Gypsy mode in the works, various natural modes in Russian composers' works and so on. In terms of harmony, the subordinate group chords are emphasized, and sometimes a paragraph only consists of subordinate group chords and main chords. The minor triad in major is also attached great importance, adding soft colors to make harmony have the style characteristics of medieval modes. It is also common for harmonic progression to change the case, hinder the case and the third-level root relationship, and it is also often encountered in the works of Liszt, Wagner, Russian composer and E. Grieg. In terms of chord composition, there are dominant chords and dominant chords with sextant notes, and there are highly overlapping chords with natural range. In terms of harmony, there are also new ways to deal with it, such as using inverted dominant chords at the end; Replace ⅴ-level orthobeam with Ⅲ-level orthobeam; Class ⅵ or class II replaces class ⅵ to change beams, etc. Sometimes the final ending is not on the main chord. During this period, some special techniques were creative and became pioneers of modern harmony, such as pentatonic harmony (as in ап Borodin's works); Fifth overlapping chords (as in Liszt's works); Compound harmony (as in Wagner's works);
Chromatic harmony (as in на rimsky-Kosakov's works), etc.
In the 20th century, on the basis of the development of large and small system harmony to the limit in the late19th century, many composers explored new creative techniques or reverted to the ancient music style, breaking the traditional harmony norms in the past 200 years. The harmony techniques in the 20th century can be summarized as: the complexity of harmony thinking, the diversification of chord structure, the liberalization of harmony series and the expansion of tonality concept. First of all, it breaks through the traditional harmony materials and creates new harmony effects, such as the parallel application of three-degree overlapping chords; Independent use of 46 chords and dissonance chords; Direct continuity of long-distance chords without functional connection; Harmonic progression and compound chords with continuous second, third or third degrees.
In terms of breaking the long-term influence of major and minor modes, various medieval modes, pentatonic modes, special modes of some ethnic groups, overtone scales (including major modes rising by four degrees and falling by seven degrees at the same time), diatonic scales, twelve-tone scales and various other special modes and scales are widely used. These new modal scales provide different foundations for dealing with the harmony of major and minor.
In the aspect of chord structure, we strive to break the traditional principle of triple superposition and pursue the disharmony and rough harmony effect that was thought in the past. For example, the advanced third-degree overlapping chord based on chromatic scale, the fourth-degree overlapping method, the second-degree dense sound group, various additional sounds and any possible combination make the sound of harmony sharp, tense and complicated vertically.
In addition, there is a harmony processing method, which completely combines the sounds of natural sound system, which is called "pan-natural sound system".
In the music works of 19 century, the difference between big and small modes tends to disappear. Moreover, due to the development of semitone harmony, the scope of tonality has expanded and changed rapidly, weakening and blurring the functional significance of tonality and harmony. In the 20th century, on this basis, the traditional concept was further broken, and the following new tonality treatment methods were produced: ① Pantality, which is still preserved today.
It plays the role of tonality, but it breaks the boundaries of traditional tonality. It is not based on triads and diatonic scales, and there is no functional harmony series. But through some new methods to express or imply the meaning of the tonal center (tonic or tonic chord). Sometimes, due to the constant change of the tuning center, there is a lack of fixed and clear tuning sensation. (2) Polytonality, that is, the simultaneous combination of two or more different tonalities, is a new tonality processing method popular in the early 20th century. Each tonality level is mostly the traditional tonality of natural sound system, but when different tonality is superimposed and combined, it will produce disharmony, contradiction and sometimes even sharp harmony effect. (3) atonality, which emphasizes that every sound has the same meaning on the basis of chromatic scale, and avoids and denies the control of the center tone. This treatment ruled out tonality, and key signature lost its meaning and stopped using it. The principle of chord combination, the function of root sound and the internal relationship between chords have all been cancelled. The structure of music is no longer distinguished by harmony.
The harmony expression in China's music works was used in China's professional music creation. The application of harmony began at the beginning of the 20th century, initially adopting the European methods of major and minor harmony. Because the melody is mostly pentatonic, how to adapt harmony to the melody style has become a subject that China composers have been exploring in practice. In the early days, most of the harmonies were based on major and minor harmonies, and methods such as strengthening the role of minor chords, combining major triad with sixth tones, and paying attention to the pentatonic scale of the parts (especially the two external parts) were adopted. In the 1920s, Zhao Yuanren paid attention to trying Chinese harmony in his song accompaniment.
In the mid-1930s, due to the influence of national traditional music and folk music, the national style of music got further attention, and there were more explorations and experiments on harmony. For example, some harmony methods of European national music school and impressionism (such as Debussy) were used for reference, the application of natural mode harmony was increased, and the method of adding or changing sounds was adopted on the basis of triad. Some works break the harmony norms of major and minor, and adopt a five-tone harmony structure (such as the introduction of Lao Zhicheng's The Joy of the Shepherd Boy) or polyphony (such as He Lvting's The Shepherd Boy Piccolo).
In the mid-1940s, music creation developed further than in the earlier period, and works based on folk songs or folk songs' melodies gradually increased. In harmony, we attach importance to the use of modal harmony methods, and try some chord structures suitable for pentatonic scales, such as four or five chords and alternative chords. Beginning to absorb and use some modern harmony methods, the harmony of impressionist writers attracted more composers' attention and reference. Hendry's theory of composition was also introduced to China, and Tan Xiaolin also introduced this theory and technique into his composition.
The combination of ingenuity and national style has created a new method of harmony processing.
At that time, there were also attempts to combine atonal writing techniques with China folk songs, but it was not universal. After the founding of New China, music creation has made great progress, and the national style of harmony has attracted more attention. However, due to the emphasis on functional harmony theory, it mainly belongs to three-dimensional structure and functional mode harmony method in harmony processing. At the same time, on the basis of maintaining tonality and mode, there are many explorations and attempts, such as pentatonic harmony structure, complex harmony combination, compound harmony, quartic harmony, mode alternation harmony, parallel progression and so on. In recent years, many composers have been exploring the combination of modern harmony techniques and national styles, and achieved many gratifying results. In a word, from China's music creation,
According to practical observation, three-dimensional harmony, pentatonic harmony and modern polyphonic harmony can all be combined with pentatonic national tones to play their role in developing national style in music creation.