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dinu
- 论坛博士后
- 19720110
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- 2003-11-15
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发表于 2014-11-29 12:35
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TRACK13
Introduction, scales and intervalsMy first purpose in writing the suite of childhood impressions which I call for the first time was to picture in music the first time impressions in a day in a life of a child. My second purpose in writing this suite has been to attempt to search out various relationships of the tone. Each of which would serve as appropriate vocabulary for each of the series of impressions of a day in the life of a child. Now the vocabulary of music is based essentially on the alphabet of 12 tones.
If we use the interval（音程） of ____
approximately counting 7 half steps in the piano keyboard, for example for C to G and proceed to superimpose this interval beginning with lowest C on the piano and ending with the top C of the piano keyboard we produce what we might call this vertical harmonic scale（垂直和谐音阶）:What we might think of it as a circle of tones, embracing 12 points of pitch beginning at C proceeding clockwise around the circle to the point F sharp, the diameter of the cycle, and then proceeding around the cycle back to the starting tone--C.Here is the seven-tone harmonic scale played by the strings of the orchestra, beginning with C and proceeding to F sharp at the diameter of the circle:Now let us separate out the two tone combination within this half circle. Relationship of the first and the second tones produce this primary consonance:The first and third tone produce this mild secondary dissonance(不协和音):
The first and fourth tones produce this secondary consonance:The first and the fifth tones produce another secondary consonance(协和音)The first and the sixth tones produce this primary dissonance:
And the first and the seventh tones sound together produce this secondary dissonance:
TRACK14
BellsThe first movement Bells is based on the harmony of five tones from the consonant category 1, illustrated by the interval from C to G:The 5 tones of this category played together by the strings of the orchestra sound like this:And above this harmony, we place a bell like melody in the horns and woodwinds punctuated by the tubular chimes:TRACK15
MistThe movement called mists is based on 6 tones from category 2, the mild dissonances which we illustrated by the interval from C to D:In close position that is in the melodic form, it sounds like this:And here is the opening of mists in strings, flute and clarinet:TRACK16
FireworksCategory 3 is represented in the movement called fireworks by this 6-tone scale:Here is the harmonic background in the strings:And over this harmonic background we place the horns, woodwinds and piano:TRACK17
ClownsCategory 4 is represented in the movement clown by a more complicated 9-tone scale based on
the consonants represented by interval from C to E :The opening measures of clowns illustrate the effect of this interval:TRACK18
Tamara and Peter BolshoiCategory 5, the most dissonant category furnish the 7-tone scale
for the movement related to the 2 puppets. It is based on the interval illustrated by the relationship of C to B:And here are opening 7 measures of the 2 Irish _____puppets named: Tamara and Peter Bolshoi:TRACK19
Deserted HouseCategory 6 is used in picturing the eerie atmosphere of the deserted house._____
represented by the relationship of C to F sharp. The ancients called it the ____ music, the ____ music. By itself it is only mildly dissonant, but combined with consonant intervals it becomes increasingly dissonant:This is illustrated by the beginning of the deserted house:TRACK20
DanceIt would seem then that there are basically 6 categories of musical relationship. This is true. But it is obviously possible to create many combinations of the 6 basic categories. For example the dance makes use of the two most consonant 3-tone chords in music, related at an interval of a mild dissonance, producing these 2 six-tone combinations, both heavily consonant:The dance begins with the relationship of these 2 consonant 3-tone chords at the relationship of a very minor dissonance, giving an overall impression of consonance:The dance melody is placed over this harmonic background:TRACK21
The Deep ForestNow if we use this same consonant chord but related at a more dissonant interval, we produce a rather murky 6-tone chord and this we use in the movement called the deep forest:This is given out in the strings, harp and horns as in this example:And above this harmony in strings, harp and French horns, we place the melody in wood winds and celesta:TRACK22
Serious ConversationIn the movement called serious conversations, we take the same consonant chord once again but this time superimpose it upon itself. The basic chord is C, D, G, superimposed not only on C but on E and on G, producing the following relationship:Melodically the relationship of this major chord placed upon itself will sound like this:TRACK23
Eccentric ClockEccentric clock on the other hand is based upon the much more complicated 10-tone scale. This scale consists of related groups of 3 tones, one of which is consonance, and 2 of which are mild dissonances. These played above each other give the following 10-tone sound, essentially dissonant in character:And here are the first 4-key measures of the eccentric clock, using the relationship of these 3-tone combinations:TRACK24
KikimoraIn somewhat more dissonant 7-tone scale based on a 7-tone combination consisting of a series of 3 tones, containing 1 mild consonance, but 2 dissonances is used to depict the tiny, sprite Kikimora:And here is the example taken from the opening of Kikimora:TRACK25
DreamsAnd finally for the last movement dreams, pure consonance is used to which very mild dissonances are added. The 5-tone relationship upon which this movement is based will sound like this:And here is the illustration of this essentially consonant combination of 5 notes used in the opening of the final movement dreams:We’ve talked in some detail not only about the program of the suite, but also about the technical relationships which the suite itself illustrates. We will now like to play it for you without pause.
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