Barbershop quartets, such as this US Navy group, sing melodies together. The pitches of the four melodies combine to clearly define a tonal center and imply chords.

In music, harmony is the use of simultaneous pitches (tones, notes), or chords.^[1] The study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them.^[2] Harmony is often said to refer to the "vertical" aspect of music, as distinguished from melodic line, or the "horizontal" aspect.^[3] Counterpoint, which refers to the interweaving of melodic lines, and polyphony, which refers to the relationship of separate independent voices, are thus sometimes distinguished from harmony.

In popular and jazz harmony, chords are named by their root plus various terms and characters indicating their qualities. In many types of music, notably baroque, romantic, modern and jazz, chords are often augmented with "tensions". A tension is an additional chord member that creates a relatively dissonant interval in relation to the bass. Typically, in the classical Common practice period a dissonant chord (chord with tension) will "resolve" to a consonant chord. Harmonization usually sounds pleasant to the ear when there is a balance between the consonant and dissonant sounds. In simple words, that occurs when there is a balance between "tense" and "relaxed" moments.

Etymology and definitions[link]

The term harmony derives from the Greek ἁρμονία (harmonía), meaning "joint, agreement, concord",^[4] from the verb ἁρμόζω (harmozo), "to fit together, to join".^[5] The term was often used for the whole field of music, while "music" referred to the arts in general. In Ancient Greece, the term defined the combination of contrasted elements: a higher and lower note.^[6] Nevertheless, it is unclear whether the simultaneous sounding of notes was part of ancient Greek musical practice; "harmonía" may have merely provided a system of classification of the relationships between different pitches. In the Middle Ages the term was used to describe two pitches sounding in combination, and in the Renaissance the concept was expanded to denote three pitches sounding together.^[6]

Rameau's 'Traité de l'harmonie' (Treatise on Harmony) from 1722.

It was not until the publication of Rameau's 'Traité de l'harmonie' (Treatise on Harmony) in 1722 that any text discussing musical practice made use of the term in the title, though that work is not the earliest record of theoretical discussion of the topic. The underlying principle behind these texts is that harmony sanctions harmoniousness (sounds that 'please') by conforming to certain pre-established compositional principles.^[7]

Current dictionary definitions, while attempting to give concise descriptions, often highlight the ambiguity of the term in modern use. Ambiguities tend to arise from either aesthetic considerations (for example the view that only "pleasing" concords may be harmonious) or from the point of view of musical texture (distinguishing between "harmonic" (simultaneously sounding pitches) and "contrapuntal" (successively sounding tones).^[7] In the words of Arnold Whittall:

While the entire history of music theory appears to depend on just such a distinction between harmony and counterpoint, it is no less evident that developments in the nature of musical composition down the centuries have presumed the interdependence—at times amounting to integration, at other times a source of sustained tension—between the vertical and horizontal dimensions of musical space.

—^[7]

The view that modern tonal harmony in Western music began in about 1600 is commonplace in music theory. This is usually accounted for by the 'replacement' of horizontal (of contrapuntal) writing, common in the music of the Renaissance, with a new emphasis on the 'vertical' element of composed music. Modern theorists, however, tend to see this as an unsatisfactory generalisation. As Carl Dahlhaus puts it:

It was not that counterpoint was supplanted by harmony (Bach’s tonal counterpoint is surely no less polyphonic than Palestrina’s modal writing) but that an older type both of counterpoint and of vertical technique was succeeded by a newer type. And harmony comprises not only the (‘vertical’) structure of chords but also their (‘horizontal’) movement. Like music as a whole, harmony is a process.

—^[8][9]

Descriptions and definitions of harmony and harmonic practice may show bias towards European (or Western) musical traditions. For example, South Asian art music (Hindustani and Carnatic music) is frequently cited as placing little emphasis on what is perceived in western practice as conventional 'harmony'; the underlying 'harmonic' foundation for most South Asian music is the drone, a held open fifth (or fourth) that does not alter in pitch throughout the course of a composition.^[10] Pitch simultaneity in particular is rarely a major consideration. Nevertheless many other considerations of pitch are relevant to the music, its theory and its structure, such as the complex system of Rāgas, which combines both melodic and modal considerations and codifications within it.^[11]

So although intricate combinations of pitches sounding simultaneously do occur in Indian classical music, they are rarely studied as teleological harmonic or contrapuntal progressions, which is the case with notated Western music. This contrasting emphasis (with regard to Indian music in particular) manifests itself to some extent in the different methods of performance adopted: in Indian Music improvisation takes a major role in the structural framework of a piece,^[12] whereas in Western Music improvisation has been uncommon since the end of the 19th century.^[13] Where it does occur in Western music (or has in the past), the improvisation will either embellish pre-notated music or, if not, draw from musical models that have previously been established in notated compositions, and therefore employ familiar harmonic schemes.^[14]

There is no doubt, nevertheless, that the emphasis on the precomposed in European art music and the written theory surrounding it shows considerable cultural bias. The Grove Dictionary of Music and Musicians (Oxford University Press) identifies this quite clearly:

In Western culture the musics that are most dependent on improvisation, such as jazz, have traditionally been regarded as inferior to art music, in which pre-composition is considered paramount. The conception of musics that live in oral traditions as something composed with the use of improvisatory techniques separates them from the higher-standing works that use notation.

—^[15]

Yet the evolution of harmonic practice and language itself, in Western art music, is and was facilitated by this process of prior composition (which permitted the study and analysis by theorists and composers alike of individual pre-constructed works in which pitches (and to some extent rhythms) remained unchanged regardless of the nature of the performance).^[16]

Historical rules[link]

Some traditions of Western music performance, composition, and theory have specific rules of harmony. These rules are often held to be based on natural properties such as Pythagorean tuning's law whole number ratios ("harmoniousness" being inherent in the ratios either perceptually or in themselves) or harmonics and resonances ("harmoniousness" being inherent in the quality of sound), with the allowable pitches and harmonies gaining their beauty or simplicity from their closeness to those properties. This model provides that the minor seventh and ninth are not dissonant (i.e., are consonant). While Pythagorean ratios can provide a rough approximation of perceptual harmonicity, they cannot account for cultural factors.^{[citation needed]}

Early Western religious music often features parallel perfect intervals; these intervals would preserve the clarity of the original plainsong. These works were created and performed in cathedrals, and made use of the resonant modes of their respective cathedrals to create harmonies. As polyphony developed, however, the use of parallel intervals was slowly replaced by the English style of consonance that used thirds and sixths. The English style was considered to have a sweeter sound, and was better suited to polyphony in that it offered greater linear flexibility in part-writing. Early music also forbade usage of the tritone, as its dissonance was associated with the devil, and composers often went to considerable lengths, via musica ficta, to avoid using it. In the newer triadic harmonic system, however, the tritone became permissible, as the standardization of functional dissonance made its use in dominant chords desirable.

Although most harmony comes about as a result of two or more notes being sounded simultaneously, it is possible to strongly imply harmony with only one melodic line through the use of arpeggios or hocket. Many pieces from the baroque period for solo string instruments, such as Bach's Sonatas and partitas for solo violin and cello, convey subtle harmony through inference rather than full chordal structures. These works create a sense of harmonies by using arpeggiated chords and implied basslines. The implied basslines are created with low notes of short duration that many listeners perceive as being the bass note of a chord; (see below):

Example of implied harmonies in J.S. Bach's Cello Suite no. 1 in G, BWV 1007, bar 1.

Types[link]

Close position C major triad.  Play (help·info)

Open position C major triad.  Play (help·info)

Carl Dahlhaus (1990) distinguishes between coordinate and subordinate harmony. Subordinate harmony is the hierarchical tonality or tonal harmony well known today, while coordinate harmony is the older Medieval and Renaissance tonalité ancienne, "the term is meant to signify that sonorities are linked one after the other without giving rise to the impression of a goal-directed development. A first chord forms a 'progression' with a second chord, and a second with a third. But the former chord progression is independent of the later one and vice versa." Coordinate harmony follows direct (adjacent) relationships rather than indirect as in subordinate. Interval cycles create symmetrical harmonies, which have been extensively used by the composers Alban Berg, George Perle, Arnold Schoenberg, Béla Bartók, and Edgard Varèse's Density 21.5.

Close harmony and open harmony use close position and open position chords, respectively. See: voicing (music).

Other types of harmony are based upon the intervals used in constructing the chords used in that harmony. Most chords used in western music are based on "tertian" harmony, or chords built with the interval of thirds. In the chord C Major7, C-E is a major third; E-G is a minor third; and G to B is a major third. Other types of harmony consist of quartal harmony and quintal harmony.

Intervals[link]

An interval is the relationship between two separate musical pitches. For example, in the melody "Twinkle Twinkle Little Star", the first two notes (the first "twinkle") and the second two notes (the second "twinkle") are at the interval of one fifth. What this means is that if the first two notes were the pitch "C", the second two notes would be the pitch "G"—four scale notes, or seven chromatic notes (a perfect fifth), above it.

The following are common intervals:

Therefore, the combination of notes with their specific intervals —a chord— creates harmony. For example, in a C chord, there are three notes: C, E, and G. The note "C" is the root, with the notes "E" and "G" providing harmony, and in a G7 (G dominant 7th) chord, the root G with each subsequent note (in this case B, D and F) provide the harmony.

In the musical scale, there are twelve pitches. Each pitch is referred to as a "degree" of the scale. The names A, B, C, D, E, F, and G are insignificant. The intervals, however, are not. Here is an example:

As can be seen, no note always corresponds to a certain degree of the scale. The "tonic", or 1st-degree note, can be any of the 12 notes (pitch classes) of the chromatic scale. All the other notes fall into place. So, when C is the tonic, the fourth degree, subdominant, is F. But when D is the tonic, the fourth degree is G. So while the note names are intransigent, the intervals are not. In layman's terms: the subdominant, "fourth" (four-step interval) is always a fourth, no matter what the tonic is. The great power of this fact is that any musical work can be played or sung in any key—it will be the same piece of music, as long as the intervals are kept the same, thus transposing the melody into the corresponding key. When the intervals surpass the perfect Octave (12 semitones), these intervals are named as "Compound intervals", which include particularly the 9th, 11th, and 13th Intervals, widely used in Jazz and Blues Music.

Compound Intervals are formed and named as following:

• 2nd + Octave = 9th
• 3rd + octave = 10th
• 4th + Octave = 11th
• 5th + octave = 12th
• 6th + Octave = 13th
• 7th + octave = 14th

The reason the two numbers don't "add" correctly is that one note is counted twice. Apart from this categorization, intervals can also be divided into consonant and dissonant. As explained in the following paragraphs, consonant intervals produce a sensation of relaxation and dissonant intervals a sensation of tension. In tonal music, the term consonant also means "brings resolution" (to some degree at least, whereas dissonance "requires resolution").

The consonant intervals are considered to be the perfect unison, octave, fifth, fourth and major and minor third and sixth, and their compound forms. An interval is referred to as "perfect" when the harmonic relationship is found in the natural overtone series (namely, the unison 1:1, octave 2:1, fifth 3:2, and fourth 4:3). The other basic intervals (second, third, sixth, and seventh) are called "imperfect" because the harmonic relationships are not found mathematically exact in the overtone series. In classical music the perfect fourth above the bass may be considered to be dissonant when its function is contrapuntal. Other intervals, the second and the seventh (and their compound forms) are considered Dissonant and require resolution (of the produced tension) and usually preparation (depending on the music style used). It should be noted that the effect of dissonance is perceived relatively within musical context: for example, a major seventh interval alone (i.e. C up to B) may be perceived as dissonant, but the same interval as part of a major seventh chord may sound relatively consonant. A tritone (the interval of the fourth step to the seventh step of the major scale, i.e. F to B) sounds very dissonant alone, but less so within the context of a dominant seventh chord (G7 or D♭7 in that example).

Chords and tension[link]

In the Western tradition, in music after the seventeenth century, harmony is manipulated using chords, which are combinations of pitch classes. In tertian or tertial harmony, so named after the interval of a third, the members of chords are found and named by stacking intervals of the third, starting with the "root", then the "third" above the root, and the "fifth" above the root (which is a third above the third), etc. (Note that chord members are named after their interval above the root.) Dyads, the simplest chords, contain only two members (see power chords).

In guitar-based music, "power chords"- a root, fifth, and octave- are often performed by electric guitarists, typically with the guitar plugged into a distortion effect.

A chord with three members is called a triad because it has three members, not because it is necessarily built in thirds (see Quartal and quintal harmony for chords built with other intervals). Depending on the size of the intervals being stacked, different qualities of chords are formed. In popular and jazz harmony, chords are named by their root plus various terms and characters indicating their qualities. To keep the nomenclature as simple as possible, some defaults are accepted (not tabulated here). For example, the chord members C, E, and G, form a C Major triad, called by default simply a "C" chord. In an "A♭" chord (pronounced A-flat), the members are A♭, C, and E♭.

In many types of music, notably baroque, romantic, modern and jazz, chords are often augmented with "tensions". A tension is an additional chord member that creates a relatively dissonant interval in relation to the bass. Following the tertian practice of building chords by stacking thirds, the simplest first tension is added to a triad by stacking on top of the existing root, third, and fifth, another third above the fifth, giving a new, potentially dissonant member the interval of a seventh away from the root and therefore called the "seventh" of the chord, and producing a four-note chord, called a "seventh chord".

Depending on the widths of the individual thirds stacked to build the chord, the interval between the root and the seventh of the chord may be major, minor, or diminished. (The interval of an augmented seventh reproduces the root, and is therefore left out of the chordal nomenclature.) The nomenclature allows that, by default, "C7" indicates a chord with a root, third, fifth, and seventh spelled C, E, G, and B♭. Other types of seventh chords must be named more explicitly, such as "C Major 7" (spelled C, E, G, B), "C augmented 7" (here the word augmented applies to the fifth, not the seventh, spelled C, E, G#, B♭), etc. (For a more complete exposition of nomenclature see Chord (music).)

Continuing to stack thirds on top of a seventh chord produces extensions, and brings in the "extended tensions" or "upper tensions" (those more than an octave above the root when stacked in thirds), the ninths, elevenths, and thirteenths. This creates the chords named after them. (Note that except for dyads and triads, tertian chord types are named for the interval of the largest size and magnitude in use in the stack, not for the number of chord members : thus a ninth chord has five members, not nine.) Extensions beyond the thirteenth reproduce existing chord members and are (usually) left out of the nomenclature. Complex harmonies based on extended chords are found in abundance in jazz, late-romantic music, modern orchestral works, film music, etc.

Typically, in the classical Common practice period a dissonant chord (chord with tension) will "resolve" to a consonant chord. Harmonization usually sounds pleasant to the ear when there is a balance between the consonant and dissonant sounds. In simple words, that occurs when there is a balance between "tense" and "relaxed" moments. For this reason, usually tension is 'prepared' and then 'resolved'.^[17]

Preparing tension means to place a series of consonant chords that lead smoothly to the dissonant chord. In this way the composer ensures introducing tension smoothly, without disturbing the listener. Once the piece reaches its sub-climax, the listener needs a moment of relaxation to clear up the tension, which is obtained by playing a consonant chord that resolves the tension of the previous chords. The clearing of this tension usually sounds pleasant to the listener, although this is not always the case in late-nineteenth century music, such as Tristan und Isolde by Richard Wagner.^[17]

Perception of harmony[link]

Harmony is based on consonance, a concept whose definition has changed various times during the history of Western music. In a psychological approach, consonance is a continuous variable. Consonance can vary across a wide range. A chord may sound consonant for various reasons.

One is lack of perceptual roughness. Roughness happens when partials (frequency components) lie within a critical bandwidth, which is a measure of the ear's ability to separate different frequencies. Critical bandwidth lies between 2 and 3 semitones at high frequencies and becomes larger at lower frequencies. The roughness of two simultaneous harmonic complex tones depends on the amplitudes of the harmonics and the interval between the tones. The roughest interval in the chromatic scale is the minor second and its inversion the major seventh. For typical spectral envelopes in the central range, the second roughest interval is the major second and minor seventh, followed by the tritone, the minor third (major sixth), the major third (minor sixth) and the perfect fourth (fifth).

The harmonious major triad is composed of three tones. Their frequency ratio corresponds approximately 6:5:4. In real performances, however, the third is often larger than 5:4. The ratio 5:4 corresponds to an interval of 386 cents, but an equally tempered major third is 400 cents and a Pythagorean third with a ratio of 81:64 is 408 cents. Measurements of frequencies in good performances confirm that the size of the major third varies across this range and can even lie outside it without sounding out of tune. Thus, there is no simple connection between frequency ratios and harmonic function.

The second reason is perceptual fusion. A chord fuses in perception if its overall spectrum is similar to a harmonic series. According to this definition a major triad fuses better than a minor triad and a major-minor seventh chord fuses better than a major-major seventh or minor-minor seventh. These differences may not be readily apparent in tempered contexts but can explain why major triads are generally more prevalent than minor triads and major-minor sevenths generally more prevalent than other sevenths (in spite of the dissonance of the tritone interval) in mainstream tonal music. Of course these comparisons depend on style.

The third reason is familiarity. Chords that have often been heard in musical contexts tend to sound more consonant. This principle explains the gradual historical increase in harmonic complexity of Western music. For example, around 1600 unprepared seventh chords gradually became familiar and were therefore gradually perceived as more consonant.

Western music is based on major and minor triads. The reason why these chords are so central is that they are consonant in terms of both fusion and lack of roughness. they fuse because they include the perfect fourth/fifth interval. They lack roughness because they lack major and minor second intervals. No other combination of three tones in the chromatic scale satisfies these criteria.

Consonance and dissonance in balance[link]

Post-nineteenth century music has evolved in the way that tension may be less often prepared and less formally structured than in Baroque or Classical periods, thus producing new styles such as post-romantic harmony, impressionism, pantonality, Jazz and Blues, where dissonance may not be prepared in the way seen in 'common practice' harmony. In a jazz or blues song, the tonic chord may be a dominant seventh chord.

The creation and destruction of harmonic and 'statistical' tensions is essential to the maintenance of compositional drama. Any composition (or improvisation) which remains consistent and 'regular' throughout is, for me, equivalent to watching a movie with only 'good guys' in it, or eating cottage cheese.

—Frank Zappa, "The Real Frank Zappa Book" page 181, Frank Zappa and Peter Occhiogrosso, 1990

See also[link]

• Barbershop music
• Consonance and dissonance
• Chord (music)
• Chord sequence
• Chromatic chord
• Chromatic mediant
• Counterpoint
• Harmonic series
• Harmonized scale
• Homophony (music)
• List of musical terminology
• Mathematics of musical scales
• Musica universalis
• Peter Westergaard's tonal theory
• Prolongation
• Physics of music
• Tonality
• Unified field
• Voice leading

References[link]

Footnotes[link]

Notations[link]

• Dahlhaus, Carl. Gjerdingen, Robert O. trans. (1990). Studies in the Origin of Harmonic Tonality, p. 141. Princeton University Press. ISBN 0-691-09135-8.
• van der Merwe, Peter (1989). Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music. Oxford: Clarendon Press. ISBN 0-19-316121-4.
• Nettles, Barrie & Graf, Richard (1997). The Chord Scale Theory and Jazz Harmony. Advance Music, ISBN 3-89221-056-X

External links[link]

Look up harmony in Wiktionary, the free dictionary.

• Chord Geometry - Graphical Analysis of Harmony Tool
• Interactive Lessons about harmonizing melodies and scales using different Musical Styles
• Harmonic Progressions with demos and how to harmonize a melody
• General Principles of Harmony by Alan Belkin
• Morphogenesis of chords and scales Chords and scales classification
• A Beginner's Guide to Modal Harmony
• Posts about traditional and jazz harmony
• Sonantometry as Natural Harmony Algebra
• Chord Harmonization Tool Online tool that automates chord progression analysis to identify underlying scales and related chords

Further reading[link]

• Prout, Ebenezer, Harmony, its Theory and Practice (1889, revised 1901)

v t e Musical notation and development Staff Bar & bar line Clef Da capo Dal segno Key signature Ledger line Musical mode Musical scale Rehearsal letter Repeat sign Time signature Transposition Transposing instrument Notes Accidental Flat Natural Sharp Dotted note Grace note Note value Beam Note head Stem Pitch Rest Tuplet Interval Helmholtz pitch notation Letter notation Scientific pitch notation Articulation Dynamics Ornament Trill Mordent Grace note Portato Accent Legato Tenuto Marcato Staccato Staccatissimo Tie Slur Fermata Tonguing Development Cell Coda Exposition Figure Harmony Hook Lick Melody Motif Ossia Ostinato Period Phrase Recapitulation Repetition Rhythm Beat Meter Tempo Theme Tonality Atonality Related Braille music Chord chart Figured bass Graphic notation Lead sheet Eye music Neume Tablature List of musical symbols

Bone Thugs-N-Harmony is an American hip hop band from Cleveland, Ohio formed in 1991. It originally consisted of rappers Layzie Bone, Flesh-n-Bone, Bizzy Bone, Krayzie Bone, and Wish Bone. Rapper Eazy-E of the group N.W.A signed Bone Thugs-N-Harmony to Ruthless Records in late 1993, when Bone Thugs debuted with EP Creepin on ah Come Up. The EP included the hit single "Thuggish Ruggish Bone".

In 1995, the group released its second album, E. 1999 Eternal, which included hits "1st of tha Month" and "Tha Crossroads." A tribute to the recently deceased Eazy-E, "Tha Crossroads," won a Grammy award in 1997. The Art of War, the group's third album, was also released in 1997. Bone Thugs is also the only group that has worked with deceased artists 2Pac, The Notorious B.I.G., Eazy-E & Big Pun while they were still alive.

In 2000 BTNHResurrection reached platinum in one month and Thug World Order (2002) received more moderate sales and promotion. After the album the group went on hiatus and released their sixth studio album Thug Stories independently before returning in 2007 with the major label release Strength & Loyalty, this time released by Swizz Beatz's label Full Surface Records. Bone Thugs-n-Harmony officially returned with their new album Uni-5: The World's Enemy, released in 2010 by their own record label, BTNH Worldwide, with distribution by Warner Bros.. Due to internal conflicts with the group, longtime members Krayzie Bone and Wish Bone officially left the group in April 2011. Despite speculation that the group was splitting up, Flesh-n-Bone announced that a new album with him, Layzie and Bizzy will be released soon. Krayzie and Wish are currently working with upcoming artists on their label The Life Ent.

Style and technique[link]

Bone's style and technique can be described as melodic, yet rapid-fire and aggressive. Their flow is often interwoven at a high-speed, melodic pace or slow, harmonic pace. They also tend to ride the beat that they're rapping over. Sometimes there are very few choruses separating their verses from one another. In the beginning, circa Faces of Death, Bone used a pseudo-Jamaican patois delivery with their trademark style, though they rarely do this now. Bone's subject matter has both spiritual and occult undertones (e.g., "Hell Sent", "Intro", "Mr. Ouija", "Mr. Ouija 2" and "Da Introduction"). At first, their subject matter was almost always exclusively about violence and smoking marijuana. Today, however, their subject matter includes other topics such as urban socio-political issues, their old friend and mentor Eazy-E and religion. Besides minor changes to subject matter and sound, their lyrical style, elocution, and overall methodology remain intact and have influenced many new artists today who have picked up this unique style.

B.O.N.E Enterprise Early years[link]

Formed in the early 1990s, the group was originally called "The Band-Aid Boys". The group formed the band B.O.N.E. Enterpri$e, which consisted of five members: Krayzie Bone, Layzie Bone, Bizzy Bone, Wish Bone and later Flesh-n-Bone and recorded an album entitled Faces of Death in the studio of their then mentor, Kermit Henderson (Krayzie Bone's younger brother) on his indie label Stoney Burke in 1993. In hopes of securing a record deal the group was given an audition over the phone receiving an unfulfilled promise from rapper Eazy-E to call them back. Diego Blak (born Diego hodge), a marketer and promoter and co-executive producer of Faces Of Death introduced them to Eazy-E at a concert he promoted in Cleveland, Ohio where they auditioned for him in his dressing room and then traveled back to Los Angeles, California after the show to seal the deal. On November 2nd 1993, the group auditioned backstage for Eazy-E. Krayzie Bone performed his verse of "Flow Motion" from the Faces of Death album and Eazy-E was impressed.^[1] At this point Eazy named them Thugs-n-Harmony, but they wanted to keep the bone name so they renamed themselves Bone Thugs-N-Harmony. Eazy-E signed the group (minus Flesh-n-Bone) to his label Ruthless Records.^[2]

Ruthless Records[link]

[edit] Creepin on ah Come Up

Released in June 1994, the EP Creepin on ah Come Up, was Bone Thugs-n-Harmony's debut with Ruthless. The album subject matter was focused almost entirely on violent criminal activity. Peaking at #12 on the Billboard 200 album chart and #2 on the Top R&B/Hip-Hop Albums chart,^[3] it included the hit singles "Thuggish Ruggish Bone" and "Foe tha Love of $", the second of which featured a verse by Eazy-E. "Thuggish Ruggish Bone" peaked at #22 on the Billboard Hot 100 chart and #2 on the Hot Rap Tracks chart, and "Foe tha Love of $" peaked at #41 on the Hot 100 and #4 on the Rap Tracks.^[4] After a slow start that saw the album's success limited to gangsta rap audiences, it broke through to the mainstream. The EP marked a major change in style for the group, as they now fully embraced the G-Funk common in West Coast hip-hop of the time. Beats were supplied by DJ Yella, Rhythum D, Kenny McCloud, and it was the group's first collaboration with newcomer producer DJ U-Neek, who would craft the group's signature sound by producing the majority of their next two albums.

[edit] E. 1999 Eternal

In 1995, the group's second album E. 1999 Eternal was released. It included the singles "1st of tha Month", which peaked at #14 on the Hot 100 and #4 on the Hot Rap Tracks, and "Tha Crossroads", which reached #1 on the Hot 100 and Hot Rap Tracks charts. The album saw Bone diversify its content and musical style. A considerable portion of the album's concept was built upon violent subject matter, yet Bone also incorporated deeper themes, as its songs dealt with more spirituality and occult mysticism. The album was produced by DJ U-Neek (with co-production from Tony C. and Kenny McCloud). E. 1999 Eternal also introduced Bone's trademark tracks devoted entirely to the use of marijuana. The album name originated from one of the street names of a corner (E. 99th street & St. Clair) that was a familiar hangout to Bone members, as well as Eazy-E's album, Eternal E. Naming it after Eazy-E's album was just another way of showing respect and tribute to the rapper that helped them reach heightened success. In the same year, Flesh-n-Bone would become the first member of the group to release a debut album entitled T.H.U.G.S, which was certified gold according to the RIAA. In 1996 due to their success the Cleveland clan established their own Mo Thugs Records and released the Mo Thugs Family Scriptures compilation album to introduce many of the Cleveland-based and other artists that they were developing. E. 1999 Eternal is the group's most commercially successful album, it has since been certified 4x Platinum by the RIAA.

[edit] The Art of War

In 1997, the group released the double-disc set The Art of War. The album saw Bone further explore a wide variety of subjects and styles, with even more focus on God and family and an overall more ambient, mellow sound. The group still incorporated violent lyrics, though, with a large portion of the album dedicated to what they labeled "clones" who claimed Bone had stolen their quick-tongued rapping style and vice-versa. The album was rumored to be called "DNA Level C" which is Cleveland backwards. The single "Look into My Eyes" appeared on the soundtrack of the film Batman & Robin. It peaked at #4 on the Hot 100 and #2 on the Hot Rap Tracks chart.^[4] "If I Could Teach The World", the other single from The Art of War, peaked at #27 on the Hot 100 and #3 on the Hot Rap Tracks.^[4] and won an American Music Award. The album also included "Thug Luv" with Tupac Shakur. The group's efforts were though dampened by the absence of Bizzy Bone from the album's videos and large portions of the ensuing tour and public appearances. This absence by that time fueled rumors of a break-up.

[edit] BTNHResurrection

In 2000, the group released BTNHResurrection. The album featured the single "Resurrection (Paper, Paper)", which peaked on the Hot R&B/Hip-Hop Songs chart at #52.^[4] The album's first half featured a slew of hardcore and dark tracks, with the second half being considerably more introspective and soft. Other two singles from the album including "Can't Give it Up" failed to crack the Billboard Hot 100 and the big-budget video for "Change The World" failed to receive any rotation. Their first group album to prominently feature Flesh-n-Bone, whose presence was limited on previous releases because he had never signed with the group's label Ruthless Records. Flesh-n-Bone was convicted for assault with a firearm and criminal possession of a weapon in June 2000.^[5] Pleading guilty, Flesh was sentenced to 11 years in prison.^[6] The group again began having public disputes with Bizzy Bone. Bizzy Bone abstained from promoting BTNHResurrection because he felt that Ruthless Records owed him money. He dropped a million-dollar lawsuit he filed against Sony Music and Loud Records in exchange for a termination of his Sony contract.^[7] Three members of Bone Thugs-n-Harmony released solo albums in 2001: Bizzy Bone with The Gift, Layzie Bone with Thug by Nature, and Krayzie Bone with Thug on da Line.^[8]

[edit] Thug World Order

In 2002, the group released Thug World Order. The album, made up of supposedly overly-violent and political songs, saw a drastic change in subject matter and tone for the group. The lyrics were almost completely void of any violence, while a larger number of tracks focused on the group itself. In contrast, several songs originally intended to be included on the album that were leaked after its release portray a much different album. The album debuted at #12 on the Billboard 200.^[3] The first single released from the album was "Get Up & Get It", featuring 3LW. The second single "Home" that featured Phil Collins performing part of his song "Take Me Home" peaked at #33 on the Rhythmic Top 40 impacting the charts in a number of countries, most notably the United Kingdom.^[4] Bizzy Bone was expelled from the group in January 2003 thus leaving only 3 active members Krayzie Bone, Layzie Bone & Wish Bone.^[9]

After Ruthless[link]

[edit] Thug Stories

Thug Stories, Bone Thugs-n-Harmony's sixth album was recorded on Koch Records and released on September 19, 2006. It marked the first time Bone Thugs-n-Harmony recorded as a trio after they released an internet-only EP album called '"Bone 4 Life" in September 2005. The album featured a slightly more mature style and the group leaned heavily towards its harmonic roots than its "thug" origins. Thug Stories sold 38,000 in its first week and peaked at #25 on the Billboard 200 and #1 on the Independent Album Chart.

[edit] Strength & Loyalty

Originally to be called The Bone Thugs Story, Strength & Loyalty was released on May 8, 2007 on Interscope Records imprint Full Surface Records. Being their first major album after an absence of nearly five years, the album debuted at #2 on the Billboard 200 and #1 on iTunes and the Billboard Urban Music charts. The album contains guest appearances by Mariah Carey, The Game, will.i.am, Akon, Twista, Bow Wow, Yolanda Adams, and Felecia.

Producers on the album included Swizz Beatz, Akon, Pretty Boy & Bradd Young, DJ Toomp, Jermaine Dupri, will.i.am, and others. The executive producer of the album was Swizz Beatz. The first single was "I Tried", which was their first top 10 hit in 10 years, having peaked at number 6 on the U.S. Billboard Hot 100. The second single was "Lil Love", which failed to reach the success of their first single. The album has been certified Gold by the RIAA.^{[10][dead link]}. The group also released a movie called "I Tried" that same year.

[edit] T.H.U.G.S.

T.H.U.G.S. is an album featuring previously unreleased, largely remixed Bone Thugs-n-Harmony songs that didn't make the final cut of BTNHResurrection and Thug World Order albums. It was released on November 13, 2007 by their former record label, Ruthless Records. Although the album embodies old tracks, there are some new notable changes: new beats, distorted production, voice manipulation, and new song titles. The sole single off the album was "Young Thugs", which was accompanied by a newly-filmed music video featuring Krayzie, Layzie, Bizzy and Wish.

Reunion[link]

In November 2007, Layzie Bone confirmed that he had completed the Bone Brothers III album with Bizzy Bone, spurring speculation of a full Bone reunion. In a video interview,^[11] Krayzie Bone stated that they all wanted to reunite but that record label issues may prevent an official reunion. Bizzy Bone had attended a Bone Thugs performance during the time and he and the three then-standing members had a "good conversation".

After nearly a decade of incarceration, Flesh-n-Bone was released from prison on July 13, 2008. In an interview, Bizzy confirmed his return to the group, after them all getting together by the time of Flesh's release.^[12]

[edit] Uni5: The World's Enemy

Bone Thugs-n-Harmony five members officially returned with their new album Uni-5: The World's Enemy, released in 2010 by their own record label, BTNH Worldwide, with distribution by Warner Bros. Uni5 also marks the return of long-time collaborator, DJ U-Neek, who was absent from 2007's Strength & Loyalty and has produced for the group throughout their career, including hits such as "Thuggish Ruggish Bone" and "Tha Crossroads." This studio effort leans toward radio-friendly numbers and proper grown-man tracks, with the core four members offering life lessons as Bizzy gives his Biblical perspective. They released the singles "See Me Shine" featuring Jay Rush and Lyfe Jennings and "Rebirth" featuring Thin-C.^[13] A third single, "Meet Me in the Sky", was released on March 22. Uni-5: The World's Enemy was released on May 4, 2010.

Krayzie Bone & Wish Bone Departure[link]

On the 14th of April 2011, Bone Thugs-N-Harmony member Krayzie Bone announced he left the group after 20 years citing uncontrollable circumstances along with Wish Bone to pursue their solo careers further and release records on their label, The Life Entertainment.^[14] Flesh-n-Bone stated that him leaving the group was a serious disrespect mark towards Eazy-E and says "He might as well say fuck Eazy!" and that he (Krayzie) knows where home is if he wants to come back to the group. Due to Flesh being angered, his retaliation led him towards the idea of an album titled "Majority Rules" but Bizzy Bone dismissed this claiming it was just Flesh-n-Bone's anger towards Krayzie leaving. In more recent interviews it seems Krayzie Bone has made amends to the rest of Bone Thugs (since he was featured on Flesh-n-Bone's new album for example) and is still planning things with the rest of the group, but he needed his time and space to do his own thing, but he'll always be 'Bone'^{[citation needed]}.

Bone Thugs-n-Harmony announced on their blog over the summer that they're planning a new album for 2012 and it will be the last album with all 5 members of the group. They reiterated those facts in a November interview. Krayzie Bone has also stated that he will again be a part of the group for touring purposes only, after announcing his departure this past April.

Future Projects[link]

Krayzie Bone, Bizzy Bone and Layzie Bone more recently have spoken of many new projects coming in 2012. Those projects include an anniversary album featuring all 5 members, a Bizzy & Krayzie duet album, and unreleased compilation albums of unreleased Bone Thugs-n-Harmony material from the mid to late 90's.

Discography[link]

1993: Faces of Death 1994: Creepin on ah Come Up (EP) 1995: E. 1999 Eternal 1997: The Art of War 2000: BTNHResurrection 2002: Thug World Order 2006: Thug Stories 2007: Strength & Loyalty 2007: T.H.U.G.S. 2010: Uni5: The World's Enemy Awards[link] Award Category Song/Album Year Result Grammy Awards "Best Rap Album" E. 1999 Eternal 1996 Nominated "Best Rap Performance by a Duo or Group" 1st of tha Month Nominated Tha Crossroads 1997 Won American Music Awards "Favorite Rap/Hip-Hop Artist" Bone Thugs-n-Harmony 1996 Nominated 1997 Nominated 1998 Won "Favorite Rap/Hip-Hop Band, Duo or Group" 2007 Won MTV Video Music Awards "Best Special Effects" Tha Crossroads 1996 Nominated "Viewer's Choice" Nominated "Video of the Year" Nominated "Best Group Video" Nominated References[link] ^ "Krayzie Bone - Audition To Eazy E". http://www.youtube.com/watch?v=bDXJZ7yz9Gc.  ^ "Bone Thugs-N-Harmony Biography". Interscope Records. Archived from the original on August 22, 2008. http://web.archive.org/web/20080822005656/http://www.bonethugsnharmony.com/bio/default.aspx.  ^ a b "Bone Thugs-n-Harmony: Charts & Awards: Billboard Albums". allmusic. http://www.allmusic.com/artist/p44741. Retrieved January 17, 2010.  ^ a b c d e "Bone Thugs-N-Harmony: Charts & Awards: Billboard Singles". allmusic. http://www.allmusic.com/artist/p44741. Retrieved January 17, 2010.  ^ Basham, David (June 16, 2000). "Flesh-N-Bone Convicted On Assault, Weapons Charges". MTV News. http://www.mtv.com/news/articles/1426320/20000616/bone_thugs_n_harmony.jhtml. Retrieved January 17, 2010.  ^ Johnson, Tina (September 22, 2000). "UPDATE: Flesh-N-Bone Gets 11 Years In Assault Case". MTV News. http://www.mtv.com/news/articles/1426317/20000922/bone_thugs_n_harmony.jhtml. Retrieved January 17, 2010.  ^ Baker, Soren (March 22, 2001). "Bizzy Bone Has A Gift For Negotiation". MTV News. http://www.mtv.com/news/articles/1441984/20010321/bizzy_bone.jhtml. Retrieved January 17, 2010.  ^ Baker, Soren (March 13, 2001). "Three Bone Thugs-N-Harmony Members Dropping Solo LPs". MTV News. http://www.mtv.com/news/articles/1441484/20010312/bone_thugs_n_harmony.jhtml. Retrieved January 17, 2010.  ^ Reid, Shaheem (January 31, 2003). "Bone Thugs Say Bizzy Is Out For Good This Time". MTV News. http://www.mtv.com/news/articles/1459799/20030131/bone_thugs_n_harmony.jhtml. Retrieved January 17, 2010.  ^ "Bone Thugs-N-Harmony: News: "Strength & Loyalty" Certified Gold". http://www.bonethugsnharmony.com/news/default.aspx?nid=9429.  ^ "ThugLine TV- Krayzie Bone speaks on reunion". YouTube. 2008-06-12. http://www.youtube.com/watch?v=h-25OrAQ_gM. Retrieved 2012-03-29.  ^ Jasarevic, Mina (2008-08-01). "Bizzy Bone: Thicker Than Water | Rappers Talk Hip Hop Beef & Old School Hip Hop". HipHop DX. http://www.hiphopdx.com/index/features/id.1185/title.bizzy-bone-thicker-than-water/p.all. Retrieved 2012-03-29.  ^ "See Me Shine [feat. Lyfe Jennings, Phaedra & J Rush] [Explicit]: Bone Thugs-N-Harmony: MP3 Downloads". Amazon.com. http://www.amazon.com/dp/B002U1HKB4. Retrieved 2012-03-29.  ^ Burgess, Omar (2011-04-14). "Krayzie Bone Splits From Bone Thugs-N-Harmony | Get The Latest Hip Hop News, Rap News & Hip Hop Album Sales". HipHop DX. http://www.hiphopdx.com/index/news/id.14757/title.krayzie-bone-splits-from-bone-thugs-n-harmony. Retrieved 2012-03-29.  External links[link] Book: Bone Thugs-n-Harmony Wikipedia books are collections of articles that can be downloaded or ordered in print. Official website Official Myspace page Bone Thugs-n-Harmony's ArtistDirect page Exclusive Interview in Complex magazine I Tried Movie Bone Thugs-n-Harmony at Allmusic v t e Bone Thugs-n-Harmony Bizzy Bone Layzie Bone Flesh-n-Bone Wish Bone Krayzie Bone Studio albums Faces of Death Creepin on ah Come Up E 1999 Eternal The Art of War BTNHResurrection Thug World Order Thug Stories Strength & Loyalty Uni5: The World's Enemy Compilations The Collection, Volume 1 The Collection, Volume 2 Greatest Hits Greatest Hits (Chopped & Screwed) T.H.U.G.S. Thug Smoke Fest Thuggish II Singles "Thuggish Ruggish Bone" "Foe tha Love of $" "1st of tha Month" "East 1999" "Tha Crossroads" "Days of Our Livez" "Look into My Eyes" "If I Could Teach the World" "War" "Resurrection (Paper, Paper)" "Change the World" "Money, Money" "Home" "Take the Lead (Wanna Ride)" "I Tried" "Lil' L.O.V.E." Related articles Discography Bone Brothers Mo Thugs ThugLine Records Ruthless Records BTNH Worldwide Book:Bone Thugs-n-Harmony

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2010)

Ray Conniff
Conniff in 1979
Background information
Birth name	Joseph Raymond Conniff
Also known as	Jay Raye
Born	(1916-11-06)November 6, 1916
Died	October 12, 2002(2002-10-12) (aged 85)
Occupations	composer
Instruments	trombone, vocals
Website	http://www.rayconniff.info/

Joseph Raymond Conniff (November 6, 1916 – October 12, 2002) was an American bandleader and arranger best known for his Ray Conniff Singers during the 1960s.

Biography[link]

Conniff was born in Attleboro, Massachusetts, and learned to play the trombone from his father. He studied music arranging from a course book.^[1] After serving in the U.S. Army in World War II (where he worked under Walter Schumann), he joined the Artie Shaw big band and wrote many arrangements for him. After his stint with Shaw he was then hired by Mitch Miller, then head of A&R at Columbia Records, as their home arranger, working with several artists including Rosemary Clooney, Marty Robbins, Frankie Laine, Johnny Mathis, Guy Mitchell and Johnnie Ray. He wrote a top 10 arrangement for Don Cherry's "Band of Gold" in 1955, a single that sold more than a million copies.

Among the hit singles he backed with his orchestra (and eventually with a male chorus) were "Yes Tonight Josephine" and "Just Walkin' in the Rain" by Johnnie Ray; "Chances Are" and "It's Not for Me to Say" by Johnny Mathis; "A White Sport Coat" and "The Hanging Tree" by Marty Robbins; "Moonlight Gambler" by Frankie Laine; "Up Above My Head," a duet by Frankie Laine and Johnnie Ray; and "Pet Me, Poppa" by Rosemary Clooney. He also backed up the albums Tony by Tony Bennett, Blue Swing by Eileen Rodgers, Swingin' for Two by Don Cherry, and half the tracks of The Big Beat by Johnnie Ray.

In these early years he also produced similar-sounding records for Columbia's Epic label under the name of Jay Raye (which stands for "Joseph Raymond") amongst them a backing album and singles with Somethin' Smith and the Redheads, an American male vocal group.

Between 1957 and 1968, Conniff had 28 albums in the American Top 40, the most famous one being Somewhere My Love (1966). He topped the album list in Britain in 1969 with His Orchestra, His Chorus, His Singers, His Sound, an album which was originally published to promote his European tour (Germany, Austria, Switzerland) in 1969. He also was the first American popular artist to record in Russia—in 1974 he recorded Ray Conniff in Moscow with the help of a local choir. His later albums like Exclusivamente Latino, Amor Amor and Latinisimo made him very popular in Latin-American countries, even more so after performing in the Viña del Mar International Song Festival. In Brazil and Chile he was treated like a young pop superstar in the 1980s and 1990s when he was in his 70s and 80s. He even played live with his orchestra and eight-person chorus in large football stadiums as well as in Viña del Mar.

Conniff commented, "One time I was recording an album with Mitch Miller - we had a big band and a small choir. I decided to have the choir sing along with the big band using wordless lyrics. The women were doubled with the trumpets and the men were doubled with the trombones. In the booth Mitch was totally surprised and excited at how well it worked." Because of the success of his backings Mitch Miller and the new sound Conniff created Miller allowed him to make his own record, and this became the successful 'S Wonderful, a collection of standards that were recorded with an orchestra and a wordless singing chorus (four men, four women). He released many more albums in the same vein, including Dance The Bop (1957) (a story follows about that album), S Marvelous (1957, gold album), S Awful Nice (1958), Concert in Rhythm (1958, gold album), Hollywood in Rhythm (1958), Broadway in Rhythm (1959), and Concert in Rhythm, Volume II (1959, gold album). The 1957 album Dance the Bop was an experiment by one of the brass at Columbia to cash in on a conceived dance step creation, but Ray didn't like it from the outset, and when it sold poorly, Ray had it pulled off the market.

The Ray Conniff Singers[link]

In 1959 he started The Ray Conniff Singers (12 women and 13 men) and released the album It's the Talk of the Town. This group brought him the biggest hit he ever had in his career: Somewhere My Love (1966). The title track of the album was written to the music of "Lara's Theme" from the film Doctor Zhivago, and was a top 10 single in the US. The album also reached the US top 20 and went platinum, and Conniff won a Grammy. The single and album reached high positions in the international charts (a.o. Australia, Germany, Great Britain, Japan) as well. Also extraordinarily successful was the first of four Christmas albums by the Singers, Christmas with Conniff (1959). Nearly 50 years after its release, in 2004, Conniff was posthumously awarded with a platinum album/CD. Other well-known releases by the Singers included Ray Conniff's Hawaiian album (1967), featuring the hit song "Pearly Shells"; and Bridge Over Troubled Water (1970), which included Coniff's original composition "Someone", and remakes of such hits as "All I Have to do is Dream", "I'll Never Fall in Love Again", and "Something".

Musically different highlights in Conniff's career are two albums he produced in cooperation with Billy Butterfield, an old friend from earlier swing days. Conniff Meets Butterfield (1959) featured Butterfield's solo trumpet and a small rhythm group; Just Kiddin' Around (after a Conniff original composition from the 1940s), released 1963, featured additional trombone solos by Ray himself. Both albums are pure light jazz and did not feature any vocals.

Later years[link]

Conniff recorded in New York from 1955 through 1961 and mainly in Los Angeles from 1962 through 2000. Later in the 1960s he produced an average of two instrumental and one vocal album a year.

Conniff was a quiet, modest sympathetic artist. He sold about 70 million albums worldwide, and continued recording and performing until his death in 2002.

He died in Escondido, California, and is interred in the Westwood Village Memorial Park Cemetery in Los Angeles, California. His grave marker bears a musical score with the first four notes of "Somewhere My Love." Conniff was survived by his wife, Vera; a daughter, Tamara Conniff; son, Jimmy Conniff; and three grandchildren.

Legacy[link]

In 2004, a memorial two-CD compilation set, The Essential Ray Conniff, was released, featuring many rare and previously unreleased tracks. The Singles Collection, Vol. 1 was released on the Collectables label in 2005 and The Singles Collection, Vol. 2 was released in 2007. These collections also feature rare singles and previously unissued tracks.

His music is also featured prominently in the movie There's Something About Mary.

Ray Conniff Singers[link]

From 1962 through 1971, membership in the Ray Conniff Singers included:^[2]