords use a sharped 5.
Confused yet? Wait... there's more! Go get a soda, sit down, relax, and then come back if your brain is hurting right now. Let some of this stuff get absorbed, because it gets better. Trust me.
Normally, when playing a song in a particular scale (or key), you will find that certain chords are
nearly always used. Not always, but nearly always. The notes within the key form certain chords
without the need to add extra sharps or flats. Below is a list of the chords, the relative
position within the key, and the technical term (for those who want to know). This example will be
using the key of 'C', because it's simpler to see on a piano keyboard. NOTE: Roman numerals are used
to denote the chords, as opposed to Arabic numerals for notes.
For sharps, it's similar:
B, E, A, D, G, C (or B#), F (or E#), A#, D#, G#, C#, F#, B, etc.
As an exercise, on YOUR instrument try playing these notes as major chords, in the 'cycle of 5ths' order, and you will probably get a better perspective on where the cycle of 5ths comes from and why it exists. Essentially, the chords represent a natural progression from one chord to another, that you can find in many many places. In fact, one of my favorite 'bridges' within a blues or jazz song goes something like this (in the key of 'C'):
F6, F minor 7, E minor 7, A minor 7, D minor 7 (or D minor 9), G7, C6
The F6 to F minor 7 is a half-step alteration of 2 notes, the 3 to a 3b, and the 6 to a 7b. The E minor 7 just happens to contain the same notes as a C major 9, minus the 'C', which (essentially) means that a shift from an F minor 7 to to an E minor 7 is similar to a shift from 'F' back to 'C' (cycle of 5ths). Then, using the E minor 7, the next chord FORWARD in the cycle of 5ths would be 'A something', or in this case an A minor 7, followed by D minor 7 (next in cycle of 5ths), G 7 (next in cycle of 5ths), and finally C6 (the 'I' chord, or Tonic). Since the E minor 7 is really a substitue for C6 (more on this later) you can really keep this going indefinitely, or until the audience gets tired of hearing it, by going from the G7 back to an E minor 7, and continuing something like this:
F6, F minor 7, |: E minor 7, A minor 7, D minor 7 (or D minor 9), G7 :|, C6
(the '|:' represents opening repeat, and ':|' ending repeat for this example)
And, if you wish to make an entire song out of this (in blues style), use chords something like THIS in the key of 'C':
C6, F6, C6, C13, F6, F minor 7, E minor 7, A minor 7, D minor 9, G7, C6, Bb 9, F6, F minor 7, E minor 7, A minor 7, D minor 9, G7, E minor 7, A minor 7, D minor 9, G7, C major 9
(now doesn't that beat a 3-chord special, with C, F, and G?)
On a 'Jazzier' note, there's also the '2,5,1' straight-ahead progression. Using
chord substition (hinted at in the previous section), this can become rather complex.
Basically, a substitute chord will contain 2 or more notes from another chord that
defines the sound of the chord you are substituting for. Even though certain notes
have been omitted, or substituted with notes belonging to the substitute chord, the
basic sound still remains. This is especially useful if you are trying to follow a
'cycle of 5ths' while remaining within the key (as in the example above). But, often
the chord substitution is used to add 'color' to a song, while not deviating from a
particular pattern of chords, such as the '2,5,1' progression. As an example:
D minor 7, G7, E minor 7, A minor 7, D minor 7, G7, C major 7, A minor 7,
D minor 7, G7, E minor 7, A minor 7, F major 7, F minor 9, E minor 7, A minor 7,
D minor 7, G7, C major 7
(The 'A Flat Jam' is an example of a song that uses the 2,5,1 progression)
The II chord in the '2,5,1' progression is the D minor 7, the V chord is the G7, and the I chord is the C major 7. Alternate to the 'I' chord is E minor 7, and A minor 7 (which together follow the cycle of fifths back to the II chord). By substituting these 2 chords for the C major 7, a definite variety and sense of "progression" is added that wouldn't have been there before. In addition, I went ahead and added an F major 7, which (by the way) substitutes for the D minor 7 'II' chord. The F major 7 to F minor 9 progression leads into the E minor 7 (as before), then follows the cycle of fifths back to the 'I' chord. Elementary, my dear Thelonias!
The following is a 'short list' of possible substitute chords. The basic principle
is that certain notes in common to both form the sound, and I'll try to indicate
which notes are common in each case (but please bear with me in case of error).
C major: C, E, G ('C' on bass one octave below)
C major: C, E, G ('E' on bass one octave below) (can be written as C/E)
F major: C, F, A ('F' on the bass one octave below).
The chord change itself left one note the same (the low 'C' in the chord). On a piano, the left hand might 'octave' the bass note for this example, adding a great emphasis to its effect on the chords. (I am intentionally NOT placing a score here, because I'm trying to help you think of the chord formation in terms of the theory, and NOT in terms of the mechanics). By leaving one note the same, playing a 2nd inversion on the chord, you not only add the 'suspense' following the chord change, but you minimize the amount of change required to play the new chord. 2 notes change by one whole step, one does not change. The bass line progresses from C to E to F, a natural 'upward moving' change. Aside from its use in Jazz, Tchaikovsky often used progressive changes like this (as well as the use of 2nd inversion to create suspense) in his music. Listen carefully to the 'Waltz' from Swan Lake for a perfect example - how long does he hold that V chord??? Just long enough to put you on the edge of your seat!
Additional concepts in voicing involve the use of 'cluster' chords (chords in which all of the notes
appear close together), which often creates a sense of dissonance, and is often used in Jazz music,
or the 'spreading' of a chord across several octaves (either on a piano, or in an orchestra). Often,
the bass clef is far too low to place notes like 1, 3, and 5 close to one another. However, you CAN
create an 'octaving' effect (essentially, 1 and 8), or use 1 and 5, or 3 and 8 together. Playing a 'C'
chord on the left hand on a piano ('standard form') can therefore use C and G and still sound ok, or use
an E and the 'C' above it (1st inversion) and sound 'ok'. The remainder of the chord can then be spread
across 3 octaves by doing a 'stretch' between the left and right hands. Incidentally, this works very
well for a minor 9 chord, which tends to sound rather 'cluttered' when played within a single octave;
however, playing the 'D' note as the HIGHEST note in a C minor 9 (across 3 octaves) adds a real 'jazzy'
sound, and makes a nice ending chord for a blues song (as in the Windows 95 Blues).
Often time, to avoid repetition and boredom in an otherwise 'hit' song, you can add a 'bridge' somewhere in
the middle of it that differs significantly enough from the rest of the song, though similar enough as not to
detract from the continuity provided in the rest of it. A good example of this is found in
The 80's Forever, where I repeat the main section twice, do one 'bridge', go back
to the main section, another bridge, and a final repeat of the main section again. Though a lot of repeating
occurs, it no longer sounds 'repetitious' due to the existence of the 'bridge'.
Typicall, a 'bridge' section involves some kind of key change, though not so dramatic that you need to change the key signature on the score (if you even bother to write it down on sheet music... "Hey, look everyone, this guy can actually read the notes"). Typically, you'll just run up the cycle of fifths to the 'IV' chord in the current scale (example: if you WERE in 'C', then the bridge is (effectively) in 'F'). Naturally you'll need a "cool" way of transitioning back to the I chord (generally a cycle of 5ths transition). It always helps me to consider what this chord is before I write the 'bridge'; that way, I can plan how to 'get back' before I get to the point where I have to 'get back'.
So, if you are in the key of 'C', you'll need the 'V' chord in the scale (or a substitute of it) to get back to the 'C' again. This means you'll here a 'G', or a substitute of a 'G' chord, at the end of your bridge. In this case, a G Minor is adequate, though not preferred. A typical substitute of a G Minor 7, however, would be a Bb6 or Bb6-9, as they have the common Bb, D, and F... in fact, you could also substitute a Bb6-9 chord for an F11, making it possible to transition TO the Bb6-9 from the C using the same cycle of 5ths. Incidentally, this idea makes it possible to alternate between 2 chords that are 1 whole step apart, an effective echnique to employ in a bridge if you lack any particular ideas. So, for a song in 'C', you might have a bridge like THIS:
F, Eb, F, Eb, F, Eb, F, G, C
And, to avoid repition, use substitute chords, like this:
F, Eb, D Minor 7, G Minor, A Minor, Bb, F, G, C (so I cheated a little on the Bb - whatever)
Of all of the possible 'bridge' sequences, though, the one I like the best is what I would call the "How High The Moon" progression. Those of you who've ever heard this song probably know what I'm talking about. The song "How High The Moon" is a Jazz standard that employs a set of chromatic key changes (each time going down by a whole step) by a rather creative use of the cycle of 5th's. The chord progression goes something like this (beginning in the key of 'E'):
E, E Minor, A, D, D Minor, G, C ...
Without displaying the entire song (or enduring the criticism should I get one or more chords wrong while attempting to transcribe from memory) I think the above example is sufficient in illustrating what I mean by a "How High The Moon" progression. Basically, starting with the I chord in the current key, you transition to the VIIb using the following sequence:
I, I Minor, IV, VIIb
The VIIb now becomes the 'I' chord in the next series. Typically, as a 'bridge', the progression will actually start from the IV chord in the original key, so that if your song is in 'C', the 'I' chord for this progression would begin with the 'IV' chord in the key of 'C', in this case an 'F'. You can then repeat this basic progression a couple of times, then transition back to the original key using the 'V' chord in the original key as the final transition chord (in this case, a 'G'). Now that you've been completely confused, I'll give you an example, starting with a simple song in the key of 'C':
C, F, G, C, C7, F, F Minor, Bb, Eb, Eb Minor, Ab, Db, Db Minor, Gb, G, C
Although there are probably BETTER and more creative ways of getting back to a 'G' from somewhere within
this progression, a half-step upward progression is acceptable, going from the Gb to the G. Ideally, though
you'd use some kind of substitute chord that did a cycle of 5th's transition to the G. Since 'D' transitions
to G, a substitute of D (including minors) might be: F, F# Minor (or Gb Minor), Bb, B Minor, and so on.
You can apply a few basic principles for transitions, substitutions, and the infamous "what chord do I play next" question when improvising or composing. Some of these are:
In Space Thriller I did a sequence similar to this for the bridge, ending up on the V
chord for 2 measures, and not enough space to do anything else. So, I ended up doing my transition as a set
of chord inversions, which gave the impression of an increasing pitch, since the highest pitched note in a
chord makes the 'melody' sound that you often hear when only chords are played. Basically, I did a 2nd
inversion Gb chord (3 note is highest note), followed by a G4 (same inversion) (4 note is highest note),
followed by a 'Standard Form' Gb (5 note is highest note), followed by a Gb Augmented chord (which
sharps the 5 note, increasing its pitch by a half step). This caused the effective melody to progress as
3, 4, 5, 5#, which then took 2 measures of the same chord and built a 'suspense' effect into it. A Gb4
chord is like a 'Gb suspended' chord except that it typically also contains the 3 note, for a different
effect on the sound. As well, Gb is also the V chord in the Bb scale, which creates a suspense effect in
and of itself (as in Swan Lake, example noted above). Also, a chromatic upward progression causes a 'suspense'
effect, and the final 'augmented' version of Gb is 'suspense' implying progression to the next chord. So,
instead of having 2 measures of Gb sound 'boring', it effectively puts you in a state of 'suspense', building
a nice progression back into the main 'movement' (after all, it IS a classical piece).
Often times a chord will be denoted using a 'shorthand' form. I have avoided using this form up until now because its use tends to make the writing more confusing, and people would likely be referring back to the shorthand, rather than just reading the long descriptions of the chords. So, I'll summarize the shorthand usage below:
Therefore, a chord progression as follows
D minor 7, G7, E minor 7, A minor 7, D minor 7, G7, C major 7, A minor 7, D minor 7, G7, E minor 7, A minor 7, F major 7, F minor 9, E minor 7, A minor 7, D minor 7, G7, C major 7
could also be expressed as follows:
D-7, G7, E-7, A-7, D-7, G7, Cmaj7, A-7, D-7, G7, E-7, A-7, Fmaj7, F-9, E-7, A-7, D-7, G7, Cmaj7
But, one of the greatest obstacles to overcome is the fact that computerized music often sounds "too perfect". It is an interesting paradox that music that is 'perfect' (i.e. all instruments perfectly in tune, all in perfect time sequence with each other and the musical score) sounds less appealing than music that has slight imperfections. This is especially true with large orchestras, for it is the IMPERFECTIONS that give it the characteristic "large orchestra" sound.
I call this effect, the "Un-Uncanny Mountain". I derive it from the term Uncanny Valley, a term often used in robotics and CG. It's related to how 'human' a robot or computer-generated character looks and acts, and how willing people are to accept it. A robot that's "not quite human" may cause people to react with revulsion, whereas the same people would be willing to accept a robot that's either LESS human, or MORE human, but not THAT one, because it's within the 'Uncanny Valley'.
This 'Un-Uncanny Mountain' (inverted 'Uncanny Valley') effect applies the same with human voices as with instruments. The sound of many 'close to perfect' voices form a 'choir' sound, or multiple strings on an instrument form a 'piano' sound, or the sound of a 12-string guitar, or an ensemble. It differs greatly from the sound of a soloist, even if the choir (or ensemble) is singing (or playing) the exact same note! Some of the MIDI patches have attempted to compensate (certain string and brass patches) using an electronic chorus or slightly detuned VCOs, but the overall effect of such enhancements isn't always what is desired. And the slight uneven pitch of a good soloist is actually PREFERABLE to something that is 'too perfect', which is one reason why I despise 'Auto-Tune'.
So, within a couple of the MIDI files that I've created, I've 'de-tuned' some of the instruments, and played
them in unison. The results have been very effective in creating a 'big band' or 'orchestra' sound, where
without 'de-tuning' any instruments, all voices play exactly the same frequency, and you cannot tell the
difference between 1 instrument and 5 instruments playing the same note. The 'de-tuning' effectively inserts
an 'imperfection' into the music, but the music sounds better as a result of it. In my case, I used a static
de-tuning, specified by a constant 'pitch bend' factor, some sharp and some flat, with approximately equal
numbers of instruments on either side of 'zero'. Additionally, in one of them I effectively inserted very short
(1/128th, 1/64th, 3/128th, etc.) rests at the beginning of certain tracks (each having a slightly different
'initial rest') to delay its starting slightly, and thereby simulate the natural timing imperfections of multiple
musicians in a large orchestra (I could have also appropriately lengthened or shortened certain notes, but it
would make the scores look ugly).
As an example, two MIDI version of the Stan Kenton Orchestra's "Intermission Riff" use varying degrees of the above techniques. The first version uses de-tuning on 5 different woodwind tracks to help create an orchestra effect. This works well, but doesn't sound all that "natural", so in the second version I added "random timing imperfections", small enough to go unnoticed (normally), but enough to make a difference in the overall sound.
Obviously, an orchestra sounds VERY BAD when the 'imperfections' are too great. One or more instruments grossly out of time, or grossly out of tune, sticks out like a sore thumb and severely detracts from the remainder of the orchestra. I certainly wouldn't want to be THAT musician (even though woodwind players can always blame a 'cracked reed' if they want to). Yet, unless an infinitesimally small imperfection is present, the orchestra won't sound right either. Fortunately, the physics of the instruments themselves, and the inability of people to tune them PERFECTLY within 6 decimal places of accuracy, automatically cause the necessary imperfections to occur.
For those of you who would like to know, Windows '95 maps GENERAL MIDI channel #10 as percussion. By using MIDI channel 10 you can invoke various drum sounds by playing particular notes to this MIDI channel. The actual mapping of the individual notes to a particular drum sound was unknown to me until I purchased a wave table card and began experimenting to find out how to create the 'drum sounds' that most of the sample MIDI files had in them. Once I discovered how to use it, I updated my MIDI files to use the "real" drums. I also produced a chart, which you may find useful if you use a note-based MIDI sequence application (like "The NoteWorthy Composer"). You can view or download this 'percussion mapping' chart (text only) by mousing-clicking HERE.
Now, I would NEVER consider myself to be a professional voice trainer, nor someone
who is an expert in the various techniques of voice, specifically with respect to chorale and opera
and other areas of music that often require extensive voice training to master. I have associated
with such people, and have received voice coaching myself in the past, and it is those experiences I
shall attempt to convey here...
So, following the above disclaimer, let us proceed forward.
So, without me being there to demonstrate, you can try the following exercise: First, make sure you're
alone, or that others are doing the same (to avoid embarassment). Second, stand up straight (no sitting),
breath deeply, and sing quarter note scales (like C,E,G,E,C,C,C
It never hurts to do exercises like this during warmup before any performance, by the way. It often gets everything 'ready', like an athlete stretching before a run, or throwing the baseball around the diamond before the inning begins. Other exercises exist, of course, but they're usually of the 'scale' variety, like the one above, and are designed to 'loosen you up' and condition your throat and diaphragm for an extended performance. And, it's often what 'the pros' do, in one form or another.
A common technique in vocals is to "over-annunciate" the consonants, and sometimes the vowels, of the words that you are singing. You've probably heard a LOT of 'pop' music vocalists who sound like they're slurring everything (Robert Plant and Mick Jagger being the most OBVIOUS I can think of at this time). It's very simple to explain that they are NOT over-annuniciating when they sing. If you don't believe me, just try taping yourself singing anything, FIRST by singing it without over-annunciating the words, and then by over-annunciating them, and see the difference yourself (it will make a believer out of ya!).
So, how do you over-annunciate properly?
The best techniques I've seen came from singing in amateur choirs a few times, along with other excellent musicians, some of whom are professionals (just being in the same room with professionals can help a LOT). In order to keep the blending effect of multiple voices from rendering the entire performance unintelligable, we would alter our pronunciation like this:
There are other examples of how to improve annunciation, some of which I'm sure I don't know. But, the above 3 examples should illustrate the BASIC PRINCIPLE, which is what this Music Theory Web Page is all about.
Believe it or not, producing good vocal harmonies is not so difficult, even if you've never attempted it before. Simply ask yourself if there's anything ELSE you're familiar with that (by its nature) produces multi-note harmonies, and use that as a guideline. A piano, or even a guitar, makes a good "testing ground" or basis for vocal harmonies. In the same way you'd play each note in a chord on the piano, you can have individual vocalists sing the same notes to form a chord with vocal harmony.
In some cases, though, you might just simply want a 2nd note harmony to go with a new song, something that hasn't already been charted. You know the melody well, and you know what the chords are in the song. A simple technique for harmonization would be to pick a note in the 'main' chord of the song, the chord formed from the key signature. As an example, for a song in the key of 'C', let's pick the '3' note, the 'E'. Then, apply the usual sharps and flats to it (when needed), and sing around THAT note, staying on a note that's compatible with the current chord in the song. This is a guaranteed GOOD harmony. Whenever the chord changes in the song, sing the CLOSEST note in the new chord to the one you were on before, always in sync with the chord changes. You can then keep within a few half steps of the same note, and ALWAYS be in the right key, and it will sound pretty good.
INCIDENTALLY, this technique works very well if you have MANY harmony parts and want to avoid having everyone 'step on each other's note', especially when improvising harmonies. So, you might say "I'll take the 3rd, you take the 5th, you handle the 1 and 7, and you do the melody". You now have a successful quartet, singing harmonies and not stepping on each other's notes. Shave and a haircut, 2 bits!
But, ultimately, the harmony parts THEMSELVES should be their own melody line, something pleasant. Sure, those who've sung 'alto' parts in classical choir music might beg to differ (the alto parts usually sound rather strange when sung by themselves), but in general if you can make any harmony form a chord on each note, sing a melody in and of itself (complimentary melodies?), and always stay on a note that's part of the current chord in the song, you should do well. But, when in doubt, play it on a piano or guitar. That should tell you whether or not it will sound good. Or, again, play the chord you want, then assign the individual notes in the chord to the individual vocalists. That works well, too.
One of THE most significant techniques that separate the amateur from the pro is the use (or abuse) of vibrato. No doubt you've heard some people who wiggle their voices like a goat bleating (which I find annoying), and others who flatten their voices TOO much (no vibrato at all). Both are equally bad if not used in their proper places. Too much vibrato where not needed, and too little (or none) where it is needed demonstrate poor vocal technique. Many people become 'vocally handicapped' by relying entirely on the natural vibrato, which changes with age, tiredness, and so on. However, if you can learn to CONTROL your vibrato, you become the master, and can deliver consistent performances, usually with greater dynamics than possible with only a 'natural' vibrato.
My own preferences with vibrato are to NEVER rely on the natural, but take positive control, always. One of the best voices I have heard in mastering the use of vibrato is the late Freddy Mercury, lead vocalist for the British rock group 'Queen' (who was, as I understand, formerly an opera singer). Though I'm sure there are quite a number of others, his voice has been heard by a very large number of people, so I can expect that most of you will understand when I mention his voice and the way he sang.
The next (obvious) question is: HOW do I 'take control' of vibrato? I'm glad you asked ('cause I'm going to tell you). First off, practice singing a constant note, a "Johnny one note", holding the tone for several measures, without ANY vibrato at all. You'll need good wind support to do it. When you can succeed in doing THIS, slowly increase the amount of vibrato (and make it SLOW vibrato), like turning up the 'Tremolo' knob on a Fender guitar amp, or a Hammond organ. When you start, no vibrato. You slowly increase it until you have a vibrato (same rate) that exceeds a whole step in either direction) (too much, obviously). THEN, you slowly DEcrease the vibrato until there is none again, still holding the same note. (Try to time it so you don't run out of air). Then, pick another note and do the same thing, half-step up being the usual order of things. A good vibrato rate would be around 3 'cycles per second', which should sound relaxing as it closely corresponds with the alpha wave frequency of approximately 3.2 Hz. For technique, you may vary the rate (and you might even make it an exercise to do so, if you like).Still, there are times when NO vibrato is crucial. You should not have vibrato continuously when singing, unless the style of the music dictates that you do. Rather, vibrato should become a part of the expression, most carefully reserved for the ends of long notes, where you slowly increase the vibrato towards the end of note (especially if it's several measures long). Vibrato sounds BEST at the end (and can even result naturally to help prevent your vocal cords from cramping, or 'dropping' the note). It's usually much harder to hold a note constant than to have 'just a little' vibrato. So, put it in the right place, and you have a HIGHLY expressive vocal technique, that sounds good in nearly every circumstance (and you don't drop the note, either). Still, there's the case of 'no vibrato'. It has been my experience that harmonies USUALLY sound better if the harmony singers have no vibrato. Sometimes you may not want to do this (as in large choirs), but if only a few people are harmonizing, NO vibrato sounds the best (in my opinion, anyway). .
Above all, the usual "rules of good musicianship" apply: Be on pitch. Be in time. And some would say, 'smile when you sing', or even 'cry when you sing', though often times that's not required. But what seems to make all of the difference in the world is "getting into" whatever you do. Don't just be a 'mechanic', be an ARTIST!
Have fun jammin'!
Last updated: 2/25/2013
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