First, choose the chords in a targeted way.
The choice of chord has a certain purpose, which is generally determined by the trend, style and artistic conception of melody. The specific practice is as follows.
1. Flexible choice of chords
Acoustics is functional, but there is no fixed pattern for chord collocation. Generally speaking, if the melody needs light chords to express quiet and comfortable artistic conception, it will often use a chord with weak function, or reduce the number of chords, or avoid using strong chords. If some parts of the melody need to be strengthened vertically, tone-changing chords, major seventh chords and ninth chords are often used at the climax, emotional prominence, sentence beginning and important beats of the melody to make the longitudinal sound bright or prominent. Such as spectrum example 1:
In the last example, the chord "Ⅳ 7" was used in the climax of the melody, and a voice was added at the same time, which made the voice bright and highlighted the mood of loving Chairman Mao.
2. Dynamic choice of chords
For some marches or large melodies that need to be highlighted emotionally, a series of strong chords are often used in harmony. Its purpose is to add icing on the cake to the melody, increase the intensity of longitudinal harmony and serve the artistic conception of the work.
The choice of dynamic chords is mainly manifested in two aspects: first, the tendency of chord progression (or tension), for example, the tendency of ⅳ or ⅱ-ⅰ is not as strong as that of ⅴ, ⅶ or ⅷ 7-ⅰ, while the tendency of ⅲ or ⅵ-ⅰ is not as strong as that of ⅳ or ⅱ-ⅰ. In addition, another dynamic series of harmony refers to the root sound relationship of chord series. For example, the fourth harmonic series on the root sound is strong, the lower third is second strong, the upper and lower second harmonic series are extremely strong, the upper fifth is weak, and the upper third is doubly weak. The above two characteristics of chord progression provide material for the choice of chord progression trend. For example, the harmony at the end of the score example 2 "Internationale" is carried out for the fourth time from the outline. It is precisely because of this powerful dynamic chord progression that the revolutionaries' strong revolutionary will can be expressed. For example, the score example 2: The Internationale, a song by Degert.
3. Color chord selection
The so-called choice of color and harmony means that the functional logic, mode and tonality of harmony are separated from each other. Its types include major chords, minor chords or seven chords in parallel without solving, accidental processing in functional logic, sudden change of the size of the same root chord, color change in line structure, mutual substitution of homophone systems, and the use of chord harmony (that is, overtones) and so on. Its usage is mainly to set off words to describe the artistic conception of songs and music. Such as spectrum example 3: "Where are the white clouds drifting?" Tu Zhijiu
The last example, MINUS seven chords in a row, has not been solved yet. It mainly describes the inner meaning of colorful sounds to set off the place where white clouds float.
4. Visual choice of chords
The vivid choice of chords means that harmony imitates natural sounds, such as percussion instruments related to gongs and drums, bells and natural scenery. Traditional harmony can be used in practice, but more phenomena are described by modern harmony techniques such as four or five degrees and additional sounds. For example, in "The Day of Turning Over" by Wang Hua of Chu, "G" and "D" are overlapped five times, and "# C" is added to imitate the sound of percussion; Tu Zhijiu's "Cart Song" imitates the sound of cars and vividly uses harmony materials to express the artistic conception of music. For example, Liyinghai's "Celebrating the Turn" vividly imitates the sound of gongs and drums, with overlapping harmony and additional sound of two or five degrees.
Second, creatively arrange the harmonious structure and layout.
Harmonious structure and layout, like structural design and material selection in architecture, play a very important role. In music creation, whether it is a phrase, a paragraph, or a complete harmony configuration of small, medium and large music, it is generally necessary to consider the different development, pause, connection and longitudinal thinking within harmony in order to achieve the integrity and novelty of music structure. This extensive thinking is generally manifested in the structure and layout of harmony.
1. Harmony Structure of Music Part
Harmony structure refers to the order, development and change of harmony and the structural form of chord itself. In the harmony structure of a piece of music, there are many types, such as two-sentence structure and four-sentence structure, which are often designed according to the style of the song, the internal contrast of the music and the transformation of emotion. These types include:
(1) two poems
Two complete verses are common in folk songs, and the harmony structure of the second sentence is generally repetitive (or basically repetitive) in the use of harmony. This arrangement of harmony order aims to strengthen the impression of harmony in the first sentence. For example, "Shaanxi Folk Songs" accompanied by Li Haiying has a slightly faster melody speed, and the first half of the upper and lower sentences are basically the same, so the chord structure creatively adopts the repetitive writing method of foil. As in spectral example 4:
In addition to the repetitive harmonic structure mentioned above, the first half of the second sentence and the first half of the first sentence form a comparative harmonic application. The order and development of this chord is mainly to explore the connotation of musical emotion and write it with comparative changes. For example, March of Little Soldiers.
In the last example, the melody of the two sentences is exactly the same, but in order to strengthen the contrast between the upper and lower sentences in the March, the second sentence creatively adopts the method of out-of-tune chord structure.
In addition to the above, there are many ways to match two verses with harmony, even the same tune, but they are basically based on melody emotion, and the application of harmony structure is considered from the aspects of harmony function, intensity, color or enhancement of sound sense. The above two examples have their own purposes.
② Four-sentence poem
Generally speaking, some four-sentence jokes are basically developed from two-sentence jokes, and their types are repeated four-sentence jokes (usually the third sentence repeats the first sentence) and non-repeated four-sentence jokes (such as Liu Chi's My Country). In addition, there are contrasting four-sentence paragraphs (generally, the second or fourth sentence is in new tonality or out of tune, etc.). ) and transitional paragraphs. In the arrangement of harmony structure, it has the same purpose and creativity as the two sentences. For example, the melody of Huang Zi's Xiajiangling is a transitional structure, and it is also treated as a transitional structure in harmony. The specific arrangement is: Huang Zi's "Xiajiangling"
The arrangement features of the harmony structure of the previous song are as follows: In the first sentence, the author chooses harmonic progression repetition of I-V, with the purpose of deepening the chord impression of I-V and mainly reflecting the artistic conception of the first sentence of the song. The second sentence has a new tonality, which makes the voice look brand-new, and because of the use of a seven-chord structure that is out of tune, the voice is full of power in a novel situation, which embodies the melodic artistic conception of the sentence "a thousand miles away in Jiangling". The third sentence is a turning sentence, and the second level of the original tone is chosen as the end of the harmony structure. In fact, in order to reflect the meaning of the inflection sentence from the timbre, the author left it to a minor, and the ending chord is actually a semi-terminated change and change, and because of the existence of.
Dependent chords appear, and the sound effect remains dynamic. In the last sentence, there is a chord that is out of tune, which becomes the complete termination of the whole song under the condition of maintaining the same strength, and ends on the main chord of the original song, reaching the end-to-end echo, which embodies the syntactic significance of the song transition. Therefore, in this case, no matter from the tonality change or the application of chord structure, the harmony sequence is creatively arranged, which makes people feel that the music sound is simple and elegant and the artistic conception is suitable.
In addition to two sentences and four sentences, there are three sentences, five sentences, six sentences and even many sentences in the harmony structure of a paragraph. In a three-sentence style, it is generally formed by expanding two sentences or compressing four sentences. A five-sentence or six-sentence article is generally expanded from a four-sentence style. Therefore, in the arrangement of harmony structure, we should make corresponding arrangements according to the changes of sentence structure of music paragraphs. For example, a short passage of five or six sentences, according to a four-sentence harmony structure, can make some repeated harmony structure arrangements in one or two sentences. In a three-sentence style, the third sentence is usually arranged in the form of termination. If the melody between the second sentence and the first sentence is peaceful, you can choose to repeat the chord arrangement. If the melody has a turning point, you can also choose to compare chord arrangements. Each harmony can also be arranged differently according to the artistic conception of music. For example, the Sichuan folk song Lan Gong Diao (accompanied by Peter Yang) has three sentences with different styles and different harmonies.
2. Harmonious layout of channels
Harmony layout refers to how to creatively carry out the overall layout in the musical structure of music. Although there are many kinds and flexible handling, there are the following methods for reference.
① In two-part or three-part music, there are usually comparative phrases or passages, so the arrangement of harmony structure should be changed accordingly. Generally speaking, according to the artistic conception of a piece of music, new tonality chords can be adopted at the turning point, and functional harmony or color harmonic progression can also be strengthened to form a moderate contrast with the phrases or paragraphs before and after, so as to achieve the effect of both contrast and unity of the whole piece of music. (For example, the contrast writing of new tonality in Huang Zi's "Xiajiangling" organically combines part with the whole song).
② In two or three pieces of music, there is generally no turning point before and after a phrase or paragraph, so in the design of chord structure, we can use chords such as functionality, color, repetitiveness, dynamics or selectivity to design the harmony structure of a phrase or paragraph according to the needs of the situation. For example, in Spectrum Example 5, harmonic repetition is used to enhance the longitudinal acoustic impression.
(3) More chords are used. When designing the harmony structure for music, triad and heptachord are the main ones, and subordinate chords, subordinate chords and other chords are only used in a small amount, so as to make the finishing point and use them in time.
④ When designing chord structure for music, we should deal with the harmony design of big and small climax of music, so as to make the ups and downs clear. In addition, it is necessary to save the use of harmonic materials and achieve good artistic effects with concise methods.