1. Methods of ethnic mode analysis

1. Direct analysis method:

A. If there is no fa or si in the first tune of the music, as long as the music If the palace sound is included, you can directly determine what type of mode to sing in the first key according to the ending sound. If the ending note is sung in do, the answer is palace mode; if the ending note is sung in re, the answer is quotient mode; if the ending note is sung in mi, the answer is angular mode; if the ending note is sung in sol, Then the answer is Zheng mode; if the ending note is sung in the key of la, then the answer is Feather mode.

B. If the first key fa appears in the music, but there is no semitone mi formed by fa, or fa appears in the downbeat, or fa appears in large numbers in the music, we need Push the key signature of the given music down a perfect fifth to determine the new key signature, then sing the melody in the first key according to the new key signature, and sing do on the ending note. The answer is palace mode; sing re on the ending note, and the answer is quotient. Mode; the ending tone is mi, the answer is the angle mode; and so on. If the key signature of all music is the key of E, after deducing the perfect fifth, we need to translate the music score according to the key of A.

C. If the first key of si appears in the music, but there is no semitone do that can be composed of si, or si appears in the downbeat, or si appears in large numbers in the music, we You need to push up the key signature of the given music by a perfect fifth, determine the new key signature, and then sing the melody in the first key according to the new key signature, and sing do on the ending note. The answer is palace mode; sing re on the ending note, and the answer is quotient. Mode; the ending tone is mi, the answer is the angle mode; and so on. If the key signature of the given music is G, after deducing the perfect fifth, we need to translate the music score according to the key of D.

In ancient China, there was a saying: "clear the horns to become palaces, and change palaces to horns". Points B and C are a deformation method based on this theory.

2. Indirect analysis method:

This analysis method is based on the premise that the music is determined to be a national mode. It does not need to translate the music score into simplified musical notation. The second method is to directly translate the ending sound. As the tonic, all other tones that appear in the music are arranged into a scale from tonic to tonic according to the relationship between pitch and pitch. After arranging, if no semitone is found, it is directly determined that the music is in pentatonic mode. The next step is to find out the middle tone of the scale. The only major third, because we know that the palace tone and the angle tone in the pentatonic mode form the only major third in music, we found the last eight tones of the major third and assumed they are the palace angles. Based on the names of the palace angles of these two tones, we determined The actual name of the lead vocal.

(1) For example, if the scale is DEGABD and there is no semitone in it, then it must be a pentatonic mode. Find the major third in it, which is the two tones G and B, then these two The sounds are the palace sounds and the horn sounds.

(2) Based on the fact that G is the palace sound, it can be determined that the D sound is the zhengyin, so the answer is the D five-tone zheng mode.

The most important step in this method is to find the only major third in music. Once you find the major third, everything will be solved.

3. To sum up, the modal analysis of a piece of music melody requires not only a basic understanding of the music, but also a multi-faceted analysis from the style of the music and the categories of modalities. As long as it is truly Only by mastering the analysis of five-tone patterns can we conduct scientific analysis on six-tone patterns and seven-tone patterns.

Second, national modes are divided into five tones, six tones and seven tones. Pentatonal mode is the basis of all national modes. If you understand the analysis method of five tones, you will also master other modes. modal analysis method.

1. Understand the basic composition of the pentatonic mode

The pentatonic mode is composed of several tones arranged according to the pure fifth degree relationship: Gong, Zheng, Shang, Yu and Jiao form the national melody.

Its basic characteristics:

(1) The five tones of Gong, Shang, Jiao, Zheng and Yu can all be used as the main tones of the mode to form five different modes: Gong mode Style, Shang style, Jiao style, Zheng style, Yu style. We also call these five tones the main tones in music, and they are the backbone tones of music.

(2) The two tones of Gong and Jiao are the only major thirds in the pentatonic mode. There are no semitones in the music, let alone three whole tones,

Tritones (increased) Fourth, diminished fifth) such intervals appear.

(3) The ending tone of pentatonic music is the main tone. If it ends on the Gong tone, it is the Gong tone; if it ends on the Shang tone, it is the Shang tone; if it ends on the Shang tone, it is the Shang tone; If it ends on the horn tone, it is the horn mode; if it ends on the zheng tone, it is the zheng mode; if it ends on the feather tone, it is the feather mode.

(4) The pentatonic mode cannot be without palace sounds. We must pay attention to this. After we analyze the music and get a certain answer

, we must follow this For the answer, check whether the palace sound appears in the music. If the palace sound does not appear in the music, it means the answer must be wrong. We must always remember: "Without a palace, there is no harmony."

5. The melody interval relationship of the pentatonic mode: In order to make the music smooth, the interval relationship in the music written by the composer is usually based on the major second and the minor third.

Mainly, pure fourths and pure fifths are used as auxiliary, and occasionally large jumps are used in the music to enable the music to achieve dynamics on a stable basis. The purpose of smoothness is to keep the music smooth, and the purpose of jumping is to make the music rich in changes and have a sense of movement.

(6) The rhythm form of pentatonic melody, the rhythm of the first eight and the sixteenth, and the minor dotted rhythm are the main rhythms, some

regional ethnic music, such as When it comes to Xinjiang music, we often see some small syncopated rhythms in music. Of course, we cannot memorize these rhythms dogmatically, but must consider them dialectically and in many aspects.

(7) The time signatures of music are mostly two-beat and four-beat. If the time signature is one beat, then it must be from the Chinese nation.

The above seven points are the basic characteristics of the pentatonic mode. Only after understanding these basic characteristics can you start the mode analysis.