Good, that's coming along.
The, the most important thing is that we take individual responsibility for
our pitch and adjust it and evaluate ourselves and then adjust again.
Let's go everybody in one, six nine.
Because it's also important that we hear this
F in the context now of the vertical harmony.
So let's just hold the downbeat of one,
six, nine, and make sure we get good F-major.
[MUSIC]
Yeah, let's break this down.
Because of the upper, that upper F, it's a little bit bright.
We can make sure it's balanced well and that it's dark.
Can we hear all concert Fs in any range?
So the root of the chord.
[MUSIC]
Good then, yeah the C, so Fs and Cs.
Root and fifth the two most important notes of this chord.
[MUSIC]
Good.
And we can bring out those Cs.
because it's higher, in a hierarchy, a route, or tonic, F is the most important.
C would be the second most important and a pretty close second.
And then those As would be a a distant third.
So because of how, high those F is scored, it's going to come out very strong.
You have to make sure those, Cs are balanced with it.
One more time.
[MUSIC]
Good, let's hear the whole triad.
So the E-Naturals and the Es are a little
bit like ammonia, just a little dab will do you.
And it will be plenty clear.
[MUSIC]
Just for darkness and pitch just sing that pitch.
[MUSIC]
Yeah, we can tell that your minds ear is not quite connected to our,
to our, our music making apparatus because there was a little bit of [SOUND].
Hear it in your minds ear.
And then lets sing it.
So here it, sing it.
[MUSIC]
That's quite nice, make your instruments obey.
[MUSIC]
Let's go to the note on B3, so melodically this is
now a concert C, but it's still, vertically part of our triad.
So here's B3, we'll tune that also.
[MUSIC]
Not quite as locked in, go ahead and sing that pitch.
[MUSIC]
Yeah, the Cs were very confident, that [SOUND] but everyone else is
a little bit oh, I'm not sure where it is, where it is.
Hear it in your head, and let's externalize it, sing it.
[MUSIC]
Good, even though we're doing pitch, can we get good rhythm?
So let's make the, the initial attack good.
Sing it.
[MUSIC]
That was better but not good, again.
[MUSIC]
Good, let's play it, B3.
[MUSIC]
Good, let's try it in context.
One, six, nine with everybody in rhythm.
Here we go.
[MUSIC]