Piano: Jazz music is more difficult than classical music ... Most beginners play classical music first. If you don't know much about it, please read other books first. The goal of this tutorial is to teach students to match * * * for songs and analyze the usage and rules of * * * in pop music. Composition can't be taught, but it can be taught with * *, and it will be of great help to your composition. In fact, the real composition should be written together with the melody. (REMEMBER) If any song uses different * * *, even if the melody is the same, it sounds and feels absolutely different. This tutorial is mainly aimed at pop music. (In fact, many techniques in pop music are completely classical.) It is more intuitive to use the letter marking technique. Friends who have studied electronic organ or guitar may feel more cordial. Next, we will get down to business. If you really don't know much about music, you may feel a vacuum zone. The following courses are for friends with a certain foundation. Some things are a long story, only by your efforts. The first chapter * * * New Theory of Tradition and Acoustics explains all * * * as a three-dimensional relationship, and strives for the perfection and standardization of harmonic progression. However, the harmony of modern pop music, especially jazz music, has been highly complicated and liberalized. Although the triple superposition is still the basic principle of * * *, it is no longer an important means of explanation. These days, it can be said that the pronunciation of several sounds together constitutes * * *. Whether the harmony is standardized or not is a secondary issue, and the mistakes of parallel five or eight degrees are basically ignored. The only criterion is whether it sounds comfortable and in place. The complex additive tone * * * in jazz music almost makes you confused about the function of * * *, and the blues * * * is mixed with the same name, so the inexplicable progression is difficult to be explained by classical harmony theory. We are now entering the wonderful world of modern times. Chapter II * * * Marking This tutorial uses the notation of letters * * * to indicate * * *. This is a common notation in pop music. It will be very convenient to combine it with series notation, which will enable you to thoroughly understand the subtle relationship between different tones, as if you have a * * * table in your mind. Let's get familiar with this notation. 1。 Junior * * *: The root and triple tones are the third major, and the third and fifth tones are the third major, which are represented by the capitalized English letter names of the root sounds, such as DO, MI, SOL *** with C, FA, LA, DO *** with F, MI, SOL and SI with Eb, FA, LA and DOL with F. 2。 Small three * * *: The root and triple tones are small three degrees, and the triple and pentatonic tones are big three degrees, which are represented by the capitalized English letter names of the root and the lowercase m, such as RE, FA, LA *** are represented by Dm, MI, SOL, SI *** are represented by Em, and MI, SOL and SI are represented by Ebm. 3。 Add three * * *: the root sound and three tones, three tones and five tones are all big three degrees. Add aug or a "+"to the capital English letter name of the root sound. For example, DO, MI, and ascending SOL *** are expressed as Caug or C+, while FA, LA and ascending DO *** are expressed as Faug or F+. 4。 Minus three * * *: the root sound and three tones, three tones and five tones are all three degrees. Use the capital English letter name of the root sound plus dim or a "-". For example, RE, FA, LA-drop, expressed as Ddim or D-, DO, MI and SOL-rise, expressed as #Cdim or #C-. 5。 SIze seven * * *: Add a third degree on the basis of junior three * * *, and add "7" to the initials of the root. For example, SOL, Si, RE, FA *** are represented by G7, LA, S are raised by DOL, MI and SOL are represented by A7. 6。 Big seven * * *: on the baSIs of junior thREe * * *, increase it by three degrees, and use the capital English letter name of the root sound plus Maj7, for example, DO, MI, SOL, SI *** means Cmaj7

, and re, FA, LA *** means Bbmaj7. 7. Xiao Xiao Qi * * *: based on Xiao San * * *, add Xiao San, which is represented by the capital English letter name of the root sound plus "m7". For example, LA, DO, MI, SOL *** is Am7

RE, FA, LA, and DO *** is Dm7. 8. Little Big Seven * * *: On the basis of Little Three * * *, increase it by three degrees, and use the capital English letter name of the root sound plus mM7, such as DO, MI-flat, SOL, SI *** for CmM7

LA, DO, MI-flat and SOL-flat for AMM7.9.. MInus seven * * *: on the basis of subtracting three * * *, add three degrees, and add dim7 to the initials of the root, such as SI, RE, FA, LA *** for Bdim7

LA, DO, Mi and SOL for Adim7. 1. Subtract seven * * *: on the basis of subtracting three * * *, increase three degrees, and add m7-5 to the initials of the root. For example, SI, RE, FA, LA *** means Bm7-5

L FA, LA, DO, ME *** means #Fm7-5. 11. Accent * * *: It refers to adding other sounds to a * * * based on a three-degree relationship, such as adding the sixth, ninth and fourth tones. The notation is to write the degree of this additive on the right side of the original * * *, such as DOMI, SOL and LA *** which can be marked as C6 (LA is an additive based on C ***). However, it should be noted that the writing method of adding four tones * * * stipulates that sus4 should be written, and the original three tones of * * * should be omitted, otherwise the three tones and the fourth tone will sound sharp together. For example, DO, FA and SOL *** are marked as Csus4.(C *** saves three tones and four tones). Most of the accents are 6, 9 and 4 degrees. In addition, there are more complicated theories to separate the additive tone from the polyphonic tone * * *. For example, FA, LA, DO and SOL *** should be labeled as Fadd9

and F9 will be considered as FA, LA, DO, MI and SOL ***. However, this is just a theory. Generally speaking, you can make others understand what you mean with simple phonetic notation. Twelve. Specify * * * root sound: that is, playing the * * * yes, not playing its own root sound, but playing according to the mark. For example, C/G means to put the G note at the lowest pitch when playing the * * *. Dm/G means to put the G note at the lowest pitch when playing Dm. You can also use On* to mean the same thing. For example, F9OnD

actually plays RE, FA, LA, DO and SOL. Obviously, this notation can be used to indicate the transposition of * * *. Chapter III Functions of Various Levels Chapter IV Changes at Various Levels ***

Reference: .knowledge.yahoo/my/my? R=116126974

Actually, they are totally two kinds of music. However, most jazz musicians have many years' experience in learning classical music. Jazz music mainly requires improvisation. Although facing the same movement, it can be changed every time, while classical music requires constant practice of exactly the same movement, which requires exactly the same thing every time ... This is only a rough explanation, and you will know more about D ..

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