Vocal harmonies are an arrangement element in just about every genre of music. Traditionally, it’s fallen to the artists/singers and producers to come up with harmony parts, before, or often during, a vocal session, and the rest of the musicians and engineers don’t usually have to give much thought to the specifics (other than to enjoy them when they’re all done).However, nowadays, the same person may be wearing all those hats, and sometimes vocal harmonies are created even after the vocalist is done and gone, utilizing modern pitch editing software to flex and warp the main melody into one or more suitable harmony parts. The technology of this is relatively easy, and may even try to provide an appropriate harmony line (if asked to restrict melodic transpositions to notes within the song’s musical scale).But there’s more to coming up with good harmonies than just pitch-shifting a melody—as any vocalist can affirm. For those who may have never had to come up with harmonies but are suddenly tasked with it, this article will go through a few very basic concepts and considerations for creating vocal harmonies, by whatever means.
- Dial A Note Dial Harmony Dial Music Theory Video
- Dial A Note Dial Harmony Dial Music Theory Pdf
- Dial A Note Dial Harmony Dial Music Theory Youtube
Double up (or down)Possibly the simplest form of harmony (though some might not call it harmony, technically) would be to simply double the main melody. Harmony lines are often described by how many steps (notes) they are above (or below) the melody—in musical terms, that’s an interval—so a simple doubling would be a Unison interval (that is, the same note). To make the added part stand out more, that identical melody line could be taken up or down an Octave (the same pitches, only higher or lower). Octave doublings often sound good mixed in lightly against the main melody, and they’re frequently part of a more complex three- or four-part harmony.
The Third’s the charmBut for that sweet blend of different melody and harmony pitches, the most common harmony line is probably a Third harmony. This is a harmony line that more or less follows the contours of the main melody, but lies a musical Third above the original pitches—a musical Third will be three (minor third) or four semitones (major third) away from the main melody. Fig 1 A melody line (top) and a Harmony line, a Third (more or less) above (bottom)A little quick music theory/terminology background: Pitch-wise, a song is in a particular Key, which consists of 7 primary pitches (including the Tonic—the reference pitch/starting point) in each octave of the standard Chromatic scale that most western music and instruments are based on. These pitches comprise the Scale for that song, based on the Key the song is in—the chosen Tonic—and most melodies are primarily made up of those scale pitches.
Of course, the additional in-between notes are still used, but more in passing than as part of the primary melodic material. Obviously, this is a WAY-oversimplified description of music theory, but there isn’t room to get into all that in any greater detail.Now, I said a Third harmony would more or less follow the contours of the main melody because that interval usually won’t be consistent throughout an entire melody line. To blend properly, the notes of the harmony line have to (mostly) fall within the Scale (the 7 primary) pitches of the song’s Key. This is why you can’t just throw a copy of a melody into a Pitch Editor and simply transpose it up a Third—some notes will inevitably fall outside the song’s Key, and they won’t sit properly against the main melody, or the chords.
Some software can restrict such transpositions to notes that do fall within the key, and you may get a more usable, though simple, automatic harmony that way. Otherwise, you’ll have to manually tweak some of the individual notes in a transposed line (by ear or per music theory), usually by a semitone or so, until they all conform to the scale, for a harmony that will work properly and sound good.Audio Example 1—A melody (two phrases) simply transposed up a Third, with notes that fall outside the Scale of the song’s Key; that same transposed harmony line, with the notes edited to conform to the Scale; a (slightly different) performed harmony, overdubbed by the same singer. Other intervalsOf course, musical Thirds (and octaves) are not the only suitable intervals for a harmony line, and multi-part harmonies that would be based on the chords that fall within the song’s Key would incorporate various intervals (which I don’t have the space to get into). However, simply following the contours of the main melody note-for-note—whether a single harmony line or a multi-part harmony—is not the only way, or necessarily the best way, to come up with a good harmony part. When this is done, it would usually be referred to as a “tight” harmony, and they certainly can sound sweet and work out nicely in many cases.
But when a singer performs a harmony part, as often as not, there’s more variation in it. Selective harmoniesWhile some main melodies may take to a classic Third harmony that follows note-for note, others won’t be so amenable. Many melody lines incorporate passing tones or blue notes—pitches that fall outside the Scale of the song’s key, and are incorporated for musical effect. You wouldn’t want to harmonize these notes—besides probably over-accentuating the deviations from the Scale (that work best when incorporated subtly), harmonizing passing tones and throwaway notes can end up sounding stiff and overly fussy.
Dial A Note Dial Harmony Dial Music Theory Video
With that kind of melodic material, most singers would come up with a more selective harmony line—one that picks and chooses which notes to harmonize on, and which to ignore.The idea of selective harmonies can be taken up to the next level in the arrangement as well, choosing only some lines or phrases to harmonize. This can be a very effective technique—constant harmony may be nice for some tunes, but often it can be more effective if the harmonies come in only on certain lines. Instead of becoming ho-hum (familiarity can breed boredom), more occasional harmony lines will call attention to both themselves and those phrases in the main melody, sounding fresh each time one comes along, rather than fading into the background due to overuse.
Harmonic melodiesIf a singer is being asked to perform a harmony part, some consideration might be given to the specific melodic contour of the harmony itself. While conforming to the contours of the main melody, it can be easy for a harmony line to end up with an awkward melodic contour of its own, with big jumps and unusual pitch sequences, making it difficult to perform well. Sometimes, more selective harmonization (as above) can help alleviate this, but other times, if a certain string of pitches is simply required to properly harmonize with a certain melody, then the singer will need to be given sufficient rehearsal time, and you might end up recording the harmonies in bits & pieces. If the harmony is generated by digital pitch editing, then as long as it sounds good this obviously isn’t an issue—at least at the time—but if that harmony will eventually have to performed on stage, then that might need be taken into account. Tighter or looser harmoniesThe timing of a harmony line (against the main melody) is also a consideration. For some songs/melodies, a very tight harmony, that follows not only the pitch contours, but the timing of the main melody very closely, may be just the ticket.
But for other songs, especially in some musical genres, a more appropriate harmony part might have a looser feel, timing-wise, with slight rhythmic variations that distinguish it just a bit from the main melody. If the lead singer’s performance has a loose rhythmic feel, and the instrumental playing also shares this more casual vibe, then a very tight harmony might sound a bit out of place. A live singer performing the harmony (preferable) might pick up on this, or at least be coached by the producer to go for that looser feel. But if the harmony were being generated in a pitch editor, then the editor (engineer, producer) might need to make some extra effort to loosen up the timing of the harmony—many pitch editors offer some kind of “humanize” parameter, that randomly (or semi-randomly, which would be more natural) varies the timing of the notes in the generated harmonies, to simulate that natural, loose vibe. Different voicesAlong the same line, the question may come up of whether it’s better to have the same voice (the same singer) perform the harmonies (as overdubs, obviously), or bring in another singer (or singers) to do them.
Both approaches are valid—some harmonies may sound best with the same voice providing all the parts, while in other cases, having clearly different voices—often with very different timbres, or different genders—may serve the song better. We can probably all think of songs where both work well—some nice tight harmonies, benefitting from the uniform vocal quality of one singer, or the rich sound of multiple, highly individual voices blending, each bringing something unique to the mix. Obviously, there may not always be a choice in this regard, but when there is, it’s one more aspect of harmonization that should be considered carefully.Even if harmonies are being generated in a pitch editor, some of these have a Formant control, which can be used to alter the timbre of the singer’s voice—anything from slightly lightening or darkening their tone, to enough change for a gender-bending switch (male/female). But a caveat—the Formant-altered voice will most likely have a decidedly unnatural quality if heard alone, and with more extreme shifts, this could even be audible under the lead vocal, so a little care would need to be taken. The rubIn fact, overall, while both the rhythmic 'humanizing' and timbral modification features of many pitch editors can be helpful when generating harmonies digitally, they’re rarely (if ever) the equal of the human looseness of a live-performed harmony or the timbral and stylistic uniqueness of a different singer.
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Well the reason you’re perceiving 90 hz is most likely due to the psychoacoustic phenomenon called. As to why it doesn’t sound like a normal major third is likely due to the dial tone(s) being sine. waves, which are pure tones. If fact, when you play your piano the tones you are hearing are complex tones, which are made up of individual sine waves at different frequencies and different amplitudes.
It is this variance that defines timbre or tone color (along with other things). The dial tone, however, is comprised only. of two sine waves which we hear as more “blended.”.I said the dial tone is just sine waves but my spectrum analyzer is actually picking up a few additional frequencies. To my ears they sound just like regular sines thoEdit: formatting. Next 2007 hindi dubbed.
Dial A Note Dial Harmony Dial Music Theory Pdf
I have been exploring Indian Classical Music lately. Listening attentively and attempting to comprehend the theory, structure, techniques, etc of a genre I am unfamiliar with.One statement that I have read over and over along this journey is that Indian Classical Music has no harmony. This assertion is normally made when comparing Indian and Western Classical Musics, and among the people who claim this to be true is none other than Ravi Shankar, in (I think).I cannot wrap my head around how this assertion can be true. Like much of music theory's terminology, especially the vaguer and more foundational terms, there is no one uncontested definition for of harmony. For the purpose of this post 'the sound of two or more notes heard simultaneously' is as good as any.Regardless of the source, the one constant among the varied definitions is that only two notes are required for the music to be considered harmony.Now, in most of the Indian Classical Music I have heard, there are three instruments in play: the sitar, which is the primary melodic instrument; the tabla, which provides percussion; and the tambura, which provides a droning accompaniment to the sitar.
I am still trying to wrap my head around what exactly is going on, but it seems like the tambura functions almost like a rhythm guitar. It plays single note 'chords' that help shape and contextualize the sitar's melody.I cannot understand how this does not fall under the definition of harmony. Is the 'no harmony' thing an overstatement, a colloquial term similar to 'three chord rock' that doesn't need to be used literally, or is there something I am missing that would exclude the tambura's function from the realm of harmony? Any help making sense of this would be greatly appreciated.P.S. While I'm posting this, if anyone happens to have any resources (books, websites, etc) that cover the theory side of Indian Classical Music at a 'middle of the road' level (I have a good grasp of the nuts and bolts holding rock/pop together, but not the complex machinations that drive classical music) I would be in your debt.
You're on the right track, but the tambura is a harmonic device. Essentially it provides a point of reference for the melodic line, emphasizing the line as it reaches a modal center. Harmonic tension against the drone plays an integral role in Indian Classical performance. While each note doesn't harmonize against the drone in order to create a harmonic interval (I.e. Major sixth, minor third, etc) it does establish a hierarchy of consonances and dissonances, with the modal centers (tones played in the drone) as the most consonant tones and the tones closest to the drone as most dissonant because of their strong tendency to resolve to a drone tone. It does add another dimension to the monophonic performance, so in that regard you have a point. I have studied with Amjad Ali Khan and his son Ayaan.
He is a famous sarod player.When he talked about 'harmony', he told us about the make up of the music is just a different system than the one we know in the West. They have modes that define the pitch content, and rhythmic patterns that define the rhythmic content.
A system of hierarchy defining what tones we move to most often (kind of like how we move toward tonic and there are notes of most tension with the tonic).Harmony, as a rule, is a Western term. It refers to combinations of sounds to create another, more complete sound.I think, in Indian Classical music, harmony would refer to the totality of a piece. Harmony is the state of the entire piece of music, rather than the individual parts of it like it is in the Western tradition. I think that's also defined by the style of playing. The amazing thing about Indian classical music is that while they have fretted stringed instruments like the Sitar, they also have unfretted stringed instruments and singing and percussion that is very flexible to the touch.All this means is that there can be extraordinary variation in the execution of the instruments' pitch and rhythm. Creating that characteristic 'out of tune' buzz when the singers and instrumentalists are sliding about.
I am no ways an expert on Indian music but I do/did have a professor/friend is is very into it (he's studying vocal technique in india and is an experienced tabla player) and I can throw a few things in here. I believe he actually studied with Ravi or maybe it was a disciple of Ravi, I cannot remember.First, yes the tabla is a rhythmic instrument. But it also functions as a fully pitched instrument. There are melodic solos written for tabla.
Scales are entirely achievable and there's a lot of technique that goes into playing the instrument so that one gets the correct notes at the correct time. Second, you are trying to apply western terminology and theory to eastern music. Yes, you can do it. But it will be like trying to explain the Christian God to an ancient Greek. They will kind of get it, but it won't seem entirely right.
Remember that classical (and very much so modern) music is largely based off of 'Raga and Tala' (forgive me if I am remembering the wrong terms), which dictate what you can think of as a 'mode' and 'meter/time/style signature'. These are loose comparisons. But these too Indian concepts are not based on theory but on conveying emotion, time of day, yeah, season, occasion, etc. The Raga provides you with your tonal centers, while the drone box supports it as well. It would be wrong to think of it as a bass instrument or playing a 'bass line' as it doesn't change or play rhythm.So yes, there is supposedly harmony, but it is not thought of with the tonal ideas that western music was built on.
Trying to explain this to someone born and raised with just Indian classical music would entirely confuse them.I am very very tired. People above have answered your question well enough, but I just wanted to point out that you've been listening to North Indian classical music (Hindustani music). There are two traditions of classical music in India - Hindustani in the North and Carnatic in the South. The instruments are different, the structures of the songs are different, the ornamentation (gamakas and murkis) are different, and the ragas (a poor translation would be mode) and talas (once again, a poor translation would be cyclic meter) are different, among other things. The common elements include drone and the existence of raga and tala (though the specific ones used in each tradition are different both functionally and symbolically/metaphorically). End of rant. When talking about harmony in this context, what is meant is the lack of counterpoint, or counter-melodies accompanying the main melodic line in the music.
Western orchestral/classical music uses this very strongly, especially (from what I know) from the medieval period onwards.The tanpura is supposed to play the root 'chord' of the piece, so it does actually use multiple notes, normally the tonic, the tonic an octave up, and some additional notes (most commonly the 5th, but this varies depending on the scale and raga). In the strictest definition you could possibly say that this is a 'melody', but it's not treated as such - it's a drone, enveloping the performer in the scale and providing a hard reference from which they play/sing.
Dial A Note Dial Harmony Dial Music Theory Youtube
The melodic line is supposed to come entirely from the one performer (or one at a time, if there are more than one 'main' performers on stage).An analogy would be a standard western rock band - the singer and lead guitarist always play one at a time, never together. The rhythm guitarist strums one solid triad/chord over and over, and the bass player just plays the root.In more recent popular and folk music, harmonies of the western style are far more prevalent, but in classical music this hasn't changed and IMHO doesn't need to. The important thing here is understanding the layers of social and historical construction behind the notions of 'harmony' we tend to take for granted, and how much of it is not universal or innate in any meaningful sense but is particular to European intellectual history. The underpinnings of early Western music theory derive from the Greek obsession with numerology, specifically in relation to pitch intervals calculated from small-number ratios of frequency. Such small-number intervals (e.g. 2:1, 3:2, 4:3) are then organized within a set of 12 pitch classes that repeats itself at every pitch ratio of 2:1, which we generally call an 'octave,' and then tempered so that the intervals can be formed in repeating cycles based on multiplications of the ratio 2 1/12:1, which we generally call a 'semitone' or a 'minor second.'
(The Enlightenment-era historical process of moving from tuning based on strict Pythagorean intervals to 12-tone equal temperament was much more complex and contentious than any introductory music theory or music history textbook will let on.)The takeaway is, our conception of harmony (in a musical sense) within this tonal arrangement is in large part an intellectual holdover from Pythagorean doctrines regarding the internal harmony (in a non-musical sense) of a universe organized around numerological principles. When we hear, say, a major triad — containing tempered forms of the ratios 1:1 (unison), 5:4 (major third), and 3:2 (perfect fifth) — and call it 'consonant,' we are implicitly channeling the innatism of Greek metaphysics. Furthermore, when we temper these 'consonant' harmonic intervals to make them suitable for manipulations like modulation and transposition, we are implicitly channeling the rationalism and 'mastery of nature' that characterized the intellectual climate of the Enlightenment.
Most non-Western musical cultures did not develop under the weight of this sort of historical/intellectual baggage, and their conceptions of what 'harmony' might mean in a musical context are as different from ours as the corresponding non-Western metaphysical models of the Universe are from that of Pythagoras. Even musical forms that do not have harmony typically have a tonal center. A drone serves to make the tonal center explicit, which allows the melody instrument greater freedom.
The same phenomenon occurs in traditional Celtic music, where bagpipe drones or open fiddle strings can provide accompaniment. The accompaniment just emphasizes the tonal/modal center. It never moves or constrains the melody to a subset of notes in the scale/key/mode, as is the case with Western harmony. In non-harmonic music you also can get accidental harmonies that are equally non-functional. For example, in many primitive sung musical traditions, men and women sing an octave apart. In Celtic music, when multiple people are playing together, they may have learned slightly different versions of the same tune or they may make slightly different ornamentation choices, which can create non-functional harmonies.