Piano Guidance
Piano Guidance
Photo: Anete Lusina
The Music Theory behind the Hendrix Chord Jimi Hendrix popularised its sound, but he was not the first person to use it, and he certainly didn't invent it. The 7#9 is a known chord type, and its name has two separate parts that tell us what is actually in it – 7, and #9.
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Read More »The 7#9 chord is the addition of a minor third to a 7th chord. As a result it contains both types of third, making it both major and minor at the same time. And this is the sound you’re hearing within the Hendrix Chord – a clashing and vibrant blend of the two tonalities of major and minor that shouldn’t work, but it really does. The fact that the minor and major thirds are only one fret apart makes it an extremely dissonant chord, but the fact that there is an octave in between them gives them enough sonic space between each other for the clash to sound cool. On that note, there is no real such thing as “shouldn’t work” in music. It’s just a figure of speech. Any way you could possibly think to combine notes into a chord has already been done and is already understood. The 7#9 is a type of extended chord, known as an altered dominant. An extended chord is one that is harmonised beyond the level of a 7th chord, i.e., 9th, 11th and 13th chords (a little more on this below). An altered dominant is a dominant chord (meaning a 7th chord or a chord built from a 7th) whose notes differ from what they would naturally be in order to serve a specific musical purpose. Usually the purpose of using chord alterations is to increase tension, by setting up a dissonant note or two that demand to resolve into the next chord. This is how the 7#9 is often used in Jazz. The classic use of the Hendrix chord isn’t really for any alteration purposes – it just sounds awesome! The best example I would give of the classic Hendrix chord sound, is probably Voodoo Child, which is essentially a vamp (i.e. a rhythmic one or two chord jam) with a home chord of Eb7#9. In the context of blues-rock, 7#9 sounds good by itself and sets up a perfect backdrop for mixing the major and minor pentatonic and blues scales in a solo. It’s like the Blues in a single chord!
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Read More »A countertenor is a male singer who can sing as high as a soprano or mezzo-soprano. The countertenor is the rarest of all voice types.
A countertenor is a male singer who can sing as high as a soprano or mezzo-soprano. The countertenor is the rarest of all voice types. The countertenor was not originally an operatic voice type as historically it was the castrati who would sing the female operatic roles in an age when it was not proper for women to sing in the opera. Instead, countertenors were popular in religious choirs where women were also not allowed to participate. Today the countertenor is arguably the most profitable voice type, mainly due to rarity and lack of competition at auditions. Many baroque operas utilise the countertenor today due to many being written for castrati singers. The opera Giulio Cesare by Handel requires 4 countertenors to replace the castrati singers. Some modern operas also cast countertenors, such as Jonathon Dove's Pinocchio which really showcases the intricacies of the voice type. It's easy to mistake yourself for a countertenor as all male voices have an area in the voice called the falsetto. This is a high pitched area, usually quieter and softer in tone than the main voice. If the singer has trained his falsetto range well it can easily be mistaken for a countertenor voice.
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General Abbreviations A alto, contralto [voice] dbn double bassoon DC District of Columbia Dc Discantus DD Doctor of Divinity 225 more rows
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