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簡單樂理問與答 (Q/A) 轉錄

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簡單樂理問與答 (Q/A)
Question: 想請教德步西月光(Debussy clair de lune)的樂理 如果可能 可否解答迷津??? 問題很笨
(1) - 從第1 小節到第8 小節( measure 1 to measure 8 ) 好像沒有一個重音(downbeat) ?
(2) 從第1小節到第14 小節( measure1 to measure 14 , it marked as 9/8), 混和著3連音(triplet),及8分 音符 (eighth note) 節奏很不清楚 ???? 應怎樣算拍子counting the beat??
3) 從第15小節(measure15-26) 有記號說 (tempo rubato ) rubato 是自由 free 的意思?到底怎 樣的自由式 或 ? (不知)
(4) 在第14小節 , 有8分音符的上面標著 2 (eighth note are marked with a ‘2’, 2 duplets ),它們應算幾拍??
(5) 在第19小節, 出現6連音???(long sixth, marked as 6, ) 它們應算幾拍??
(6) what is the D flat major ‘3rds’ ?
1st ans.
(1)It's marked 'pp' and 'con sordina', so abosolutely soft - just sketch out the descending series of D flat major '3rd's
(2) It's marked 9/8, but I count in 3: a triplet to one beat, so also a duplet to one beat (your ordinary eigth notes)
(3) 'tempo rubato' is a somewhat freer rhythm - so we are supposed to borrow some time and give back some. It is really up to the artistry of the player to make this section convincing. ...
(4) As before, 2 duplets is one beat.
(5) That's another way of notating three groups of duplets - so like before, each note in the sextuplet is an eigth note, two per beat
(6) Mostly major and minor thirds on which appear between meas. 1 and 8; basically descending on degrees of the D-flat scale: f/d-flat; e-flat/c; d-flat/b-flat; c/a-flat; b-flat/g-flat; [a-flat/g-flat]; g-flat/e-flat; f/d-flat; [e-flat/d-flat]; d-flat/b-flat.
www.comemusic.com
2nd ans.
Great advice from Brian. I will try to answer the specific questions about rhythms. I've loaned out my music, so I'm answering from memory. If I make mistakes, hopefully someone will jump in and correct me.
1. downbeats: I'm not sure what you're asking. Are you wondering whether to play on beat one? No, you wait for it to go by. Breathe in on beat one, like you're going to sing, but don't play until after beat one.
2. triplets vs. eighth notes: The tricky thing about this piece is that some of the eighth notes are longer than others. In 9/8 time, normally the eighth note gets one beat, right? In this piece, they are little quick beats, the triplets that you already know about. But when you see eighth notes that have a little 2 written above, or when the eighth notes are in groups of two instead of in triplets, those eighth notes are longer than the triplet ones. The heavy feeling at the beginning of each triplet is the "big" beat. Most of the big beats get split into 3 parts to make triplets, but in the other places, they get split into only 2 parts. You have to stretch those out a little to make them fill up the big beat evenly. If that answers the question for you, skip to #3 below. If you're still not sure what to do, keep reading.

Tap your hand on all 9 beats of a measure (over and over). This is the triplet feeling that you know. Keep tapping and count out loud: "One-and-ah, two-and-ah, three-and-ah" (do this instead of counting to 9). Now keep counting the same but only tap when you say "one, two, three." Then only say the "one, two, three," the same as you tap. These are the big beats. You have to feel them strongly, because they get divided different ways, in 3's and 2's. Next, you have to practice how the 3's feel next to the 2's. Tap your slow beat and say "trip-ah-let" on each one for a while, so every beat gets divided into 3 again. Keep tapping the same speed (use a metronome if you have one) and now say "du-ple" on every beat. Duple just means something is divided in two. You'll be saying "duple" more slowly than you said "trip-ah-let" in order to use up the whole beat (say it evenly, so the "du" and the "ple" are the same). Keep tapping, and say "trip-ah-let, trip-ah-let, du-ple, du-ple" and change back and forth. Now... look at the first two pages of your music and find all the triplet patterns, then all the duple patterns.

3. free form: Brian gave an elegant answer to this. Free form is just how you feel the music, going a little faster in some places, slower in others, but as he said, first learn it in strict form, playing exactly in time. Many people don't do this, but if you do, you will sound better than they do!! And you will understand how to read complicated rhythms better than many people.

4. duples, ms. 14: Big beats cut in half like you practiced above.

5. It's just the big beat divided into 6. I can't remember exactly what the RH does here. I think it has duples. So you can take each note in the duples and make a little triplet out of that, and feel your 6's that way. That would be counting each group of 6 as "1-and-ah, 2-and-ah." If the RH is in triplets, then you can feel each 6 as 3 little groups of 2: "1-and, 2-and, 3-and." The music will sound the same either way, because the fast notes will be at the same speed either way. But one way will make it easier to match up the hands together, and you will feel more solid and strong. So just see which feeling goes with the RH in that section.

Hope this was helpful. Good luck! Let us know how you're doing.
Great advice from Brian. I will try to answer the specific questions about rhythms. I've loaned out my music, so I'm answering from memory. If I make mistakes, hopefully someone will jump in and correct me.

1. downbeats: I'm not sure what you're asking. Are you wondering whether to play on beat one? No, you wait for it to go by. Breathe in on beat one, like you're going to sing, but don't play until after beat one.

2. triplets vs. eighth notes: The tricky thing about this piece is that some of the eighth notes are longer than others. In 9/8 time, normally the eighth note gets one beat, right? In this piece, they are little quick beats, the triplets that you already know about. But when you see eighth notes that have a little 2 written above, or when the eighth notes are in groups of two instead of in triplets, those eighth notes are longer than the triplet ones. The heavy feeling at the beginning of each triplet is the "big" beat. Most of the big beats get split into 3 parts to make triplets, but in the other places, they get split into only 2 parts. You have to stretch those out a little to make them fill up the big beat evenly. If that answers the question for you, skip to #3 below. If you're still not sure what to do, keep reading.

Tap your hand on all 9 beats of a measure (over and over). This is the triplet feeling that you know. Keep tapping and count out loud: "One-and-ah, two-and-ah, three-and-ah" (do this instead of counting to 9). Now keep counting the same but only tap when you say "one, two, three." Then only say the "one, two, three," the same as you tap. These are the big beats. You have to feel them strongly, because they get divided different ways, in 3's and 2's. Next, you have to practice how the 3's feel next to the 2's. Tap your slow beat and say "trip-ah-let" on each one for a while, so every beat gets divided into 3 again. Keep tapping the same speed (use a metronome if you have one) and now say "du-ple" on every beat. Duple just means something is divided in two. You'll be saying "duple" more slowly than you said "trip-ah-let" in order to use up the whole beat (say it evenly, so the "du" and the "ple" are the same). Keep tapping, and say "trip-ah-let, trip-ah-let, du-ple, du-ple" and change back and forth. Now... look at the first two pages of your music and find all the triplet patterns, then all the duple patterns.

3. free form: Brian gave an elegant answer to this. Free form is just how you feel the music, going a little faster in some places, slower in others, but as he said, first learn it in strict form, playing exactly in time. Many people don't do this, but if you do, you will sound better than they do!! And you will understand how to read complicated rhythms better than many people.

4. duples, ms. 14: Big beats cut in half like you practiced above.

5. It's just the big beat divided into 6. I can't remember exactly what the RH does here. I think it has duples. So you can take each note in the duples and make a little triplet out of that, and feel your 6's that way. That would be counting each group of 6 as "1-and-ah, 2-and-ah." If the RH is in triplets, then you can feel each 6 as 3 little groups of 2: "1-and, 2-and, 3-and." The music will sound the same either way, because the fast notes will be at the same speed either way. But one way will make it easier to match up the hands together, and you will feel more solid and strong. So just see which feeling goes with the RH in that section.

Hope this was helpful. Good luck! Let us know how you're doing.
Oops! I didn't have the music to look at when I answered you, and I just was able to check a score now-- so let me correct a few of my mistakes.

I see that ms. 19 with the little 6 isn't the place I had in mind. The 6 here is to convey the duple idea again, except it goes for the whole measure instead of just a beat. So it's the same speed as the duples before, but instead of writing a little 2 over each big beat, he wrote a 6 for the whole measure. What else? Oh, the next section with the fast LH is what I was thinking was your question #5. And I remembered the RH of that wrong. It is mostly in triplets, so you'll probably want to organize it the LH that way (each big beat= 1-and, 2-and, 3-and). It changes a few lines in, but by that time you'll see how fast to do the LH, so you'll have your momentum. Anyway, I believe the rest is correct (someone please speak up if it isn't)! Best of luck. . www.pianoforum.net

3rd ans
看來你好像是自己練習,沒有老師指導.關於你的幾個問題:
1). 給你ㄧ個提示.
從第1 小節到第8 小節可以分成四個樂句, 請你先找出樂句的分法, 再針對每個樂句的音型和表情, 各自可以找到重音, 但我不會告訴你答案, 這工作要靠你自己完成.
2)和4)的問題可以ㄧ起回覆.
從第1小節到第14 小節的節奏都很規則, 即如樂譜標示的9/8拍. 每個小節有9拍, 以8分音符為一拍, 但從你的困惑, 建議你改想成3/4拍(每小節有3拍, 以四分音符為一拍), 因此多數拍子可以想成三連音的彈法, 至於4)提到的"有8分音符的上面標著 2", 就彈成平均的二連音, 這樣說明應該很清楚吧!!
3).從第15小節(measure15-26) 有記號說 (tempo rubato )
rubato是不需死板板的照節奏彈, 而可依彈奏者自己詮釋的表情需要做適當的漸快與漸慢處理, 切記漸快漸慢不要加地過火, 所以是有限度的速度自由.
5). 在第19小節, 出現6連音,它們應算幾拍??
同第2)的回覆, 改以3/4拍的計算法, 整個小節的6連音, 正好可以平均分成三拍, 即ㄧ般彈半拍的節奏.
我以第18小節為例, 整個小節改為3/4拍算法,
第一拍彈為三連音
第二拍彈平均的二連音(即ㄧ般彈半拍的節奏)
第三拍四分音符自己彈ㄧ拍.

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