Modern Harmony - Lesson 10: Ravel

Summary

在这段视频中，讲者分享了他在教授作曲时的经验，并批评了一些传统的和声学习方法，特别是仅仅标记和弦或遵循古典功能性和声规则的方式。他强调，复杂和声、音色、音域和纹理对音乐感知有重要影响。通过分析雷威尔、德彪西、贝多芬和斯特拉文斯基的作品，他展示了如何理解复杂的和声逻辑。以雷威尔的《镜子》第一乐章为例，讲者详细解释了和声技巧和音色的运用，展示音乐如何在复杂与简单之间呼吸，创造出有机和丰富的听觉体验。

Takeaways

• 🎵 教授在教学中遇到的作曲家通常只了解标记和声的方法，如G7或C半减七和弦，或者遵循古典功能和声的规则。
• 🎶 这些方法并不总是适用于更复杂的和声，因为它们忽略了音乐的纹理、音区和音色等重要方面。
• 🎼 视频系列将通过分析具体作曲家的和声逻辑，继续探讨现代和声的主题。
• 🎹 以拉威尔的《镜子》第一乐章为例，研究其独特的和声技巧，理解其背后的逻辑。
• 🎵 尽管这首曲子的调性是D大调，但它并不遵循传统的功能和声，而是通过复杂的和弦和不同音区的音色来构建音乐的方向感。
• 🎻 拉威尔利用两层音色结构，其中左手是琶音式的属七和弦，右手则使用半音和三、四度间隔。
• 🎶 音乐的呼吸感通过色彩化的和声变化和不同时段的半音音符数量变化来实现。
• 🎼 全音音阶由于没有半音，缺少和声张力，在这段音乐中充当了某种终止式的角色。
• 🎵 拉威尔的和声技术富有层次感，通过简单的主调框架与丰富的色彩化和弦结合，营造出丰富但不混乱的音乐效果。
• 🎹 通过优先考虑外声部的连贯运动，拉威尔的音乐逻辑总是基于可听感，使其复杂的和声仍然能够被清晰感知。

Q & A

问题1：什么是视频中的主要话题？

视频的主要话题是关于现代和声的分析，重点关注具体作曲家的和声风格，以及这些作曲家如何使用和声技巧来创造丰富且有方向感的音乐。

问题2：传统的和声学习方法有哪些局限性？

传统的和声学习方法如标记和弦（如G7或C半减七）或学习古典功能和声（如肖恩方法）通常忽视了音乐的质感、音区和音色，这些因素对音乐的感知有巨大影响。

问题3：视频中提到的“现代和声系列”关注什么？

现代和声系列主要关注具体的作曲家，分析他们的和声逻辑，并通过具体案例展示这些和声原则如何应用于不同风格的音乐。

问题4：拉威尔的《镜子》中的和声技巧有什么特点？

拉威尔在《镜子》中的和声技巧使用了丰富的和弦和音区分布，左手采用分解的属七和弦，右手使用半音和三度或四度的间隔。这种和声给音乐一种呼吸感和方向感。

问题5：如何理解视频中提到的“音乐的呼吸感”？

“呼吸感”指的是音乐中的色彩变化和紧张度通过和声的变化来实现，音乐在不同的部分会有不同的色彩和张力，使其听起来不是单调的，而是有节奏地变化。

问题6：在视频中的例子中，拉威尔如何处理调性和非调性元素？

拉威尔使用简单的调性框架，并通过次要的半音和弦来装饰这些框架。他的和声逻辑虽然不遵循古典的功能和声，但仍然基于听觉上的和谐性。

问题7：拉威尔在《镜子》的第一乐章中是如何处理旋律与和声的关系的？

拉威尔在第一乐章中使用了较简单的调性框架，并通过七和九和弦的复杂和弦进行装饰。他注重声部之间的平滑连接，确保内声部的半音色彩与外声部的旋律性互动。

问题8：视频提到的“整体和声是基于三度和弦”是什么意思？

这意味着尽管拉威尔的和声富含复杂的七和九和弦，但它们的基础依然是三度结构。这种和声框架使得复杂的和弦进程仍然具有可辨识的调性基础。

问题9：拉威尔的音乐如何利用外声部和内声部来影响听觉感知？

拉威尔利用外声部的顺阶旋律和内声部的半音色彩，让听众感知到和声中的张力变化。外声部的旋律较为简单，而内声部则通过复杂的和声色彩来增强音乐的表现力。

问题10：视频中提到的“音调层次优先”在音乐中如何体现？

这指的是人类的听觉会优先关注一些音调层次，如主旋律和外声部的顺阶旋律，而忽视内声部的复杂和声细节。这种优先性让我们能够在复杂的音乐结构中更好地理解音乐的和谐性。

Outlines

00:00

🎵 教学中复杂和声的挑战

在多年的作曲教学中，作者遇到了许多作曲家，他们对和声的理解主要限于标记和弦或学习传统的古典和声规则。然而，这些方法在面对更复杂的和声时往往无效，且通常忽略了音乐的音色、音区、质感等重要因素。本系列视频将继续探讨现代和声，但与之前的技术专注不同，此次会集中于特定作曲家的和声风格，并从中找出背后的逻辑。

05:02

🎹 拉威尔《镜子》中的和声分析

作者分析了拉威尔的作品《镜子》第一乐章，指出该作品的调性与莫扎特的传统调性不同，和弦更加复杂，钢琴质感也更丰富。拉威尔通过左手的分解和弦与右手的单音交替来展现复杂的和声。这段音乐虽然包含许多半音阶，但仍然保持清晰的低音线条，整体呈现出调式与非调式元素的交替。

Keywords

💡和声

和声是指在音乐中同时发出的不同音高的音符组合，形成特定的和弦。在视频中，提到有些作曲家只学过基本的和弦标注或古典和声功能，而这无法完全解释现代复杂和声。拉威尔等作曲家的作品展示了更丰富的和声技巧，超越传统规则。

💡调性

调性指的是音乐作品中使用的音阶和中心音高，通常通过主和弦（如大调或小调）来表现。视频中提到，拉威尔的《镜子》作品虽然有D大调的调号，但不像莫扎特那样遵循传统调性，和弦复杂且充满色彩感。

💡色彩音

色彩音指的是在基本和弦结构上添加的非和弦音，增加了音乐的复杂性和色彩。拉威尔在视频中的作品中运用了大量的色彩音，如在右手的旋律中加入了半音音程，丰富了和声层次。

💡平行五度

平行五度是一种在古典和声学中被严格避免的音程进行方式，指两个音之间保持五度音程并同时移动。视频中提到传统和声规则会避免平行五度，但在现代和声中，这种规则可能并不适用。

💡和声节奏

和声节奏是指和声或和弦的变化速度。在拉威尔的作品中，和声节奏在不同段落中有所不同，这种变化帮助音乐产生张力和呼吸感。视频中提到第4到第5小节中和声节奏变慢，增强了音乐的紧张感。

💡全音音阶

全音音阶是一种每个音之间都相隔全音的音阶，它没有半音，因此缺乏传统意义上的和声张力。视频中提到在作品的某些部分，拉威尔使用全音音阶来制造一种平静的终止感。

💡外声部

外声部是指在和声编写中，最高和最低的声部。它们对听众的感知最为重要。在视频中，提到拉威尔的音乐强调外声部的连贯性，尽管内声部可能有复杂的半音变化，但外声部的旋律走向使音乐保持听觉上的连贯性。

💡调性支柱

调性支柱是指音乐中相对稳定的和弦或音高，提供了调性基础。拉威尔的和声风格基于相对简单的调性支柱，如D大调或E大调，但通过复杂的装饰和色彩音来丰富这些支柱。

💡渐进色彩化

渐进色彩化指的是和声逐渐加入非调性音或色彩音，使音乐的张力逐步增强或减弱。视频提到拉威尔通过在不同段落中增加或减少半音音程，来创造音乐的呼吸感和动态变化。

💡对位法

对位法是指多声部音乐中各个声部之间独立进行的作曲技巧。虽然视频中没有直接提到对位法，但它暗示了拉威尔的音乐中存在多个层次的声部，其中有些声部的进行方式可能和对位法相关联，特别是在左手和右手的不同音程之间的互动中。

Highlights

Many composers only learn classical functional harmony, but this is insufficient for complex modern harmonies.

Classical rules like avoiding parallel fifths do not always apply to modern harmonic structures.

Modern harmony often ignores texture, register, and timbre, but these have a huge impact on how listeners perceive music.

This video series focuses on analyzing specific composers to understand the logic behind their harmonic styles.

Ravel’s 'Noctuelles' from *Miroirs* uses harmonic techniques typical of his style, which includes complex chords and rich textures.

Although the piece uses a D-flat major key signature, it is not tonal in the traditional sense (e.g., Mozart’s tonal system).

Ravel’s piece incorporates multiple planes of tone and chromatic notes, creating a layered harmonic structure.

Variation in the degree of chromaticism in different sections of the piece makes the music feel like it 'breathes'.

The harmonic structure is still based on third-based chords, with many seventh and ninth chords, but the progression is non-functional.

Ravel uses dissonance and consonance gradations, creating a dynamic tension in the music that resolves naturally.

Ravel’s harmonic logic is based on what is audible to listeners rather than strict theoretical systems.

The movement of outer parts in the music creates a sense of tonal unity, even when inner parts explore chromaticism.

Ravel’s music depends on our perceptual priorities, which allow us to focus on melodic lines and movements between parts.

The gradation of chromaticism in Ravel’s work varies, creating different levels of harmonic intensity.

Ravel’s musical phrases are clear, and performers must emphasize these phrases for coherence in performance.

Transcripts

[Music]

in my years of teaching composition I've

met many composers whose knowledge of

Harmony consisted of labeling chords

like a G7 or a c have diminished or else

studying classical functional Harmony

perhaps with a Shuan orientation or very

often just learning a bunch of rules

like avoiding parallel fits these

methods unfortunately are not always

useful in looking at music with more

complex Harmony that doesn't seem to

follow the same rules and also they

usually pay no attention to texture

register tamber and other aspects to the

music that nonetheless have an enormous

influence on what the listener

perceives this new video and the

following ones in this series we

continue the modern Harmony videos but

instead of focusing on specific

techniques as in the previous ones we'll

now Center on specific composers

examining logic behind their harmonic

Styles you can find the link to the

modern Harmony series below I also have

a free online book about general

principles of Harmony the link is also

below the idea behind this book was to

see which aspects of classical Harmony

could be generalized to other styles in

the coming analysis I'll be referring to

the principles mentioned there as they

apply in specific cases so we'll look at

music by revale DEC BTO Stravinsky and

other composers to better understand how

the music makes harmonic sense the first

work I'm going to look at is Noel the

first movement of reviles miroir here

Revel uses many harmonic techniques

typical of his style let's try to

understand how they work let's listen to

the first two

[Music]

pages

[Music]

the key signature here is dlat major but

it's clearly not tonal in the sense that

Mozart is tonal the chords are often

much more complex and the piano textures

are also very rich distributed in

different registers often with two or

more planes of tone when you listen the

hole doesn't sound arbitrary it seems to

breathe to have a sense of direction how

does revel accomplish this

you look at the first two bars we can

see there are two planes of tone the

left hand is arpeggiated Dom seventh

chords while the right hand alternates

between single notes sometimes chromatic

and intervals of thirds or fourths the

Baseline in the left hand the lowest

notes on each beat turns around a flat

the G flat and the B flat on the second

and third beats act like neighor note to

the a flat dominant 7th on the Down Beat

and indeed when measure three AR ribes

the base is clearly def flat so these

bars are overall a kind of dominant

tonic progression and d flat major the

right hand colors the harmony with these

chromatic tones the Baseline is quite

clear even in measure three the d flat

major chord is momentarily colored with

an eal instead of the normal F so while

the right hand here is dionic in D flat

major left hand adds a touch of d flat

minor what's important here is the

difference between the first two bars

and the third bar the first two bars

contain lots of cromatic notes and the

third bar contains only one rather like

classical dissonance and consonant these

degrees of chromaticism at various

places in this piece will vary and these

variations help to give the music the

feeling that it breathes it's not just

gray

overall in measure four and five the

opening idea returns but the harmonic

rhythm is different instead of a

different Basse note on every beat the

first two beats are dominant chords of a

major and the last beat is the tonic so

these two bars are further from the d

flat major home key and thus a bit more

intense notice also the register has

changed now we're in the middle register

after this we go into a lower register

with an aredo on what sounds like a

dominant ninth chord based on E flat

this AR Pedro includes a couple of

chromatic notes as well F sharp and a

natural then when it's Echo higher

measure seven there's a d natural as

well interesting a bit more novelty but

the amount of chromaticism is definitely

less than the preting bars creating a

kind of lead

relaxation measure eight and N the

Rhythm slows down to e notes the texture

becomes just chords these parts contain

only major seconds touching on a whole

tone scale

why a whole tone scale well since a

whole tone scale contains no semmit

tones it has no harmonic tension here it

acts like a Cadence for the opening

section overall the Baseline is

descended from a flat and measure 1 to d

flat and measure 3 to a and measure four

and now to E flat in measure six the E

flat turns out to be a dominant to the

coming a flat in measure 10 where the

opening music starts up again the new

phrase begins like an answer to the

first nine bars using the same

figuration and thematic material but the

second half of measure 12 and an extra

38 bar measure 13 we Echo the d flat

measor chord but now in F minor since F

minor was a closely related key to d

flat major only one note changes the G

again this moment lets the harmony

breathe as it did in measure three in

measure 14 a new line is introduced in

the top voice if you look at the outer

parts the melodic line of the bass notes

accompanying it in measure 140 to 17 all

the notes come from the E flat major

scale the AR Pedros in the middle touch

on chords outside of E flat major but

the main lines create a sense of tonal

Unity essentially Revel is ornamenting a

fairly simple diatonic framework with

secondary chromatic cords the orms

themselves are mostly triotic and

sometimes include chromatic

auras the start of measure 18 a natural

appears in the melody and then starting

from the middle of measure 18 the arpas

alternate between the notes of G major

and F dominant seven chords as the

melodic lines disappear the Rhythm also

speeds up and the figuration Rises to a

higher register where once again Revel

pauses then in measure 20 this little

harmonic conflict resolves onto a g-

chord but without the third this is

another Cadence achieved by Rhythm and

simpler Harmony given the overall

richness of the harmony here if all the

punctuations had been onto simple Trias

they would have seemed rather

tepid overall the result of these

techniques is Rich but not chaotic the

overall Harmony is still the third based

with lots of seventh and nine chords

although the succession of the chords is

not classically functional like mozar

but the voice living is very

straightforward and the active notes

always resolve conjunctly within the

same chord or the next CHT here's a

simple example with the non-consecutive

resolutions indicated by the brackets

and the last chord here both the G sharp

and the B resolve on to a tonal Harmony

is not an abstract rigid system but

depends on our natural perceptual

priorities thus can be extended in all

kinds of ways as long as they respect

what's Audible The V takes advantage of

the way our ears prioritize the outer

parts and the way that conjunct motion

connect even notes that are not in

immediate succession as long as they

appear in successive chords since the

movement of the outer parts is usually

fairly diatonic we perceive the varying

degrees of chromaticism in the inner

parts as degrees of tension allowing the

music to

breathe unlike some later invented

systems revel's musical logic here is

always based on what we can hear result

is Rich but coherent and results in

musical phrases which of course the

performer has to

emphasize a simple example here's the

little example we had in better 16 with

all the notes played exactly equal

without the main lines highlighted and

phrase the audible result is quite

chaotic now the same example with the

outer parts highlighted and

phrased as we see here music is

definitely not a democracy our minds

automatically prioritize certain things

this enables us to perceive the world

much more richly than if everything was

equal since we can't take in remember

very many things at once by prioritizing

perception into layers we can also

understand things that aren't always

side by side like the notes in the main

melodic line the sum up ral's harmonic

style is based on fairly simple dionic

pillars which are filled with elaborate

often more chromatic ornamentation so in

addition to the provisional gradations

of consonants and dissonance there are

also gradations of chromaticism varying

numbers of notes outside the key which

make the music more or less intense it

feels like it

breathes