Lecture 05 Melody - Notes, Scales, Nuts and Bolts

• The Nature of Melody

  melody shows up in the high range.

  Reason:

  because the way sound waves operate.

  The higher frequencies take a lot shorter time to clear.

  melodies play faster notes because those sounds clear quickly and we can hear and enjoy the melody.

• The Development of Notes and the Scale

  五线谱，每条线之间的frequency /space 是一样的。

  重复八度：octave duplication。

  很多国家的音乐中，都应用了octave duplication.

  west: ABCDEFG，seven notes within the octave.

  Indonesia: six notes within the octave.

  Example: Ravi Shankar’s raga, 用的乐器 sitar 是一种类似吉他的印度弦乐器

  China: five-note within the octave.

  Example: 阿炳的《二泉映月》

  简介古希腊人处理音乐的方式。

  ancient Greeks were very much into mathematics as a way of explaining the world and explaining music in particular.

  【这段暂时不懂，待消化书上的内容。】

• Major, Minor, and Chromatic Scales in World Music

  • seven notes within the scale of the major scale

    

  • seven notes within the scale of the minor scale

    

  音阶：在八度之内，音的上行和下行的一种固定形式。可以把它想象成一个有八级的梯子，在固定的高和低的两个点之间，由八度形成，可以上或者下这个梯子。

  其中，除了BC，EF之间是半级，其他的都是一级。

  升号 sharp # VS 降号b flat【相当于键盘上的黑键音】

  升调是升半个scale，降调是降半个scale

  black notes, can be called sharps or flats. flats are below, take you down a half step, while sharps take you up a half step.

  C大调音阶：按钢琴上的白键 CDEFGABC，正好对应着 1-1-1/2-1-1-1-1/2

  C小调音阶：按钢琴上的白键CD，DE间的黑键降E，白键FG，GA间的黑键降A，AB间的黑键降B，白键C，正好对应着1-1/2-1-1-1/2-1-1, 即 C D E-flat F G A-flat B-flat C

  同理：

  A大调音阶：按钢琴上的白键AB，CD间的黑键升C，白键DE，FG间的黑键升F，GA间的黑键升G，白键A。即A B C-sharp D E F-sharp G-sharp A

  A小调音阶：白键 ABCDEFGA

  tonic note: the primary note

  leading tone:pull into the tonic，引出 tonic note，it is always the seventh degree. It’s always a half step.

  例子：Luciano Pavarotti 歌唱片段。

  Most of our popular music, folk songs and things like that, are written in duple meter and in a major key. Occasionally, you get things written in triple meter and in a minor key — minor key.

  example：Gershwin Porgy and Bess，【感觉是duple，minor】

  在古典音乐中，小调也是很少的，大部分都是大调。

  这里教授举了Beethoven’s Third Symphony 第二乐章 minor部分和 Mozart 的作品片段 。

  Major: happy, bright, optimistic.

  Minor: somber. 【灰暗，昏暗】

  大调和小调的形成历史介绍：

  back to sixteenth century, people started writing these things called madrigals, that were tied to texts. And they got in this habit of, every time they had a bright, happy text, they’d set this in one kind of mode or key — a major mode — and every time they had a sad one, they’d set it in minor.

  后面教授放了一段犹太人的音乐Traditional Jewish folk music【major 和 minor 之间的界线有点懵逼】

  chromatic scale： 半音阶，chromatic 来自希腊语chroma色彩，附加的五个音高的确为音乐增加了色彩。

  半音阶会增加紧张和不安。

  chromaticism adds tension to music and especially chromaticism that’s pulling up.

• Pitch and Rhythm in Beethoven’s Ninth Symphony

  这一段完全就是应用前面的所学了。

  Beethoven’s Ninth Symphony 第一乐章，前面部分。

  乐器：低音提琴，巴松管，小提琴。

  texture织体： polyphonic.复式

  中间巴松管部分，是countpoint，【没听出来】

  低音部分的低音提琴，和声。

  后面加入了铜管乐器。