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

Justin Timberlake
Timberlake at the premiere of Shrek The Third in 2007.
Background information
Birth name	Justin Randall Timberlake
Born	(1981-01-31) January 31, 1981 (age 31) Memphis, Tennessee
Origin	Shelby Forest, Tennessee, United States
Genres	Pop, dance, R&B
Occupations	Singer-songwriter, musician, record producer, dancer, actor, businessman
Instruments	Vocals, keyboards, guitar, beatboxing
Years active	1993–present
Labels	Jive, RCA
Associated acts	'N Sync, The Y's, Timbaland, Nelly Furtado
Website	justintimberlake.com

Justin Randall Timberlake (born January 31, 1981)^[1] is an American singer, actor, and businessman. He achieved early fame when he appeared as a contestant on Star Search, and went on to star in the Disney Channel television series The New Mickey Mouse Club, where he met future bandmate JC Chasez. Timberlake became famous in the late 1990s as the lead singer and youngest member of the boy band 'N Sync, whose launch was financed by Lou Pearlman.

In 2002, he released his debut solo album, Justified, which sold more than seven million copies worldwide. The album was a commercial success, spawning the hits "Cry Me a River" and "Rock Your Body". Timberlake continued his success with his second solo album, FutureSex/LoveSounds (2006), debuting at number one on the Billboard 200 chart, and produced the US number-one hit singles "SexyBack", "My Love", and "What Goes Around... Comes Around".

Timberlake has won six Grammy Awards and four Emmy Awards. His first two albums made him one of the most commercially successful singers in the world, each selling in excess of 7 million copies. He also has an acting career, having starred in films such as The Social Network, Bad Teacher and Friends with Benefits. His other ventures include record label Tennman Records, fashion label William Rast, and the restaurants Destino and Southern Hospitality.

Early life[link]

Timberlake was born in Memphis, Tennessee, the son of Lynn Harless (née Bomar) and Randall Timberlake.^[1] Timberlake is of almost entirely English descent, however he has some very distant German and Native American ancestry.^[2][3][4] His paternal grandfather, Charles L. Timberlake, was a Baptist minister, and Timberlake was raised Baptist, though now considers himself more "spiritual than religious".^[5]

Timberlake's parents divorced in 1985, and both have remarried. His mother, who now runs an entertainment company called Just-in Time Entertainment, remarried to Paul Harless, a banker, when her son was five. His father, a choir director at a Baptist church, has two children, Jonathan (born c. 1993) and Steven Robert (born August 14, 1998), from his second marriage to Lisa Perry. Timberlake's half-sister, Laura Katherine, died shortly after birth on May 14, 1997, and is mentioned in his acknowledgments in the album *NSYNC as "My Angel in Heaven."^[6] Timberlake grew up in Shelby Forest, a small community between Memphis and Millington. His first attempts at a singing career were country music songs on Star Search as "Justin Randall."^[7]

In 1993, Timberlake joined the cast of The Mickey Mouse Club. His castmates included future girlfriend and pop superstar Britney Spears, future tourmate Christina Aguilera, future bandmate JC Chasez, and future movie actor Ryan Gosling.^[8] The show ended in 1994, but late in 1995 Timberlake recruited Chasez to be in an all-male singing group organized by boy band manager Lou Pearlman^[9] that eventually became 'N Sync.

Entertainment career[link]

1995–2002: 'N Sync[link]

Timberlake and JC Chasez were the two lead singers of the popular 1990s boy band 'N Sync.^[10] The group formed in 1995, started its career 1996 in Europe, and hit it big in the United States in 1998 with the U.S. release of its debut album *NSYNC, which sold 11 million copies.^[11] The album included a number of hit singles, including "Tearin' Up My Heart". For the next two years, encouraged by similar developments with the Backstreet Boys, 'N Sync engaged in a lengthy legal battle with manager Lou Pearlman. Eventually the band signed with Jive Records.^[12] In March 2000, 'N Sync released a long-awaited album, No Strings Attached, which became the fastest-selling album of all time with 2.4 million copies sold in its first week^[13] and produced a #1 single, "It's Gonna Be Me". The release was followed by the band's third album, Celebrity, which was the second-fastest selling album of all time. In 2002, after the completion of a Celebrity Tour and the release of "Girlfriend", the third single from Celebrity, the group decided to take time off, at which point Timberlake began work on his first solo album and the group went into a hiatus. In its lifetime, 'N Sync was internationally famous and performed at the Academy Awards,^[14] the Olympics,^[15] and the Super Bowl,^[16] as well as selling more than 50 million copies worldwide,^[17] becoming the third-best selling boy band in history.^[18]

In late 1999, Timberlake made his acting debut in the Disney Channel movie Model Behavior. He played Jason Sharpe, a model who falls in love with a waitress after mistaking her for another model. It was released on March 12, 2000.^[19]

As a member of 'N Sync, Timberlake developed into a major celebrity in his own right in addition to achieving respect as a musician, since he was the writer or co-writer of all three singles from Celebrity. The rise of his own stardom and the general decline in the popularity of boy bands led to the dissolution of 'N Sync. Band member Lance Bass has stated that he believes the group is finished,^[20] and is openly critical of Timberlake's actions in his memoir Out of Sync. On the other hand, Chris Kirkpatrick remarked in August 2008 that the five remain friends, and he believed a reunion was possible:^[21] he repeated that opinion in October 2009.^[22] In September 2008, Bass also made conciliatory comments.^[23] However, in 2011 and 2012, JC Chasez said that a reunion will probably never happen.^[24][25][26]

[edit] 2002–04: Justified and Super Bowl

In August 2002, after months of recording Justified, his debut solo album, Timberlake performed at the 2002 MTV Video Music Awards. He premiered his first single, "Like I Love You", a sparse dance track produced by The Neptunes.^[27] The song reached #11 on the Billboard Hot 100.^[28] Following the single, Timberlake released Justified on November 5, 2002.^[29] The album sold fewer copies than previous 'N Sync efforts. It debuted at #2 on the Billboard 200 album chart, selling 439,000 copies in its first week of release. It eventually went on to sell more than three million copies in the U.S. and more than seven million copies worldwide.^[30] The album also received critical acclaim, thanks to its heavy R&B influence provided by hip-hop producers The Neptunes and Timbaland.^[31] It spun off hits throughout late 2002 and 2003, including the top ten singles "Cry Me a River" and "Rock Your Body".^[28] Timberlake supported the album by co-headlining the Justified/Stripped Tour with Christina Aguilera in the summer of 2003.^[32] At the end of the year, Timberlake recorded a song entitled "I'm Lovin' It". It was used by McDonald's as the theme to its "I'm Lovin' It" campaign. The deal with McDonald's earned Timberlake an estimated $6 million. A tour entitled Justified and Lovin' It Live was included with the deal as well.^[33] Timberlake was featured on Nelly's song, "Work It", which was remixed and included on Nelly's 2003 remix album.^[34]

In February 2004, during the halftime show of the Super Bowl XXXVIII broadcast on the CBS television network, Timberlake performed with Janet Jackson before a television audience of more than 140 million viewers. At the end of the performance, as the song drew to a close, Timberlake tore off a part of Jackson's black leather costume in a "costume reveal" meant to accompany a portion of the song lyrics. According to CBS, "both Jackson and Timberlake had confirmed they planned it 'independently and clandestinely' without informing anyone."^[35] Part of the costume detached, and Jackson's breast was briefly exposed.^[36] Timberlake apologized for the incident, stating he was "sorry that anyone was offended by the wardrobe malfunction during the halftime performance of the Super Bowl...."^[37] The phrase "wardrobe malfunction" has since been used by the media to refer to the incident and has entered pop culture.^[38] As a result of the controversy, Timberlake and Jackson were threatened with exclusion from the 2004 Grammy Awards unless they agreed to apologize on screen at the event.^[39] Timberlake attended and issued a scripted apology when accepting the first of two Grammy Awards he received that night (Best Pop Vocal Album for Justified and Best Male Pop Vocal Performance for "Cry Me a River").^[40] He had also been nominated for Album of the Year for Justified, Record of the Year for "Cry Me a River", and Best Rap/Sung Collaboration for "Where Is the Love?" with The Black Eyed Peas.^[41] In 2004 American Idol judge Simon Cowell described Timberlake in People Magazine as "just some white kid who's tried to act black over the last several years".

2004–06: Collaborations and acting[link]

After the Super Bowl controversy, Timberlake put his recording career on hold to act in several films, having starred in a few feature films earlier in his music career.^[8] The first role he took during this time was as a journalist in the thriller Edison Force, which was filmed in 2004 and received a direct-to-video release on July 18, 2006.^[42] He also appeared in the films Alpha Dog, Black Snake Moan, Richard Kelly's Southland Tales, and voiced Prince Artie Pendragon in the animated film Shrek the Third, released on May 18, 2007.^[43] He also appeared as a young Elton John, in the video for John's song "This Train Don't Stop There Anymore".^[44] Timberlake was considered to play the role of Roger Davis in the film version of the rock musical Rent, but director Chris Columbus had insisted that only the original Broadway members could convey the true meaning of Rent.^[45]

He continued to record with other artists. After "Where Is the Love?", he again collaborated with the Black Eyed Peas on the 2005 track "My Style" from their album Monkey Business.^[46] When recording the 2005 single "Signs" with Snoop Dogg, Timberlake discovered a throat condition.^[47] Nodules were subsequently removed from his throat in an operation that took place on May 5, 2005.^[48] He was advised not to sing or speak loudly for at least a few months.^[49] In the summer of 2005, Timberlake started his own record company, JayTee Records.^[50]

Timberlake made a cameo in the video for Nelly Furtado and Timbaland's single "Promiscuous", released on May 3, 2006.

[edit] 2006–07: FutureSex/LoveSounds

Timberlake at a concert in St. Paul, Minnesota (2007)

Timberlake released his second solo album, FutureSex/LoveSounds, on September 12, 2006.^[51] The album, which Timberlake created from 2005 to 2006, debuted at number one on the Billboard 200 album chart, selling 684,000 copies its first week.^[51] It is the biggest album for pre-orders on iTunes, and beat Coldplay's record for the biggest one-week sales of a digital album.^[52] The album was produced by Timbaland and Danja (who produced a bulk of the album), will.i.am, Rick Rubin and Timberlake himself, and features guest vocals by Snoop Dogg, Three 6 Mafia, T.I. and will.i.am.^[53] A studio representative described it as being "all about sexiness" and aiming for "an adult feel".^[48]

The album's lead single, "SexyBack", was performed by Timberlake at the opening of the 2006 MTV Video Music Awards and reached number one on the Billboard Hot 100, where it remained for seven consecutive weeks.^[54] "My Love", the album's second single, also produced by Timbaland and featuring rapper T.I., reached number one on the Hot 100, as did third single "What Goes Around.../...Comes Around Interlude". The song is reported to have been inspired by the break-up of his childhood friend and business partner, Trace Ayala, with actress Elisha Cuthbert.^[55] In October 2006, Timberlake said that he would focus on his music career rather than his film roles, specifying that leaving the music industry would be a "dumb thing to do at this point".^[54] He was the special guest performer at the 2006 Victoria's Secret Fashion Show for being where he sang SexyBack. In January 2007, Timberlake embarked on the FutureSex/LoveShow tour. "Summer Love/Set the Mood Prelude" was the fourth U.S. single off the album, and the next single in the UK was "LoveStoned/I Think She Knows Interlude". The song "Give It to Me", a Timbaland single on which Timberlake guests with Nelly Furtado, reached the Hot 100 number-one spot.^[56]

In February 2008, Timberlake was awarded two Grammy Awards. At the 50th Grammy Awards ceremony, Timberlake won the Male Pop Performance Award for "What Goes Around...Comes Around", and the Dance Recording Award for "LoveStoned/I Think She Knows".^[57]

2007– present: Last music appearance, return to acting[link]

The song "4 Minutes", was first played by Timbaland at Philadelphia's Jingle Ball on December 17, 2007.^[58] When released on March 17, 2008, "4 Minutes" was revealed to be a duet between Timberlake and Madonna, with backing vocals by Timbaland. It was lead single from Madonna's eleventh studio album Hard Candy, which featured four other song-writing collaborations with Timberlake. The single was an international hit, topping the charts in over 21 countries worldwide.^[59] Timberlake also appears in the music video, which was directed by Jonas & François. On March 30, 2008, Timberlake performed the song at Madonna's Hard Candy Promo Show at Roseland Ballroom in New York City.^[60] On November 6, 2008, Timberlake performed the song with Madonna on the Los Angeles stop of her Sticky & Sweet Tour.^[61]

Timberlake on his Justified World Tour

Around June 2007 Timberlake co-wrote, produced and provided vocals for the songs "Nite Runner" and "Falling Down" for Duran Duran's album Red Carpet Massacre, released on November 13, 2007. "Falling Down" had been released as a single in the UK on the previous day.^[62]

Also in 2007, Timberlake made an appearance on 50 Cent's third album, Curtis. Timberlake, along with Timbaland, is featured on a track called "Ayo Technology", which was the album's fourth single. Also, another possible collaboration was to occur with Lil Wayne for his album Tha Carter III with Nelly Furtado and Timbaland.^[63]

With the wrapping up of the FutureSex/LoveSounds tour of Australasia and the Middle East in November 2007, Timberlake resumed his film career. Projects underway early in 2008 were starring roles in Mike Myers' comedy The Love Guru (released June 20, 2008) and Mike Meredith's drama The Open Road (released August 28, 2009). In March 2008 it was announced that he was to be an executive producer in an American adaptation of the hit Peruvian comedy My Problem with Women for NBC.^[64]

On November 20, 2008, TV Guide reported that Timberlake’s next single, "Follow My Lead", which also featured vocals by Timberlake’s protégée, former YouTube star Esmee Denters, would be available for exclusive download through MySpace. All proceeds would go to Shriners Hospitals for Children, a charity dedicated to improving pediatric care for sick children.^[65]

In 2008 a collaboration between Timberlake and T.I., "Dead and Gone" featured on T.I.'s sixth studio album, Paper Trail, and was released as its fourth single late in 2009. In November 2008, it was confirmed that Timberlake would make a guest appearance and produce some tracks on R&B/pop singer Ciara's upcoming album Fantasy Ride due out May 5, 2009. Timberlake featured on Ciara's second single "Love Sex Magic", the video being shot on February 20, 2009.^[66] The single became a worldwide hit, reaching the top ten in numerous countries and peaking at number one in several countries including Taiwan, India, and Turkey. The single was nominated for Best Pop Collaboration with Vocals at the 52nd Grammy Awards.

Timberlake and his production team The Y's, along with Mike Elizondo, produced and co-wrote the song "Don't Let Me Down" for Leona Lewis's second studio album, Echo, released (in the US) on November 17, 2009.

Timberlake also co-wrote and performed on "Carry Out", the third single from Timbaland's album Shock Value II, released on December 1, 2009.^[67]

From 2010, Timberlake increased his acting work. He played Sean Parker, the founder of Napster, in the acclaimed film The Social Network (2010). He also appeared at the 2010 MTV VMAs on Sept. 12, 2010.^[68]

In 2011, he starred alongside Cameron Diaz in Bad Teacher and then alongside Mila Kunis in Friends with Benefits, and played Will Salas, the protagonist of In Time, a science fiction film by Andrew Niccol.^[69] He directed and made a cameo in the Free Sol music video "Hoodies On, Hats Low" which was released in August 2011.^[70]

On October 7, RCA Music Group announced it was disbanding Jive Records along with Arista Records and J Records. With the shutdown, Timberlake (and all other artists previously signed to these three labels) will release his future material on the RCA Records brand.^[71][72]

Other work[link]

Near the end of 2002, Timberlake was the first celebrity to appear on Punk'd, a "candid camera" type show created by Ashton Kutcher to trick celebrities.^[73] Timberlake, who cried during the episode, later admitted to being under the influence of marijuana when he was pranked.^[74] Three episodes later, he set up Kelly Osbourne to be "punk'd", thus making him the first celebrity to appear on the show more than once.^[75] Timberlake later spoofed Ashton Kutcher and Punk'd in a 2003 episode of NBC's Saturday Night Live.^[76]

Timberlake has hosted many music events, including the European MTV Music Awards in 2006. On December 16, 2006, Timberlake hosted Saturday Night Live, doing double duty as both host and musical guest for the second time. During this appearance, he and Andy Samberg performed an R&B song for a skit entitled "Dick in a Box", which some radio stations have aired as an unofficial single from Timberlake and has become one of the most viewed videos on YouTube. On May 9, 2009, he appeared in another SNL Digital Short opposite Samberg, Susan Sarandon and Patricia Clarkson entitled "Motherlover", a quasi-sequel to "Dick in a Box".^[77]

Timberlake appeared on Jimmy Fallon's debut as host of Late Night with Jimmy Fallon on March 2, 2009.^[78]

In 2004, ABC hired Timberlake to write a song for its NBA coverage.

Timberlake is the executive producer on the MTV reality series The Phone, which premiered on April 21, 2009. According to People Magazine, the series "thrusts contestants into a heart-stopping action adventure worthy of a summer blockbuster. In six hour-long episodes, a mysterious stranger on the phone invites four strangers into the dangerous game. If they accept, they're paired into two teams and dared to perform physical and mental challenges reminiscent of Matt Damon's The Bourne Identity or Shia LaBeouf's Eagle Eye."^[79]

Other ventures[link]

Business[link]

Timberlake has co-owned or provided celebrity endorsement for three restaurants in the United States: "Chi" opened in West Hollywood, California in 2003,^[80] and "Destino" and "Southern Hospitalty" in New York opened in 2006 and 2007, respectively.^[81] He also has his own brand of tequila called 901; the name comes in part from the area code of his hometown of Memphis.^[82]

In 2005, Timberlake launched the William Rast clothing line with childhood friend Juan ("Trace") Ayala. The 2007 line contained cord jackets, cashmere sweaters, jeans and polo shirts.^[83] The pair reports inspiration from fellow Memphis native Elvis Presley: "Elvis is the perfect mixture of Justin and I," Ayala says. "You can go back and see pictures of him in cowboy boots and a cowboy hat and a nice button-down shirt, but then again you can see him in a tux and a collared shirt with rhinestones on it and slacks. We like to think 'If he was alive today, what would he be wearing?'"^[84] Target has announced that a William Rast collection, including denim, outerwear and sportswear for men and women, would launch in December and be available for a month.^[85]

Timberlake provides celebrity endorsement for many commercial products, this aspect of his business being managed by IMG Sports & Entertainment since April 2008.^[86] Major endorsements in 2009 included Sony electronic products,^[87] Givenchy's men's fragrance "Play",^[88] Audi's "A1",^[89] Callaway Golf Company products,^[90][91] and in 2011, MySpace.^[92][93]

An avid amateur golfer, in 2007 Timberlake purchased the run-down Big Creek Golf Course in his home town of Millington, Tennessee, which he redeveloped as the eco-friendly Mirimichi Golf Course at a cost of some $US16 million. It was reopened on 25 July 2009 but closed again on 15 January 2010 for further improvements expected to take six months.^[94] In October 2011, Timberlake received the Futures Award at the Environmental Media Awards for his green-conscious golf course.^[95]

Charitable causes[link]

Timberlake has been active in several charitable pursuits, initially through 'N Sync's "Challenge for the Children" aimed at a range of charities, and since 2001 through his "Justin Timberlake Foundation," which initially funded music education programs in schools, but now has a much broader agenda.^[96] In October 2005, the Grammy Association presented Timberlake with an award for his humanitarian efforts in Tennessee, alongside writer/director Craig Brewer, also a Memphis native.^[97]

In November 2007 he donated $A100,000 from takings from his Australian tour to Wildlife Warriors founded by Steve Irwin.^[98] On March 23, 2008, he donated $100,000 to the Memphis Rock 'n' Soul Museum and another $100,000 to the Memphis Music Foundation.^[99]

Timberlake golfing in 2006.

On November 12, 2007, the PGA Tour announced that Timberlake, an avid golfer who plays to a 6 handicap,^[100] would become the host of the tour's Las Vegas tournament starting in 2008. With Timberlake's agreement to host the tournament, its name was changed to the Justin Timberlake Shriners Hospitals for Children Open. He played in the celebrity pro-am on the day before the competitive tournament and hosted a charity concert during the week of the tournament.^[101] The activity was a success, and was repeated in 2009. A review of the value of celebrities to fundraising concluded that Timberlake's contribution to Shriners Hospitals for Children was the single most valuable celebrity endorsement in the US during 2009, and worth over $US9 million.^[102]

Personal life[link]

Relationships[link]

Early in 1999, Timberlake began what eventually became a high-profile celebrity relationship with fellow pop singer Britney Spears, with whom he had worked on the New Mickey Mouse Club. This ended abruptly in March 2002. Lynn Harless says as a mother she too was devastated regarding the break-up, but to this day speaks warmly of Spears, "Britney grew up on my living room floor. I still love her to death. They (Justin and Britney) were together 10 or 11 years and had, from day one, instant chemistry between them. She's a sweet girl. I just hate what she's going through now." The breakup influenced the lyrics and theme of Timberlake's hit "Cry Me a River", one of the most popular singles from Justified.^[103]

Post-Spears, Timberlake has generally refused to discuss his personal life with the media, as a result of which his relationships have been the subject of much speculation in the tabloid and celebrity press. Prior to Spears, he was briefly romantically involved with Beyonce Knowles^[104] and singer-actress Stacy Ferguson.^[105] He was romantically linked with Janet Jackson (in July 2002),^[106] actress-dancer Jenna Dewan (in mid-2002),^[106] and actress-singer Alyssa Milano (between September and October 2002).^[106] Timberlake began dating actress Cameron Diaz soon after they met at the Nickelodeon Kids' Choice Awards in April 2003. Regular rumours of break-ups reported in the tabloid press were either ignored or occasionally denied.^[107][108] On the December 16, 2006 episode of Saturday Night Live, Diaz introduced Timberlake as the night's musical guest, and the couple officially split shortly afterwards. After the tabloid press alleged an affair between Timberlake and Scarlett Johansson, with whom he had shot the video for his single "What Goes Around.../...Comes Around Interlude",^[109] Diaz and Timberlake issued a joint statement on January 11, 2007:^[110]

Later in January 2007 Timberlake was linked to Jessica Biel when pictures surfaced of the two snowboarding in Park City, Utah during the Sundance Film Festival. On May 12, 2007 romantic pictures of Timberlake and Biel on multiple dates were published.^[112][113] In the August 9–15, 2008 edition of Heat magazine, when Timberlake was asked to describe his perfect woman, he replied "About 5ft.7in.-5ft.8in., nice butt, Midwestern American, kind-of-German last name, green eyes, big pouty lips, fair skin, ahhh....sinewy bod..."^[114] However, during an appearance on The Tonight Show with Jay Leno on June 11, 2008 when Jay Leno questioned him about anything related to rumors of engagement and pregnancy, Timberlake jokingly responded that he "is engaging in a conversation with Leno" and "everybody in general can get pregnant."^[115] After four years together, the couple announced their split in March 2011.^[116][117] However, by fall 2011 the couple appeared to have reunited, and in late December 2011, Timberlake proposed to Biel in the mountains of Jackson, Wyoming.^{[118][119][120]}

Other interests[link]

Timberlake was given Sexiest Man titles by Teen People and Cosmopolitan magazines.^[121] On February 17, 2009, Timberlake was named the "Most Stylish Man in America" by GQ magazine.^[122] In 2011, he ranked No. 46 on AskMen's annual rundown of the 49 Most Influential Men.^[123]

Timberlake is a fan of English football club Manchester United.^[124][125]

Justin Timberlake was asked to take a fan to her unit's annual ball in July 2011 via YouTube, and he attended the Marine Corps Ball with her (Kelsey De Santis) on Sunday, November 13, 2011 in Richmond, Virginia.^[126][127]

Discography[link]

Studio albums[link]

• 2002: Justified
• 2006: FutureSex/LoveSounds

Extended plays[link]

• 2003: Justin & Christina

DVDs[link]

• 2003: Justified: The Videos
• 2003: Live from London
• 2007: Futuresex/Loveshow – Live from Madison Square Garden

Tours[link]

Headlining

• Justified and Lovin' It Live (2003–04)
• FutureSex/LoveShow (2007)

Co-headlining

• Justified/Stripped Tour (2003) (with Christina Aguilera)

Filmography[link]

See also[link]

Music portal

• List of awards and nominations received by Justin Timberlake
• Honorific nicknames in popular music

References[link]