1. Musical sound system

1. Four properties: high and low, length, strength and timbre.

2. The vibration is irregular and the pitch of the sound is not obvious, which is called "noise".

3. Musical sound system: the sum of the basic musical tones used in music.

4. Sound level: each sound in the musical sound system. (Refers specifically to musical sounds)

5. Sound sequence: Arranged from low to high or from high to low according to a certain pitch relationship and high and low order.

6. Semitone: The smallest measurement unit of pitch relationship in the musical tone system.

7. Whole tone: the sum of two semitones.

8. Sound name: CDEFGAB, also called the basic sound level, (had been formed in the Middle Ages, when it was almost the only sound level. Now it has developed to more than eighty. The piano has fifty-two white keys, one The distance from a note level to the next is "octave", do re mi fa sol la si (these note names are mostly used in singing, so they are called roll calls.

9. Change the note level: change the basic note level A sound obtained by raising or lowering the sound.

10. Upgrading sound: raising the basic sound level by a semitone, such as C sharp or D sharp, and the opposite is a downgraded sound.

11. . Re-rising: Raise the basic tone by a whole tone, such as re-sharpening C, re-sharpening D, etc.

12. Sound group: more than 80 tones in the musical sound system. It is used to distinguish several groups of sounds, and its mark is represented by lowercase letters and the number "1" on the upper right, such as: c1, d1, e1, f1, each group with a higher level than the lower case group, from lowest to lowest. The high names are "two groups of small characters", "three groups of small characters", "four groups of small characters", and "five groups of small characters". Write the numbers "2", "3", "4" and "5" in order. The groups with the lowest group names are named "small character group", "large character group", "large character group", and "large character group two" in descending order. The small character group uses lowercase letters, and the large character group uses uppercase letters.

13. Standard tone: The current internationally accepted standard height is the a tone that vibrates 440 times per second, that is, a group of small letters is the "standard tone". Each tone level in the musical tone system has the same height. There are certain standards.

14. Center C: The small group of c1 located in the center of the musical system vibrates about 261 times per second.

15. Law: To determine the absolute exact height of each note in the musical sound system, people have created various laws and methods in practice, such as the twelve equal temperament, the fifth degree, the pure temperament, etc.

16. The twelve equal temperament. : Divide a pure octave (such as c1-c2) into twelve equal parts

17. Equal notes: sounds with the same pitch but different notations and meanings, such as C sharp and D flat. , B sharp, these three notes have exactly the same pitch on the piano, but their notation and meaning are different. It can be seen that except for G sharp and A flat, there are only two equal notes. Sound.

18. Compound sound: When you hear a certain sound, it is usually composed of many sounds. Vibrating, its various parts (second, third, fourth, fifth sections, etc.) are also vibrating at the same time

19. Fundamental tone: the sound produced by the vibration of the whole string, which is the most clearly heard. >

20. Overtones: produced by the vibration of various parts of the sound body, which are difficult to hear.

21. Partial sounds: the sounds that make up a compound sound.

22. . Sound range: From bass to treble, the total range of the sound sequence.

23. Vocal area: a part of the vocal range. According to the different timbres, it is divided into high-pitched area, mid-range area and low-pitched area. The small character group, the small character group one, and the small character group two are considered to be the middle range, the small character three, the small character four, and the five are the high-pitched area, and the large character group, the large character group one, and the second group are the bass area.

2. Staff

1. Notation: recording music in written form.

2. Notes: Symbols that represent the progression of sounds.

3. Rest: a symbol indicating the rest of a sound.

4. P19 is missing.

5. The duration relationship between notes and rests: the duration ratio between a larger note or rest and its nearest smaller note or rest is 2:1, which is a whole note It is equal to two half notes, and a quarter rest is equal to two eighth rests.

6. Increase basic notes.

7. Dots: small dots recorded on the right side of notes and rests. One dot means increasing the value of the original note or rest by half; having two dots is called a double dot, which means increasing the value of the original note or rest by three-quarters.

8. Extension mark: add a small dot in the center of the semicircular arc. Indicates the freedom to increase the duration of the note or rest according to the style of the work or the player's intention. In multi-stem notation, the extension can also be recorded below a note or rest. Curved back.

9. Tie: An arc recorded on two notes of the same pitch. It means singing two notes into one note.

The extension cord can be used continuously.

10. Staff: The height of the note on the staff is determined by the position of the note head on the staff. The higher the position, the higher the treble, and the further the position, the lower the bass. Note heads can be recorded on lines and in spaces.

11. Adding lines: In order to record higher or lower notes, many short lines are added above and below the staff. Divided into: upper plus line and lower plus line.

12. Leap clef: If the musical work needs to be written on several lines of staff, then the several lines of staff must be connected with "clefs". Including two parts: starting line and enclosing line.

13. Clef: G clef, indicating that the second line on the staff is equal to g1. The note names of other lines are as shown in Figure P21. F clef, which indicates that the fourth line of the staff is equal to F. For other lines, the names of interludes are as shown in Figure P20. C clef, the third line of the staff equals to C1, which is recorded on the fourth line of the staff and is called the "tenor clef."

14. Change Sound mark: A mark indicating the rise or fall of a sound. A semitone long, a semitone flat, a whole tone sharp, a whole tone flat. Restore the sound. (They are all raised and lowered based on the basic tone) It can be recorded on the line and in the room.

15. Key signature: the diacritical mark recorded after the clef. Valid for all tone groups after a key signature. Example: P23 All F's are raised a semitone, and all B's and E's are flattened.

16. Temporary diacritical mark: The diacritical mark recorded before the note. Its function only means that after the diacritical mark, the notes of the same height within a bar are valid. The exception is the next section, which is connected with a tie line. Valid for only one voice among multiple voices.

17. The correct way to write notes: when notating a single stem, it should be above the third line and below the stem. On the contrary. On the third line, up or down. In the case of multiple note heads, the one farthest from the third line shall prevail. (Single-voice parts are always notated with a single Fugan. In polyphonic music, single-voice parts are notated with a single Fuqian only when the rhythm is the same. When notation with a double-voice part, the stem of the high-pitched part is facing up. The stem of the low-pitched part is facing down.

18. When writing rests, in the notation of single stems, rests are always written close to the third line.

19. Dotted notes and dotted rests. : Always record within the space of the staff. The dots of the dotted notes should be close to the note head.

20. Omit the mark: Use the symbol 8—— to move up and down the octave, and record it in the staff. Above, it means moving the note within the dotted line up an octave. Marking it down means lowering the octave.

21. Repeat the octave mark. p> 22. Long rest mark: Marked on the third line of the staff, the number above indicates the number of rest measures.

23. Tremolo mark: Marked with a slash. , there are two situations. When a note or chord is repeated quickly and evenly, the number of slashes on the stem is consistent with the number of note endings during the performance.

24. Repeat marks. : Indicates that a certain part or all of the music is repeated. When a certain melody pattern is repeated, the number of slashes is the same as the number of symbols. When a measure is repeated one or more times, it is expressed by the word division. Repeating from one section to the whole piece of music can be expressed by ︱::︱. To indicate that the parts within the mark are to be repeated, brackets can be used, and the Arabic numerals are used to indicate the number of repetitions. .

25. Legato playing method.

26. Staccato playing method.

28. Pipa playing method. Musical playing method.

29. Portamento playing method

3. Rhythm and beat

1. Beat: strong and weak segments of the same time, in a certain order. Cycle repetition (for example: the pace of marching in formation reflects this characteristic; the left foot is strong, the right foot is weak, the time segments of each step are equal, and the cycle is repeated in the order of one strong and one weak. Each time segment is called a "unit beat" It is one beat. The unit beat with strong sound is called "strong beat"

2. Rhythm: The long and short relationship between the strong and weak sounds reflects the strong and weak beats. There are many sequence combinations of weak, long and short sounds.

3. Beat: The unit beat of the beat is represented by a fixed note, which is called "beat". Represented by simple notes. Such as half notes, quarter notes, etc.

4. Time signature: The time signature is marked in the form of a fraction. The numerator represents the beat. A note is one beat.

5. Bar: The part between one downbeat and the next downbeat in a piece of music.

6. Bar line: Always a downbeat. is written in front of the downbeat. A vertical line across the staff that separates bars from one another.

7. Weak start measure: The music starts with a weak beat. It is an incomplete section. The ending is usually an incomplete measure, and two incomplete measures are combined to form a complete measure.

8. Single beat: The first measure has two or three beats. The characteristic is that there are only strong beats and weak beats.

9. Complex beats: composed of identical single beats combined together.

10. Mixed beats: Single beats consisting of two beats and three beats of the same unit, combined in different orders.

11. Change the beat: Various beats appear alternately.

12. One beat: There is a strong beat but no weak beat.

13. Scattered beat: The strong note position of the beat and the duration of the unit beat are not very obvious and not fixed.

14. Note value combination method: combine notes of various durations according to the structural characteristics of the beat.

15. The strong and weak relationship in the beat: The strong and weak relationship in the beat is also reflected in the rhythm. The first is strong and the second is weak. The three tones are strong, weak, and weak. The four tones are strong, weak, sub-strong, and weak. On average, there are two possibilities for five tones: strong, weak, second strong, weak, weak; strong, weak, weak, second strong, weak. (A similar three-beat beat, each beat is divided into an average of two tones, and its strength and weakness relationship follows the possibility of an average of six tones. Strong, weak, second strong, weak, second strong, weak. The strength relationship of these rhythms can Appears in one beat, or in smaller parts, such as half beats and quarter beats. 16. The intensity of sound is also marked with words, letters, and symbols. F means strong, the more F means the stronger the sound, the more P means the weaker. MF means the second weakest, and the MP means the weakest.

17. Syncopation: such as a sound. Starting from the weak part of the beat and continuing to the stronger part, the strong sound in the back will be played in the weak part in front.

4. Intervals

1. Interval: In the musical sound system, the relationship between the height and low of two tones

2. Crown tone and root tone: In the interval, the higher tone is called the crown tone and the lower tone is called the root tone. .

3. Melody interval: the two tones in the interval are sounded successively. According to the direction, they are divided into three types: ascending, descending and parallel.

4. The degree of the interval: the interval is in . The number of lines and spaces included on the staff. For example, the interval formed on the same line or space is called a third.

5. Single interval: within an octave. Intervals.

6. Polyphonic intervals: more than an octave.

7. Natural intervals: pure intervals, major intervals, augmented fourths and diminished fifths.

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8. Varied intervals: derived from natural intervals

9. Consonant intervals: natural, pure intervals

10. Dissonant intervals: major and minor. 2. Major and minor sevenths,

11. Inversion of intervals: The root and crown of an interval are reversed.

12. Equal intervals: When two intervals are listened to in isolation. , the sound effect is exactly the same, but the meaning and writing method in the music are different.

5. Chords

1. Chords: According to the relationship of third intervals or non-third intervals, thirds. The combination of more than one tone.

2. Trichord: a chord composed of three tones superimposed according to the relationship of third intervals.

3. The interval arrangement is 1. , 3, 5.

4. Seventh chord: A commonly used chord composed of four tones superimposed according to the relationship of third intervals. There are: major and minor seventh chords, diminished seventh chords.

5. Chords in root position: chords whose root note is bass.

6. Inverted chords: chords with the third, fifth, or seventh note of the chord as the bass. When inverted, the original names of the root, third, fifth, and seventh notes remain unchanged.

7. Equal chords: When two chords are heard in isolation, they have exactly the same sound effect, but they have different meanings in music and are written differently.

8. How to form and identify chords: To form and identify chords, it is very important to memorize the interval structure of various chords in root position, inverted chords, and the relationship between the tones in the chord. For example: use D as the bass to form the original and inversion of a major triad. According to the interval structure of the chord, a major triad in position is a major third plus a minor third. Then a major triad with D as the bass in the original position should be D#FA. The interval structure of the first inversion of a major triad is a minor third plus a perfect fourth.

6. Key and key relationship

1. Key: the pitch position of the tone sequence composed of basic tone classes.

2. C key: a key composed of seven basic tone levels. Its key signature has no sharps or flats.

3. G key: Move all the seven basic notes to a pure fifth, that is, move all the notes in the key of C to a pure fifth. Start with the G sound and change the F sound to #F. It's called the key of G. (Why should F be changed to #F? From a vertical perspective, B to F is a diminished fifth, and F must be raised a half step to become a perfect fifth; from a horizontal perspective, starting from the C note, press the pitch The basic tone levels arranged in order are: major second, major second, minor second, major second, major second, major second.

Therefore, in the key of G, only changing F to #F can conform to the interval structure of the tone sequence formed by the basic tone scale.

4. D key: Move the C key up a major second, that is, move the G key up a perfect fifth, starting from the D note, which is the key of D. The key signature of D is two sharps, #F and #C.

5. F key: If the C key is moved down a perfect fifth, starting from the F note, and changing B to bB, the key signature is a flat, B flat.

6. Basic key: a key composed of seven basic tone levels, C key. Starting from the basic key and going downwards, according to the continuous generation of pure fifths, the key of F/bB/P95 can be produced in sequence.

7. Flat tone: All the keys expressed with a flat sign are called flat tones. (The writing has a fixed position and order. They all increase upward or downward according to the pure fifth. The order of appearance is symmetrical and opposite. Due to different staves, the positions of key signatures on different staves are also different. .

8. Equal tones: According to the theory that all semitones are equal in twelve equal temperaments, not only equal tones, equal intervals, and equal chords are produced, but also all equal tones between two keys. The tones are all equal tones. As mentioned above, the key of #F, the key of bG, #C and bD, etc. are all equal tones (although the equal pitches have the same pitch, they have different expressions in music performance. ).

9. The fifth degree cycle of the key: arrange the keys according to the pure fifth degree relationship. P100 can be continued endlessly, but due to the equal pitch relationship, there are conditions to make the key fifth degree. A circle is formed by looping through equal tones. As you can see from the picture, there are up to seventeen basic tones, sharp tones, and flat tones in total, but as far as the pitch on the piano is concerned, there are actually seventeen tones. There are only twelve.

10. Tone relationship: There are far and near relationships between tones. The distance between tones is mainly determined by the number of homophones between the two tones. The more homophones there are, the closer the relationship between the keys is.

11. Closely related keys and distantly related keys: In the fifth-degree cycle of keys, except for the two adjacent keys, they are close. Except for related tones, all other tones are called distant related tones

7. Mode

1. Mode: several tones (3-7) according to a certain relationship (high, low, high, low, etc.). Stable, unstable) are connected together to form a system with a certain note as the center. It is the organizational basis of pitch relationships in music and an important means of musical expression.

2. Stability. Unstable relationship: Under certain conditions, certain sounds play a supporting role and give people a sense of stability.

Tonality: The characteristics of the mode.

3. Tonic. : The most stable note in the mode. (The ending note in a piece of music is usually the tonic, with few exceptions.

4. Scale: The notes in the mode are arranged in order from tonic to tonic. From low to high, it's called "upward". From high to low, it's called "downward". 5. Major mode: referred to as major mode, it is a mode composed of seven tones. The stable tones together form a major triad, and the unstable tones tend to the stable tones in a second interval relationship, forming the basic tone of the melody. The major third above the tonic is divided into three types: natural major. Key, harmonic major and melodic major.

6. Minor mode: referred to as minor, it is also a mode composed of seven tones, but its stable tones combine to form a minor triad. The unstable tones tend to be stable in the second interval relationship.

7. C major: C is the main tone, C is the 1st degree, a is the main tone, and a is the 1st degree. Level 1.

8. Pentatonic mode: a mode composed of five tones arranged in perfect fifths. These five sounds are named from lowest to highest: Gongzheng Shangyujiao.

9. Keys and modes: Various modes, whether major, minor, or pentatonic, can be composed in one key.

10. Relative major and minor keys: Major and minor keys with the same key signature are called relative major and minor keys.

11. Same tonic: major and minor keys with the same tonic. The major and minor keys of the same tonic are distantly related keys, because the key signatures of the major and minor keys of the same tonic always differ by three sharps and flats.

12. Determine the mode: first rely on hearing, but you can also use objective characteristics. Such as the sound organization in the melody and the key signature that represents the sound organization, the harmonic mode, the temporary diacritical mark in the melody mode, as well as the ending tone and ending chord of the music.

8. Intervals and chords in modes

1. Intervals in modes: the combination of intervals and modes.

2. Stable intervals and unstable intervals and the solution of unstable intervals.

3. Determine which modes an interval may belong to.

4. The application of intervals in musical expression.

5. Chords in modes: Chords and modes are combined.

6. Dominant seventh chord: The dominant note forms a seventh chord.

7. Determine which major and minor keys a chord may belong to.

9. Modulation

1. Modulation: Converting from one key to another or from one mode to another.

2. The meaning of modulation: in order to obtain richer keys and modes according to the needs of the music content. This interaction between different keys and modes is just like the chords in the mode. The main key (main chord) plays a stabilizing role in the center, and other keys (other chords) are unstable keys and play a destabilizing role. In addition, different keys and modes have different colors, and modulation also plays an important role in changing the colors of keys and modes.

3. Categories of modulation: Transitional modulation: occurs at the end of a musical passage, so that the new key is fully consolidated and affirmed. Change of key: It does not occur at the end of the musical paragraph, but in the middle of the paragraph, and the time is short. The new key is not fully consolidated, and it quickly switches back to the original key and another key. Near modulation, far modulation.

4. Each mode in the closely related key.

10. Modal changes and chromatic scales

Mode changes: In the seven-tone natural mode, the tone obtained by adding semitone changes to the natural tone level of the mode.

11. Transposition

1. Transposition: Moving all or part of a musical work from one key to another is called transposition.

2. Methods of transposing:

⑴ Press notes and transpose

⑵ Change the key signature

⑶ Change the clef< /p>

12. Ornamentation

1. Ornamentation: some special marks and small notes used to decorate the main tone of the melody. Most are composed of auxiliary sounds with short duration.

2. Yiyin.

3. Echo.

4. Boeing.

5. Vibrato.

13. Basic knowledge about melody

1. Melody: a single-part progression of many independent tones that is combined with mode relationships, rhythm and beat relationships.

2. Category: Vocal melody and instrumental melody.

3. Keynote music: Melodies are combined in different ways in polyphonic music. With one voice as the main part and the other parts as secondary parts, it is called tonic music.

4. Polyphony: two or more melodies with independent meanings, harmoniously combined together.

5. The direction of melody progression and climax are divided into ascending, descending and parallel, and can be linear or curved. During development, the peak reached by rising emotions is called a climax.

6. Segmentation of melody: Like language, it is divided into many interconnected parts based on breathing and pauses. Each part is called a paragraph. Paragraphs may be large or small. There are often rests or long sounds between paragraphs.

7. Termination: Certain notes or chords used to end a paragraph are called cessation. Termination always precedes a pause.

8. Complete cessation: The melody ends on the root of the main chord.

9. Half cadence: The melody ends on the third or fifth note of the main chord.

10. One-section body, two-section body and three-section body.

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