sound
1. Sound generation:
Sound is a physical phenomenon. When an object vibrates, it will produce sound waves, which pass through the air to the eardrum of people and are perceived as sound after being reflected by the brain. The sound that people can hear vibrates about 16-2000 times per second. In nature, we can feel a lot of sounds through hearing, but not all sounds can be used as music materials. The sound used in music (excluding overtones) is generally limited to 27-4 100 vibrations per second. That is to say, the sound in music is chosen by people in their long-term life practice, which can express people's life or thoughts and feelings, form a fixed system to express musical thoughts and shape musical images.
2. The main attributes of sound:
High and low tones, strong and weak tones, long and short timbres.
(1) tone has four main attributes: high and low, strong and weak, long and short, and timbre, which is very important in music performance, among which high and low tones are the most important. I don't know if you have such an experience: for a song, whether you sing it with your voice or play it with an instrument, the sound is small or big, and no matter what key you use when singing or playing, the strength and timbre of the sound have changed, but the melody of this song remains the same. But if the pitch or length of this song changes, the feeling of music will be seriously affected. It can be seen that pitch and duration are very important for a melody.
(2) The sound level depends on the vibration times (frequency) of the object at a certain moment. The more vibration times, the higher the sound; The less vibration, the lower the sound. The intensity of sound depends on the amplitude (vibration amplitude of sound). The greater the amplitude, the stronger the sound; The smaller the amplitude, the weaker the sound. The length of sound depends on its duration. The longer the sound duration, the longer the sound; The shorter the sound duration, the shorter the sound. The timbre is determined by many factors such as the nature, shape and overtone of the pronunciation body.
(3) What is timbre? Timbre refers to the sensory characteristics of sound. It is an important means of expression in music that is extremely attractive and can directly touch the senses. The vibration of the pronunciation body is composed of many kinds of homophones, including pitch and overtone. The number of overtones and the relative intensity between them determine the specific timbre. People are born with the ability to distinguish timbre, which can be divided into vocal timbre and instrumental timbre. Voice timbre is high, medium and low, divided into men and women; The timbre of instrumental music is mainly divided into string instruments and wind instruments, and the timbre of various percussion instruments is also different.
3. Classification of sounds
Music noise
According to the regularity and irregularity of sound vibration state, sound can be divided into two categories: music sound and noise. Music is mainly used in music, but noise is essential in music performance. For example, the sound made by drum sets is a kind of noise, but this kind of noise has certain rules.
(2) scale
Five tones and seven tones.
Definition of 1. scale
Scale refers to the tones in the mode, starting from a certain pitch, that is, the tonic, and arranging the notes from low to high in pitch order. Such a series of tones are called scales, and there are many different scales all over the world. With the progress of music level, the theory and system of music have been very complete. At present, almost all the countries in the world take the Twelve Average Laws of the West as the basis for learning music, so the scale we are talking about today is the most common major scale.
2. Classification of scales
According to the number of tones contained in the mode, it can be divided into "five tones" and "seven tones". The scale from low to high is called rising, and from high to low is called falling.
Pentatonal scale is a scale composed of five tones, which is often used in the modes of national music, such as: do, re, mi, sol, la, (do).
(3) Music system
1. Definition of musical sound system
The sum of notes with fixed pitch used in music is called musical sound system.
2. Classification of music sound system
(1) series
Tones in a music system are arranged in ascending or descending order, and this arrangement is called a musical sequence.
(2) Sound level
Every tone in the music system is called a scale. There are two kinds of sound levels: basic sound level and changing sound level. In the music system, seven levels with independent names are called basic levels. The names of basic tones are marked with letters and roll names. Two adjacent homonyms are called octaves. Tones obtained by raising or lowering the basic tone level are called varying tone levels. Raise the basic sound level by a semitone and mark it with "L" or ""; A flat semitone is indicated by "drop" or ""; The rising tone is marked by "rising again" or "X"; The whole tone of falling is marked by "falling again" or ""; Recovery is indicated by "".
3. Scope and scope
The range can be divided into general range and personal range, vocal range and instrumental range. Part of the vocal range is the vocal range, which is divided into three types: treble range, alto range and bass range. The division of range is often inconsistent, for example, the high-pitched area of bass is the bass area of alto. But each sound zone has its own characteristic timbre, which is reflected in the performance of music. Generally speaking, the high-pitched area is crisp and sharp; And the bass area is deep and powerful.
model
A steady sound, an unstable sound
In music, it is difficult to express musical ideas and shape musical images only by relying on an isolated tone, chord or multiple unrelated tones.
Definition of 1. mode
In music, many tones (usually not more than seven) are linked together according to a certain relationship, forming a system centered on one tone (tonic), which is called mode.
2. The classification of modal alto
In the modal system, the sound that plays a pillar role and gives people a sense of stability is called steady sound. The sound that gives people an unstable feeling is called unstable sound. Unstable sounds have the characteristic of progressing to stable sounds, which is called trend. Instability follows its trend to a stable tone, which is called solution. The stability and instability of sound are relative. A common sound (or chord) is stable in one mode system, but it may become unstable in another mode system. Even in the same mode system, some stable sounds may be temporarily unstable because of different harmony processing.
3. Pattern classification
Modes are divided into major modes and minor modes. The mode composed of seven tones is called the major mode, in which the stable tones are combined to form the major triad. The minor form is also composed of seven notes, in which the stable notes are combined into a minor chord. The third note above the tonic and the major mode is a third degree, because this interval can best explain the color of the major mode. The third note above the tonic and minor form is minor, because this interval can best explain the color of the minor form. In the size adjustment system, the first, third and fifth stages play a stabilizing role. The degree of stability of these three levels is different, the first level is the most stable, and the third and fifth levels are poor. Three stable tones and their stability can only be shown when they are played together with the tonic triad, but they are unstable when other non-tonic triads are used. Grades Ⅱ, Ⅳ, ⅵ and ⅶ are unstable tones, and under appropriate conditions, they show the trend of two-dimensional stable tone.
1. Important
According to the system of the law of twelve averages, we can start from any semitone (DO, # do, RE, # re, mi, FA, # fa, SOL, # sol, la, # la, SI) and make a brand-new major according to the interval arrangement order of the major, with C major as the major.
Example:
One two three four five six seven one
Full tone, full tone, full tone, full tone, semitone.
A: tonic and lead:
There are seven tones in each major, and the Roman numerals you see are the series we arranged for these seven tones. The first note is I, usually called tonic, which is the most important note in the whole major, and the seventh note is VII, usually called leading note, which leads the whole scale back to tonic.
B: rules for the composition of majors:
The interval size between each tone is "full-full-half-full-full-half" in turn, which is the composition law of major. We divide the whole scale into "Do, RE, MI, FA〓SOL, LA, SI and Do", which are called "sound shapes", and each sound shape contains four sounds. The whole major scale is composed of "full half, full half, full half"
C: upgrade your major
Example 1:
On the basis of C major, a major should have two phonemes. The two phonemes in C major are removed from the previous one, leaving only the parts of SOL, LA, SI and DO behind, and then a "full-half" phoneme is connected behind, and a whole-tone connection is added between the two phonemes to become "Re, MI, # FA, SOL", in which FA needs to be raised by one and a half tones.
Example 2:
On the basis of C major, a major should have two phonemes. If you remove the former from the two phonemes in C major and keep the latter, you will get a new phoneme LA, SI, # Do, RE:
The tonic in this major is RE, so the key is D major, and then key signature is # FA and # DO.
Example 3:
On the basis of C major, a major should have two phonemes. Two phonemes in c major aRe removed from the previous one, and the following LA, SI, # Do, re are kept to get a new phoneme MI, # FA, #SOL, LA:
The tonic in this major is LA, so the key is A major, and key signature is # FA, # DO and # ##SOL. If we continue these three examples, we will get seven major: G major, D major, A major, E major, B major, # F major and # C major, and the key signature of these seven keys has a * * * similarity, that is, key signature with the previous key added.
C G D A E B #F #C
Degraded major
Example 1:
Downgrading a major is the opposite of upgrading a major. Based on C major, a major should have two phonemes. At the beginning of C major, the upper phoneme should be REmoved, leaving the lower DO, re, MI and FA, and then connecting the lower phonemes with a whole tone to get the phonemes of FA, SOL, LA and SI. The main melody of this major is FA, so its name is F major, and key signature is SI Ping.
Example 2:
Similarly, on the basis of C major, the phoneme above C major is removed at the beginning, and the phoneme below C major is reserved, and then a new phoneme is obtained: SI- flat, DO- flat, RE- flat and MI- flat, so it is called B- flat, and key signature is SI- flat and MI- flat.
By analogy, we get seven major downgrades: F major, B major, E major, A major, D major, G major and C major. The key SIgnatures of these seven keys have a * * * siMILArity: it is to continue the key signature of the last key and add a new key signature in the order of: si, mi, la, re, and so on.
C F down b down e down a down d down g down C.
Note: The twelve-average law has only 12 tone, which can only be played in 12 major, but you can calculate that there is 15 tone in C major +7 sharp major +7 flat major. How can there be three more? There is a simple reason. There must be three repeated sounds, which need to be deducted, but how to repeat them? The reason is very simple, that is, "homophonic". Now, by listing the keys to upgrade and downgrade majors, it is clear at a glance which three keys are repeated.
1 2 3 4 5 6 7
G d a e b # f # c (upgrading major)
F, b, e, a, d, g and c (degraded)
Blue tone names indicate that these six tones are homophones with different names:
B major (5 sharp semitones) is the same as C major (7 flat semitones).
# F major (6 sharp semitones) is the same as G major (6 flat semitones).
# C major (7 sharp signs) and D major (5 flat signs)
Among them, (B/C flat), (# F/G flat) and (# C/D flat) are basically the same tone. Since the tonic is the same, the scales are exactly the same, but the writing is different.
2. Smaller
Minor is much simpler than major. Every major has an affiliated minor, and key signature used in this affiliated minor is key signature who uses this major. We can regard minor as another scale parasitic on major. You can find it by moving the tonic down three degrees in a minor.
Example 1:
Take C major as an example, and its minor is A minor:
In this example, the bottom line is A minor attached to C major. After the tonic is LA, the seven natural sounds are arranged upward. Because there is no rising or falling tone in C major, there is no rising or falling tone in A minor.
Example 2:
In this example, there are two sharp semitones in D major and B minor in minor. Other notes are pushed up, because key signature is written in front, so you don't have to consider which note is up or down. This kind of minor is called natural minor scale, which is not commonly used in composition.
Classification of minors
Minor is divided into natural minor scale, harmony minor scale, melody minor scale and modern minor scale. The comparison is as follows:
This picture has natural minor scale, harmony minor scale, melody minor scale and modern minor scale from top to bottom. The differences are as follows:
Natural minor scale:
Except for the key signature, there is no temporary mark at all.
B overtone minor scale:
Because of the concept of acoustic guide, the guide should be a semitone far away from the tonic, so apart from key signature, raising the seventh note of the natural minor scale by a semitone becomes a harmonic minor scale.
C. melody minor scale:
Except for key signature, the difference between the sixth note and the seventh note will increase by two degrees (three semitones) because the harmonic minor scale raises the seventh note by one semitone. In order to facilitate the melody, the sixth note will also be raised by a semitone when the scale rises, but it gives people the feeling of major. In order to solve this problem, the sixth and seventh tones will be restored when the scale goes down, which is called melody minor scale.
D. Modern minor scales:
Except for key signature, in the modern harmony, the technology is constantly improving, and the tonality of big and small sounds is no longer very important. Composers need new scales, and modern minor scales appear. Unlike melody minor scales, modern minor scales do not restore the sixth and seventh notes when they go down.
(5) Interval
Definition of 1. interval
(1) interval
The so-called interval refers to the relationship between two tones in pitch, that is, the distance between two tones in pitch, and its unit name is called degree. Degree, as the unit of interval, is the numerical unit of several natural sounds that are different between two notes. For example, the fourth degree refers to four natural names from this sound. For example, the degree algorithm between DO and FA is four natural sound names of DO, RE, MI and FA, so the degree between DO and FA is four degrees. Degree can't represent the exact distance between DO and FA, and the exact distance should be calculated by semitone. Because if only degrees are used to calculate intervals, there will be a problem: although some degrees are all called four degrees, the number of semitones between them is different, for example, there is a difference of five semitones between DO and FA, and six semitones between FA and SI. The degree is the same, but the actual distance is different. Therefore, after determining the degree of this group of sounds, adjectives such as big, small, increasing and decreasing should be added before the degree to further determine the correct interval of this group of sounds. For example, if the natural sounds Do, Re, Mi, Fa, Sol, La and Si are taken as examples, the possible intervals are as follows:
One degree, two degrees, three degrees, four degrees, five degrees, six degrees, seven degrees and eight degrees
Homophones and homophones are the lowest degrees, called one degree, and those separated by one tone are called two degrees, and so on ... But you must be very clear that this division is only the roughest, because there will still be differences between the same degrees because of the different number of semitones, such as the spectrum example:
Sophomore/junior, junior/junior all/plus four all/minus five big six/junior six, junior seven/junior seven.
For grade two/grade two in the above example, the difference between DO and RE is two semitones (that is, a whole tone), and the difference between MI and FA is one semitone, but they are both called two degrees in degree. In order to distinguish these two different intervals, the farther interval is called the second degree, and the closer interval is called the second degree. Because the first, fourth, fifth and eighth degrees are considered to be the most harmonious intervals in harmony acoustics, and there are complete words at the fourth and fifth degrees, we call them complete intervals, that is, complete one degree, complete four degrees, complete five degrees and complete eight degrees. In the interval, the most common ones are large, small and complete. Because the whole interval is complete, the label of size is no longer attached, and there is no such term as big four and small five in music theory. In other cases of the same degree, the major interval must be one and a half more than the minor interval, such as the major third degree, but sometimes it will be one and a half more than the major third degree because of temporary marking. This interval is called three-degree increase, such as FA and # LA, which means three-degree increase. On the other hand, if it is one and a half degrees smaller than the third degree, it is called a drop of three degrees. For example, in the case of a complete interval, DO and f a differ by five semitones, which is called a complete fourth degree, but FA and SI differ by six semitones, which is one semitone more than the normal complete fourth degree. At this time, we take the complete fourth degree as the standard state, and call the intervals of FA and SI as increasing fourth degree, complete fifth degree and decreasing fifth degree respectively.
(2) Name of common interval:
Distance 0 semitone: full degree.
Distance 1 semitone: small scheduling (MI/FA), plus degree (DO/#DO)
The distance is two semitones: two degrees (DO/RE) and three degrees (#RE/FA).
The distance is three semitones: minor, plus 2 degrees; The distance is four semitones: 3 degrees in major and 4 degrees below zero.
The distance of five semitones: completely four degrees.
The distance is six semitones: increase by 4 degrees and decrease by 5 degrees.
Distance 7 semitone: completely 5 degrees.
Distance 8 semitone: 6 degrees smaller
The distance is 9 semitones: 6 degrees.
Distance 10 semitone: seven degrees smaller.
Distance 1 1 semitone: 7 degrees.
Distance 12 semitone: full octave
Remember the most basic natural interval, others will be inferred according to the principle: it doesn't matter if this interval is big, small or full. But if not, an interval greater than a big interval or a complete interval is called an extended interval; On the other hand, intervals smaller than minor intervals or complete intervals are called interval shortening. An interval exceeding eight degrees is called a complex interval (an interval within eight degrees is called a single interval). It is very simple to distinguish a complex interval. Just figure out that this interval is octave+degree, and then subtract one degree to get the answer. For example, although C and c2 both sing DO, they are separated by two octaves, so their interval is octave+octave minus one degree, and the answer is 15 degrees.
2. A classification of intervals
Two sounds played continuously form a melody tone. Two notes played at the same time form a harmony interval. When writing, the melody tone should be staggered, and when writing, the harmony interval should be aligned up and down. In an interval, the lower note is called the root note and the higher note is called the crown note. Melody tones can be divided into ascending, descending and parallel according to their directions.
3. Reverse the interval
(1) definition
The root sound and crown sound of an interval are reversed, which is called interval transposition. The interval shift can be carried out within an octave or above. When the interval is transposed, you can move the root or crown, or you can move the root and crown together.
(2) the law of interval transposition:
A, all intervals are divided into two groups, which can be reversed.
B, the total interval that can be reversed is 9. Therefore, if you want to know how many degrees an interval becomes after tone sandhi, you can subtract the series of the original interval from 9, for example, seven degrees (7) becomes two degrees after tone sandhi (9-7 = 2), and so on. Except for pure intervals, all other intervals become opposite intervals after being transposed: pure intervals become pure intervals after being transposed, major intervals and minor intervals are transformed into each other after being transposed, and incremental intervals and subtractive intervals can be transformed into each other after being transposed, but they are not reduced by one octave after being transposed, but reduced by one octave.
4. The second classification of intervals
Extremely perfect concordance interval Perfect concordance interval (according to the visual impression of harmony interval) Incomplete concordance interval is two degrees in size and dissonance interval of seven degrees in size is multiplication and subtraction.
( 1)
According to the auditory impression of harmony intervals, intervals can be divided into two categories: concordant intervals and dissonance intervals. A musical and complete interval is called a concorde interval. The interval of Concorde can be divided into three types:
A completely unified purity of sound and almost completely unified octave are extremely complete harmony intervals. It is characterized by a little empty voice.
B. The pure fifth and fourth degrees of sound are quite integrated, which is a completely harmonious interval. It is characterized by a little empty voice.
C. Incomplete minor third and minor sixth degrees are incomplete harmony intervals. It is characterized by a fuller sound.
(2)
It sounds harsh, and intervals that are not very integrated with each other are called dissonance intervals. Including the size of the second degree, the size of the seventh degree, and all the increase and decrease intervals (including the increase and decrease of the fourth degree interval).