音乐基本用语 基本知识及音程 /Basics and Intervals 1. 键盘 /keyboard 键盘是一组杠杆或音键, 由演奏者用手指在钢琴, 羽管键琴, 翼琴或类似的键盘乐器上按压, 或者用手指按压风琴的键盘, 或用脚踩管风琴的踏板或脚键盘 这个词汇广泛应用于键盘乐, 以及各种键盘乐器 A keyboard is a set of levers or keys, to be depressed by the fingers of a player on the piano, harpsichord, clavichord or similar keyboard instrument, or on the manual by the fingers, or on the pedals or pedal-board of the organ with the feet. The word is used generally, as in keyboard music, music for any keyboard instrument. 2. 白键组 /White key pattern 在现代键盘乐器中, 音键通常有白和黑两种颜色 早期键盘乐器的音键颜色的功用或许正相反 现代的白键构成一组全音和半音或相邻音间的半音 白键上的主要音阶可用于字谱上,C 调, E 和 F 之间的半音,B 和 C 之间的半音的初始演奏 On modern keyboard instruments keys for the fingers are generally coloured white and black. On earlier keyboard instruments the colouring may be reversed. The modern white keys form a pattern of whole steps or whole tones and half steps or semitones between adjacent notes. A major scale on the white notes may be played starting, in letter notation, on C, with half steps (semitones) between E and F, and B and C. [Illustration of keyboard, letters on notes] 3. 黑键组 /Black key pattern 现代键盘乐器的黑键音在相邻的白音符间, 构成全音, 可演奏半音 在字谱上, 黑音符见于 C 和 D, D 和 E, F 和 G, G 和 A, A 和 B 之间 黑键可演奏五声音阶 On modern keyboard instruments black keys come between those adjacent white notes that form a whole step or whole tone, providing a half step or semitone. In letter notation the black notes are found between C and D, D and E, F and G, G and A, and A and B. The black keys provide the notes of the pentatonic scale. [illustration of keyboard]
4. 相邻钢琴键 /Adjacent piano keys 相邻钢琴键为半音 依上行顺序或下行顺序演奏, 构成半音阶 Adjacent piano keys are a half step or semitone apart. Played in ascending or descending order they form a chromatic scale. 5. 半音 /Half step 半音是西方音乐通用键盘中最小的音程 在键盘上, 半音是相邻的两个音之间的距离, 白键或黑键, 升调或降调 A half step or semitone is the smallest interval on the normal keyboard in Western music. On the keyboard it is the interval between adjacent notes, white or black, ascending or descending. 6. 全音 /Whole step 全音是由两个半音组成的音程 A whole step, whole tone or tone, is an interval made up of two half steps or semitones. 7. 音高 /Pitch 音符的音高是根据振动的次数或频率, 音在常规上的高度或深度 音乐会音高是国际通用的标准音高, 为高于中 C 的 A 音, 每秒振动 440 次, 但也存在分歧 几个世纪以来, 音高不断演变, 有时, 不同的音乐或乐器应用不同的音高 一些打击乐器没有音高, 耳朵无法辨认音高 绝对音高是指一些人所具备的单凭听觉即可辨认音高的能力 相对音高是指可以辨认提示音准和其他音 The pitch of a note is its perceived height or depth in conventional terms, according to the number of vibrations or frequency. Concert pitch is an internationally agreed standard pitch with the A above middle C at 440 vibrations per second, but there have been divergences from this. Pitches have varied over the centuries, sometimes with different pitches used for different forms of music or different instruments. Some percussion instruments are unpitched, lacking a recognisable pitch to the ear. Absolute pitch or refers to the ability some have to identify pitches by hearing alone. Relative pitch is that perceived between a given note and another note. 8. 高音 /Higher pitch 高音即为高振动率的音, 通用描述为每秒振动的次数多为高, 每秒振动次数较少为低 Higher pitch indicates a note at a higher frequency, following the conventional description of notes with a greater number of vibrations per second as high, and with a smaller number as low.
9. 低音 /Lower pitch 高音即为低振动率的音, 根据通用描述, 每秒振动次数较少为低, 每秒振动的次数多为高 Lower pitch indicates a note of lower frequency, following the conventional description of notes with a smaller number of vibrations per second as low, and with a greater number as high. 10. 音名 /Letter names 音名是指讲英语的国家以字母 A 至 G 辨认音符的习惯 在德国, 增加了字母 H 表示 B ( 德文中的 B 相当于降 B, 其他音符用以标记升或者降 ) 在法国, 西班牙和意大利, 则运用建立在传统唱名基础上的一套标准 Letter names or letter notation refers to the custom in English-speaking countries of identifying notes by letters from A to G. In Germany the letter H is added to denote B (German B = B flat, and other letters are modified to indicate sharps or flats). In French, Spanish and Italian a system based on traditional sol-fa is used. 11. 八度音阶 /Octave 八度音阶是包括八个音的音程, 第八个音与第一个音的音名相同 高八度的振动频率是低音的两倍 也就是说,440 音高的 A, 升到 880,1760 等等 低八度音阶, 因此, 低于 440 的 A 每秒振动 220 次, 一个低八度每秒振动 110 次 An octave is an interval regarded as including eight steps, the eighth of which has the same letter name as the first note. Ascending octaves double the frequency of the lower note. Thus A at 440 rises to A at 880, 1760 and so on. The lower octaves halve the number of vibrations per second, so that the A below A at 440 has 220 vibrations per second, and an octave lower has 110 vibrations per second. 12. 半音 /Semitones 半音是西方音乐普通键盘中最小的音程 在键盘上, 其为相邻音间, 白键或黑键间, 上行或下行间的音程 Semitones are half steps, the smallest interval on the normal keyboard in Western music. On the keyboard it the interval between adjacent notes, white or black, ascending or descending. 13. 变化音阶 /Chromatic semitone 变化音阶为两个相同音名间的半音音程, 例如 F 到升 F,A 到降 A 在键盘上, 升 F 于降 G 有着相同的音名, 降 A 与升 G 有着相同的音名 在灵活性较强的乐器上可能会有所不同
A chromatic semitone is the interval of a semitone or half step between notes of the same letter name, e.g. F to F sharp, A to A flat. On the keyboard F sharp is the same note as G flat, and A flat the same as G sharp. On more flexible instruments a distinction may be made. 14. 自然半音 /Diatonic semitone 自然半音是不同音名间的半音音程, 例如 F 到降 G,A 到升 G 在键盘上, 降 G 和升 F 是同一个音, 升 G 和降 A 是同一个音, 在灵活性较强的乐器上可能会有所不同 A diatonic semitone is the interval of a semitone or half step between notes of a different letter name, e.g. F to G flat, A to G sharp. On the keyboard G flat is the same note as F sharp, and G sharp the same as A flat. On more flexible instruments a distinction may be made. 记谱法 /Notation 1. 音乐记谱法 /Music Notation 音乐记谱法是指音符的书写 历史上有多种不同的形式 近几个世纪的西方音乐所用的标准方法是采用五线谱的形式, 但是运用了不同形式的音名, 在一些现代音乐中运用的新形式的图示记谱法, 早期, 指法谱, 由专为特定乐器设计的字母, 数字, 五线谱组成 也有一种数字谱, 因为某种需要, 替代了传统的字母谱, 例如在中国和日本 Music notation is the writing of notes. Historically this has taken various forms. The standard method in Western music has in recent centuries been by means of staff notation, but different forms of letter notation have been used, with imaginative forms of graphic notation in some contemporary music and, in earlier times, tablature, a combination of letters, numbers and staff designed for particular instruments. There is also a system of numerical notation that, for some purposes, has replaced traditional character notation, for example in China and Japan. 2. 五线谱 /The Staff 五线谱是由五条平行线组成, 现在通常在五线谱上书写音符以表明音高 素乐或素歌 教堂传统单音歌颂, 依旧采用四线谱, 早期音乐中, 线的数目各不相同 The staff or stave is the framework of five horizontal lines on which notes are now generally written, to indicate pitch. Plainchant or plainsong, the traditional monodic chant of the Catholic Church, still uses a four-line stave, and in earlier music the number of lines used varied. 3. 符头 /Notehead(s) 符头可以是黑色的 ( 圆形或卵形 ) 或白色的, 用在五线谱上以表明音高 符头的形状在历史上有很多种, 比如在单音歌颂中
Noteheads may be black (a circular or oval shape filled in) or white and are used on the staff to indicate pitch. The shape of noteheads has differed historically, as in plainchant. 4. 符干 /Stem 符干连接符头, 用于表明时值 因此全音符没有符干, 二分音符 ( 全音符长度的一半 ) 的时值, 用在全音符上加一条符干来表示 Stems attached to noteheads are used to indicate relative duration. Thus the whole note or semibreve has no stem, but the relative duration of the half note or minim, half the length of the whole note is indicated by the addition of a stem. 5. 符尾 /Flag 习惯上以符尾添加在符干上以表示对时值的进一步划分 带两个符尾的符干, 以其外形得名, 表示一个 16 分音符, 带一个符尾的符干, 表示一个 8 分音符, 以此类推 Flags have long been added to stems to indicate further divisions of duration. Thus a stem with two flags, so called from their appearance, indicates a 16th note or semiquaver, a note of half the duration of a stem with one flag, an 8th note or quaver, and so on. 6. 谱号 /Clef Clef 这个单词 ( 等同于法语中的 钥匙 ), 其用在五线谱上以表明该条线的音名及音高, 其他音可在此递减 常用的有三种谱号, 高音谱号 (G 谱号 ), 低音谱号 (F 谱号 ) 和 C 谱号, 这三种谱号可以出现在任一线上, 但最常见的是, 中音谱号位于五线谱中加的那条线, 高音谱号位于上数第二条线 谱号常见于谱表中各线的开头, 如有必要, 也可改变 The word clef (= key in French) indicates the sign used on the staff to show the letter name and pitch of a line, from which other pitches can be deduced. Three clefs are in common use, the treble or G clef, the bass or F clef and the C clef that may be on any line, but is most often used as an alto clef on the middle line of the staff, or as a tenor clef on the second line from the top. Clefs are normally given at the beginning of each line of written music, and elsewhere if a change of register makes it necessary. 7. 高音谱号 /Treble clef 现代的高音谱号 (G 谱号 ), 外形取自字母 G, 用于表示高音, 位于谱表五线谱开头, 开始于下数第二条线 它表明, 第二条线穿过符头, 表示 G 调, 比标准音乐会音高中的 A(440) 调低一级 The modern treble clef or G clef, derived in shape from the letter G, is used for the higher registers, drawn on the staff at the beginning of a line of musical notation, starting on the second line from the bottom. It shows that noteheads that have this line running through them indicate the note G, a step below A at 440 in standard concert pitch.
8. 低音谱号 /Bass clef 现代的低音谱号 (F 谱号 ), 外形取自字母 F, 用于表示低音, 位于谱表五线谱开头, 开始于上数第二条线 它表明, 第二条线穿过符头, 表示 F 调, 比标准音乐会音高中的 A(220) 调低一级 The modern bass clef or F clef, derived in shape from the letter F, is used for lower registers, drawn on the staff at the beginning of a line of musical notation, starting on the second line down from the top. It shows that noteheads that have this line running through them indicate the note F, two steps below A at 220 in standard concert pitch. 9. 大谱表 /Grand staff 大谱表由左端用垂直线与花括号连接起来的两个五线谱组成 在钢琴作品中, 上面的五线谱通常标有高音谱号, 下面的五线谱标有低音谱号, 在钢琴作品或类似乐器作品中, 前者通常为右手弹奏, 后者为左手弹奏 The grand staff is formed by the joining of two staves by a vertical line, brace or bracket at the left, to form one system. In piano music the upper staff usually has a treble clef and the lower a bass clef, the former usually for the right hand and the latter for the left in music for the piano, or for similar instruments. 10. 加线 /Ledger lines 加线为较短的水平线, 用以表明音调在五线谱之上或之下 Ledger lines or leger lines are short horizontal lines used to indicate notes that lie above or below the stave. 11. 八度记号 /Octave sign 八度记号位于五线谱之上或之下, 表示一个或若干音调演奏时应高或低八度 通常用 8ve 表示 The octave sign is used above or below the staff to indicate that a note or notes should be played an octave higher or lower. It is usually given in the form 8ve. 12. 变音记号 /Accidentals 变音记号加在音符之前的符号, 表示该音符要升高或降低半音或全音 当半音不属于该调, 并且无调号时需要加变音记号 用降或重降号 XXX, 升或重升号 XXX 来表示 Accidentals are signs added before notes to indicate that they should be modified by a half step or semitone or a whole step or whole tone. They are needed when chromatic notes foreign to the key and not indicated in the key-signature occur. These are indicated by the signs for flats or
double flats, XXX, sharps and double sharps, XXX. [Signs to be inserted] 13. 降号 /Flat 降号, 用 XXX 表示, 用在音符前或在调号上, 表明该音高的所有音调降半音 A flat, indicated by a sign XXX before a note, or in the key-signature for all notes of that pitch class, shows that the note so indicated is to be lowered by a half step or semitone. 14. 升号 /Sharp 升号, 用 XXX 表示, 用在音符前或在调号上, 表明该音高的所有音调升半音 A sharp, indicated by a sign XXX before a note, or in the key-signature for all notes of that pitch class, shows that the note so indicated is to be raised by a half step or semitone. 15. 还原号 /Natural 还原号表示一个音符既不升也不降 在音符前加 XXX 表示取消升或降 还原号也可用在调号改变时, 取消升或降 A natural is a note that is neither sharp nor flat. The sign XXX is used before a note to cancel a sharp or flat that would otherwise be played. The sign may also be used to cancel a sharp or flat when there is a change of key-signature. 16. 重降号 /Double flat 重降号, 用 XXX 表示, 加在音符前, 表明该音符降低一个全音 A double flat, indicated by a sign XXX before a note, shows that the note is to be lowered two half steps or semitones. 17. 重升号 /Double sharp 重升号, 用 XXX 表示, 加在音符前, 表明该音符升高一个全音 A double sharp, indicated by a sign XXX before a note, shows that the note is to raised two half steps or semitones. 18. 小节线 /Bar line 小节线是与五线谱或谱表垂直的竖线, 与拍号相对应 A bar line is a vertical line through the staff or system to mark a metrical division, corresponding to the time signature.
19. 终止线 /Double bar line 双小节线由两条与五线谱或谱表垂直的竖线组成, 表明一个段落或整个音乐作品的结束 A double bar line consists of two vertical lines through the staff or system to indicate the end of a section or the end of a piece of music. 20. 连音线 /Beams 八度音或四度音或更短音程联结在一起时, 用连音线来代替符尾 Beams are used to replace flags when 8th notes or quavers or notes of shorter duration are grouped together. 音阶与调式 /Scales and Scale Degrees 1. 音阶 /Scale 音阶, 源自意大利语 scala( 楼梯 ), 是一组递增或递减的音 A scale, from the Italian scala (= stairs or ladder), is a pattern of notes ascending or descending by step. 2. 调式 /Scale degrees 调式即为音级 可用数字和名称来表示 自然音阶的第一级为主音, 第二级为上主音, 第三级为中音, 第四级为下属音, 第五级为属音, 第六级为下中音, 第七级为导音 The degrees of the scale are the scale-steps. These may be indicated by number or by name. The first degree of the diatonic scale is the tonic, the second the supertonic, the third the mediant, the fourth the subdominant, the fifth the dominant, the sixth the submediant, the seventh the leading tone or leading note. 3. 上行音阶 /Ascending scale 上行自然音阶为依次由低到高上升的音 始自主音, 调式上行顺序为 : 主音, 上主音, 中音, 下属音, 属音, 下中音, 导音, 主音 导音 The ascending diatonic scale is the scale going up by step from lower to higher frequencies or pitches. Starting from the tonic or key-note, the scale degrees in ascending order are: tonic, supertonic, mediant, subdominant, dominant, submediant, leading tone or leading note, tonic.
4. 下行音阶 /Descending scale 上行自然音阶为依次由高到低下降的音 始自主音, 调式下行顺序为 : 主音, 导音, 下中音, 属音, 下属音, 中音, 上主音, 主音 导音 The descending diatonic scale is the scale going down by step from higher to lower frequencies or pitches. Starting from the tonic or key-note, the scale degrees in descending order are: tonic, leading tone or leading note, submediant, dominant, subdominant, mediant, supertonic, tonic. 5. 大音阶 /Major scale 大音阶是一种自然音阶, 以上升顺序, 包括一组全音和半音 半音在第三和第四级音阶, 第七和第八音阶之间, 即中音和下属音, 导音和主音之间 在钢琴的白键上演奏大音阶, 从 C 到 C, 递增顺序为 C, D, E, F, G, A, B, C. The major scale is a diatonic scale that, in ascending order, consists of a pattern of steps and half steps, or whole tones and semitones. The half steps or semitones occur between the third and fourth degrees of the scale and the seventh and eighth, that is between the mediant and the subdominant and between leading tone or leading note and the tonic. The major scale may be played on the white notes of the piano from C to C, in ascending order C, D, E, F, G, A, B, C. 6. 主音 /Tonic 主音是音阶的第一级, 是基本音 主要以主音去辨认一篇音乐作品的调 在调性音乐中, 主音是最重要的调 The tonic is the first degree of the scale, the keynote or home note. The key of a piece of music is identified by the tonic. In tonal music it is the most important note in a given key. 7. 属音 /Dominant 属音是音阶的第五级 在调性音乐中, 其是仅次于主音的重要调 属音是主音三和弦中最高的调, 作为基础音, 与主音的关系最为密切 The dominant is the fifth degree of the scale. In tonal music it is next in importance to the tonic. The dominant is the highest note in the tonic triad, and serves as the basis of the key most closely associated with the tonic key, the first of nearly related keys. 8. 下属音 /Subdominant 下属音是第四级音, 所以得名是因为它是主音下的第五级音阶, 在调性音乐中, 下属音是较之属音次重要的音, 也是相关音之一
The subdominant or lower dominant is the fourth degree of the scale, but takes its name from the fact that it is the fifth scale-step below the tonic. In tonal music it is next in importance to the dominant, one of the nearly related keys. 9. 中音 /Mediant 中音是第三级音, 在主音和属音之间 主音, 中音和属音一同构成主音三和弦 The mediant is the third degree of the scale and is midway between the tonic and the dominant. Tonic, mediant and dominant together form the tonic triad. 10. 下中音 /Submediant 下中音是第六级音, 在下属音和主音之间 下属音, 下中音和主音共同构成下属音三和弦 The submediant is the sixth degree of the scale and is midway between the subdominant or lower dominant and the tonic. Subdominant, submediant and tonic together form the subdominant triad. 11. 导音 /Leading tone 导音是第七级音, 其引导主音并且是主音下的半音 The leading tone or leading note is the seventh or degree of the scale and is a half step or Leading note semitone below the tonic, to which it leads. 12. 调号 /Key Signature 调号位于一篇音乐作品或一章节的开始部分, 来表示该作品或章节的调域 升降号画在五线谱相称的位置上, 表示这些调通篇应该升或降, 除非升降号被还原号取代 升降号也可画在调号上以表示调的改变 A key signature is placed at the beginning of a piece of music or of a section to indicate the key of the piece or section. Sharps or flats are drawn at the appropriate place on the staff, showing that the notes so indicated should be sharpened or flattened throughout, unless the sharp or flat is cancelled by a natural sign. This last may also be in a key signature to show changes in key. 13. 升号 /Sharp keys 一篇调性音乐作品的调取决于所使用的自然音阶 带升号的大音阶开始于 G, 恰好是 C 上的第五级 C 调既无升号也无降号, 但是 G 调却需要一个升号以确保开始于 G 调的一系列音形成必需的一组全音和半音, 以及介于导音和主音间的半音 G 大调, 带一个升号,D 大调开始于第五级, 有两个升号, 以此类推 G 大调 (1);D 大调 (2); A 大调 (3); E 大调 (4);
B 大调 (5); 升 F 大调 (6); 升 C 大调 (7). 每一个调按照上述顺序保持前一个调的上升, 并增加一个新的上升导音 A piece of tonal music is said to be in a key when it uses as its principal material the notes of a certain diatonic scale. Keys that have sharps in the major scale begin with the scale of G, a perfect fifth above C. The key of C has no sharps or flats, but G needs one sharp to ensure that a series of consecutive notes starting on G forms the necessary pattern of whole steps or whole tones and half steps or semitones, with a half step or semitone between the leading tone or leading note and tonic. The scale and key of G major, therefore, has one sharp, D major starting a perfect fifth higher has two, and so on. G major (1); D major (2); A major (3); E major (4); B major (5); F sharp major (6); C sharp major (7). Each key retains the sharp of the preceding key, in the order given above, and adds a newly sharpened leading tone or leading note. 14. 降号 /Flat keys 一篇调性音乐作品的调取决于所使用的自然音阶 带降号的大音阶开始于 F, 恰好是 C 下的第五级 C 调既无升号也无降号, 但是 F 调却需要一个降号以确保开始于 F 调的一系列音形成必需的一组全音和半音, 以及介于中音和下属音间的半音 F 大调, 带一个降号, 降 B 大调开始于第五级, 有两个降号, 以此类推 F 大调 (1); 降 B 大调 (2); 降 E 大调 (3); 降 A 大调 (4); 降 D 大调 (5); 降 G 大调 (6); 降 C 大调 (7). 每一个调按照上述顺序保持前一个调的下降, 并增加一个新的降下属音 A piece of tonal music is said to be in a key when it uses as its principal material the notes of a certain diatonic scale. Keys that have flats in the major scale begin with the scale of F, a perfect fifth below C. The key of C has no sharps or flats, but F needs one flat to ensure that a series of consecutive notes starting on F forms the necessary pattern of whole steps or whole tones and half steps or semitones, with a half step or semitone between the mediant and subdominant. The scale and key of F major, therefore, has one flat, B flat major starting a perfect fifth lower has two, and so on. F major (1); B flat major (2); E flat major (3); A flat major (4); D flat major (5); G flat major (6); C flat major (7). Each key retains the flat of the preceding key, in the order given above, and adds a newly flattened subdominant. 15. 等音 /Enharmonic keys 等音是指音高相同的音 在标准的十二平均律中, 升 C 调等同于降 D 调, 升 D 调等同于降 E 调, 以此类推 但是较敏感的调可能会区分任意两个等音, 在现代键盘上, 二者虽然记法不同但音高相同 等音即同音异名的音 升 C 大调与降 D 大调等音, 升 F 大调与降 G 大调等音, 以此类推 Enharmonic keys are keys that are the enharmonic equivalent of each other. In standard well-tempered tuning or tuning in equal temperament the note C sharp is the enharmonic equivalent of D flat, D sharp of E flat, and so on. While more sensitive forms of tuning may distinguish between any two such notes, on the modern keyboard they are the same, although they are written differently. Enharmonic keys, are keys that are enharmonic equivalents. Thus the key of C sharp major is the enharmonic equivalent of the key of D flat major, F sharp major of G flat major, and so on.
16. 五度循环 /The Circle of Fifths 升号或降号在五线谱上增加时的顺序可以用五度循环来描述 在该循环中以 C 为最高点上升可用右半圈表示, 下降用左半圈表示 这些音符合十二平均律 相吻合的点通常为升 F 大调 (= 降 G 大调 ) The order of keys in ascending numbers of sharps or flats can be illustrated by a circle of fifths. With C at the highest point of the circle, keys a fifth apart, ascending, can be shown on the right of the circle, keys a fifth apart, descending, on the left. These keys will coincide with their enharmonic equivalent. The point of such coincidence is usually taken at F sharp major (= G flat major) 17. 关系大调 /Relative major key 任何一个大调都有相对应的小调, 主音间相差小三度 因此,C 大调与 A 主音小调相对应, 即 C 大调的第六级音 C 大调是 A 小调相应的关系大调,G 大调是 E 小调的关系大调,D 大调是 B 小调的关系大调, A 大调是升 F 小调的关系大调, 以此类推 随着渐增的实践经验, 在德国, 长久以来通用的关系大调和相应的小调如下, 大调用大写字母表示, 小调用小写字母表示,C/a; G/e; D/b; A/ 升 f; E/ 升 c; B/ 升 g; 升 F / 升 d; 升 C / 升 a. Any major key has a relative minor, its tonic a minor third below the tonic of the major key. C major, therefore, is related to a minor key with its tonic on A, the submediant or sixth degree of the scale of C major. C major, therefore, is the relative major of A minor, G major is the relative major of E minor, D major of B minor, A major of F sharp minor, and so on. Relative majors and their minors are as follows, with the major indicated by a capital letter and the minor by a small letter, an increasingly common practice, for long current in Germany: C/a; G/e; D/b; A/f sharp; E/c sharp; B/g sharp; F sharp/d sharp; C sharp/a sharp. 18. 关系小调 /Relative minor key 任何一个小调都有相对应的大调, 主音间相差小三度 因此,A 小调与 C 主音大调相对应, 即 A 小调的第三级音 A 小调是 C 大调相应的关系小调,E 小调是 G 大调的关系小调,B 小调是 D 大调的关系小调, 升 F 小调是 A 大调的关系小调, 以此类推 随着渐增的实践经验, 在德国, 长久以来通用的关系小调和相应的大调如下, 大调用大写字母表示, 小调用小写字母表示,a/C; e/g; b/d; 升 f /A; 升 c /E; 升 g /B; 升 d / 升 F; 升 a / 升 C Any minor key has a relative major, its tonic a minor third above the tonic of the minor key. A minor, therefore, is related to a major key with its tonic on C, the mediant or third degree of the scale of A minor. A minor, therefore, is the relative minor of C major, E minor is the relative minor of G major, B minor of D major, F sharp minor of A major, and so on. Relative minors and their majors are as follows, with the major indicated by a capital letter and the minor by a small letter, an increasingly common practice, for long current in Germany: a/c; e/g; b/d; f sharp/a; c sharp/e; g sharp/b; d sharp/f sharp; a sharp/c sharp.
19. 小音阶 /Minor scale 小音阶有各种不同的形式 自然小音阶为递增的全音或半音 半音介于第二级和第三级音阶之间 ( 即上主音和中音 ), 第五级和第六级音阶之间 ( 即属音和下中音 ) 自然小音阶可在钢琴的白键上演奏, 始于 A 调 半音介于 B 调和 C 调, E 调和 F 调. The minor scale occurs in various forms. The natural minor scale has an ascending patter of whole and half steps, or tones and semitones. Half steps or semitones occur between the second and third degrees of the scale (the supertonic and the mediant) and between the fifth and sixth (the dominant and submediant). The natural minor scale can be played on the white notes of the piano, starting on A. The half steps or semitones will occur between B and C, and E and F. 20. 上行旋律小调 /Ascending melodic minor 旋律小调是旋律中小调的通用形式 上行旋律小调与自然小音阶的模式相同, 但是大音阶的第六级和第七级音阶仍为升, 避免第六级和第七级之间出现习惯上的较短音程, 上升至导音, 上升的音可 上升的第六级和第七级音用额外的升号或还原号来标记作为变音记号 A 小调上行旋律小调为 A - B - C - D - E 升 F - 升 G - A. 半音介于 B 和 C, 升 G 和 A, 即第二 第三 第七和第八音阶 The melodic minor scale is the form of minor scale commonly used in melodies. The ascending melodic minor scale follows the pattern of the natural minor scale, but retains the sharpened sixth and seventh degrees of the scale from the major scale, thus avoiding the conventionally less common interval that would occur between the sixth degree and the seventh, raised to serve as the leading tone (leading note), sharpened to provide a more definite ending. The sharpening of the sixth and seventh degrees is indicated by additional sharp or natural signs as accidentals. The ascending melodic minor scale of A minor would, therefore, be: A - B - C - D - E - F sharp - G sharp - A. Half steps (semitones) occur between B and C, and G sharp and A, the second and third and seventh and eighth degrees of the scale. 21. 下行旋律小调 /Descending melodic minor 旋律小调是旋律中小调的通用形式 上行旋律小调与自然小音阶的模式相同, 大音阶的第六级和第七级音阶仍为升, 下行旋律小调遵循自然小调模式 A 小调下行旋律小调为在钢琴的白键上演奏, 开始于 A 调, 为 A - G - F - E - D - C - B - A 半音介于 F 和 E, B 和 C, 即第五级 第六级 第三级和第二级音阶 The melodic minor scale is the form of minor scale commonly used in melodies. While the ascending melodic minor follows the natural minor, with the sixth and seventh degrees of the scale sharpened as in the major scale, the descending melodic minor scale follows the natural minor. The descending melodic minor scale of A minor can, therefore, be played on the white notes of the piano, starting on A, and would be: A - G - F - E - D - C - B - A. Half steps (semitones) occur between F and E, and between B and C, the fifth and sixth and the third and second degrees of the scale.
22. 重升号 /Double sharps 重升号, 用 X 表示, 作用是升高一个全音 键盘上的双升 C 同于 D, 高两个半音, 双升 D 与 E 相同, 以此类推 双生号起协调作用, 避免同一音名在第七级音阶上重复使用 这样, 为了协调, 升 G 小调上行旋律小调也就需要一个双升 F 导音, 等音 G A double sharp, indicated by the sign x, raises a note by two half steps (semitones). Thus C double sharp on the keyboard is the same as D, two half steps higher, D double sharp is the same as E, and so on. The use of the double sharp serves a harmonic purpose, avoiding the incorrect use of the same letter name twice in the seven degrees of the scale. Thus the ascending melodic minor scale of G sharp minor would need a leading tone (leading note) of F double sharp, the enharmonic equivalent of G, for reasons of harmony, dictated by the harmonic function of a note in a given context. 23. 重降号 /Double flats 重降号用 ** 表示, 作用是降低一个全音 键盘上的双降 D 同于 C, 降两个半音, 双降 C 与降 B 相同, 以此类推 双生号起协调作用, 避免同一音名在第七级音阶上重复使用 这样, 为了协调, 降 C 小调上行旋律小调也就需要一个第三级双降 E, 等音 D A double flat, indicated by the sign **, lowers a note by two half steps (semitones). Thus D double flat on the keyboard is the same as C, two half steps lower, C double flat is the same as B flat, and so on. The use of the double flat, serves a harmonic purpose, avoiding the use of the same letter name twice in the seven degrees of the scale. Thus the ascending minor scale of C flat minor would need a mediant or third degree of E double flat, the enharmonic equivalent of D, for reasons of harmony, dictated by the harmonic function of a note in a given context. 24. 和声小音阶 /Harmonic minor 和声小音阶是小音阶的一种形式, 通常起到协调作用, 而非一种旋律 自然小音阶的第七级音阶升高半音 A 小调和声音阶为 A - B - C - D - E - F 升 G - A. 在旋律中, 和声小调的第六级和第七级音阶的音程为增加的第二个音, 习惯用于表现较为奇特的效果 The harmonic minor scale is the form of minor scale that generally serves the purposes of harmony rather than those of melody. In this scale the seventh degree of the natural minor scale is raised a half step or semitone. Thus the harmonic minor scale of A minor would be: A - B - C - D - E - F - G sharp - A. In melodies the interval between the sixth and seventh degrees of the scale in the harmonic minor is an augmented second, used conventionally for more exotic effects. 25. 小音阶 /Minor scales 小音阶通常有三种形式 : 自然小音阶, 旋律小音阶, 和声小音阶 三种形式中的 A 为主音和第三级音阶中的小三音程, 第五级小主音三和弦 Minor scales generally appear in one of three forms, natural minor (the minor mode), melodic minor, and harmonic minor. A principal feature in all three is the interval of a minor third between
the tonic and the third degree of the scale, giving a minor tonic triad with the fifth degree or dominant. 26. 自然小音阶 /Natural minor 自然小音阶由一组全音或半音组成 半音介于第二级和第三级音阶间, 第五级和第六级音阶间 A 小调自然小音阶在钢琴的白键上演奏, 从 A 到 A 也被称为伊奥利亚调式 The natural minor scale is formed from a pattern of whole steps or tones and half steps or semitones. The half steps occur between the second and third degrees of the scale, and between the fifth and sixth degree. Thus the natural minor scale of A minor can be played on the white notes of the piano from A to A. It is also known as the minor mode or Aeolian mode. 27. 全音音阶 /Whole tone scale 全音音阶完全由一组全音构成, 没有半音 虽然这一音阶可以开始于任一音调, 但只有两种模式可行,C 音阶和升 C( 或降 D) C 的上行全音音阶为 :C - D - E 升 F 升 G 升 A (= 降 B) - C, 升 C 上的行全音音阶为 : 升 C - 升 D - 升 E 双升 F - 双升 G - 双升 A ( 降 D - 降 E - F - G - A - B - 降 D (= 升 C). 克罗德 德彪西尤其钟爱使用这一音阶, 虽然没有通篇作品使用 The whole tone scale is formed from a pattern of whole tones or whole steps, without semitones or half steps. Although such a scale can start on any note, only two forms are possible, the scale on C and that on C sharp (or D flat). The ascending whole tone scale on C is: C - D - E - F sharp - G sharp - A sharp (=B flat) - C, and on C sharp is: C sharp - D sharp - E sharp - F double sharp - G double sharp - A double sharp (D flat - E flat - F - G - A - B - D flat (= C sharp). The scale was used particularly by Claude Debussy, although never throughout a whole piece of music. 28. 五声音阶 /Pentatonic scale 五声音阶包含五个音, 并且没有半音阶 可以在钢琴的黑键上演奏 开始于 C 的五声音阶有如下音 :C - D - E - G A, 最后一个音起决定作用 五声音阶存在五种形式, 广泛应用一些民族的民歌或传统音乐 The pentatonic scale, a scale of five notes, is a scale without semitones. It can be played on the black keys of the piano. Starting on C the scale has the notes C - D - E - G - A, its mode dictated by the final note. It exists, therefore, in five possible modes. It is used extensively in the folk or traditional music of many cultures. 29. 八音音阶 /Octatonic scale 八音音阶由全音和半音交替而成 八度音需要八个音来完成 开始于 C 的八音音阶为 : C - D 降 E - F 降 G 降 A 还原 A - B - C. 八音音阶曾用于里姆斯基 - 柯萨科夫的作品, 尤其多用于斯特拉文斯基的作品
The octatonic scale consists of alternate whole steps and half steps, or tones and semitones. Eight notes are need to complete the octave. The octatonic scale starting on C is: C - D - E flat - F - G flat - A flat - A natural - B - C. The octatonic scale was used by Rimsky-Korsakov, and, more particularly, by Stravinsky. 音程 /Intervals 1. 音程 /Intervals 音程就是音与音之间的距离, 通常由低音到高音以数字计算, 在计算中包括最低音和最高音 C 到 D 是二度,C 到 E 是三度,C 到 F 是四度, 以此类推 算术距离用数字表示, 音程性质用其他词来描述 Intervals are the distances between notes, generally counted numerically from a lower to a higher note, and including the bottom and top note in the calculation. Thus C to D is a second, C to E a third, C to F a fourth, and so on. The arithmetic distance is expressed numerically, and the interval quality by an additional descriptive adjective. 2. 算术距离 /Arithmetic distance 音与音之间的音程, 通常由低音到高音以数字计算, 在计算中包括音程的最低音和最高音 C 到 D 是二度,C 到 E 是三度,C 到 F 是四度,C 到 G 五度, 以此类推 比八度大的音程可用比八大的数字或复音程来表示 因此, 九度可被称作复二度, 十度可被称作复三度, 以此类推 The intervals between notes are generally calculated numerically from the lower to the higher note, including the bottom and top note of the interval, in the calculation, giving the arithmetic distance. Thus C to D is a second, C to E a third, C to F a fourth, C to G a fifth, and so on. Intervals larger than an octave may be expressed by numbers above eight or as compound intervals. Thus a ninth (9th) may be called a compound second, a tenth (10th) a compound third, and so on. 3. 音程性质 /Interval quality 音程性质, 是两个音之间的确切距离, 由低到高计算, 包括该音程的最低音和最高音, 用一个描述性形容词加一个用数字描述的音程来表示 由此,C 到 D 为大二度,C 到 E 为大三度,C 到 F 为纯四度, C 到 G 为纯五度, C 到 A 为大六度, C 到 B 为大七度 Interval quality, that is the exact distance between two notes, calculated from a lower to a higher note, and including the bottom and top note of the interval, is given by adding a descriptive adjective to the interval expressed numerically. Thus C to D is a major second, C to E a major third, C to F a perfect fourth, C to G a perfect fifth, C to A a major sixth, C to B a major seventh.
4. 和声音程 /Harmonic interval 和声音程用来描述两个同时发出声音的音符间的音程, 与先后发声的曲调音程相对 The term harmonic interval is used to indicate an interval between two notes sounded together, as opposed to a melodic interval, when two notes are sounded in succession. 5. 纯音程 /Perfect interval 自然音阶的四度 五度和八度音程为纯音程, 高于八度的更大音程诸如十一或十二音程称为复合纯四度和复合纯五度 其他音程可用大或小来界定 所有音程也可用减 ( 降半音 ) 或增 ( 升半音 ) 来描述 The intervals of a fourth, fifth and octave in the diatonic scale are described as perfect intervals, as are the wider intervals above the octave, such as the eleventh or twelfth, other wise known as the compound perfect fourth and compound perfect fifth. Other intervals may be qualified as major or minor. All intervals may also be qualified as diminished (a half step or semitone lower), or augmented (a half step or semitone higher). 6. 纯四度 /Perfect fourth 纯四度音程表示 4:3 的声波比 在大 C 自然音阶,C 到 F, D 到 G, E 到 A, G 到 C, A 到 D,B 到 E 为纯四度, 每组包含两个全音或半音 F 到 B, 包含三个全音, 构成增四度, 被称作三全音 An interval of a perfect fourth represents a ratio of wave lengths or frequencies of 4:3. In the diatonic scale of C major the intervals from C to F, D to G, E to A, G to C, A to D and B to E are perfect fourths, each consisting of two whole steps or tones and one half step or semitone. F to B, however, consists of three whole steps or tones, forming an augmented fourth, otherwise known as a tritone. 7. 纯五度 /Perfect fifth 纯五度音程表示 3:2 的声波比 在大 C 自然音阶, C 到 G, D 到 A, E 到 B, F 到 C, G 到 D, A 到 E 为纯五度, 每组包含三个全音和一个半音 B 到 F 仅包含三个全音, 构成减五度 An interval of a perfect fifth represents a ratio of wave lengths or frequencies of 3:2. In the diatonic scale of C major the intervals from C to G, D to A, E to B, F to C, G to D, and A to E are perfect fifths, each consisting of three whole steps or tones and one half step or semitone. B to F, however, consists only of three whole steps or tones, forming a diminished fifth.
8. 大音程 /Major interval 二度 三度 六度 七度音程可用大小来界定 这些音程在自然大音阶中向上计算 大 C 到 D 为大二度,C 到 E 为大三度. C 到 A 为大六度,C 到 B 为大七度 The intervals of a second, third, sixth and seventh may be qualified as major or minor. Such intervals calculated upwards in the diatonic major scale are major. Thus in the key of C major C to D is a major second, C to E a major third. C to A a major sixth and C to B a major seventh. 9. 大二度 /Major second 大二度是一个全音, 如 C 到 D, D 到 E, 等等 The interval of a major second is that of a whole step or tone, as C to D, D to E, and so on. 10. 大三度 /Major third 大三度为两个全音, 如自然大音阶 C 中 C 到 E, F 到 A, G 到 B The interval of a major third is that of two whole steps or tones, as C to E, F to A, G to B in the diatonic major scale of C. 11. 大六度 /Major sixth 大六度为四个全音和一个半音, 如自然大音阶 C 中的 C 到 A, D 到 B, F 到 D, G 到 E The interval of a major sixth is that of four whole steps or tones and a half step or semitone, as C to A, D to B, F to D, G to E in the diatonic major scale of C. 12. 大七度 /Major seventh 大七度为五个全音和一个半音, 如自然大音阶 C 中的 C 到 B, F 到 E The interval of a major seventh is that of five whole steps or tones and a half step or semitone, as C to B, F to E in the diatonic major scale of C. 13. 小音程 /Minor interval 二度 三度 六度 七度音程可用大小来界定 小音程为小于大音程的半音 开始于 C, C 到降 D 为小二度,C 到降 E 为小三度, C 到降 A 为小六度, C 到降 B 为小七度. The intervals of a second, third, sixth and seventh may be qualified as major or minor. Minor intervals are a half step or semitone less than major intervals. Starting from the note C, C to D flat is a minor second, C to E flat is a minor third, C to A flat is a minor sixth, C to B flat is a minor seventh.
14. 小二度等 /Minor second etc. 二度 三度 六度 七度音程可用大小来界定 小音程为小于大音程的半音 开始于 C, C 到降 D 为小二度,C 到降 E 为小三度, C 到降 A 为小六度, C 到降 B 为小七度. The intervals of a second, third, sixth and seventh may be qualified as major or minor. Minor intervals are a half step or semitone less than major intervals. Starting from the note C, C to D flat is a minor second, C to E flat is a minor third, C to A flat is a minor sixth, C to B flat is a minor seventh. 15. 增音程 /Augmented intervals 大音程和纯音程可以升半音构成增音程. 纯四度 C 到 F 升半音为增四度, 大二度 C 到 D 升半音为增二度 Major and perfect intervals may be increased by a half step or semitone to form an augmented interval. Thus C to F sharp is an augmented fourth, with the upper note of the perfect fourth C to F raised a half step or semitone. C to D sharp is an augmented second, with the major second C to D increased by a half step or semitone. 16. 增二度等 /Augmented second etc. 大音程和纯音程可以升半音构成增音程. 从 C 开始,C 到升 D 为增二度, C 到升 E 为增三度, C 到升 F 为增四度, C 到升 G 为增五度, C 到升 A 为增六度, C 到升 B ( 也就是 C) 为增七度, C 到升 C 为增八度 同理,C 到升 C( 发小二度音 ), 用这种方法记名为增一度 其他增音程则出现更多的同音异名, 但是根据其和声功能, 均被看作增音程 Major and perfect intervals may be increased by a half step or semitone to form an augmented interval. Starting from C, C to D sharp is an augmented second, C to E sharp is an augmented third, C to F sharp is an augmented fourth, C to G sharp is an augmented fifth, C to A sharp is an augmented sixth, C to B sharp (actually = C) is an augmented seventh and C to C sharp us an augmented octave. In the same way C to C sharp, which may sound as a minor second, is, if written in this way, an augmented first. It will be seen that other augmented intervals may have more common enharmonic equivalents, but are regarded as augmented intervals according to their harmonic function. 17. 减音程 /Diminished intervals 大音程和纯音程可以降半音构成减音程. 随着纯四度 C 到 F 降一个半音,C 到降 F 为减四度 ; 随着纯五度 C 到 G 降一个半音,C 到降 G 为减五度 ; 随着小三 C 到降 E 降一个半音,C 到双降 E 为减三度 Minor and perfect intervals may be decreased by a half step or semitone to form a diminished interval. Thus C to F flat is a diminished fourth, with the upper note of the perfect fourth C to F lowered a half step or semitone. C to G flat is a diminished fifth, with the perfect fifth C to G
decreased by a half step or semitone; C to E double flat is a diminished third, with the minor third C to E flat decreased by a half step or semitone. 18. 减二度等 /Diminished second etc. 大音程和纯音程可以降半音构成减音程. 一些减音程形式并不常用 C 到双降 D( 相当于 C 到 C, 键盘上的一度 ), 减二度较减七度或减五度不常用 以 C 开始,C 到双降 D 为减二度,C 到双降 E 为减三度,C 到双降 F 为减四度,C 到双降 G 为减五度,C 到双降 A 为减六度,C 到双降 B 为减七度,C 到双降 C 为减八度 许多减音程有更多的同音异名, 但是根据其和声功能, 均被看作减音程 Minor and perfect intervals may be decreased by a half step or semitone to form a diminished interval. Some forms of diminished interval are less frequently used. From C to D double flat (= C to C, a unison, on the keyboard), a diminished second is less common than the diminished seventh or diminished fifth. Starting from C, C to D double flat is a diminished second, C to E double flat is a diminished third, C to F flat is a diminished fourth, C to G flat is a diminished fifth, C to A double flat is a diminished sixth, C to B double flat is a diminished seventh and C to C flat a diminished octave. It will be seen that many diminished intervals may have more common enharmonic equivalents, but are regarded as diminished intervals according to their harmonic function. 19. 倍增音程 /Doubly augmented interval 倍增音程是一个纯音程或大音程增加两个半音 C 到双升 D 为倍增二度 (C 到 D 为大二音程,C 到升 D 为增二音程 ) A doubly augmented interval is a perfect or major increased by two half steps or semitones. interval Thus C to D double sharp is a doubly augmented second (C to D is a major second, C to D sharp is an augmented second). 20. 倍减音程 /Doubly diminished interval 倍减增音程是一个纯音程或小音程降两个半音 C 到双降 G 为倍减五度 (C 到 G 为纯五度,C 到降 G 为减五音程 ) A doubly diminished interval is a perfect or minor interval decreased by two half steps or semitones. Thus C to G double flat is a doubly diminished fifth (C to G is a perfect fifth, C to G flat is a diminished fifth). 21. 移调音程 /Interval transposition 移调音程是改变一篇音乐作品音高或音程的过程 在移调音程中, 音程性质保持不变, 但是音高和音名会改变 C E 音程即大三度, 可以移调, 举例来说, 移高五度, 变为 G B 更复杂的章节移调时可逐级音程来转换, 以确保准确度, 较简单的移调通过参照该音阶中要转换的音的位置来实现 C - E,C 大调主音和中音, 变为 G B,G 大调主音和中音
Transposition is the process of changing the pitch of a piece of music or of an interval. In interval transposition or transposition by interval, the interval quality remains the same, but the pitch and letter names will be changed. Thus the interval C - E, a major third, may be transposed, for example, a fifth higher, to become G - B. More complex passages for transposition may be transposed interval by interval, to ensure accuracy, while simpler transpositions may be made by reference to the position of the notes to be transposed in the scale. C - E, the tonic and mediant of C major, thus become G - B, the tonic and mediant of G major. 22. 转位音程 /Inversion of intervals 把高音放置在原低音下时需要将音程转位 C 到 G 为纯五度, 通过把 G 放在八度下转位, 称作转位五度或纯四度 同理,C 到 F, 纯四度, 通过把高音 F 放在八度下转位, 得出的音程称作转位四度或纯五度 任何音程皆可转位 自然大调音阶的音程转位如下 : 转位后的大二度变为小七度 ; 转位后的纯四度变为纯五度 ; 转位后的纯五度变为纯四度 ; 转位后的大六度变为小三度 ; 转位后的大七度变为小二度 Intervals may be inverted when the upper note is placed below the original lower note. Thus C to G is a perfect fifth, but inverted, with G placed an octave lower, may be described as an inverted fifth or as a perfect fourth. Similarly C to F, a perfect fourth, may be inverted by placing the upper note F an octave lower, making an interval that may be described as an inverted fourth or as a perfect fifth. Any interval may be inverted. Inversions of intervals in the diatonic major scale are as follows: An inverted major second becomes a minor seventh; an inverted major third becomes a minor sixth; an inverted perfect fourth becomes a perfect fifth; an inverted perfect fifth becomes a perfect fourth; an inverted major sixth becomes a minor third; an inverted major seventh becomes a minor second. 23. 旋律音程 /Melodic interval 旋律音程为在旋律中先后发声的两个音之间的音程 A melodic interval is the interval between two notes sounded in succession, as in a melody. 24. 复音程 /Compound interval 复音程为高于八度的音程 第九音程可以称为复二度, 第十音程可以称为复三度, 以此类推 A compound interval is an interval greater than an octave. Thus a ninth may be described as a compound second, a tenth as a compound third, and so on. 25. 收缩音程 /Contracted interval 收缩音程为通过升高低音或降低高音而使音程变小 A contracted interval is an interval made smaller by raising the lower note or lowering the upper note.
26. 延展音程 /Expanded interval 延展音程为通过降低低音或升高高音而使音程变大 An expanded interval is an interval made larger by lowering the lower note or raising the higher note. 27. 和声音程 /Harmonic interval 同时发声的两个音之间的音程为和声音程 A harmonic interval is the interval between two notes sounded simultaneously. 28. 八度 /Octave 八度为八个音间的音程, 每一个音都有着相同的音名 八度的比率为 2:1 单独的八度音听上去与该音阶相关的其他音相同, 虽然音高或高或低, 其中一个变为其他音的同八度 An octave is an interval of eight notes, each having the same letter name. The ratio of frequencies of the octave is 2:1 and notes an octave apart sound the same in relation to other notes in the scale, although higher or lower in pitch, one being the octave equivalent of the other. 29. 音高 /Pitch 音高关系是指一个音高和其他音高间的相关关系 Pitch relationship refers to the relative position of relationship one pitch to another. 30. 一度 /Unison 一度就是听上去是一个音 一度唱腔就是指所有的演唱者共同演唱同一个音, 没有和声 对于旋律, 一度的界定更宽松, 比如, 男人和女人一起演唱, 通常单独的八度更能确切描述八度演唱 Unison is the sounding together of one note. Unison singing indicates singing in which all singers sing the same notes, without harmony. The same term is more loosely used for singing of the same melody, for example, by men and women together, usually an octave apart, and more accurately described as singing in octaves. 31. 缩略音程 /Abbreviations for intervals 音程可以用阿拉伯数字来标写, 比如 2,3,4,5,6,7. 八度缩减为 8ve 增 可简写为 aug., 减 简写为 dim., 大简写为 M, 小简写为 m 因此大六可以简写为 M6th, 小三简写为 m3rd.
Intervals may be expressed using Arabic numerals, as in 2nd, 3rd, 4th, 5th, 6th and 7th. The abbreviation for octave is 8ve. Augmented may be shortened to aug. and diminished to dim., while some abbreviate major to M and minor to m. Thus a major sixth may be abbreviated to M6th, a minor third to m3rd. 32. 协和音程 /Consonant interval 协和音程为较小整数的比率,2:1, 3:2 等等 协和音程有两种形式 : 完全协和音程和不完全协和音程 完全协和音程为一度 (1:1), 八度 (2:1), 纯五度 (3:2) 和纯四度 (4:3). 不完全协和音程为三度和六度 其他音程为不协和音程 协和音程在调性音乐中很稳定; 听上去不必改变 Consonant intervals are intervals that derive from ratios between smaller integers, 2:1, 3:2 and so on. There are two kinds of consonant interval, perfect and imperfect. Perfect consonances are unison (1:1), octave (2:1), perfect fifth (3:2) and perfect fourth (4:3). Imperfect consonances are thirds and sixths. Other intervals are dissonances. Consonant intervals are regarded as stable in tonal music; they do not sound as if they must move. 33. 不协和音程 /Dissonant interval 不协和音程为二度和七度 小二度和大七度为极不协和音程, 大二度和小七度为不协和音程 在调性音乐中, 不协和音程是不稳定的, 听上去似乎他们应改变为协和音程 加四度也是不稳定的不协和音程, 需要变为协和音程 不协和音程发生在自然大音阶的四度和七度, 也被称为三全音 由于不协和音程造成的和谐困难和旋律困难, 曾一度被称为音乐中的魔鬼 Dissonant intervals are the second and the seventh. Minor seconds and major sevenths are regarded as harsh dissonances, major seconds and minor sevenths as less harsh. In tonal music dissonances are unstable and sound as if they should move to a consonance. The augmented fourth is also a dissonance, an unstable interval that needs to move to a consonance. This interval, which occurs between the fourth and seventh degrees of the diatonic major scale, is also known as a tritone. Because of the harmonic and melodic difficulties it caused, it was once known as diabolus in musica, the Devil in music. 节奏 /Rhythm 1. 节奏 /Rhythms 节奏是音乐的基本组成部分 是按照时值和重音, 即音长和音的力度组织起来的一系列音 Rhythm is an essential element of music. It is the arrangement of durations and stresses, the relative length of notes and the relative strength of accents.
2. 节拍 /Pulse 节拍是有固定节奏音乐中的有规律的节奏 可以用一秒内的拍数来表示, 用节拍器或类似器具来计量 Pulse is the underlying regular beat in a piece of mensural music. This may be indicated numerically by the number of beats in a second, measured mechanically by a metronome or other such device. 3. 节拍 /Meter (Metre) 节拍是音乐作品中重复强弱音中的一系列等音值 在音乐作品的开始部分或在节拍改变的部分用拍号来表示 节拍在此处的用途与其在诗文中长音节的抑扬短长等作用相似 Meter (metre) is the arrangement of a series of notes of equal duration in a repeated pattern of accents, weak notes and strong notes in a piece of music. It is indicated by a time signature at the beginning of a piece of music or at a point where there is a change of meter (metre). The use of the word is analogous to its use in verse, with its traditional metrical units of iambus, trochee, dactyl and so on. 4. 小节 /Measure (Bar) 小节是度量单位, 即两条小节线之间的部分 A measure or bar is a metrical unit, the space between two bar-lines. 5. 音乐记谱法 /Music notation 音乐记谱法是指音符通用书写方法 整个历史和各民族的记谱方法千差万别 在今天的调性音乐中, 记谱通常使用五线谱, 把音符标在五线谱上 其他音乐形式可能需要不同的记谱方法 Music notation is a general term to describe the writing down of music. Systems of notation differ widely throughout history and from culture to culture. The way of writing music down in tonal music today is normally by staff notation, using note symbols on the five-line staff or stave. Other forms of music may need different systems of notation. 6. 固定音值 /Note values 固定音值在传统调性音乐中用不同的标识来表示相对时值 这些标识包括符头, 符干, 符尾或连音线 Note values in traditional tonal music are represented by symbols of various kinds, which indicate relative duration. These symbols include note heads, with the necessary stems and flags or beams.
7. 全音 /Whole notes 全音用 XXX 来表示, 等于两个半音或四个四分音符 在拍号中用数字 1 来表示 A whole note or semibreve is indicated by the symbol XXX and is equivalent in duration to two half notes or minims or four quarter notes or crotchets. It is represented in time signatures by the number 1. 8. 半音 /Half notes 半音用 XXX 来表示, 等于半个全音或两个四分音符 在拍号中用数字 2 来表示 A half note or minim is indicated by the symbol XXX and is equivalent in duration to half a whole note or semibreve, or two quarters notes or crotchets. It is represented in time signatures by the number 2. 9. 四分音符 /Quarter notes 四分音符用 XXX 来表示, 等于半个半音或一个四分之一全音 在拍号中用数字 4 来表示 A quarter note or crotchet is indicated by the symbol XXX and is equivalent in duration to half a half note or minim, or a quarter of a whole note or semibreve. It is represented in time signatures by the number 4.. 10. 八分音符 /8th note 八分音符用 XXX 来表示, 等于半个四分音符, 一个四分之一半音, 八分之一全音 在拍号中用数字 8 来表示 TAn 8th note or quaver is indicated by the symbol XXX and is equivalent in duration to half a quarter note or crotchet, a quarter of a half note or minim, and an eighth of a whole note or semibreve. It is represented in time signatures by the number 8. 11. 十六分音符 /16th note 十六分音符用 XXX 来表示, 等于半个八分音符, 一个四分之一的四分音符, 八分之一的半音, 十六分之一的全音 在拍号中用数字 16 来表示 A 16th note or semiquaver is indicated by the symbol XXX and is equivalent in duration to half an
8th note or quaver, a quarter of a quarter note or crotchet, an eighth of a half note or minim, and a sixteenth of a whole note or semibreve. It is respresented in time signatures by the number 16. 12. 三十二分音符 /32nd note 三十二分音符用 XXX 来表示, 等于半个十六分音符, 一个四分之一的八分音符, 八分之一的四分音符, 十六分之一的半音, 三十二分之一的全音 在拍号中用数字 32 来表示, 虽然使用相对较少 A 32nd note or demisemiquaver is indicated by the symbol XXX and is equivalent in duration to half a 16th note or semiquaver, a quarter of an 8th note or quaver, and eighth of a quarter note or crotchet, a sixteenth of a half note or minim and a thirty-second of a whole note or semibreve. It is represented in time signatures by the number 32, although its occurrence there is relatively rare. 13. 六十四分音符 /64th note 六十四分音符用 XXX 来表示, 等于半个三十二分音符, 四分之一的十六分音符, 八分之一的八分音符, 十六分之一的四分音符, 三十二分之一的半音, 六十四分之一的全音 在拍号中用数字 64 来表示, 虽然使用相对较少 A 64th note or hemidemisemiquaver is indicated by the symbol XXX and is equivalent in duration to half a 32nd note or demisemiquaver, a quarter of a 16th note or semiquaver, an eighth of an 8th note or quaver, a sixteenth of a quarter note or crotchet, a thirty-second of a half note or minim, and a sixty-fourth of a whole note or semibreve. It is represented in time signatures by the number 64, although its occurrence there is relatively rare. 14. 连音线 /Beam 在较短时值的八分音符组合在一起时, 连音线用于代替符尾 单连音线可以加在八分音符上, 双连音线可以加在十六分音符上, 三连音线加在三十二分音符上, 以此类推 使用连音线而不是单独的符尾取决于节拍, 一组音符添加连音线要遵守该规则 举例来说, 在一个节拍的最后一个音和另一个节拍的第一个音间添加连音线就是错的 在声乐作品中, 通常使用单独的符尾 ; 可能在几个音之间使用连音线而不是在一节上 A beam is used to replace flags when 8th notes or quavers or notes of shorter duration are grouped together. A single beam may join 8th notes or quavers, with a double beam for 16th notes or semiquavers, a triple beam for 32nd notes, and so on. The use of beams rather than individual flags is dictated by the beat, with which note groups joined by a beam must conform. It would be wrong, for example, to join the last note of a beat with the first of another by a beam. In vocal music it is usual to use separate flags for separate syllables; beams might be used for a number of notes set against one syllable of text.
15. 时值 /Duration 音乐用时间来度量, 音符的时值就是该音符的持续时间 半音的时值是全音的一半 不同音符时值是节奏的基本构成要素 Music is measured in time and the duration of a note is the time it last in relations to other notes. Thus the duration of a half note or minim is half that of a whole note or semibreve. Different note lengths or durations are an essential element in rhythm. 16. 时值标识 /Durational symbols 用于记谱的时值标识包括符头, 符尾或连音线 其他标识有符点, 标在音符后, 使该音符延长半音 四分音符标两个符点, 使该音符时值增至 1 1/4 半音加符点, 时值等于三个四分音符 半音加两个符点, 时值等于三个四分音符或一个八分音符 Durational symbols in music notation include the forms of note heads, flags or beams used. A further symbol is the dot, which, placed after a note, adds half that note's length. A second dot adds a further quarter, making an increase in a note's duration of 1 1/4. Thus a dotted half note or minim is equal in length to three quarter notes or crotchets. A double dotted half note or minim is equal in length to three quarter notes or crotchets and an 8th note or quaver. 17. 符尾 /Flag 习惯上以符尾添加在符干上以表示对时值的进一步划分 带两个符尾的符干, 以其外形得名, 表示一个 16 分音符, 带一个符尾的符干, 表示一个 8 分音符, 以此类推 Flags have long been added to stems to indicate further divisions of duration. Thus a stem with two flags, so called from their appearance, indicates a 16th note or semiquaver, a note of half the duration of a stem with one flag, an 8th note or quaver, and so on. 18. 休止符 /Rest 休止符标识声音中止 不同的部分使用不同的符号来表示不同时值的休止 A rest indicates an absence of sound. Different signs are used to indicate different durations of silence in an individual part. 19. 全休止符 /Whole rest 全休止符表示全音时值的声音中断 用 XXX 来表示, 在五线谱的任意线下标注的黑色矩形