嗨，您有没有想过为什么有些人 Hi there have you ever wondered why some
声音和其他声音很好地结合在一起 sounds goes well together and some other
注释为什么有些声音可以合并 nots Why some sounds can merge
美丽并成为句子和一些 beautifully and become sentence and some of
这些可能不太悦耳， those can be less pleasing to the ear and
成为光盘后裔有不同的方法 be disc descendant There are different ways to
解释一下，但我们必须回到什么声音 explain that but we have to go back to what sound
阶级的本性 is in its nature
什么是声音声音是一种 What is sound Sound is a
通过的压力变化 variation of pressure that moves through
空气翻译声音是一种 the air Translation sound is a
空气的振动 vibration of air The particles in the
空气被全部压缩然后伸展 air get all compressed then stretched out
然后压缩然后伸展 then compressed then stretched out
等等，声音就是这样 etcetera And that's how the sound
像表面的波浪一样传播 propagates like the waves on the surface
当你往湖里扔一块石头时 of water When you throw a rock in the lake
例如，这也是为什么有 for instance That is also why there is
太空中没有声音如果没有特别的 no sound in space If there is no particular of
待压缩的空气有延伸 air to be compressed stretch there is
没有声音传播所以这个 no sound propagation So this
振动会让我们的耳膜 vibration will make our eardrum
我们的耳朵和大脑内部振动 vibrate inside our ear and our brain
会像他一样，你听到一个声音 will be like him and you are hearing a sound
要知道两个声音是否恒定Ant to know if two sounds are constant Ant
我们可以比较不和谐的频率 dissonance we can compare the frequency of
振荡基本上越简单 oscillation Basically the simpler
比例在这些频率之间 the ratio is between these frequencies
它们更协和所以如果 the are more consonant they are So if
我听到一个声音，让我们的振动 I take a sound that vibrrate our
220赫兹例如 220 Hertz for example the
与之相配的更辅音是 more consonant sound that can go with it is
440赫兹是双倍的 440 Hertz which is the double
所以他们有最简单的 of that frequency So they have the simplest
二比一的比例 ratio of two to one
下一个可以搭配这些的moston声音 the next moston sound that can go with these
220赫兹是 220 Hertz is
660赫兹，即三倍 660 Hertz which is the triple
所以它们有一个比例 of these frequencies So they have a ratio
三至 of three to
1那么下一个最令人关注的金额是 1 Then the next most concerning sum that
可以和我们一起去的是880 can go with us is 880
赫兹，比例为四比一 Hertz with the ratio of four to one
如果我们继续前进，我们就会开始创建一个 And if we keep going we start creating a
我们称之为和声系列的系列 series that we call the harmonic series
所以两者之间的比例越简单 So the simpler the ratio is between
两个频率越和谐 two frequencies the more consonant they are
这意味着它们的辅音越多 And that means that the more consonant they
海浪越频繁 are the more frequently the waves will
同步起来这也是为什么当 sync up That is also why when
我们可以听到的两种声音是不和谐的 two sounds are dissonance we can hear
声音中的节拍 a beating in the sounds
那是慢慢进入的波浪， that are the waves that go slowly in and
不同步这也是我们的方式 out of sync This is also how we
可以定义辅音的纯度 can define purity of a consonants
这是没有殴打时 This is the absence of beating When
两个声音一起演奏， two sounds play together we
可以用它来创作我们的第一部音乐剧 can use that to create our first musical
缩放和播放实际音乐我们已经 scale and play actual music We've
解决了最和谐的声音 settled that The most consonant sound to go with
我们的220个heardz声音 our 220 heardz sounds
将是440赫兹，所以两倍 would be 440 Hertz so twice
高或2： as high or the ratio of two to
1它们实际上是如此的和谐， 1 They are actually so consonant that
它们被认为是同一个音符， they are considered the same note with different
但是如果我们 pitches But if our were
220码是a 220 yardsz is a a
440赫兹也是 440 Hertz is also a
能够高出一个八度这样 able one octave higher So that
意味着每次我们乘或除 means every time we multiply or divide
一个频率是两个， a frequency by two we
实际上得到了相同的音符，但有一个 actually are getting the same note but one
八度高或低所以最 octave Higher or lower So the most
两个不同的辅音间隔 consonant interval between two different
当节点有一个 nodes would be when they have a
三比1的比例即 ratio of three to 1 that is
我们将使用什么来建立我们的规模 what we'll use to build our scale
那么让我们从空气440开始 So let's start with our air 440
赫兹我们可以在上面添加一个注释 Hertz We can add one notes above
1不低于使用三比一 1 not below using the three to one
比例，然后我们可以乘或除 ratio and then we can multiply or divide
这些频率增加两倍才能达到相同的效果 these frequencies by two to get the same
笔记但更接近我们的 notes but closer to our
440 heartstz注意我们可以 440 heartstz note we can
然后用这些新笔记更进一步，我们 then go one step further with these new notesdes we
只是通过相乘oriding创建的 just created by multiplying oriding
频率增加三倍即可获得 the frequencies by three to get
其他新节点通过带来这些 other new nodes By bringing these
频率尽可能窄 frequencies to the narrowest range possible
我们最终可以得到这套笔记 we can end up with this suite of notes
在那里我们创造了第一个 and there we created our first
五音阶，每五个音符 pentatonic scale with five notes per
八度 octave
这可能就是规模 That is probably the kind of scale that is the
世界各地使用最多的它被使用了很多 most used around the world It's used a lot
在中国音乐蓝调国家和 in Chinese music Blues country and
民间音乐例如 folk music For example The frequencies in
我们的规模实际上对应于节点D our scale actually correspond to the node D
A B D E做了 A B D E which did the
g小调五音阶或the pentatonic scale of g major or the
e小调五音阶 pentatonic scale of e minor
从那里我们可以再次添加两个音符所以 And from there we can add two notes again So
我们最终可以得到与之对应的频率 we can end up with this frequency that corresponds to
节点G A B D E F the nodes G A B D E F
镜头，即g小调 Shot which is the scale of g major
这就是第一个音阶的创建方式 and this is how the first scales were created
在这种规模中，第一次 in this kind of scale the first
音符被称为主音，然后就在那里 note is called the tonic and then there
是第二个第三个第四个 is the second the third the fourth the
第五个第六个第七个 fifth the sixth the seventh
这就是为什么我们称下一个音符为 and this is why we call the next note the
八度八度意味着八度， octave oct meaning eight which
从技术上讲，是相同的音符 is technically the same note then the
主音现在回到和声系列 tonic now back to the harmonic series
我们在视频开始时做了这样的事情， we made at the beginning of the video and
将其与我们音阶中的音符进行比较 compare it with the notes we have in our scale
所以第一个音符和声是我们的 So the first note harmonic one is our
基本和和声 fundamental and the harmonic
2408不同 2408 are different
八度音然后是最辅音 octaves then the most consonant
在我们的音阶中具有转折的音符将是 notes with our turnics in our scale would be
当我们使用的时候，第五个和第四个 the fifth and the fourth as we use the
三比一的比例 three to one ratio of the armonic three
制造它们，第四个就是第五个 to make them and the fourth is the fifth
低于奎宁则是最 below the tonic then the most
与主音的辅音就是 consonant note with our tonic would be the
第三和第六如果我们看看关系 third and the sixth If we look the relation
在我们的第三个和基本个之间 between our third and the fundamental
我们发现关系为64 we find a relation of 64 on
81几乎是 81 which is almost
五分之四就是五 four fifth which is the five
与第五次调和的一个比例 to one ratio of the fifth harmonic in the
和声系列和第六是 harmonic series and the sixth is the
第三次低于补品，最后 third below the tonic and finally
最后两个音符第七和秒 the two last notes the seventh and the seconds
与主音最不和谐的 of The most dissonance with the tonic in our
剥皮这三分之一就是 skin this third that is
几乎精确但并不完美将开始 almost exact but not perfect will begin
在某个时候造成问题，但我们会 to cause problems at some point but we'll
稍后看看为什么 see why a bit later
事实是，在自然界中，没有声音 Truth is in nature there's no sound that
仅以一个频率振动， vibrates on only one frequency at a
时间是只振动一个的声音 time a sound that vibrates only one
频率是一个长波这就是 frequency is a sine wave That's what
只有一个频率听起来像 only one frequency sounds like
任何其他声音实际上总是一种 any other sound is in fact always a
多种频率的混合物 cocktail of a lot of frequencyencies
其中较低的频率被称为 among them the lower frequencyencies is is called
基本面这是我们经常听到的音符 the fundamentals That's often the note we hear
还有我们可以唱的一个和所有其他的 and the one we can sing and all the other
频率被称为 frequencies are called the
泛音我们吐了这些 overtones We spit these
暗示着两个家庭， overtones into two families the
和声泛音和和声 harmonic overtones and the enharmonic
带有神学色彩 overtones thearmonic
泛音参与音符 overtones participate to the musical note
我们在声音中听到我们可以唱的声音 we hear in the sound the one that we can sing
它们是和声系列的一部分 They are parts of the harmonic series of the
基本的，这意味着他们的 fundamental which means that their
频率是 frequency is a multiple of the
基本面频率基本面 fundamentals frequency the fundamental
是第一和声 being the first harmonic
第二次和声是这个的两倍 the second harmonic being twice this
频率，即八度音阶 frequency which is the octave
第三和声是这个的三倍 the third Harmonic being three times this
频率是第五 frequency which is the fifth
第四和声是另一个八度音阶 the fourth harmonic is another octave
而第三和弦中的第五和声 And the fifth harmonic in the third
等等，他们都参加音乐剧 etcetera they all participate to the musical
注意，我们在声音中听到事实上，当 note we hear in the sounds In fact when
一根吉他弦振动这一切 a string of a guitar vibrates all these
我们听到的声音中存在和声 harmonics are present in the sound we hear
当你演奏自然和声时， When you play a natural harmonic you
隔离一些已经存在的频率 isolate some of this frequency that were already
无论是否钉好绳子我们听到 there whether or not pin string We hear the
基本上 fundamental with
你的手指触摸着上面的绳子 your finger touching the string just above the
第12线程，即中间的 12 th thread which is the middle of the
琴弦你听到信号和声 string You hear the signal harmonic
用你的手指触摸上面的绳子 with your finger touching the string above the
第七个线程，即第三个线程 seventh thread which is the third of the
字符串长度您听到第三个 string length You hear the third
谐波 harmonic
等等所有其他 etcetera All the other
不属于该和声的泛音 overtones that are not part of this harmonic
系列被称为和谐 series are called enharmonic
泛音并参与语气 overtones and participates to the tone
如果声音太多了一半 of the sound If a sound half too much
与音调同义那么我们就不能 synarmonic over tones then we can't
真正听到其中的音符在这种情况下，我们 really hear a notes in it In this case we
谈论和谐的声音这是 talk about enharmonic sounds It's
嗡嗡声的情况听起来像是一个陷阱， the case of a percussive sounds like a snare or
符号例如 symbol For example
鼓手知道你仍然需要调整你的鼓 Drummers know that you still have to tune your drum
套件，这是因为发现的声音 kits and this is because the sounds found
在自然界中很少是百分之百的 in nature are rarely a hundred percent
和谐是和谐的，但更多 harmonic are enharmonic but more
通常是两者之间的混合物 often a mixture between the two
所以这种和谐的泛音参与 so this harmonic overtones Participate
与我们在声音中听到的音符和 to the musical note we hear in the sound and
这种不和谐的泛音影响 this inharmonic overtones affect
声音的语气作为一个 the tone of the sounds As a
实例纯符号波是 practical example a pure sign wave is
唯一没有泛音的声音 the only sound that have no overtone
因为这就是一个频率听起来的样子 because that's how one frequency sounds
那么如果我们添加其他的一个 Then if we add other ofone from our
和声系列的基本原理是 harmonic series the fundamentals being
在一个中，所以我们添加350 in one so we add the 350
所以我们的长波 so on then our sine wave
开始变成方波 begins to become a square wave
那么如果我们开始添加另一个 Then if we begin to add the other
我们系列的泛音我们 overtones of our series our
波变成圣齿波 wave turns into a St tooth wave
这意味着stto波是 This means that the stto wave is
比方波更丰富的泛音 richer in overtones than a square wave
其中overton比sine更丰富 which is richer in overton than a sine
但这三波是 wave But the three waves are
百分百的声音是和谐的， hundred percent harmonic sounds and are
实际上是一些设计的基础 actually at the basis of some design in
任何合成器作为 any synthesizer As an example of a
你拥有一百人的和声 hundred person in harmonic sound you have
白鼻子就是所有 the white nose which is all the
二十赫兹20之间的频率 frequencies between twentyhertz 20
千赫兹都在同一部小说中 kilohertz all at the same novel
这是一个 which is at the basis of a
合成的军乐或符号声音 synthetic snare or symbol sounds
混音和声是魔法 mix Harmonic sounds were inarmonics
频率理论上你可以 frequencies and you can theoretically
重现您在中听到的任何声音 recreate any sound you've heard In
事实色彩就是原因 fact overtones are the reason why
你的钢琴和小号听起来不一样 your piano and the trumpet sounds different
是因为它们没有相同的泛音 Is because they don't have the same overtones
其中和谐的、不和谐的和 in it Harmonic and inharmonic and
每个泛音在不同程度上产生共鸣 each overtone resonate at different levels
我给你看 Let me show you
我们可以清楚地看到中的和声系列 We can clearly see the harmonic series in
三个第一个声音是较低的太阳 the three first sounds the lower sun being
基本和每个和声 the fundamental and with each harmonics
在不同的层面上，我们可以 at different levels and we can
还可以看到每个的和声分量 also see the enharmonic component of each
声音在最后两个声音中，我们 sounds In the two last sounds we
真的看不到任何军械系列 can't really see anyarmonic series
这些都是和谐的声音在最后 These are enharmonic sounds In the last
视频我们说过，在大规模上， video we said that in a major scale the
大多数辅音都是主音 most consonant sounds were the tonic were the
第五个和第四个，然后是 fifth and the fourth and then there were the
第三个和第六个，然后是 third and the sixth and then came the
第二个和第七个事实上 second and the seventh In fact
两个和越一致 the more consonant two sums are the
他们有更多的共同点所以如果 more overtton they have in common So if
我们采用第一和声的声音 we take a sound with its first harmonic
泛音并与音符进行比较 overtones and compare it to the notes
在与之更一致的规模上 in the scale that are the more consonant with
然后我们就可以看到这个奥弗顿 it then we can see this overton
排队第五名 lining up for the fifth
第四 for the fourth
第三 the third
第五 the fifth
第二 the second
和第七 and the seventh
如果你在合唱团中用音符唱歌， If you're in a choral singing in notes and
其他一些人唱了第五首 a bunch of other people sing the fifth of that
请注意，您实际上可以听到 note you can actually hear the
和声泛音在房间里跳动 harmonics overtones bounce in the room around
你和那真是太棒了 you and that's pretty awesome
训练有素的耳朵实际上可以听到一些 A trained ear can actually hear Some of
有些直接在正在播放的一个音符中 some directly within one notede being played
我们还可以用它们来调整一些 and we can also use them to tune some
文书 instruments
训练有素的耳朵可以听到一些和声 A trained ear can hear some of the harmony
一个音符中包含的翻音 covertones contained within one note
这些泛音实际上就是 and these overtones are actually what was
习惯于锁骨和其他 used to between the clavic coes and other
乐器，尤其是第三乐器 instruments especially the third
和声系列的和声 harmonic of the harmonic series The
第五个最容易听到 fifth the easiest to hear
被认为是最辅音的 considered to be the most consonant
所有间隔 interval of all
我们过去常常调整乐器 We used to tune our instruments
第五名获得 fifth by fifth to have the
音符的五分之一你可以乘以它的 fifth of a notede You can multiply its
频率乘以3然后将其除 frequency by 3 then divide it
将节点降低一或 by two to lower the node by one or
两个八度所以它正在乘以这个 two octaves So it's multiplying this
频率增加一半或四分之三 frequency by three half or three quarter
所以你要调整第一个音符 So you would tune the first note
让我们说c at let's say c at
264赫兹然后从 264 Hertz Then from
c你会调整g音符， c you would tune the g notes which
是c的五分之一，你可以做到 is the fifth of c and you can do that
通过耳朵实际上你需要好的耳朵 by ear Actually you'll need good ears
但你通过听殴打来做到这一点 but you do that by listening to beatings
在声音中So from in the sound So from
这个g笔记你可以找到 this g note you can Find the
d然后你就可以找到 d then you can find the
a然后e然后 a then the e then
最好然后f尖锐d the b then f sharp d
平a平e平b flat a flat e flat b
单位和f这个数字 flat and f this figure
被称为第五圈 is called the circle of fifth
我们调音乐器的方式称为 the way we tune an instrument is called the
气质和这种特殊的方式 temperament and this particular way
将乐器从五度调到五度 of tuning an instrument from fifth to fifth
被称为皮哥拉斯人 is called the pyagorean
气质它是由 temperament It was made by
毕达哥本人是的 pythagore himself Yes the
你在中学时听说过的毕达哥 same pythagore you heard of in middle school
被认为是第一个 is considered to be the first one to
将谐波级数理论化， theorize the harmonic series and
第一种气质 there the first temperament
这是一种气质， that was the temperament used up to the
15世纪， 15 th centuryy when
西方音乐曾经青睐 occidental music used to favor
第五和第四被认为是 fifth and fourth which was considered the
只有辅音间隔，但它 only consonant intervals but it
有两个问题 came with two issues The
第一个问题是如果我们继续添加 first issue is that if we keep adding
脚在圆圈尽头后 feet at the end of a circle after
我们应该在c上学习的f the f we should learn on a c
但我们乘以得到的c but the c we get by multiplying
我们f的频率不是 the frequency of our f isn't
正是我们开始的频率 exactly the frequency we begin
有了这些鸽派线条 with these dovenal lines
所以这个间隔必须拉平， So this interval has to be flattened so
我们可以降落在我们应该拥有的C上 we can land on the c we're supposed to have
结果，这个间隔变得 in results this inter Interval becomes
不和谐，被称为 dissonant and it is called the
狼间隔，因为它 wolf interval because it
这里仍然有那只动物的溪流 remains the stream of that animal Here
听起来是这样的 is what it sounds like
解决方案是将这种不和谐 The solution was to put this dissonant
间隔的间隔是 interval on an interval that was
较少使用或在我们 less used or in an interval that we
必须小心避免第二 had to avoid carefully The second
问题是第三个不纯粹 issue was that the third was not pure
无论是大三分之一的间隔， neither an interval of major third can
被视为连续四个五分之一 be seen as four consecutive fifths
c从c到e c there from c to e for
例e大三分之一 example e the major third
c和四分之一之间 of c and the four fifth between
如果我们比较一下，这2个 these 2 If we compare
我们这个圈子里的e， the e in our circle here which
是c的三分之一， is the third of c and the
第三是和声理论 third that is in the harmonic theory of
c第五音泛音 c the fifth harmonic overtones
我们可以看到它们的频率是 we can see that their frequencies are
也不平等 not equal neither
以前这不是什么问题 It wasn't really a problem before
15世纪时，第三次是 the 15 th century when the third was
被认为是敏锐的，这 considered discernant and this
调音可能与此有关 tuning probably have something to do with that
但这成为了一个问题 But it became a problem with
西方音乐倾向于 occidental music was tending to favor
间隔是第三和第六， Intervals were third and sixth and
那里的解决方案是薄荷色调 the solution there was the mint tone
气质或中期 Temperament or Mid term
我应该说气质，因为有 temperamamament I should say because there are
几个区别 several The difference
之间的自然三分之一 between the natural third found in the
和声系列和第三个在 harmonic series and the third found in the
毕达哥拉斯气质被称为 pythagorean temperament is called
昏迷，第三个是四个 a coma and as the third is four
连续第五个解决方案是 consecutive fifth the solution was
将五分之一降低四分之一 to lower each fifth by one quarter
所以我们的 of that coma So our
第三是纯粹的牺牲 third would be pure sacrificing
过程中第五种的纯度 the purity of the fifth in the process
对于一部偏爱的音乐来说，这已经足够好了 That was good enough for a music that favored the
第三和第六，但问题是 thirds and the sixth but the problem of
狼间隔没有解决 the wolf interval was not resolved
但事实上最后五分之一 yet In fact the last fifth
低于我们的纯五分之一 was below the pure fifth that we were
应该有甚至更远 supposed to have and even further
所以狼 from it So the wolf
中场休息甚至更糟糕，但是 interval was even worse But
这也意味着三分之四的人 it also means that the four thirds that
正在经过这个狼间隔 were passing by this wolf interval
也是被迫的所以你必须 were forced as well so you had to
避免所有这些，你必须避免某些 avoid all of them and you had to avoid certain
手续齐全所以 formalities completely So
为了最大限度地减少这个问题，其他中部 to minimize this problem other Mid
学期脾气每五分之一就会降低 term temperaments lowered each fifth
六分之一或一 by one sixth or one a of
昏迷使最后五分之一的距离更近 a coma bringing the last fifth closer
到纯粹的间隔， to a pure interval by
牺牲三分之一的纯度 sacrificing the purity of each third
在这个过程中以及任何 in the process and any
调音仍然受到某些约束 tuning was still bound To certain
因此下一个的音调 tonalities because of that for the next
几个世纪以来，音乐家一直是 few centuries musician has been
创造不同的不规则气质 creating different irregular temperamament
这使得每个de I听起来都不同 which made each de I sound differently
由于不规范的情况 due to the irregularities of the
调音直到 tunings That was until the
19世纪平等的时候 19 th century when the equal
气质的形成是 temperament was created that
是我们仍然在使用的气质 is the temperament we are still using
今天的原则 today The principle of the
平等的气质是每个人 equal temperament is that every
半音音阶中的音符是 notes in the chromatic scale are
以相等的距离分开 separated by the an equal
间隔这意味着所有 interval This means that all
结最终会稍微 the knots end up being slightly
抵消，所有的间隔结束 offset and all the intervals end up
也有点偏离 being slightly off as well
从技术上讲，我们今天使用的这种调整 Technically this tuning that we use today
有史以来最不准确的 in the most inexact of all time
但它使所有人都成为第五名和所有人 but it makes all fifth and all
三分之一等于 thirds equallyonant as
那么我们不必避免 well So we don't have to avoid
他们都得到的任何音调 any tonalities they all get
等效性我们失去了具体的 equivalence We lose the specific
每个调性所具有的性格 character that each tonality had in
脾气不规则，但它允许 irregular temperamament but it allows
我们从一种调性旅行到另一种调性 us to travel from a tonality to another
在同一音乐中，没有 within the same music without
必须避免任何调性 having to avoid any of the tonality
两者都不是一个独立主义的例子 neither as an egotist example
这就是为什么我那晚的一首宫廷歌曲 This is why my night a ch court song was
这也意味着 even possible and that also means
我们可以将任何歌曲 That we can transpose any song in any
键，而不必到达我们的 key without having to reachain our
乐器这就是 instruments So that is with
这在技术上是最不精确的 this technically most inexact
我们得到的一切气质 temperament of all that we get the
我们可以从那里获得更多自由 more freedom from there we can
随意摆弄我们的天平 fiddle freely with our scales and
在任何音调中徘徊， wander in any e tonalities in
我们的音乐系统， our musical system an octave is
分成12个相等的间隔 divided in 12 equal intervals
所以每个八度有12个音符 So we have 12 notes per octave
在最常用的天平中 and in the most used scales
包括主要和次要 included major and minor there are
其中七个笔记这些笔记的名字 seven of those notesdes The name of these
规模将取决于两件事 scales will then depend on two things
基本的第一个音符 The fundamental the first note of the
SC音阶和音符的间隔方式 sc scale and the way the note are spaced
整个八度让我们来测量音阶 throughout the octave Let's take the scale
例如c专业很简单 of c major for example It's easy
这只是钢琴键盘的白键 it's only the white keys of a piano keyboard
因此将其视为 so see it the root key of the
扩展感觉像家一样的节点， scale the node that feels like home and
主要由以下顺序定义 major is defined by the sequence of
与根键的间隔所以 intervals from the root key So
在这个音阶的C小调中，第一 in this scale of c major the first
间隔为从c到d intervals is from c to d
那是两个气球所以一个音调 that's two semitons So one tone
d和之间的下一个间隔 the next interval between d and
e也是 e is also
两个气球所以一个音调 two semitons So one tone
然后e之间有一个syton Then one syiton between e
和f and f
f和g之间的一个音调 one tone between f and g
g和之间的一个音调 one tone between g and
一 a
a和b之间的一个音调 one tone between a and b
还有最后一次课程要回去 and there's one last semons to go back to
c所以 c so the
主要规模由序列定义 major scale is defined by the sequence
间隔一音一 of interval one tone one
一声一声 tone one semitone one tone
一声一声一声 one tone one tone one
甘草和这是我们 semitone and this is something we
可以转换为任何音调来拥有任何 can transpose to any e tonality to have any
大规模所以如果我想要大规模 major scale So if I want the major scale
例如，它是这样的 of d for instance it goes
d一个音a d one tone a
一音一半 one tone b one semit
音C一音 tone c one tone
d一音e d one tone e
升F一音 one tone f sharp
然后再一个一个地回到 then one semitone back to
g是我们最终得到的标度 g which is the scale we ended up
在视频中的辅音和 with in the video on consonances and
不和谐这c大音阶 dissonances This c major scale
有效，因为我们将c定义为 works because we define c as
我们的家庭笔记，但每 our home notes but every
主要规模有相对次要 major scale have a relative minor
规模这是另一个规模， scale This is another scale that
可能是次要的，但会使用精确的 would be minor but will use exact Exactly
相同的音符所以唯一的区别 the same notes So the only difference
在大规模和相对小规模之间 between a major scale and its relative minor
是我们所说的基本音符 is the fundamental notes that we call
感觉像家的家相对的亲戚 home that feels like home The relative relative
大音阶的小音阶是 minor scale of a major scale is
将第六个音符视为 the one that takes this sixth note as
一个基本的所以对于c a fundamental So for the c
主要规模，例如相对 major scale for example the relative
小调是小调 minor scale is a minor
从C中记下完全相同的笔记 taking the exact same notes from the c
使A的主要规模 major scale that makes A
B C D B C D
E F G E F G
这是一个小规模曾经 that's the a minor scale Once
同样，这个小规模是 again this minor scale is
由建立的间隔顺序定义 defined by the sequence of interval that builds
所以第一个间隔是从 it So the first interval is from
a到b是一个音调 a to b that is one tone
那么从b到c就是一 then from b to c is one
异黄酮c至d semitone c to d
是一个音d到e is one tone d to e
是一个音e到f is one tone e to f
是一个字母f到 is one semitone f to
g是一个音调，g g is one tone and g
回到a是一个音调 back to a is one tone
定义负音阶的序列 So the sequence that defines minus scale
是一个音调一个 is one tone one
一声一声一声 semitone one tone one tone
一声一声 one semitone one tone one
语气，我们也可以将其转移到 tone and we can also transfer that to
拥有任何未成年人的永恒 an Eternality to have any minor
规模因此，作为一个例子，让我们 scale So as an example let's make the
e的小调它变成e minor scale of e it goes e
一个音调f尖锐的一个 one tone f sharp one
semone d one one tone semone d one tone
单音d一 a one tone d one
半音C一音 semit tone c one tone
d1音回到 d 1 tone back to
e，这是相对的 e and this is the relative
d小调小调他们 minor of the d major scale They
使用完全相同的音符 use exactly the same notes
以同样的方式从一个主要 in the same fashion from a major
规模我们可以将任何注释视为 scale We can take any note as a
正如我们的家庭所指出的那样，基本的 fundamental as our home notes
然后我们开始建造一大堆 and then we start building a whole bunch of
新的尺度，这就是我们 new scales and this is what we
呼叫模式从c开始 call modes Starting with the c
大调音阶C大调音阶 major scale The c major scale is
实际上叫做奥尼亚模式 actually called the onian mode
或者C调音阶 or mode of c the scale that's
使用相同的音符，但从 used the same notes but starting from
d被称为多里安人 d is called the dorian
模式或 mode or
使用的规模的模式 mode of d the scale that uses
相同的笔记，但从e开始 the same notesdes but starting from e
被称为朋友模式 is called the frian mode
或e模式，然后是e模式 or mode of e and then the mode of
f被称为Legian模式 f is called the legian mode
g的模式被称为mix allgian The mode of g is called the mix allgian
模式 mode
a的模式叫做异形 The mode of a is called Alien
调式是小调音阶 mode that's the minor scale
b的模式称为 and the mode of b is called the
锁定模式 lockan mode
无论这些模式的规模如何 as any scales these modes are
由间隔的街道站点定义， defined by the streetsites of interval that
建造它们，以便它们可以建造 build them so they can be built from
任何根笔记例如，如果 any root notede For example if
我想要g的利安音阶，我们会 I want the lyian scale of g we'll
从g开始，然后我们将遵循 start with a g and then we'll follow the
利安音阶的顺序是 sequence of the lyian scale which is
一声一声 one tone one tone one tone one
声音一声 semitone one tone one tone one
使规模G的黄酮 semitone that makes the scale G
A B C尖锐的G E A B C sharp G E
F尖锐的G， F sharp g that the
莉迪亚g SC量表 lydian g sc scale
它还存在其他规模， it ex exists other scales that are a bit more
异国情调的不是由 exotic which are not made from the
仅举个例子，与主要音阶相同的序列 same sequence than the major scale just to name
有一些有原声或 a few There is the acoustic or
吕底亚属音音阶 lydian dominant scale which goes one
一吨半 ton one ton one tone one half
一吨一吨半吨一个音 ton one ton one half ton one tone
在拜占庭式的规模上， on the byzantine scale that goes one
一吨半一吨 semitone one ton and a half one
一整调一 semitone one whole tone one
一吨半1 semitone one ton and a half 1
半音 semitone
还有较少的和声音阶，例如 there are also less harmonic scales like
传递音是一个SC音阶， mession tone semitone sc scale Which
遵循序列音半音 followed the sequence tone semit tone
音调one音调one tone semitone tone semitone
等等，但我们可能会看到这些 etcetera but we may see these
异国情调的鳞片在其他地方更详细 exotic scales more in details in other
视频首先我们将了解代码如何 videos first we'll see how codes
以及如何找到每个Co are made and how to find each Co
每种调性 of each tonality
和弦是一组演奏的音符 a chord is a set of notesdes played
一起和的名字 together and the name of
这个和弦取决于根音符 this chord depend on the root notesdes on
它有多少个节点， how many nodes there are in it and the interval
把每个音符 that separates each note
三人组之所以叫cho是因为他们是由三个人组成的 Triads are ch cos they are made of three
它们是所有的基础 nodes they are at the basis of all
和弦来构建它们将需要 chords to build them will need
根节点，它将使和弦 the root node which will give the chord its
第三个和第五个 name then a third and a fifth
所以如果我想调用c So if I want to make a call of c
我三号要a c I'll take a c the third
e和第五个g e and a fifth g
使c大调和弦 that makes a c major chord
因为在c和e之间 because between c and e there are
两项，即a的间隔 two terms which is an interval of a
大三分之一以及在c和之间 major third and between c and
g有3a的间隔 g there is an interval of 3 a
半吨，这是一个间隔 half ton which is an interval of a
完美的第五名， perfect fifth so
根音符加大三分之一加 A root note plus a major third plus a
完美的第五名成为少校 perfect fifth makes a major
被认为是快乐的和弦 chord which is considered to be a happy
和弦听起来很高兴 chord It sounds happy
为了使它成为小调和弦，我必须降低 To make it a minor chord I have to lower
第三个是异黄酮，所以它 the third by a semitone so it
变平，间隔 becomes e flat and the interval
根节点c和e之间的平面 between the root node c and e flat
是一吨半，这是 is one ton and a half which is an
小三分之一的间隔 interval of a minor third The
c和g之间的间隔仍然是a interval between c and g is still a
完美的第五名， perfect fifth so
根音符加小调三分之一加a a root notede plus a minor third plus a
完美五度构成小调和弦 perfect fifth make a minor chord
这被认为是一个悲伤的和弦 that's considered to be a sad chord
听起来有点悲伤 It sounds kind of sad The
大和弦和大和弦之间的唯一区别 only difference between a major chord and a
小调和弦是第三个这个音符 minor chord is the third This note
独自决定整体的状态 alone will determine the state of the whole
和弦，你实际上可以改变 chord and you can actually change the
音符发音的顺序 order of the notes the voicing
它仍然会保持不变的和弦 it will still stay the same chord
例如，如果我写C专业 For example if I write my c major
和弦e gc it chord e gc it
可以描述为带有a的e和弦 can be described as an e chord with a
第三和第六，但事实上 third and sixth but in fact it
仍然是c小调和弦 is still a c major chord
这就是我们所说的倒置 That's what we call an inversion
如果我删除和弦中的第三个 If I remove the third in my chord
和弦既不是小调也不是小调 the chord is neither minor or major
这就是我们所说的电源线 This is what we call a power cord
这只是根音符，其中第五个和它是 This is just a root note where a fifth and it's
吉他手经常使用， used a lot by guitarist so
我可以改变我的第三个代码以使我的代码为主要代码 I can alter my third to make my code major
或小调，但我也可以改变 or minor but I can also alter
如果我移动完美的五分之一，第五分之一 the fifth if I move my perfect fifth
目标成为 purpose semitone it becomes
增强并且如果我向下移动它 augmented and if I move it down
它变成了一个小丑 a semitone it becomes
减少了一个代码 diminished So a code
带有大三分之一和扩大的 with a major third and an augmented
第五个被称为增强的 fifth is called an augmented
诸如ce e这样的和弦 chord such as ce e
g商店那是c g shop that's a c
增强和弦 augmented chord
它被认为是一种明亮的 It's considered to be more of a bright
和弦另一个世界绕一圈 chord The other world rounds a
带有小调三度和减音的和弦 chord with a minor third and a diminished
第五名称为减少 fifth is called a diminished
降C降C等和弦 chord such as c e flat
g单位它是 g flat It's
被认为是一个黑暗的和弦，那就是 considered to be a dark chord and that's
几乎所有最常用的三重奏 pretty much all the most used triad
大小调增强 major minor augmented
并减少我们可以创造一个 and diminished We could create a
带有大三度和减音的三重奏 triad with a major third and a diminished
例如，我听说的是第五个 fifth for example which I heard was
称为一个硬减弱的和弦， called a hard diminished chord which
听起来很刺耳，但事实并非如此 sounds harsh but it's not really
实际上，如果我们看到 used In fact if we see
三个音符加在一起c e和 the three notes together c e and
g单位它经常是 g flat it's often has been part of
经常不是c的另一个和弦 another chord other than c often
至少添加了第四个音符 with at least a fourth note added
所以这个硬减弱的和弦中有大三分之一 So this hard diminished chord where a major third
减少的五分之一并没有真正使用 and a diminished fifth is not really used
事实上， as is In fact every
和弦可以被认为是 chord can be considered at a
第三个A小调的叠加 superposition of third A major
和弦是大三度加a chord is a major third plus a
小调第三小调和弦 minor third A minor chord
是小调三分之一加小调 is a minor third plus a major
第三个增强和弦 third An augmented chord
是两大三分之二叠加起来， is two major thirds stacked up and
减弱的和弦是二小调三分之二 a diminished chord is two minor thirds
堆积起来也许这解释了一点 stacked up Maybe that explains a bit
更好的解释为什么我们不真正使用主要 better why we don't really use the major
第三个天气减弱，第五个然后就到了 third weather diminished fifth and then there
不会是第三名之间的间隔 wouldn't be an interval of third between the
我们和弦中的第三和第五所以当 third and the fifth in our chord So when
您正在使用一个可以构建课程的规模 you're using a scale you can build your course by
在实践中堆积三分之一 stacking up thirds In practice
这意味着当您使用体重秤时，您可以 that means that when you're using a scale you can
通过每年记一个笔记来构建您的课程 build your course by taking one note every
两个从根节点开始 two starting with the root node
每个音符之间的空间将 The space between each notede will then
定义和弦的性质所以在 define the nature of the chord So in
例如，c major的音阶 the scale of c major for instance that's
键盘上的所有白键如果我构建 all the white key on the keyboard If I build
a cl我从c开始 a cl I start from c
我留个纸条然后记个纸条 I leave a note then take a note
那就是我那就留个纸条吧 that's e I leave a note then
请注意g take a note that g
所以我们有主要代码C so we have our major code C
我们以前见过的电子邮件 E G that we had before
但我们可以为中的每个Me注释构建代码 but we can build a code for every Me note in
以完全相同的方式缩放所以 the scale in the exact same way So
对于d代码，就像来自d的代码一样 for a d code as that from d
留下便条留下便条留下便条 leave a note take a note leave a note
记下来，这样我们就有了 take a note so we have
DFA dfa
d和d之间有1.5吨 with one ton and a half between d and
f那是小三分之一， f that's a minor third and
f和a之间有两项 with two terms between f and a
那是主要的第三个所以a that's a major third So a
小调三分之一，大三分之一是 minor third with a major third that's
如果我们 a minor card If we
构建c小调的每个和弦 build every chord of the c major
比例我们发现我们的c和弦 scale we find that our c chord
主要是d和e is major the d and e
和弦或小调f chords or minor the f
和g和弦或major the and g chords or major the
a和弦是小调，b ch代码 a chord is minor and the b ch code
就像我们一样减少 is diminished in the same way we
参考音阶中的每个音符 refer to every note in the scale with
阿拉伯数字我们指的是 Arabic numerals We refer to the
罗马数字音阶的路线 course of a scale with Roman numerals
这将方便谈论我们的电话 that will come handy to talk about our called
进展只要知道这些是 progressions Just know that these are
所谓的学位第一学位 called degrees The first degree
二级三级 second degree third degree
等等五度有点 etcetera The fifth degree is a bit
特殊的称为主导的 special is called the dominant
但我们会回来的 but we'll get back to it
通过堆叠在一起 by stacking On top of each other
或者每两个音符写一个音符 or taking one note every two
你可以创建和弦，但你不能 you can create chords but you don't
必须停在三个音符的三重奏 have to stop at a triad with three notes
您可以添加更多添加时 you can add more When you add
您正在创建的三重奏的更多音符 more notes to your triad you're creating
扩展和弦如果你添加 an extended chord If you add
额外添加第七个注释 one extra note you add the seventh
所以这是第七和弦 so that's a seventh chord
如果您添加另一个额外的注释，则您添加 If you add another extra note you add
第九个所以那是第九个 the ninth So that's a ninth
和弦另一个额外的音符，然后添加 chord another extra note and you're adding
an 11 th所以这叫做an 11 an 11 thSothat's called an 11
th和弦另一个额外的音符和 th chord Another extra note and
你要添加第13个音符，所以这被称为 you're adding a 13 th note so that's called
第13和弦 a 13 th chord You get
如果我尝试进入第13名 it if I try to make a 13 th
引用c主要SC量表中的c quote from c in the c major sc scale
这使得C E G that makes C E G
B D F B D F
从技术上讲， A so technically
这是 this is
他们说是的 that they'veord yeah
这些扩展的性质再次 Again the nature of these extended
和弦将取决于间隔 chords will depend on the interval
在他们的每个音符之间所以 between each of their notes So
让我们定义一次所有这些间隔， let's define all these intervals once and
为所有 for all
每个间隔都由 Every intervval is defined by the
和弦音符之间的距离 distance between the note of the chord
和根节点一些 and the root node Some
间隔将被称为完美 intervals will be called perfects
如果它们被片状物扩展， If they are extended by a semitone they
被称为增强的，如果它们是 are called augmented and if they are
它们被缩短了一个字母 shortened by a semitone they are
称为减少然后一些 called diminished Then some
间隔称为大间隔 intervals are called either major
或轻微的，无论是异黄酮 or minor whether semitone
两个州之间如果是主要的 between the two states If a major
间隔延长一个异黄酮 interval is extended by one semitone
它变得增强，如果 it becomes augmented and if a
小间隔缩短一 minor intervval is shortened by one
它变得减弱 semitone it becomes diminished
但这些都是更罕见的情况 But these are more rare instances
了解哪些间隔是完美的或主要的 to know which intervals are perfect or major
或小调请记住c or minor Just remember the c
一切似乎都建成了，规模很大 major scale as everything seems to be built
周围这就是所有的白键 around that That's all the white key on the
C小调第四音阶键盘 keyboard in the c major scale the fourth
第五个是完美的 and the fifth are perfect
间隔和第二次 intervals and the second
第三个第六个第七个 the third the sixth and the seventh
都是主要间隔， are all major intervals From
在那里它给你所有的参考 there it gives you all the reference
你需要知道你的第六个 intervals You need to know if your sixth
或第七是小调或小调 or seventh is minor or major
例如，如果你有量子 For example if you have photons
两个音符之间的间隔就像 between two notes that's like the interval between
一个c和一个g升或一个 a c and a g sharp or a
所以这是一个 flat So that's an interval of either an
增五或负六 augmented fifth or minus sixth
对于第七个来说，它是大七个 For the seventh it is a major seventh
如果音符是五个一半 if the note is fiveones and a half
在根音符之上，那是一个semiton above the Root note that's a semiton
低于其八度或如果是二度 below its octave or if it is two
比完美的五分之一高出吨 tons above the perfect fifth it becomes
如果低于整整一吨，则为负七分之一 a minus seventh if it's a whole ton below
根音或1半 the root note or 1 a half
完美五分之一以上 above the perfect fifth
我们还可以观察到少校 We can also observe that the major
这些SC Cha中的和弦建立在 chords in these sc Cha are built upon the
完美的间隔和小调 perfect intervals and the minor
或减弱的和弦是建立在 or diminished chords are built upon
不完美的间隔 the non perfect intervals
这个数字可以派上用场 This figure can come in very handy
作为参考，绝对应该 as a reference and it should definitely
如果需要，请写在备忘单上 be on the cheat sheet if you need one
现在我们知道如何建立第七个呼叫了 so now that we know how to build a seventh call
通过在一个上面添加第七个 by adding a seventh on top of a
三合会，我们知道如何才能 triad and we know how we can
确定不同的间隔让我们 identify different intervals Let's
查看最常用的第七和弦 see the most used seventh chord
带有小调七音的大三重奏 a major triad with a minor seventh
这将比 which would be a minor third above the
第五种可能是最常见的 fifth is probably the most common
第七和弦，被称为 seventh chord and is called a
主导第七和弦，因为它 dominant seventh chord because it
经常用于五级 is often used on the fifth degree
这是主导程度 which is the dominant degree for
一根可以制作c的绳子 a cord that will make c
例如b单位和它 eg b flat and it
注意到c七 would be noted c seven
如果我们有一个主要的调查对于主要 if we have a major tradead For the major
第七名，这将成为一名少校 seventh that would make a major
第七和弦因此 seventh chord So for
c将使C E c that would make C E
G B，值得注意的是 G B and it would be noted
c大写m七 c capital m seven
那么如果我们有一个小调三重奏 then if we have a minor triad
加上一个小七， plus a minor seventh that
发出负七和弦 makes a minus seventh chord
所以对于c和弦来说，会有 So for a c chord there would be
C E平G c e flat g
b单位会注意到 b flat there would be noted
c m c lowercase m
七 seven
您还可以与 you can also have a minor tradeout with a
大七会有小七 major seventh there would be a minor
大第七和弦 major seventh chord there would
例如使C E降 make for instance c e flat
g b这需要注意 g b that would be noted
c低于m资本 c lower as m capital
m七这个有点 m seven this one is a bit
更难得 more rare
那么我们就可以有一个减弱的三重奏 then we can have a diminished triad
加上负7就是 with a minus seven that'd be
被称为半减七队 called a half diminished seven squad
例如c e So for example c e
平g平d平那里 flat g flat d flat there
请注意c m would be noted c lowercase m
七平五 seven flat five
一切都像这样a c天气 all like this a c weather
交叉圆圈减少了一半 crossed circle That's a half diminished
发球小队 serv squad
第七名完全减弱 And to have a fully diminished seventh
代码将会减少 code there would be a diminished
七分之一减少的尝试 tryad with a diminished seventh
所以对于c来说就是c So for c it would be c
e flatats g flatats e flatats g flatats
b双单位我喜欢这个 b double flat I like this
一是因为它有点混乱，尽管 one because it's a bit confusing even though
从技术上讲，BB变成了同一个节点 the bb technically becomes the same node
比a仍然发挥作用 than an a is still serve the function
七分之一的我我们堆叠小方法 of a seventh I we stack up minor methods
互相叠加才能制作出这个， on top of each other to make this one but
a将b第六个所以我们保留 a would b a sixth So we keep
该节点的名称b表明 the name b for that node to show that
它被认为是第七个，但它 it's considered a seventh but it's
双平它变小了所以 double flat it's diminished So
c减弱的第七和弦可以 the c diminished seventh chord could
请注意C d be noted C d
七这个很 seven this one is very
不和谐，因为它有两个间隔 dissonant as it has two intervals of
减少了第五名我喜欢它 diminished fifth in it I like it a
很多 lot
现在，通过增强三重奏，我们可以拥有 Now with an augmented triad we can have
负七分之一就是 a minus seventh that would be
称为增强的第七和弦 called an augmented seventh chord
所以在一根绳子上 So on a cord that would be
C E G尖b C E G sharp b
单位这是一种突破 flat This one is sort of a break in the
规则是因为它没有a的间隔 rule as it doesn't have an interval of a
第五名和第七名之间的第三名 third between the fifth and the seventh
这个和弦也被广泛使用 This chord is also used large on
五度和弦和是 chords of fifth degree and is
也称为优势增强七分 also known as a dominant augmented seventh
和弦那应该是c chord And that'd beoted c
加七 plus seven
我们可以拥有一个增强的三重奏 with an augmented triad we can have
一个主要的第七个，这将是 a major seventh that would be
称为增强的大七 called an augmented major seventh
和弦所以在c和弦上 chord So on a c chord
就会有C E G there would be C E G
尖锐的b和booted sharp b and that beoted
c资本m七正 c capital m seven sharp
五或c加资本m five or c plus capital m
现在七个 seven now
我们知道不同的第七个代码看起来是什么 that we know what the different seventh code looks
就像我们可以识别每个 like we can identify each
我们c小调的第七个代码 seventh code of our c major scale
如果我们记下每个规模， if we take each note of the scale and
构建第七个代码所以请记住你 build the seventh code So remember you
从根音符开始，然后记下一个音符 start with the root notes and then you take one note
每两个所以留一张纸条带一张纸条离开 every every two so leave a note take a note leave
做个笔记，看看 a note take a note and see the
我们发现， intervals that compose them We find
一级的c和弦 that the c chord the first degree
是c大调第七和弦 is the c major seventh The
二级是d- second degree is the d minus
第七个第三级是 seventh The third degree is a
e小调第七第四 e minor seventh The fourth
学位是f大七 degree is a f major seventh
第五级是g The fifth degree is a g
占主导地位的第七第六 dominant seventh The sixth
学位是小七 degree is a a minor seventh
第七级是Be and the seventh degree is a Be
第七位减少了一半这 half diminished seventh This
为您提供所有七号山脉的状态 gives you the states of all the seventhord
在大规模上，因为所有 in a major scale and because all
主要的规模相对较小， majorales have a relative minor scale that
你可以拥有完全相同的笔记 you the exact same notesdes you can have
小音阶的七度 the seventhord of a minor scale by simply
从六度开始 starting from the sixth degree
因为这是相对较小规模的地方 because that's where relative minor scale
开始这些是 begins So these are
小调音阶的七度 the seventhord of a minor scale
您可以将笔记添加到上面 You can add the notes on top of that to
创造第九名第11名或第13名 create ninth 11 th or 13
这个和弦但可能已经有很多了 th chord but there may already be a lot of
信息我想谈谈 information and I would like to talk a bit about
如何真正使用这个和弦 how to actually use this chord to
创建我们的工作，名为Progressionion First create our work called progressationion First
打造一首音乐将建立一系列 to build a music will build a chain of
按一定顺序演奏的和弦 chord that will play in a certain order with
一定的节奏这是 a certain rhythm And this is
我们称之为代码的和弦链 this chain of chord that we call our code
进步并且有一定的规则 progression and there are certain rules
或倾向，而不是你 or tendencies rather that you
可以遵循来构建它们我实际上不真的 can follow to build them I actually don't really
喜欢称之为规则，因为 like to call them rules because
跟随他们并不是真正的义务 following them is not really an obligation
音乐理论还没有被建立为一种 Music theory hasn't been built as a
您必须遵守的一套严格的规则 rigid set of rules that you must follow
这是最先制作的音乐 It's the music that had been made first
然后我们试图找出原因 and then we try to find out why
某些事情正在起作用，而那些 certain things were working and those
然后由此推导出规则 rules were then deduced from that
这是乐趣的一部分 and it is part of the fun To try to
制作音乐时打破某些规则 break certain rules while making music
但追随他们的速度却更高 but following them in just a higher rate
成功所以我想最好知道 of success So I guess it's better to know
在试图打破规则之前先遵守规则 the rules before trying to break them It's
更好地了解你正在做什么来做到这一点 better to understand what you're doing to do it
无论如何更好所以每个和弦 better anyway So each chord of the
规模有一个数字，我们称之为 scale has a number that we call
与数字相关的程度 the degree that is related to the number
音阶中音符的比例 of the note in the scale
从那里您可以拼凑出一系列 From there you can put together a chain of
共同使用你的规模的呼叫 Co using the calls of the scale you're
使用和，因为所有呼叫都来自 using and as all the calls are from the
同样的音阶，同样的调性， same scale of the same tonality it
应该工作得很好 should work just fine
因此，当您使用与 So when you're using different codes from
音阶上有一定程度的调性 tonality some degrees in the scale
将以特定方式发送， will be sent in a particular way bringing
进程的不同颜色 different colors to the progression
有些会带来紧张，有些会带来其他 Some will bring tension and some other
将带来决议例如 will bring resolution For instance
第五道课程，称为 the course five which is called the
主导地位会造成紧张 dominance will create a tension
想要通过去解决的 that will want to be resolved by going
回到被叫的家庭卡 back to the called one the home card
这是因为第五个音符上的第一个音符 This is because the first note on the fifth
注意规模有特殊的 note of the scale have a special
关系他们非常 relationship They are very
如果家里的人值得关注 concernedant if the one in the home
你正在搜索四个，那么五个就像 you're searching Four then the five would be like
邻居家当你看到它时 the neighbor's home When you see it
你知道你快到了所以 you know you're almost there So the
第五度引起关注 fifth degree brings attention
第一级带来 and the first degree brings the
决议和这种紧张局势和 resolutionolutions and this tension and
决心是你想要的 resolutions are something you want to
经常玩，因为 play a lot with because
写音乐我想有点 writing music I guess is a bit
就像写对话你链条的一部分 like writing a dialogue Parts of your chains
ch代码或旋律衰落将是 of ch code or melodody decline would be
句子，会有问题和 sentences and there would be questions and
答案和假设以及 answers and suppositions and
有些称为进展，已被用作 some called progression that has been used a
很多已经变得非常 lot has become very
可识别且可以使用 recognizable and can be used
喜欢标点符号来建立我们的 like punctuation to build our
句子这些小电话 sentences These little call
进步被称为 progressions are called
节奏 cadences
五到五的进展 The progression that goes five to
一个叫正品 one is called the authentic
节奏它经常准备好 cadence It's often prepared
两个，所以完全真实的节奏 by a two so the full authentic cadence
将是251 would be 251
C小调中全是白色的 in c major which is all the white
键盘的键 keys of the keyboard That
使d小调g小调 makes d minor g major
c主修，这是最 c major and this is the most
决定性的节奏它起作用 conclusive cadence It acts
就像句子中的句号这是一个 like a full stop in a sentence It's a
好的CAD以结束歌曲为例 good CAD To end the song for example
这是非常决定性的，我们结束了 it's very conclusive and we finish
下定决心 with a big resolution
如果你的句子以五结尾 If your sentence ends on the five
经常对五个你 so often to five you
像完美的节奏一样准备，但你 prepare it like a perfect cadence But you
停在五号上，就像一个未完成的 stop on the five like an unfinished
你挂在空中的节奏 cadence you stay hanging in the air
这就是所谓的半节奏 This is called the half cadence
它有点像一个问题马克或 and it acts a bit like a question Mark or
昏迷它会创建一个句子， a coma It creates a sentence that
结束时需要一点注意， finishes on a little attention that
需要回答您也可以 needs to be answered You can also
准备真实的节奏，但不是 prepare an authentic cadence but instead of
进入第一级你会进入不同的 going to the first degree you go to a different
所谓的学位 degree that is called
欺骗性的节奏或 deceptive cadence or an
中断的节奏第一个和弦 interrupted cadence The chord of the first
度数通常被和弦取代 degree is often replaced by the chord of the
第六学位所以在c专业 sixth degree So in c major
会有d小调g there would be d minor g
主修小调 major a minor
这不是决定性的节奏 This is not a conclusive cadence
就像我们准备了句子的结尾 It's like we prepared the end of the sentence
但在最后一刻我们 but at the last moment we
持续更长一点欺骗性 continue for a bit longer The deceptive
节奏是打破 cadence is a great tool to break the
期望和另一个惊喜因素 Expectation and another element of surprise
改变句子的语气 to shift the mood of a sentence For
示例我们将在这里看到的最后一个节奏 example the last cadence we'll see here
是当进展从 is when the progression goes from
四比一这就是戏剧 four to one this is called the play
进球节奏这是决定性的 goal cadence This is a conclusive
听起来像是一个结束的节奏 cadence that will sound like the end of a
句子，但并不那么确凿 sentence but it's not as conclusive
作为正宗的五比一， as the authentic five to one it
例如，在摇滚音乐中经常使用 is used a lot in rock music for example
所以让我们尝试利用这个机会创作一首歌 so let's try to make a song by taking advantage
在所有这些节奏中 of all those cadences
好吧，让我们从随机选择一些代码开始 okay let's start by picking some code at random
激发我们的创造力 to kick start our creativity so between
107我们有 107 we have
42703酷那 42703 cool that
成为我们的主要代码进展，我会 be our main code progression and I'll
将其复制四遍，最后有四行 copy that four times to have four lines at the end
我将在每一行插入不同的节奏 of each line I'll insert the different cadences
吹口哨，所以在第一行，我会 whistle so on the first line i'llid the
7、三个人在同一个酒吧里要有空间 7 the three in the same bar to have room to
五块钱就结束了，那是我们的一半 finish on the five that's our half
第二行的节奏，我会重播 cadence on the second line I'll replay the
三乘四挤在同一根酒吧里 three by a 4 squeeze it in the same bar
然后七人有一些空间来完成 then the seven to have some room to finish on the
一个所以我们的四比一 one so we have a four to one that's our
第三线上的花花公子 playill cadens on the third line
我会准备一个中断的CAD，就像 I'll prepare an interrupted CAD just like
正宗的科隆我会把五个放在 Authentic colons I'll put the five at the
在线路的最后，所以它在第一个结束 very end of the line so it finishes on the first
下一行的一点听起来会更多 bit of the next line That will sound more
结论性的，除了我会落在六个 conclusive except that I'll land on the six
而不是下一个酒吧中的一个所以这是 instead of a one in the next bar So that's
我们最后一行被打断的Cadens我 our interrupted cadens for the last line I
我会做完全相同的事情，除了我会继续 would do exactly the same thing except that I'll l on
所以我们以正宗的方式结束 the one so we finish on nice authentic
最后一行我也 cadens in the last line I also
重播了2 the seven byio 5 the replayed the 2 the seven byio 5 the
四个人有那么美好的德斯 four to have that nice Des of
65430我们有 65430 there we have
我们的代码进度从四到七 our code progression with the four to seven
这将是我们进步的核心 that would be the core of our progression And
然后首先我们有一个半节奏，带来一点 then first we have a half cadence that bring a bit
暂停，然后是一种俏皮的节奏 of suspension then a playagueal cadence
这带来了一点决心然后我们有 that brings a little resolution Then we have
一种中断的口音，增加了一些运动 an interrupted cadant that adds some motion
那里有一点多样性，然后我们 with a bit of varietyity there and then we
以真实的节奏结束， finish on an authentic cadence that is more
这就是所谓的进展I conclusive for this called progression I
决定追求C的音调 decided to go for the tonity of c
小调，因为小调很酷，当你在 minor because minor is cool and when you are in
一个未成年的儿子你可以叫五个 a minor son you can make the five called
主要当准备节奏时，即使 major when the prepare a cadence even though
他们在这些音调上应该是次要的， they're supposed to be minor in these tonalities it
增加一些张力并制作这种节奏 adds some tension and make this cadences
更好的是，我会在 better I'll explain why more in details in the
下一个视频，但只是想让你知道我制作了这些 next video but just so you know I made these
最后两个五和弦大所以在c中 two last five chord major So in c
小调这是我们最终获得的核心进展 minor this is the core progression we end up with
用节奏演奏低音鼓 Play that with a rhythm Bass a drum
上面有一点旋律，这是 and a little melody on top and here is
这听起来可能是一种方式 one way this can sound
我们还可以玩任何五度 We can also play any of these fifth degree
七种主要形式的和弦可以添加 chords in their dominant seven form to add
一些紧张局势以及另一个原因 some tension And another reason why
这第五度与 this fifth degree creates tension with the
一级是因为 first degree is because of
法院本身是如何建造的 how the court itself is built
在c major的音阶中 In the scale of c major the
第五个记录是g fifth record which is g
用根节点g构建 is built with the root node g
大三分之一b和 the major third b and the
完美的第五个D这个 perfect fifth d this
notde b非常接近只是a notde b is very close just a
Summiton远离主音c summiton away from the tonic c
我们的规模和这个基本的 of our scale and this fundamental
在 have such a strong role in the
这个b想要攀登的规模 scale that this b wants to climb
这次小小的峰会 up this little summiton to
去奎宁这就是为什么它被称为 go to the tonic That's why it's called
主导基调，因为它创造了 the leading tone because it creates
这种摩擦通常会导致 this friction that generally leads
回到主音 to the tonic
如果我们看小调 If we look at the minor scale
就像未成年人一样 like a minor the fifth degree
应该是一个小代码 is supposed to be a minor code
正确的但是当你使用这个代码 right But when you use this code to
做一个节奏，从五到一 make a cadence so from five to one
在a小调中是e小调到a in a minor would be e minor to a
小调当你发出节奏时， minor When you make a cadence you
可以让拥有这个领导力变得重要 can make it major to have this leadingen
主音之下半生不熟的语气 tone of a half dead below the tonic
并将这种摩擦添加到您的代码中 and add this friction to your code
进行所以e和弦将引导 progression So the e chord would lead
更轻松地使用a和弦 more easily to the a chord Using
这种主导基调 this leading tone
事实上，任何主导和弦 In fact any dominant chord a
称为第五学位，正在准备 called a fifth degree that is preparing
a图案可以主要在 a Patterns can be made major in
任何调性 any tonality
所以在小调中它可以让你 So in a minor it allows you to
使用通常为g的节点 use the node g sharp that is normally
不在音阶中小调音阶 not in the scale The minor scale
正如我们到目前为止所看到的那样，实际上只是 as we've seen so far is actually only
我们的一种小规模 one kind of minor scale that we
称为自然小调 call the natural minor scale
这种玩少校的可能性 This possibility to play a major
对未成年人进行五度调查 call on a fifth degree on a minor
规模增添了另类音符 scale adds an altern note
这实际上创造了一个替代方案 and that actually creates an alternative
我们称之为小规模 minor scale that we call
和声小调音阶 harmonic minor scale
哈罗尼是几个的结合 harony is the combination of several
同时提出的条款 terms placed simultaneously
因此和弦这个和声 thus chord This harmonic
minorales让我们有一个主要的 minorales allows us to have a major
五度和弦和 chord on the fifth degree and
因此创造更好的真实性 therefore create better authentic
小调调性的节奏 cadence in a minor tonality
就像我们在视频中所做的那样 in the same way we did in the video about
规模我们可以将此规模移植到任何 scales We can transpose this scale to any
只要我们遵循 e tonality as long as we follow the
建立它的间隔序列所以 sequence of interval that build it So
建立它的间隔顺序 the sequence of interval that build it
是一个音调一个半音调一个 is one tone one semit tone one
音调一音调一半音调 tone one tone one semit tone
一音半 one tone and a half one semit
这个音阶的音调很棒 Tone this scale is great
和谐但旋律优美 harmonically but melodically
这一吨半之间的 this one ton and a half between the
第六和第七个音符是相当的 sixth and the seventh note is quite
一个很大的差距，使一个伟大的旋律 a big gap as to make a great melody
较小的答案通常是优选的， small answerars are often preferred and
这让作曲家们很困扰 this bothered composers enough for them
创造第三小调音阶 to create a third minor scale by
半音阶升六音 raising the six note byio semititar
6和7之间的差距 the gap between the 6 the seven
笔记本箱现在减少到一个 notesdes bin now reach reduced to one
语气这就是我们所说的 tone This is what we call the
旋律小调音阶和 melodic minor scale and the
定义它的间隔序列 sequence of interval that defines it
是一个音调一个半音调 is one tone one semit tone
一声一声 one tone one tone one tone
一音一半音 one tone one semiton
事实上，这个旋律小调 in fact this melodic minor scale
就像大调音阶 is just like the major scale
除了第三个是次要的 except the third is minor
方便的是，当您使用 The handy thing is that when you're using a
你可以选择一个小的音调 minor tonality you can rather
自由利用自然 freely use the natural
和声和旋律小调音阶 harmonic and melodic minor scales
同时取决于上下文 at the same time depending on the context
主要利用自然规模然后 mainly using the natural scale then
在CAD中使用谐波标度 using the harmonic scale for CAD ders
和旋律音阶 and the melodic scale for certain melodic
可以使小调 movements which can make the minor
充满可能性的汽车 automomalities very rich in possibilities
所以当我们演奏五度和弦时 So when we play a chord of fifth degree
第三个会造成紧张 the third will create tension
我们可以强调这种张力 and we can emphasite this tension
通过将ch代码设为第七 by making the ch code a seventh
chord对于g ch代码来说，它将 chord For a g ch code it will
变成G B D F become G B D F
b和f之间的间隔 the interval between the b and the f
这是减少的五分之一 here is a diminished fifth
这是非常不和谐的 and this is very dissonant
这种摩擦的不和谐 this dissonance as to the friction
由主导基调制作而成 created by the leading tone making
它更强大这个 it even more powerful This
第三个主要配置是 configuration a major third were the
完美的五分之一和负的七分之一 perfect fifth and a minus seventh
被称为主导第七和弦 is called a dominant seventh chord
因为我们经常使用的和弦类型 because that the type of chord we often use
关于待解决的主和弦 on a dominant chord to be resolved
在主音上 on the tonic
使用相同的逻辑，您还可以 Using the same logic you can also
使用这个占主导地位的第七代码 use this dominant seventh code on
任何规模的任何五度，如果它是 any fifth degree of any scale if it's
准备节奏这样我就可以 preparing a cadence So I can
通过以下操作来解决七国集团代码 resolve the g seven code by going
改为c小调而不是c小调 to c minor instead of c major
或者我可以用e七和弦 or I can use an e seven chord
解决一个主要的 to resolve on either a major
或小调和弦 or a minor chord
或者我可以用d七去 Or I can use a d seven to go to
a d小调或d小调 either a d major or d minor
这些主导牌和主导牌第七 These dominant cards and dominant seventh
汽车在许多方面非常有用 cars are very useful in many
情况但在我们得到之前 situations But before we get
在下一个视频中我将解释一下 there in the next video I'll explain a bit
更多关于这个第五圈的信息，这是一个 more about this circle of fifth which is one
作曲家可以使用的更强大的工具 of the more powerful tool a composer can
有这个数字称为圆圈 have This figure is called the circle
第五名，因为它表明 of fifth because it shows
从第五到第一的所有节点 all the nodes going from fifth to
第五个所以这里是第五个 fifth So here the fifth
c的是g，第五个 of c is g and the fifth
g是d是第五个 of g is d is the fifth
的d是 of d is a
等等，所有音符都排列好了 etcetera As all the notes are are arranged
到了第五个我们可以很容易地看到 by fifth We can easily see what the
每个节点的五分之一， fifth of each node by going clockwise on
但正如第四个圆圈一样， the circle But as the fourth is
在主音下的第五音， the fifth below the tonic we can
也快看看第四个 also quickly see what the fourth of
逆时针方向移动其节点 its node by going anti clockwise on
圆圈那么第四个 the circle So the fourth
g是c第四 of g is c the fourth
c的是f的第四个 of c is f the fourth of
f是降b等等 f is b flat and so on
等等 so forth
但这个圆圈所代表的不仅仅是音符 But more than notes this circle represent
音调和这个圈子呼叫允许 tonalities and this circle Call allows
您要快速知道哪些音符在里面 you to quickly know which notes are in
每个音调 each tonality The
C小调的调性处于 tonality of c major that is at the
顶部仅由自然音符制成 top is made of only natural notes
这意味着它是所有的白键 which means that it's all the white keys on the
钢琴键盘然后所有 piano keyboard Then all the
圆圈右侧的调性 tonality that are on the right side of the circle
其中都会有尖锐的音符每个 will have sharp notes in them Each
提示您顺时针移动会添加一个 tip you go clockwise will add one
尖锐的音符和尖锐的音符 sharp notes and the sharp notes
按照F的顺序出现 appears in that order F
C G D A E C G D A E
B，因为我记住了 B as I'm mnemonic to remember
它写在圆圈上 it It's written there on the circle
从f到b所以 from f to b so
g大音阶以g开头 the g major scale begins with a g
我们会有一个尖锐的音符 and we'll have one sharp note
这将是f级 which will be f sharp
所以g大音阶是G So the g major scale is G
A B C D E A B C D E
升F D小调 F sharp The d major
音阶以d开头，我们将 scale begins with a d and we'll
有两个尖锐的音符， have two sharp notes which are
f和c所以 f and c so
那是D E F整 that's D E F sharp
G A B C尖锐 G A B C sharp
最后一个例子b major one last example The b major
音阶将有五个尖锐的音符， scale will have five sharp notes which
是f升c升 are f sharp c sharp
g锋利d锋利和a锋利 g sharp d sharp and a sharp
所以b大音阶是b D So the b major scale is b D
c尖d尖e c sharp d sharp e
f尖锐g尖锐a尖锐 f sharp g sharp a sharp
然后左手的所有调性 then all the tonality on the left hand
圆圈的一侧将有平音 side of the circle will have flat notes in
他们各自的原则相同 them same principle each
逆时针迈出的台阶是平坦的 step you got anti clockwise are the flat
比例和平面笔记中的节点 nodes in the scale and the flat notesdes
按照该顺序出现B E appear in that order B E
A D G C F A D G C F
这是完全相反的顺序 which is the exact opposite order
尖锐音符的出现 of the appearance of the sharp notes
所以f小调的音阶有 So the scale of f major have
一个单位音符是b one flat notes which is b
所以f大调音阶 flat So the f major scale
是F G A is F G A
B平C D E B flat C D E
降B小调的规模 the scale of b flat major has
两个降b音 two flat notes which are b flat
降e所以降b and e flat So the b flat
主要音阶为b平C major scale is b flat C
D E平f ga D E flat f ga
最后一个例子 one last example The scale of
平调专业有全平调 a flat major has full flat
降b降e降音的音符 notes which are b flat e flat
a单位和d单位所以 a flat and d flat So
扁平的大音阶是 the a flat major scale is a
公寓B公寓C D flat b flat c d
平e平f g flat e flat f g
你还记得我说过这句话吗 do you remember when I said this
人物作为一个非常有用的 figure can come in very handy as a
参考，它绝对应该在 reference and it should definitely be on the
切，如果你需要的话，看看这个 Che See it if you need one this is
它很方便，因为知道这些 where it comes handy because knowing these
C大音阶的代码允许我们 codes of the c major scales allows us
将它们运送到我们刚刚发现的规模 to transport them to the scales we just found
在第五圈我们知道第一个 in the circle of fifth we know the first
代码将是第二个主要的， code will be major the second and
第三度将是轻微的 the third degrees would be minor
第四度和第五度 the fourth and the fifth degrees would
主修第六小调， be major the sixth minor and
第七个减弱了所以 the seventh diminished So
这些是您可以在 these are the codes you can use in the
平调小调的调性 tonality of a flat major
例如，就像你一样 For instance in the same way you
可以找到所有主要的所有代码 can find all the codes of all the major
圆圈周围的音调 tonalities around the circle
现在看看这个第五圈 Now looking at this circle of fifth
您应该能够找到笔记 you should be able to find the notes
任何大规模的，但它 of any major scale but it
不止于此正如《 doesn't stop there As said in the
有关每个专业规模的视频 video about scales every major
规模有一个相对较小的 scale has a relative minor
音阶这是一个次要的调性 scale This is a minor tonality
将使用完全相同的音符 that will use exactly the same notes
比其相对相对主要规模 than its relative relative major scale The
c小调的相对小调 relative minor of c major
是未成年人例如 is a minor For example
从那里你可以写所有小调 from there you can write all the minor
圆圈上的调性 tonalities on the circle as they are
所有这些都与一个大规模有关所以 all related to a major scale So
就像我们为少校所做的那样 in the same way that we did for the major
你可以找到所有的音调 tonalities you can find all the
所有小规模的节点 nodes for all the minor scale
例如c小调音阶 For example the c minor scale
有三个单位笔记 has three flat notesdes
它们是V型平E型平的， which are v flat e flat and
A调平所以c小调 a flat So the c minor
规模为C D E平 scale is C D E flat
F G A平b F G A flat b
平调和升c小调音阶 flat and the c sharp minor scale
有四个尖锐的音符， has four sharp notes which
是f升c升g are f sharp c sharp g
升和升d所以c sharp and d sharp So the c
升小调音阶是升c sharp minor scale is c sharp
d尖锐e f尖锐 d sharp e f sharp
g尖a b g sharp a b
就像我们对待少校一样 and in the same way we did with the major
您可以了解每个Co的音调 tonalities you can know each Co
每一小吨我们 of each minor ton We
知道小调使用相同的 know that a minor scale uses the same
注意到比C小调，所以 notesdes than the c major scale so
它也使用相同的代码，除了 it also uses the same codes except
规模从a所以开始 the scale starts on the a so
这些是a小调的代码 these are the codes of the a minor scale
我们可以将它们运送到E and we can transport them to an e
调性第一级是次要的 tonality The first degree is minor
第二个减少了第三个 the second is diminished the third
学位是主要的第四和 degree is major the fourth and the
第五或小调和第六和 fifth or minor and the sixth and
第七学位是主要的 seventh degrees are major
例如，这些是您可以使用的代码 These for instance are the codes you can use
升c小调调性 in a c sharp minor tonality
所以现在我们有了所有的音调 So now we have all the tonalities around
圆圈，我们可以很快找到 the circle and we can quickly find the
为他们每个人都写了笔记它还 notesdes for each of them It also
反过来你可以找到 worked the other way around You can find the
你所处的音调来自你所处的节点 tonality you are in from the nodes you have in
旋律如果你有一首旋律，所有的 a melody If you have a melody where all the
f是尖锐的，所有其他节点都是 f's are sharp and all the other nodes are
很自然，你可能是g小调 natural you're probably in g major
或e小调如果所有的bes和 or e minor If all the bes and
你可能是平底鞋 the es are flats you're probably
降b小调或g小调 in b flat major or g minor
这个圆圈的排列方式是分组的 The way this circle is arranged it groups
与男性相似C similar to malities together C
Major接近g Major major is close to g major
因为只有一个音符或者更确切地说是一个音符 because only one notes or rather one
改变将他们分开 alteration separate them
这个制作起来非常方便 This comes very handy to make
要从一个切换的调制 modulations to switch From a
与另一个人的音调，因为 tonality to another because the
单音与调性有共同点 monos to tonality have in common
就越容易从 the easier it is to modulate from
从c小调一个到另一个 one to the other from c major
例如它应该很容易 For instance it should be very easy
过渡到未成年人 to make a transition to a minor
由于所有的音符都是共同的， as all the notes are in common It
去g应该也很容易 should also be quite easy to go to g
Major a小调f Major major a minor f major
或d小调，因为他们都有 or d minor as they all have
只有一个音符或一个修改 only one notes or one alteration
与c major不同这些 that differ from c major These
接近C小调的调性 tonalities that are close to c major
或称其邻近的鳞片 or call its adjacent scales
和相邻音阶的调制 and modulations to an adjacent scale
总是更平滑， is always smoother and it would
更难实现转型 be more difficult to make a transition
在c大调和升f大调之间 between c major and f sharp
距离很远的专业 major which is very far on the
圆圈，因为它们有很多变化 circle as they have a lot of alteration
将它们分开所以当你 that separate them So when you are
希望对 looking to do a modulation the
第五圈非常方便 circle of fifth can be very handy
了解你音调的邻里术语 to know the neighboral terms of your tonality
知道哪种调性更容易 to know which tonality would be easier
并实现更平稳的过渡 and make a smoother transition
所以如果你是b小调， So if you are in b minor the
相邻的音阶将是d大的 adjacent scales would be d major
e小调d小调 e minor d major
f sh小调和a Major f sh minor and a major
同样，你也可以找到任何 and in the same way you could find any
任何相邻规模 adjacent scale for any
现在我意识到我还没有说话 And now I realize I haven't talked
清楚地了解如何进行这些调制 clearly about how to make these modulations
这就是我们将在 So that is what we'll talk about in the
下一个视频在上一集中，我们 next video In the last episode we
讨论了终止和属音 talked about cadensences and dominant
基本上就是说 codes basically saying that a code of
五度自然创造了一个 fifth degree naturally creates a
紧张局势，希望通过一个代码来解决， tension that wants to be resolved by a code of
一级还说 the first degree and also saying
这个五级代码可以是主要的 that this code of fifth degree can be major
在音调上我们可以 in tonalities And we can
通过以下方式更加强调这种紧张关系 emphasize this tension even more by
使这个五度和弦成为主导和弦 making this fifth degree chord a dominant
带有大三度和大三度的第七和弦 seventh chord with a major third and a
负七例如g七 minus seventh For example g seven
这是带负的g大和弦 which is a g major chord with minus
第七个是一个很棒的代码 seventh is a great code to go to
C小调或C小调 either c major or c minor
因为g是c的五分之一 because g is the fifth of c
我们可以用它来制造 and we can use that to make
两个之间的平稳过渡 smooth transitions between two
使用g七的音调 tonalities using g seven
核心将在c major和 core to switch between c major and
c小调例如从a切换 c minor For instance switching from a
另一个音调被称为 tonality to another is called the
但请记住， modulation But remember that the
更接近于音调或 closer to tonities or on the circle of
第五，过渡越平稳 fifth the smoother the transition
所以c小调和c小调之间的过渡 So the transition between c major and c
小中国，但仍然很有可能 minor China while being still very possible
不会像过渡那么顺利 will not be as smooth as a transition
在其邻近的c大1之间 between c major 1 of its adjacent
规模，那是因为c之间 scales and that is because between c
Major和c小调有更多的节点 major and c minor there are a lot more nodes
不同的是更多的加速度 that are different a lot more accelerationsions
这将使变化更加剧烈 that would make the change more drastic
所以假设我们在C小调并且我们有这个 So say we're in c major and we have this
称为C专业进展 called progression c major
小调f小调，然后 a minor f major and then
我们想调整到d小调来得到这个 we want to modulate to d minor to have this
称为d小调进行 called progression of d minor
b降小调d小调 b flat major d minor
我们可以通过以下方式使过渡更加顺利 We can make the transition smoother by
就在之前添加了a7课程 adding the a seven course just before
d小调a是第五个 the d minor a being the fifth of
D d
以同样的方式我们可以使用 And in the same way we could use
c七句引言如果我们愿意 c seven quotes If we want to
修f小调或d七 go to a f major or a d seven
例如，如果我们想攻读d专业 if we want to go to d major for example
正宗的0送张力a the authentic 0 send the tension a
主导课程创建真的很方便 dominant course creates is really handy
宣布我们的工作将走向何方 to announce where we are going with our work called
因此要进行调制 progression and therefore to do modulation
当然，在音乐中，你不必 Of course in music you don't have to
总是遵守这些规则 always follow all these rules
严格来说，如果感觉到 strictly in music If it feels
对，这是对的，这是你的音乐 right it is right it's your music
而不是使用运动节奏来做 Instead of using the Athletic cadence to do a
您可以利用的调制 modulation you could take advantage of
其他节奏，比如扮演女孩 other cadences like the play girl
例如，四比一但也有 four to one for example But there are
让两人之间保持平稳的其他方法 other ways to make smooth conditions between two
音调之一是 tonalities one of them is the
调和序列A序列 harmonic sequence A sequence
是一种重复自身的模式 is a pattern that repe itself
每次迭代都会抵消 with each iteration offset by a
通常为一个特定的间隔 certain interval usually in one
方向图案可以是 direction The pattern can be
旋律构成旋律序列 melodic which makes a melodic sequence
或者该模式可以称为 or the pattern can be called which
形成和声序列这些 makes a harmonic sequence These
序列可以是音调序列 sequences can be tonal sequences
这意味着它们都绑定在一个 which means that they're all bound to one
调性在这种情况下， tonality In this case all
间隔不会 the intervals will not be
严格相同且所有 strictly the same and all the
坚果使用了所有鳞片的结 nuts used all the knots of the scales of
他们注定要达到的音调 that tonality they are bound to
所有这些序列都可能是真实的 all these sequences can be real
这意味着每个图案都是 which means that each pattern is an
第一个的精确调换 exact transposition of the first one
在这种情况下，序列将使用注释 in this case the sequence will use notes
它们不在我们一开始的规模内 that are not in the scales we started with
所以我们可以用它来制作我们的 so we can use that to make our
调制那么让我们做一个 modulations So let's make one
这些真实序列的三个步骤 of these real sequences in three steps So
第一步创建图案或 step one create a pattern or a
和弦我选大调 chord I'll takey major
第二步选择一个间隔， step two choose an interval and a
最多选择的方向可能是 direction the most choose is probably
降五度，所以我把这个 the descending fifth So I'll take this one for
但上升第五， the example but ascending fifth and
下降第三名也相当常见 descending third also rather common
第三步复制你的模式 and step three copy your patterns
遵循方向和间隔 following the direction and the intervals of
您的选择所以在我的例子中 your choice So here in my example
这将使c major f major that would make c major f major
b降大调e降大调 b flat major e flat major
所以我从c major转学了 So there I moved from c major
到这个特别的降音阶 to e flat major this particular
例子特别有效 Example works particularly well
因为从第五名到第五名 because by going down from fifth to fifth
我们沿着第五个相邻的圆圈 we follow the circle of fifth adjacent
按比例缩放到相邻比例每列 scales to adjacent scales each column
是以下的主和弦 being the dominant chord of the following
这与 And this is kind of the same technique than
使用主和弦但延伸 using the dominant chords but extended
通过几个步骤才能更进一步 to several steps to reach a further
调性这就像一个 tonality This is just like a
一系列真实的节奏 series of authentic cadences
同样，如果我们选择制作一个序列 and in the same way if we choose to make a sequence
上升第五名将是 with ascendic fifth that would be
就像一系列单调的节奏 like a series of plagal cadences
因为每个代码都是第四个 because each code would then be the fourth
下一个你可以的程度 degree of the next one you can
还进行另一种调制，那就是 also make another kind of modulation that is
彩色的意思是去 chromatic that means by going
一次峰会上或下 up or down one summiton
这通常用于增加兴趣 this is often used to add interest to a
旋律这种类型的调制是 melody This type of modulation is
这是一个相当激烈的举动， rather drastic as moving up or
从一个半导体上跳下去 down a semiton would be quite a long jump
在第五圈，这个 on the circle of fifth And this
调制类型并不总是使用 type of modulation don't always use a
transition code因为 transition code Because this
音调的变化如此剧烈 change of tonality can be so drastic
它往往是决定性的，这意味着 it is often definitive This means
如果你把整个音调上下移动 if you move a whole tonality up or down a
semiton这不是回到原来的 semiton this is not to go back to the original
顿之后 ton right after
在那些之外的人身上的意外 accidentals on those that are outside of
我们正在使用的调性可以 the tonality we are using which can
是增加一些紧张感的好方法 be a good Way to add some tension to
我们的和谐和旋律以及 our harmony and melodies and
添加不同的口味和情感 add different flavors and emotions
实施的好方法 A good way to implement an
偶然的是使用主导路线 accidental is to use dominant course
就像我们在 again just like we use them in the
之前关于调制的视频 previous video about modulations Taking
充分利用真实的节奏 advantage of the authentic cadence you can
暂时将您的任何代码视为 momentarily consider any of your code as
一级，这样你就可以玩它的 a first degree so you can play its
就在它之前第五度，所以它会使 fifth degree just before it so it would make
五比一的美丽进展 a beautiful five to one progression
例如，我们是c小调，那是 For example we are in c major that's
键盘上的所有白键，我们有 all the white keys on the keyboard and we have
这称为进行C major a this called progression c major a
小调d小调g小调 minor d minor g major
那么有那么一刻我可以 Then for a moment I can
考虑到这些电话中的任何一个 consider any of these calls say
d minister就像我一样 the d minorer as the one I
可以在之前添加自己的第五级 can add its own fifth degree just before
它是一个专业甚至 it which is a major or even
七这是第五个 a seven this is the fifth
d分钟量表的程度，然后 degree of the d minorer scale and then
结束后我可以继续 after my d minorer I can go on with the
我以前读过的c小调 tonality of c major I was in before
我不必坚持d的调性 I don't have to stick with the tonality of d
minminminster之后d minster是 minorer after that d minorer being the
我的第二度调性 second degree of my tonality
a七骗局就这样了 The a seven con is then Of
五是 five of two it's the
五度婚姻来自 fifth degree borroweded from the
二度D调性 tonality of the second degree d
轻微 minor
此借用允许您添加 This borrowing allows you to add
一些原件中没有的注释 some notes that are not in the original
音调你正在用这个 tonality You're using this
七码是由音符组成的 a seven code is made of the notes
a c整e和g a c sharp e and g
看到这里我们正在使用C正的节点 see there we're using the nodes c sharp
通常不在c小调中 that is not normally in the c major
规模所以这些 scale So these kind of
添加借款超级酷 borrowings are super cool to add
核心进步的偶然因素 accidentals to your core progression
并且您可以添加任何第五度 and you can add the fifth degree of any of
你的学位是两个五个五个或者 your degrees the five of two five or
三个五个或四个允许 three five or 4 that allows
你会使用很多不应该的笔记 you to use a lot of notesdes that are not supposed
处于你正在使用的音调中 to be in the tonality you're using
但你可以做更多你也可以 but you can do more You can also
借用平行电话 borrow a call from a parallel
调性平行 tonality parallel
音调或主要或 tonities or the major or
同一钥匙的小变性 minorotonality of the same key
所以c小调是平行的 So c major is parallel
到c小调D主修是 to c minor D major is
平行于d小调所以在 parallel to d minor So at
任何你可以替换的术语 any terms you could replace any
大调音阶的等度 degree of the major scale by its equivalence
例如， of its minor scale For example
在c小调中我们可以取代Any in c major we could replace Any
c major音阶的代码 code of the c major scale by
相当于c小调 an equivalent called of the c minor
比例，因此在这种情况下是c小调 scale so in this case the c major
可以变成c小调 could become a c minor The
d小调可以变成d d minor could become a d
减弱e小调和弦 diminished the e minor chord
可以成为降E大调 could become a e flat major
在这种情况下，然后标记第三度 In this case the third degree is then noted
因为e变成了一个平三 at a flat three because the e became an
e降音，然后f小调可以 e flat and then the f major could
成为f小调g小调可以 become an f minor The g major could
成为g小调a小调 become a g minor the a minor
可以成为一名平淡的专业 could become a flat major
那么六度就可以平记 then the sixth degree can be noted flat
六楼变成了公寓 six at the a became a flat
a和b减少可能成为 a and the b diminished could become
降b小调和相同 a b flat major and same
在那里可以注意到是七号楼 there It could be noted flat seven
因为b变成了降b because the b became a b flat
注意主要的ch卡如何 note Note how the major ch cards are
用大写字母和次要原因写成 written with upper cases and the minor cause
是用罗马的大小写写成的 are written with the lower cases with the Roman
数字只是稍微简单一点 numerals It's just a bit more simple
说出哪些原因是主要原因以及哪些原因 to say which cause are major and which
同样，如果 cause are minor in the same way if
你来自一个次要的音调，让我们 you come from a minor tonality let's
说一个未成年人把Releieve拿下来 say a minor to take the rel releaseive off
c major所以都是白键 c major so it's all the white keys
那么a小调和弦再次可以 again then the a minor chord could
成为主要的b d形象 become a major the b d image
可以成为b小调c小调 could become a b minor the c major
和弦可能会变成A c chord could become A c sharp
被标记为尖锐的小调 minor which is noted sharp
三人在cb Chem a c three at the cb Chem a c
尖锐的d小调可能会变成d小调 sharp the d minor could become a d major
e小调可能会变成e小调 the e minor could become an e major
f主要削减可能会变成f The f major cut could become an f
被记为尖锐的尖锐小调 sharp minor which is noted sharp
6因为f变成了f six because the f became an f
然后G大调可以 sharp and then the g major could
变g为减g， become a g sharp diminished and the
七度被标记为尖锐 seventh degree is noted sharp
七无论是o，也就是 seven whether it's a o which is
随着g变成g而减少 diminished as the g became a g
尖锐的音符以及这些尖锐的音符 sharp note as well as these sharp
六和七也是 sixs and sharp seven are also
在旋律小调音阶中可能是 possible in the melodic minor scale as
旋律也是小调 the melodic a minor scale also
里面有f和g have a f sharp and a g sharp in it
但因为c保持自然 but because the c stays natural
锋利的棍棒会减少 the sharp sticks would be diminished
在这种情况下 in this case
所以用另一个和弦替换一个呼叫被称为 So replacing a call by another chord is called
一个替代品，你可以替换 a substitution and you can replace
一个和弦，通过它的平行等价 a chord by its equivalence of the parallel
但你也可以用 tonality but you can also do that with
任何模式假设你是c大调 any mode So let's say you're in c major You
可以取代c小调的e和弦 could replace the e chord of the c major
按比例缩放 scale by the eord of the scale
c多里安或c of c dorian or c
例如frrygian但你可以 frrygian for example But you can
还进行其他类型的替换， also make other types of substitutions and
一切都回到了真正的节奏 it all comes back to the authentic cadence
你又知道什么时候五度度假村 again you know when Fifth degree resort
我说你可以一级 to first degree I said you could make
这个第五级被称为主导的七级 this fifth degree called the dominant seventhord
为了缓解 to emphasit the tension between the
5那个 5 the one
但你也可以改变这个第五度 but you could also alter this fifth degree
在其他几个方面你 in several other ways You
可以使其成为减少的第七次呼吁 can make it a diminished seventh call for
这将带来新的例子 example which will bring a new
风味到你所谓的进展所以 flavor to your called progression So
在c小调中，真正的手杖会 in c major the authentic cadons would
从g 7到c go from g seven to c
构成七国集团和弦的音符 the notes that build the g seven chord
或G B D和f or G B D and f
如果你把它变成g减七 if you make it a g diminished seventh
和弦它将变成g b chord it will become g b
单位d单位和f flat d flat and f
平面，即节点e和键盘 flat which is the node e and the keyboard
所以您正在使用节点b平面 So there you are using the node b flat
和d单位不在c中 and d flat that are not in the c
大调音阶 major scale
但你也可以做出这个五度ch but you could also make this five degree ch
Co一个增强代码所以在 Co an augmented code So in
在这种情况下，g增强代码将是 this case the g augmented code would be
由g b和d组成 made of g b and d
夏普，然后添加了一个升d sharp and there you're adding a d sharp
那不是C大音阶 that is not in the c major scale
改变第五种的第三种方法 A third way of altering the fifth
学位呼叫将使用三到 degree calls would be to use a three to
X替代提托尼克 X Substitution teitonic
意味着三个被禁止的术语 means three terms which was a forbidden
中年时期的间隔期 interval in the middle age as it is
它甚至被称为非常淡化 very desalant it was even called
魔鬼的间隔只是为了给你一个 the devil's interval just to give you an
无论如何，任何想法都是如此三音 idea any anyway So tritonic
替代品被大量使用 substitution is used a lot in
例如爵士乐基本上你取代了 jazz for example Basically you replace
第五个的主导七个顺序 the dominant seventhord of your fifth
由占主导地位的第七位 degree by the dominant seventhord
三个一个三个一个 a triton away so threeones
更高或更低So in c higher or lower So in c
少校你可以取代g七ord major you can replace the g sevenord
由你的D降七和弦 by your d flat sevenord
如果你可以向上三个一 If you can threeones upwards on
从g开始你会掉到降d from g you'll fall on a d flat
在这两种情况下，所以d降 in both ways So the d flat
第七个代码将由d组成 seventh code would be made of d
单位f单位和c flat f a flat and c
平调，与b的音符相同 flat which is the same note of b on the
键盘这些代码将使用 keyboard So these code would use
节点d平坦和a the nodes d flat and a
不属于C大音阶的单位 flat that are not in the c major scale
这种三角替代有效 This trionic substitution works
当您使用完整的 particularly well when you use the full
正宗的Cadens 251 authentic cadens 251
因为它会变成两个平的 as it will become two flat
两个一让你的基地做 two one allowing your base to do
chrom下降听起来会 a chrom descent That will sound
令人惊讶的是，如果是真实的 amazing if the authentic
cadens相当于Full cadens is the equivalent of a Full
停在一句话里，这些 stop in a sentence and these
替代为您提供了更多选择 substitutions give you a lot more option
完成你的音乐句子 to finish your musical sentences
所以所有这些意外都可以是一件好事 so all these accidentals can be a good
添加不同风味的方法 way to add different flavor to
回忆进展这是12 recall progressions This is the 12
五分钟后第二集乐理，我们 th episode of music theory in five minutes and we
将看到六个特殊电话和原因 will see six special calls and cause
比特殊情况下的进步可以 progression than in special contexts can
佩戴特殊名字第一 wear special names number one
拿破仑在第六节我们不能 the napolit it on sixth we cannot
上一集就已经缝好了 of sew it already in the previous episode
关于替代它或多或少是 about substitution it is more or less
与tryitonic替代相同 the same thing that a tryitonic substitution
当您正在制作真正的Cadens时， when you arere making an authentic cadens which
是一个从代码开始的进步 is a progression that goes from the code of the
第五级代码的第一级 fifth degree to the code of the first
学位然后您可以替换 degree You can then replace the code of the
第五度由triton代码 fifth degree by the code that is a triton
或上面或下面的三个术语 or three terms above or below
无论是专业还是 in either major or
肌张力你最终应该会有 myonality You should end up with a
第一条和第二条之间的曲线 curve that is between the first and the second
度所以我们可以注意到平二 degree So we can note that flat two
那么如果这辆新车的最低音符是 then if this new car's lowest note is
它的第三个那么我们称之为 its third then we call it an
拿破仑六号让我们看看 napolitlyon sixth Let's see
一个例子，可以更清晰地看到这一点，我们称之为它 an example to see that cleararer and where we call that
C小调第六名 a sixth in c major
同样，这是钢琴上所有的白键 Again that's all the white keys on the piano
键盘第五级将 keyboards The fifth degree would
成为g少校， be a g major and the
那时，第一学位将是BAT专业 first degree would BAC major then
如果你运输这个50度三吨 if you transport this 50 degree three tons
上面将变成D降 above it will become a d flat
主要代码和运输时一样 major code and it the same if you transport
三吨以下的g大代码 the g major code three tons below
现在我们需要把第三个 Now we need to put the third of this
d底部的降大 d flat major at the base
所以我会把这个d调高一个八度 So I'll move this d flat up an octave
所以第三个f成为最低的 so the third f become the lowest
节点 node
这种音符组合d单位 This combination of notes d flat
f和单位仍然是a f and a flat will still be a
d平和弦但这种配置 d flat chord but this configuration
可以被视为带有三分之一的f can be seen as a f with a third
一个单位和一个六个单位 a flat and a sixth d flat
所以这可能是f六和弦 So this could be a f sixth chord
这是降d调的第一次倒置 which is the first inversion of d flat
这就是为什么我们称之为 major and that is why we call that an
第六届那不勒斯 napolitan sixth napolitan
因为用降音代替五度 because replacing the fifth degree by a flat
两个这样被大量使用 two in this way was used a lot by the
新石器学校聚集了很多 neolitan school which gathered a lot of its
意大利歌剧作曲家 composers of the Italian opera in the
18世纪主要密码 18 th century The major code
在这个flatau上也可以用于根 on this flatau can also be used in root
位置或座位倒置 position orseon inversion That
意味着根音符位于底部或与 means where the root notede at the base or with the
我们可以称之为基地第五 fifth at the base we can then call it
阿纳波利托利坦和弦 anapolitolittan chord The
拿破仑六和弦 napolitolittan chord orapolitolitton six
也经常用来去 is also very often used to go
到五度，然后到一度 to the Fifth degree and then to the first
度它就占据了功能 degree It then occupies the function
是一个subd主导的，它也是 of a subd dominant and it is also as
它是一个subd主导替代品 a subd dominant substitution that it is
大多数时候都描述过 described most of the time
第二名皮卡迪第三名 Number two the picardi third
它也被称为皮卡迪克节奏 it's also called a picardic cadence
这种情况只发生在少数民族地区 It happens only in minoronalities
或者在某些模式中，第一级是a or in some modes where the first degree is a
小调皮卡迪克节奏是一种 minorord The picardic cadence is an
决定性节奏的改变 alteration of a conclusive cadence
出现在整个部分的结尾 that appears at the end of a whole section
或者在音乐结束时 or at the end of a music It is when
你替换最后的第一个学位，然后 you replace the last first degree that then
应该是小调和弦 should be minor by a major chord
你可以通过阅读这个和弦的第三个来做到这一点 You do that by reading the third of this chord by
半导体，这就是我们称之为“半导体”的原因 a semiton and that's why we call it
皮卡德第三起源 the picard third the origin
皮卡丁的名字是 of picardin the name is
未知，但我们经常相信 unknown but we often give the credit to
jeanj jac cro在他的作品中定义了它 jeanj jac cro who defines it in his
音乐词典就是在那里 dictionary of music That's where
他说这种结束音乐的方式 he said that this way of concluding a music
在宗教音乐中生存的时间更长 survived longer in religious music
北部地区的皮卡西地区更多 and more in piccasi a northern region
当法国有音乐时 of France when there was music in
很多大教堂和教堂 a lot of cathedrals and churches
这种皮卡迪思想给人一种幸福的感觉 This picadi thought gives a feel of happy
以小调歌曲的结尾结束 ending at the end of a song that is in minor
甚至被认为更 and was even perceived as being more
决定性的它可能发生在 conclusive It could occur in an
正宗的Cadens，但也在游戏中 authentic cadens but also in a playagal
节奏也是决定性的 cadence which is conclusive as well
第三名福安·卡登斯 Number three the fouan cadens
来自加布里埃尔·福伊（Gabriel fouy） from Gabriel fouy The fouran
Cadens是半场的一种特殊形式 cadens is a special form of the half
节奏，即音乐句子 cadence which is the musical sentence
达到五级 that finishes on the degree five
半节奏不是决定性的 the half cadence is not a conclusive
节奏，通常是用第一个准备好的 cadence and it's often prepared with the first
度和弦所以我们有进行 degree chord So we have the progression
确切的一到五 of one to five the exact
与真正的节奏相反 opposite of an authentic cadence and that
赋予它悬浮的感觉这些 emplacess it the feeling of suspension that these
提供节奏所以在c小调 cadence provide So in c major
这些半节奏可能是c小调 these half cadence could be c major
到g专业现在 to g major Now the
外国节奏是一个特殊的版本 foreign cadence is a particular version
它的名字叫加布里埃尔 of that and it has the name of Gabriel
因为他经常用这个 fou because he used this a lot
基本上你取代了这个第一级 Basically you replace this first degree
到了你的第四个学位你就在它的 by your fourth degree You play it in its
占主导地位的第七形式，你把第五形式 dominant seventh form and you put the fifth
基地的电话让我们打破它 of that call at the base Let's break it
向下，所以我们仍然是c小调，所以我们会 down so we're still in c major so we will
陷入了G大骗局，这是我们的第五个 land on a g major con which is our fifth
学位和就在我们打电话之前 degree and just before we put a call
第四级即f of fourth degree that is f
然后我们将使其成为占主导地位的第七名 and then we'll make that a dominant seventh
和弦，这是根音符 chord So that's the root notede
大三度a f the major third a
完美的第五个c和 the perfect fifth c and the
减去降七度e，如果 Minus seventh e flat then if
我把第五个放在c的底部 I put the fifth at the base the c
现在是支持整个和弦的节点 is now the node that will support the whole chord
这让它感觉更像是 and that makes it feel a tiny bit more like
我们在常规半段中的c和弦 the c chord we have in the regular half
理论上的Cadens使其成为 cadens in theory that makes it a
更有效一点 little bit more effective
所以这就是我们所说的 So this is what we call
aphoreient Cadens现在您可以 aphoreient cadens Now you can
请注意这里的notesdes e flats notice at the notesdes e flats here
不应该达到我们的规模 is not supposed to be in our scale
嗯，这有点借用 Well this is kind of a borrowing
从我们在《 from the melodic minor scale that we saw in the
前几集旋律小调 previous episodes The melodic minor
音阶就像大音阶一样，除了 scale is like the major scale except
第三个是次要的第三个 the third is minor the third
笔记本是平的，所以我们可以借 notede is flat so we can borrow
模拟小调，第三个 the simologic minor where the third
笔记e是平的这让我们 notede e is flat That allows us
建立这个f主导的七人制 to build this f dominant sevenord
在c小调中它不太像a in c minor It's less of a
挖洞，因为我们已经有了一个未成年人 burrowing as we already have a minor
无论如何，调性都是一半 tonality anyway so a half
从四到五的正典 canon that goes from four to five
第四局七分占主导地位 with a dominant seven on the fourth
这是出租Cadens号码 That's a for rent cadens number
四个恩达鲁斯藤 four the endalusian cadens
这被称为Cadens，但就我而言 this is called the cadens but as far as I
明白这更像是一个所谓的 understand it this is more of a called
更倾向于进步 progression as it is more intended to be
在循环中播放，而不是仅仅完成 played in loop instead of just finishing
你的音乐句子之一 one of your music Sentences the
安达卢西亚语的韵律最常用于 andalusian cadence is most used in
弗拉门戈音乐和 flamenco music and an
所谓的进展的例子可以是 example of this called progression can be
小调g小调 a minor g major
f主要e主要 f major e major
如果我们认为我们是的调性 If we consider we are the tonality of
C Major m Minor Accord c major the m minor accord
将是六度的召唤 would be a call of the sixth degree
g少校将是第五个 the g major would be the fifth
f专业的学位是 degree the f major would be the
第四学位和e专业将 fourth degree and the e major would
是第三度的召唤但是否 be the call of the third degree But whether the
作为e的召唤，提高了第三名 raised third as the call of e is
通常是c小调 usually minor in the c major
音调最重要的是 tonality So on top of that
你可以用c独奏 you could play a solo using a c
大规模小心 major scale Being careful of that
e大和弦那是 e major chord That's
一种看待它的方式但如果我们考虑 one way to look at it But if we consider
我们处于小调的调性 we are in the tonality of a minor
它使用与c major相同的节点 which uses the same node than the c major
比例然后是a小调 scale then the a minor
将是g的一级 would be the first degree the g
专业是七度 major would be the seventh degree
f Major将是第六个 the f major would be the sixth
度和e大调和弦 degree and the e major chord
是五度和弦 would be the chord of the fifth degree
这是有道理的，因为在一个 which makes sense to have major as in a
轻微的自主性，我们可以使第五度 minor autonality we can make the fifth degree
主要是准备节奏时 major when it's preparing cadence
例如，进入一级 to go to the first degree for instance
所以这个和弦进行总是 So this chord progression Kind of always
调用下一个循环的一个，因此 called the one of the next loop so the
进展不断滚动 progression keeps rolling
17650 17650
然后回到1然后就可以玩了 then back to 1 then you can play
在此之上使用a的独奏 a solo on top of that using the a
小规模这是第二种方法 minor scale This is a second way to
看看它，当这个时候，它完全没问题 look at it which is totally fine when this
所谓的进展是松散的，这样我们就可以玩它了 called progression is loopooped so we can play over it
但很多弗拉门戈音乐都是 but lot of flamenco musics are
实际上是以phrygian模式写的 actually written in a phrygian mode
这是e的模式所以 which is the mode of e so the
埃弗林吉亚音阶使用精确的 ephringrygian scale uses the exact
相同的节点然后c大规模或 same node then the c major scale or
m小调音阶，除了 the m minor scale except that the
隧道中心一级为 tunnel center the first degree is
在e上这意味着 on the e that means that
进展实际上结束于 the progression actually finishes on
一个但甚至是主要的一个 a one but the one that is major even
尽管炸鱼应该是轻微的 though it's supposed to be minor in fryin
这有点像我们看到的皮卡里三分之一 it's kind of like a picali third we saw in
本视频的第一部分因此 the first part of this video So as it
理论上可以完成的 finishes on the one you could theoretically
像使用常规节奏一样使用它 use it like a regular cadence in a
专业或我的autality但那是一个 major or my autality but that's a
具有特定颜色的节奏， cadence that have a particular color as
它借用了寒冷模式的鼻子 it borrows its nose from the frigid mode
假设我们是e小调并且我们想要 Let's say we are in e major and we want
以安达卢西亚Cadens结束 to finish with an andalusian cadens
以下是e大调皮肤的叫声， Here are the calls of the e major skin as
如果我们完成了 refere if we finish with the
安达卢西亚终止曲 andalusian cadens we finish
一级谋杀 nicely on our First degree here
但a小调就是小调 but the a minor would be a minor
四学位而不是专业 fourth degree instead of major The
g major ch con将是一个单位 g major ch con would be a flat
3 f大锥是 3 the f major cone would be
公寓2有点道理 a flat 2 It kind of makes sense to
在有节奏的一之前有一个单位的t二 have a flat t two just before one in a cadence
就像新意大利六人组一样 It's just like the neolitlyan six
我们在第一部分也看到了 that we also saw in the first part of
这个视频所以即使下层是 this video So even if the underal is
Escadant应该在 UNC cadant is supposed to be played in loop at
它的声音称为进步让我们看看如何 its sound called progression Let's see how
听起来可能就像它被用作常规 it could sound like if it was used as a regular
节奏所以我们到了e cadence So here we are in e
majora和我们有一个所谓的进展，可以 majora and we have a called progression that could
是大吉什小 be e majora jishap minor
主要而次要 be major and fap minor
最后我们将添加安达卢西亚， At the end of that we'll add the andalus and
我们刚刚看到的卡达姆就在 cadams we just saw and just before the
次要代码我会添加主要代码 a minor code I'll add the a major code
这是e小调的调性 which is in the tonality of e major
这应该会使过渡更顺利 This should make the transition smoother
所以有e主要代码将是我们的第一个 So there are the e major code would be our first
度升d小调是第三 degree The d sharp minor is the third
b Major将是第五个 the b major would be the fifth The
f升小调是二级 f sharp minor would be the second degree
a少校将是第四个 and the a major would be the fourth That
然后变成次要的，其余的 then becomes minor and the rest of the
安达卢西亚和卡登它就像我们看到的那样 andalus and cadens it just as we saw it
一分钟前这就是它听起来的样子 a minute ago So here is how it could sound
像 like
不管怎样，那就是安达卢西亚人 Anyway so that is the andalusian
节奏在火烈鸟音乐中非常流行 cadence very popular in flamamingo music
数字5是4 number five s four
chords四和弦是 chords A s four chord is
第三个缺少的和弦，但我有 a chord that is lacking in the third but I have
第四个S意味着 a fourth instead S means
暂停这就是发生的事情 suspended That's what happens
当你取出卡片的三分之一时，它就变成了 when you remove the third of a card It becomes
暂停4，因为它 suspended 4 because it has
第四个添加了所以对于一个 a fourth added So for a
例如SEN，您可以选择c SEL for example you could take a c
根节点g第五个 the root node g the fifth
我们不会取第三个并添加 we don't take the third and add
f第四个 the f the fourth
传统上，这更多的是一种过渡 Classically this is more of a transition
和弦让我们从和弦到 chord allowing us to go from a chord to
另一个通过以a移动一两个点 the other by moving one dot or two at a
时间例如这个c time So for example this c
来源四可能在f之间 source four could be between a f
和弦和c和弦然后从f开始 chord and a c chord Then from the f
由fac组成的大和弦 major chord which is made of f ac
c我只能将a移至g c I can move only the a to g
让我的c源代码四个代码 to have my c source four code
然后我可以移动f以获得我的 and then I can move the f to have my
c小调C E G c major chord C E G
有趣的是它起作用了 The interesting thing is that it worked
在小调如果中完全相同的方式 the exact same way in minor If
我们在c小调，f代码是 we're in c minor the f code would be
小调所以那是f a minor So that's f a
拉平c然后我就可以移动a flat c then I can move the a
平到g才能有C F flat to g to have the C F
G这和我们在的C四是一样的 G that's the same c four we had in
major然后我可以将f移动到 major And then I can move the f to
e平落在a c上 e flat to land on a c
小调 minorerord
事实上，前四个代码没有任何 The fact that this first four code doesn't have any
第三加上它来自的调性 third plus the tonality it is from
至少可以是主要或次要的，你可以 at least could be major or minor and you can
利用这一点为您带来优势即使 use that at your advantage Even if
这些都是经典转变的卡片， these are classically transitioned cards you
可以像普通卡一样使用它们来携带 can use them like regular cards to bring
这种在主要和主要之间的转移感觉 this transfer feelinging of being between major and
未成年人例如，如果您写了一个代码 minor For example if you wrote a code
专业的进步，你认为这听起来 progression in major and you think it sounds
有点太高兴了你可以做一些 a bit too happy you can make some of the
因此，有些人经常这样做 cards thus for that's often done by some
进步摇滚或进步金属 progressive rock or progressive metal
例如乐队，我把这个叫做 bands for example I have this called
进展 progression
如果我把所有这些电话都换成四号 If I change all this calls by the s four
可以成为的形式 form that could become
这里的区别，然后在上面 here the difference and then on top of
我可以独奏一曲 this called progression I could play a solo
G大调或G小调 using either the g major or g minor
缩放或在两者之间切换 scale or switch in between the two
两者之间的界限就模糊了 the line between the two is then blurred
第六号表示两个ch代码 Number six says two ch codes
评估两个和弦基本上是同一回事 assess two chord is basically the same thing that
正如您一定猜到的那样，a说四 a says four as you must have guessed
这是一个所谓的是否第三但在哪里 this is a called whether the third but where the
第二增加的 second added
因此ACS二号将由根组成 So ACS two would be made of a root
c第二d和第五 c the second d and the fifth
G同样可以用作 G in the same way can be used as
两个其他和弦之间的过渡和弦 a transition chord between two other
和弦例如，您可以放一个 chords For example you can put a
css二在g和弦和a和弦之间 css two between a g chord and a
c和弦这样你就可以做出光滑的 c chord This way you can make a smooth
通过改变这两个呼叫之间的过渡 transition between these two calls by changing
一次一个音符b变成了 one note at a time The b becomes the
c，然后d变成a c and then the d becomes a
e e
而且与s四ch的方式相同 And in the same way than for the s four ch
核心您可以使用这两个asz常规 cores you can use this s two asz regular
ch core也可以吹出音调a ch cores as well to blow the tonalities a
实际上很少c两个ch核心或 little actually c two ch cores or
s四ch核的倒置 an inversion of s four ch cores
例如，假设我们是C小调 for example say we're in c major
我们有css四个和弦如果 and we have the css four chords If
我们移动c appen八度风 we move the c appen octave wind
为f g和 up for the f g and
c是f表示 c which is f says
两个和弦看，有一个f代表 two chord See there is an f for
第二个和第五个和没有 the second and a fifth and no
第三所以它们基本上是相同的和弦 third So they are basically the same chord
在彼此的AR命名版本上 at the AR named version of one another
在第五个视频中，关于和弦的视频 In the fifth video the one about chord
据说三合会可以混在一起 and triads are said that you could mix
组成和弦的节点的顺序 the order of the nodes that make a chord
而且它仍然是相同的和弦 and it will still be the same chord But the
这些笔记的顺序仍然很重要 order of these notesdes still have an importance
尤其是最低的笔记 especially the lowest notesdes the one at the
定义状态的基础 base which will define the state of that
和弦这就是我们所说的 chord And this is what we call an
倒置让我们做一个c major inversion Let's make a c major
和弦作为例子，由 chord as an example which is made of
c e和g c e and g as it has
三个音符我们可以有三个位置 three notesdes we can have three positions
C在底部，e在底部 with the c at the base with the e
在底部或g在 at the base or with the g at the
base如果根节点c位于 base If the root node c is at
基础那么我们说和弦在 the base then we say that the chord is in
它的根源不是 its root position It is not
倒置 inverted
第一次倒置是当第三次倒置是 The first inversion is when the third is
在基地，我们称之为a at the base then we call that a
第六和弦这是因为如果 sixth chord It's because if the
c和弦e的三分之一是 third of the c chord e was
和弦的根音符 the root note of that chord it would
伴随着它的第三个G be accompanied by its third g
第六个C and its sixth c
这是c小调的第一次倒置 this is the first inversion of c major
那么第二次倒置是当 Then the second inversion is when the
ch代码的五分之一在底部 fifth of our ch code is at the base
我们称之为第六个四和弦 We call that a sixth four chord
因为如果g是我们的根 It's because if the g was our root
注意到它将伴随着它的 notes it will be accompanied by its
第四个c和第六个 fourth c and its sixth
e这是第二个 e this is the second
c小调倒置 inversion of c major
底座上方音符的顺序 The order of the notes above the base
没关系，因为它是最低的 doesn't really matter as it is the lowest
定义倒置的节点 node that defines the inversion
当你在写和声的时候 When you're writing the harmony the way
你卡片上的注释 the notess of your card are laid out the
发声是一种你想保留在 voicing is something you want to keep in
因为它们是 mind because they are something that are
通常更喜欢做或 generally preferable to do or
所以这里有五个提示 to avoid So here are five tips
写得更好 to write better voicings number
一个如果在你的进程中， one if in your progression two
连续的和弦有一些共同的音符 consecutive chords have some notes in common
那么这个常见的注释一般应该是 then this common notes should generally be
由同一个声音以同一个音调演奏 played at the same pitch by the same voice
处于和谐状态例如， Is in the harmony For example if
我有一个C主修的进展 I have a progression that goes c major
这里对未成年人写着 to a minor here are written the
基地四个声音的两次电话 two calls on four voices the base
男高音中音和女高音 the tenor the Alto and the soprano
这是带有音符的c小调和弦 Here is the c major chord with the notes
C E G和C C E G and c
这是a小调和弦， and here is the a minor chord where the
a或c或E NA a or c or E N A
所以我们可以看到不是C和E so as we can see the not c and e
或这两个和弦的共有权所以 or commons to these two chords So
我通常应该延长c和 I should generally extend the c and
e从第一个和弦开始 e from the first chord here the
c由女高音和 c played by the soprano and the
我由男高音演奏，但我可以 e played by the tenor but I could
还延长了在基地发挥的c also extend the c played at the base
第二，当你传播音符时 number two when you spread the notes
在不同的八度音阶上，它是 of your course on different octaves it is
最好保持和谐的音符聚集 preferable to keep the notes of the harmony gathered
只有一行角色来扮演 to have only one line of part that will play the
旋律你可能没有注意到它当所有 melody You may not notice it when all
台词由不同的乐器演奏 the lines are played by different instruments
所以最好的例子可能是珊瑚 So the best example may be a ch coral
四个声音请参阅此处 of four voices See here
如果我有这个所谓的进步， if I have this called progression it
最好是收集 is either preferable to gather the
和谐的基础， harmony in the bases to have the
高音中的旋律或 melody in the trebles or the harmony in
把高音部分的底部分开一点 the trebles to have the base a bit apart
而不是将其分为两组 Instead of splitting this into two groups
第三，当你从 number three when you go from a
最好设置为另一个代码 code to another it's preferable to set
第五节和第五节的不同动作 different movements to the fifth and the
每个和弦的根音符 root notede of each chord For
例如，如果学习了C专业课程 instance if the course c major is followed
由未成年人写，我把它们写成 by a minor and I write them like
这 this
你可以看到第五个和根 you can see that the fifth and the root
节点都朝同一方向前进 nodes both go in the same direction
向下并以相同的间隔 downward and by the same interval
所以我们说它们是平行的，所以 So we say they are parallel so
分开的并行节点 parallel nodes that are separated
间隔第五或 by an interval of fifth or
经常要避免但这个 often to avoid But this
当然很大程度上取决于音乐风格 of course depends a lot on the style of music
你正在写摇滚音乐 you arere writing in in rock music
例如，我们经常使用力量和弦， for instance we often use power chords which
只是根节点和第五个 are only the root nodes and the fifth that are
调换到相同的位置 transposed in the same for thisposition over
时间所以他们并列第五 time So they are parallel fifth
无处不在但它仍然是需要保留的东西 everywhere But it is still something to keep in
当你写安排时请注意 mind when you're writing an arrangement
因为平行的五分之一是被禁止的 as parallel fifths were the forbidden
古典音乐中的一个很好的运动 movement in classical Music so a good
我们的c大调和a大调 disposition for our c major and a
次要的可能是这个， minor could be this which
也遵循第一条提示， also follow the tip number one by
继续注释c continuing the note c
第四个如果是你的和弦音符 number four if a note of your chords
需要加倍所以如果你有四个 needs to be doubled So if you have four
声音以三个音符ch代码播放 voices playing in three note ch code for
例如，经常建议 example it is often advised
不要加倍第五，因为当你 not to double the fifth because when you
在你弹奏的和弦中加倍音符 double a note in a chord you emphas
它的作用如果你将第三个翻倍 its role If you double the third
你不会面对它事实上和弦 you wouldn't face it The fact that the chord
是主要还是次要，这就是 is major or minor which is the
描述颜色或和弦 character the color or the chord
这往往是最好的选择 This is often the best choice
但这很大程度上取决于你的作文 but it depends a lot on your composition
以及如果你翻倍，你想推进什么 and what you want to push forward If you double
扩展，例如第七名 an extension such as a seventh for
例如，你会感受到紧张感 example you will entase the tension
这第七个创造和这个 that this seventh creates and this
请注意接下来需要解决的问题 note what then need to be resolved as well
如果你加倍感冒的根节 If you double the root node of the cold
你按你的顺序充气 you infase it the veryord that you are
玩这是一回事 playing which is kind of the same thing
第五局翻倍，除了第二局翻倍 that double in the fifth except double in the
根音符往往更好 root note is often better
第五号贝斯演奏 Number five the bass plays a
很多关于我们如何听到和弦的信息，但 lot on how we hear a chord so But
在扩展注释中，底座像一个 in an extension note that the base like a
第七名和第九名或第十一名 seventh and ninth or 11 th
往往是为了避免它往往是 is often to avoid It is often
最好把根节点放在基节点上 better to put at the base the root node
第三个或第五个， the third or the fifth and it is
最好把一个音符，有一个强大的隧道 better to put a note that have a strong tunnel
该职位的角色总体而言 role in this position Overall
尝试将你和谐的每个音符视为 try to consider each note of your harmony as
单独的声音并尽量避免 a separate voice and try to avoid
音符之间的间隙很大，因此更容易 big gaps between notes so it is easier to
唱每句台词，因为在 sing each line because in a
和谐，甚至 harmony that works well together it's even
当它由可以工作的线条组成时效果更好 better when it's made of lines that can work
最重要的是，他们自己 well on their own and most of all
相信你的耳朵如果你发现了什么 trust your ears If you find something that
听起来真的很好，但违反规则 sounds really good but defy the rules
也许你应该坚持下去因为你的耳朵 maybe you should stick to it because your ears
或者你的闺蜜们 or your bestalies embellishing
工具不是代码的一部分 tools are not that are not part of the code
您正在使用，它们可以用于添加 you're using and they can be used to add
你的旋律的多样性或兴趣 variety or interest to your melodies
添加这个音符不是你和谐的一部分 Add this note are not part of your harmony
他们可以与其他人添加一些不和谐 they can add a bit of dissonance with the rest of
你的和弦，有时可能是 your chord and that can sometimes be a
添加的触感很好，但事实确实如此 nice touch to add but as they are
不和谐并不总是 dissonances they are not always
但经常用于薄弱部分 but often used on the weak bits
如果它们发生在强烈的地方，那就是 If they happen on a strong bit it's
说他们有口音 said that they are accent accentctuated
无论如何，根据上下文，这些 anyway Depending on the context these
混杂的t术语可以使用不同的名称 ambbellishing t terms can wear different names
第一邻居音或 number one Neighbor tone or
辅助音邻音 auxiliary tone neighborones
是来自您的笔记的笔记 are notes that will come from a notes of your
和声上下移动 harmony move up or down a
然后再将它放到 tone next to it and then resolve to the
作为和弦的一部分 starting notes that was part of your chord
例如，如果我们有一个叫做 For example if we have this called
进展 progression
如果我们在这些笔记中添加邻居按钮 if we add a neighbor buttonon to these notes
1在那个上面它可能是类似的 1 on that one it could be something like
这个这些笔记是 this These notesdes are the
邻体 neighborones
这些邻居也可以是 and these neighborones can also be double
那么你就会有两个额外的音符， Then you would have two extra notes one
在返回之前， above 1 below before going back
到原始注释号码 to the original note Number
两个传递音a two passing tone a
在节点中传递来自音符的音调 passing tone in the node that comes from a note
然后向上移动或 of your chord Then move up or
走下一步并进入 down a step and resolve by going in the
与你的另一个音符相同的方向 same direction to another note of your
chord这可以是与the相同的ch代码 chord That can be the same ch code that the
第一个或不同的和弦 first one or a different chord For
例如，如果我们有所谓的进展 example if we have this called progression
我们可以在此节点之间添加传递t音 we can add a passing t tone between this node
而这个节点通过上升和 and this node By going up and
在这份笔记和这份笔记之间不断上升 up and then between this notede and this
通过往下写笔记 notede by going down and down
您还可以使用不止一个转弯 you could also use more than one passing turn
从一个音符转到另一个音符这是 to go from one notede to another This is
也非常接近雅各布的概念 as well very close to the concept Jacob
科利尔用来解释我们如何使用 collier uses to explain how we used
他的一些微调性 microt tonality in some of his
作文这不像 compositions It's not like
g 0然后课程17 f商店 g 0 then the course 17 f shop
然后g然后f商店它更像你 and g then f shop It's more like you
抹去所有像名人一样的想法 erase all idea of like notable
和谐而你只是认为我是一个G harmony and you just think I'm a g
我的目的地是e所以我去了 and my destination is e so I go
你把它平均分配你知道或者 you divide it equally up you know or
超过五达 into more than like five da
你知道，如果可以的话 you know and if you can
如果你能做到这一切 if you can do that all that
重要的是你瞄准的地方所有这些 matters is that you're aiming the place All that
重要的是你即将到达一个地方，无论你如何到达 matters is that you're arriving in a place it doesn't matter how you get
那里第三个逃生音 there Number three escape tone
这个斗篷语气与第一个类似 and this cape tone is similar to the first
二是来自 two it is a node that comes from a
记下您的代码，然后向上移动或 note of your code and then move up or
走下一步并通过去解决 down the step and resolve by going
与 in the opposite direction with the
跳到属于的另一个节点 skip to another node that is part of
代码例如，如果我们调用这个 Code For example if we have this called
进步我们可以添加一个逃避 progression we can add an escape
此节点与此节点之间的音调 tone between this node and this node
通过向上然后向下 by going up and then down
或在此节点和此节点之间通过 or between this node and this node by
先降后升 going down and then up
每次都跳过 each time with skip
第四个预期和 number four anticipation and
暂停预期 suspension anticipation
当和谐时，就会发生暂停 and suspension occur when the harmony
从一个代码运送到另一个代码， ships from one code to another but
这所谓的所有音符都不会改变 all the notes of this called don't change at
同时如果演奏一个音符 the same time If one note is played
早在其余部分结束之前 early before the rest of the call it
是一种期待如果一个音符 is an anticipation And if one note
被推迟，并在其余的 is delayed and comes after the rest of
挂起的呼叫 the call that is a suspension
如果你还记得s2 If you remember the s 2 s
四个电话，我们谈到， four calls that we talked about like
两集前我说过 two episodes ago I said that
最初有过渡核 there were originally transition cores
而这正是他们可以 and this is exactly when they can
发生 occur
第五名，阿波·贾图拉 Number five the apo jattura
apo jattura有点像 the apo jattura is a bit like a
非重复邻音 nonrepared neighbor tone It is
一个非序项，所以请注意，不是 a nonord term so note that is not
和弦的一部分，分解为 part of a chord that resolves to a
通过向上或向下打结你的和弦 Knot of your chord by going up or down
一步最不修饰的语气是 a step Least embellishing tone is
通常但不限于 usually but not exclusively
所以当你想要的时候 on a strong bit So when you want
要将Apogerura添加到节点， to add an apogerura to a node you
将从正下方或上方的节点开始 would start with the node just below or above
在去到节点之前 it before going to the node that is
代码的一部分时间价值 part of your code The time value of
那么Apoatura就是 the apoatura is then
从本金的时间价值中减去 subtracted from the time value of the principal
节点，这意味着 node which means that the
Apoatura推迟露面 apoatura delays the appearance
主节点的例如 of the principal node For example
如果我想添加apoatura if I want to add an apoatura to
这份笔记 this notede
我可以在开头添加这个注释 I could add this notede at the beginning of
它 it
如果和谐是我们组织的方式 If harmony is the way we organize
桃子节奏的音符 notes in peaches rhythm
是我们组织笔记的方式 is the way we organize the notes in
时间和这不是 time and this is not to
与节奏混淆，这是 confuse With tempo which is the
音乐的全球节奏 global pace of a music
例如一百的节奏 for example a tempo of a hundred
每分钟位与 bit per minute is different than a
每分钟一百四十位的节奏 tempo of a hundred and forty bit per minute
但节奏是分组的 But a rhythm which is the grouping of
可以在任何地方演奏几个音符 several notes can be played at any
其中十便士 of these tenp
现在来谈谈节奏 Now to talk about rhythm will
必须定义我们如何划分 have to define how we divide
时间并定义每个音符的长度 time and define the length each note
可以拥有以及我们如何标记它 can have and how we can notate that
所以我们从一个开始 as well So we start with a
定义速度的节奏 tempo that defines the speed of the
音乐告诉我们有多少 music by telling us how many
一分钟内节拍进食 beats feeds in one minute
所以每分钟一百次 So for a hundred bpm
那就是每分钟一百次 that's a hundred beats per minute
我们音乐的节奏 that the pace of our music
那么我们能拥有的最大的预算之一 Then one of the biggest floots we can have
是整个音符，也就是四个 is the whole note which is four
节拍长这被称为 beat long This is noted as a
小圆圈 little circle
那么这整个音符就可以分开了 Then this whole note can be divided
分为两个半音符， in two half notes which
长了两点 are two bits longer It's
标有一个带有桌子的小圆圈 noted with a little circle with a table
这样 like this
那么如果我们将这个节点除以二 Then if we divide this node by two
我们再次有一张四分之一纸币， again we have a quarter note which
持续一个节拍，这一个是 lasts for one One beat and this one is
标记为带尾巴的黑色音符 noted as a black note with a tail
如果我们将其除以二，我们就会得到 If we divide this one by two we have
持续半分的第八个音符 an eighth note which lasts for a half
有点，被标记为黑色 a bit and is noted as a black
带钩的音符 note with a hook
除以二我们得到 divided by two we have a
第16个音符一样长 16 th note which is as long
作为四分之一拍，是 as the quarter of a beat and is
标记为带有两个的黑色音符 noted as a black note with two
钩 hooks
然后你可以继续分割 And then you can go on dividing the
这些音符的长度一次又一次 length of these notes again and again
将它们的长度除以二， dividing their length by two every
时间并每次添加挂钩 time and adding a hook every time
所以我们有一个完整的节点， So we have a whole node which is the
两个半节点的长度 length of two half nodes Each
其中四分之二的长度 of them is the length of two quarter
节点等等 nodes etcetera etcetera
而且你也有等效的符号 And you also have equivalent symbols
也为其中的每一个写下沉默 to write silencences as well for each of these
长度在这里你可以看到它们 lengths Here you can see them on this
屏幕然后我们可以开始 screen We can then begin
将所有这些音符和消音器结合起来 to combine all these notes and silencers
创造一些节奏 to create some rhythms For
例如，如果我们随机选取其中一些 example if we take some of them at random
我们可以在这里得到这种节奏 we could get this rhythm here
我们的BPM给出的帖子将 The post given by our bpm would
落在这些点上， land there on these dots and
我们的节奏就会响起 our rhythm will then sound
这样 like this
为了有更多的多样性，然后我们可以 To have more variety we can then
向这些节点添加修饰符要 add modifiers to these nodes To
先修改一下长度 modify the length a bit First
您可以将它们链接起来，以便增加长度 you can link them so the length add
上半个音符 up So a half note which
两个节拍与四分之一相关 is two beats linked to a quarter
音符是一个节拍会做的 notede which is one beats would make
持续三拍的音符 a note that will last for three beats
或者链接到 Or a quarter note linked to a
第16个音符会留下一个持续的音符 16 th note will make a note that will last
一位加四分之一 for one bit plus the quarter of a
击败 beat
其次还可以加一个点 Secondly you can also add a dot
给笔记基本上它 to a notede Basically it
延长这些节点的长度 extends the lengths of these nodes
原来的一半 by half of its original
值例如一半 value For example a half
节点是两个节拍，但是一个虚线 node is two beats but a dotted
半音符就是半音符 half note would be a half note
加上半音符的一半 plus the half of a half note
所以长度与一半相同 So with the same length that a half
音符加上四分之一音符三 note plus a quarter note three
beats beats
虚线的第八个音符就是 A dotted eighth note would be the
与八个音符加一个相同 same than an eighth note plus a
第16个音符 16 th note which would
总共是四分之三节拍 be three quarters of a beat in total
然后是我们可以修改的第三种方法 And then a third way we can modify
节点的时间值或 the time value of a node or
药片如果我们可以划分长度 tablets If we can divide the length
一个节点的二乘四 of a node by two by four
孩子们在这里将它们分开 tots are here to divide them by
其他奇数 other odd numbers
它们被标记在笔记组中 They are noted at the group of notes
由带有数字的括号链接 linked by a bracket with a number
上面的indic表示 above that indic indicate the ratio of
部门它们是不同的种类 the division They are different kinds
平板电脑有 of tablets There are
三胞胎将长度分成 triplets that divide length into
三等份三胞胎 three equal parts Triplets
例如，四分之一纸币是 on quarter notesdes for example are
三个音符的长度相同 three notesdes that will take the same length
超过两个四分之一的笔记和 than two quarter notesdes and
第八个节点或三个节点上的三胞胎 triplets on eighth nodes or three nodes that
将采用与八分之二相同的长度 will take the same length that two eighth
不，这是这些三胞胎如何 No here is how these triplets
听起来像 sound like
然后还有五胞胎 Then there are quintuplets that are way
将长度分成五等份 to divide the length in five equal
部分六文本两胞胎分开 parts sixxt twoplets divided
由九月六日两胞胎分开 by 6 septp twoplets divided
七分之一 by seven for
例子可以两胞胎sext两胞胎 example can twoplets sext twoplets
和Septp八岁的两胞胎 and septp twoplets on eight
节点或分别 nodes or respectively
5607笔记 5607 notes
这将需要与 that will take the same length than
四八音符 four eight notes
最重要的是先说一句 A quick note aside most
dos允许您生三胞胎 dos allow you to make triplets by
编辑时间网格，但 editing the time grid but that
并不总是允许你做出其他 doesn't always allow you to make other
所以我会告诉你我是怎么做的 tableplets So I'll show you how I do
他们在我的面团的选择Ableton them in my dough of choice ableton
生活，希望它能在 live and hopefully it would work in
其他门的方式类似，所以 a similar way in other d doorss so
对于五褶，你要放六个音符 for quintopleates you put six notesdes
五倍加的五个音符 the five notesdes of the quintople plus
一个注释，然后选择它们全部 one notede then select them all
然后压扁他们，这样五个先 and squash them so the five first
音符填充适量的节拍 notesdes fill the right amount of beats
然后你就有了一个完美的量子 and then you have a perfect quantumple that you
然后可以随心所欲地复制 can then duplicate as you want
对于六个孩子，您可以使用三胞胎 For six tots you can use the triplet
网格是六的倍数 grid as six is a multiple of
3对于七个盘子，你放八个 3 For the s septpterple plates you put eight
注意到，九月盘子加一个 notesdes so the s septpter plate plus one
笔记本然后选择它们并挤压它们 notesdes then select them and squash them
像以前 like before
所以您可以将歌曲的时间视为 So you can see the time of your song as
分成节拍， divided in beats which are all
除以二，再除以 divided by two then subdivided by
你想要多少都行 two as much as you want really
形成一个网格， And that forms a grid that is really well
以你的钢琴卷为代表 represented by your piano roll of a
门然后你有这些 door And then you have these
修改长度的修饰符 modifiers to modify the length
要创建节点的每个节点 of each node to create nodes with
与这些网格不相符的长度 the length that doesn't really fit with these grid
所以我们可以制作您想要的任何节奏， So we can make any rhythm you want and
所以我们现在有所有这些笔记可供选择 so we now have all these notesdes to choose
从填补这种贪婪，我们可以 from to fill that greed and we can
几乎创造任何节奏模式 pretty much create any rhythm pattern
我们真的喜欢会有鼓吗 we like really would there be a drum
模式旋律和谐 pattern Melody a harmonic
节奏是指 rhythm which is the rhythm with which
你的事业将会改变，这些 your cause will change and these
节奏模式不一定是全部 rhythm patterns don't have to be all of the
相同的长度它们可以是三位 same length They can be three bits
长四比长五比特 long four beats five bitsats long
这种节奏的长度将 and the length of this rhythms will
取决于我们酒吧的类型 be determined by the type of bar we
把这个节奏放进去或者更确切地说 put this rhythm in or rather
到这个签名的时候 by the time signature of this
酒吧或类似的地方 bar bars or like
用于放置笔记的容器 containers to put your notes in
以及长度将为我们提供 and the length that will give us the
我们节奏的核心结构 core structure of our rhythm
是他们的时代赋予我们的 is given us by their time
签名时间 signature The time
签名是我们 signature is the numbers we
有时在酒吧的开头看到， sometimes see at the beginning of a bar and
它像一个分数一样呈现 that is presented like a fraction
这些酒吧和时间签名 These bars and time signatures
将成为下一个视频的主题 will be the topic of the next video
上一集我们谈到了 In the last episode we talked about
不同长度的节点可以有 different length nodes can have
这是一种将时间划分为 which is a way to divide time in a
合理的长度，以便我们可以结合 sensible length so we can combine
他们创造节奏 them to create rhythms
那么酒吧就像容器一样 Then bars are like containers in
我们可以把这些笔记和这些 which we can put this notes and these
小节是分割歌曲的好方法 bars are a good way to divide the song
尤其是因为 as well especially because
条可以有不同的长度 bars can be of different lengths
所以它们并不总是包含相同的 so they don't always Contain the same
节拍数量以我们告诉如何 number of beats the way we tell how
许多节拍适合酒吧被称为 many beats fits in a bar is called
时间签名似乎 a time signature It appears
以两个数字的形式出现 in the form of two numbers at the
酒吧的开始顶部 beginning of a bar The top
数字告诉我们适合多少个音符 number tells us how many notes fits
在酒吧和下面的数字 in the bar and the number below
讲述了这些笔记的性质 tells the nature of these notes
大多数时候是四分之一或八分之一 Most of the time it's a quarter or eight
然后记下所有的小节 notes then all the bars after
它的大小将相同，直到 that will be of the same size until
另一次签名出现并告诉我们 another time signatures appears and tells
否则所以有一次 otherwise So a time
四个四的签名 signature of four four for
例子告诉我们酒吧 example tells us that the bar
由四张四分之一纸币组成 is made of four quarter notes
所以这是四拍已知的 so it's fourbeats known This
是最常见的时间签名 is the most common time signature
在当今的音乐中如此常见 in today's musics So common
有时写成c that is sometimes written c
而不是四个四个， instead of four four but
不像有些人可能认为这c unlike some may think this c
不代表共同 doesn't stand for common
因为这次签名还没有 as this time signature hasn't
一直是最常用的，而这 always been the most used and this
一切都从中间回来 all comes back from the middle
老化它几乎没有通往中间的路 age it little route to the middle
年龄回到中间 age back in the middle
年龄在13世纪左右 age around the 13 th century
在欧洲酒吧的概念 in Europe The concept of bars
虽然在 didn't really exist though at
这次我们已经有了一些符号 this time We already had some symbols
写不同长度的笔记 to write notes of different length
但这些的相对长度 but the relative length of these
音符会变化很长 notes would vary long
短篇小说14世纪 story short In the 14 th century
广度可以分为两种 the breadth could be divided in either
两三个细分部门 two or three subdivisions
如果分为三 If it was divided in three
据说， subdivisions it was said that the
暴风雨是完美的 tempest was perfect
暴风雨 and the tempest was
不完美的，如果那是 imperfect If the bre was
分为两个分部 divided into two subdivisions
然后这些细分 and then these subdivisions of
所谓的半成品 the bre called the semi
BRS也可以分割 brs could also be divided
两三次 in either two or three
细分在这种情况下 subdivisions In this case
我们谈论了主要的程序 we talked about major proacio
适用于三个细分和小调 for three subdivisions and minor
两个细分部门的方案 proacio for two subdivisions
所以你有这四种可能性 So you have these four possibilities
暴风雨完美的地方 The tempest perfect is where
比特被分成三个 the bit is divided In three it
在开始时表示 was indicated at the beginning of the
以一圈得分， score by a circle and
暴风雨的天堂 the tempest imperfectus where the
节拍被分成两部分 beat is divided In two that
由一半表示 was indicated by a half
圈然后如果 circle Then if
无产阶级是主要的a the prolesial was major a
圆点被添加在圆圈中或 dot was added In the circle or
半圆，即 the half circle and that is
大海从哪里来 where the sea comes from Originally
这不是海，而是半海 it's not a sea it's a half
圆圈这意味着暴风雨 circle That means tempest
小狼蛛 imperfectus polacial minor
其中每个节拍都被分开 in which every beat is divided
分成细分 into subdivisions that are
还分为细分部门 also divided into subdivisions
就像我们的四四一样 just like our four four that became
最常用的时间签名 the most used time signature
这是它的非常简短的版本 This is a very short version of how it
当时工作过，也许 worked back then and maybe
有一天我会制作一些剧集来讲述如何 someday I will make some episode on how
欧洲音乐就是在这一时期发展起来的。 European music evolved in this part of
中世纪以及法国 the middle age and how France
这场比赛很有趣 kind of rock this game inter
创新，但现在 innovation at that time but for now
就这样吧从 there you go Coming back from the
米德尔兰格 middleange
现在让我们来看看一些不同的 now let's have a look at some different
时间签名我们已经谈过了 time signatures We already talked
关于酒吧所在的四四 about the four four where a bar is
通常由四个节拍组成 made of four beats usually the
考虑第一个和第三个节拍 first and the third beats are considered
强烈的节拍，第一个是 strong beats with the first one being
最强的所以是 the strongest So the be
204被认为是waveig 204 are considered the waveig
比特作为基本鼓图案 bits as a basic drum pattern
为了强调我们经常发现的 To highlight that we often find
第一位是王国鼓， a Kingdom drum on the first bit and
204上的陷阱 a snare on either the 204
或者或者在第三拍 or Or on the third beat
时间签名为三 With a time signature of three
酒吧里会挤满四个人 four the bar would be filled with
四分之三音符所以酒吧 three quarter notesdes so the bar
将由三个节拍组成， would be made of three beats with
强有力胜过1号 a strong beats being on the 1
Be 203很弱 The be 203 being weak
beats beats
带有时间签名的酒吧 the bar with a time signature
六个八的人将 of six eights would
也有三个位长 also be three bits long
因为会有六个八分之一 because there would be six eighth
笔记因此相同的长度 notesdes So that the same length
四分之三值得注意，但 that three quarter notesdes but the
八作为分母是一个 eight as a denominator is a
暗示坚强和假发的节拍 hint that the strong and wig beats
不能分成四分之一 cannot be divided in quarter
事实上，在六八 notesdes In fact in six eight
最强的节拍将在第一个 the strong beats would be on the first
第四个第八个音符 and fourth eighth note the
第一个是最强的，所以 first one being the strongest so
就像每个都有两个比特的酒吧 it's like a two bit bar with each
节拍被分成三 beats being divided in three
细分听起来是这样的 subdivisions Here is what it sounds
就像与三形式相比 like compared to a three form
440三四 The 440 the three four
被称为简单时间 are called simple time
签名这意味着 signature It means that the
节拍分为简单的 beat is divided into simple
笔记这里的节拍落在 notes Here the beat falls on
每季度记下六个 every quarter note the six
然而八被称为一个 eight however is called a
复合时间签名，因为 compound time signature because
节拍分为虚线 the beat is divided into dotted
注释这里的节拍很热 notes Here the beat heats
每个虚线四分之一音符 every dotted quarter notes
复合时间的另一个例子 another example of compound time
签名可以是九八 signature can be nine eight
这里的酒吧包含九个 here the bar contains nine
第八个音符一种常见的方法 eighth notes A common way to
划分这个标准就是把强者放在 divide that bar would be to put the strong
击败第一个和第四个， beats on the first the fourth and
第七个音符听起来如此 the seventh notes So it sounds
这样 like this
有了这次签名，我们 there with this time signatures we
涵盖了相当于所有的 covered the equivalent of all
14世纪的脾气 tempers from the 14 th centuries
我们早些时候看到了四四 we saw earlier The four four
就相当于脾气 would be the equivalent of tempers
尤利西斯·普莱西奥或小调 imperfectus plusio or minor
长音符或分隔符的位置 where the long notes or div divided
2这个细分是 In 2 this subdivisions are
也分为两个三个 also divided In two the three
四个相当于 four would be the equivalent of the
暴风雨完美程序 tempest perfectus proacio
贷款票据所在的未成年人 minor where the loan notesdes are
分为3个细分部门 divided in 3 the subdivisions
被分成六个中的两个 are divided In two the six
八个相当于 eight would be the equivalent are of the
风暴风暴风暴 tempest imperfectus
prolasio专业在哪里 prolasio major where the
长笔记分为2 long notesdes are divided in 2
细分部门分为 the subdivisions are divided in
3最后九八 3 finally the nine eight the
四个中最不常见的是 least common of the four would be the
相当于暴风雨 equivalent of the tempest
专业完美鱼 perfectus proial major
长音符被分开的地方 where the long notes are divided in
3这些细分也是 3 these subdivisions are also
分为三个， divided in three among
这四个看起来最有趣 these four it's interesting to see the most
从中年开始使用时间划分 used time division from the middle ageed
成为今天使用最少的时间签名 became the least used time signature today
但这个现代签名系统 but this modern time signature system
让我们能够创造更多类型的时间 allows us to create more types of time
签名制作五个小节 signatures to make bars of five
或者例如七拍 or seven beats for example
这有时会产生这样的签名 This would make sometimes signatures like
54074或 54074 or
58078 58078
这种时间签名是 this kind of time signatures are
称为不对称电表 called asymmetric meters
因为它们不是由 because they are not made of Groupings of
两三个音符，但是 two or three notesdes but a mixture of the
二是五八 two the five eight for
实例可以算作 instance can be counted either like a
两个八分之一节点的组加上一个组 group of two eighth nodes plus a group
三人或三人一组 of three or a group of three
八个音符加上一组两个音符 eight notes plus a group of two
在第一种情况下，口音 in the first case the accents
强烈的节拍会落在 the strong beats would fall on
第一个和第三个音符以及中 the first and third notes and in
第二种情况将落在第一种情况上 the second case it would fall on the first
第四个不 and fourth no
对于五个四的酒吧来说，这是可行的 For a bar of five four it would work
以完全相同的方式，但 in the exact same way but with
四分之一音符而不是八音符 quarter notes instead of eighth Note
七人的时间签名 for a time signature of seven
八个它将与相同的 eight it would work with the same
203个笔记的分组 groupings of 203 notesdes
所以它可以是二加二 So it can be either two plus two
加三两加 plus three or two plus
三加二等于三 three plus two are three
加二加二在第一 plus two plus two in the first
例如强烈的节拍会落下 example the strong beats would fall
在第一个、第三个和 on the first the third and the
第五个节点在第二个示例中 fifth nodes In the second example
他们会落在第一个 they would fall on the first
第三和第六个音符 the third and the sixth note
在第三个例子中， And in the third example the
口音会在第一个 accents would be on the first the
第四个和第六个音符 fourth and the sixth note
对于七次四次签名来说， for a seven four time signature It would
和曲完全一样 be the exact same thing but with Qu
注意不再是八个节点 note Instead of eight nodes again
它的工作方式完全相同 and it works the exact same way with a
九八的时间签名我们 time signature of nine eight we
刚才看到分组 just saw earlier with groupings
我们可以拥有203个节点 of 203 nodes we can have
所有这些不同的组合 all these different combinations
有了所有这些，您就可以制作您的 With all of these you could make your
简单的自己时间签名 own time signature with simple
复合和不对称物质 compound and asymmetric matters
您甚至可以在其中使用其中的几个 You can even use several of them in
一首歌作为一首歌不需要 one song as a song doesn't need to
仅使用一次签名所有 use only one time signature all the
方式，各有各的特色 way and each one have its own character
以及它自己的氛围知道如何 and its's own vibe Knowing how
识别其他强节拍的位置 to identify where other strong beats
或口音应该帮助您 or accents should help you to get
习惯了他们这些话 used to them These being said
不要犹豫，改变这些口音 don't hesitate to move these accents
我把它们作为一个 around I'm giving them as a
指导方针，但有很多例子 guideline but there are a lot of examples
音乐，但在口音上 of musics but in the accents on
不同的节拍但目前我们仍然 different beats But for now we still
还没有谈论过Poly节奏 haven't talked about Poly rhythms
这是我想解决的问题 and that's something I would like to tackle in
本系列的下一集 the next episode of this series
Polyh节奏是叠加 Polyh rhythm is the superposition
两种不同的节奏 of two rhythms that don't have the same
节拍数但 number of beats but are
相同期限 of the same duration
例如，在四个酒吧中 For example in a bar of four
四，也就是四拍长 four which is four beats long
你可以生三个三胞胎 you could have three triplets
四个四分之一以上的半音符 half notes over four quarter
笔记然后你有一个波利 notes then you have a Polyh
三四的节奏 rhythm of three over four
相同的持续时间四个小节 the same duration The bar of four
四分为 four is divided in
三胞胎和三胞胎 three by the triplets and by
四分之一音符这是 four by the quarter notes Here is
它听起来的样子 what it sounds like
同样，你也可以制作其他的 In the same way you could make other
复节奏，比如五比四 polyhythms like five over four
或者例如七比五 or seven over five for instance
只要这两种节奏 As long as the two rhythms that are
分层感觉相同的时间 layered feel the same amount of time
通常一小节就会是一个 usually one bar it will be a
多节奏如果我谈论 polyhythm If I talk about
多节奏我也要说话 polyhythms I also have to talk
关于测谎仪 about polymeter
测谎仪是 A polymeter is the
两个时间的叠加 superposition of two time
签名不相同 signatures that don't have the same
每小节的节拍数 number of beats per bar so their
酒吧的长度不同 bars would be of different lengths
结合两种不是的节奏 Combining two rhythms that are not
相同长度意味着 of the same length will mean that the
它们的模式重复得越多 more their patterns repeat
它们就会变得越大 the more offset they'll become
尽管他们的每个细分部门 even though each of their subdivisions
可以是同一方向 can be of the same dur direction
我们来看看这个，看看我的意思 Let's have a look at this to see what I mean
这是三四的一个 This is a three four of a
四个四个测谎仪我们将 four four polymeter we'll
有三个四的酒吧，所以我们会 Have a bar of three four so we'll
演奏第一个音符并留下另外两个音符 play the first notes and leave the two other
沉默这将是我们的模式 silence that would be our pattern
这将被重复， that will then be repeated that
会使一个e变成两个 will make one e a two
e a三e a e a three e a
四个e a和与 four e a and with
四个四的小节我们将玩 the bar of four four we'll play the
第一个让其他三个保持沉默 first 1 leave the three other silence
这将成为一个e和 that will make one e and
两个e和the the two e and the
三个e和 three e and
所以现在如果我们在上面分层这些条 so now if we layer these bars on top
每季度彼此 of each other every quarter
笔记的长度相同 notesdes will be of the same length
两种节奏都会开始 and both rhythms will start on
相同的节拍但尽你所能 the same beat But as you can
看到热量抵消了 see the heat offset over
时间是因为它是三 time because it's a three
四个多棱镜 four of the four four polymeter
两种模式将重新同步 The two patterns will re -synchronize
在四个循环中的三个循环之后再次 again after three loops of the four
四种模式或四个循环 four patterns or four loops of the
三四图案和这个 three four patterns and this
测谎仪就会这样玩 polymeter will play like this
你可以注意到这个聚酯是如何 You can notice how this polyeter
三四比三四是 of three four over four four is
类似于三的复节奏 similar to the polyhythm of three
超过四个听起来 over four they sound
相同，但速度 identical but that Speeds
那是因为他们的比例是 And that is because their ratio is the
同样是三比四 same is three to 4
这可能是最重要的部分 That's probably the most important part
但我们会回来的所以 but we'll get back to it So to
总而言之，Polyh节奏就是一个长度 sum it up a polyh rhythm is one length
时间通常是酒吧 of time usually a bar
分为两种不同的方式 divided in two different ways
所以音符在中的长度不会相同 So the notes won't have the same length in the
两种节奏和一个测谎仪 two rhythms And a polymeter
是围绕同一个节奏建立的两个节奏 is two rhythms built around the same
音符类型所以总长度 type of notes So the total length
巡演节奏不同 of the tour rhythms are different
所以你可以照原样玩这个测谎仪 So you can play this polymeter as is
用不同的方式进行这些加热 having these heats played with different
不同乐器的音符 notes by different instruments
或者有不同的鼓声但是 or with different drum sounds But
你还可以创造更多的节奏 you can also create rhythm a bit more
每个层都很复杂，以了解它们如何 complex for each layer to see how they
结合起来，这就是知道一切的地方 combine and that's where knowing where all
每次的强烈和假发节拍 the strong and wig beats of each time
签名很方便，因为它可以 signature can be handy as it gives
你有一个很好的基础 you a good base to start with
这一切都在之前的视频中解释过 Again this is all explained in the previous video
关于时间签名但坚持 about time signatures but keep in
请注意，比例是 mind that the ratio is
一切比例越简单 everything The simpler the ratio
在两米之间 is between two meters
多赫节奏越容易，或 the easier the polyh rhythm or
测谎仪是为了 polymeter is to
如果比率内部化 internalize if the ratio
两米之间非常 between the two meters is very
复杂的，就像九岁以上 complex like let's say nine over
50多节奏会 50 The polyhythm would
更难快速理解 be more difficult to understand quickly
如果它让你想起 if it kind of reminds you of the very
本系列的第一个视频是关于 first video of this series about
协和音和不协和音 consonances and dissonancances
你是对的，结合节奏 You're right combining rhythms kind
诸如组合音调等作品 of works like combining tones where
比例在二之间越简单 the simpler the ratio is between two
频率越协和， frequencies the more consonant they
如果您想了解更多有关 are If you want to learn more about the
节奏与 relationship between rhythm and
您可以观看Adam Neie的投球 pitches you can watch Adam neie's
关于这一点的会议讨论关于ableton conferenceerences about it On ableton
频道这是一个45分钟的视频 channels It's a 45 minutes video
谈论Polyh的节奏和 talking about how polyh rhythms and
和弦可以是相关的， chords can be related and
然后解释一些超出这一点的事情 then explain a few things beyond that point
很有趣我要离开了 It's very interesting I'll leave
描述中的链接所以 a link in the description So
您可以拥有的最简单比例 the simplest ratio you can have
两个节奏之间是两个结束 between two rhythms is two over
三是时间 three where an amount of time
第一个被分成两部分 is divided in two in the first
节奏并分为三种 rhythm and divided in three in
第二个节奏这个特别的 the second rhythm This particular
复节律被称为 polyhythm is called an
emiola，您可以通过以下方式获得它： emiola and you can obtain it by
结合一条 combining a bar of
340一小节六八 340 a bar of six eight
三四小节被划分 the bar of three four is divided
在三个节拍中，每个节拍都可以是 in three beats that can each be
分成两部分，这给了我们 divided in two which gives us
这1 203 this 1 203
n和六的小节 n and the bar of six
八由两组组成 eight is made of two groupings
三个音符给我们 of three notes which gives us
这一个n两个e this one e n two e
n所以看看我们是如何得到这个的 n so see how we have this
两次重复三次的模式 pattern of two repeating three times
这种三个的模式重复了它 and this pattern of three repeated it
两次Mli有点 twice The mli is kind of
特别是因为它是一个多民族 special because it is a polyh
节奏同一小节分成两半 rhythm The same bar divided in two
三分之二的方式 ways in 2 in three
节拍，但同时它 beats but at the same time it's
也是一个多棱镜，因为它是两个 also a polymeter as it is two
时间签名组合在一起 time signatures combined where
所有细分都是一样的 all the subdivisions are the same
长度那么让我们听听 length So let's hear how the
埃莫拉听起来像是我会演奏 emola sounds like I'll play
两种节奏都带有钟声 both rhythms with bell notes
两个的节奏就会是这两个 The rhythm of two will be these two
注意到 notes
我将演奏三个的节奏 and for the rhythm of three I will play
这些笔记 these notes
这种复节奏的简单性 The simplicity of this polyhythm
使其超级有效，而且它 makes it super effective and it
已被用于无数的音乐中， Has been used in countless musicics and
非洲南部萨尔以南的流派 genres from sub saaran African
文艺复兴时期作品的音乐 music to Renaissance pieces
很快就不谈两者之间的关系 quick not aside about the relation between
音调和节奏emiola一词 pitch and rhythm the term emiola
早期也使用过 was also used by early
pyagorians谈论完美 pyagorians to talk about the perfect
第五个描述的比例 fifth describing the ratio of
两根弦的两个长度等于三 two lengths of two strings being three
到两个最短的字符串将 to two the shortest string would
然后在同一个地方发出三次振动 then make three vibrations in the same
最长字符串的时间量 amount of time that the longest string
让两个人产生一个 makes two producing a
perfect fit perfect fit
这就是我们谈论的事情 and that is the kind of thing we talked about
在本系列的第一个视频中 in the very first video of this series
如果您想了解更多有关如何 If you want to see more about how to
使用Emula我也会离开 use the emula I will also leave
描述中的另一个链接是 another link in the description it is
获取j cleio的视频 for a video of j cleio from
向他的音乐工作室发出信号 signals music studio where he
使用emul作为构图 uses the emul for a composition
好的，就在我们结束这个视频之前 okay just before we wrap up this video
让我们做最后一次测谎仪 let's make a last polymeter of
七四超过四四 seven four over four four
所以这两种节奏会在 so the two rhythms will offset in the
这样需要七个循环 way that it will take seven loops of
四个四小节或四个循环 four four bars or four loops of
七个四个小节呃 seven four bars uh for
如果这两个电表需要重新同步 these two meters to re -synchronize if
我们写下每个小节的第一个音符 we write the First note of each bar
我们最终会得到这样的东西 we end up with something like this
所以我们可以看到这些金属是如何 so we can see how these metals
层让我们看看进展如何 layer Let's see how it goes
如果这整个部分的长度 If the length of this whole part
这是一个酒吧 was one bar this would make
七度以上的复律 a polyhythm of seven over
四个，因为有七个节拍 four as there would be seven beats
超过四个节拍 over four beats
这意味着如果你能加快速度 which means that if you can speed that
向上并将其内化 up and internalize it well
写测谎仪是一件好事 writing a polymeter is a good
学习其相应的方法 way to learn its corresponding
复节奏又是 polyhythm And again the
最简单的比例是两种节奏之间 simplest the ratio is between two rhythms
学习就越简单 the simpler it is to learn as the
无论如何循环都会更短所以我们 loop will be shorter anyway So we
有这个七个四的多棱镜 have this polymeter of seven four
超过四个让我们看看它是如何 over four four let's see how it
节奏更复杂的声音 sounds with a bit more complex rhythms
我会在上面演奏踢球和诱捕器 I'll play the kick and the snare on the
每条的第一位和第三位 first and the third bits of each bar of
四四然后我来分酒吧 four four then I'll divide the bar
的7402所以它是 of 7402 so it's
超过两个780小节 more of two bars of 780
我来玩他们在一个上开了很高的心 I'll play They open high heartsats on the one
3、5 the 3 the 5
对两个四个人的高度关注 close high hearts on the two the four
第六和第七 the sixth and the seventh
在此之前已经有18集了 There have been 18 episodes before this
1我们谈了很多事情 1 we have talked about a lot of things
实际上我们可能已经谈论了很多 actually We may have talked about pretty much
当我想谈论的一切 everything I wanted to talk about when I
开始了这个系列和所有 started this series and of all the
我感觉有时它可能是 things I feel like sometimes it can be
很难看出他们是如何 difficult to see how they all
结合起来以及它如何相互关联 combine and how it is all connected
所以今天我想总结很多事情 So today I'd like to sum up a lot of things
我们在这个系列中看到并试图展示 we saw in this series and try to show
它们如何联系起来，然后放在 how they relate and then put
一个页面上的所有内容都可以使一个有用的 everything on one page that can make a useful
开始编写文档 document for composing to begin
本文件中的所有内容都将基于 Everything on this document will be based on
肯德基那可能就是 the KFC That's probably the
最简单，因为一切似乎 easiest because everything seems
以相同的主要规模为基础，它是 to be based on the same major scale and it's
易于在钢琴键盘上可视化 easy to visualize on a piano keyboard
因为它是所有的白钥匙，但 as it is all the white keys But to
帮助您使用那里的其他音调 help you use other tonalities there
将是这些其他的其他页面 will be other pages for these other
调性 tonality
所以在第一页的顶部，让我们 So at the top of the first page let's
首先提醒所有 start with a reminder of all the
刻度的间隔如果您 intervals of the scale If you
知道你音调的根音 know the root note of your tonalityte
你可以看到所有其他的功能 you can see the function of all the other
具有相应间隔的节点 nodes with the corresponding intervals
在此表中例如， in this table For example if
根节点是C A E会 the root nodes is C A E would
成为主要的第三位，因为它是 be a major third because it is
c以上的两个全音 two whole tones above c
根节点上方的4个完整项 4 whole terms above the root node
可以是增强的第五名 could be either an augmented fifth
或者负六分之一取决于您 or a minus sixth depending if you
将其视为第五个音符 consider it a g the fifth note of the
音阶或第六个音符 scale or a the sixth note of
规模所以就像你一样 the scale So in the same way you
可以找到您可能找到的所有其他间隔 could find all the other intervals you might
最多需要13 need up to the 13
让我们把c大音阶放在下面 thUnderthat let's put the c major scale
如果您想知道大音阶和小调音阶如何 If you wonder how major and minor scales
已建成，一切都在扩建第四个 are built it is all expl expanding the fourth
关于音阶和模式的一集所以 episode about scales and modes So
然后我们可以添加所有核心的列表 then we can add a list of all the cores of
大音阶的所有度数 all the degrees of the major scale
从一级到七级 from the first degree to the seventh
学位那是主修辅修 degree That's major minor
次要主要 minor major major
轻微且减弱所以 minor and diminished So the
C大音阶一级 first degree of the c major scale
要么是c小调和弦 either the c major chord the
二级是A d小调和弦 second degree would be A d minor chord
第三级是e the third degree would be a e
小调和弦等 minor chord etcetera this
为您提供所有可以使用的核心 gives you all the cores you can use within
C大音阶，如果你想的话 the c major scale and if you want to
使用另一个可以替换的大型秤 use another major scale you can replace
这些笔记由这个另一个的笔记 these notesdes by the notesdes of this other
大规模所以都在 major scale so it would be all in the
您使用的课程类型的调性 tonality you're using the type of coursedes for
每个程度都不会改变，但正如我一样 each degree won't change but as I
早些时候说过还会有其他页面 said earlier there will be other pages to
帮助您使用其他音调 help you use other tonities
知道如何建立大小调 to know how to build major minor
减弱或增强和弦 diminished or augmented chords it
都在关于 is all explained in the episode about
我会在最后一排尝试 tryad in the last row I will
也为每个度添加第七和弦 also add the seventh chord for each degree
所以如果你想用第七胸， so if you want to use seventh ch called for your
你可以知道第七种类型的歌曲 song you could know what type of seventh
你可以用和弦来表示每一度， chord you could use for every degree so
第一学位是C专业 the first degree would be a c major
第七和弦二级 seventh chord The second degree
将是d小调第七和弦 would be a d minor seventh chord
等等我们看到了如何建造这些 etcetera We saw how to build those
在第七和弦的那一集里 in the episode about seventh chord it's
在这一集里，我们还谈到了 also in this episode that we talked about all the
你在页面顶部的音程 intervals that you have at the top of the page
好的，下面我们加上 okay so under that let's add the same
小音阶表 table for minor scales natural
和声和旋律，所以如果你 harmonic and melodic so if you're
使用c小调音阶，你可以使用这些 using a c minor scale you can use these
值得注意的是， instead It's worth noting that the
和声小调有点特别 Harmonic minor scale is a bit special
因为它包含不同类型的第七 as it contains a different type of seventh
其程度来自 called on its degree from the
一级到七级 first degree to the seventh degree that
第七半场负主要比赛 goes minus major seventh half
减少的第七个增加的 diminished seventh augmented
负第七个占主导地位的第七个 minus seventh dominant seventh
大七和小七 major seventh and diminished seventh
要知道这些自然和谐和 To know how these natural harmonic and
旋律小调已建成 melodic minor scales are built it is in
关于主导公司的剧集 the episodes about dominant Co
但正如这里所说，区别 but just so it's said here the difference
调和小调和自然小调之间 between the harmonic minor and the natural
小调是第七个音符 minor is that the seventh note
和声小调音阶的提高 of the harmonic minor scale is raised
与自然相比，由异黄酮 by a semitone compared to the natural
小调音阶和旋律小调 minor scale and the melodic minor
规模既有第六7名 scale have both the sixth 7
一位法国人提出的意见， notes raised by a semitone compared
自然小调音阶实际上 to the natural minor scale Actually the
旋律小调音阶就像大调一样 melodic minor scale is just like the major
音阶，但有三分之一是小调 scale but with a third that is minor
您可以使用三小调音阶 You could use the three minor scale in
一首曲子，他们非常接近 one composition and they are very close
他们基本上是三个 to one another and they are basically three
相同规模的变化 variations of the same scale
现在要更轻松地使用这些呼叫 Now to use these callsdes more easily
您有一个不同的节奏列表 you have a list of different cadences
这里的节奏就像 here Cadences are like
可识别的称为进展 recognizable called progressions that are
真的很有用就像 really useful It's like The
句子中的标点符号所以 punctuation in a sentence So
首先，你有真正的节奏， first you have the authentic cadence that
从五级到一级 goes from a fifth degree to a first
学位通常由两名或一名学生准备 degree often prepared by a two or a
4从一个开始的单调节奏 4 the plagal cadence that goes from a
四级到一级， fourth degree to a first degree which
都是决定性的节奏， are both conclusive cadences that
强化你所处的音调 reinforce the tonality you are in
然后你有一个半节奏来结束 then you have a half cadence that finishes a
五度音乐句子 musical sentence on the fifth degree
它经常从一级到 It often goes from the first degree to the
五度，这就像一个问题， fifth degree and that is like a question that
需要得到解答然后 needs to be answered And then the
欺骗性的节奏，开始像 deceptive cadence that begins like an
真实的节奏，然后在 authentic cadence and then at the
最后一分钟到另一个程度 last minute goes to another degree
而不是通常的 instead of the one it often goes for the
第六，关于那些在 sixth more details on those on the
关于CAD密度的剧集然后让我们 episodes of about CAD denses Then let's
加入一些更奇特的终止感， add some more exotic cadensenses that can be
有用的我们可以添加Triton useful We can add the triton
取代 substitution which replaces the
五度，以真实的节奏 degree five in an authentic cadence by
你的单位是两个所以它从单位开始 your flat two so it goes from flat
二比一这个单位二是 two to 1 this flat two is
通常是大和弦或 often a major chord or a
主导第七和弦你可以看到 dominant seventh chord You can see it
在关于借款和 in the episode about borrowings and
我们还可以添加替代品 substitutions We can also add the
拿破仑第六，非常 napolitan sixth which is very
类似它也是一个单位两， similar It is also a flat two but
这取代了呃所谓的Of that replaces uh called of Of the
二或四度subd优势 second or fourth degree a subd dominant
法庭所以在法庭前经常看到 court So it's often seen before an
真实的节奏然后我们可以添加 authentic cadence Then we can add the
四个节奏，就像半个节奏 four cadence which is like a half
由第四个人准备的节奏 cadence that is prepared by a fourth
占主导地位的第七倍 degree in its dominant seventh fold
您可以看到最后两个所谓的进展 You can see this two last called progression in
第一集关于特殊和弦 the first episode about special chord
最后是安达卢西亚人 and lastly there is the andalusian
不是真正的节奏的节奏 cadence which is not really a cadence
它更像是一种所谓的进展， it's more of a called progression that is supposed
循环播放但以防万一 to be played in loop But just in case
您想尝试一下作为普通的Cadens you'd like to try it as a regular cadens
这里是为了了解有关 here it is to have more details on the
安达卢西亚香蒜你会找到它 andalusian cadens you'll find it in
关于特别节目的第二集 the second episode about the special
代码和代码进展如果我曾经 codes and code progressions If I ever
谈论未来的其他节奏 talk about other cadences in the future
我也会更新此文档所以 I will update this document as well So
如果您将来正在观看这个节目，并且您 if you're watching this in the future and you
查看是否添加了其他节奏 see that other cadences have been added
你肯定会找到一个插曲解释 you willll surely find an episode explaining
在音乐理论的播放列表中， it in the playlist of music theory in
五分钟 five minutes
在你的作品中 Now at some point in your composition
您可能想调整到另一个 you may want to modulate to another
调性帮助你做你所拥有的事情 tonality To help you do that you have
这里是第五圈， here a a circle of fifth With
这你可以知道每个人的所有笔记 this you can know all the notesdes of every
大音阶和自然小调音阶 major and natural minor scales
你可以看到哪些音调接近 and you can see what tonities are close
到您正在使用的那个 to the one you're using In the c
处于领先地位的主要规模 major scale that is at the top all
noots是自然的，在同一个 the noots are natural and in the same
自然小调音阶 for the a natural minor scale which
是它的相对的，那么 is its's relative Then
每顺时针走一步， every step you go clockwise add the
这些尖锐的音符 sharp notes in the scale These sharp
注释始终以相同的顺序显示 notes always appears in the same order
这里写为f which is written here f
然后是C然后是G D then c then G D
A E和B然后 A E and b and then
你逆时针迈出的每一步 every step you take anti clockwise
在音阶中添加一个单位音符， adds a flat notesdes in the scale and
这些扁平笔记出现在相反的地方 these flat notesdes appears in the opposite
先点b然后点 order first the b then the
然后A D G e then A D G
C F所以例如在 C F so for example in
f主要这是反一步 f major this is one step anti
顺时针所以它有一个 clockwise So it has one
平面节点，该节点是 flat node and this node is
b因为它是第一个平坦节点 b because it's the first flat node
出现所以f大音阶 to appear So the scale of f major
将是F G A would be F G A
B平C D E B flat C D E
然后您可以使用之前的这个表 and then you can use this table from earlier
要知道第一级 to know that the first degree the
福特将成为主要和弦 Ford would be a major chord
或大七和弦 or a major seventh chord The
二级g和弦是 second degree the g chord would be
小调和弦或小调七度 a minor chord or a minor seventh
和弦等 chord etcetera
如果你选d小调，那也是一样的 and if you take d minor it's the same
逆时针一步 It's one step anti clockwise
所以这是一个单位音符是b so it's one flat notede that is b
扁平，比例为D E flat and the scale is D E
F G A B平 F G A B flat
c然后您可以使用 c you can then use
自然表中的这些注释 these notes in the table of the natural
小调知道什么是和弦 minor scale to know what kind of chord is
在每个学位上，从那里你可以找到 on each degree and from there you can find
小调和声和旋律音符的音符 the notesdes for the harmonics and melodics minor
你可以放入他们的天平 scales that you can put in their
如果您想使用相应的表 respective tables if you want to use them
你可以用一个圆圈做很多事情 There are a lot of things that you can do with a circle
第五名，您可以了解有关 of fifth and you can have more details about
在专门为 that on the episode dedicated to
所以你也可以使用这些 it So you can also use these
第五圈知道什么是主导的 circle of fifth to know what is the dominant
每个和弦的和弦并使用它来 chord of each chord and use that to
从一种调性切换到另一种调性 switch from a tonality to another For
例子a d和弦很适合去 example a d chord is good to go to
G A G和弦的调性 a tonality of G A G chord
去音调是很好的 is good to go to a tonality of
CAC代码很好去f的调性 CAC code is good to go to a tonality of f
等等您可以查看有关如何 etcetera You can see more on how to
在关于调制的剧集中使用这个 use this in the episode about modulations
另一件要添加到此页面的事情 Another thing to add to this page
或现代工会成员 or modees unionian
多里安·弗里吉安·莱迪安混合 dorian phrygian lydian mixed
利底亚外星人和洛克人 lydian alien and lockian
具有相应的一系列间隔 with the corresponding series of intervals
每个人都在旁边建造 that build each one next to them one
记住顺序的助记句 mnemonic sentence to remember the order
这种模式可以是我不出拳 Of this modes can be I don't punch
就像穆罕默德·阿里一样，我认为这可能是 like Mohammad Ali I thought that might be
有用所以它就在那里一次 useful so there it is Once
我把它们都记为c again I've put all them as c
所以我认为它们会更有用 scales so I thought they would be more useful
来比较它们，所以这是c to compare them So this is c
洋葱是c大调音阶 onion which is the c major scale
然后是c多里安·克弗里吉安 then c dorion cphrrygian
阿卡迪亚c m soliddian ciddian c m solididdian
CA洋葱是c天然的 CA onion which is the c natural
小调和c loc minor scale and c loc
韩语如果您想了解更多信息 Korean If you want to learn more about
模式以及它是如何构建的 modes and how it is all built it
在关于音阶和模式的一集中， is in the episode about scales and modes that
应该已经列在这个小 should already be listed in this little
眼睛在顶部 eye at the top
我想在此页面添加的最后一件事 One last thing I would like to add to this page
是一张次要优势表 is a table of secondary dominance
在你的作文中的任何一点， At any point in your composition you
可以添加任何第五度 can add the fifth degree of any
和弦，然后转到那个和弦 chord and then go to that chord
这是次要优势， That's a secondary dominant and
这是添加笔记的好方法 that's a good way to add notesdes that or notes
最初是在您使用的规模中 originally in the scale you're using
所以第一行是 So on the first line are the course of
C大音阶和第二音阶 the c major scale and on the second
线是每个的第五度 line are the fifth degrees of each
所以你可以使用 of those chords So you could use a
七个和弦转到de和弦或 seven chord to go to a de chord or
C七和弦去福特 a c seven chord to go to a Ford
例如接下来的四行 for example The four next lines
是构成这些的四个音符 are the Four notes that build these
次主导和弦 secondary dominant chords the
第三次、第五次和 tonic the third the fifth and
第七个看看你是否在使用 the seventh See if you're using
a a七和弦到a de和弦 a a seven chord to go to a de chord
例如a七 For example the a seven
和弦将由 chord would be made of a
c尖锐的E N G所以 c sharp E N G so
您将使用通常是的升c you will be using a c sharp that is normally
不在C大音阶 not in the c major scale
作为奖励，我还添加了一个图表 As a bonus I also added a chart
不同类型的和弦你可以 of different types of chord you could
这里替代第五学位 substitute for a fifth degree Here
是主导的第七和弦类型 is the dominant seventh chord The type
Oford我们通常和第五个一起使用 oford we normally use with a fifth
与 degree in cadence with the
g Seventthord的例子， example of a g seventhord which
是C专业的第五个学位 is the fifth degree in the c major
将使用音符的音阶 scale that will use the notes
G B D和f所以 G B D and f so
它不使用外部的任何注释 it doesn't use any notes external to the
c大规模现在您可以 c major scale Now you could
将这些其他呼吁替换为 substitute any of these other calls for
这个g第七代码例如 this g seventh code For example
g减少的第七代码将使用 a g diminished seventh code would use
一个b降和一个d降， a b flat and a d flat which
是C major音阶之外的 are external to the c major scale
如果您想了解更多有关该内容的详细信息，请在 If you want more details about that it is in
关于借款和 the episode about borrowings and
替代品等等 substitutions and that
我将结束这第一页 will wrap up this first page I
知道那可能是很多信息 know that may be a lot of information
如果您是第一次发现它 If you're discovering it for the first time
但一切都应该在 but everything should be explained in the
一系列剧集我有一些反馈 series of episodes I had some feedback
说这种五分钟的形式 saying that this format of five minutes
每个视频可能有点快 per videos can be a bit fast for
想要YouTube了解音乐理论的人所以你 people who want Youtube to music theory So you
有时可能想倒带， might want to rewind sometimes but
如果还有什么尚不清楚并且如果您有 if anything is still unclear and if you have
任何问题都不要犹豫地问 any question don't hesitate to ask
他们在评论区没有哑巴 them in the comment sections There is no dumb
有问题，我很乐意提供帮助 question and I would be happy to help
以下11页或 the 11 following in pages or
本质相同但基于不同 essentially the same but based on different
根节点所以您不必 root nodes So you wouldn't have to
将整个页面转化为一种永恒感 transport this whole page to an e tonality
都已经完成了 They are all already done
所以下一页将是关于 so the next page will be all about
节奏首先让我们把 rhythm First let's put the
不同符号的等效性 equivalence of different notations of
整个节点被分成两半 a whole node being divided in half
分为四分之一节点的节点 nodes that are divided in quarter nodes
等等我不确定是否 etcetera I'm not sure if
一旦你知道了，这真的很有用，但是 that's really useful once you know it but that
看起来有点酷，我们可以把 kind of looks cool and we can put the
相同的图表，其中等效符号 same diagram where the equivalent symbols
为了保持沉默，我们可以 for silencences then we can
分解我们可以分割一个的所有方法 break down all the ways we could divide one
我咬到了第16个音符 bit into 16 th notes I'm
实际上使用一个填充的正方形系统 actually using a system of squares that are filled
都是空的，所以这看起来像 are empty so this would look like
门上的midi块可能会有 the midi blocks in your door and there could be
任何类型的音符四分之八 any type of notes A quarter note eighth
例如音符或第16音符 note or 16 th note for example
然后我们可以给它们编号，这样我们就可以 we can then number them so we could
通过挑选数字轻松创造节奏 easily create rhythm by picking numbers
这可以使好的建筑 at random This can make good building
希望能想出一些 blocks to come up with some hopefully
有趣的节奏让我们也做 interesting rhythms Let's also do
生三胞胎，这样我们就能 it with triplets so we would have both
二进制和十进制节奏 binary and tenary rhythms
更多关于我们如何在 More details on how we can divide time in the
第一集大约 first episode aboutthm
现在要用这些音符和节奏 now to use these notes and rhythms in a
我们可以以更多样化的方式写下 more diverse way we can write down
具有不同时间签名 different time signatures with an
指示所有强位的位置 indication of where all the strong bitsats in
每一个最强的比特都是圆的 each one the strong bitsats are the round
音符和十字架的假发节拍 notesdes and the wig beats of the crosses
这些只是我们放在哪里的迹象 These are just indications of where we put
大多数时候都是强者的节拍这是由 the strong beats most of the time This is by
不意味着你应该开什么处方 no means a prescription of what you should
一直这样做，但主要原则 do all the time but the main principle
这里是你可以划分这个时间 here is that you can divide this time
签名分成两组 signatures into groupings of two
或三个音符和每个音符的第一个音符 or three notes and the first note of each
然后分组就变得很强 grouping then becomes a strong bit
您可以了解更多有关时间的信息 You can have more information about time
签名在其专用 signatures in its dedicated
这里的剧集 episode here
这份文件的最后几页很友善 The last pages of this document are kind
我在这里列出的附件 of annexes here I listed
如果您可以尝试很多不同的尺度 a lot of different scales that you can try if
您想从主要或次要更改 you want to change from the major or Or minor
规模并且都按模式列出 scales and they are all listed by mode
例如，这些第一张表格 So for example these first tables
从和声小调音阶开始 starts with the harmonic minor scales
在第一行，然后是 here on the first row and then the
第二行是它的第二模式含义 second row is its second mode meaning
它是一个使用 that it's a scale that uses the
完全相同的节点，但从第二个开始 exact same node but starting on the second
注释那么第三行是 notede Then the third row is the
第三种模式，具有相同的节点但开始 third mode with the same node but starting
在第三个音符上，第四行是 on the third notede the fourth row is
第四种模式等等然后我 the fourth mode etcetera Then I
将所有这些尺度转换为 transposed all these scales to a
肯德基所以他们都以相同的开头 KFC so they all begin with the same
笔记本，我想这会更容易 notede and I guess it would be easier
比较它们或找到一个规模 to compare them or to find a scale
特别是如果您知道哪些节点 in particular if you know what nodes you
想使用我这样做是为了很多不同的 want to use I did this for a lot of different
技能，所以你会有很多技能可以玩 skills so you would have a lot of skills to play
但正如你所看到的，对于一些 with but as you can see for some of
我没有找到任何相应的 them I didn't find any corresponding
名称这些文件可能是 name These documents may be
将来更新所以如果你 updated in the future So if you
知道这些缺失的鳞片的名称 know the name of any of these missing scales
或者如果您想查看其他元素 or if you'd like to see other elements
在这份文件上你可以告诉我 on this document you can tell me in
评论这些最后几页是 the comments These last pages are
这是一种额外的奖励，因为我们并没有真正 kind of a bonus as we didn't really
请在 see these modes in particular in the
系列，但你有它们，所以你可以尝试 series but there you have them so you can try
如果您仍然不确定模式， them If you're still not sure about modes you
可以观看有关音阶和模式的剧集， can watch the episode about scales and modes that
已在描述中列出 is already listed in the description
这些都是按照与我相同的原则构建的 These are built with the same principles I
不包括每个学位的课程 didn't include the course for each degree
正如我想要的那样，为每一个混乱 for each of these chaos as I wanted to
限制这些页面上的视觉集群 limit the visual cluster on these pages
但如果您想知道如何找到所有 But if you want to know how to find all the
伴随着每一场混乱的电话 calls that will go with each of these chaos
aburiyos剧集可以帮助您做到 the episode aboutrayos can help you do
音乐理论就像 that Music theory is like
一本食谱，里面充满了你可以的食谱 a cookbook it's full of recipes you can
照原样跟随，它就会变得伟大 follow as is and it will make great
但是这些你也可以拿走 dishes But you can also take these
技术作为灵感和应用 techniques as an inspiration and apply
他们以另一种方式让你的东西 them in another way to make something of your
自己的人们一直在制作 own And people have been making
早在 amazing dishes long before the
烹饪书存在所以有一些案例 cookbook exists So there are some cases
有些音乐使用的东西 where some music used things that
只是不符合我们的西方 just didn't fit with our occidental
音乐理论概念和其他 music theory concepts and other
这些技术的案例 cases where techniques from these
西方烹饪书被用于 western cookbooks were used in an
创造新事物的奇怪方法 odd way to create something new
今天我们来谈谈五声 Today we'll talk about pentatonic
音阶五音阶 scales A pentatonic
音阶是由五个组成的音阶 scale is a scale that is made of five
注意五胺 notes pentamine in five
大多数时候当我们谈论一个 most of the time when we talk about a
我们谈论的五声音阶 pentatonic scale we talk about
衍生的五个音符音阶 a scale of five notes that is derived
从常规七音阶开始 from a regular heptatic scale
七个音符的音阶 A scale of seven notes in a way that
删除了一些注释以避免间隔 some Notes are removed to avoid intervals
甘草的例子 of a semitone For example
cp patonic大规模 the cp patonic major scale
是从正规专业 is derived from the regular major
C标度 scale of c
只有f和b被移除 only the f and the b are removed
所以我们避免了一次峰会的间隔 so we avoid the interval of one summit
在e和f之间，我们 ton between e and f here we
保留e以保留c小调的第三个 keep the e to keep the third of the c major
和弦 chord
以及在b和c之间 and between b and c
这里我们保留c来保留束腰外衣 here we keep the c to keep the tunic
SC规模 of the sc scale
作为未成年人是亲戚 and as a minor is the relative
c major五音阶 of c major The pentatonic
a的小调将使用 minor scale of a will use the
相同的音符，但仅从a开始 same notes but only starting on the a
实际上我们可以写下这些的所有模式 actually we could write down all the modes of these
五音阶供将来参考 pentatonic scales For future reference
我会把它们添加到我的大音乐理论中 I'll add them to my big music theory
您可以通过免费下载备忘单 cheat sheet that you can download for free with the
描述中的链接了解有关的更多详细信息 link in the description For more detail about
这些文件我制作了一个视频来解释 these documents I made a video explaining
所以这些对他的五分之一 it so these pentther on his
kos非常方便，因为它们 kos are very handy and because they
不包含任何半导体 don't contain any semit on
间隔很难 interval it's fairly hard to
得到一些与他们不和谐的东西 get something dissonant with them
例如，如果你是，他们就很棒 For example they are great if you are
使用触发笔记的模块化设置 using a modular setup that triggers notes
随机 randomly
音符将随机播放，但在那里 Notes would be played randomly but there
他们之间应该不会有太多摩擦 shouldn't be much friction between them
这些秤也用得很多 These scales are also used a lot
禁止使用摇滚或蓝调音乐 forallowing in rock or Blues music
除其他外，但我们会回到 among others but we'll get back to
稍后如果你想实验 that later If you want to experiment
使用五声音阶，您可以尝试 with the pentatonic scale you can try to
仅使用键盘上的黑键 use only the black keys on your keyboard
那将使用f升 That would be using the f sharp
五音阶大音阶d升 pentatonic major sc scale of the d sharp
五声博斯骗局所以这是 pentatonic bos scam So this is
我们可以通过一种方式来看待五声音阶 one way we could look at pentatonic scales
通过我们西方音乐的范围 through the scope of our western music
理论中我们只是采取一些我们的 theory where we just take some of our
刻度并删除一些音符以避免 scales and remove some notes to avoid
喇叭的脚步，但是 steps of a semitone But
五声音阶已被用于 pentatonic scales have been used for
在许多不同文化的时代 ages in a lot of different cultures
使用完全不同的 that used totally different
范式这是一个很好的方法 paradigms And this is a great way
提醒我们，我们的西方 to remind us that our occidental
音乐理论并不是唯一的方法 music theory is not the only way to make
音乐只是一个系统 music it's only one system
我想这是 among others It is I guess the
在世界上使用最多的 most used around the world So
以至于这些其他文化倾向于 much so that these other cultures tend
采用西方量表， to adopt occidental scales and
乐器，因为它可以让我们演奏所有 instruments because it allows us to play all
在一起，因为很好 together and because well
主要是因为殖民化 mainly because of colonization for
示例一些前哥伦比亚规模 example Some pre columbian scales
将八度音阶分成五等份 divided the octave in five equal
间隔所以这形成了一个规模 intervals so this made a scale of
五个音符所以那仍然是 five notesdes so that's still
五声但这些笔记并没有 pentatonic But these notesdes didn't
真正与中使用的笔记一致 really line up with the notesdes used in
西方规模这简直就是 occidental scales This was simply
与我们的西方不相容 not compatible with our were western
音乐理论因此受到影响 music theory so under the influence
西班牙乐器制造商的 of the Spanish instrument makers
采用了意外量表 there adoptedted the accidental scales
让他们的乐器制造他们的 to make their instruments making their
传统歌曲听起来有点不对劲 traditional song sound slightly out of
调整但允许他们演奏 tune but allowing them to play
西方音乐也是，但是 occidental music as well But
将其他文化的音乐简化为 making other cultures' music down to
只有使用天平才是 only the use of scales would be rather
还原通常还有很多 reductive There are often a lot more
理论甚至精神上的 theoreical and even spiritual
附加于那个的概念 concepts attached to that For
例如，如果我们查找我们的模式 example if we look up the modes of our
我们早期的五声音阶 pentatonic scales from earlier we
可以为大多数人找到替代名称 can find alternative names for most of
他们例如拉高帕利 them for example ragaopali
拉加阿达·马瓦蒂·拉加 ragaada mavati raga
德瓦里亚等这些 devaria etcetera These
拉格斯源自印度古典音乐 ragas come from Indian classical
音乐不仅仅是 music and they are way more than just
规模他们实际上没有直接的 scales They have actually no direct
翻译为中的概念 translation to concepts in the
欧洲古典音乐传统 European classical music tradition
aaga更像是 aaga is more like a combination of
SC规模不一定是五 a sc scale not necessarily Of five
顺便说一句音乐剧的音符 notes by the way with musical
可以 structures and motifs that can be
由音乐家组合并重新排序， combined and reordered by the musician who
正在即兴发挥 is improvising with it ragers
被认为具有上色能力 are considered to have the ability to color
观众的想法所以 the minds of the audience So
传统上，每个狂欢者都有情感 traditionally each rager have emotional
和象征性的联想 and symbolic associations
附在上面，有几百个 attached to it and there are several hundreds
其中，这种狂欢并不总是 of them and this rager don't always
使用与西方音乐相匹配的间隔 use intervals that match the western music
还有规模所有这些都要说 scales as well All these to say
五声音阶是两件事 two things pentatonic scales are
太棒了，它们易于使用，而且您可以使用 awesome they are easy to use and you can use
它们以多种方式存在，并且存在于很多方面 them in many ways and they are present in a lot
文化和一些音乐剧 of cultures and some musical
来自其他文化的概念 concepts from other cultures
并不总是与我们的兼容 are not always compatible with our
羟音音乐理论甚至 oxyinotal music theory even
尽管有些文化采用了一些 though some cultures have adopted some of
我们的西方概念但是 our western concepts But
有时是我们的音乐理论 sometimes it is our music theory
它不断发展以实现新的东西 that evolves to implement something new
这就是我们接下来将看到的 and that's what we'll see in the next
本系列的一集我们将 episode of this series where we will
谈论蓝调音阶这是 talk about Blues scales Here is
蓝调小调的音阶 the Blues minor scale of a it's
由A C D制成 made of A C D
降E E N G E flat E N G
除了听起来很棒之外 apart from the fact it sounds awesome
也就像未成年人一样 it is also just like a minor
五重音阶但这是什么 pentatony scale But what this
减少的第五个增加了另一个 diminished fifth added this other
音符是我们称之为蓝音符的音符 note is a note we called blue note
但这从何而来呢 but where does this come from It
观察大蓝色更有意义 makes more sense to look at the major blue
规模来找出答案相关 scales to find that out The related
辅修的主修是c major of a minor is c
小调所以c小调蓝色 major so the c major blue
规模将使用相同的节点，但开始 scales would use the same nodes but starting
从c开始，以便C D from c so that C D
降E E G A E flat E G A
这样看蓝色的鳞片是 seen like this The blue scale is
就像五声大音阶，但有 like a pentatonic major scale but with
添加了小三分之一所以 a minor third added So it has
小调和大三分之一 both a minor and a major third
这就是这个额外的 and this is exactly how this extra
SC量表中引入了注释， note was introduced in the sc scale as
小三分之一见 a minor third see
你可以使用主要的五声音 you can use a major pentatonic over
同名主要调性 a major tonality of the same name
就像c大五音一样 like c major pentatonic over
一首用C小调写的歌曲 a song written in c major for
例如，所有的音符都是共同的， instance all the notes are in common so
它会起作用你可以使用未成年人 it will work You can use a minor
五音阶高于小调 pentatonic over a minor tonality of
与c小调同名 the same name like c minor
五声调过一首歌 pentatonic over a song written in
c小调例如所有音符 c minor for instance All the notes
有共同点，所以它也会起作用 are in common so it will also work
但您也可以使用一些元素 but you can also use some elements of
小调五音阶高于小调 the minor pentatonic over the major
同名音调就像 tonality of the same Name like
使用c小调的一些音符 using some notes of the c minor
五声调过c首歌 pentatonic over a song in c
例如主要它不像 major for instance It's not as
直觉的，但这就是很多 intuitive but that's what a lot of
早期的蓝调歌手这样做是因为当 early bluesmen did because when a
大和弦正在演奏，你演奏小调 major chord is playing and you play a minor
第三，它创造了一个 third over it it creates a
小三度和小三度之间的摩擦 friction between the minor third and the
然后共存的主要三分之一 major third that are then coexisting
然后这个小三分之一想要 And then this minor third wants to
上升到和弦的大三分之一， go up to the major third of the chord to
被解决所以你可以用这个 be resolved So you can use this
e平作为通往e的突破口 e flat as a breach to go to a e
或者使用这些b降到a b or use these b flat to go to a b
这些针对未成年人的笔记 these notes that are specific to the minor
比例最好使用， scale are better used as
过渡到音符 transitions to go toward a note that is
用于 part of the major scale that is used for the
歌曲如果你完成了微弱的下降 song If you finish a meer decline
在不属于本专业的注释上 on a note that is not part of this major
规模不会那么有效 scale it will not be as effective
因为你会以不和谐音结束 as you will then finish on a dissonance
这个还没有解决，但使用这些 that is not resolved But using these
不和谐作为过渡 dissonances as transitions
有这种特殊的蓝调颜色 has this particular Blues color to it
这真的很不错 which is really nice
另一种使用之间这种不和谐的方式 Another way to use this dissonance between
和弦的小调和大三分之一 a minor third and a major third of a chord
是使用优势七 is by using a dominant seven
尖锐的九型和弦这 sharp nine type of chord This
是一个常规的主导第七和弦，由 is a regular Dominant seventh chord made of a
根音符大三分之一完美 root note a major third a perfect
第五名和负七名， fifth and a minus seventh to
我们在第九名中添加了一个增量 which we add an augment in ninth
就像常规的占主导地位的第七 just like a regular dominant seventh
和弦这种类型的和弦经常 chord this type of chord is often
在五度以下使用 used under fifth degree of a scale
所以如果我们是C小调就可以看到 so if we are in c major it could be seen
在第五度g上， on its fifth degree g and
我们的g占主导地位的第七正九 our g dominant seventh sharp nine
和弦将由根节点组成 chord would be made of the root node
g它是主要的第三个b g it's major a third b
这是完美的第五D it's perfect fifth d
它是负七分之一f， it's minus seventh f and
第九个应该是a，但我们需要a the ninth should be a but we need a
正九所以我们提出了这个 sharp nine so we raised that
给我们一个b的生物质 biomiton which gives us a b
平坦 flat
正如你所看到的那样，我们在这个 as you can see we have then in this
称为大三度b和a called a major third b and a
b单位等于小调 b flat which is equal to a minor
第三张牌不和谐 third This card is dissonant
但它有效，因为这三分之二 but it works because these two thirds
分布在两个独立的八度音阶上 are spread out on two separate octaves
因为它是在五度使用的 because it is used on a fifth degree
这个g七正九和弦 this g seven sharp nine chord
用绳子可以很好地解决 would resolve well on a cord
这是我们的第一学位，所以我们有 which is our first degree so we have
五比一的正宗 a nice five to one authentic
cadence cadence
这个占主导地位的七正九和弦 This dominant seven sharp nine chord
也被称为吉米·亨德里克斯 is also called the jimi hendrix
和弦，因为他 chord because it It aord that he
深受喜爱并帮助普及 loved and that he helped popularized
特别是他的歌曲《紫色阴霾》 notably with his song purple haze
这首歌的冷酷进展cyos The cold progression of this song cyos
在电话七点整九点之间 between the calls e seven sharp nine
g和a这是e七 g and a here's the e seven
可以认为是我们的九号 sharp nine which can be considered as our
五级带笔记e degree five with the notesdes e
g升b d和f g sharp b d and f
双店，就像g自然 double shop which is like a g natural
然后是g和弦， Then there is the g chord which uses
已经在e七点整的音符 notes already in the e seven sharp
九和弦，g，b， nine chord the g the b and the
d然后转到a和弦 d and then it goes to the a chord
这是一级和弦 which is the first degree chord that
e七节过后情况良好 resolves well after the e seven sharp
九月所以当你玩的时候 nineord So when you play
超过您可以使用的主要音调 over a major tonality you can use
主要的五声音，但你可以 a major pentatonic but you can
也使用未成年人的笔记 also use notes from the minor
五音阶所以如果你混合主要 pentatonic So if you mix the major
五音和小调五音 pentatonic and the minor pentatonic
共同使其只有一个规模 together to make it only one scale
比如c的音调 for the tonality of c for example
这将使规模C this will make this scale C
D E flat E F D E flat E F
G A B降You G A B flat You
可以轻松使用这个规模，但它 can use this scale as ease but it
有时使用起来可能很棘手 could be tricky to use sometimes as the
摩擦的风险必然会 risk of friction would necessarily
增加所以蓝色刻度是 increase So the blue scale is a
我们采取的地方的简化版本 simplified version of that where we take
主要p Tatonic，我们只添加 the major p Tatonic and we add only
小调五声音阶的三分之一 the third of the minor pentatonic scale
这使得它更容易使用，因为这样 This makes it easier to use because then
我们只需要小心这个 we only have to be careful of this one
注意，我们仍然可以访问这个 note and we still have access to this
由此赋予的蓝调风味 Blues flavor given by this
引入了小彩色位 little chromatic bit introduced
通过引入这个小三分之一 by the introduction of this minor third
这给了我们主要的蓝色音阶 This gives us the major blueues scale
如果我们取的相对小调 and if we take the relative minor of
规模，即使用 the scale which would be the scale using the
相同的音符，但从a开始 same notes but starting from a
我们现在有了次蓝色鳞片 we have now the minor blue scale
这就是我们最终得到蓝色的原因 and this is how we end up with a blue
看起来像小调五声音阶 scale that looks like a minor pentatonic
但减少的五分之一增加 but where the diminished fifths added
这个已经添加的e单位 this e flat that have been added
比根音符高出三倍， is three times above the root notede which
是减少五分之一的间隔 is an interval of a diminished fifth
这就是结果 This is something that is the result
进化时代和 of ages of evolution and the
这种SC护理的确切起源尚不清楚 precise origin of this sc care is unclear
但是它的结果是 but it is the result of
重复使用 repetitive use of
非正统的方法创造了 unorthodox methods that created
日规模，是最大的之一 day scales and it is one of the most
用于罕见的蓝调或爵士乐 used in rare Blues or jazz
这是第一个初学者之一 It is one of the first one a beginner
吉他手会从即兴演奏中学习 guitarist would learn from improvisation
因为它适用于任何事物 because it works on anything and the
我想从中剔除道德 morality I'd like to take out of that
如果音乐 is that if music
是一种语言总有办法 Is a language There's always a way
即使我们 we can communicate even though we
以不同的方式或以 use it in a different way or in an
正统的方式，我们也能够 orthodox way and we are also able
编造我们自己的谩骂或 to make up our own slanging or
也许有一天会发现的方言 dialect that maybe someday will find
进入词典 its way into the dictionary
正如您可能已经知道要建造的那样 As you probably already know to build
ch代码你基本上记笔记 a ch code you basically take the notes
您想要使用的技能 of the skill you want to use
从您想要构建代码的笔记开始 Start with the notesdes you want to build the code
由此笔记 from that the notesdes
这会给代码命名，然后 that will give the code its name and then
遵循天平的笔记保持一 follow the notesdes of the scale keeping one
也注意到了 notede every too
如果你保留三个音符，你就有一个 If you keep three notes you have a
由补品组成的三重奏 triad which is made of a tonic a
第三和第五 third and a fifth
我会在描述中留下一个链接 I'll leave a link in the description to the
关于三合会的一集 episode that talks about triad If
你发出四个音符，你有第七个音符 you give four notes you have a seventh call
它是由一种补药， which is made of a tonic a third a
第五次和第七次 fifth and a seventh
我也会在描述中留下链接 I will also leave a link in the description
到第七集 to the episode that talks about seventh
和弦如果你保留五个音符 chord And if you keep five notes
然后你有第九个和弦，它是 then you have a ninth chord which is
由奎宁三分之一五分之一制成 made of a tonic a third a fifth
第七个和第九个然后 a seventh and a ninth Then
第九个目标的性质取决于 the nature of this ninth goal depends on
分隔每个节点的间隔， the intervals separating each node and
这就是我们将要看到的，现在有许多类型， that is what we'll see Now there are many types
所以我们将从第九个进球开始 of ninth goal so we'll start with the most
常用，然后用 commonly used and then finished with the
更稀有的但就在我们开始之前 more rare ones But just before we begin
我想先做三个笔记 I'd like to make three notes First
需要记住的一件事是， one thing to keep in mind is that the
您在上面添加的更多扩展注释 more extension notes you add above the
三重奏theord的颜色越多 triad the more color theord has
而且你的紧张感也越大所以 but also the more tension you have So
通常这些第七个和第九个节点 generally these seventh and ninth nodes
需要以一种方式解决或 needs to be resolved in one way or
另一秒这 another Second this
第九个节点实际上是相同的节点 ninth nodes is actually the same nodes
比第二个高一个八度 than the second but one octave higher
因此它会与 So it can introduce friction with the
主音第三个是这些节点 tonic And the third as these nodes are
非常接近削弱这种摩擦 very close to attenuuate this friction
通常建议保留第九个 it is often advised to keep the ninth
高一个八度，这样听起来更流畅 an octave higher so it's sounds smoother
通过让和弦呼吸但没有 by letting the chord breathe But there is no
特殊规则所以你想怎么做就怎么做 particular rule for that So you do as you want
真的第三，当你不这样做时 really And third when you don't
演奏第七个和弦所以你只有一个 play the seventh of a chord So you only have a
带有九号的三重奏我们称之为 triad with a ninth We call that
广告第九，通常是这样 ad ninth and generally this
第九是主要的第九所以我们可以 ninth is a major ninth So we can
例如，有c小调广告九 have for example a c minor ad nine
这是一个c小调和弦加上一个大和弦 which is a c minor chord plus a major
九 ninth
或者我们可以有例如c广告 Or we can have for example a c ad
九是c小调和弦 nine which is a c major chord
其中大九增加了 where the major ninth added
一会儿你就会知道如何使用这些 you'll see in a minute how you can use these
和弦，因为只有变化 chords as there are only variations of
我列表上的所有第九和弦 all the ninth chord I have on my list
所以我们要学习的第一种第九和弦 So the first type of ninth chord we're going to
看到是占主导地位的第九 see is the dominant ninth
简单地标记为九 which is simply noted as nine
它由一个大三重奏组成， it is made of a major triad with a
小调七度所以这是占主导地位的七度 minor seventh So that's a dominant seventh
我们添加大调的和弦 chord to which we add a major
第九个所以对于c和弦来说是 ninth So for a c chord that would be
c主要的三分之一e c the major third e the
完美的五分之一g负 perfect fifth g the minus
第七降b和大降 seventh b flat and the major
第九D ninth D
这种类型的和弦经常被用作 this type of chord is often used as
五度的主和弦 a dominant chord on the fifth degree of
你的音调所以这会解决 your tonality So that would resolve
例如，在一级 well on the first degree for instance
例如，在c小调中， So in c major for example the
第五度是g，所以 fifth degree would be g so the
进展将是g Dominina第九 progression would be g dominina ninth
到c小调和弦 to a c major chord
小调五分 and in a minor a five
进步一步就会使e to one progression would make e
第九小调和弦的Dominina dominina ninth to a minor chord
省略也是常见的做法 It is also a common practice to omit
在占据主导地位的第九球场获得第五名 the fifth in a dominant ninth court
所以你只会有图尼格第三个 So you will have only the tunig the third the
七和第九 seventh and the ninth
现在要对此进行更多关注 Now to add more attention to this
主导第九和弦你可以改变它 dominant ninth chord you could alter it
通过降低第九个博斯 by lowering it ninth bos
semeter因此和弦将由 semeter So the chord would be made by
相同的主导第七和弦，但 the same dominant seventhth chord but
其中小调九度添加了这种类型的 where the minor ninth added this type of
和弦将被注意到七个单位 chord would be noted seven flat
九所以对于C和弦来说， nine so for a c chord it
将由根节点c组成 would be made of the root node c
主要的三分之一e完美 the major third e the perfect
第五个g负七个 fifth g the minus seventh
降b和小调九度 b flat and the minor ninth
d平 d flat
它将被使用和解决 and it would be used and resolved in
与占主导地位的完全相同 the exact same way than the dominant
第九和弦所以在 ninth chord So in the
C小调的调性 tonality of c major that would
使g七平九比一 make g seven flat nine to a
c大和弦 c major chord
以小调的调性 and in a tonality of a minor
这将是E七降九 that would make e seven flat nine
两个小调 two a minor
您还可以改变主导刀 You could also alter the dominant knife
通过移动 cord the other way around By moving the
第九上低音而不是下低音 ninth upper semitone instead of down
这将是第七名 that would make a seventh sharp
第九和弦由主导和弦组成 ninth chord which is built with a dominant
第七和弦，我们在其中添加一个 seventh chord to which we add an
增加的第九个和弦是 augmented ninth This chord is
也称为亨德里克斯和弦 also known as the hendrix chord as
是吉米让它流行起来的 it was made popular by jimi
hendrix我们在这一集里看到过 hendrix We saw that in the episode
关于bluesc音阶， about bluesc scale so for a
c和弦是由根音组成的 c chord it would be made of the root note
c主要的三分之一e c the major third e
完美的第五个g the perfect fifth g the
负第七个b单位和 minus seventh b flat and the
增强九D正 augmented ninth d sharp
它再次被使用和解决， And again it is used and resolved just
就像主导的第九和弦 like a dominant ninth chord
所以在c major中，g So in c major that would make g
七正九二C小调 seven sharp nine two c major
用一首小调，相当于e七 and in a minor that would make e seven
正九到小调 sharp nine to a minor
总而言之，您可以使用优势 To sum it up you can use a dominant
第五度的第七和弦 seventh chord on the fifth degree on your
你添加的调性 tonality to which you add either
大九小九 a major ninth a minor ninth
或增加的第九，具体取决于 or a augmented ninth depending on
您想要添加到寒冷进程中的颜色 the color you want to add to your cold progression
这在任何一个专业中都效果良好 and that works well in either a major
或小调调性 or minor tonality
然后你有一个大九和弦， Then you have a major ninth chord which
是由一个大三重奏组成的 is made of a major triad with a
大七度和大九度 major seventh and a major ninth
这是一个大七和弦 So that's a major seventh chord to
我们在c上加一个大九度 which we add a major ninth on a c
由根节点c组成的弦 chord that would be made of the root node c
主要的三分之一e完美 the major third e the perfect
第五g大七 fifth g the major seventh
b和大九d b and the major ninth d
这是一种您可以在 this is a type of code you can use on the
一级或四级 first degree or the fourth degree in a
主要调性但你也可以使用 major tonality but you can also use
它是第三和第六度 it on a third and sixth degree
使用 of a minor tonality Using the
这些学位上的主要第九科将 major ninth Co on these degrees would
效果更好，因为它只使用鼻子 work better because it would use only the nose
已经达到您正在使用的规模 already in the scale you're using
所以在c小调的调性中 So in the tonality of c major that
意味着使用f大九 would mean using a f major ninth
四度或C for the fourth degree or a c
一级主要第九名A major ninth for the first degree As
我们可以尝试代码推进的例子 an example we can try a code progression
从1到4，然后 that goes from one to 4 then
四比一 four to one
或者在小调的调性中我们可以 or in the tonality of a minor we can
使用c小调第九和弦 use a c major ninth chord
第三度或f on the third degree or f
第六个大九和弦 major ninth chord on the sixth
例如，您可以将其称为 For example so you could make this called
进展 progression
我们通常称之为未成年人的代码 The code we commonly name minor
第九名实际上包含一个专业 ninth actually contains a major
第九小调第九和弦由 ninth The minor ninth chord is made of
带有小调七音的小调三重奏 the minor triad with a minor seventh
和一个大九所以它就像一个小调 and a major ninth So it's like a minor
添加了大九的第七和弦 seventh chord with a major ninth added
所以在由根号组成的c和弦上 So on a c chord that would be made of the root
节点c小调三分之一e node c the minor third e
拉平完美的第五个g flat the perfect fifth g
小调七降b和 the minor seventh b flat and the
大九d major ninth d
这是一种你可以在小调中找到的和弦类型 That's a type of chord you can find in a major
第二度的调性和 tonality on the second degree and
六度作为建设一个 on the sixth degree as building a
第九和弦在这些度数上仅使用 ninth chord On these degrees using only
大音阶的音符将构成 the notes of a major scale would make a
小调第九和弦和小调 minor ninth chord and in a minor
这种类型的和弦可以是 tonality this type of chord can be
在第一和第四度发现 found on the first and fourth degrees
所以在c小调的调性中 So in the tonality of c major
第六和第二度将 the sixth and the second degree would
a小调和d小调 be a minor and d minor
这种和弦似乎有点多 This type of chord seems to be a bit more
二阶效率 efficient on a second degree just
在五度和弦之前 before a fifth degree chord So
这将准备一个很好的 that would prepare a nice
251和弦进行如果 251 chord progression if
你想要完全解决这个进展， you want to resolve that progression totally so
我们可以让这个代码进展 we could make this code progression
在小调的调性中 And in the tonality of a minor
例如第四和第一 for instance the fourth and the first
学位也是d辅修 degree would be also a d minor
和一个可以顺利进行的辅修 and a minor which can go well
一起 together
现在我们可以有一个小三合会 Now we could have a minor triad with
小调七度和小调 a minor seventh and a minor
第九种类型的和弦值得注意 ninth This type of chord would be noted
作为小调七小调九 as minor seventh minor ninth
例如，将制造的绳子 for a cord for example that would be made
根节点c的小调 of the root node c the minor
第三个e单位完美 third e flat the perfect
第五G小调第七 fifth g the minor seventh
降b调和小调第九d调 b flat and the minor ninth d
平坦 flat
这是一种你可以在大调中找到的和弦 This is a type of chord you can find in a major
第三度的调性和 tonality on the third degree and
在第五小节的小调中 in a minor tonality on the fifth
学位但在未成年人中不太常见 degree But it is less common in a minor
调性因为五分之一 tonality because for a fifth
度和弦主导第九和弦 degree chord a dominant ninth chord
通常是首选所以在调性上 is often preferred So in the tonality
C专业例如 of c major for example the
第三学位是e小调所以 third degree would be e minor So
我们可以把它改成e小调第七小调 we could make that a e minor seventh minor
第九和弦 ninth chord
然后我们可以建立第九和弦 Then we can have a ninth chord built
带有小调减弱的三重奏 with a diminished triad with a minor
第七和第九小调所以就像 seventh and a minor ninth So it's like
我们添加了半减七和弦 a half diminished seventh chord to which we add
我个人是小调九度 a minor ninth I personally
喜欢称这种类型的和弦为半 like to call this type of chord a half
减少了第九位，但它通常是 diminished ninth but it is often
简单地称为减少的第九位， called simply diminished ninth which
我觉得有点混乱，所以要避免 I find a bit confusing so to avoid
混乱我们可以称之为减少一半 confusion we can call it a half diminished
第七小调第九是这样的 seventh minor ninth was this
交叉圆表示减少一半 cross circle that means half diminished
无论如何，在一根绳子上， anyway on a cord that would be the root
节点c小调三分之一e node c the minor third e
拉平缩小的第五d flat the diminished fifth d
降小调七度降b flat the minor seventh b flat
和小调九度降半音 and the minor ninth d flat
这就是您可以在主要中找到的代码类型 That's the type of code you could find in the major
七度调性 tonality on the seventh degree for
实例和小调调性 instance and in minor tonality on the
二级但它更常用 second degree But it is more used
以小调作为第七 in minor tonities as the seventh
可以分析主要调性的程度 degree in a major tonality can be analyzed
作为无根第五度 as a fifth degree without the root
注意它给剪辑带来的张力 notede the tension it brings to the cut
进展非常相似所以 progression is very similar So
让我们看看它在小调音调中听起来如何 let's see how it sounds in minor tonality on the
小调二级 second degree in a minor the second
学位是b所以a degree would be b so a
将制作半减刀 b half diminished knife would be made
B DF of the nodes B D F
A N C A N C
所以这是很多不同的第九张牌 So that's a lot of different ninth cards
已经有很多选择 already and a lot of options to choose
来自但几乎所有这些Co都可以 from But almost all these Co can
已在主修或小调中找到 already be found in a major or minor
调性，因为他们只使用节点 tonality as they only use the nodes
从大音阶和自然小调音阶 from the major and the natural minor scales
现在我们将看到一些类型的第九 Now we are going to see some types of ninth
和弦的使用可能有点麻烦 chord that can be a bit trickier to use
他们使用的节点在 and they use nodes that are outside of
大调和自然小调音阶 the major and the natural minor scales
但大多数这些更罕见的第九名 But most of these more rare ninth
和弦实际上可以在 chord can actually be found in the
和声小调SC音阶更多 harmonic minor sc scale So more
探索的选择，但也许是一个 options to explore but maybe be a
使用起来有点棘手 bit trickier to use
你可以拥有我所说的 You can have what I like to call a
完全减弱的第九和弦 fully diminished ninth chord It is made
减弱的三合会的减弱的 of a diminished triad a diminished
第七名和第九名，所以 seventh and a minor ninth so
这就像减弱的第七和弦 that's like a diminished seventh chord to which we
添加小九以避免 add a minor ninth to avoid
对预览的困惑减少了一半 confusion with the previews half diminished
第七小调第九和弦有时 seventh minor ninth chord that is sometimes
刚刚被称为减少的第九我们可以 just called diminished ninth We can
称这首减弱的第七小调 call this one diminished seventh minor
第九个所以对于c和弦来说 ninth so for a c chord that would
是根节点c是小调 be the root node c the minor
第三个e拉平缩小的第五个 third e flat the diminished fifth
d拉平缩小的第七位 d flat the diminished seventh
b双单位相同 b double flat which is the same
比a和小调的节点 node than an a and the minor
第九D平 ninth d flat
那是一个非常不和谐的和弦 That is a very dissonant chord
因为它包含两个a的间隔 as it contains two intervals of a
triton和a小调音程 triton and an interval of a minor
第二，这是一种代码 second This is a type of code
有时用于小调 that is sometimes used in a minor
七度调性 tonality on the seventh degree
所以在小调的调性中 So in the tonality of a minor
升g会减弱 there would be a g sharp diminished
七小九 seventh minor ninth
增强的第九和弦是 The augmented ninth chord is
由一个大三重奏组成， made of a major triad with a
大七和扩大 major seventh and an augmented
可以注意到的第九加上九 ninth that can be noted plus nine
r增加第九所以 r augmented ninth So for
C增强的第九和弦，这将是 a c augmented ninth chord that would be the
根节点c是大三分之一 root node c the major third
e完美的第五个g e the perfect fifth g
大七b和 the major seventh b and the
增强九D正 augmented ninth d sharp
这是一种更常用的代码类型 That's a type of code that is more often used
在一个小调中 in a minor tonality on the
六度所以在小调中 sixth degree So in a minor
第六级是f和我们 the sixth degree would be f and we
可以有这种所谓的进步 could have this called progression
您还可以有一个增强的 You could also have an augmented
带有大七和大七的三合会 Triad with a major seventh and a
将注意到的第九个主要位置加上 major ninth that would be noted plus
第七大九所以 seventh major ninth So for
a c加上七个大九和弦 a c plus seven major ninth chord
那将是根节点c， that would be the root node c with
主要的第三个e the major third e the
增强了第五d尖锐的 augmented fifth d sharp the
大七b和大七 major seventh b and the major
第九d ninth d
这是一种您可以在上面找到的绳子 this is a type of cord you could find on
小调的第三级 the third degree in a minor tonality
所以c加上七个主要的nin So the c plus seven major nin
脐带可能是第三级 cord could be the third degree in the
小调调性 tonality of a minor
最后你可以有未成年人 And finally you could have a minor
带有大七度和大七度的三重奏 triad with a major seventh and a major
第九所以那就像小调 ninth So that would be like a minor
我们早些时候看到的第九个代码，但有一个 ninth code we saw earlier but with a
大七号而不是小调 major seventh instead of a minor
1可以记为次要专业 1 that can be noted as minor major
第七大九所以 seventh major nine so
C小调第七大 for a c minor major seventh major
九号那将是根 ninthord that would be the root
节点c小调三分之一e node c the minor third e
拉平完美的第五个g flat the perfect fifth g
大七b和 the major seventh b and the
大九d major ninth d
这是一个代码，可以是 That's a code that can be a
取代第一学位 substitute for the first degree in
小调调性所以在 the minor tonality So in the
小调的调性a tonality of a minor the a
小调和弦可以被你的 minor chord could be replaced by your
小调大七大九 a minor major seventh major ninth
在某个时候打电话 call at some point
这是11种不同类型的 So that's are 11 different types of
九号在你的实验中 ninthord to experiment with in your
成分很多 compositions That's a lot of
选项，但请记住你的和弦 options but remember that your chords
不必全是第九和弦 don't have to be all ninth chords
第九和弦非常适合添加色彩 Ninth chords are great to add color to
前进，但可能不是颜色 aord progression but it may not be the color
您想要的每个和弦因此 you want for each chord So as
永远相信你的耳朵一 always just trust your ears One
这可以很好地表达第九和弦的声音 way that can be good to voice this ninth chord
就是让一些音符聚集在中间 is to have some notes clustered in the middle
底部有一些音符 with some notes a bit part in the base
有些音符在高音中稍微分开 and some notes a bit apart in the higher notes
所以你会有第九和弦的颜色 So you would have the color of a ninth chord
在中间，但有一个更明确的 in the middle but with a more defined
一个更加明确的旋律 baseass and a more defined melody
在这段视频中， So in this video we'll try to take a bit
我们在这个系列中看到的一切， of everything we saw in this series and
应用它来协调旋律 apply it to harmonize a melody to
让事情变得更容易几个月前我做了 make it easier A few months ago I've made
一份收集了很多有用的文件 a document gathering a lot of useful
我们看到的信息我还制作了一个视频 information we've seen I also made a video
总结一切，并解释如何 summing everything up and Explaining how
该文件的作品，所以我会留下一个链接到 that document works So I'll leave a link to the
PDF文件和下面的视频 PDF file and the video down below in
描述所以让我们开始吧让我们 the description So let's begin Let's
说我们想要协调的旋律是 say the melody we want to harmonize is
这一个 this one
第一步是找到 The first step would be to find the
它可以是调性，所以我们会有 tonality it could be in so we would have
一套绳子开始所以如果 a set of cords to start with So if
我们检查旋律的音符，我们有一个 we check the notes of the melody we have a
c尖锐A D A E c sharp A D A E
F G A F G A
降b所以我们有七个 and b flat So we have seven
已经不同的节点，这是好的 different nodes already which is good
这意味着我们可能已经拥有了所有 That means that we may already have all the
我们将要使用的规模的注释以及 notes of the scale we are going to use and
为了找到这个规模，我们将使用 to find this scale we're going to use the
第五个周期我会在 cycle of fifth I'll leave a link in the
对谈论 description to the episode that talks about the
第五个周期，以防您需要刷新 cycle of fifth in case you need to refresh your
关于它如何运作的记忆所以我们有 memories on how it works So we have
一个平音，是b，我们有 one flat note which is b and we have
如果我们看的话，有一个尖锐的音符就是c one sharp note which is c if we look
在周围的小调和小调 at the minor and major tonities around
第五圈在平坦的一边， the circle of fifth On the flat side we
这里有一个调性，有一个单位 have a tonality here with one flat
注意哪个是b，因为这是第一个 note which is b because that's the first
注意变平问题出在 note to become flat The problem is in
这种情况下c是自然的，而不是 this caseos the c is natural and not
尖锐现在如果我们回顾一下 sharp Now if we look back at
我们的旋律我们注意到它 our melody we notice that it
开始和结束于d， begins and ends on a d which
是d有中心的一个很好的线索 is a good clue that the d has a central
在我们的规模和 role in our scale and in the
d自然小调第七 d natural minor scale the seventh
注释c可以由a提出 note c can be raised by a
所以规模成为 semitone So the scale Become the
去谐小调音阶 deharmonic minor scale So the
去谐小调音阶是我们 deharmonic minor scale is the scale we
也就是说我们的 were looking for which means our
调性是d小调 tonality is d minor
现在协调这一点的最佳方法 Now the best way to harmonize this
旋律将创造一个清晰的链条 melody would be to create a clear chain
符合音符的和弦 of chord that would fit the notesdes of the
旋律最好的开始方式是 melody The best way to start would be to
定义我们可以在 define which chords we can use in the
d小调的调性 tonality we have so in d minor
第一次和弦由 the first degree the chord made from the
音阶的第一个音符是d小调 first note of the scale is d minor
二级减弱 the second degree is e diminished
第三个学位是f专业 the third degree is f major
第四级是g小调 The fourth degree is g minor
第五学位是辅修 The fifth degree is a minor
但它也可以是一个主要的 but it can also be a major
那就是当c变成正c或者你 that's when the c becomes c sharp or you
可以在这方面使用a占主导地位的第七 can use a a dominant seventh on this
学位也是那么第六学位是 degree as well Then the sixth degree is
b降半大和第七大 b flat major and the seventh
度数是c小调和弦 degree is a c major chord
从那里您可以开始为一些和弦分配 From there you can start assigning chord to some
你旋律的部分你的音符 parts of your melody the notes of your
旋律要么是根节点， melody being either the root node the
您使用的和弦的第三或第五 third or the fifth of the chord you use
下面让我们看看这些和弦是如何 below it So let's see how these chords
能在第一小节中融入我们的旋律 could fit our melody In the first bar
我们有A D A F和A A we have A D A F and a a
d小调的节点 which are the nodes of a d minor
和弦让我们从这个开始 chord So let's begin with That then
我们有A G A F和A E we have A G A F and a e
我们可以决定忽略f we can decide to neglect the f
因为它是假发节拍所以它只是 because it's on a wig beat So it would be just
g和e之间的传递音 a passing tone between the g and the e
这里的g和e可以是 the g and the e here can be the
根和e和弦的第三个 root and the third of a e chord
或者他们可以是第三和第五 or they can be the third and the fifth of
a c和弦但在这里我决定 a c chord But here I decided
将他们视为第五个和 to consider them as the fifth and the
占主导地位的七分之七 seventh of a a dominant seventh
通过添加根音符来和弦 chord by adding the root notes a
大三度C正这是一个 and the major third c sharp It's a
可以用于五度的和弦 chord that can be used on the fifth degree and that
在一定程度上解决得很好 resolves well on a degree
1果然，我们在这些后面有一个d 1 sure enough we have a d at the end of these
小节这样我们就可以在这里降落到d小调和弦 bars so we can land on a d minor chord here
拥有这个151 Having this 151
核心进步确实可以强调 core progression can really accentuate the
d小调的调性与此 tonality of d minor with this
真实的节奏五比一 authentic cadence five to one that is
非常决定性这是一个很好的方法 very conclusive It's a good way to
建立我们的音调 establish our tonality
然后我们有一个降d和一个降b， Then we have a d and a b flat which
可以考虑在第三和第 can be considered at the third and the
g小调五分之一和弦 fifth of a g minor chord
最后一个小节以c开头 And the last bar starts with a c
尖锐，这是我们的第七个音符 sharp which is the seventh note of our
由异黄酮引起的鳞片， scale that is raised by a semitone and
这种改变经常出现在小调中 this alteration is often seen in a minor
吨五度 ton On the fifth degree
当这个通常是小调的和弦 when this chord that is normally minor
变得主要，所以让我们加一个a becomes major so let's put an a
这里的第七和弦 dominant seventh chord here So we have
在这个小节中，根音符a major in this bar the root note a the major
第三个c正第五个 third c sharp the fifth
e和第七个g e and the seventh g
这是一个很好的例子，可以表明您 This is a good example to show that you
并不总是需要协调每个 don't always need to harmonize every
旋律的音符，尤其是当 note of your melody especially when
它们逐步从一个地方移动到另一个地方 they move stepwise from one to the other
凭借这两种真实的节奏 With these two authentic cadences
七二D小调是 a seven two d minor that's a
非常音调的称为进展，真正 very tonal called progression that truly
建立d小调的调性 establishes the tonality of d minor
但正如我前面所说，总是有 But as I said earlier there are always
有几种方法来协调相同 several ways to harmonize the same
旋律这是另一个 melody So here is another
我们如何协调它的例子 example of how we could harmonize it
我们一开始还有d minster We still have the d minorer at the beginning
最后是a 7和g the a seven at the end and the g
小调在中间，但第一和弦是 minor in the middle but the first chord is
切成两半，所以最后一个f cut in half so the last f of the
第一小节现在是f的一部分 first bar is now part of a f
大和弦第二小节被替换 major chord The second bar is replaced
由基于e和的c小调和弦 by a c major chord based on the e and
g和旋律现在是 the g and the melody that are now the
该和弦的第三和第五和弦以及 third and the fifth of that chord And
在第三条中，最后一个节点b in the third bar the last node b
平调成为降b小调的一部分 flat becomes part of a b flat major
和弦 chord
当你调和你的旋律时 When you are harmonizing your melody
也要记住， also keep in mind the rhythm with which the
因为你的和声变化 cause of your harmonic change that's
称为和声节奏， called the harmonic rhythm and changing
和弦的快慢 chords faster or slower can really
改变歌曲的感觉这是一个 change the feel of a song Here is an
同一旋律与一个和谐的例子 example of the same melody harmonized with a
我会写更多和弦变化 lot more chord changes I will write
屏幕上显示每个和弦的名称该功能 on screen the name of each chord the function
以及旋律音符在每个中的作用 and the role of the melody notes in each
和弦 chord
对于一些瓦里尔来说，这里是 and just for some varrier t here is the
最后的例子 last example
现在就像我们所做的那样，您可以考虑 Now just as we did you can consider
旋律的音符就像根音符一样 the notes of the melody like the root notede
和弦的第三或第五 the third or the fifth of the chord
支持他们但他们也可能是 that support them but they could also be the
第七和弦或第七和弦的延伸 extensions of a chord like the seventh or
例如，在年底的第九名 ninth for example at the end of the
第一小节我们有a和f first bar we have an a and a f
我喜欢d小调的变化 and I like the change from a d minor
那里的降b大和弦 chord to a b flat major chord there
但a不是b和弦的一部分 but the a was not part of the chord b
平调专业，但这不是 flat major yet this is not a
这个问题可以考虑 problem as this a can be considered
作为降b的大七度 as the major seventh of a b flat
大和弦所以这会变成b major chord So that would turn the b
小调和弦变成降b小调 major chord into a b flat major
七和弦 seventh chord
根据同样的原则，我们可以尝试 From the same principle we could try to
使用扩展协调一切 harmonize everything using extended
ch核心，例如第七和第九ch核心 ch cores like seventh and ninth ch cores
所以这将开辟更多的可能性 So that would open up a lot more possibilities
在第一小节如果我们放一个降b in the first bar If we put a b flat
大第七和弦d变成 major seventh chord the d becomes
和弦的第三个a变成 the third of the chord the a becomes
第七个，f变成了 the seventh and the f becomes the
五 fifth
第二小节是f大调 In the second bar we have a f major
和弦与f a和 chord with f a and
所以这里的e变成了 c so the e here becomes
第七和弦和g the seventh of the chord and the g
变成了第九个和弦 becomes the ninth of the chord So the
和弦变成了f大调 chord actually becomes the f major
后接d的九和弦 ninth chord followed by a d
小调第七和弦，因为我们有一个d minor seventh chord because we have a d in the
梅尔D，第一次着陆是件好事 mel d and it's good to land on a first
程度但我们仍然可以保留 degree but we can still keep the flavour of
七度在第三小节，我们 a seventh degree In the third bar we
我决定有一个D和一个B降调 have a d and a b flat that I decided
考虑像第九和第七 to consider like the ninth and the seventh of
我的和弦我建立的和弦是 my chord And the chord I've built is
C正半场被淘汰为第七名 the c sharp half diminished seventh
小调第九和弦，来自音阶 minor ninth chord which is from the scale
带有c升的DH和声小调 of dh harmonic minor with the c sharp
我们在上一集大约第九集看到了这一点 We saw that in the last episode about ninth
和弦，在最后一小节我已经 chord and in the last bar I've
我们把主导的第七和弦变成了 turned the a dominant seventh chord We had
在进入主导地位之前 before into a dominant
保持b，第七平九 seventh flat nine by keeping the b
与前一和弦持平 flat from the previous chord
然后我将旋律的一些音符加倍 Then I doubled some notes of the melody
下面的三分之一通过使用笔记 a third below by using notes that were
已经在所谓的进展中我只是 already in the called progression I just
就像听起来一样 like how it sounded
嗯 Um
从那里我们可以走得更远 from there we can go even further by
使用非对称ch核 using non diatenic ch cores
因为那不是来自我们的调性 cos that are not from the tonality we
您可以通过以下方式做到这一点： are in you can do that by
借用另一个调性的呼唤 borrowing a call from another tonality
或者通过用另一个电话代替另一个电话 or by substituting a call for another
我们看到了几种方法来做到这一点 one we saw several ways to do that
在关于借款和 in the episode about borrowings and
我也会离开的替补 substitutions for which I will also leave
描述中的链接 a link in the description But for the
例子我会重点关注中学 example I will focus on the secondary
主导地位只是次要的 dominance only a secondary
dominant是当你把任何代码 dominant is when you take any code in
你的代码进展，有一会儿，你 your code progression and for a moment you
把它看作是第一级的 consider it like the first degree of its
所以在你能够 own tonality So just before you can
将该和弦的第五度放在 put the fifth degree of that chord to
准备好所以你之前放的这个ch代码 prepare it So this ch code you put before
是在下一个的音调中 is in the tonality of the next
和弦但不一定在 chord but not necessarily in
歌曲其余部分的调性 the tonality of the rest of the song
这是次要优势所以 That's a secondary dominant So
这是我如何协调它 here is how I harmonize this
旋律在第一个小节中我们还有 melody In the first bar we still have
音符d f和a是 the notes d f and a which are the
d小调和弦的音符所以我放了a notes of a d minor chord So I've put a
d减第七呼吁 d minus seventh called for the
味道，在第三个酒吧我们有一个 flavor and in the third bar we have a
d和b公寓我认为 d and a b flat which I consider to
是g的第三和第五 be the third and the fifth of a g
小调第七板所以 minor seventh Board so to
引入次要优势，我们可以 introduce the secondary dominant we can
将这个g小调视为第一小调 consider this g minor as the first
学位一会儿所以就在这之前 degree for a moment So just before it
我们可以把g的五度 we could put the fifth degree of the g
小调，即d小调 minor scale which is d major
甚至d占主导地位的第七位， or even d dominant seventh which
可以在旋律中处理这个d can work on this d in the melody
还有一种方法可以扩展 There is also one way you could extend
这个中学占主导地位A中学 this secondary dominant A secondary
主导利用的张力 dominant utilizes the tension of
真实的节奏 an authentic cadence The tension of
想要回去的第五度 a fifth degree that wants to go back to
它的第一学位，这是一种常见的做法 its first degree and it's a common practice
要准备这个真实的节奏， to prepare this authentic cadence by
插入二级的ch线， puttingting a ch cord of the second degree just
在此之前所以完全真实 before it So the full authentic
节奏将是 cadence would be
251你可以放 251 you can put
你想去的第二度臀线 the second degree of the ch cord you want to go
到五个之前，这将使 to just before the five that would make
两个不一定的和弦 two chords that would not be necessarily
在整首歌的调性中 in the tonality of the whole song That
是被广泛使用的东西 is something that is used a lot in
爵士乐例如这里例如 jazz For example here for example
我们可以使用减弱的和弦， we could use the a diminished chord just
在D七之前，因为它会 before the d seven because it would
是g小调的二级 be the second degree of the g minor
自主性问题在于 autonality The problem is the a
减弱的和弦由节点a组成 diminished chord is made of the nodes a
C和E持平，我们已经有了 c and e flat and we already have
旋律中很自然，因为 an e Natural in the melody because
我不想修改原版 I didn't want to alter the original
旋律我用了a为主音 melody I used the a dominant
而不是第七和弦 seventh chord instead which is in
我们歌曲的真实性 theity of our song
然后完成所谓的进展 Then to finish the called progression on
这个升c我建立了一个和弦 this c sharp I've built a chord
c自治领第七平九 of c dominion seventh flat nine
因为我不认为这是一个c because I didn't consider that as a c
尖锐但像D一样扁平所以 sharp but as a d flat So the
看到根节点是第三个 see the root node the is the third
第五个是一个g， the fifth would be a g that is not
这里降b是第七调 there the b flat is the seventh
旋律降了音 and the melod d the d flat it
第九小调 the ninth the minor ninth
我们看到这个c七平九 We saw this c seven flat ninth
关于第九和弦的一集中和弦 chord in the episode about ninth chords
它也经常用于 and it is again often used on a
第五度，然后降落在第一个 fifth degree to then land on a first
学位所以我们的c是第五个 degree So our c is the fifth of
f fabet f大和弦后 f fabet f major chord after
它利用了来自 which utilizes the notes from the
低沉的旋律 melody that are on the downbe
那就因为我处于这种 Then just because I was in this kind of
噱头我放了降b小调 gimmick I've put a b flat major
第七和弦开始下一循环 seventh chord to begin the next loop
因为f是b的五分之一 because f is the fifth of b
平坦所以所谓的进展就会下降 flat So the called progression would go down
从d到g的五分之一 a fifth from d to g
然后从g下降五分之一至 then down a fifth from g to
c然后再次从c到f c then again from c to f
然后从f到b单位 and then from f to b flat
所以就像总是在圆圈上走下去一样 So it's like always going down on the circle
第五 of fifth
所以我们在这里看到了一个非的例子 So we saw here an example of a non
自然原因与次要原因 diatonic cause with the secondary
占主导地位，但您也可以协调您的 dominant but you can also harmonize your
旋律使用所有的原因 melodies using all the cause
替代借款和 substitutions borrowings and
我们在系列中看到的变化 alterations we saw in the series
只是为了命名它们，我们看到了 just to name them we saw the parallel
改变的五度和弦 chords the altered fifth degree
和弦Triton替代 chords the triton substitution
新石器时代皮卡迪 the neolitan sixth the picadi
第三，福安节奏 third the fouan cadence
s 4的两个和弦或 the s 4 s two chords or
甚至安达卢西亚的Cadens所以我 even the andalusan cadens So I
现在不会为他们每个人树立榜样， won't do an example for each of them now as
我认为这会变得非常多余 I think it would get very redundant at this
这一点，这个视频已经得到了 point and this video is already getting a
比预期的要长得多，但我 lot longer than expected but I
希望这段视频足够清晰，并且它提供了 hope this video was clear enough and that it gave
你对下一首歌有一些想法 you some ideas for your next songs
减弱的和弦经常被考虑 Diminished chords are often considered
听起来很黑暗，因为它们 as dark sounding because they are
相当不和谐 rather dissonant
这种不和谐意味着紧张 And this dissonance means tension
这意味着它们需要在 which means that they need to be resolved in
不管怎样，好消息是 a way or another The good thing is that
这些和弦就像可以演奏的演员 these chords are like actors that can play
不同的角色，以便可以在一个 different roles so they can be resolved in a
很多不同的方式以及这些 lot of different ways And these
多才多艺使它们变得出色 versatility makes them excellent
进行调制的工具 tools to do modulations to go from
一种音调到另一种音调我们已经 one tonality to another We already
分类进行调制的方法 sort on ways of making modulations
在其他剧集中1特别 in other episodes 1 particular
技术是利用张力 technique was to utilize the tension
一位真正的狱卒来领导 of an authentic cadons to lead the
向特定和弦前进 progression toward a particular chord
然后就会成为 that would then become a
新颖性真实的节奏 newanality An authentic cadence
是从五级开始的 is a progression from a degree five
到一定程度，这意味着如果 to a degree one that means that if
我想去Of e I wanted to go to the Of e
小调例如，我可以放置一个 minor for example I could place a
e小调之前的b七和弦 b seven chord just before the e minor
和弦以促进过渡 chord to facilitate the transition
因为如果e是我的一级学位那么 because if e is my degree one then
b是我的五年级 b is my degree five
在这里，b七造成了一种紧张感 here The b seven creates a tension
然后由e小调解决 that is then resolved by the e minor
然后我们在其他剧集中看到了 Then we've seen in yet other episodes
你可以改变七和弦 that you could alter the seven chord
除了一种之外，有几种方式 in several ways but one
我们没有看到的变化是 alteration we didn't see is the
和弦七降五 chord seven flat five it is
由根号音符组成，大三分之一 made of a root note a major third
减少的五分之一和一分 a diminished fifth and a minus
七 seventh
所以它就像一个主导的第七和弦，但它 So it's like a dominant seventh chord but its
第五位被一个异黄酮降低， fifth is lowered by a semitone is
减弱所以当你使用优势时 diminished So when you're using a dominant
你有五度的第七和弦 seventh chord on a fifth degree you have
可以选择使用七降五 the option to use a seven flat five
和弦代替我们的节奏 chord instead For our cadence in
e小调例如，听起来就像 e minor for example it would sound like
这 this
作为一个主要的例子 And for an example of a major
g小调的调性听起来 tonality in g major it would sound
这样 like this
现在让我们仔细看看这个 Now let's take a closer look at this
七平五课程，因为它变得 seven flat five course as it's getting
有趣的是， interesting look at the interval separating
我会在每个音符上添加根音符 each note I will add the root notede on
这样我们就能更清楚地看到 octave above so we'll see better what's happening
你看到了一个循环模式 You see the repeating pattern to turn one
如果我们 tone to turn one tone If we
用这个c七降颠倒 make an inversion with this c seven flat
五，所以底部有g单位 five so we have the g flat at the base
从技术上讲，这仍然是一个c七 This is still technically a c seven
单位五但也是g flat five but it is also a g
单位七单位五单位如果g flat seven flat five if g
扁平是根节点b扁平是 flat is the root node b flat is the
大三分之一c是减弱的 major third c is the diminished
第五个应该称为d double fifth which should be called d double
这里确实很平，但都是一样的 flat here really but is the same
节点，e是负值 node and e is the minus
第七个应该再次称为f seventh Again it should be called f
这里是平的，但它是同一个节点， flat here but it's the same node so
每当你弹奏降七和弦时 whenever you play a seven flat five chord
它可以被认为是两个不同的 it can be considered as two different
尝试分开的和弦 chords which are try on a apart
这使它成为一个很好的支点 which makes it a great pivot point
例如，对于我们的节奏， For example for our cadence in
e小调的b七被转化为 e minor the b seven was transformed
变成了一个最好7平5， into a b seven flat 5 that
也会努力攻读e专业 would also work to go to a e major
但这个b七平 event but this b seven flat
五也可以是f七 five can Also be a f seven
降五到降b小调 flat five to go to a b flat minor
或降b小调 or a b flat major
嗯 Um
事情既不是降b thing is neither the b flat
降b小调和弦的小调或 major of the b flat minor chords or
在e小调的调性中也没有在 in the tonality of e minor nor in
e小调的调性 the tonality of e major that's
实际上在第五圈上跳了相当长的一段 actually a pretty long jump on the circle of fifth
所以通常当我们这样做时 So generally when we do that it's
玷污中性的调性所以 to stain the neut tonality So a
七平五和弦是更好的支点 seven flat five chord is a better pivot
调制的点比调制的点 point for a modulation than for
借用现在如果你喜欢那种 borrowing Now if you like that kind
支点你会喜欢 of pivot point you will love the
减弱的第七和弦它是由 diminished seventh chord It's made of a
根音符小调三分之一a root notede a minor third a
第五名减少，第七名减少 diminished fifth and a diminished seventh
所以在序列上是A C So on a sequord that'd be A C
降E、降G和降A A E flat a g flat and a
b双单位，与 b double flat which is the same notede than
一 a
在这次通话中，每个音符都是分开的 in this call every noteot is separated
间隔一吨半 by an interval of one ton and a half
这意味着您可以在 which means you can consider any note at
根节点它将永远是一个 the root node It will always be a
减弱的第七和弦所以当你介绍 diminished seventh chord So when you introduce
进行中减弱的第七和弦 a diminished seventh chord in a progression
你可以认为它是四个 you can consider it as four
不同的和弦带来了很多 different chords which gives a lot of
解决这个问题的方法，这就是 ways to resolve it and that's the
最好的部分有很多方法可以 best part There are a lot of ways to
引入并解决减少的七分之一 introduce and to resolve a diminished seventh
减弱的第七和弦可以 chord the diminished seventh chord can
被发现七度 Be found on a seventh degree it
自然出现在和声小调音阶中 appears naturally in the harmonic minor scale
但它也可以用于大型 but it can also be used in a major
调性作为借用，它 tonality as a borrowing and it
一级解决得很好，所以在 resolves well on a first degree So in
c小调或c小调的调性 a tonality of c major or c minor
这将使第七和弦减少b that would make a b diminished seventh chord
无论是C还是C都能很好地解决 that resolves well on either a c
Major or c小调 major or c minor
请注意，如果您在其中添加g Note that if you add a g to this
b减弱第七和弦 b diminished seventh chord it will
成为七降九 become a g seven flat nine
它在主导和弦上效果很好 which works great on a dominant chord
这也许也能更好地解释 which maybe also explains better
它在C上很好地解决了这个问题 which it resolves well on the c
g是c的优势 g being the dominant of c in
小调音调您也可以将其用于 a minor tonality You can also use it on a
二级解决一级 second degree to resolve on a degree one
所以在c小调中会有一个d so in c minor there would be a d
减弱的第七和弦分解为a diminished seventh chord resolving to a
c小调 c minor
减弱的第七和弦也可以 A diminished seventh chord can also
用于任何一个升起的秒 be used on either raised second
一级解决 degree to resolved on a degree one
或提高六度 or an a raised sixth degree
解决五级 to resolved on a degree five
在C小调中会有一个 in c major there would be a
d急剧减弱的第七和弦 d sharp diminished seventh chord
决定到C小调， resolving to a c major and
啊，第七名急剧减少 ah a sharp diminished seventh
决定到g小调 resolving to a g major
嗯 um
为了更容易记住 to make it easier to remember a
d急剧减少的第七名有 d sharp diminished seventh has the
与第七个c相同的音符 same notesde than a c diminished seventh
所以这就像是一个减弱的第七和弦 so it's like a diminished seventh chord on a
一级解析到一级 first degree resolving to a first degree
而急剧减少的第七名 and the a sharp diminished seventh has
与g相同的节点减少 the same nodes than the g diminished
第七个所以就像缩小的第七个 seventh so it's like a diminished seventh
在五级上解决一个 on the degree five resolving to a
五级请注意，这 degree Five note that this
最后一件事通常不是 last thing is generally not
用于做调制通常 used to do modulations It is generally
用于一把钥匙的边界，但它 used in the boundaries of one key but it's
引入减弱的七度和弦的好方法 a good way to introduce a diminished seventhath chord
但一如既往，没有设定任何规则 but as always there is no rule set in
音乐中的石头你仍然可以尝试 stone in music you can still try it
最好的评委将是您自己 and the best judges will be your own
耳朵用一个简单的方式总结一下 ears To sum it up in a simple
减弱的第七和弦可以 way a diminished seventh chord can
在上面的和弦或半音上被奥尔维德 be Olved on a chord or semiton above
无论是主要的还是次要的或在 either major or minor or on a
和弦也共享相同的根音符 chord sharing the same root note either
主要或次要并介绍 major or minor and to introduce
您可以放置减弱的第七和弦 a diminished seventh chord you can place
在你的第七度 it on the seventh degree of your
调性或第二调性 tonality or on the second
如果你是辅修这些是最好的 degree if you're in minor these are the best
但你也可以使用它 options I think but you can also use it
在第二度和第二度上 on a raised second degree and on a raised
第六学位所以你有很多选择 sixth degree So you have a lot of options
引入减弱的第七和弦 to introduce a diminished seventh chord
可以认为是四个 which can be considered as four
不同的和弦 different chords each of which have several
解决方法现在结束 ways to be resolved Now to finish
我想做一个视频 the video I would like to make a little
让我们把重点放在C上 experiment Let's focus on the c
减弱的第七和弦是由 diminished seventh chord it's made of the
节点c e平面g平面 node c e flat g flat
所以可以考虑 and a so it can be considered
作为c减弱的第七和弦 as a c diminished seventh chord
降七度a ah e flat diminished seventh a
g降七度音或a g flat diminished seventh or a
减七分之一从什么 a diminished seventh From what
我们在这段视频中看到 we've seen in this video each of these chords
可以解决上面的半个问题，所以 can be resolved a semiton above so
那是c正e g和a that's c sharp e g and a
尖锐的每一个都可以是主要的或 sharp each of which can be either major or
未成年人，他们也可以决心 minor and they can also resolve to
同意共享相同的根音符，以便 accord sharing the same root note so that
c e压平g压平a c e flat g flatten a
其中每个也可以是 each of which can also be either The
无论大小，他们都会发出一声欢呼， major or minor they would give a whooping
16个选项解决一个 16 options to resolve one
为了测试我 chord So to test that I've
在Ableton Live中创建剪辑， created clips in ableton live with every
然后我设置了 options and then I have set that
所以他们以随机的顺序播放 up so they play in random order
我们可以预见， right off the batatch We can foresee that the
重复最多的和弦是c减音 most repeated chord will be the c diminished
每个剪辑中的第七和弦 seventh chord as it's in every clip
所以它应该让它听起来像隧道 So it should make it sound like the tunnel
中心，因为一切都在移动 center as everything will be moving around
但这个隧道中心不会 that but this tunnel center wouldn't
非常稳定，因为它减少了 be very stable as it's a diminished
和弦，这样应该让事情听起来像一个 chord so that should make the thing sound a
有点奇怪有点神秘有点 bit weird a bit mysterious a bit
狩猎嗯应该很有趣 hunted Well it should be interesting
所以让我们听听，并在 So let's have a listen and in the
同时，非常感谢观看 meantime thanks a lot for watching
今天我想和大家分享一些技巧 Today I would like to share with you a couple of tips
以及如何使用任何技术 and techniques on how to use any
规模，因为有很多规模， scale because there are a lot of scales I
在我的音乐理论结尾添加了作弊 added at the end of my music theory with cheat
床单所以我想它会更容易使用 sheets So I figured it would be easier to use
向他们提供了一些有关如何合作的技巧 them with some tips on how to work with
您以前从未使用过的秤 a scale you never worked with before The
开始任何新扫描的最佳方式 best way to start with any new scan
就是首先弄清楚你的路线 is to first figure out the course that you
可以使用它作为一个例子，我会 can use with it As an example I will
采用双调和大音阶， take the double harmonic major scale which
也被称为拜占庭规模所以 is also called the byzantine scale So
在C中，音阶的音符是 in c the notes of the scale are
C D平E F c d flat E F
G A单位和B单位 G A flat and b
这是一个非常有趣的规模，有很多 it's a very interesting scale with a lot of
检查一个间隔和几个 semitone intervals and a couple of
120半步听起来很 120 a half steps It sounds very
酷 cool
所以要知道我们可以用这个音阶演奏哪一种 So to know which course we can play with this scale
我们就看看能找到什么样的三合会 we'll simply see what triads we can
用它的音符来构建 build with its notes So we start with the
第一个1从那里我们将进一步 first 1 From there we'll further
刻度的笔记并保留每一张 the notes of the scale and keep one every
两个为我们的和弦然后我们会做 two for our chord Then we'll do the
每个音符都是一样的开始，充满异国情调 same starting with each note With exotic
天平您有时会有几种选择 scales you will sometimes have several options
对于一个和弦，当和弦可以是 for one chord when the chord can be either
例如，主要或次要，有时 major or minor for example and sometimes
你会有奇怪的间隔，可以让它 you will have weird intervals that can make it
很难识别和弦，否则他们不会做出 hard to identify the chord or they won't make
一个合适的和弦，所以你可能不会使用 a proper chord at all so you may just not use
我拿着拜占庭的天平 them I took the byzantine scale
因为它没有例子所以 because it hasn't Example of it so
让我们看看进展如何所以我们从 let's see how it goes So we start from
c，然后我们拿一个永远不会 c and then we take one not ever with
你做了C E和 you that makes c e and
g相当于c小调 g which makes a c major
和弦酷 chord cool
我们会把它写下来并移至下一个 We'll write that down and move to the next
从d降一个，而不是每两个 from d flat one not every two
这使得d单位f a that makes d flat f a
降D调大 flat which is a d flat major
和弦但然后 chord but then
看看我们有哪些选择 see what the e options we have we could
如果我们采用d降小调和弦 make a d flat minor chord if we take
d拉平e，就像a the d flat the e which is like a
f单位和a单位 f flat and the a flat
dfa或公寓那是 dfa or flat that's
降小调和弦 a d flat minor chord
从e我们有e g和 from e we have e g and
b是e小调和弦所以 b which is a e minor chord So
目前为止一切顺利 far so good
但在这里我们可以再次将其称为 but here again we could make this called
主要是因为我们有一套公寓 major because we have a flat in the
音阶就像升g， scale which is like a g sharp so
e g夏普和b会有一个 e g sharp and b there would be a
e大和弦 e major chord
从f开始我们有f a From f we have f a
压平f小调c flatten c which is f minor
和弦 chord
从g我们得到gb和d From g we have gb and d
这是一个奇怪的公寓，因为我们 flat which is a weird one because we
有一个主要的三分之一的天气减少 have a major third weather diminished
第五，如果我们能加一个小调 fifth well if we can add a minor
七号可以做一个七号平 seventh Could make a seven flat
五个和弦，果然这个减 five chord and sure enough this minus
第七个是f，位于 seventh would be a f which is in the
害怕这样我们就可以添加七降五 scare so we can add a g seven flat five
到我们的和弦列表 to our list of chords
这在这种特殊情况下效果很好 which works well in this particular case
因为这是一个主要用于 because that's a code that is mostly used on a
五度，我们在这里找到了它 fifth degree and we find it here
在我们的五度 on our fifth degree
一切都很好然后我们从公寓里出来 all good Then from a flat we
有一个平坦的c和e，这使得 have a flat c and e which makes
一个扁平的增强和弦 a a flat augmented chord
从b开始我们有b d and from b we have b d
单位和f，这是一个主要的 flat and f which is a major
第二名，第五名减少 second with a diminished fifth
这并不能真正产生和弦看起来 which doesn't really make a chord It looks
更像是上半部分 more like just the upper part of
我们之前看到的七降五和弦 the seven flat five chord we saw earlier
所以如果你有困难，我们不会使用它 so we won't use it If you have a hard
确定和弦的时候没关系 time identifying a chord it's okay
把它放在一边，你可能不会 to just leave it aside you may not
无论如何都要使用它们您所需要的只是电话 use them all anyway All you need is calls
这些工作并激励你所以 that work and that inspire you So
对于这个规模，我们接到的电话是 for this scale the calls we have are
c小调dl降小调 c major dl flat major
d降小调e小调 d flat minor e minor
e小调 e major f minor
g七单位5单位 g seven flat 5 a flat
增强现在回顾一下 augmented Now looking back at
我意识到我没有考虑过是一些 it I realize I didn't consider Are some
我们可以减少和增加和弦 diminished and augmented chords we could
也用这种小心使C also make with this care In c
我们可以用 we could make a c augmented chord with the
注释c e和a平调 notes c e and a flat
这就像c e和g Sharp which is like c e and g sharp
在d降中我们可以做d降 In d flat we could make a d flat
用音符减弱和弦 diminish chord with the notesdes d flat
e和g就像d e and g which is like a d
平f平和g flat f flat and g
在e中我们可以做一个e in e we could make a e
带有节点e的增强和弦 augmented chord with the nodes e
a单位和c就像 a flat and c which is like
e g尖锐和b平坦 e g sharp and b flat
在f中我们可以做f and in f we could make a f
减少音符f的和弦 diminish chord with the notesdes f
a单位和b就像 a flat and b which is like
f a单位和c单位 f a flat and c flat
所以你可以开始将它们组合起来来制造骗局 so you can start combining them to make a con
进步和即兴发挥 progression and improvise on each other
缩放寻找一些好的旋律 scale to find some good melodies
在独奏的背景下，您可以 in the context of a solo you can
握住一个和弦并即兴演奏整个音阶 hold one chord and improvise with the whole scale
除此之外，它特别有效 on top of it It works particularly
音阶的第一个和弦 well with the first chord of the scale
因为最重要的是 the degree one because that the most
稳定的音调使用 stable in the tonality Using
但持有一段时间的代码 but holding a code for a while can
还可以让您切换到另一个 also allow you to switch to another
音阶同时保持相同的和弦 scale while remaining on the same chord
原则是如果你能做出ch The principle is that if you can make the ch
使用您想要使用的新音阶的注释进行编码 code with the notes of the new scale you want to use
那么它们是兼容的嗯 then they are compatible Um
嗯 um
这样您就可以混合和匹配所有您 so you can mix and match all that You
可以从一个规模开始，称为 can begin with one scale with it's called
进展然后召开电话会议 progression then hold a call for a
而要注意然后你 while to t attention Then you
可以改变您演奏的规模 can change the scale you play on top of
然后你就可以回去了 it and then you're free to go back
达到第一规模还是坚持新的 to the first scale or to stick with the new
1然后使用其自己的一套Co 1 then use its own set of Co with it
当您做笔记时，请参阅C D E when you take the notes see C D E
F G A N B你 F G A N B you
如果你选择C大音阶 have the c major scale if you take
从d开始到的音符相同 the same notes that starts on the d to
有D E F G ab BC have D E F G ab bc
你有c小调的信号模式 you have the signal mode of the c major
以同样的方式扩展 scale in the same way you could
从第三个、第四个或第一个开始 start from the third the fourth or the
大音阶的第五个音符 fifth note of the major scale to have it
第三种、第四种或第五种模式 third fourth or fifth mode
这些就是我们所说的模式 These are the mode that we call
工会多里安·弗里吉安 unionian dorian phrygian
莉迪亚混音人 lydian mixgian
外星人和洛西亚人所以 alien and locian So the
问题是所有这些天平是否都使用 question is if all these scales use
同样的音符听起来怎么会不同 the same notes how can they sound different
我们怎样才能创作一首歌 How can we compose a song in one of
这些模式，而不是让它听起来像 these modes without making it sound just like
它的主要或次要这是 its's major or minor This is the
我们今天将解决的问题，但方法很简单 question we'll tackle today but an easy way
记住这些模式的名称是 to remember the name of those modes is
记住我不记得的那句话 to remember the sentence I don't
像穆罕默德·阿里一样出拳每一句话都会 punch like Mohammad Ali Each word would
给您每个模式的第一个字母就是这样 give you the first letter of each mode That's how
我记得他们所以工会 I remember them So the union
模式是主要的恐慌和 mode is the major scare and the
外星人模式是自然小调 alien mode is the natural minor
恐惧我们不会关注这些 scare We won't focus on these ones
正如它们已经被探索过的那样 as they are already explored
在其他视频中广泛出现 extensively in other videos
但我们会用它们作为参考 but we'll use them as references
看看其他人的独特之处 to see what is unique about every other
模式使比较变得更容易 modes to make that comparison easier
我相对写所有学位 I Write all the degrees relatively
到大规模来向你展示我的意思 to the major scale To show you what I mean
我会和你一起做我会写学位 I'll do it with you I'll write the degrees
大规模 of the major scale
1234567他们 1234567 they
代表用这个音符制成的和弦 represent the chords made with the notesdes of this
音阶和小调音阶例如 scale and for the minor scale For example
第一级是第二级 the first degree is one the second
学位是二，因为有 degree is two because there is the
两个第一音符之间的距离相等 same distance between the two first notesdes
而不是大调音阶 than in the major scale which is
一个音，但三度 one tone but for the third degree
在根音之上两个音 it's two tones above the root notede
在大规模上，但只有一吨一 in a major scale but it's only one ton and a
小调中高于根音符一半 half above the root notede in a minor
比例所以我会注意到单位三 scale So I'll note that flat three
以表明它是一个semiton to indicate that it's one semiton
在大规模上低于其同等水平 below its equival in the major scale
同样，我也会记录程度 In the same way I will note the degree
607平6平 607 flat 6 flat
七个，因为它们也是一个 seven because they are also one
低于他们专业的半导体 semiton below their major
等效物，这就是我加载的方式 equivalents and that's how i'llload
每个模式的学位现在是第一个 the degrees for each mode Now the first
步骤是弄清楚代码类型 step would be to figure out what type of code
我们可以在每个程度上找到 we can find on each degree of
这些模式中的每一种，以便我们可以比较 each of these modes so we can compare
他们到更常见的主要和次要 them to the more common major and minor
例如，我们将从 modees So for example we'll start with
D多里安中的多里安莫德人 the dorian modees in d dorian
第一个代码将是d的调用，并且它 The first code will be a call of d and it
将由节点d f和 will be made of the nodes d f and
a发出d小调的呼叫 a which makes a call Of d minor
所以dor音阶的一级 So the first degree of the dor scale
将是一个小调和弦第二个 will be a minor chord The second
和弦将是e的和弦，它将被制成 chord would be a chord of e and it would be made
节点e g和b的 of the nodes e g and b
这构成了e小调和弦所以 which makes a e minor chord So
二级奥扬规模将是 the second degree of aoyion scale will be
小调和弦所以我们将这样做 a minor chord So we'll do that for
每个和弦都基于每个音符 every chord based on every note in the
缩放以找到每个和弦的类型 scale to find the type of chord for every
学位，然后我们会做同样的事情 degree and then we'll do the same thing for
每个模式一旦完成，我们就有了 every mode Once it's done we have
这样我们就可以开始分析数据了 this and we can begin to analyze the data
需要记住的一件事是，一个专业 One thing to keep in mind is that a major
规模及其相对较小规模 scale and its's relative relative minor scale
使用完全相同的节点 use exactly the same nodes The
区别在于他们采取了 difference comes from the fact that they take
隧道中心有不同的音符 different notes at their tunnel center
作为他们的第一学位，这是一个 as their first degree It is then a
使用天平的另一部分的问题 matter of using the other part of the scale
创造张力并首先做到这一点 to create tension and make this first
学位感觉就像家一样，这就是 degree feel like home and that's where the
真正的节奏和playagal节奏来了 authentic cadence and the playagal cadence come
很方便，因为他们在第一次就解决得很好 handy because they resolved well on the first
学位如果您需要刷新记忆 degree If you need to refresh your memories on
我将留下链接的节奏 the cadences I will leave a link in
这一集的描述 the description for the episode about that
这很重要，因为如果我们愿意 This is important because if we want
让第一学位感觉像家一样 to make the first degree feel like home
第一学位需要相当 the first degree needs to be a rather
稳定的和弦，这使得 stable chord and that makes the
锁定韩语模式很难使用 lock Korean mode very difficult to use
因为它的第一学位是一个缩减的课程 because Its first degree is a diminished course
这不是一个由 and that's not a stable called by
本质是不和谐所以它 essence it is dissonance So it
引起关注，导致其他地方 brings attention that leads's elsewhere which
意味着它将非常难以制作 means it would be very difficult to make
感觉就像一个家庭和弦， that feel like a home chord So
我们不会把注意力集中在锁钥上 we won't really focus on the lockquan
模式在这个视频中，所以当 mode in this video So when
我们使用的是一种模式， we are using a mode the goal of the
游戏的第一步就是 game is to make the first degree of that
有家的感觉，所以这往往是 mode feel like home So that's often
我们最常用的代码， the code we'll use the most and then we'll
被吸引到模式更独特的核心 gravitate toward the more unique cores of the mode
我们用来获取特定的 we're using to get the particular
该特定模式的味道 flavor of that particular mode To
找到这个独特的核心，我们将进行比较 find this unique cores we'll compare
每个学位都与其专业同等学位 each degree to their equivalents in the major
如果和弦是，则有小调 and minor tonalities if the chord is
与我们在major中发现的不同 different from the one we find in major or
小调那么它是独一无二的 in minor then it is unique
我们保留它，否则我们会 and we keep it otherwise we'll
因此，在第二个学位时，我们 grade out So on a second degree we
在主调中有小调和弦 have a minor chord in a major tonality
我们的小调和弦减弱了 and we have a diminished chord in a minor
调性所以我将从这个选项评分 tonality So I'll grade at this option from
其他模式并保留其他模式 the other modes and keep the others The
第三学位在专业中是辅修 third degree is minor in major
和三大洪水 and the flood three major in
小调所以我会把它们变成灰色 minor so I'll gray those out The
第四学位要么是专业， fourth degree is either a major or
一个小调和弦，所以我们会把它们变成灰色， a minor chord so we'll gray those out as
好吧，我们将为所有人做同样的事情 well and we'll do the same thing for all
直到我们剩下这个的原因 the Reason until we're left with this
在这里我们可以注意到我们没有很多 here we can notice that we don't have many
多里安和混合奥莱根的选择 options for the dorian and the mixed olegen
现代人，但我们仍然可以注意到一些 modees but we can still notice some
多里安的有趣组合 interesting combinations in the dorian
模式我们有一个初级学位，是次要的 mode we have a first degree that is minor
喜欢小调，但第四音阶 like in a minor scale but the fourth
学位就像专业一样 degree is major like in a major
规模和组合是 scale and that combination is
有趣的是，因为四到 interesting because a progression for four to
一种是爱尔兰节奏，但我们 one is a plagueal cadence but we
更习惯于听到它落在一个专业上 are more used to hearing it fall on a major
一级所以有一个副修 first degree So having a minor
这里的第一个学位是独一无二的 first degree here is unique to the
多利安模式在mixegen dorian mode In the mixegen
我们有一个主要的第一学位， mode we have a major first degree like
在大规模，但第七次 in a major scale but the seventh
学位平坦且专业 degree is flat and major
就像在小规模上一样，我们是 like in a minor scale and we are
也习惯听到这个主要的第七 also used to hearing this major seventh
度数从整个音调上升到小调 degree go upper a whole tone to a minor
和弦所以这里有主色 chord So having a major color here
而是突出独特的颜色 instead highlight the unique color
mixedegion模式那么现在 of the mixedegion mode So now
我们有所有这些数据 that we have all these data
这里强调的是如何 highlighted here is how to
在每种模式下作曲 compose in each mode In odorian
模式主要使用辅修优先 mode use mainly the minor first
学位和主要四学位 degree and the major fourth degree
这创造了瘟疫alc节奏， That creates a plague alc cadence that makes
第一级感觉就像家一样 the first degree feels like home
这个家是一个小调和弦， and this home is a minor chord which
是该模式特有的 is particular to that Mode
嗯 um
在frrygian模式中，您可以主要使用 in a frrygian mode you can use mainly
副学士学位和专业 the minor first degree and the major
平二有点像 flat two which is a bit like
Triton替代品也是 a triton substitution which is also
在第一个问题上很好地解决问题的节奏 a cadence that resolves well on the first
学位你应该帮助让人感觉像 degree You should help make it feel like
回家，然后你就可以把未成年人扔出去 home and you can then throw the minor
七度混合 seventh degree in the mix
在olidian模式下，您可以使用 In olidian mode you can use
主要是第一学位和 mainly the major first degree and the
第二学位你也可以 major second degree You can also
使用负七度，但风险 use the minus seventh degree but the risk
如果你从第七个 is that if you go from the seventh
程度到第一程度 degree to the first degree it would
听起来像是第一级和第二级 sound like the first and second degree of the
弗里吉安模式 phrygian mode
在混合宗教模式下，您可以 And in a mixed religion mode you can
主要使用七号七号 use mainly the major flat seven
专业第一学位 degree with the major first degree
这是我们过去经常听到的文化变化 That's a culture change that we used to hear in
我的autality但在这里 my autality but here
第一学位是专业， the first degree is major which makes
听起来不一样 it sound different
您可以使用一些减少的cos You can use some of the diminished cos in
这些模式中的每一种也是，但它们可以 each of these modes as well but they can
对于您想要的歌曲来说听起来太不和谐 sound too dissonant for the song you want to
制作并且完全可以使用 make and it is totally okay to use
只有极少数的和弦，因为它们是 just a very few chords as they are the
可以带来您想要的模组颜色的和弦 chords that will bring the color of the mod you want
在结束前使用快速笔记 to use Quick note before wrapping up
这个视频我已经更新了我的大 this video I have updated my big
音乐理论备忘单现在 music theory cheat sheet Now
它包括所有这些模式的和弦 it includes the chord for all this modes
它们的突出显示方式与 and they are highlighted in the same way than in
此视频您有12页 this video You have 12 pages
每个根节点一个，这样您就不必 one for each root node so you don't have to
你自己调换其中的任何一个它应该 transpose any of that yourself It should
使借款变得更容易 make it easier to make borrowings
例如，假设你正在作曲 For example say you're composing in
e小调并且您不想使用a e minor and you don't want to use a
二度和弦减弱嗯 diminished chord on the second degree Well
你可以用f major代替它 you could replace it with a f major
和弦并用e小调解决它 chord and resolve it with a e minor
和弦这将借用 chord That would be a borrowing from
免费世代模式或者您可以 the free Gen mode or you could
将其替换为f升小调代码 replace it with f sharp minor code
然后用一个小代码来解决它， and resolve it with a minor code as
那就是借用 well and that would be a borrowing
从我的道林模式 from the dorian mode I have
还为大满贯增添了所有第九名 also added all the ninthord for the major
和我添加的小调 and minor scales I have added
第五名的一些替换 some substitutions for the fifth
学位，并纠正了一些 degree and have also corrected a couple
那里有很多错误所以我希望所有 of mistakes that werere in there So I hope all
现在已经干净了，您可以找到链接 is clean now and you can find a link to
在下面下载此文档 download this document down below in
描述所以我希望你玩得开心 the description So I hope you have fun with
这个非常感谢您的观看 this Thank you very much for watching
保重，我会见到你的 Take care and I'll see you