(A) Sound

1. When an object vibrates, it produces sound waves that travel through the air to people's eardrums and are perceived as sound through the brain's reflexes. People can hear the sound in the number of vibrations per second for about 16-2000 times, in nature, our human hearing can feel a lot of sound, but not all the sound can be used as music material. The tones used in music (excluding overtones) are generally limited to the range of 27-4100 vibrations per second. In other words, the tones mentioned in music are selected by people in their long-term life practice, which can express people's life or thoughts and feelings, and form a fixed system, which is used to express musical ideas and shape musical images.

2. The main properties of tones:

The height of a tone, the strength of a tone, the length of a tone, the tone

(1) There are four main properties of tones, namely, the height, the strength, the length, and the tone, and they are very important in musical performance, and the height and the length of a tone are the most important. I don't know if you have this experience: for a song, no matter if you sing or play a musical instrument, whether your voice is small or big, and no matter what tuning you sing or play, the strength of the tone and the timbre have changed, but the melody of the song remains the same. However, if the pitch of the song or the length of the notes changes, the feeling of the music will be seriously affected. This shows the importance of pitch and duration for a melody.

(2) The pitch of a tone is determined by the number of vibrations (frequencies) of an object at a given time. The higher the number of vibrations, the higher the tone; the lower the number of vibrations, the lower the tone. The strength of the sound is determined by the amplitude (the amplitude of the vibration of the sound) of the size. The larger the amplitude, the stronger the tone; the smaller the amplitude, the weaker the tone. The length of a tone is determined by the duration of the tone. The longer the duration of the tone, the longer the tone; the shorter the duration of the tone, the shorter the tone. The timbre is determined by the nature of the articulator, shape and the number of overtones and other factors.

(3) What is timbre? Tone refers to the sensory properties of sound. It is an important means of expression in music that is extremely attractive and directly touches the senses. The vibration of the articulating body is composed of a variety of harmonics, including fundamental and overtones, the number of overtones and the relative strength of the overtones determines the specific tone color. People's ability to distinguish between tones is innate, and tones are divided into human voice color and instrumental tones. Human voice color high, medium and low, and there is a difference between men and women; instrumental timbre is mainly divided into stringed instruments and wind instruments, a variety of percussion instruments are also different timbres.

3. Classification of sound

Musical sound Noise

Based on the regularity and irregularity of the vibration state of the sound, the sound is divided into two categories: musical sound and noise. Music is mainly used in music, but noise is essential in music performance. For example, the sound made by the drums is a kind of noise, however, this noise has a certain regularity.

(2) Scale

Pentatonic Scale Seventh Tone Scale

1. Definition of Scale

Scale (Scale) refers to the tuning of the tones in the tuning from a certain pitch as a starting point, that is, from the beginning of the dominant, in accordance with the order of the pitch of the notes from low to high to arrange, so that the column of tones known as the scale, there are many different scales in different parts of the world, along with the advancement of the level of music, music is very complete theory and systematic. As the level of music advances, the theory and system of music is very complete. At present, the world almost always uses the Western twelve equal temperament as the basis for learning music, so the scales we are talking about today are based on the most common major scales (major keys) and minor scales (minor keys).

2. Classification of scales

Based on the number of tones contained in the tonic, they can be categorized as: "pentatonic scale", "heptatonic scale", etc. The scale from low to high is called upper scale. The scale from low to high is called upward, and from high to low is called downward.

Pentatonic scale (Pentatonic scale) consists of five tones, mostly used in folk music modes such as: do, re, mi, sol, la, (do).

(C) Musical tone system

1. Definition of musical tone system

The sum of tones used in music that have a fixed pitch is called the musical tone system.

2. Classification of Musical Tone System

(1) Tone Row

The tones of a musical tone system, arranged in an upward or downward sequence, are called tone rows.

(2) Levels

The tones in a musical system are called levels. There are two kinds of tone levels: the basic tone level and the changing tone level. In the musical sound system, the seven levels with independent names are called basic levels. The names of the basic levels are labeled with letters and chants in two ways. Two neighboring tones with the same name are called octaves. Tones that are obtained by raising or lowering the basic scale are called altered scales. A semitone elevation of a basic tone is indicated by "ascending" or " "; a semitone lowering is indicated by "descending" or " "; a whole tone elevation is indicated by "resuming" or "x"; a whole tone lowering is indicated by "resuming" or " "; and a reduction is indicated by " ".

3. Tone Range and Tone Zones

The tone range can be divided into a general range and individual ranges, vocal and instrumental ranges. Part of the range is the register, which can be divided into treble, midrange and bass. The division of the vocal range is often incompatible, for example, the high pitch of the baritone is the low pitch of the alto. However, each register has its own characteristic timbre, which is reflected in the performance of music, generally speaking: the treble range is crisp and sharp; while the bass range is low and thick.

(D) Modulation

Stable Tone Unstable Tone

In music, to express the musical ideas, to shape the image of music only rely on an isolated tone, chord or a number of each other have nothing to do with the tone, is difficult to achieve.

1. Definition of modulation

In music, a number of tones (generally no more than seven) linked together in a certain relationship form a system with one tone at the center (the dominant), and this system is called modulation.

2. Classification of tones in modes

In a modal system, the tones that play the role of pillars and give a sense of stability are called stable tones. Tones that give a sense of instability are called unstable tones. Unstable tones have the characteristic of proceeding to stable tones, and this characteristic is called tendency. The unstable sound proceeds to the stable sound according to its tendency, which is called resolution. The stability and instability of a tone are relative. It is common for us to find that a certain tone (or chord) is stable in one tuning system but may become unstable in another, and even in the same tuning system, because of different harmonic treatments, certain stable tones may be temporarily in an unstable state.

3. Classification of modes

The modes are divided into major and minor. Modes consisting of seven notes are called major modes, in which the stabilizing notes combine to form a major triad. Minor modes are also made up of seven tones, where the stabilizers join together to form a minor triad. The major mode's dominant and the third above it are major thirds, because this interval best describes the colors of the major mode. The dominant of the minor mode and the third above it are minor thirds, because this interval best describes the colors of the minor mode. In the major and minor modal systems, the stabilizing effect is the first, third and fifth levels. These three stable level of stability is different, the first level of the most stable, and the third and fifth level of stability is poor. The three stabilizers and their stability can only be shown when the dominant triad *** resonates, but not when other non-dominant triads are used. The second level, the fourth level, the sixth level, the seventh level is unstable tone level, in the appropriate conditions, they reveal the tendency of the second degree relationship to carry out the stable tone.

1. Major

In accordance with the system of twelve equal temperament, we can start from any semitone (DO, #DO, RE, #RE, #MI, FA, #FA, SOL, #SOL, LA, #LA, SI), in accordance with the intervals of the major key to make a completely new major key, in the major key of C.

Examples:

I II III IV IV V VI VII I II III IV V VI VII I

Full Tone Full Tone Half Tone Full Tone Full Tone Half Tone

A: Main Tone, Lead Tone:

Each major key has seven tones, the Roman numerals you see are the number of steps we arrange for these seven tones, the first tone is the I tone as the most important tone of the whole major key is often called the "Main Tone", and the seventh tone is the VII tone as the lead of the whole scale again. The first tone, the I, is the dominant tone of the major scale, and the seventh, the VII, is often called the "leading tone" as it guides the scale back to the dominant again.

B: The rules of the major scale:

The size of the intervals between each tone is "full-full-half-full-full-full-half", which is the rule of the major scale, and we divide the whole scale into two parts: DO, RE, MI, FA + SOL, LA, SI, DO, which is called a "pattern", and each pattern contains four tones, and the distance of intervals is "full, full, full, half". Each pattern contains four tones, and the intervals between them are "whole, whole, and half", so a major scale consists of two "whole, whole, and half" patterns connected by a whole tone in the center.

C: Upgrade major

Example 1:

Based on C major, a major key should have two modes, remove the two modes of C major, leaving only the SOL, LA, SI, DO parts behind, and then a "whole-half" mode behind it, and a whole-half mode between the two modes, plus a whole tone connection. Add a whole tone connection between the two patterns to become "RE, MI, #FA, SOL", in which FA needs to be raised by a semitone to make a "whole-half" pattern, so this major key is: The dominant of this major key is SOL, so the name of the key is G major, and the key number is #FA

Example 2:

Take the key of C major as the basis, there should be two patterns in a major key, and take the two patterns of the key of C major and remove the one in front of it. Take away the first one of the two patterns, and keep the second one RE, MI, #FA, SOL, you will get a new pattern LA, SI, #DO, RE:

The dominant of this major is RE, so the name of the key is D major, and then the key signatures are #FA & #DO

Example 3:

Taking C major as the basis, there should be two patterns in a major key. Take the two patterns of C major and remove the one in front of it, keep the LA, SI, #DO, RE at the back to get a new pattern MI, #FA, #SOL, LA:

The dominant of this major is LA, so the name of the key is A major, and the key signatures are #FA, #DO and #SOL Continuing with these three examples, we get seven major keys: G major, D major, A major, E major, B major, A major, E major, B major, E major, B major, A major, B major, B major. The key numbers of these seven keys have a ****similarity, that is, the continuation of the previous key number and then add a new key number, the order is: # FA, # DO, # SOL, # RE, # LA, # MI and # SI, the list is as follows:

C G D A E B # F # C

D Descending Major

D Descending Major

D Descending Major

D Descending Major

D Descending Major

Descending major is the opposite of ascending major, based on C major, a major key should have two patterns, at the beginning of the C major to remove the top of the pattern to leave the bottom of the DO, RE, MI, FA, and then the bottom of the following pattern, with a whole tone connected to get the FA, SOL, LA, SI descending pattern: the main key of this major key is FA, so the name of the key is This major key is FA, so the key name is SI-flat

Example 2:

In the same way, take C major as the base, remove the pattern above C major at the beginning, keep the pattern below, and connect a pattern downwards to get a new pattern: SI-flat, DO, RE, MI-flat The main key of this major key is SI-flat, so the key name is B-flat major, the key name is SI-flat, MI-flat

In this way, take B-flat major, and connect a pattern with a whole tone to get FA, SOL, LA, and SI-flat

And so on.

And so on, to get seven descending major keys: F major, B-flat major, E-flat major, A-flat major, D-flat major, G-flat major, C-flat major these seven major keys, these seven keys of the key number has a **** the same point: that is, the continuation of the previous key of the key number, add a new key number, the order is: SI?, MI?, LA?, RE?, SOL?, DO?, FA, the order is: SI?, SI?, RE?, DO, FA?, the order is: SI?, RE, RE?, DO, FA?. The list is as follows:

C F? B? E? A? D? G? C

Note: There are only 12 tones in the twelve equal temperament, which can only be made into 12 major keys. However, if you do the math, there are 15 keys in the C major + 7 upgraded majors + 7 downgraded majors in total ****, so how can there be 3 more? The reason is very simple, there must be three keys that are duplicated and need to be deducted, but how are they duplicated? The reason is very simple, it is "the same tone with different names" caused. Now the upgraded major and downgraded major key names listed which three keys are repeated, at a glance.

1 2 3 4 5 6 7

G D A E B #F #C (rising major)

F B? E? A? D? G? C (descending major)

Which key names in blue indicate that these 6 keys are homophones with each other:

B major (5 ascending signs) Same as C? major (7 descending signs)

#F Major (6 sharps) Same as G-flat major (6 flats)

#C major (7 sharps) Same as D-flat major (5 flats)

The (B/C-flat), (#F/G-flat), (#C/D-flat) are basically the same tone, and since they are the same note, the scales are naturally exactly the same, just written in different ways.

2. Minor

Minor and major keys can be much simpler compared to each major key has a subsidiary minor key, and this subsidiary minor key used by the key number is *** with the major key number, we can think of the minor key is "parasitic" in the major key of another scale. The main key of the major can be found by shifting the main key of the minor down by a minor third.

Example 1:

Take C major as an example, and its subsidiary minor is a minor:

The following line in this example is the subsidiary minor of C major, a minor, and after determining the main key to be LA, line up the 7 natural tones upward, because C major does not have any elevation marks, so a minor also does not have any elevation marks. minor doesn't have any elevation marks.

Example 2:

This example is D major with two ascending and descending signs, the subsidiary minor is b minor, and the other tones are pushed upward because the key signatures are written in the front, so you don't have to think about which tones are going to go up or down. This minor key is called the natural minor scale and is not commonly used in composition.

Categorization of minor scales

There are four types of minor scales: the natural minor scale, the harmonic minor scale, the melodic minor scale, and the modern minor scale, which are compared as follows:

From top to bottom of this chart are the natural minor scale, the harmonic minor scale, the melodic minor scale, and the modern minor scale, which are distinguished from one another by the following differences:

a Natural Minor Scale:

A Natural Minor Scale:

A Natural Minor Scale:

A Natural Minor Scale:

A Natural Minor Scale:

A Natural Minor Scale:

A Natural Minor Scale:

This is a natural minor scale, but with the exception of the key sign, which is written in front of the key. /p>

The complete absence of any temporary notation except the key sign.

b Harmonic Minor Scale:

Because of the concept of the harmonic lead, the lead should be a semitone away from the dominant, so a semitone elevation of the seventh step of the Natural Minor Scale in addition to the key signature makes it a harmonic minor scale.

c. Melodic Minor Scale:

In addition to the key signature, because the harmonic minor scale raises the seventh note by a semitone, the difference between the sixth and seventh notes will increase by two degrees (three semitones), in order to facilitate melodic play, so the sixth note will be raised by a semitone in the upward movement of the scale, which will give people the impression of a major key, and in order to solve the problem, the sixth and the seventh notes will be reduced to a natural minor scale when the downward movement of the scale. In order to solve this problem, the sixth and seventh steps are reduced in the downward motion of the scale to the natural minor scale, called the melodic minor scale.

d. Modern Minor Scale:

Besides the key signatures, in modern harmony, with the advancement of technology, the major and minor keys were no longer important, and composers needed new scales, and the modern minor scale appeared, which, unlike the melodic minor scale, does not reduce the sixth and seventh steps as it goes down the scale.

(E) Intervals

1. Degree as a unit of interval, is the difference between the two notes a few natural tone names of the number of units, such as four degrees means from this tone counting up to four natural tone names, such as DO and FA between the degree algorithm is DO, RE, MI, FA four natural tone names, so the degree between DO and FA is four degrees. Degrees do not show the exact distance between DO and FA, the exact distance has to be calculated in semitones. Because if we just use degrees to calculate intervals, there will be a problem: some degrees are all called fourths, but the number of semitones between them is different, such as the difference between DO and FA is 5 semitones, while the difference between FA and SI is 6 semitones. The degrees are the same, but the actual distances are different. Therefore, after determining the degree of this group of tones, we should also add the adjectives such as major, minor, increasing, decreasing, etc. in front of the degree to further determine the correct intervals of this group of tones. Example: If we take the natural tones Do, Re, Mi, Fa, Sol, La, Si as an example, the possible intervals are as follows:

One degree, two degrees, three degrees, four degrees, five degrees, six degrees, seven degrees, and eight degrees

The lowest degree between the same tone and the same tone is one degree, and one degree between them is two degrees, and the others are the next degree, etc.... ....

But you must be well aware that this is only a rough division, because between the same degree, there will still be a difference because of the number of semitones between them, such as the example of the score:

Major two/minor two major three/minor three complete/increase four complete/decrease five major six/minor six major seven/minor seven

As in the example of the major two/minor two degrees, the difference of two semitones (i.e., a whole note) is DO and RE, and MI and FA is one semitone (i.e., a whole note). MI and FA are one semitone apart, but in terms of degrees, they are both called second degrees. In order to differentiate between these two different intervals, the one with the further interval is called the major second, and the one with the closer interval is called the minor second. Because the four degrees, one, four, five, and eight, are harmonically considered the most harmonic intervals, the words perfect are found in place of fourth and fifth, and thus we call them perfect intervals, i.e., perfect first, perfect fourth, perfect fifth, and perfect octave. The three most common types of intervals are major, minor and perfect. The perfect interval is no longer called major or minor because it is complete, and there is no such term as major fourth or minor fifth in music theory. In other cases of the same degree, the major interval must be one semitone more than the minor interval, such as the major third must be one semitone more than the minor third, but sometimes, because of the relationship between the temporary notation, there is a situation where there is one semitone more than the major third, the interval is called an augmented third, such as the FA and # LA is an augmented third, and vice versa, if there is a situation where there is one semitone less than the minor third, it is called a diminished third, such as the # RE and FA. RE and FA. In the case of perfect intervals, like DO and FA have a difference of 5 semitones, which is called a perfect fourth, but FA and SI have a difference of 6 semitones, which is an increase of one semitone over the normal perfect fourth, in which case we take the perfect fourth as the standard state, and call the intervals of FA and SI augmented fourths, and the perfect fifths and diminished fifths are the same as above.

(2) Names of common intervals:

0 semitones away: perfect first degree

1 semitone away: minor second (MI / FA), augmented third (DO / #DO)

2 semitones away: major second (DO / RE), diminished third (#RE / FA)

3 semitones away: minor third, augmented second. Distance 4 semitones: major third, diminished fourth

Distance 5 semitones: perfect fourth

Distance 6 semitones: augmented fourth, diminished fifth

Distance 7 semitones: perfect fifth

Distance 8 semitones: minor sixth

Distance 9 semitones: major sixth

Distance 10 semitones: minor seventh

11 semitones away: major seventh

12 semitones away: perfect octave

Memorize the basic natural intervals, and deduce the rest according to the principle: if the interval is a major, minor, or perfect interval, it doesn't matter. But if it is not, then an interval that is a semitone more than a major or perfect interval is called an augmented interval; conversely, an interval that is a semitone less than a minor or perfect interval is called a diminished interval. More than an octave of the interval, known as the complex intervals (within an octave known as a single interval), to identify the complex intervals is very simple, as long as the interval is calculated octave + degrees, and then subtract a degree of the answer can be obtained, such as c and c2, although they are singing DO, but the difference between two octaves, so their intervals is an octave + octaves and then subtracted from a degree of the answer to 15 degrees.

2. One of the classifications of intervals

Two notes played sequentially form a melodic interval. Two notes played simultaneously form a harmonic interval. Melodic intervals are written in a staggered manner, while harmonic intervals are written in an up-and-down manner. In an interval, the lower note is called the root note, and the upper note is called the crown note. Melodic intervals are categorized as upward, downward, or parallel according to the direction in which they are performed.

3. Transposed intervals

(1) Definition

The root and crown tones of an interval are reversed, which is called an interval transposition. Intervals can be transposed within an octave or over an octave. Intervals can be transposed by moving the root or the crown, or by moving the root and crown together.

(2) Laws in interval transposition:

A. All intervals are divided into two groups, and they are reversible.

B, the total number of intervals that can be inverted is 9. Therefore, if we want to know how many intervals an interval becomes after it is inverted, we can subtract the number of levels of the original intervals from 9. For example, the seventh degree (7) becomes the second degree after it is inverted (9-7=2), and so on. In addition to pure intervals, other intervals become opposite intervals after transposition: pure intervals become pure intervals after transposition, major intervals and minor intervals are transformed into each other after transposition, augmented intervals and diminished intervals can be transformed into each other after transposition, but the augmented octave is not diminished by one degree after transposition, but diminished by eight, and doubled augmented intervals and doubled diminished intervals can be transformed into each other after transposition.

4. Classification of intervals bis

Extremely fully consonant intervals Concordant intervals Fully consonant intervals Intervals (according to the visual impression of harmonic intervals) Incompletely consonant intervals Diatonic intervals, major second, major seventh, non-concordant intervals All augmented intervals Doubled, doubled, and subtracted intervals

(1)

According to the impression of harmonic intervals in the sense that they are produced in the sense of hearing, the intervals can be divided into Harmonized and dissonant intervals. Intervals that sound pleasant and blend together are called harmonic intervals. Consonant intervals can be categorized into three types:

A. Pure unity of sound and almost unity of the octave are the most completely concordant intervals. They are characterized by a somewhat hollow sound.

B. Pure fifths and pure fourths, which are quite integrated, are fully consonant intervals. They are characterized by a somewhat hollow sound.

C. The minor thirds and major sixths, which are not very well integrated, are not fully consonant intervals. They are characterized by a fuller sound

(2)

The intervals that sound harsh and do not blend well with each other are called dissonant intervals. Including the major and minor second, major and minor seventh, and all the intervals of increase and decrease (including the increase of four, decrease of five intervals) doubling, doubling and decreasing intervals.