计算机音乐上的加号是哪个音调6,音乐基本用语-- 音阶与调式/Scales and Scale Degrees...

1. 音阶/Scale

音阶，源自意大利语scala(楼梯)，是一组递增或递减的音。

A scale, from the Italian scala (= stairs or ladder), is a pattern

of notes ascending or descending by step.

2. 调式/Scale degrees

调式即为音级。可用数字和名称来表示。自然音阶的第一级为主音，第二级为上主音，第三级为中音，第四级为下属音，第五级为属音，第六级为下中音，第七级为导音。

The degrees of the scale are the scale-steps. These may be

indicated by number or by name. The first degree of the diatonic

scale is the tonic, the second the supertonic, the third the

mediant, the fourth the subdominant, the fifth the dominant, the

sixth the submediant, the seventh the leading tone or leading

note.

3. 上行音阶/Ascending scale

上行自然音阶为依次由低到高上升的音。始自主音，调式上行顺序为：主音，上主音，中音，下属音，属音，下中音，导音，主音。导音

The ascending diatonic scale is the scale going up by step from

lower to higher frequencies or pitches. Starting from the tonic or

key-note, the scale degrees in ascending order are: tonic,

supertonic, mediant, subdominant, dominant, submediant, leading

tone or leading note, tonic.

4. 下行音阶/Descending scale

上行自然音阶为依次由高到低下降的音。始自主音，调式下行顺序为：主音，导音，下中音，属音，下属音，中音

，上主音，主音。导音

The descending diatonic scale is the scale going down by step from

higher to lower frequencies or pitches. Starting from the tonic or

key-note, the scale degrees in descending order are: tonic, leading

tone or leading note, submediant, dominant, subdominant, mediant,

supertonic, tonic.

5. 大音阶/Major scale

大音阶是一种自然音阶，以上升顺序，包括一组全音和半音。半音在第三和第四级音阶，第七和第八音阶之间，即中音和下属音，导音和主音之间。在钢琴的白键上演奏大音阶，从C到C，递增顺序为C,

D, E, F, G, A, B, C.

The major scale is a diatonic scale that, in ascending order,

consists of a pattern of steps and half steps, or whole tones and

semitones. The half steps or semitones occur between the third and

fourth degrees of the scale and the seventh and eighth, that is

between the mediant and the subdominant and between leading tone or

leading note and the tonic. The major scale may be played on the

white notes of the piano from C to C, in ascending order C, D, E,

F, G, A, B, C.

6. 主音/Tonic

主音是音阶的第一级，是基本音。主要以主音去辨认一篇音乐作品的调。在调性音乐中，主音是最重要的调。

The tonic is the first degree of the scale, the keynote or home

note. The key of a piece of music is identified by the tonic. In

tonal music it is the most important note in a given key.

7. 属音/Dominant

属音是音阶的第五级。在调性音乐中，其是仅次于主音的重要调。属音是主音三和弦中最高的调，作为基础音，与主音的关系最为密切。

The dominant is the fifth degree of the scale. In tonal music it is

next in importance to the tonic. The dominant is the highest note

in the tonic triad, and serves as the basis of the key most closely

associated with the tonic key, the first of nearly related

keys.

8. 下属音/Subdominant

下属音是第四级音，所以得名是因为它是主音下的第五级音阶，在调性音乐中，下属音是较之属音次重要的音，也是相关音之一。

The subdominant or lower dominant is the fourth degree of the

scale, but takes its name from the fact that it is the fifth

scale-step below the tonic. In tonal music it is next in importance

to the dominant, one of the nearly related keys.

9. 中音/Mediant

中音是第三级音，在主音和属音之间。主音，中音和属音一同构成主音三和弦。

The mediant is the third degree of the scale and is midway between

the tonic and the dominant. Tonic, mediant and dominant together

form the tonic triad.

10. 下中音/Submediant

下中音是第六级音，在下属音和主音之间。下属音，下中音和主音共同构成下属音三和弦。

The submediant is the sixth degree of the scale and is midway

between the subdominant or lower dominant and the tonic.

Subdominant, submediant and tonic together form the subdominant

triad.

11. 导音/Leading tone

导音是第七级音，其引导主音并且是主音下的半音。

The leading tone or leading note is the seventh or degree of the

scale and is a half step or Leading note semitone below the tonic,

to which it leads.

12. 调号/Key Signature

调号位于一篇音乐作品或一章节的开始部分，来表示该作品或章节的调域。升降号画在五线谱相称的位置上，表示这些调通篇应该升或降，除非升降号被还原号取代。升降号也可画在调号上以表示调的改变。

A key signature is placed at the beginning of a piece of music or

of a section to indicate the key of the piece or section. Sharps or

flats are drawn at the appropriate place on the staff, showing that

the notes so indicated should be sharpened or flattened throughout,

unless the sharp or flat is cancelled by a natural sign. This last

may also be in a key signature to show changes in key.

13. 升号/Sharp keys

一篇调性音乐作品的调取决于所使用的自然音阶。带升号的大音阶开始于G，恰好是C上的第五级。C调既无升号也无降号，但是G调却需要一个升号以确保开始于G调的一系列音形成必需的一组全音和半音，以及介于导音和主音间的半音。G大调，带一个升号，D大调开始于第五级，有两个升号，以此类推。G大调(1)；D

大调(2); A大调 (3); E 大调(4); B 大调 (5); 升F大调(6);

升C大调(7).每一个调按照上述顺序保持前一个调的上升，并增加一个新的上升导音。

A piece of tonal music is said to be in a key when it uses as its

principal material the notes of a certain diatonic scale. Keys that

have sharps in the major scale begin with the scale of G, a perfect

fifth above C. The key of C has no sharps or flats, but G needs one

sharp to ensure that a series of consecutive notes starting on G

forms the necessary pattern of whole steps or whole tones and half

steps or semitones, with a half step or semitone between the

leading tone or leading note and tonic. The scale and key of G

major, therefore, has one sharp, D major starting a perfect fifth

higher has two, and so on. G major (1); D major (2); A major (3); E

major (4); B major (5); F sharp major (6); C sharp major (7). Each

key retains the sharp of the preceding key, in the order given

above, and adds a newly sharpened leading tone or leading

note.

14. 降号/Flat keys

一篇调性音乐作品的调取决于所使用的自然音阶。带降号的大音阶开始于F，恰好是C下的第五级。C调既无升号也无降号，但是F调却需要一个降号以确保开始于F调的一系列音形成必需的一组全音和半音，以及介于中音和下属音间的半音。F大调，带一个降号，降B大调开始于第五级，有两个降号，以此类推。F

大调 (1); 降B大调(2); 降E大调(3); 降A大调(4);

降D大调(5); 降G大调(6);

降C大调(7).每一个调按照上述顺序保持前一个调的下降，并增加一个新的降下属音。

A piece of tonal music is said to be in a key when it uses as its

principal material the notes of a certain diatonic scale. Keys that

have flats in the major scale begin with the scale of F, a perfect

fifth below C. The key of C has no sharps or flats, but F needs one

flat to ensure that a series of consecutive notes starting on F

forms the necessary pattern of whole steps or whole tones and half

steps or semitones, with a half step or semitone between the

mediant and subdominant. The scale and key of F major, therefore,

has one flat, B flat major starting a perfect fifth lower has two,

and so on. F major (1); B flat major (2); E flat major (3); A flat

major (4); D flat major (5); G flat major (6); C flat major (7).

Each key retains the flat of the preceding key, in the order given

above, and adds a newly flattened subdominant.

15. 等音/Enharmonic keys

等音是指音高相同的音。在标准的十二平均律中，升C调等同于降D调，升D调等同于降E调，以此类推。但是较敏感的调可能会区分任意两个等音，在现代键盘上，二者虽然记法不同但音高相同。等音即同音异名的音。升C大调与降D大调等音，升F大调与降G大调等音，以此类推。

Enharmonic keys are keys that are the enharmonic equivalent of each

other. In standard well-tempered tuning or tuning in equal

temperament the note C sharp is the enharmonic equivalent of D

flat, D sharp of E flat, and so on. While more sensitive forms of

tuning may distinguish between any two such notes, on the modern

keyboard they are the same, although they are written differently.

Enharmonic keys, are keys that are enharmonic equivalents. Thus the

key of C sharp major is the enharmonic equivalent of the key of D

flat major, F sharp major of G flat major, and so on.

16. 五度循环/The Circle of Fifths

升号或降号在五线谱上增加时的顺序可以用五度循环来描述。在该循环中以C为最高点上升可用右半圈表示，下降用左半圈表示。这些音符合十二平均律。相吻合的点通常为升F大调(=降G大调)

The order of keys in ascending numbers of sharps or flats can be

illustrated by a circle of fifths. With C at the highest point of

the circle, keys a fifth apart, ascending, can be shown on the

right of the circle, keys a fifth apart, descending, on the left.

These keys will coincide with their enharmonic equivalent. The

point of such coincidence is usually taken at F sharp major (= G

flat major)

17. 关系大调/Relative major key

任何一个大调都有相对应的小调，主音间相差小三度。因此，C大调与A主音小调相对应，即C大调的第六级音。C大调是A小调相应的关系大调，G大调是E小调的关系大调，D大调是B

小调的关系大调， A 大调 是 升F

小调的关系大调，以此类推。随着渐增的实践经验，在德国，长久以来通用的关系大调和相应的小调如下，大调用大写字母表示，小调用小写字母表示，C/a;

G/e; D/b; A/升f; E/升c; B/升g; 升F /升d; 升C /升a.

Any major key has a relative minor, its tonic a minor third below

the tonic of the major key. C major, therefore, is related to a

minor key with its tonic on A, the submediant or sixth degree of

the scale of C major. C major, therefore, is the relative major of

A minor, G major is the relative major of E minor, D major of B

minor, A major of F sharp minor, and so on. Relative majors and

their minors are as follows, with the major indicated by a capital

letter and the minor by a small letter, an increasingly common

practice, for long current in Germany: C/a; G/e; D/b; A/f sharp;

E/c sharp; B/g sharp; F sharp/d sharp; C sharp/a sharp.

18. 关系小调/Relative minor key

任何一个小调都有相对应的大调，主音间相差小三度。因此，A小调与C主音大调相对应，即A小调的第三级音。A小调是C大调相应的关系小调，E小调是G大调的关系小调，B小调是D大调的关系小调，

升F 小调是 A

大调的关系小调，以此类推。随着渐增的实践经验，在德国，长久以来通用的关系小调和相应的大调如下，大调用大写字母表示，小调用小写字母表示，a/C;

e/G; b/D; 升f /A; 升c /E; 升g /B; 升d /升F; 升a /升C

Any minor key has a relative major, its tonic a minor third above

the tonic of the minor key. A minor, therefore, is related to a

major key with its tonic on C, the mediant or third degree of the

scale of A minor. A minor, therefore, is the relative minor of C

major, E minor is the relative minor of G major, B minor of D

major, F sharp minor of A major, and so on. Relative minors and

their majors are as follows, with the major indicated by a capital

letter and the minor by a small letter, an increasingly common

practice, for long current in Germany: a/C; e/G; b/D; f sharp/A; c

sharp/E; g sharp/B; d sharp/F sharp; a sharp/C sharp.

19. 小音阶/Minor scale

小音阶有各种不同的形式。自然小音阶为递增的全音或半音。半音介于第二级和第三级音阶之间(即上主音和中音)，第五级和第六级音阶之间(即属音和下中音)。自然小音阶可在钢琴的白键上演奏，始于A调。半音介于B调

和 C调, E调 和 F调.

The minor scale occurs in various forms. The natural minor scale

has an ascending patter of whole and half steps, or tones and

semitones. Half steps or semitones occur between the second and

third degrees of the scale (the supertonic and the mediant) and

between the fifth and sixth (the dominant and submediant). The

natural minor scale can be played on the white notes of the piano,

starting on A. The half steps or semitones will occur between B and

C, and E and F.

20. 上行旋律小调/Ascending melodic minor

旋律小调是旋律中小调的通用形式。上行旋律小调与自然小音阶的模式相同，但是大音阶的第六级和第七级音阶仍为升，避免第六级和第七级之间出现习惯上的较短音程，上升至导音，上升的音可

。上升的第六级和第七级音用额外的升号或还原号来标记作为变音记号。A小调上行旋律小调为A

- B - C - D - E – 升F - 升G - A.。半音介于B 和 C,

升G和A，即第二、第三、第七和第八音阶。

The melodic minor scale is the form of minor scale commonly used in

melodies. The ascending melodic minor scale follows the pattern of

the natural minor scale, but retains the sharpened sixth and

seventh degrees of the scale from the major scale, thus avoiding

the conventionally less common interval that would occur between

the sixth degree and the seventh, raised to serve as the leading

tone (leading note), sharpened to provide a more definite ending.

The sharpening of the sixth and seventh degrees is indicated by

additional sharp or natural signs as accidentals. The ascending

melodic minor scale of A minor would, therefore, be: A - B - C - D

- E - F sharp - G sharp - A. Half steps (semitones) occur between B

and C, and G sharp and A, the second and third and seventh and

eighth degrees of the scale.

21. 下行旋律小调/Descending melodic minor

旋律小调是旋律中小调的通用形式。上行旋律小调与自然小音阶的模式相同，大音阶的第六级和第七级音阶仍为升，下行旋律小调遵循自然小调模式。A小调下行旋律小调为在钢琴的白键上演奏，开始于A调，为A

- G - F - E - D - C - B - A。半音介于F 和E, B 和C,

即第五级、第六级、第三级和第二级音阶。

The melodic minor scale is the form of minor scale commonly used in

melodies. While the ascending melodic minor follows the natural

minor, with the sixth and seventh degrees of the scale sharpened as

in the major scale, the descending melodic minor scale follows the

natural minor. The descending melodic minor scale of A minor can,

therefore, be played on the white notes of the piano, starting on

A, and would be: A - G - F - E - D - C - B - A. Half steps

(semitones) occur between F and E, and between B and C, the fifth

and sixth and the third and second degrees of the scale.

22. 重升号/Double sharps

重升号，用X表示，作用是升高一个全音。键盘上的双升C同于D，高两个半音，双升D与E相同，以此类推。双生号起协调作用，避免同一音名在第七级音阶上重复使用。这样，为了协调，升G小调上行旋律小调也就需要一个双升F导音，等音G。

A double sharp, indicated by the sign x, raises a note by two half

steps (semitones). Thus C double sharp on the keyboard is the same

as D, two half steps higher, D double sharp is the same as E, and

so on. The use of the double sharp serves a harmonic purpose,

avoiding the incorrect use of the same letter name twice in the

seven degrees of the scale. Thus the ascending melodic minor scale

of G sharp minor would need a leading tone (leading note) of F

double sharp, the enharmonic equivalent of G, for reasons of

harmony, dictated by the harmonic function of a note in a given

context.

23. 重降号/Double flats

重降号用**表示，作用是降低一个全音。键盘上的双降D同于C，降两个半音，双降C与降B相同，以此类推。双生号起协调作用，避免同一音名在第七级音阶上重复使用。这样，为了协调，降C小调上行旋律小调也就需要一个第三级双降E，等音D。

A double flat, indicated by the sign **, lowers a note by two half

steps (semitones). Thus D double flat on the keyboard is the same

as C, two half steps lower, C double flat is the same as B flat,

and so on. The use of the double flat, serves a harmonic purpose,

avoiding the use of the same letter name twice in the seven degrees

of the scale. Thus the ascending minor scale of C flat minor would

need a mediant or third degree of E double flat, the enharmonic

equivalent of D, for reasons of harmony, dictated by the harmonic

function of a note in a given context.

24. 和声小音阶/Harmonic minor

和声小音阶是小音阶的一种形式，通常起到协调作用，而非一种旋律。自然小音阶的第七级音阶升高半音。A小调和声音阶为A

- B - C - D - E - F – 升G - A.

在旋律中，和声小调的第六级和第七级音阶的音程为增加的第二个音，习惯用于表现较为奇特的效果。

The harmonic minor scale is the form of minor scale that generally

serves the purposes of harmony rather than those of melody. In this

scale the seventh degree of the natural minor scale is raised a

half step or semitone. Thus the harmonic minor scale of A minor

would be: A - B - C - D - E - F - G sharp - A. In melodies the

interval between the sixth and seventh degrees of the scale in the

harmonic minor is an augmented second, used conventionally for more

exotic effects.

25. 小音阶/Minor scales

小音阶通常有三种形式：自然小音阶，旋律小音阶，和声小音阶。三种形式中的A为主音和第三级音阶中的小三音程，

第五级小主音三和弦。

Minor scales generally appear in one of three forms, natural minor

(the minor mode), melodic minor, and harmonic minor. A principal

feature in all three is the interval of a minor third between the

tonic and the third degree of the scale, giving a minor tonic triad

with the fifth degree or dominant.

26. 自然小音阶/Natural minor

自然小音阶由一组全音或半音组成。半音介于第二级和第三级音阶间，第五级和第六级音阶间。A小调自然小音阶在钢琴的白键上演奏，从A到A。也被称为伊奥利亚调式。

The natural minor scale is formed from a pattern of whole steps or

tones and half steps or semitones. The half steps occur between the

second and third degrees of the scale, and between the fifth and

sixth degree. Thus the natural minor scale of A minor can be played

on the white notes of the piano from A to A. It is also known as

the minor mode or Aeolian mode.

27. 全音音阶/Whole tone scale

全音音阶完全由一组全音构成，没有半音。虽然这一音阶可以开始于任一音调，但只有两种模式可行，C音阶和升C(或降D)。C的上行全音音阶为：C

- D - E – 升F – 升G – 升A (=降B) - C,

升C上的行全音音阶为：升C - 升D - 升E –双升 F

-双升G -双升A (降D - 降E - F - G - A - B - 降D (=

升C).克罗德?德彪西尤其钟爱使用这一音阶，虽然没有通篇作品使用。

The whole tone scale is formed from a pattern of whole tones or

whole steps, without semitones or half steps. Although such a scale

can start on any note, only two forms are possible, the scale on C

and that on C sharp (or D flat). The ascending whole tone scale on

C is: C - D - E - F sharp - G sharp - A sharp (=B flat) - C, and on

C sharp is: C sharp - D sharp - E sharp - F double sharp - G double

sharp - A double sharp (D flat - E flat - F - G - A - B - D flat (=

C sharp). The scale was used particularly by Claude Debussy,

although never throughout a whole piece of music.

28. 五声音阶/Pentatonic scale

五声音阶包含五个音，并且没有半音阶。可以在钢琴的黑键上演奏。开始于C的五声音阶有如下音：C

- D - E - G –

A，最后一个音起决定作用。五声音阶存在五种形式，广泛应用一些民族的民歌或传统音乐。

The pentatonic scale, a scale of five notes, is a scale without

semitones. It can be played on the black keys of the piano.

Starting on C the scale has the notes C - D - E - G - A, its mode

dictated by the final note. It exists, therefore, in five possible

modes. It is used extensively in the folk or traditional music of

many cultures.

29. 八音音阶/Octatonic scale

八音音阶由全音和半音交替而成。八度音需要八个音来完成。开始于C的八音音阶为：C

- D – 降E - F – 降G – 降A –还原A - B - C.

八音音阶曾用于里姆斯基-柯萨科夫的作品，尤其多用于斯特拉文斯基的作品。

The octatonic scale consists of alternate whole steps and half

steps, or tones and semitones. Eight notes are need to complete the

octave. The octatonic scale starting on C is: C - D - E flat - F -

G flat - A flat - A natural - B - C. The octatonic scale was used

by Rimsky-Korsakov, and, more particularly, by Stravinsky.