2024年3月5日发(作者：)

1. We will approach the notation of pitch by relating this pitch

alphabet to the keyboard, using Cs as an example.

我们可以把这些字母放到钢琴键盘上来了解它们是如何表示音高的，以C为例。

2. A staff is used in music to indicate the precise pitch desired.

音乐中用谱号来精确的表明音高。

3. The grand staff is a combination of two staves joined by a brace,

with the top and bottom staves using treble and bass clefs,

respectively.

用大括号将两个谱表连在一起可以构成由上下两个谱表结合而成的大谱表，分别使用高音谱号和低音谱号。

4. Notice also that the major scale can be thought of as two

identical, our-note patterns separated by a whole step. These

four-note patterns are called tetrachords.

大调音阶还可以被认为是被一个全音分隔开的由两个完全相同的四音列组成的结构。

5. To play a G major scale, we would need to skip the F key and

play the black key that is between F and G. We will label that

key with an accidental, a symbol that raises or lowers a pitch by

a half or lowers a pitch by a half or whole step.

为了得到一个G大调音阶，就需要跳过F键，选择F与G之间的那个黑键。我们需要为这个键标上一个临时记号，一个可以表明升高或降低半音或全音的符号。

6. One way to learn the major scales is bu means of the pattern of

whole and half steps discussed in the previous section. Another

is by memorizing the key signatures associated with the carious

scales.

确认一个大调音阶，可以按照确定全音和半音在音阶中的位置来构成，另一种方法是记住各调音阶的调号。

7. A key signature is a pattern of sharps or flats that appears at

the beginning of a staff and indicates that certain notes are to be

consistently raised or lowered.

调号表现为出现在每行谱表开始的若干个升号或降号，用来表明在音乐中某些音始终要升高或降低。

8. Some people find it easier to memorize key signatures if they

visualize a circle of fifths, which is a diagram somewhat like

the face of a clock.

人们发现，设想一个像钟表盘面一样的五度圈，对记住调号非常有帮助。

9. natural minor scale; harmonic minor scale; melodic minor

scale.

5自然小调；和声小调；旋律小调

10. You may find it easier to learn the minor scales in terms of their

relative majors, as in the preceding circle-of-fifths diagram

instead of in terms of their parallel majors.

你会发现，用五度圈来演示小调的名称，其关系大调以及调号是一种很方便的方法。

11. If you do use the relative major approach, remember that the

key signature for any minor scale conforms to the natural minor

scale and that accidentals must be use to spell the other forms.

如果通过关系大调确定小调调号，要记住任何小调的调号都是以自然小调音阶为基础，并且其他形式的小调音阶也必须依照自然小调调号对音高进行调整。

12. It is very important to practice faithfully all the major and

minor scales on an instrument until they become memorized

patterns. An intellectual understanding of scales can’t substitute

for the secure tactile and aural familiarity that will result from

those hours of practice.

在一种乐器上正确地联系所有的大小调音阶，知道完全熟记是非常重要的。理论上的理解并不能代替通过长时间实践所得到的正确的触觉和听觉感知。

13. tonic-supertonic-mediant-subdominant-dominant-submediant-(subtonic)-leading tone

主音-上主音-中音-下属音-属音-下中音-导音（降Ⅶ）-导音

14. An interval is the measurement of the distance in pitch between

two notes.

音程是两个音在音高上的距离。

15. A harmonic interval results when the notes are performed at

the same time, whereas a melodic interval occurs when the

notes are played successively.

和声音程表示两个音同时发声，旋律音程表示两个音先后发声。

16. The method of measuring intervals is the same for both

harmonic and melodic intervals.

和声音程和旋律音程的计量方法是完全一样的。

17. Tritone is a term used for the +4 or its enharmonic equivalent,

the °5.

三全音是一个专有名词，用来表示增四度或其等音程减五度。

18. It is important to notice that the harmonic interval of a 2nd is

notated with the top note offset a little to the right of the bottom

note. Accidentals are offset in the same way for harmonic

intervals of a 2nd, 3rd, or 4th, if both notes require an accidental.

有一点很重要，和声音程中的二度在书写时上方音要比下方音向右偏一些。如果两个音都含有变化音，和声音程二度、三度和四度的变音记号也要相互错开。

19. One way to begin learning the modifiers for intervals is by

relating them to the intervals contained in the major scale,

specifically the intervals from 1 up to the other scale degrees.

This method can then be applied in any context, whether or not

the major scale is actually being used.

在刚掌握音程限饰词时，一种方法是把它们与大调所包含的各种音程结合起来，特别是才I级开始向上与各音级构成的音程。这种方法可以应用于各种不同的情况，不管它是否是大调。

20. Fluency with intervals, as with scales, is necessary for any

serious musician and will provide a solid foundation for your

further study.

像熟练地掌握音阶一样，熟练地掌握音程对任何一位严谨的音乐家来说是非常必要的，它将为今后的学习打下扎实的基础。

21. One exercise you can do (you can think of others) is to write out

the notes of the chromatic scale in random order. Include each

black key twice—once as a sharped note and once as a flatted

note. Then play some interval above and below each note. Work

for speed, using your ear to correct yourself.

我们可以做一个练习：在半音阶上随机写某个音，其中黑键可以当作两个音，一次是含升号的音，一次是含降号的音，然后在该音的上方或下方弹出某种音程。做得尽量快，并且用耳朵去修正可能出现的错误。

22. The terms consonant and dissonant can be defined roughly as

meaning pleasing to the ear and not pleasing to the ear,

respectively, but these are very dependent on context. Some of

the most exciting moments in tonal music involve dissonance,

which is certainly not displeasing in that context, but the

dissonances resolve eventually to the consonances that give

them meaning.

协和和不协和这两个属于一般可以认为分别与人在听觉上的舒适与不舒适相关，但这种舒适感却更多地取决于音乐的前后关系。在调性音乐中，某些最令人激动的片段是由不协和构成的，它们在这样的音乐语境中显然不会给人不舒适的感觉，但它们最终又必将解决到使其获得这种效果的协和之上。

23. Durations are notated by using symbols that are organized so

that each symbol is twice the duration of the next shorter symbol

and half the duration of the next longer symbol.

时值用特定的符号来标记，它的组织形式是，每一个符号的时值都比其最接近的较短的符号长一倍，同时又是其最接近的较长的符号的二分之一。

24. Between those extreme tempos are more moderate tempos,

which two listeners might interpret in different ways—one

hearing a faster triple meter in a case such as this is a matter of

interpretation rather than of right and wrong.

在这两种快和慢的极端速度之间的是比较中庸的速度，这时两个不同的听者也许会有不同的说法——一个会听到比较快的三拍子，另一个则会听到比较慢的二拍子。两个听者可能都是对的，因为在这种情况下确定节拍，对自己感觉的说明远比给出对与错的判断更重要。

25. A time signature is a symbol that tells he performer how many

beats will occur in each measure, what note value will represent

the beat, and whether the beat is simple or compound.

拍号是一种符号，告诉人们每一小节有多少拍，以哪一种时值的音符代表拍子，是单拍子还是复拍子。

26. When rhytnms are notated, it is customary to use rests, beams,

ties, and dots in such a way that the metric accent and the

individual beats are emphasized rather than obscured.

当我们在乐谱中记写节奏时，通常会按照习惯使用休止符、符干、延音线和附点，从而使有规律的节拍重音和独立拍子得到强调，而不是使其模糊。

27. A grouplet (or tuplet) refers to the division of an undotted

value into some number of equal parts other than two, four, eight,

and so on or the division of a dotted value into some number of

equal parts than three, six, twelve, and so on, as you can see in

the following table.

连音符表示一个非附点音符被平均分为若干相等的部分，而不是两部分、四部分、八部分等；或者一个浮点音符被平均地分为若干相等的部分，而不是三部分、六部分、十二部分等。

28. The fundamental tertian sonority is the triad, a three-note chord

consisting of a 5th divided into two superimposed 3rds. There

are four possible ways to combine major and minor 3rds to

produce a tertian triad.

最基础的三度叠置音响是三和弦——由三个音构成，在五度中有两个叠加的三度和弦。大三度和小三度加构成的三和弦有四种可能的方式。

29. If we extend a tertian triad by adding another 3rd on top of the

5th of the triad, the result is a four-note chord. Because the

interval between this added note and the root is some kind of 7th

(major, minor, or diminished), chords of this sort are called

seventh chords.

如果在三和弦的五音上方再加上一个三度音，我们就得到了一个四音和弦。因为从根音到这个新加入的音的音程是某种七度，这种和弦被称做七和弦。

30. In analyzing music we often use numbers to indicate the bass

positions of chords. Instead of using 1 for first inversion, 2 for

second inversion, and so on, we use numbers derived from the

Baroque system called figured bass or throughbass.

在分析音乐的时候，我们常用数字来表示和弦的低音位置。我们不用1、2来表示第一转位和第二转位等，而是使用发端于巴洛克体系，被称作数字低音的数字标记。

31. A few figured-bass symbols have been adopted for use in

harmonic analysis. We call these bass-position symbols to

distinguish them from figured bass, which is not the same thing.

Bass-position symbols are usually used with a roman numeral(as

in I or V)as part of a harmonic analysis.

数字低音标记的其中一部分被用来作为和声分析标记。我们称自卸标记为低音位置标记，以把它们与数字低音区分开来，因为它们并不是一回事。低音位置标记通常作为和声分566析的一部分与罗马数字一起使用例如（I or或V)）。

32. If the Baroque composer wanted to direct the keyboard player to

raise or lower a note, several methods could be used, including

the following three.

1. An accidental next to an Arabic numeral in the figured bass

could be used to raise or lower a note.

2. An accidental by itself always referred to the 3rd above the

bass and could be used to alter that note.

3. A slash or plus sign in connection with an Arabic numeral

meant to raise that note.

如果巴洛克作曲家希望明确地告知键盘手某个音是升高还是降低，可以有多种方法。下面是其中的三种。

1.在数字低音的阿拉伯数字右边加入一个变音记号，表示升高或降低这个音。

2.只是一个单独的变音记号，表示总是升高或降低上方三度音。

3.用斜线或加号修饰阿拉伯数字，表示升高这个音。

656

33. However, whereas the figured-bass system provided the bass

line with symbols indicating the chords that were to be

constructed above it, lead-sheet symbols appear along with a

melody and indicate the chords that are to be constructed below.

如果说数字低音系统提供的是带有标记的低音线并指示了在其之上的和弦结构，字母标记则与旋律在一起并指示了唉其之下的和弦结构。

34. Most chords in tonal music are made up only of notes from the

scale on which the passage is based. That is, if a passage is in G

major, most of the chords contain only notes found in the G

major scale. Chords of this kind are called diatonic chords. All

other chords—those using notes not in the scale—are called

altered or chromatic chords.

在调性音乐中，大多数和弦以一段音乐所基于音阶里的音来建构的。也就是说，如果这段音乐是G大调，那么大多数和弦都只包含G大调音阶中的音。这样的和弦叫做自然和弦。所有其他的和弦——使用非本调音阶音的和弦——叫做变化和弦。

英式

Breve

Semibreve

Minim

Crotchet

Quaver

Semiquaver

Demisemiquaver

美式

Breve

Whole

Half

Quarter

Eighth

Sixteenth

Thirty-second

名称

二全音符

全音符

二分音符

四分音符

八分音符

十六分音符

三十二分音符