樂理? COME ON! 由0開始講到你明!

lm

好耐之前考過5級樂理

上回講到interval 個到, 大家有興趣可以做練習:
http://www.musictheory.net/exercises/interval
右上角有個齒輪, Key Signatures, 揀1個#, 1個b, 1個”互"
Diffcluty level1~2

遁例講下廢話: 之前講到, 到底巴哈有幾勁?
佢係勁到就連MOZART(莫札特) 同BEETHOVEN(貝多芬) 個個星期日都走去彈巴哈既作品, 研究佢既譜
有一位人叫兄Gottfried van Swieten, 係政府人員, 佢專收集唔同既藝術品, 特別係琴譜, MOZART 寫過一段野係咁...COPY 小小WIKI:

By 1782, van Swieten had invited Mozart to visit him regularly, in order to inspect and play his manuscripts of works by J. S. Bach and Handel, which he had collected during his diplomatic service in Berlin. As Mozart wrote to his father Leopold (10 April 1782):
I go every Sunday at twelve o'clock to the Baron van Swieten, where nothing is played but Handel and Bach. I am collecting at the moment the fugues of Bach—not only of Sebastian, but also of Emanuel and Friedemann.

而BEETHOVEN:
Beethoven's early biographer Anton Schindler wrote:
The evening gatherings at Swieten's home had a marked effect on Beethoven, for it was here that he first became acquainted with the music of Handel and Bach. He generally had to stay long after the other guests had departed, for his elderly host was musically insatiable and would not let the young pianist go until he had 'blessed the evening' with several Bach fugues.

連2位神級既音樂家都走去研究, 什至影響左佢地作曲既風格, 所以MOZART,BEETHOVEN 後期作品, 都見到一D 類似counter point 既寫法, 就係抄巴哈, 所以巴哈係直接/間接影響左全世界既音樂, 包括你同我!

4) 音樂專有用字
好似指手咁…每隻手指都有佢既名, 例如: 小指公, 無名指, 食指
係音樂上, 係Major Scale(音階) diatonic note每個音都有一個名去代表佢既位置
1) Tonic
2) Supertonic
3) Mediant
4) Subdominant
5) Dominant
6) Submediant
7) Leading tone

例如C major scale: Tonic(1)=C, Dominant(5)=G, Subdominant(4)=F,Submediant(6)=A
例如B major scale: Tonic(1)=B, Dominant(5)=F#, Subdominant(4)=E, Submediant(6)=G#
例如F major scale: Tonic(1)=F, Dominant(5)=C, Subdominant(4)=Bb

當中比較重要係Tonic(1), 同Dominant(5), LEE2個位置既音, 好影響我地聽音樂 所謂既KEY, 只要段音樂 第1,5 出現得多, 我地就會聽到相應既KEY (當然LEE個只係其中一個原因)
如果首歌係IN C MAJOR KEY, 咁C 音同G 音會相比其他音出現較多
例如: MOZART SONATA IN C K545
https://www.youtube.com/watch?v=meop0rG3tLc

第1行, 頭4個小節, 2反邊加起有幾多個C,G 音? 26個
好啦, 咁你話車, 人地都寫左IN C, 份譜又冇調號(KEY SIGNATURE) 咁緊係多C音,G音
你又睇下第5行?

都係冇 調號(KEY SIGNATURE), 但係C音得反一粒(紅圈), 取而代之係G音,D音 (綠圈), 細心小小睇, 仲多左個F#(橙圈), 咁咩KEY 有F#, 而Tonic(1), 同Dominant(5) 係G,D, 咁好明顯係G MAJOR KEY! 因為G MAJOR KEY 既Major Scale(音階) 係咁:
G A B C D E F# G, 岩岩齊條件, 所以第4行轉左G MAJOR KEY
留心睇個 調號(KEY SIGNATURE) 依然係冇”#”, 所以有時轉左調, 作曲家唔一定好明顯寫出黎, 咁點先識自己睇到? LEE個係經驗黎, 好似英文咁, 睇得自然明多小小….. (仲有其他因素去決定首歌係咩KEY睇, Tonic(1), 同Dominant(5) 係咩音係其中1個考慮)

上回講到interval 個到, 大家有興趣可以做練習:
http://www.musictheory.net/exercises/interval
右上角有個齒輪, Key Signatures, 揀1個#, 1個b, 1個”互"
Diffcluty level1~2

遁例講下廢話: 之前講到, 到底巴哈有幾勁?
佢係勁到就連MOZART(莫札特) 同BEETHOVEN(貝多芬) 個個星期日都走去彈巴哈既作品, 研究佢既譜
有一位人叫兄Gottfried van Swieten, 係政府人員, 佢專收集唔同既藝術品, 特別係琴譜, MOZART 寫過一段野係咁...COPY 小小WIKI:

By 1782, van Swieten had invited Mozart to visit him regularly, in order to inspect and play his manuscripts of works by J. S. Bach and Handel, which he had collected during his diplomatic service in Berlin. As Mozart wrote to his father Leopold (10 April 1782):
I go every Sunday at twelve o'clock to the Baron van Swieten, where nothing is played but Handel and Bach. I am collecting at the moment the fugues of Bach—not only of Sebastian, but also of Emanuel and Friedemann.

而BEETHOVEN:
Beethoven's early biographer Anton Schindler wrote:
The evening gatherings at Swieten's home had a marked effect on Beethoven, for it was here that he first became acquainted with the music of Handel and Bach. He generally had to stay long after the other guests had departed, for his elderly host was musically insatiable and would not let the young pianist go until he had 'blessed the evening' with several Bach fugues.

連2位神級既音樂家都走去研究, 什至影響左佢地作曲既風格, 所以MOZART,BEETHOVEN 後期作品, 都見到一D 類似counter point 既寫法, 就係抄巴哈, 所以巴哈係直接/間接影響左全世界既音樂, 包括你同我!

4) 音樂專有用字
好似指手咁…每隻手指都有佢既名, 例如: 小指公, 無名指, 食指
係音樂上, 係Major Scale(音階) diatonic note每個音都有一個名去代表佢既位置
1) Tonic
2) Supertonic
3) Mediant
4) Subdominant
5) Dominant
6) Submediant
7) Leading tone

例如C major scale: Tonic(1)=C, Dominant(5)=G, Subdominant(4)=F,Submediant(6)=A
例如B major scale: Tonic(1)=B, Dominant(5)=F#, Subdominant(4)=E, Submediant(6)=G#
例如F major scale: Tonic(1)=F, Dominant(5)=C, Subdominant(4)=Bb

當中比較重要係Tonic(1), 同Dominant(5), LEE2個位置既音, 好影響我地聽音樂 所謂既KEY, 只要段音樂 第1,5 出現得多, 我地就會聽到相應既KEY (當然LEE個只係其中一個原因)
如果首歌係IN C MAJOR KEY, 咁C 音同G 音會相比其他音出現較多
例如: MOZART SONATA IN C K545
https://www.youtube.com/watch?v=meop0rG3tLc

第1行, 頭4個小節, 2反邊加起有幾多個C,G 音? 26個
好啦, 咁你話車, 人地都寫左IN C, 份譜又冇調號(KEY SIGNATURE) 咁緊係多C音,G音
你又睇下第5行?

都係冇 調號(KEY SIGNATURE), 但係C音得反一粒(紅圈), 取而代之係G音,D音 (綠圈), 細心小小睇, 仲多左個F#(橙圈), 咁咩KEY 有F#, 而Tonic(1), 同Dominant(5) 係G,D, 咁好明顯係G MAJOR KEY! 因為G MAJOR KEY 既Major Scale(音階) 係咁:
G A B C D E F# G, 岩岩齊條件, 所以第4行轉左G MAJOR KEY
留心睇個 調號(KEY SIGNATURE) 依然係冇”#”, 所以有時轉左調, 作曲家唔一定好明顯寫出黎, 咁點先識自己睇到? LEE個係經驗黎, 好似英文咁, 睇得自然明多小小….. (仲有其他因素去決定首歌係咩KEY睇, Tonic(1), 同Dominant(5) 係咩音係其中1個考慮)

師兄又係我 其實有好多問題想問 但唔想打亂你個plan 所以都問返上面呢篇既問題
可唔可以講多少少點解粒dominant 係一個key到咁重要 係純粹個聽落去個感覺定係點？

lm

上回講到interval 個到, 大家有興趣可以做練習:
http://www.musictheory.net/exercises/interval
右上角有個齒輪, Key Signatures, 揀1個#, 1個b, 1個”互"
Diffcluty level1~2

遁例講下廢話: 之前講到, 到底巴哈有幾勁?
佢係勁到就連MOZART(莫札特) 同BEETHOVEN(貝多芬) 個個星期日都走去彈巴哈既作品, 研究佢既譜
有一位人叫兄Gottfried van Swieten, 係政府人員, 佢專收集唔同既藝術品, 特別係琴譜, MOZART 寫過一段野係咁...COPY 小小WIKI:

By 1782, van Swieten had invited Mozart to visit him regularly, in order to inspect and play his manuscripts of works by J. S. Bach and Handel, which he had collected during his diplomatic service in Berlin. As Mozart wrote to his father Leopold (10 April 1782):
I go every Sunday at twelve o'clock to the Baron van Swieten, where nothing is played but Handel and Bach. I am collecting at the moment the fugues of Bach—not only of Sebastian, but also of Emanuel and Friedemann.

而BEETHOVEN:
Beethoven's early biographer Anton Schindler wrote:
The evening gatherings at Swieten's home had a marked effect on Beethoven, for it was here that he first became acquainted with the music of Handel and Bach. He generally had to stay long after the other guests had departed, for his elderly host was musically insatiable and would not let the young pianist go until he had 'blessed the evening' with several Bach fugues.

連2位神級既音樂家都走去研究, 什至影響左佢地作曲既風格, 所以MOZART,BEETHOVEN 後期作品, 都見到一D 類似counter point 既寫法, 就係抄巴哈, 所以巴哈係直接/間接影響左全世界既音樂, 包括你同我!

4) 音樂專有用字
好似指手咁…每隻手指都有佢既名, 例如: 小指公, 無名指, 食指
係音樂上, 係Major Scale(音階) diatonic note每個音都有一個名去代表佢既位置
1) Tonic
2) Supertonic
3) Mediant
4) Subdominant
5) Dominant
6) Submediant
7) Leading tone

例如C major scale: Tonic(1)=C, Dominant(5)=G, Subdominant(4)=F,Submediant(6)=A
例如B major scale: Tonic(1)=B, Dominant(5)=F#, Subdominant(4)=E, Submediant(6)=G#
例如F major scale: Tonic(1)=F, Dominant(5)=C, Subdominant(4)=Bb

當中比較重要係Tonic(1), 同Dominant(5), LEE2個位置既音, 好影響我地聽音樂 所謂既KEY, 只要段音樂 第1,5 出現得多, 我地就會聽到相應既KEY (當然LEE個只係其中一個原因)
如果首歌係IN C MAJOR KEY, 咁C 音同G 音會相比其他音出現較多
例如: MOZART SONATA IN C K545
https://www.youtube.com/watch?v=meop0rG3tLc

第1行, 頭4個小節, 2反邊加起有幾多個C,G 音? 26個
好啦, 咁你話車, 人地都寫左IN C, 份譜又冇調號(KEY SIGNATURE) 咁緊係多C音,G音
你又睇下第5行?

都係冇 調號(KEY SIGNATURE), 但係C音得反一粒(紅圈), 取而代之係G音,D音 (綠圈), 細心小小睇, 仲多左個F#(橙圈), 咁咩KEY 有F#, 而Tonic(1), 同Dominant(5) 係G,D, 咁好明顯係G MAJOR KEY! 因為G MAJOR KEY 既Major Scale(音階) 係咁:
G A B C D E F# G, 岩岩齊條件, 所以第4行轉左G MAJOR KEY
留心睇個 調號(KEY SIGNATURE) 依然係冇”#”, 所以有時轉左調, 作曲家唔一定好明顯寫出黎, 咁點先識自己睇到? LEE個係經驗黎, 好似英文咁, 睇得自然明多小小….. (仲有其他因素去決定首歌係咩KEY睇, Tonic(1), 同Dominant(5) 係咩音係其中1個考慮)

師兄又係我 其實有好多問題想問 但唔想打亂你個plan 所以都問返上面呢篇既問題
可唔可以講多少少點解粒dominant 係一個key到咁重要 係純粹個聽落去個感覺定係點？

其中1個原因係Chord 既問題, lee個之後會講到
最大原因係你由細到大聽慣左係咁, 不知不覺培養左個習慣
例小星星, 就拎第一句
c c g g a a g, f f e e d d c
其本上差唔多一半都係c 同 g
小密蜂:
G E E -, F D D -, C D E F G G G-
其本上差唔多一半都係c 同 g, 重要食中曬第一拍

所以唔同唔少同個感覺, 習慣有關

留名

5) CHORD(和弦)
先前既POST 教左大家點形容 1個音(Letter name 音名), 2個音既關係(Interval 音程)
黎緊就係教大家點形容3或以上個音既關係, 即係Chord(和弦)
而Chord(和弦) 入上面仲分左: Triad(三和弦), 7th Chord(七和弦), 9th Chord(九和弦), 11th Chord(十一和弦,) 13h Chord(十三和弦)

5.1)Triad(三和弦)
Triad(三和弦) 就係3個音一齊出現, 而LEE 3個音要用某d rules 去組成既, 就唔係求其搵3個音一齊彈, 就可以話係一個Triad(三和弦), 我地一定要跟: “3度規則”, 即係咁:

C音->上3度係E音, E音上3度係G音
所以我地可以形容C,E,G 係一個Triad(三和弦), 而個名就跟最底音個個, 所以叫 C Triad
我地都有名去形容Triad(三和弦)唔同既位置, 最底個個音叫Root, 中間個粒係3rd, 最頂個粒叫做5th, 係得lee3個名!

No.1 係 C Triad就明啦
咁No.2 都係CEG音, 但係次序倒轉左變左EGC,咁又算唔算C Triad?
咁No.3 都係CEG音, 但係次序倒轉左變左GCE,咁又算唔算C Triad?

答覆係都算既! 但係我地有個名去定義佢
No.2叫C Triad in ” 1st inversion”(第一轉位) [英式], 咁佢個底音就變左係E(3rd)音, 同時間我地都有另一種叫法: “63” [美式]因為E->C 係6度, E->G 係3度

No.3叫C Triad in ” 2nd inversion”(第二轉位) [英式], 咁佢個底音就變左係G(5th)音, 同時間我地都有另一種叫法: “64” [美式]因為G->E 係6度, G->C 係3度

No.1 叫C Triad in ” Root position”(冇轉位) [英式], 咁佢個底音就變左係C(Root)音, 同時間我地都有另一種叫法: “53” [美式] 因為C->G 係5度, C->E 係3度

總之3個音, 無論個次序係點, 只要你最尾可以排反用“3度規則”咁既次序, 個個就係一個合格既Triad(三和弦)

5.1.1) Chord nature of Triad (三和弦的和弦屬性)
Lee到有5組Triad(三和弦), 5組都叫C Triad in ” Root position”, 咁點分?
(先睇頭4個)
我地又有d名去分類由左至右:
Major Triad, Minor Triad, Diminished Triad, Augmented Triad


一定要清楚講明後面跟咩, 例如:
Major key? Major scale? Major interval? Major Triad, 所以Major係其中一隻好易混亂既字
**所以要好小心用Major, Minor lee 一類字眼
**所以要好小心用Major, Minor lee 一類字眼
**所以要好小心用Major, Minor lee 一類字眼

咁到底Major Triad, Minor Triad, Diminished Triad, Augmented Triad 分別在那?

就係在於3個音之間既interval(音程), 咁lee 部份要對interval(音程) 有小小概念先會明, 如果唔記得咩係interval(音程), 請反上個POST 睇

由幅圖既左至右:
1) Major Triad: Major 3rd + Minor 3rd
例: “C->E Major 3rd”+ “E->G Minor 3rd “咁C E G 我地會形容為C Major Triad

2) Minor Triad: Minor 3rd +Major3 rd
例: “C->Eb Minor 3rd”+ “Eb->G Major 3rd “咁C Eb G 我地會形容為C Minor Triad

3) Diminished Triad: Minor 3rd + Minor 3 rd
例: “C->Eb Minor 3rd”+ “Eb->Gb Minor 3rd “咁C Eb Gb 我地會形容為C Diminished Triad

4) Augmented Triad: Major3 rd + Major 3rd
例: “C->E Major 3rd”+ “E->G# Major 3rd “咁C E G# 我地會形容為C Augmented Triad

所以你見5.1.1 張圖, 第5個Triad 其實係不存在, 因為佢冇中到任何一種組合!
C->Ex Augmented 3rd, Ex->Gb 連interval 都計唔到…..因為彈緊同一個音…所以
C Ex Gb 係不成立! 都証明左 “唔係是但抽3個音一整彈, 就可以話係一個Triad(三和弦)”



舉多幾個例:
1) A C# E#
A->C# Major 3rd”+ “C#->E# Major 3rd “咁A C# E# 我地會形容為A Augmented Triad
2) F# A C
F#->A Minor 3rd”+ “A->C Minor 3rd “咁F# A C我地會形容為F# Diminished Triad
如果轉位都可以既: A C F# 我地會形容為F# Diminished Triad in ” 1st inversion”(第一轉位),

**不過為左方便, 大部份時間都用Chord 去代替Triad LEE 隻字

lm學野

留名學野

鋼琴撚幫推

5) CHORD(和弦)
先前既POST 教左大家點形容 1個音(Letter name 音名), 2個音既關係(Interval 音程)
黎緊就係教大家點形容3或以上個音既關係, 即係Chord(和弦)
而Chord(和弦) 入上面仲分左: Triad(三和弦), 7th Chord(七和弦), 9th Chord(九和弦), 11th Chord(十一和弦,) 13h Chord(十三和弦)

5.1)Triad(三和弦)
Triad(三和弦) 就係3個音一齊出現, 而LEE 3個音要用某d rules 去組成既, 就唔係求其搵3個音一齊彈, 就可以話係一個Triad(三和弦), 我地一定要跟: “3度規則”, 即係咁:

C音->上3度係E音, E音上3度係G音
所以我地可以形容C,E,G 係一個Triad(三和弦), 而個名就跟最底音個個, 所以叫 C Triad
我地都有名去形容Triad(三和弦)唔同既位置, 最底個個音叫Root, 中間個粒係3rd, 最頂個粒叫做5th, 係得lee3個名!

No.1 係 C Triad就明啦
咁No.2 都係CEG音, 但係次序倒轉左變左EGC,咁又算唔算C Triad?
咁No.3 都係CEG音, 但係次序倒轉左變左GCE,咁又算唔算C Triad?

答覆係都算既! 但係我地有個名去定義佢
No.2叫C Triad in ” 1st inversion”(第一轉位) [英式], 咁佢個底音就變左係E(3rd)音, 同時間我地都有另一種叫法: “63” [美式]因為E->C 係6度, E->G 係3度

No.3叫C Triad in ” 2nd inversion”(第二轉位) [英式], 咁佢個底音就變左係G(5th)音, 同時間我地都有另一種叫法: “64” [美式]因為G->E 係6度, G->C 係3度

No.1 叫C Triad in ” Root position”(冇轉位) [英式], 咁佢個底音就變左係C(Root)音, 同時間我地都有另一種叫法: “53” [美式] 因為C->G 係5度, C->E 係3度

總之3個音, 無論個次序係點, 只要你最尾可以排反用“3度規則”咁既次序, 個個就係一個合格既Triad(三和弦)

5.1.1) Chord nature of Triad (三和弦的和弦屬性)
Lee到有5組Triad(三和弦), 5組都叫C Triad in ” Root position”, 咁點分?
(先睇頭4個)
我地又有d名去分類由左至右:
Major Triad, Minor Triad, Diminished Triad, Augmented Triad


一定要清楚講明後面跟咩, 例如:
Major key? Major scale? Major interval? Major Triad, 所以Major係其中一隻好易混亂既字
**所以要好小心用Major, Minor lee 一類字眼
**所以要好小心用Major, Minor lee 一類字眼
**所以要好小心用Major, Minor lee 一類字眼

咁到底Major Triad, Minor Triad, Diminished Triad, Augmented Triad 分別在那?

就係在於3個音之間既interval(音程), 咁lee 部份要對interval(音程) 有小小概念先會明, 如果唔記得咩係interval(音程), 請反上個POST 睇

由幅圖既左至右:
1) Major Triad: Major 3rd + Minor 3rd
例: “C->E Major 3rd”+ “E->G Minor 3rd “咁C E G 我地會形容為C Major Triad

2) Minor Triad: Minor 3rd +Major3 rd
例: “C->Eb Minor 3rd”+ “Eb->G Major 3rd “咁C Eb G 我地會形容為C Minor Triad

3) Diminished Triad: Minor 3rd + Minor 3 rd
例: “C->Eb Minor 3rd”+ “Eb->Gb Minor 3rd “咁C Eb Gb 我地會形容為C Diminished Triad

4) Augmented Triad: Major3 rd + Major 3rd
例: “C->E Major 3rd”+ “E->G# Major 3rd “咁C E G# 我地會形容為C Augmented Triad

所以你見5.1.1 張圖, 第5個Triad 其實係不存在, 因為佢冇中到任何一種組合!
C->Ex Augmented 3rd, Ex->Gb 連interval 都計唔到…..因為彈緊同一個音…所以
C Ex Gb 係不成立! 都証明左 “唔係是但抽3個音一整彈, 就可以話係一個Triad(三和弦)”



舉多幾個例:
1) A C# E#
A->C# Major 3rd”+ “C#->E# Major 3rd “咁A C# E# 我地會形容為A Augmented Triad
2) F# A C
F#->A Minor 3rd”+ “A->C Minor 3rd “咁F# A C我地會形容為F# Diminished Triad
如果轉位都可以既: A C F# 我地會形容為F# Diminished Triad in ” 1st inversion”(第一轉位),

**不過為左方便, 大部份時間都用Chord 去代替Triad LEE 隻字

如果唔用音程數chord 用半音數
姐係當major3rd固定係4個半音 minor3rd係3個半音
例如c--4個半音--->e---3個半音--->g
咁樣數會唔會錯？係咪個個chord都可以咁數

舉多幾個例:
1) A C# E#
A->C# Major 3rd”+ “C#->E# Major 3rd “咁A C# E# 我地會形容為A Augmented Triad
2) F# A C
F#->A Minor 3rd”+ “A->C Minor 3rd “咁F# A C我地會形容為F# Diminished Triad
如果轉位都可以既: A C F# 我地會形容為F# Diminished Triad in ” 1st inversion”(第一轉位),

**不過為左方便, 大部份時間都用Chord 去代替Triad LEE 隻字

如果唔用音程數chord 用半音數
姐係當major3rd固定係4個半音 minor3rd係3個半音
例如c--4個半音--->e---3個半音--->g
咁樣數會唔會錯？係咪個個chord都可以咁數

絕對冇問題, 你咁數都會數到
但實際用起上黎, 例如同人夾野......
最好3個音一出你就知係咩Chord or 比個Chord 你, 一下就Load 係邊3個音

舉多幾個例:
1) A C# E#
A->C# Major 3rd”+ “C#->E# Major 3rd “咁A C# E# 我地會形容為A Augmented Triad
2) F# A C
F#->A Minor 3rd”+ “A->C Minor 3rd “咁F# A C我地會形容為F# Diminished Triad
如果轉位都可以既: A C F# 我地會形容為F# Diminished Triad in ” 1st inversion”(第一轉位),

**不過為左方便, 大部份時間都用Chord 去代替Triad LEE 隻字

如果唔用音程數chord 用半音數
姐係當major3rd固定係4個半音 minor3rd係3個半音
例如c--4個半音--->e---3個半音--->g
咁樣數會唔會錯？係咪個個chord都可以咁數

絕對冇問題, 你咁數都會數到
但實際用起上黎, 例如同人夾野......
最好3個音一出你就知係咩Chord or 比個Chord 你, 一下就Load 係邊3個音

唔該哂巴打 繼續追post學野

LM

留名

6) Cadence
6.1) Chord nature in Major scale(大調音階和弦屬性)
如果我地用C Major scale既音,做底音去疊一個和弦, 個結果就會咁:

我地分析下每個和弦既屬於咩屬性:
I: C MAJOR chord
ii: d minor chord
iii: e minor chord
IV: F MAJOR chord
V: G MAJOR chord
vi: a minor chord
vii: b diminished chord
**睇Chord: 用羅馬數字/直接講個Chord 名 都可以, 但如果用羅馬數字 就要講明咩key**

當中I, IV,V Chord 都係Major Chord, 所以都會叫做primary chord, 意思對個調性比較重要既和弦, 我地又睇下例子:

一個圈代表左個個範圍用緊一個chord 去組成, 首先首歌係C major key 啦
I chord (Toinc chord) = C E G
IV chord (Subdominant chord)= F A C
V chord (Dominant chord) = G B D
第1個圈用既音係C E G = I chord
第2個圈用既音係G B D =V chord , 而可能你話仲有其他音WO! 咁一定有既, 但佢大部份時間都係中緊G B D
第3個圈用既音係C E G = I chord
第4個圈用既音係F A C = IV chord
第5個圈用既音係C E G = I chord
第6個圈用既音係G B D =V chord
第7個圈用既音係C E G = I chord


你基本上, 你只可能堆到LEE 堆CHORD 出黎, 所以你會定義首歌係C MAJOR KEY, 所以你會聽到係C MAJOR, 如果唔信自己睇第5行, Mozart 轉左做G MAJOR KEY
I chord (Toinc chord) = G B D
IV chord (Subdominant chord)= C E G
V chord (Dominant chord) = D F# A

應該會得出I->V->I 咁既物體, 如果你用C MAJOR KEY 去諗就會變左 V->II(變左Major II, 正常係Major KEY 入面ii 係minor) -> 所以你見用G Major KEY 去解釋合理好多

明左lee到可以去下一part

lm

有無關於樂理既書推介下(中英皆可）
利申:近排開始聽古典，但係唔識樂理去聽古典好無癮

有無關於樂理既書推介下(中英皆可）
利申:近排開始聽古典，但係唔識樂理去聽古典好無癮

the ab guide to music theory

有無關於樂理既書推介下(中英皆可）
利申:近排開始聽古典，但係唔識樂理去聽古典好無癮

the ab guide to music theory

使唔使睇埋music theory in practice?

有無關於樂理既書推介下(中英皆可）
利申:近排開始聽古典，但係唔識樂理去聽古典好無癮

the ab guide to music theory

使唔使睇埋music theory in practice?

果個好似係比你考樂理做既練習黎 所以唔使