To understand Bartók’s music, we can start from several aspects: he very well combined real folk music with superb modern music creation techniques. He inherited Bach's polyphonic skills, Beethoven's theme development and structural organization skills, and Impressionist timbre thinking. He integrated, refined and developed them to form his own creative personality. Polymodal chromatic system. Some of Bartók's music is highly chromatic, but these tones are not modal inflections, but natural tones belonging to different modes. The chromatic scale is a combination of Lydian and Phrygian modes of the same tonic, each tone being a modal natural tone. Expand the harmony function system to the extreme. The main functions include: c, e flat, a, f sharp. The CEG chord and the ace chord are the main functions and can be understood if you have learned harmony. The chord eg flat b flat also belongs to the main function, which is the major main chord related to the tonic minor key. #fa#c This chord is also the main function. It is the main chord of the major key of the same name in the related minor key. It is also the main function. It is separated from the main chord by a three-tone relationship, which is called a pole relationship. At this point, all chords of the mode are included in the functional harmony system. The magical Fibonacci sequence. ?1, 1, 2, 3, 5, 8, 13, 21, 34, 55... The sum of any first two numbers in this magical sequence is equal to the following number. The ratio of adjacent numbers is almost closer to the golden landmark as it goes further back. This sequence was used by Bartók in the chord structure and form structure of music. Such as golden landmark proportion structure chord. If the semitone is 1, then the first 4 numbers in the sequence can be used to form c, #c, d, and e. Such sound clusters can be used to form chords such as c, #c, #d, and #f using a ratio of 2-5. .