APPLYING AMERICAN PEDAGOGICAL APPROACHES TO FIRST-YEAR MUSIC THEORY CLASSES IN CHINESE COLLEGES

A thesis submitted to the College of the Arts

of Kent State University in partial fulfillment of the

requirements for the degree of

Master of Arts

By

Qiaorong Wang

May, 2020

Thesis written by

Qiaorong Wang

B. A., Shenyang Conservatory of Music, 2017

M.A., Kent State University, 2020

Approved by

______

H. Gerrey Noh, Ph.D., Advisor

______

Richard Devore, Ph.D., School of Music

______

Jennifer Johnstone, Ph.D., School of Music

TABLE OF CONTENTS

Page

LIST OF MUSICAL EXAMPLES……………………………………………………………….vi

LIST OF TABLES……………………………………………………………………………….vii CHAPTER I ...... 1 INTRODUCTION AND BACKGROUND ...... 1 Development of Western Music Theory in China ...... 1 Teaching Style ...... 4 Curriculum ...... 4 CHAPTER II ...... 6 LITERATURE REVIEW ...... 6 The Chinese Music Theory Textbook ...... 6 Jiben Yueli Jiaocheng ...... 6 Pedagogy ...... 7 CHAPTER III ...... 10 Simple Meters ...... 10 Beat, Beat Division, and Meter ...... 10 Conducting Patterns ...... 11 Common Terms for Tempo Expression ...... 13 Simple Meter Signatures ...... 14 Slurs ...... 15 Hemiola ...... 16 Compound Meters ...... 18 Compound Meter Signatures ...... 18 CHAPTER IV ...... 26 SUPPLEMENTARY MATERIALS: SCALES ...... 26 The Chromatic Scale ...... 27 The Major Scale ...... 30 Scale Degrees Names ...... 33 Movable-Do and Fixed-Do Systems ...... 35 Modes ...... 37 Pentatonic Scales ...... 41 The Major Pentatonic Scale ...... 42 The Minor Pentatonic Scale ...... 43 Definition of an Interval ...... 54

Harmonic Intervals ...... 54 Melodic Intervals ...... 55 Compound Intervals ...... 56 Interval Quality ...... 57 Augmented and Diminished Intervals ...... 60 The Tritone ...... 60 Enharmonically Equivalent Intervals ...... 61 Categories of Intervals ...... 62 Chords and Triads ...... 67 Triad Labels ...... 68 Diatonic Triad Labels ...... 70 Figured Bass...... 72 Inversion Symbols ...... 72 Accidentals ...... 73 Diatonic Seventh Chords in Major Keys ...... 83 Diatonic Seventh Chords in Minor Keys ...... 84 Arpeggiated Triads and Seventh Chords ...... 86 Lead-Sheet Symbols of Triads and Seventh Chords ...... 87 REFERENCES ...... 96

LIST OF MUSICAL EXAMPLES

Examples Pages

3.1. Conducting patterns………………………………………………………………………....11

3.2. Scarlatti, Keyboard Sonata in b Minor, L.263, mm.1-5…………...…………………...…...15

3.3. Hemiola in triple meter……………………………………………………………………...16

4.1. Mahler, Symphony No. 2, I, final 5 measures ……………………………………………...27

4.2. Sousa, “The Stars and Stripes Forever,” mm.77-84…………………………...……………28

4.3. Chromatic scales solfege in two different keys……………………………………………..28

4.4 Mozart, piano sonata in C major, mvt1, mm.1-4…………………………………………….30

4.5. Chromatic and major scale patters…………………………………………………………..31

4.6. Scale-degree names………………………………………………………………………….33

4.7. Solfege syllables in a major and minor scales …………….……………………………..…35

4.8. Modes and the solfege syllables…………………………………………………………….38

4.9. Pentatonic scale beginning on C…………..……………………………………………...…41

4.10. “Jesus Loves Me”…………………………..……………………..…….…………….…...42

4.11. “Eyes on the Prize Lyrics”…………………………………………………………………44

5.1. Bruckner, “Tantum Ergo” No.2, mm.1-10…………………………..……………………...54

5.2. Mozart, mass in C minor, K. 417, Kyrie, mm. 6-9………………………………………….55

5.3. Beethoven, Violin Concerto in D Major, Op. 61, I, mm. 156-158………………………….56

5.4. Intervals from the tonic, ascending...... ……………………………………………………...57

5.5. Intervals from the tonic, descending……………………………………………………..….58

5.6. Augmented and Diminished Intervals………………………………………………………60

5.7. The tritones in C major……………………………………………………………………...61

5.8. Interval of third and segmented second……………………………………………………..61

6.1. Schubert, Ecossaise, Op. 18, No.1, mm.9-16………………………………………….…....67

6.2. Comparison of triad labels…………………………………………………………………..68

6.3. Triad qualities……………………………………………………………………………….69

6.4. Diatonic triads labels in C major and C minor natural and harmonic minor……………..…70

6.5. Accidentals applied to figured bass numbers……………………………………………..…74

7.1. Schubert, Menuett, D. 336, mm.1-16 and chord reduction………………………………….80

7.2. Seventh chords built above the C major scale………………………………………………83

7.3. Seventh chords built above the C minor scale………………………………………………84

7.4. Mozart, piano sonata in C major, K. 279, II……………………………………………...... 86

7.5. “Rich and rare” (traditional Irish melody), arranged by Joel Philips……………………….88

7.6. Seventh chords in D major with lead-sheet labels…………………………………………..89

LIST OF TABLES

Table Page

2.1. Four areas of Chinese college music programs……...…………………………………….....8

3.1. Quarter-note Beat Unit…………………...………………………………………………….14

3.2. Other Beat Unit…………………………………………………………………………...... 14

3.3. Dotted-quarter Beat Unit………………………………………………………………...…..18

3.4. Other Beat Unit……………………………………………………………………………...18

4.1. Scale-degree Names and Their Meanings………………………………………………...... 33

4.2. Mode with Interval Sequence…………………………………………..…………………...37

5.1. Interval Quality and Semitones ……………..………………………………………………58

6.1. Figured Bass Numbers for Triad………………………………………………………..…...73

7.1. Seventh Chords in Major Keys……………………………..…………………………….....83

7.2. Seventh Chords in Minor Keys…………………………………………………………...…85

7.3. Triad type and lead-sheet notation.………………………………………………………….88 1

CHAPTER I

INTRODUCTION AND BACKGROUND

The aim of my thesis is to study the difference between the American and Chinese pedagogical approaches in the college-level beginning music theory classes and to produce supplementary learning materials for the current Chinese music theory textbook. I examine two textbooks, Jiben Yueli Jiaocheng and The Musician’s Guide to Theory and Analysis. Jiben Yueli

Jiaocheng is the most widely used music theory textbook in China. The Musician’s Guide to

Theory and Analysis is a representative music theory textbook used in American colleges and universities. The supplementary learning materials in this thesis are inspired by the pedagogical styles of The Musician’s Guide to Theory and Analysis. These materials can be used along with

Jiben Yueli Jiaocheng in the Chinese first-year theory classrooms. The supplementary materials will help Chinese students understand the topics and learn the basics of music theory more efficiently. In the following section, I outline the history and development of Western music theory education in China. I will also address some of the challenges in the Chinese college-level music theory classes.

Development of Western Music Theory in China

Around 500 BCE, Chinese music education was much influenced by Confucian philosophy. Confucius (ca. 551-479 BCE), the author of the Analects, believed that music played an essential role in human growth. He also believed that music education was an important part of holistic learning. Confucius’s Yue Jiao (music education) referred to a range of cultural and art education including poetry, religious ritual, and music.1 Many recognized it as the beginning

1 Chen, J, “How Can One be Perfected By Music?—Contemporary Educational Significance of Chinese Pre-Qin Confucian Thought on Yue Jiao (Music Education)” (PhD diss., University of Illinois at Urbana-Champaign, 2012), 105, ProQuest Dissertations & Theses Global. 2 of music education in ancient China. Later in the Han dynasty, a group of disciples of Confucius created Yue Ji, which was the earliest theoretical writing on traditional Chinese music. Yue Ji explained the musical aesthetic of Confucianism in the pre-Qin period. The Confucian philosophy and ideas emphasized the relationships between Chinese music and religious rituals that bring together people and the universe in harmony (Ho, 2011). During this period, music was also used to promote peace among the social classes.

In the middle of the eighteenth century, Western music began to be introduced in China, mainly through the religious singing in the Christian churches, the battle songs of the army, and the school songs. Most of these songs were written in numerical musical notation. The melodies were adopted from Japan, the United States, and European countries. New Chinese texts were added to these tunes. In the late Qing dynasty, a group of scholars traveled to Japan to study music. In the group, Shen Xingong, Li Shutong, and Zeng Zhimin were the pioneers who were passionate about disseminating Western musical training in Chinese society, and they promoted the composition of new school songs. Zeng Zhimin also devoted himself to translating books on

Western music. In 1904, he edited and published Yue Dian Jiao Ke Shu, which was the earliest systematically organized music theory textbook. In 1910, with the growth of Western musical culture in modern China, Zeng Zhimin put forth several suggestions, such as training schoolteachers, employing foreign teachers, compiling music textbooks, and helping music students to study abroad. His ideas and suggestions played an important role in the development of Chinese new music in the early twentieth century. In the 1930s, several symphony orchestras were established, and the musical training in Western classical instruments began to gain popularity. The universities and conservatories began establishing the music departments.

Shanghai Conservatory of Music, originally known as the National Conservatory of Music, was 3 founded on November 27, 1927. It was the first institution focused on musical training in

Western classical music. It was founded by Cai Yuanpei, a democratic revolutionary, educator, and thinker, and Xiao Youmei, a prominent music educator. Nine additional conservatories in different regions of China opened their doors by the middle of the century.

Significant changes in the arts and culture began to develop shortly after the establishment of the People’s Republic of China in 1949. With the political and cultural climate opening to Western influences, the arts education in Chinese colleges and universities started to adopt the educational systems of other countries. Studies of Western classical music became increasingly favored. Chinese scholars began actively translating books on Western music theory. One of the books on music theory training in higher education was a translated edition of a Russian textbook by Qizhang Wang, Yin Yue Chu Ban She [Basic music theory exercises], published in 1956. This book helped many Chinese music educators with writing their own music education manuals and adopting Western music education curricula. In 2001, the Shanghai

Music Publishing House published a series of textbooks for Chinese art education, including the music theory book, Jiben Yueli Jiaocheng. This is the textbook currently being used in the music theory courses in Chinese universities and conservatories. It has been in use continuously since

2001.

Current Music Theory Teaching in Chinese Conservatories and Universities

After I completed my undergraduate studies in the Shenyang Conservatory of Music, I began my master’s studies in music theory at Kent State University. During my studies at Kent, I have taken numerous music theory courses, and I have started to understand the significant differences between the American and the Chinese ways of teaching music theory. I much prefer

American approaches. I find that the approaches used in The Musician’s Guide to Theory and 4

Analysis exemplify the current trends in music theory teaching in American universities. It combines written theory and analysis in integrated lessons. There are accompanying workbooks for written and aural training, as well as a teacher’s manual. Compared to The Musician’s Guide to Theory and Analysis, I find Jiben Yueli Jiaocheng has several shortcomings.

Teaching Style

Most music theory instructors in China use their personal lecture notes and resources to teach students, instead of using the assigned music theory textbooks. Students are expected to write down the information presented by the teacher. Some professors give few assignments for practice. It is common that the students learn music theory by rote rather than through skill- building activities. The assessment is also often based on rote memory rather than analytical application. There is limited interaction between students and teachers, and there are few creative activities. For practical training, the music theory class typically emphasizes sight singing using the fixed-do solfege.

Curriculum

In the Shenyang Conservatory of Music, the music students spend around ninety minutes a week in the music theory classes. Most music students prefer practicing their major instruments or singing. The college music students in China typically receive many years of early music training, which includes ear training and solfege. The freshman music theory classes are considered “reviews” of the pre-college music education, or to some extent, a continuation of similar trainings. Some classes cover new materials, which is limited to a narrow range of topics.

Compared to The Musician’s Guide to Theory and Analysis, Jiben Yueli Jiaocheng is a brief manual that contains the basics of music fundamentals, harmony and counterpoint, with very little material on aural training and analysis. Chinese students generally use a separate manual 5 for aural skills. Jiben Yueli Jiaocheng does not include separate workbooks, a teacher’s edition, or a glossary of musical terms. A small number of exercises is included at the end of each chapter, and the students do not usually get enough practice on the subjects covered in the chapter. Music theory is rarely taught in an analytical or historical context. The musical terms and concepts are explained using text-based descriptions rather than using musical examples.

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CHAPTER II

LITERATURE REVIEW

The Chinese Music Theory Textbook

Jiben Yueli Jiaocheng

In 2012, Leiying Xia published “On The Editing Principles Of Modern Music Theory

Textbooks—Using Tong Zhongliang's Jiben Yueli Jiaocheng As An Example.” Her study discusses the pedagogical principles of modern music theory textbooks including Jiben Yueli

Jiaocheng. The study has two focuses: (1) using the Western music pedagogical approaches to improve the teaching of traditional Chinese music theory; and (2) strengthening practical approaches in traditional Chinese music theory and students’ learning. Xia also points out there are some advantages and disadvantages of Jiben Yueli Jiaocheng. She makes some suggestions for improving Jiben Yueli Jiaocheng.

In 2017, Yu Sun published a brief review, “Analysis of Jiben Yueli Jiaocheng.” He discusses the contents, exercises, and practicality for the different levels and backgrounds of students. Sun discusses the rationality of Jiben Yueli Jiaocheng’s organization, its materials, and how it approaches Chinese traditional music and Western style music training. Sun writes that Jiben Yueli Jiaocheng is appropriate for beginning level instruction and some advanced learning. One of the most unique characteristics of Jiben Yueli Jiaocheng is that it includes some traditional Chinese music theories, such as musical temperament and Chinese modes.

These features are not discussed in other lesser-known music theory texts such as Yinyue Jichu

Lilun. 7

Pedagogy

In China, Western music theory and Chinese traditional music theory are taught in a combined course. For many decades, music educators have been debating how to deal with the pedagogical relationship between Western music theory and Chinese traditional music theory.

In 2003, Lau states that the music teacher training and the music curriculum of present-day

China do not strongly emphasize Chinese music literacy. Lau recognizes the lack of understanding of traditional Chinese music as a growing problem. The educational reform in

2001 had a significant impact on teachers, and the teachers were interested in reexamining curricula in arts education (Allan, 2006). Lyu’s (2018) study points out that China has experienced positive pedagogical changes in music education since 2001. Despite more recent research on Chinese educational reform, little is known about Chinese music teachers’ perspectives on the new music curriculum and its effectiveness in the classrooms. Lyu’s study shed some light on music teachers’ views toward the reform. Lyu’s data, collected through video interviews, reveals that music teachers have favorable views toward the new music curriculum. However, according to a survey conducted in 2001 by the Education

Department of China, in 2000, only 67% of 120,000 elementary music teachers held appropriate teaching licenses. Out of 67,000 music teachers, only 55% were considered qualified. The survey showed a severe shortage of qualified music teachers, especially in the rural areas (Ma, 2001). According to Jian, Guan, and Qing (2001), college music programs in

China typically include the following four areas of study.

8

Table 2.1: Four areas of study in Chinese college music programs

Music Foundations Fundamental Theory, Ear-Training, Sight-Singing, Western Music

History, Chinese Music History, and Comprehensive Views on Ethnic

Music.

Music Theory Harmony, Music Forms, Polyphony, Instrumentation, and Piano Skill.

Cultural Studies Chinese Revolution History, Political Economics, Philosophy,

Comprehensive Views on Arts, Literature, Aesthetics, and Electives.

Professional Music Conducting, Composition, Musicology, Applied Music (Instruments and

Voice), and Music Education.

Jian, Guan, and Qing pointed out that courses in Music Theory, Ear-Training and Sight-Singing are based on nineteenth-century European music and showed diminishing emphasis on Chinese music theory.2 The Chinese music theory pedagogy aims to teach both Western music and

Chinese traditional music in one course. The textbook, Jiben Yueli Jiaocheng introduces music fundamentals of both types of music with much heavier emphasis on the Western tonal theory.

The Purpose of This Thesis

The goal of this thesis is to make some practical improvements to Jiben Yueli

Jiaocheng. Compared to American counterparts, Jiben Yueli Jiaocheng is less comprehensive in several aspects. Among the areas that need improvements, written theory practice can be mitigated easily through the addition of supplementary materials to the current volume. The following five chapters consist of supplementary materials in two categories, musical examples for instruction and practice materials. The supplements are largely inspired by the textbooks

2 Lau, Wai Tong, “The Historical and Musical Frameworks for Developing a Curriculum to Teach Chinese Music Literacy” (PhD diss., Northwestern University, 2003), 84, ProQuest Dissertations & Theses Global. 9 typically used in American institutions. Each section of the supplements corresponds to a specific topic covered in Jiben Yueli Jiaocheng. These sections are written in English first, then translated to Chinese for the practical uses in the Chinese classrooms. Some sections intend to amend missing information, while some aim to provide clarifications. Skill building is particularly emphasized in the supplements, since I recognize the lack of exercises in Jiben

Yueli Jiaocheng as the aspect that needs most immediate improvement.

10

CHAPTER III

SUPPLEMENTARY MATERIALS: METER AND RHYTHM

Simple Meters

Beat, Beat Division, and Meter

There are two principal meter types: simple and compound. Works in simple meters have beats that are divided into two equal units. Those in compound meters have beats that are divided into three equal units. The feel of these meter types is uniquely different; simple meters feel like walking or marching, while compound meters give sense of waltz or lilting in three.

Listen to each piece below and tap to experience the beats and its divisions. If the beat divides into twos, circle “simple”; if it divides into threes, circle “compound.”

(a) Joplin, “Solace” simple compound

(b) Gilmore, “When Johnny Comes Marching Home” simple compound

(c) Schumann, “Wilder Reiter” simple compound

(d) Pierre, “The Internationale” simple compound

When beats group into units of two, the meter type (either simple or compound) is duple.

When they group into units of three, the meter type is triple. When they group into units of four, it is a quadruple meter.

单拍子

节拍，节拍划分，拍子

有两个主要的节拍类型：单拍子和复拍子。单拍子的作品把节拍分为两部分。那些

复拍子的作品把节拍分成三部分。两种类型的拍子有一些不同的特色：单拍子听起来像在

走路或者行进中，然而复拍子则听起来像轻轻摇晃，像华尔兹舞曲一样。 11

听下面每个小乐段去确定节拍及其划分。如果节拍被分成两部分，则画圈“单拍

子”；如果节拍被分成三部分，则画圈“复拍子”。

（a）乔普林，“安慰” 单拍子 复拍子

（b）吉尔莫，“当约翰尼回家的时候” 单拍子 复拍子

（c）舒曼，“怀尔德·雷特” 单拍子 复拍子

（d）皮埃尔，“国际歌” 单拍子 复拍子

当节拍分成两个单位时，拍子类型（无论是单拍子或复拍子）是双重的。当节拍分

成三个单位时，拍子类型是三倍的；当节拍分成四个单位时，拍子类型是四倍的。

Conducting Patterns

As you practice each pattern, you will feel a certain physical weight on the downbeat, the motion of the hand falling down on the beat 1. You will probably feel the anticipation of the downbeat with the upbeat—the upward lift of the hand in the final beat.

指挥图示

当你练习每个图示时，手在第一拍向下运动时，你会感觉到一定的身体重量与其

（即强拍）有关。 你可能会感到希望当手向上举为最后一拍（弱拍）。

Example 3.1: Conducting Patterns （指挥图示）3

3 Li Chongguang, Li Chongguang Jiben Yueli (Hunan, Hunan Press, 2004), 30. 12

Duple （二拍子）

Triple （三拍子）

Quadruple （四拍子） 13

Sextuple （六拍子）

Common Terms for Tempo Expression

Slower tempi grave, largo, larghetto, adagio

Medium tempi andantino, andante, moderato, allegretto

Faster tempi allegro, vivace, presto, prestissimo

Increasing in tempo (gradually faster) Accelerando

Decreasing in tempo (gradually slower) Ritardando

Flexibility within tempo rubato

速度

慢速 极慢板，广板，缓板，柔板

中速 小行板，行板，中板，小快板

快速 快板，快速有生气，急板，最急板

逐渐加快 渐快

逐渐变慢 渐慢

灵活速度 自由速度 14

Simple Meter Signatures

A meter signature (or time signature) is shown at the beginning of a score, establishing the meter type and beat units.

Table 3.1: Quarter-note beat unit

Meter Signature Beats Per Measure Beat Unit Meter Type

2 Simple duple q 3 Simple triple q 4 Simple quadruple q

Table 3.2: Other beat units

Meter Signature Beats per measure Beat Unit Meter Type 2 simple duple h 3 simple triple h 3 simple triple e 4 simple quadruple e 4 simple quadruple x

节拍标记

节拍符号（时间符号）在乐谱开头确定了节拍类型和节拍单位。

表 3.1: 以四分音符为单位拍

拍号 每小节节拍数 单位拍 节拍类型 2 单二拍子 q 3 单三拍子 q 4 单四拍子 q

15

表 3.2: 其他单位拍

拍号 每小节节拍数 单位拍 节拍类型 2 单二拍子 h 3 单三拍子 h 3 单三拍子 e 4 单四拍子 e 4 单四拍子 x

Slurs

In example 3.2, the small arcs written above the notes are slurs, which mean to connect two or more different pitches smoothly. Slurs affect performance expression significantly— bowing or tonguing, for example. The slurs do not increase the duration of the notes themselves.

The notes encompassed by a slur should be played as connected as possible, or legato, rather than detached. For singers, slurs often identify groups of pitches sung to single syllable.

Example 3.2: Scarlatti, Keyboard Sonata in b minor, L. 263, mm. 1-5.

圆滑线

在例 3.2 中上面标注的小弧线是连接两个或多个不同的音高 。圆滑线会影响演奏的

衔接，例如运弓法或者运舌法，但是不会延长演奏时间：当音符被一个圆滑线环绕应该圆 16

滑的演奏，或是连奏，而不是分离的。对于歌者们，圆滑线会识别一组按单音节唱的音

调。

例 3.2: Scarlatti, Keyboard Sonata in b minor, L. 263, mm. 1-5.

Hemiola

Hemiola is illustrated in Example 3.3. Hemiola is a very interesting rhythmic effect that comes from changing the grouping of the beats. First start to appear in Spanish music in the sixteenth century, it usually occurs in triple meters. In the example below, the hemiola occurs in the third and fourth measures when the half notes and the quarter note A connected over the bar line, turning two measures of 3/4 meter into one measure of 3/2. This is a common way of signaling a final cadence in Baroque compositions.

Example 3.3: Hemiola in triple meter

切分节奏

切分节奏已在例 3.3 中举例说明。切分节奏是个极其有趣的节奏型，它可以改变拍

子的分组。我们第一次见到它是在 16 世纪的西班牙音乐中。它通常出现在三拍的节奏

中。切分节奏出现在用小节线连接的第三小节和第四小节的 A 上，将两个小节的 3/4 拍变

成一个小节的 3/2 拍。这在巴洛克时期成为一种流行的终止信号的方式。 17

例 3.3: 切分节奏在三拍子中

Rhythm Reading Practice in Simple Meters

单拍子的节奏类型

Simple Duple: 单二拍子

a. 2 / 2 ˙ ˙ œ œ ˙ ˙ œ œ w œ œ œ œ ˙ Ó

b. 2 / 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

c.

/ C œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙ Ó

Simple Triple: 单三拍子

a. 3 / 2 œ œ œ œ œ œ œ Œ Œ œ œ œ

/ œ œ œ œ œ œ œ œ ˙ œ œ œ ‰ ‰ œ œ œ ˙

b. 3 3 / 4 œ œ œ œ ˙ œ œ ˙ ˙™

18

c. 3 j j j j j j j j j / 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰

Simple Quadruple: 单四拍子 a. 4 j / 2 ˙™ œ œ œ ˙ ˙™ œ œ œ œ ˙ ˙ œ œ œ œ œ™ œ ˙ w Ó

b. 4 j j j j j j j j j j j j j j / 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Compound Meters

Compound Meter Signatures

Table 3.3: Dotted-quarter beat unit:

Meter signature Beats per measure Beat unit Meter type 2 compound duple q. 3 compound triple q. 4 compound quadruple q.

Table 3.4: Other beat units

Meter signature Beats per measure Beat unit Meter type 2 compound duple h. 3 compound triple h. 4 compound quadruple h. 19

2 compound duple e. 3 compound triple e. 4 compound quadruple e.

复拍子

表 3.3: 附点四分音符的单位拍

拍号 每小节节拍数 单位拍 节拍类型 2 复二拍子 q. 3 复三拍子 q. 4 复四拍子 q.

表 3.4: 其他单位拍

拍号 每小节节拍数 单位拍 节拍类型 2 复二拍子 h. 3 复三拍子 h. 4 复四拍子 h. 2 复二拍子 e. 3 复三拍子 e. 4 复四拍子 e.

Rhythm Reading Practice in Compound Meters

复拍子的节奏练习

Compound Duple Meters 复二拍子

20

a. 6 / 4 œ œ œ œ œ œ œ œ œ ˙™ j / œ ˙ œ œ œ œ œ œ™ œ œ ˙ œ œ w™

b. 6 / 8 œ œ œ œ œ œ œ™ œ™ œ œ œ œ™ œ œ œ œ™ ˙™

3 c. 6 j j j ≈ j / 16 œ™ œ œ œ œ œ œ™ œ œ œ œ œ™ œ™ œ œ œ œ œ œ œ™

Compound Triple: 复三拍子

a.

b. 9 j j / 8 œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ j j ™ / œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ ˙™ Œ

3

21

c. 9 j j j j j j / 16 œ œ œ™ œ™ œ œ œ œ œ œ œ œ œ œ™ œ™ œ™ œ œ œ œ œ™ j j j j / œ œ œ™ œ™ œ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ œ™

5 Compound Quadruple: 复四拍子

a. 12 j j j j ™ / 8 œ œ œ œ œ ‰ œ œ œ œ ‰ œ œ œ ‰ œ œ œ œ œ Œ j ™ j j ™ / œ œ œ œ œ ‰ œ œ Œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ™ Œ Ó™

3 Homework

1. For each meter given, write the beat note on the staff (on any line or space), and the meter type

in the space provided.

1. 在空白处写出每个拍子的单位拍和节拍类型（如二倍，三倍，或四倍）。

2. Write one note in each space to complete the equations.

2. 用一个音符去完成每个空白处的等式。

a. + = (example) h h w

b. + =____ q q 22

c. + =____ e e

d. + =____ e q.

e. + + + =____ x x x x

f. + + + + ___= e x x e h

3. Write the meter signature and meter type (e.g., simple duple) for each example.

3. 写出每个作品的拍号和节拍类型（如二倍单拍子）。

a. Corelli, Preludio, from Trio Sonata in D Minor, Op.4, No.8, mm.1-7 w ? ˙ ˙ #˙ w b ˙ #˙ ˙ w

? ˙ ˙ w ˙ w ˙ b ˙

Meter:______Meter type:______

(example) Meter: Meter type: simple triple

5 b. Scarlatti, Sonata in G Major, L. 338, mm.1-6 Ÿ # œ Ÿ œŸ™ j ™ œ œœ œ œ œ œ œ ∑ ∑ ∑ & œ œ œ œœ œ œ œ œ œ œ œ ?# œ œ œœ œ { œ œ œ™ œ ∑ ∑ ∑

Meter:______Meter type:______#Meter: ______Meter type: ______& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ?# 10 { ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ 18 ÔR # Ô & ÙÂÙ®≈‰ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ {?# ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

26 # & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ {?# ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

36 # & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ {?# ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 23

c. Bach, Prelude in Ab Major, mm.1-5 (right hand) œ j œ œj œ bbbb ‰ œ œ œ œ ‰ œœœ œ œ œ œ ‰ œ œ ‰ œ œ ∑ & œ œ œ Œ J Œ J Meter:______Meter type:______b Meter:b ______b b Meter type: ______&b b ∑ b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

d. Bach, Prelude in C# Minor, mm.1-4 (right hand) 7 16 b b &b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

2 6 Meter: _____ Meter type: ______b b &b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

4. Renotate each of the following rhythms with correct beaming. 36 4. 用正确的小节线重新划分节奏。b b &b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ a. (example) 4 j / 4 œ œ œ œ œ œ œ™ œ œ œ œ™ œ œ œ œ œ œ œ™ œ œ œ œ œ 46

b b &b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

56 b b. b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ &3 r j r j j / 4 œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ™ œ œ œ œ œ œ œ œ

66 b b &b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

74 c. b b &b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ 6 j j j j r j j / 8 œ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ ˙™

24

6 / 8

d. 12 j j j j / 8 ˙™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ œ ˙™

5. Renotate the melody in the meter indicated. Use proper beaming and stem direction.

5. 用新的节拍重新旋律（不用写歌词）。适用合适的符头和符干。

a. (example)

b.

25

c.

26

CHAPTER IV

SUPPLEMENTARY MATERIALS: SCALES

Jiben Yueli Jiaocheng explains the major and minor scales as well as the key signatures.

However, the chromatic scale is not mentioned in Jiben Yueli Jiaocheng. In this chapter, I use the ascending chromatic scale from C with solfege syllables to introduce the concept. All music students China learn the fixed-do solfege system when they begin their music lessons. Chinese music theory textbooks also use fixed-do system. The fixed-do approach was adopted from

Russian solfege textbooks by Frolova’s Solfeggio Podgotovitelny Class and Metalidi and

Petcovskaya’s Solfege dlya 1 classa detskoy muzykalnoy shkoly, which were primarily influenced by French solfege and methodology.4 In China, the fixed-do system has been implemented in all types of Western musical training since the early twentieth century. In this chapter, I also add

American style movable-do system as a supplement to the fixed-do approach used in Jiben Yueli

Jiaocheng.

Diatonic modes and scale degree names, which are not mentioned in Jiben Yueli

Jiaocheng are also added as supplements in this chapter. It is important for students to associate scale degrees when they learn diatonic modes. The diatonic modes are discussed in some lesser known music theory books, such as Yinyue Lilun Jichu by Li Chongguang. Recently I interviewed some college-level music students in China inquiring about the current music theory pedagogy. They informed me that their professors briefly mention the diatonic modes but do not offer any further practice or show musical examples. In my opinion, diatonic modes are essential in basic undergraduate music theory and one of the more important compositional elements.

4 Holmes, Alena V, “Effect of fixed-do and movable-do solfege instruction on the development of sight-singing skills in 7- and 8-year-old children” (PhD diss., University of Florida, 2009), 11, ProQuest Dissertations & Theses Global.

27

Study of diatonic modes are also important in understanding Medieval plainchants and

Renaissance polyphony as well as the Western post-tonal music.

In Jiben Yueli Jiaocheng, there is a short section discussing Chinese pentatonic scale, but it does not make any association with Western classical music. Chinese folk music often uses the major pentatonic scale. The notes of are called gong 宫, shang 商, jue 角, zhi 徽, yu 羽. The major and minor pentatonic collections found in various types of Chinese popular music, world music, rock, and jazz. It is necessary to include the major and minor pentatonic scales to help students study and analyze various types music.

The Chromatic Scale

In example 4.1, the Mahler passage below includes two statements of all twelve pitch classes. It shows a complete chromatic collection.

Example 4.1: Mahler, Symphony No. 2, I, final 5 measures

半音音阶

在例 4.1 中，马勒用了两组十二音高体系；形成了一个完整的半音集合。

例 4.1: 马勒，c 小调第二交响曲，第一乐章，最后 5 个小节

28

The chromatic scale is made up of consecutive half steps. For another example, listen to the Trio section of “The Stars and Stripes Forever” (Example 4.2).

半音音阶是由完全连续的半音组成。 例如下面的例子，让我们来听下三重唱片段

“星条旗之歌”。（例 4.2）。

例 4.2: Sousa, “The Stars and Stripes Forever” mm. 77-84

Example 4.3 shows the chromatic scale from C4 to C5 in ascending and descending forms. The beginning theory students may understand the construction of the chromatic scale as a major scale, where all the whole steps filled in with half steps. The necessary sharps, #, or naturals, ♮, are used in the ascending form and flats b or naturals ♮ in the descending form. The chromatic solfege syllables should be used when introducing the chromatic scale. Like in movable-do system, the chromatic solfege syllables are adjusted based on the underlying tonal context. It is important to pay careful attention to the spelling when writing the ascending and descending forms. The correct spelling of the chromatic scales makes reading music much more accessible.

Example 4.3: Chromatic scales solfege in two different keys

(1) C-Chromatic Scale and Chromatic Solfege Syllables

Ascending:

29

Descending:

(2) Bb Chromatic Scale and Chromatic Solfege Syllables

Ascending:

& w #w w bw bw nw w #w w bw nw w #w do di re ri mi fa fi sol si la li wti bdwo & w bw nw w #w w #w bbww nw w #w Descending: & w bw w bw w bw do di re ri mi fa fi b wsol wsi b w la w li b wti b dwo do ti te la le sol se fa mi me re ra do & bw w bw w bw w bw bw w bw w bw bw & do ∑ ti ∑ te l∑a le ∑ sol ∑ se f∑a mi ∑ me ∑ re r∑a do ∑

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ &这是 C 和 Bb 大调半音音阶, 如例 4.3 所示。如果调号是确定的，先用全音符写出下 2 3 13 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 面的大调音阶，然后将每个全音符填写成半音：上升的音级用 或 ♮，下降的音级用 2 3 13 # b or & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ♮。这2形成了一个3 带有临时记号的混合音阶（和额外的视唱音节），但有一个清晰的主调 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 背景。23当你写音阶或是其他音乐元素时要格外认真小心。练习时，正确的拼写会使谱子更 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3&3 容易解读。 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 33 例 4.3∑: 不同的两个大调的∑ ∑ 半音音阶表示方法∑ ∑ ∑ ∑ ∑ ∑ ∑ 4&3

&（1）∑C 大调半音音阶和半音视唱音节∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 5&3上行：

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 53 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 6&3

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 下行： 63

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 30

（2）Bb 大调半音音阶和半音视唱音节

上行：

& w #w w bw bw nw w #w w bw nw w #w do di re ri mi fa fi sol si la li wti bdwo & w bw nw w #w w #w bbww nw w #w & 下行：w bw w bw w bw do di re ri mi fa fi b wsol wsi b w la w li b wti b dwo do ti te la le sol se fa mi me re ra do & bw w bw w bw w bw bw w bw w bw bw & do ∑ ti ∑ te l∑a le ∑ sol ∑ se f∑a mi ∑ me ∑ re r∑a do ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 2 3 13 The Major Scale ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & In example 4.4, Mozart uses all seven diatonic pitches in C-major scale. 2 3 13 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 2&3 Example 4.4: Mozart, Piano Sonata in C Major, mvt1, mm.1-4

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 23 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3&3

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 33 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4&3

& The∑ pitches ∑of C-major∑ scale ∑are listed∑ in the order∑ they∑ appear in∑ the example∑ . ∑ 43 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 5&3

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 53 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 6&3

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 63 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

31

C-major scale in ascending order

Listen to the opening of the Mozart sonata (Example 4.4). Find the pitches that seem to be more fitting with the chords. The pitch, C, provides the tonal center of the major scale.

Example 4.6 illustrates a chromatic and major scale, with whole and half steps identified for comparison. A major scale may begin on any pitch. It must include each of the seven letter names and follow the ascending interval pattern, W-W-H-W-W-W-H, arrangement. W indicates a whole step and H indicates a half step.

Example 4.5: Chromatic and major scale patterns

(a) Chromatic w #w w w & w #w w #w w w #w w #w

H H H H H H H H H H H H & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 2 (b) Major 12 w w w ∑ ∑ ∑ & w w w w & w ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

W W H W W W H 22 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 5 &

15 全音音阶 32 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ && 在例∑ 4.4 中，莫扎特用了七个全音∑ ∑ ∑ 成立一个全音音阶集合。∑ ∑ ∑ ∑ ∑ ∑

例 ：莫扎特， 大调钢琴奏鸣曲，第一乐章， 小节 2452 4.4 C 1-4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ && ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

3552 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ && ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

4652 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ && ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

72 55 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

65

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

74

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 32

例没有顺序的右手音阶和 C 大调音阶

(a) 没有顺序的右手音阶

(b) C 大调音阶

听莫扎特的开场（例 4.4），和弦听起来似乎更稳定。在例 4.5 中，这个音高 C，

为特殊类型的全音阶集合即大调音阶提供了基础。

例 4.6 举例说明了半音音阶与全音音阶之间的比较。一个大调音阶可以从任意一个

音高开始。它必须包括七个音名，同时按照全-全-半-全-全-全-半音阶模式自下而上的排

列。

例 4.5: 半音阶和大调音阶图示

(a) 半音阶 w #w w w & w #w w #w w w #w w #w

H H H H H H H H H H H H & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 2

12

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

22

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

32

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

42

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

52

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

62

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

72

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 33

(b) 大调音阶 w w w ∑ ∑ ∑ & w w w w w

W W H W W W H & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 5

15 Scale Degrees Names & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ In example 4.7, each pitch of the major scale is indicated with a scale degree name. A

major25 scale begins with a scale degree called a tonic, repeated after seven diatonic steps. The ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ tonic& scale degree is the most stable scale degree and often serves as the tonal center of a

melody.35 Table 4.1 lists the seven scale degree names and their meanings. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & Example 4.6: Scale-degree names

45

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

55 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & Table 4.1: Scale-degree names and their meanings5

65Scale degree Name Meaning ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & tonic First degree of the major or minor scale.

74 supertonic 2nd degree of the scale, lying whole tone above tonic.

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ mediant The 3rd degree of the major or minor scale. So called because it is midway between the tonic and the dominant.

5 Kennedy Michael and Bourne Joyce, The Concise Oxford Dictionary of Music (New York: Oxford University Press,1996). 34

subdominant 4th degree of major or minor scale, e.g. F key of C. So called because it is the same distance below the tonic as the

dominant is above it.

dominant 5th degree of major or minor scale.

submediant 6th degree of major or minor scale, lie midway between tonic and subdominant in the same way as the mediant is midway

between tonic and dominant.

leading tone 7th degree of the scale, semitone below the tonic. So called because of tendency to rise, or “lead,” to the tonic. In minor

keys is sometimes flattened in descent.

音级

音级是每一个大调音阶的音高。一个大调音阶开始的音级叫主音，七个全音级之后

重复。主音级是最稳定的音级并且也是旋律中最后一个音。（相见图例 4.7 和表 4.1）。

例 4.6: 音级名称

主音 上主音 中音 下属音 属音 下中音 导音 主音

图 4.1: 音级名称和他们的意义

音级 名称 意义 35

主音 大调或小调音阶中的第一个音级。

上主音 音阶中的第二级，位于全音主音之上。

中音 大调或小调音阶中的第三个音级。之所以命名是因为它

在主音和属音的中间位置。

下属音 大调或小调中第四个音级，例如 C 大调中的 F。之所以命

名是因为在主音之下的距离和主音之上的距离是一样

的。

属音 大调或小调中第五个音级。

下中音 大调或小调中第六个音级，位于主音和下属音之间的中

间，就像中音在主音和属音之间的中间一样。

导音 音阶中的第七级音，主音下面的半音。之所以命名是因

为因为有上升的趋势，或“导向性”到主音。有时在小

调里下降时会被还原。

Movable-Do and Fixed-Do Systems

Example 4.7: Solfege syllables in a major and minor scales

(a) In American music theory textbooks

(b) In Chinese music theory textbooks 36

Solfege syllables in F-Major Scale, scale beginning on F

(a) American movable-do system

(b) Chinese fixed-do system

Moveable-do is more widely used in America. Movable-do system is beneficial in understanding tonal function, and it is consistent with the tonic always being do. Fixed-do system names the pitches, not their function. It helpful in developing perfect pitch. It can be universally applied in all instrumentation of music, and it is simple to use. The seventh scale degree, leading tone, is pronounced “ti” in movable-do system and “si” in fixed-do system.

比较中美两国的视唱音节

例 4.7: 视唱音节在 C 大调音阶，音阶从 C 音开始

(a) 在美国音乐理论教材中

37

(b) 在中国音乐理论教材中

视唱音节在 F 大调音阶，音阶从 F 音开始

(a) 美国首调

(b) 中国固定调

首调在美国得到更广泛的应用。它有助于理解音级功能，加强对主调和声的研究，

而且它具有一致性，主音总是 do。固定调是指它们的音高名称，而不是它们的功能。它

发展出完美的音高，可以被普遍使用，可以在所有音乐流派中使用，而且简单。在 C 大

调中，美国唱法是”ti,” 中国唱法是”si.”

Modes

There are seven traditional diatonic modes, sometimes called the “church” modes because of their association with Gregorian chant melodies sung in the Medieval Christian church. These modes share the same diatonic collection as a major (or natural minor) scale, but each begins on a different scale degree.

Table 4.2: mode with interval sequence 38

Mode As known as Starting note relative Intervallic Order

to major scale

Ionian Major scale I W-W-H-W-W-W-H

Dorian II W-H-W-W-W-H-W

Phrygian III H-W-W-W-H-W-W

Lydian IV W-W-W-H-W-W-H

Mixolydian V W-W-H-W-W-H-W

Aeolian Natural minor scale VI W-H-W-W-H-W-W

Locrian VII H-W-W-H-W-W-W

Example 4.8: Modes and the solfege syllables

(a) Ionian (major): C to C

(b) Dorian: D to D

(c) Phrygian: E to E

39

(d) Lydian: F to F

(e) Mixolydian: G to G

(f) Aeolian: A to A

(g) Locrian: B to B

全音音阶调式集合

有七种传统的全音音阶调式，有时被称为“教会”调式，因为它们与早期基督教会

唱的纯歌曲有关。这些调式与大调（或自然小调）音阶共享相同的全音音阶集合，但每个

音阶都从不同的音高开始。

图 4.2: 调式与音程进行

调式 被称为 相关大调的起音符始 音程之间的间隔

伊奥利亚 大调音阶 I W-W-H-W-W-W-H 40

多利亚 II W-H-W-W-W-H-W

弗里吉亚 III H-W-W-W-H-W-W

利底亚 IV W-W-W-H-W-W-H

混合利底亚 V W-W-H-W-W-H-W

爱奥利亚 自然小调音阶 VI W-H-W-W-H-W-W

洛克利亚 VII H-W-W-H-W-W-W

例 4.8: C 大调全音音阶调式集合及视唱音节

(a) 伊奥利亚（大调）: C 到 C

(b) 多利亚: D 到 D

(c) 弗里吉亚: E 到 E

(d) 利底亚: F 到 F 41

(e) 混合利底亚: G 到 G

(f) 爱奥利亚: A 到 A

(g) 洛克利亚: B 到 B

Pentatonic Scales

Pentatonic collections are five-note subsets of the diatonic major or natural minor scales.

Here is a quick way to create a pentatonic collection: (1) List the notes of a major scale. (2)

Remove scale degrees 4 and 7. The pentatonic collection {C, D, E, G, A} corresponds to scale degrees 1, 2, 3, 5, 6 of the C major scale. (Example 4.10)

Example 4.9: Pentatonic scale beginning on C

五声音阶集合 42

五声音阶是由五个音符组成的全音音阶集合。这有一个快速的方法去创造一个五声

音阶集合：（1）列出一个大调音阶。（2）移除大调音阶中的 4 级和 7 级音。例如，五声

音阶集合 {C, D, E, G, A} 对应 C 大调的 1, 2, 3, 5, 6 音级. (在例 4.10 中所示。)

例 4.9:

The Major Pentatonic Scale

Listen to Example 4.12, the melody sounds major. It includes only a subset of the major scale, 1, 2, 3, 5, and 6 (do, re, mi, sol, la), missing 4 and 7 (fa and ti). Because this collection features only five of the seven diatonic pitches, it is called a pentatonic scale. This one is called the major pentatonic because it begins with the first three degrees of the major scale.

Example 4.10: “Jesus Loves Me”

43

大 调五声音 阶

听例 4.12，旋律听起 来像大 调，它只包括大 调的一个子集音 阶： 1, 2, 3, 5, 和 6 (do, re, mi, sol, la), 没有 4 和 7 (fa and ti)。因 为这个集合只有七个全音 阶中的五个，所以被称 为

五声音 阶。在民间和流行音乐、世界音乐、摇滚和爵士乐中发现众多的五声音阶的集合。

这个被称作大调的五声音阶，因为它从大调音阶的前三度开始。

例 4.10: “耶 稣爱我”

The Minor Pentatonic Scale

Embedded in the natural minor scale, the minor pentatonic scale is a five-note scale often heard in folk melodies. For an example, listen to Example 4.13, and identify which scale degrees of the natural minor scale are missing.

Example 4.1: “Eyes on the Prize Lyrics” 44

The melody includes 1, b3, 4, 5, and b7 (do, me, fa, sol, and te), but is missing 2 (re) and

b6 (le). These pitches make up a scale called the minor pentatonic (example a), because it sounds

from 1, b3, and 5 of the minor scale. Part (b) compares this collection with the major pentatonic,

which gets its sound from 1,3, and 5 of the major scale. The major and minor pentatonic scales

are “rotations” of the same pitch collection, as are relative-major and natural-minor scales.

(a) A minor pentatonic (b) C major pentatonic (a) A minor pentatonic (b) C major pentatonic

& w & w w ∑ w w w w w w w ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ 1 3 4 5 7 1 2 3 5 6 do me fa sol te do re mi sol la

小调的五声音阶

& 在自然小音阶中嵌入了一种在民间旋律中经常听到的五音音阶。∑ ∑ ∑ ∑ ∑ ∑ ∑ 例如，∑ 例 5.12∑，并 ∑

确定自然小调音阶中缺少的音级。 4 14

& 例 ∑4.11: “Eyes∑ on the Prize∑ Lyrics∑” ∑ ∑ ∑ ∑ ∑ ∑

24

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

34

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

44

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

54

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

64

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 45

这个旋律包括 1, b3, 4, 5, 和 b7 (do, me, fa, sol, 和 te)，但是没有 2 (re) 和 b6 (le)。这

些音高组成的音阶叫做五声小调音阶（例 a），因为它由五个全音音高组成并且从小调音

阶中的 1, b3, 和 5 中获得声音。（b）部分将这个集合与五声主音进行比较，五声主音从

大音阶的 1、3 和 5 中获得声音。大调和小调五声音阶是同一音阶集合的“旋转”，关系

大调和自然小调音阶也是如此。

(a) A 小调五声音阶 (b) C 大调五声音阶

Homework

1. Build an ascending major scale, following the correct interval patterns of W-W-H-W-W-W-H.

1. 建立一个上行的大 调音 阶，用全-全-半等等写出正确的音程关系

(1) For example, the scale beginning on Eb is shown below

(1) 例如，下面 给出 Eb 音 开始的音 阶 46

bw w w bw ∑ ∑? ∑ 32 & bw w w bw 4

W W H W W W H ? 32 32 4 w ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 (2) The scale beginning on D

(2) D 音 开始的音 阶 ? 32 32 4 w ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 ∑ ∑ 5

9 12 (3)? The4 scale beginning on B 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ (3) B 音 开始的音 阶

22 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

3(4)2 The scale beginning on F, descending ? (4) F 音 开∑始的音 阶∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

42 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ (5) The scale beginning on A, descending

52 (5)? A 音 开始的音 阶 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

62 ? 2. Identify∑ the major∑ key indicated∑ by each∑ key signature.∑ ∑ ∑ ∑ ∑ ∑

2.确 认每个大 调的 调号

47

Example.# # # ## # # bb b # bb ## # ## ## # bb b b & # b b b # b b b

F# major

3. Identify the minor key indicated by each key signature.

3. 确 认每个小 调的 调号

Example.

G minor

4. Identify the major and minor indicated by each key signature. Use “M” for major and “m” for

minor

4. 确 认大 调和小 调的 调号

Example (1)# (2) (3#) # (4) (5) (6)# (7) # ? b # ? b b ?# ## b & b & b b # # & Bb b

Major: Minor: Major: DM # Bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ##∑ # ∑ Minor: bBm #

18 # 5. Fill in# the# blanks. 8 B # # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 5. 在空白处填写 major=大 调 minor=小 调 sharp=升号 flat=降号

28 Key signature# ## Name of Key B # # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 调号 调号名称

b (1)3 ______8 D major # ## (2) B______# # ∑ ∑ G∑ major ∑ ∑ ∑ ∑ ∑ ∑ ∑

48 # ## B # # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

58 # ## B # # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

68 # ## B # # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 48

(3) five sharps ___major

(4) ______Eb major

(5) two flats ___major

(6) three sharps ___major

(7) ______C# major

6. Write the major scales indicated, beginning with the specified pitch.

6. 根据特定的音高写出大 调音 阶

(1) D, ascending

(2) B, ascending

(3) F, descending ?? ww ∑ ∑ ∑ ∑ ∑ ∑

(4) Eb, ascending ? bw 4 ? bw 4 4 ∑ ∑ 4 ∑ ∑

(5)? C#, ascending∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ? 8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 5 8 5 18 1?8 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

28 ? 28 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 38 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 38 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 48 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 48 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 58 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 58 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 68 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 68 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 49

7. Write the name of the key in the blank below the melody.

7. 在空白处写出下面旋律的 调号

(1) Richard Rodgers and Oscar Hammerstein, “ The Sound of Music,” mm.9-15

bc œ œ œ œ ˙ Œ & œ œ œ œ ˙ ˙ The hills fill my heart with the sound of mu - sic------b Œ œ œ œ & ˙ œ œ œ œ ˙™ œ w ---- My heart wants to sing ev- ry song it hears.

Key: ______5 (2) “Masters in the Hall” (carol), mm.5-8

bbb6 j j j j j & 8 œ œ œ œ œ™ œ œ œ œ œ œ ˙™ Brought from o -- ver sea,------And ev -- er I you pray

Key: ______

(3) Corelli, Sarabanda, from Sonata, Op.5, No.8, mm.21-24

Key: ______

8. Given the major key below, supply the name of the relative minor. 50

8. 根据下面的大调，给出相对应的小调。

Key Relative Minor Key Relative Minor

E major C# minor Ab major ______

D major ______Eb major ______

B major ______F major ______

9. For each tonic pitch given, write the major pentatonic scale in the left and the minor

pentatonic on the right.

9. 将每个给出主音音高，在左面写出大调五声音阶，在右面写出小调五声音阶。

Pentatonic 五声音阶

(a) E major pentatonic (b) E minor pentatonic

& w w & w w € F# major pentatonic (d) F# minor pentatonic & #w #w

& #w #w

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ € B major pentatonic (f) B major pentatonic & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 5 1?5 w ∑ ∑ ∑ ∑ ∑ w ∑ ∑ ∑ ∑ ∑ 5 1&5 3 10.3& Write∑ the ascending∑ forms∑ of the∑ minor scales∑ below∑ ∑ ∑ ∑ ∑ 3 2?5 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 10. 根据要求写出上行小调音阶∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 2&5

melodic13& minor=∑ 旋律小调∑ ∑ harmonic∑ minor=∑和声小调∑ ∑ ∑ ∑ ∑ 3?5 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ∑ 35

23& ∑ ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ∑ 4?5 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 45

33& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 5?5 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 55

43& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 6?5 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 65

53& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

63 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

73 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 51

F melodic minor E harmonic minor ? &

B melodic minor ? C harmonic minor ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ &

13 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 11. On the∑ blank stave∑ s provided,∑ write∑ the correct∑ key ∑signature∑ for each∑ minor key∑ indicated.∑ 3 &

The23 write the scale requested, ascending and descending, provide accidentals both ascending and 1?3 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ descending. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3 11. 在下面提供的五线谱上写出每个正确的小调调号。音阶需要写出上行和下行，并且用 33 2?3 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 临时记号标记。 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

(1)43 C# harmonic minor 3?3 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ∑ ∑ 53 4?3 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ (2)& F melodic∑ minor∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 6?3 ∑ ∑ 5?3 ∑∑ ∑∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑∑ ∑∑ 4 1&4 (3)4 E melodic∑ minor ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 7&2 6?3 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ∑ ∑ 24 14 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 7?&2 (4) Bb natural∑ minor ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 34 ∑ ∑ 2&4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ?& 4 14 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 44 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 3&4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ?& 24 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 14 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 5&4 4&4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ?& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 34 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

2&4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 64 54 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ?& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 44 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

3&4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 73 64 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ?& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 54

4&4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 72 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 64

5&4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 73

6&4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

73

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 52

(5) G# harmonic minor ? ∑ ∑

(6)4 D melodic minor ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ? ∑ ∑

14 4? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 12.? Writing the diatonic modes ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 12. 写出全音调式 24 1?4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ A.? As scales: Beginning on the given pitch, write the mode requested, adding accidentals before ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ the pitches as needed. 34 音阶：在已给出的音高开始，写出调式，在需要音高的前面加上临时记号。 2?4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ? (1) C Phrygian∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

44 3?4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

(2)54 E Dorian 4?4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

64 (3)5?4 F Mixolydian∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

72 64 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ (4) B Lydian

72 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 53

13. Analyzing modal melodies. Play or sing each of these melodies. Then, on the blank provided,

indicate the mode (e.g., G Phrygian).

13. 分析调式旋律 演奏或唱出这些旋律，然后在空白处写出调式 （例如，G 弗里吉亚）。

A. “Scarborough Fair”

6 j œ œ œ ‰ œ œ œ œ œ œ œ™ œ œ &8 œ œ œ œ œ œ™ J œ J j j œ œ œ œ œ j œ j & J œ œ œ œ œ™ œ œ œ œ œ œ œ™

Mode: ______Mode: ______6 B. Tomas Luis de Victoria, “O magnum mysterium”, mm.5-9 4 ˙ ˙ ˙™ œ ˙ &b2 ˙ ˙ ˙ ˙

b œ œ & œ œ œ œ œ œ œ œ œ œ œ w w w

Mode: ______

4

54

CHAPTER V

SUPPLEMENTARY MATERIALS: INTERVALS

The interval training is one of the most important skills for performing musicians and music students. Jiben Yueli Jiaocheng explains intervals similarly to the ways American music theory textbooks do. However, the wordy explanations of intervals are accompanied by very few musical examples and practice materials. The students are often confused. To make this chapter more skill-based, more practices and examples must be added. In addition, some of the terms needed to be explained more in detail.

Definition of an Interval

The distance between two pitches is called an interval. Intervals are labelled with a number (typically a number between 1 and 8) and a qualifier (such as major or minor).

音程的组成

两个音高之间的距离叫做音程，任意不同的两个音之间。音程是由它们的度数

（数字 1 到 8 之间）和性质（例如大调或是小调）。

Harmonic Intervals

Harmonic intervals are formed between two pitches sounding at the same time. In

Example 5.1, many possible harmonic intervals are shown.

Example 5.1: Bruckner, “Tantum Ergo” No. 2, mm. 1-10 55

和声音程

两个音高同时鸣响叫做和声音程。

例 5.1: 布鲁克纳，Tantum Ergo no. 2，1-10 小节

Melodic Intervals

Melodic intervals are formed between two successive sounding pitches. In Example 6.2, many possible melodic intervals are shown.

Example 5.2: Mozart, Mass in C minor, K. 427, Kyrie, mm. 6-9 56

旋律音程

在旋律线中两个连续的音先后鸣响叫做旋律音程。

例 5.2: 莫扎特，c 小调弥撒，K. 427, Kyrie, 第 6-9 小节

Compound Intervals

Compound intervals are the distance between two pitches that are greater than one octave. For example, C#4 to the D#5 an octave plus a major second, which may be spoken of either as a major nineth or as a compound major second. Most common are ninths, tenths, elevenths, and twelfths—which correspond to an octave plus a second, third, fourth, and fifth.

Example 5.3: Beethoven, Violin Concerto in D Major, Op. 61, I, mm. 156-158 57

复音程

复音程是那些大于八度的音程, 例如 C#到 D#在一个八度音阶和一个更高的音符，

可称为大九度或大二度。常见的有九度，十度，十一度和十二度—对应的是一个八度加上

二度，三度，四度和五度。

例 5.3: 贝多芬，D 大调小提琴协奏曲，op. 61, mvt. 1, 第 156-158 小节

Interval Quality

In an ascending major scale, there are two interval qualities measured from the tonic. The unison, fourth, fifth, and octave are perfect, while the second, third, sixth, and seventh are major.

Example 5.4: Intervals from the tonic, ascending

Similarly, in a descending major scale, there are also two interval qualities measured from the tonic. The unison, fourth, fifth, and octave are still perfect, while the second, third, sixth, and seventh are now minor.

58

Example 5.5:

Table 5.1: Interval Quality and Semitones

Interval Name Semitone counts

perfect unison (P1) 0

minor seconds (m2) 1

major seconds (M2) 2

minor thirds (m3) 3

major thirds (M3) 4

perfect fourth (P4) 5

perfect fifth (P5) 7

minor sixth (m6) 8

major sixth (M6) 9

minor seventh (m7) 10

major seventh (M7) 11

perfect octave (P8) 12

音程性质

在一个上行大调音阶里，从主音开始的音程有两种性质。纯音程为一度，四度，五

度和八度，大调音程为二度，三度，六度和七度。 59

例 5.4:

在一个下行大调音阶里，从主音开始的音程也有两种性质。一度，四度，五度和八

度还仍然是纯音程，然而现在二度，三度，六度和七度变成小调音程。

例 5.5:

图 5.1: 音程性质名称和半音数量

音程性质名称 半音数量

纯一度(P1) 0

小二度 (m2) 1

大二度 (M2) 2

小三度 (m3) 3

大三度 (M3) 4

纯四度 (P4) 5

纯五度 (P5) 7

小六度 (m6) 8

大六度 (M6) 9

小七度 (m7) 10 60

大七度(M7) 11

纯八度 (P8) 12

Augmented and Diminished Intervals

Example 5.6: Augmented and Diminished Intervals

例 5.6:

The Tritone

The augmented fourth spans exactly three whole steps, hence its name: tritone (from

“tri-,” meaning “three”). The A4 and d5 are inversions of each other and they are the same size in semitones (they all have six half steps). They are collectively named with the term “tritone.” 61

Example 5.7: The tritone in C major

5.7 三全音

A4 包括了三个全音，因此命名：三全音（“tri-,”意味着“three”）。A4 和 d5 实际上

是彼此的转位，它们拥有相同的半音数量（它们都有六个半音）。如果在音乐环境中它们

听起来是一样的；因为这个原因，对于这两种音程大多数人们使用“三全音”这个专有名

词。

例 5.8: A4 和 d5 在 C 大调中

Enharmonically Equivalent Intervals

Intervals that span the same number of half steps but have different names are

enharmonically equivalent, as seen in Example 5.9.

Example 5.8: Interval of third and segmented second Œ Œ Ó ∑ 8 Ú Ú Ú Ú & bw #ww 4

& Ú Ú Ú Ú Ú Ú Ú Ú

7 15

& Ú Ú Ú Ú Ú Ú Ú Ú

23

& Ú Ú Ú Ú Ú Ú Ú Ú

31

& Ú Ú Ú Ú Ú Ú Ú Ú

39

& Ú Ú Ú Ú Ú Ú Ú Ú

47

& Ú Ú Ú Ú Ú Ú Ú Ú

55

& Ú Ú Ú Ú Ú Ú Ú Ú

63

& Ú Ú Ú Ú Ú Ú Ú Ú 62

Think if enharmonic intervals as homonyms in language; In English, “here” and “hear”

sound the same but have completely different meanings in a sentence.

In Chinese: 不祥 (bu xiang)：不吉祥。如：不祥的先兆。

不详 (bu xiang)：不详细，不清楚。如：历史情况不详。

等音程

拥有相同数量的半音但是有不同名称的音程叫做等音程，详见例 5.9。

例 5.8: Œ Œ Ó ∑ 8 Ú Ú Ú Ú & bw #ww 4

想考一下，等音音程与语言上的同形同音异义词相似：在英语中：“这里”和“听 Ú Ú Ú Ú Ú Ú Ú Ú 见”听起来相同但是在句 & 子中有着完全不同的含义。

在中文里：不祥 (bu xiang)：不吉祥。如：不祥的先兆。 7 15 不详 (bu xiang)：不详细，不清楚。如：历史情况不详。 & Ú Ú Ú Ú Ú Ú Ú Ú

23 Categories of Intervals Ú Ú Ú Ú Ú Ú Ú Ú &The perfect unison, fifth, and octave are considered perfect consonances. Major and

minor thirds and sixths are imperfect consonances. Dissonant intervals include major and minor 31 Seconds, sevenths, and any augmented or diminished intervals. The perfect fourth is sometimes & Ú Ú Ú Ú Ú Ú Ú Ú grouped with the perfect consonances because of its acoustic properties, yet composers after the

Renaissance tended to treat the harmonic fourth as a dissonance. 39 音程的种类 & Ú Ú Ú Ú Ú Ú Ú Ú

47

& Ú Ú Ú Ú Ú Ú Ú Ú

55

& Ú Ú Ú Ú Ú Ú Ú Ú

63

& Ú Ú Ú Ú Ú Ú Ú Ú 63

纯一度，纯五度和纯八度都被看作是完全协和音程。三度和六度是不完全协和音

程。二度，七度和任何增减音程都是不协和音程。纯四度有时是完全协和音程因为它的声

学特征，然而然而文艺复兴后的作曲家倾向于把四度和声音程（而不是四度旋律和声）看

作是不和谐的。但是现在，纯四度仍然被看作是协和音程。

Homework

1. In the numbered blanks that correspond with each circled melodic interval, write the interval size.

Example: Joseph Haydn, Sonata No.2 in C major, Hob. XVI:7, mm.1-8

1. 在与每个带圆圈的旋律音程相对应的数字空白处，写出音程大小。

例：约瑟夫·海顿，C 大调 No.2 奏鸣曲，Hob. XVI:7，第 1-8 小节 G-#F B-A

(1) P8 (2) ______(3) ______(4) ______(5) ______

(6) ______(7) ______(8) ______(9) ______(10) ______

64

2. Identify the quality of each interval.

2. 确认每个音程的性质。

3. Write harmonic intervals above the pitches given.

3. 在给定的音高上方写出和声音程。

? w w #w bw w bw w #w w bw w

m6 M3 P4 m2 M6 m7 P5 M2 m3 P8

? Œ 4.Œ WriteÓ the harmonic∑ intervals∑ ∑above or∑ below as∑ indicated∑ . ∑ ∑ ∑

4. 用全音符写出和声音程。 21 ? bw ∑ w∑ ∑ ∑ ∑ ∑ ∑ bw∑ ∑ ∑ 11 w bw & w w #w w bw 31 2 3 2 3 2 2 3 3 2 2 ? P12 M10 M9 m10 P11 P4 M7 m10 M7 m6 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & 5. ∑Write diminished∑ ∑or augmented∑ interval∑ above∑ the given∑ note. ∑ ∑ ∑ 41 ? 5. 用给定的音高上方写出减音程或增音程。 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 21 11 ∑ ∑ bw ∑ ∑ ∑ ? ∑ ∑ ∑ ∑ ∑ && w w #w #w w w #w #w w 51 ? A6 ∑ d6 ∑ A2 ∑ d3 ∑ d4∑ A4∑ d5∑ A2∑ d7∑ A∑6

31 ? 6.∑ Interval ∑inversion∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 61& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ? a)∑ For each∑ question,∑ label the∑ interval.∑ Notate∑ the inversion∑ of the∑ interval∑ and label∑ the

inverted2411 interval. 11 7?1 & ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑ ∑ ∑ ? 6. 音程的转位 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

3511 8?1 ?& ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

4611 ? & ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑ ∑ ∑

5711 ? & ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑∑ ∑ ∑ ∑

61 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

71 ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 65

对于每个给定的音程，重写第二个音高，然后在第一个音高上方并在一个八度内。

标记每个音程的性质。

Example 1. 2.

3. 4. 5.

7. Identify each harmonic interval circled in the score.

Example: Bach, “Aus meines Herzens Grunde,” mm.1-4.

7. 对于每个编号的和声音程，将其度数和性质写在相应的空白处。

例：巴赫，“Aus meines Herzens Grunde,” 第 1-4 小节。

66

(1) P4 (2)______(3)______(4)______(5)______

(6)______(7)______(8)______(9)______(10)______

8. Label each harmonic interval.

Example: Schuman, Album for the Young, op.68 no.4, “Ein Choral”, mm.1-16

8. 分析示例中的每个数字下的音程，并写出其名称，分析和谐音程或不和谐音程。

例：舒曼，年轻人专辑，op.68 no.4, “Ein Choral”，第 1-6 小节

1) P4 2) 3) 4) 5) 6)

7) 8) 9) 10) 11) M3 12)

13) 14) 15) 16) 17) 18)

67

CHAPTER VI

SUPPLEMENTARY MATERIALS: TRIADS

Chords and Triads

A chord is any simultaneous combination of notes, but usually of not fewer than 3. The use of chords is the basic foundation of harmony.6 Triads have three notes, a root and notes that are a third and a fifth above the root. There are four qualities of triads. forming two superimposed thirds, e.g. C-E-G (C major triad). If lower third is major and the upper minor, the triad is major. If lower third is minor and the upper major, the triad is minor. If both are major the triad is augmented. If both are minor, the triad is diminished.7

Example 6.1: Schubert, Ecossaise, Op. 18, No. 1, mm. 9-16 œ œ œ œ œ œ œ œ b 2 œ œ œ œ bœ œ ˙ nœ œ œ œ œ œ œ &b bb4nœ œ œ œ œ œ ˙ œ œ Œ œ œ œ ? 2 œ œ œ bœ œ { bbbb4 œ œ œ œ œ œ œ œ œ œ Œ bœ œ œ œ œ œ œ œ œ œ œ

In measure 10, Bb-Db-F, is made of two simultaneous thirds (Bb-Db and Db-F), written one above the other. In this particular spacing, you can recognize triads easily by their position on the staff as line-line-line or space-space-space.

和弦与三和弦

6 Kennedy Michael and Bourne Joyce, The Concise Oxford Dictionary of Music (New York: Oxford University Press,1996), 142.

7 Kennedy Michael and Bourne Joyce, The Concise Oxford Dictionary of Music (New York: Oxford University Press,1996), 746.

68

和弦是音符的同时组合，但通常不少于 3 个。和弦的运用是和声的基础。三和弦，

是由三个音符组成，有一个根音和三音和五音，形成两个重叠的三度，比如 C-E-G（通常

是 C 大调的和弦）。如果下面的三度是大三度，上面是小三度，这个和弦是大三和弦。

如果下面的三度是小三度，上面是大三度，这个和弦就是小三和弦。如果都是大三度就是

增和弦。如果都是小三度就是减三和弦。

例 6.1: 舒伯特，Ecossaise, op. 18 no. 1, 第 9-16 小节 œ œ œ œ œ œ œ œ b b2 œ œ œ œ bœ œ ˙ nœ œ œ œ œ œ œ &b b 4nœ œ œ œ œ œ œ Œ œ œ œ ? 2 œ œ œ bœ œ { bbbb4 œ œ œ œ œ œ œ œ œ œ Œ bœ œ œ œ œ œ œ œ œ œ œ

在第 10 小节，Bb-Db-F，是由两个同时出现的三度组成，在上方的谱例中所示。在

这种特殊的间距中，你可以很容易识别它们在五线谱中的位置，如线上-线上-线上或间里-

间里-间里。

Triad Labels

In Jiben Yueli Jiaocheng, the construction of triads is explained according to their interval contents, similar to the ways found in American textbook. Example 6.2 shows the direct comparison between the two.

Example 6.2: Comparison of triad labels

69

One major difference can be observed in two labelling styles. Jiben Yueli Jiaocheng uses a chord quality and 3, where the number 3 means 3-note combination. This can be confusing because 3 is also used to indicate intervals. American approach uses a chord quality and the word “triad.” Often a triad label includes identification of the root by the letter name. Typical abbreviation of chord label has a letter name for the root and the chord quality.

Example 6.3: Triad qualities

和弦写作

在《基本乐理教程》中，三和弦的命名是根据音符之间的关系决定。例如，如果根

音到三音是大三度，三音到五音是小三度，这类都称为大三和弦；如果根音到三音是小三

度，三音到五音是大三度，这类都称为小三和弦；如果根音到三音是大三度，三音到五音

也是大三度，这类都称为增三和弦；如果根音到三音是小三度，三音到五音也是小三度，

这类都称为减三和弦（详见图 6.1 和例 6.2）。

例 6.1: 中国理论教材中三和弦的写法

70

在美国音乐理论教材中，三和弦是根据其根音的音名及其性质命名的，或缩写，大

写字母代表大调；一个小写字母“m”代表小调；a˚代表减性质，+代表增性质。

例 6.3: 三和弦性质：大调（major），小调（minor），减（augmented）和增（ diminished）

Diatonic Triad Labels

In Jiben Yueli Jiaocheng, diatonic triads in major and minor keys are not used. It is necessary to label these chords with Roman numerals and associate them with the scale degree names. In example 6.3, triads of the C major key are labeled in several ways. Using this system of labelling really helps the students understand the identity of each chord and the relationship with other members of diatonic triads.

Example 6.4: Diatonic triads labels in C major and C minor natural and harmonic minor ^ ^ ^ ^ ^ ^ ^ 1 2 3 4 5 6 7 tonic supertonic mediant subdominant dominant submediant leadwing tone w w w w w ∑ & w w w w w w w w o C: I ii iii IV V vi vii o C Dm Em F G Am B

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

13

3 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

23

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

33

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

43

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

53

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

63

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

72

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 71

The uppercase Roman numeral indicates a major triad (I, IV, V), and a lowercase Roman numeral indicates a minor triad (ii, iii, vi). For diminished triads, a small superscripted circle is added to the lowercase Roman numeral (vii˚); for augmented triads, added a small + to the uppercase Roman numeral (III+).

在大调中的三和弦性质

在《基本乐理中》，大小调中的和弦功能没有被展示出来。我认为这部分应该被加

入这个章节。有必要在一个特定的调里将和弦的罗马数字和音级名称标记出来。学生们可

以参考并加强对和弦功能的认知。

在例 6.3 中，写出了 C 大调中每个音级上的三和弦，以及给这些和弦贴上标签的几

种方法。

例 6.4: C 大调中每个音级上的三和弦

72

大写字母表明了大调三和弦的（I, IV, V），小写字母表明了小调三和弦的（ii, iii, vi）。对于减和弦，一个小的上升（上标）圆圈加到小写字母（vii˚）；对于增音程，加

一个小的+到大写字母（III+）。

Figured Bass

Figured bass is not mentioned in Jiben Yueli Jiaocheng. I think figured bass is helpful in studying of Baroque music. Understanding figured bass practice is also important for study of triads and seventh chords. Figured bass, widely used in the basso continuo of the seventeenth and eighteenth century, contains series of numbers, sometimes accidentals and other symbols.

Located below the bass melody, these numbers and symbols indicate the intervals above the bass, which was to be realized at sight by the performers of harpsichord, organ, lute, or other instruments capable of producing harmony.

Inversion Symbols

The commonly used figured bass inversion symbols are number six for the first inversion triads and six-four for the second inversion triads. The root position triads are most frequently used in music, and its figured bass five-three is not usually written out as a figured bass symbol. 73

The numbers in the inversion indicate the intervals above the bass. Figured bass inversion symbols for triads and their abbreviations are shown in the table 6.2 and example 6.5.

Table 6.1: Figured Bass Numbers for Triad

Inversion Figured Bass Symbol Shorthand

Root position None

1st inversion 6

2nd inversion

The bass note is a C, and the numbers 4 and 6 indicate that notes a fourth and a sixth above C, which are F and an A. In other words, the second inversion of an F major chord can be realized as:

The figured bass symbols for root-position (five-three) and first-inversion (six-three) chordes are frequently abbreviated. The root-position triad’s abbveriation shows no numbers.

The first inversion abbreviations uses number six only. These are shown below.

Accidentals

One of more accidentals may be used with inversion numbers. When an accidental is used without a number, it applies to the note a third above the bass. If an accidental is shown 74 next to a number, the accidental affects the interval above the bass indicated by that number, as shown in example 6.5.

Example 6.5: Accidentals applied to figured bass numbers

数字低音

数字低音并没有在《基本乐理教程》中提及到。我认为数字低音不仅仅是为巴洛克

时期的键盘演奏者阅读，而且对于现代人去演奏和分析巴洛克时期的作品有很大的帮助。

数字低音对于和弦与七和弦的学习也扮演着很重要的角色。

通奏低音起源于 17 和 18 世纪墓葬主或风琴手的合奏音乐中。把最低声部加倍。常

被缩短为数字低音。演奏数字低音并不意味着演奏一种特殊的乐器，而是演奏这种类型的

低音。数字低音是一种记谱法，以数字和符号（通常是升降号）来指示音程、和弦以及和

弦外音；音乐家可以依此在钢琴、羽管键琴、风琴、琉特琴或其他能演奏和弦的乐器上，

按这些标示与低音的上下关系来演奏。

数字低音的标记

数字低音是基于低音这样一个事实，最低的声音，是组成任意和谐的最重要的声

音。要创建一个数字低音，请从上到下计算低音和高音之间出现的一般（数字）间隔，并

从大到小列出它们。除此之外，数字低音标示的声部，是将数字和升降号（有时是数字划

上斜杠或反斜杠）记于低音线条的谱表下方，以指示应演奏低音上方的哪些音程，从而指

示出和弦的转位。在表 6.2 和例 6.5 中总结了当代的数字低音用法。

表 6.2: 三和弦的数字低音 75

转位 数字低音的全部标记 速记

原位 不写

第一转位 6

第二转位

如果低音是 C，数字 4 和 6 表示应演奏其上方的四度和六度音，即 F 和 A。所以，

F 大三和弦的第二转位如下图所示：

例 6.5:

数字低音的标记代表根音（5-3）和第一转位（6-3），和弦通常被简写，如例 6.6

所示。

例 6.6:

变化音

当单独出现一个升降号时，它适用于低音上方的三度音；一般来说这个音是和弦的

三音。而当指明数字时，升降号影响所指数字的音程。例 6.7，下面是升降号不伴随数字

时的通用含义，指对低音上方三度音的操作：

例 6.5:

76

Homework

1. Triad quality

Identify the quality of each triad as M (major), m (minor), d (diminished), or A

(augmented) in the blank.

1. 和弦性质

在空白处确认每个和弦的性质，如 M（大调）, m（小调）, d（减和弦），或 A

（增和弦）。

2. Identifying major and minor triads. Identify the root and quality of each given triad.

2. 确认大调和小调和弦。确认每个给出和弦的根音和性质。

77

3. Notate the triads in the specified keys. Write individual sharps or flats as needed (don’t use key signatures).

3. 不使用调号写出特定的和弦及所需要的升号或降号。

4. Identifying triads and inversion. The following examples are written in the grand staff.

In the blank below the staff, write the Roman numeral reflecting the triad’s position and quality in the given key. For inverted triads, include appropriate the inversion symbols (for example,

IV6).

确认数字低音的和弦

在五线谱上，给出了和弦的低音和数字。使用全音符叠加在一起形成和弦。在五线

谱下面的空白处用罗马数字写出和弦在调内的位置和性质。对于转位和弦，也要写出转位

后的罗马数字（如，IV6）。

78

6. For each quarter-, dotted quarter, or half-note chord, write the triad in root position on

the treble-clef staff below using the whole notes. Then label the root and quality for each chord

in the blanks beneath.

6. 对于每个四分音符，附点四分音符，或二分音符的和弦，在五线谱中用全音符写

出和弦的原位。并在空白处标记每个和弦的根音及性质。

A. “St. Prisca,” mm.1-4 4 j œ j &4 œ œ œ œ œ™ œ ˙ œ œ œ #œ™ œ ˙ œ œ œ œ œ™ Jœ ˙ œ J j œ œ j 4 œ œ œ œ œ™ œ ˙ œ œ œ™ œ ˙ {? 4 œ œ œ ˙ œ œ œ œ™ œ ˙ œ œ œ™ Jœ J

∑ & w Root: C Quality: M & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 7. Figured bass realization. Label each chord with a Roman numeral.

16 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 6 &

26 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

G minor: i i V i ______36

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

46

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

56

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

66

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

74

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ 79

8. The excerpt is from “Dido’s Lament,” Dido and Aeneas by Henry Purcell. Identify each chord by its root and quality.

1) C minor 2) C major-minor

3) 4)

5) 6)

7) 8)

9) 10)

80

CHAPTER VII

SUPPLEMENTARY MATERIALS: SEVENTH CHORDS

In Jiben Yueli Jiaocheng, chords and seventh chords are in the same chapter. I think these subjects should be divided into two chapters, because writing and analyzing triads need to be practiced before moving on to more complicated subject. I provide more examples for better understanding of seventh chords. I think American style labelling should be used for seventh chords’ abbreviations instead of Chinese words. The students should be encouraged to learn the triads and seventh chords aurally along with the written practice. Exercises like singing arpeggiated chords with solfege is an important activity, which is not mentioned in Jiben Yueli

Jiaocheng. Karpinski states: “It is very profitable for musicians develop the skills involved in arpeggiating series of chords.8 Klonoski recommends identifying solfege and singing arpeggiated harmonies to gain an understanding of the melodic component of harmony.9 It has a noticeable impact on how musicians develop harmonic understanding and is especially more effective for instrumentalists who usually feel uncomfortable producing pitches vocally.

Chords Reduction

Example 7.1b show the harmonic reduction of a Schubert’s Menuett. Each measure consists of only one type of chord (notated in root position in 7.1.b. This kind of practice of chord recognition is not available in Jiben Yueli Jiaocheng.

Example 7.1: Schubert, Menuett, D.336, mm.1-16

8 Dunmire, Caroline E, “Audiating and Vocalizing Voice-Leading in Seventh Chords: Harmonic Recognition in Freshman Ear-Training Courses” (PhD diss., Liberty University, 2019), 7, ProQuest Dissertations & Theses Global. 9 Ibid.

81

(a)

(b) Harmonic reduction

The chords in measure 3, 4, 7, 8, 11, 12 and 15 contain four pitches per a chord. The construction of each of these four-note chords show a triad with an additional note. This additional note is located an interval third above the fifth of the triad and an interval of seventh above the root of the triad.

和弦分析 82

例 7.1a 和 b 展示了舒伯特的小步舞曲的和弦分析。每个小节都有一个类型的和弦

（详见 b 部分在根音上构成的和弦）。这种和弦认知的练习在《基本乐理教程》中没有展

现出来。

例 7.1：舒伯特，小步舞曲，D.336，第 1-16 小节

(a)

(b) 1-16 小节在根音上构成的和弦

83

在第 3，4，7，8，11，12 和 15 小节的和弦，它们包含了四个音高，一个临时的三

度被放到了和弦的上方。这些被叫做七和弦，因为从根音到最顶部的音是七度。

Diatonic Seventh Chords in Major Keys

You can build a seventh chord above each note in a major or minor scale by adding a

third above the scale-degree triad. Example 7.2 shows all the possibilities of diatonic seventh

chords in the key of C major. The seventh chord quality is fully labeled by the combination of

the bottom triad quality and the seventh interval quality. More commonly, the quality of a

seventh chord is labeled with an abbreviated name. The Roman numerals of diatonic seventh

chords also reflect the quality as well as scale-degree function.

Example 7.2: Seventh chords built above the C major scale

Table 7.1: Seventh chords in major keys

Bottom Triad M m m M M m d quality: 7th interval M m m M m m m quality: Full name: major- minor- minor- major- major- minor- diminished- major minor minor major minor minor minor 7th 7th 7th 7th 7th 7th 7th (MM7) (mm7) (mm7) (MM7) (Mm7) (mm7) (mo7) Common major minor minor major dominant minor half- name: 7th 7th 7th 7th 7th 7th diminished 7th Abbreviation: M7 m7 m7 M7 Mm7 m7 ø7 7 7 7 7 7 7 ø7 Roman I ii iii IV V vi vii numeral: 84

在大调中的全音七和弦

通过在音阶三和弦之上再添加一个音，您可以在大调或小调中的每个音符之上构建

一个七个和弦。在图 7.2 展示了 C 大调中所有的可能。

图 7.2: C 大调音阶上建立的七和弦

图 7.1: 大调中七和弦的名称和标记

三和弦性质： M m m M M m d

七和弦性质： M m m M m m m

七和弦全名： 大大七和 小小七 小小七 大大七 大小七 小小七和 减小七和弦 弦 和弦 和弦 和弦 和弦 弦 常用名字： 大七和弦 小七和 小七和 大七和 导七和 小七和弦 半减七和弦 弦 弦 弦 弦 缩写： M7 m7 m7 M7 Mm7 m7 ø7

7 7 7 7 7 7 ø7 罗马数字： I ii iii IV V vi vii

Diatonic Seventh Chords in Minor Keys

In Example 7.3, the seventh chords are built above the C minor scale. The B naturals

indicate the leading tones.

Example 7.3: Seventh chords built above the C minor scale

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Table 7.2: Seventh Chords in Minor Keys

Bottom Triad m d M m M M d quality 7th interval m m M m m M d quality: Full name: minor- minor- major- minor- major- major- fully minor diminished major minor minor major diminished 7th 7th 7th 7th 7th 7th 7th (mm7) (mo7) (MM7) (mm7) (Mm7) (MM7) (oo7 ) Common minor half- major minor dominant major diminished name: 7th diminished 7th 7th 7th 7th 7th 7th Abbreviation: m7 ø7 M7 m7 Mm7 M7 o7 7 ø7 7 7 7 7 : Roman i ii III iv V VI vii 7 numeral:

小调中的全音七和弦

例 7.4 中展示了 C 小调音阶上的七和弦。 它展示了 C 小调中所有的可能。

例 7.4: C 小调音阶上的七和弦

图 7.2: 小调中七和弦的名称和标记

三和弦性质： m d M m M M d

七和弦性质： m m M m m M d

七和弦全名： 小小七 减小七和 大大七 小小七 大小七 大大七 减减七和

和弦 弦 和弦 和弦 和弦 和弦 弦 86

常见名称： 小七和 半减七和 大七和 小七和 导七和 大七和 减七和弦

弦 弦 弦 弦 弦 弦

缩写： m7 ø7 M7 m7 Mm7 M7 o7

7 ø7 7 7 7 7 : 罗马数字： i ii III iv V VI vii 7

Arpeggiated Triads and Seventh Chords

Sometimes the members of a chord sound at the same time, and sometimes a chord may

be arpeggiated—played one pitch at a time—as in the Mozart Piano Sonata (Example 7.5). To

analyze the left-hand chords in this g minor passage:

(1) write the pitches for the whole chord in Mozart’s inversion (part b);

(2) rearrange the notes in root position to identify the chord root and Roman numeral (part c);

(3) add the correct inversion (from part b) to your Roman numerals.

Example 7.5: Mozart, Piano Sonata in C minor, K. 279, II, mm.29-30 (nonharmonic tones are

circled)

Chord reduction

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琶音和弦和七和弦

有些和弦是同时鸣响，但有时一个和弦也可能是琶音演出来—每次演奏一个音高—

例如在莫扎特钢琴奏鸣曲（例 7.5）。分析在 G 小调中左手和弦：

（1）用莫扎特的转位将这些音高写出全音符的和弦形式（part b）；

（2）在原位上重新布置音符去确认和弦的根音盒罗马数字（part c）；

（3）加入正确的转位（从 part b 中）和罗马数字。

例 7.5：莫扎特，C 大调钢琴奏鸣曲，K. 279, II, 29-30 小节

（b）莫扎特的转位

Lead-Sheet Symbols of Triads and Seventh Chords

In popular music, harmonies are commonly notated with chord symbols above the melody line. This type of notation, usually called lead-sheet notation, is read by keyboard and guitar players. The uppercase letter of the root pitch is used for all triad types, with added symbols or abbreviations for qualities other than major table. Table 7.3 shows some of the common symbols. 88

Table 7.3: Triad type and lead-sheet notation

Triad Type Lead-Sheet Notation

D major D

D minor Dm, Dmin, or D-

D augmented D+ or D#5

D diminished D˚ or Ddim

Example 7.5: “Rich and Rare” (traditional Irish melody), arranged by Joel Philips

Often a lead sheet will show both the chord type and a fretboard diagram, which indicates guitar fingerings: the vertical lines represent guitar strings, the horizontal lines shows the frets, and the black dots indicate finger-tip placements, as shown in example 7.6.

Example 7.6 shows various seventh chords in D major with some possible lead-sheet labels.

Example 7.6: Seventh chords in D major with lead-sheet labels 89

三和弦与七和弦在流行音乐中的记法

在流行音乐中，和声通常用旋律线上方的和弦符号表示。这种记谱法通常被称为由

键盘、贝斯和其他流行乐或爵士乐组合演奏者阅读。根音的大写字母都适用于所有类型的

三和弦，并添加了除大调以外的其他性质的符号或缩写（相见表 7.3）。

表 7.3: 和弦类型和谱表标记

和弦类型 谱表标记

D 大调和弦 D

D 小调和弦 Dm, Dmin, 或 D-

增 D 和弦 D+ 或 D (#5)

减 D 和弦 D˚ 或 Ddim

例 7.6: “丰富和稀有”（传统爱尔兰旋律），由乔尔·菲利普斯编写。 90

通常一个和弦标记会展示出和弦类型与和弦把位图来表明吉他的指法：垂直线表示

吉他弦，水平线表示音品，黑点代表你手指的位置。在例 7.6 中展示了和弦记号，和弦把

位图及其相对应的和弦。

例 7.7 展示了 D 大调中各种可能的七和弦。

例 7.7: 七和弦在 D 大调中的和弦标记法

Homework

1. Writing quality and Roman numeral of seventh chords

1. 写出七和弦的性质和罗马数字 91

2. Each given pitch is the root of a seventh chord. Fill in the other notes of each seventh chord, adding accidents as needed to make the correct quality.

2. 每个七和弦都给了根音，填写七和弦中的其他音符，并且添加正确的临时记号。

3. In the first row of blanks, provide a Roman numeral that reflects the correct seventh- chord quality in the given key (e.g., I7, IV7, etc). In the second row, write the chord quality (e.g.,

Mm7, MM7, etc). 92

A. Root-position chords

3. 根音和弦，在下面的第一行写出反映七和弦性质的罗马数字（如，I7，IV7，等

等）。在第二行写出和弦的性质（如，Mm7，MM7，等等）。

A. 根音和弦

(1) (2)

(3) (4)

B. Provide a Roman numeral and the inversion symbol for each given seventh chord.

B. 转位和弦 为每个七和弦提供罗马数字和数字。

(1) (2)

4. Write the appropriate Roman numeral and the inversion symbol for each seventh chord in the given key.

4. 识别每个七和弦，写出每个调中七和弦适合的罗马数字和数字。 93

5. Triad and seventh chords from lead-sheet symbols

Write each chord requested in four parts in keyboard style (in quarter notes), three parts in the right hand and one part in the left. Include any accidentals needed to make the correct chord quality.

5. 三和弦与七和弦在谱表上的标记

用键盘模式写出每个四声部的所需要的和弦（用四分音符），三个声部在右手，一

个声部在左手。包括所有需要的临时记号使和弦的性质正确。

94

6. Label the seventh chords with its root, quality and inversion symbol.

6. 分析音乐选段中的七和弦，确认被圈和弦的性质或转位。

A. Felix Mendelssohn, “Aber der Herr sieht es nicht,” From Elijah, No.5, mm.68-79

B. John Lennon and Paul McCartney, “You Never Give Me Your Money,” mm.1-8

95

CHAPTER VIII

CONCLUSION

The Chinese music theory textbooks have several challenges compared to the American counterparts. In general, they use excessive words to describe musical concepts and provide little musical examples for contextual learning. Also, they usually do not provide enough practice materials. I have chosen Jiben Yueli Jiaocheng and The Musician’s Guide to Theory and

Analysis as the representative textbooks to draw comparisons. In my thesis, I have addressed most immediate problems found in Jiben Yueli Jiaocheng and provided supplementary comments, explanations and exercises. My supplements were created for very practical purpose in Chinese music theory classrooms; the supplements can be used along with Jiben Yueli

Jiaocheng, which is the most widely used music theory text for college-level beginning music theory courses. Each section of the supplements can be added separately to an appropriate chapter in Jiben Yueli Jiaocheng. I also believe the extra practice provided through the supplementary materials can significantly help Chinese music theory students explore music more in depth and develop stronger interests in music theory. Further, my study may offer some new perspectives to Chinese music education administrators, textbook designers, and music educators in improving music theory pedagogy.

96

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