Music theory, referred to as "music theory" for short, includes relatively simple basic theories-reading score, interval, chord, rhythm, beat and so on. There are relatively advanced contents such as harmony, polyphony, form, melody and orchestration. I collected and sorted out the basic knowledge of music theory for you, hoping to help you!
There are many ways to record music. There were several types in ancient China, such as word score and scale score. When used in different musical instruments, there are also ancient piano scores and pipa scores. Music score, similar to words, is a set of symbols prescribed by people. No matter what notation is used, its purpose is to accurately record music, so as to spread and reproduce (play) according to this record. Staff is a modern international notation. After mastering the staff, learning notation will be very easy.
Music score classification method
Music score classification method 1
1. In ancient China, there were five notes of "Gong, Shang, Jiao (Jue), Zheng (Zhi) and Yu", which corresponded to 1.2356 in notation and were the basic notes of music score. These five tones are used in ancient music creation. Composition is based on one of them, and only in music can the length of syllables, semitones and notes be reflected. For example, the Yunnan folk song "Running Water" is composed in this way. The whole song has no 47 tones and is a traditional folk song.
2. Simple notation refers to simple notation. There are two kinds of letter symbols and number symbols. The so-called music score generally refers to digital music score. Digital notation is based on the moving roll call method, and the seven basic levels in the scale are represented by 1, 2, 3, 4, 5, 6 and 7, and the pronunciation is do, re, mi, fa, sol, la and si, and the rest are represented by 0. The duration name of each number is equivalent to the quarter note of the staff.
The rudiment of digital notation first appeared in Europe in16th century. /kloc-in the 7th century, J. J. Suaiti, a French Catholic Franciscan priest, improved it and used it to teach and sing religious songs. /kloc-in the mid-8th century, J. J. Rousseau, a famous French thinker, improved it and strongly advocated it, and compiled it into his own music dictionary. 19th century, through the continuous improvement and popularization of P Garland, A Paris and E J M Xie Wei, it was widely used by the masses. Therefore, this notation is called "Jia-Pa-Xie notation" in the west.
/kloc-At the end of 0/9, notation spread to Japan and then to China. The Collection of School Songs edited and published by Shen Xingong in 1904 is the earliest collection of school songs in China. Then it gradually spread to schools all over the country. In 1930s, with the development of the national salvation singing movement, notation was widely spread among the masses.
Because the notation of notation is quite close to China's Gongchi notation (a popular writing notation in China), China's notation has achieved unprecedented development. As far as the world is concerned, China is the country with the best absorption of notation and the most development. The staff, through the western-centered music education system, has basically spread to all countries and become one of the compulsory items in schools, providing a foundation for the unification of world music on one score.
Staff is a universal symbol in the world. Mark notes with different time values on five parallel horizontal lines with equal distance to record music. Each line of the staff and the space between lines are called the first line, the second line, the third line, the fourth line, the fifth line and the first room, the second room, the third room and the fourth room from bottom to top. If there are not enough lines and spaces, you can add them above or below the staff. The extra line and the extra room are called the first line above, the first room above, the first line below and the first room below, respectively, each representing a sound level. The fixed height of these steps depends on the clef used. There are three clefs: treble clef, also called G clef, bass clef, F clef, alto clef, also called C clef. In order to meet the needs of human voices and musical instruments in different ranges and avoid excessive lines, there are many kinds of staff, among which five are commonly used: treble spectrum (with G clef), bass spectrum (with F clef), soprano spectrum, alto spectrum and lower alto spectrum (the last three with C' clef). The expression of soprano sound spectrum is not commonly used. The alto spectrum table is only used for viola, and it is often used for cello, bassoon and trombone. In addition, there are upper bass spectrum, mezzo-soprano spectrum and so on
Braille symbol is a symbol suitable for the blind. It can be divided into six points (current) and 12 points (innovation). The six-point notation invented by Louis Braille, the father of French Braille, can only represent the sound name and sound length (whole tone to 64th tone), and the sound group needs another point. 12 dot notation was invented on the basis of "12 dot spelling". A little notation, like notation, can express a complete note (sound length, sound name and pitch), and notation is more expressive.
Description:
1, three dot symbols form a 12 dot note, the first dot symbol represents the sound value, and the second dot symbol represents the sound name.
The third list reaches the tone group; Can realize notes and.
2. The beat sign (X0Y) is located at the beginning of the whole song. The first column of dots represents the duration of each heartbeat, and the third column of dots represents the number of heartbeats per minute.
3. Legato (X0Z), the first column of dots indicates the duration of each beat, and the third column of dots indicates the duration of Legato.
4. Chord notes (XX0), whose root sounds remain unchanged, and non-root sounds omit sound group points.
5. The tone-leaning mark (D00) indicates the previous tone-leaning, and the tone-leaning mark is placed before the tone-leaning; Represents a backward tone, and the tuning mark is placed in the
In front of the main note, the inverted sound is placed after the main note.
Music score classification method 2
Record the scores of different kinds of musical instruments more pertinently, such as piano score, guitar score, guzheng score, pipa score, etc.
Classification and characteristics of music
By sound and sound status:
1. One-part music-music with only one melody, such as unaccompanied solo, solo, chorus, etc. ;
2. Polyphony music-is a kind of music in which several tunes are interlaced under the premise of harmony, which not only cooperate with each other but also develop independently. Polyphony music has reached a high level of perfection in Bach's hands.
3. Theme music-refers to a kind of music in which one voice plays the main theme and other voices are accompanied by harmony. Haydn is the main representative.
According to the nature of music:
1. Pure music-that is, the content of the work is completely expressed in musical language, rather than borrowing any title. It also has a title, such as "Sonata No.1", but it only refers to the genre of music, not the content of music. Appreciators have a general understanding of the composer's age, experience, world outlook and music background.
2. Title music is an instrumental music conceived according to a certain theme and implied by the title. Usually based on literature, drama, history, folklore or real life. They use detailed words to explain the characteristics of the whole song and each movement. It can be said that title music is the literariness of music. The title is a direction pointed out by the composer in advance, which helps the viewer associate with it and has no restrictive effect.
3. Light music refers to light, lively, popular and short music, which is relative to serious classical music. Appreciating light music does not need serious thinking and rational activities, it only gives people beautiful enjoyment and cultivates people's sentiments.
Jazz is a popular dance music. It originated from African-Americans. This kind of music has no fixed score, and each musician improvises and maintains a general "tacit understanding." Improvisation has always been a major feature of jazz. It can be considered that jazz is the essence of American music culture.
Extended content
Basic knowledge of chord music theory
First of all, keep in mind the structure of various triplets and heptads.
This includes:
1, the structures and names of the four triplets. (major triad, minor chord, positive triad, negative triad)
2. The transposed structure and names of the four triads. (First transposition, second transposition)
3. Structures and names of five commonly used heptahydric compounds.
4. Transposition structures and names of five heptahydrides. (First transposition, second transposition, third transposition)
Second, identify the shapes of various chords on the staff.
The shape of the triad:
1. The in-situ triad is shaped like a string of candied haws, and the three tones are closely arranged up and down, either on the line or in the middle.
2. The form of the first transposition of triad (sixth chord) is: the third degree is below, the fourth degree is above, and the lower degree is dense.
3. The form of the second transposition of triad (the fourth and sixth chords) is: the fourth degree is below, the third degree is above, and the upper part is dense and the lower part is sparse.
The shape of the seventh string:
1. The original seven tones are also a string of Sugar-Coated Berry shapes, only longer, with four tones arranged closely up and down, either on the line or in the middle.
2. The form of the first inversion of the seventh chord (the fifth and sixth chords) is that there is a second interval (the two tones are oblique), which appears at the top of the sugar-coated gourd and is customarily called "wearing a hat".
3. The form of the second transposition of the seventh chord (the third and fourth chords) is that there is a second interval (the two tones are oblique), which appears in the middle of the sugar-coated gourd and is customarily called "lacing".
4. The form of the third inversion (second chord) of the seventh chord is: there is a second interval (oblique crossing of two tones), which appears at the lower end of the sugar-coated gourd and is customarily called "wearing boots".
Thirdly, the identification method of chord structure.
1, remember the basic structure of the original triad and heptachord.
2. Remember the transposition structure of triad and heptachord again.
3. You can also restore the transposed chord to the original chord, and then calculate the structure of the transposed chord through the original chord.
Introduction to the basic knowledge of vocal music theory
First of all, the misunderstanding about the use of sound
The general concept of vocal music principle is that the airflow exhaled by the lungs vibrates the vocal cords when passing through the larynx, while the movement principle of singing vocalization is to adjust the reasonable movement of vocal cords and surrounding muscles to the maximum extent on the basis of human instinctive vocalization, thus producing a powerful and rich voice state that meets the needs of singing technology. In singing training, students often confuse these two different levels of voice state, and use psychological hints of instinctive vocalization to guide artistic singing, which leads to vocal misunderstandings such as raising throat and leaking voice. To overcome the above vocal errors, we must strictly distinguish between instinctive habits in life and the requirements of artistic singing, and establish a correct vocal awareness.
The closing ability of vocal cords is partly its own function and partly depends on the coordination of surrounding muscles. The instinctive vocal habit in life is limited to the audible distance of the other party, and there is no big requirement for volume and vocal area. The use of vocal cords is arbitrary. Because the vocal cords are only tightly closed when they are high pitched, similar to the instinctive habit of speaking, they often make the vocal cords incompletely closed most of the time. If the function of muscles around vocal cords is misused, such as applying the posterior cricoarytenoid muscle, which should promote the opening of glottis, to singing, it will definitely lead to the problem of voice leakage; Applying muscle strength outside the larynx to sound production can lead to voice errors, such as raising the larynx and larynx.
Second, the misunderstanding about breathing.
Chest-abdomen combined breathing is generally regarded as the most scientific singing breathing method so far, but there are still many students who do well in the training of suppressed breathing, but they don't have enough breath when they speak. In teaching practice, the author found that there are two main misunderstandings about breathing: one is that the breath does not reach enough depth when inhaling, that is, it does not meet the technical requirements of the "lung bottom." When the breath is absorbed shallowly and acts on the vocal cords, the amount and pressure of exhaled breath are not enough to impact the closed vocal cords, making the sound appear weak. The reason for shallow breathing is related to instinctive breathing habits. Instinctive breathing is a physiological instinctive reaction similar to ordinary conversation or strenuous exercise. It only needs the expansion and contraction of the chest to generate strength to complete the gas exchange in the lungs. The swelling is only concentrated in the upper part of the lung, which is obviously different from the requirement of "sucking to the bottom of the lung" in singing, that is to say, the ability of waist and abdomen muscles has lost its value of existence. When a long phrase needs to increase the amount of breath, the breath in the lower part of the lungs cannot be effectively transported, so it is not enough.
Second, the lack of effective coordination between breath and sound makes the sound "out of breath". We analyze the reasons for this phenomenon from two aspects. On the one hand, there is no habit of singing with breath, just singing with your mouth open, separating the breathing action from the vocal action. On the other hand, it pays too much attention to breath, deliberately increasing the strength of waist and abdomen muscles to save breath, forming "breath-holding", so that breath can not act smoothly on vocal cords. The final result of both cases may lead to tense and dry vocal cords, flat voice and lack of overtones. In view of the above situation, we advocate that breathing and vocal training should be practiced together, because breath and voice are kneaded into a whole, and breathing training cannot exist alone without singing practice. We should establish such a singing consciousness: only the voice supported by breath is an effective voice, and only the breath that acts correctly on the vocal cords is an effective breath.
Third, the misunderstanding about * * *
The vocal cavity of human body is divided into three major vocal regions, namely, the vocal region of chest cavity, the vocal region of oropharynx cavity (mouth, throat and pharynx) and the vocal region of head cavity (sinus, frontal sinus and sphenoid sinus). The oropharyngeal cavity * * is the first singing area after the sound is emitted from the throat. It connects the head cavity and chest cavity, is a very important part of singing, and plays a decisive role in the fullness of voice and the beautification of timbre. Pavarotti once emphasized that the voice * * * is mainly in the oral cavity and pharynx cavity, which shows the important role of oropharynx cavity in the whole singing.
However, there are also the most misunderstandings in this region. The so-called oropharyngeal cavity opening is what we often call "opening the throat". The requirement of throat opening has been discussed in the previous article. What needs to be pointed out here is the state of the "tongue" in the process of opening the oropharyngeal cavity. Many students mistakenly think that tightening the tongue means opening the throat, which leads to stiff tongue muscles and compression of the throat. On the one hand, it destroys the good state of pitch formation, on the other hand, it also hinders the smooth flow of oropharyngeal cavity, and a good * * * sound is out of the question. The key to opening the oropharyngeal cavity is to relax the throat and tongue on the basis of stability, so that these parts are in a "free" state.
Introduction to the basic knowledge of children's music theory
Violin is the most commonly used instrument in orchestra. Its playing techniques are rich and expressive. Mainly good at playing singing melody, it is the main melody instrument in the band. It is competent for fast phrases, scales and arpeggios, and it is also expressive as a foil to harmony. In solo, its color changes are diverse, and its dazzling performance is fully displayed. The beautiful piano sound aroused the artist's imagination and brought people extraordinary artistic enjoyment. Therefore, people call it the "queen" of musical instruments.
The violin is equipped with four strings, and the interval relationship between the strings is pure five degrees. Using treble spectrum to fix pitch: generally speaking, the timbre of the first string is clear and clear; The timbre of the second string is soft and elegant; The timbre of Sanxian is like a song, a little nervous; The timbre of the fourth string is deep and generous.
Tuning considerations:
1 The tuning of the violin is a five-degree fixed tuning. Beginners can proofread each empty string with a tuner. After mastering it skillfully, only aim at the A string, then proofread the A and D strings respectively, and then proofread the A and E strings with two tones repeatedly until the four strings are calibrated.
2 When correcting the sound, if the chord is too tight to twist, you can apply a little pencil lead or dry soap; If it is too loose and slippery, you can apply a little rosin powder or chalk powder.
The violin has a wide range of four octaves from G to a4. The common range of bands is from G to a3 (that is, from the first position to the seventh position).
The violin has four strings, so many sounds in the whole range can exist on several strings at the same time, but the tone quality and timbre of the same pitch on different strings are not exactly the same. Among the four strings, the treble on the E string is used the most, followed by the A and G strings, and the treble on the D string is used less. This is because the notes of low chords are boring and tense, so they are rarely used. But the treble on the G string is tense and powerful (even the outermost string can pull out a strong force). When you are excited, it will be better to play with the G string and the higher notes on the G string (high grip).
staff
The staff is composed of five parallel lines with equal distance. The names of lines are called the first line, the second line, the third line, the fourth line and the fifth line from bottom to top. The blank part in the middle of the line is called "room", and the names of the rooms are also called the first room, the second room, the third room and the fourth room from bottom to top.
Treble clef (g clef)
The lines and intervals of staff are used to represent pitch, and clef determines what sound the lines and intervals represent. Each line indicates a certain pitch, and short horizontal lines can be added to the top and bottom of the staff when it is not enough.
musical note
The symbols used to record the length of sound in music are called notes. It consists of a Fu Tou, a pole and a tail.
Notes are divided into different shapes to record the duration of sound, and the different positions of Fu Tou on the spectrum are also used to indicate the level of sound. There are two kinds of notes: simple notes and dot notes.
discontinue
The symbol indicating the pause of sound is called a rest. Rest is divided into simple rest and additional rest.
point
Dashed lines are recorded to the right of notes and rests. Dots increase the duration of the original notes by half.
Multiple attachment points (also called double attachment points)
That is, there are two appendages to the right of the note or pause, and the second appendage increases the duration of the original note or pause by a quarter.
Bar line, bar line, end line
The vertical lines used to divide the beat are called bar lines. The part between two bar lines is called a bar line. The complex vertical line (one thick and one thin) recorded at the end of music is called the termination line, which means that the music ends here. Complex vertical lines (with two lines of the same thickness) recorded in the obvious part of the music indicate that the music has ended.
sound level
Phoneme with seven singing names (do, re, mi, fa, sol, la, si) or any sound name (c, d, e, f, g, a, b), each level has several different pitches, which are distinguished by diacritical marks. The relationship between all levels is the basis of all pitch relations in music. Level 1-nourishing; The second level-the tonic (the adjacent tone leading to the tonic); Grade III-alto (alto of tonic and dominant); Ⅳ-subordinate sound (subordinate sound below the tonic); ⅴ-tonic (tonic above tonic); Grade ⅵ-Lower alto (the middle tone of the tonic); Grade VII-leading sound (leading to the next adjacent sound of the tonic).
Half-tone
A semitone is called a second degree. Two semitones make a whole tone, and the whole tone is called two tones. An octave can be divided into 12 semitones.
space
The distance between two sounds is called an interval. Intervals can be divided into two categories: harmonic intervals that produce sounds at the same time and melody tone that produce sounds successively. Calculate the interval unit of a two-tone interval, expressed in degrees.
One of the main features of sound refers to the length of sound, which is determined by the continuous vibration time of the pronunciation body. Musically, it is mainly manifested in rhythm and beat. Sounds of different durations are marked by many different symbols, such as whole notes, quarter notes and eighth notes. The organized continuity of sound in time. It is one of the most important means of expression of music.
A repetitive sequence of rhythmic units of simultaneous values. In other words, the regular cycle of strong beat and weak beat is called beat. The unit beat in the stressed position is called strong beat, and the unit beat in the weak position is called weak beat.
Beat (time signature)
The unit of beat, expressed by a fixed time value (half note, quarter note, etc.). ). In the staff, it is represented by two Arabic numerals recorded on the right side of clef and key signature and below the third line. The above figures indicate the number of cells in each section,
The following figure shows the time value of the unit beat.
scale
In an octave, a series of sounds arranged in sequence according to a certain pitch relationship are called scales.
Take c major as an example. The distance between the third and fourth tones (mi and fa), the seventh and eighth tones (si and do) is semitone, and the distance between the other two adjacent tones is full tone, which is called major scale. A major scale with the sound name c as the main note is called a c major scale.
Minor scale: with la as the main key, it consists of seven sounds: la, si, do, re, Mi, fa and sol. It has three forms:
1 nature minor
Like major, it consists of seven tones. Different from major, semitone is between the second and third notes (si and do), between the fifth and sixth notes, and the distance between the other two adjacent notes is a whole tone. The tones used in natural minor are exactly the same as those in relational major, but the tonic is different and the scales are arranged differently (also called coordinate keys). The tonic difference between major and relative minor is three degrees. For example, the relative minor in C major is A minor, and the relative major in A minor is C major.
2 harmony minor
On the basis of natural minor, the seventh sound (#sol) is improved, and two degrees are added between the sixth sound and the seventh sound (fa and #sol), and the seventh sound forms a semitone relationship with the tonic.
Melody in 3 minor
On the basis of natural minor, the sixth and seventh keys (#fa and #sol) rise when going up and recover when going down.
Basic postures and methods of violin playing
1. Body posture
The real meaning of posture is a changing movement. Posture comes from action: because you have to act in order to play, posture comes from the need of action; Posture also serves action; Good posture makes the action convenient and the performance effective. Correct posture is one of the basic conditions to ensure the high development of students' playing level.
When you learn to play the violin, you must master the correct playing posture at the beginning. If the playing posture is incorrect, it will directly affect the pronunciation, timbre and playing skills of the bow. Violin can be played in two positions: sitting and standing.
Sitting posture is the posture used in ensemble and ensemble. Sit upright, keep your waist straight, and don't lean on the back of the chair (it is best to sit in the front of the chair). Choose a higher chair, so that the right knee can be slightly extended, so as not to touch the right thigh when playing the E-string bow. For younger students, in order to reduce physical fatigue, you can sit and practice for a small part of time every time you practice the piano. )
Standing posture is the posture used in solo and practice. The body is required to be upright, relaxed naturally, and the feet are separated left and right (consistent with shoulder width)
Form a figure of eight, with your whole body center of gravity flat on your feet. When playing, you can naturally swing your body with the thoughts and feelings of music and the inner excitement caused by it. However, when playing, we should avoid too many body movements, because too many movements not only look uncomfortable, but also constantly adjust the relationship between the bow and the piano, which will bring many unfavorable factors to the performance.
Trim the piano
① Pick up the piano with your right hand (the thumb is on the piano panel and the other four fingers are on the back of the piano).
(2) Pick it up and put it on the left shoulder (the hand is still holding the piano, the head is in a natural position, and the chin pad of the piano is close to the left cheek).
(3) Hold the piano with chin and left shoulder (the body and shoulder form a 45-degree angle, the face of the piano is slightly tilted to the right, and the direction of the piano is slightly left). The angle of the harpsichord (moving slightly to the left or right) depends on the length of the left arm and the right arm. Generally, the position of the bow tip on the chord is parallel to the bridge horse and crosses the chord.
(4) Bend your left hand to hold the piano alone (you can put the piano aside at this time).
⑤ The root of the index finger of the left hand touches the neck of the piano, and the thumb touches the neck of the piano (for this reason, you can hold the piano with your right hand first and then put it on your shoulder).
⑥ The palm of the left hand bends inward into a semicircle. (Make the arrangement of fingers back and forth consistent with the direction of the fingerboard, and keep the wrist and forearm basically straight).
⑦ Put the four fingers of the left hand in the four-degree position.
3. The posture of left hand and left arm
As a whole, the left hand, fingers, wrists, arms and elbows are interrelated, and the actions of each part interact and influence each other. Four fingers often keep the basic position (four-degree relationship) when playing, which should be the case in any position. The left and right rotation of the left arm can adjust the relationship between the finger and the fingerboard, so that the finger can play the sound on any string in a comfortable position. When pulling the G string, the elbow will turn right to adapt to this position, and when pulling the E string, it will turn left, so that the elbow is like a rudder on a ship. So this action is called "rudder action of left arm".
When changing from the low grip position to the high grip position, the left arm also changes. On the one hand, it bends more and turns to the right to meet the needs of fingers playing in a high grip position.
In order to understand these two movements, we can carefully observe how the arm moves by playing two octaves with fixed grip and a scale with three octaves transposed.
Step 4 Hold and transport the bow
First of all, I took a pencil instead of a bow.
1. Put your right hand flat on the table, and your palm will face up naturally.
2. Hold a pencil with one end at the top of the little finger and the other end at the second level of the index finger.
3. The thumb is slightly curved, and the fingertip (slightly to the right) is placed where the middle finger touches the pencil.
4. Put your fingers together, hold the pencil gently, and your thumb will arch slightly at the same time.
5. The hand looks like it has been done above, then turn it over, palm down, and finger joints can move freely up and down.
6. The little finger should not be stiff. It should be relaxed and naturally bent on the bow rod to offset the weight of the bow at the other end of the fulcrum.
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