Music Theory Science Popularization What are the differences in the performance effect of each key

It is recommended that you add more points so that there will be people.

Different combinations of intervals can form new scales, and this is how the Middle Tone scale came about.

I don't think I need to introduce the most common natural size mode.

The natural key is the most comfortable to listen to, and the effect is that anyone will find it very good (some peculiar keys are difficult for some people to hear).

It turns out that it is always said that the major key ** is suitable for expressing cheerful emotions, and the minor key is suitable for expressing sad emotions.

It's not very pertinent.

The current popularity**, using a lot of colors and melodies, is basically in a major key ** to express melancholy emotions.

The use of harmonic minor keys is also numerous.

Classical music is especially used a lot, basically the minor key of classical music**, all of which are harmonic minor keys.

Therefore, the performance effect of the harmonic minor key makes people feel very classical and Western**.

It's a very foreign feeling.

In the Middle Ages (ionian and aeonian are equivalent to natural major and minor keys).

I'm going to focus on two Phrygian scales, which are the most famous in the world.

As soon as you hear the phrygian scale, you will have the feeling of Spanish**, and you will feel an invisible force that makes you feel excited.

That's why it's also called the flamenco scale, and it's very gypsy exotic.

Lydian gives people the feeling of being very ethereal and ethereal, a bit like the magic plain of the elves.

In the pentatonic scale, the basic performance feeling is biased towards folk music.

If the song is written with momentum, it will give people the feeling of dreaming back to the Tang and Han dynasties.

If it's a gentle tune, it feels like it's the kind of "Jasmine", anyway, it's the Han nation**.

A minor pentatonic scale, i.e. feathered scale, 6 1 2 3 5, if you change the fourth tone 3 to b3.

It's the blues scale.

It goes without saying that the performance effect of this key is the feeling of blues, very lazy, very playful, and very swaying.

If you change it again, you can play the Japanese scale.

There is a feeling of Xiao Suo, Xiao Killing......It's desolate and melodious......

In fact. Whatever the performance feels like nothing.

The best way to do this is to take a diatonic instrument and play each scale several times.

Then listen more to each key.

You'll have your own feelings.

The problem is too large ... So much different ... What is the difference, you ask ...

Palace (gōng), 商 (shāng), 角 (jiǎo), 徵 (zhǐ), feather (yǔ).

Gong Shang Jiao Zheng Yu.

Refers to the traditional Chinese pentatonic pattern.

As the name suggests, a pentatonic is a key that consists of five notes instead of seven. The pentatonic tone is widely used in ancient China and folk**, and on this basis, the Chinese national tone is formed.

It is often referred to as "Chinese Tune" or "National Tune".

Mode. Each of the five notes can be the dominant note of the key, from which the five keys are produced:

Gong tone: 1 2 3 5 6 (1).

quotient: 2 3 5 6 1 (2).

Angular modulation: 3 5 6 1 2 (3).

Sign: 5 6 1 2 3(5).

Feather Formula: 6 1 2 3 5 (6).

The following is for reference.

Pentatonic Pattern...

Six-tone pattern. The hexatonic scale is based on the pentatonic scale, and the clear angle (the minor second above the horn tone) or the variable palace (the minor second below the palace tone) is added between the minor thirds. In the hexatonic scale, the original five tones of "Gong, Shang, Jiao, Zheng, and Yu" are called positive tones, and the later added "clear angles and changing palaces" are called partial tones, and the roles of positive tones and partial tones in the key are different.

The hexatonic scale, like the pentatonic scale, can still be arranged in a pure fifth (or pure fourth) relationship after adding a note.

The pentatonic scale, after the addition of one note to the six-tone scale, is characterized by the addition of chromatic intervals (between clear and horn tones, between changing and palace tones).

Seven-tone pattern. The seven-tone scale is based on the pentatonic scale, with different partial tones added between minor thirds.

1. Yale scale.

On the basis of the pentatonic scale, the change sign (the minor second below the sign) and the change of the palace are added.

2. Qingle scale.

On the basis of the pentatonic scale, it is made by adding two tones: clear horn and variable palace.

3. Yanle scale.

On the basis of the pentatonic scale, two tones are added: clear horn and leap (major second below the palace tone).

A key that is made up of tones in the seven-tone scale is called a seven-tone scale. The seven-tone mode is characterized by the addition of chromatic intervals and three tones. The tones in the seven-tone pattern can likewise be arranged in a fifth (or fourth) relationship.

There are several types of pentatonic modes:

1) The key with the gong tone as the main tone is called the "gong tone".

2) The key with Shang Yin as the main tone is called "Shang Tone".

3) The key with horn as the main tone is called "horn tone".

4) The key with the main tone is called "the key mode".

5) The key with feather tones as the main tone is "feather tone".

In the pentatonic scale, each note can become the dominant tone, so the pitch position of the dominant tone must be marked in front of each key, for example: the palace tone with A as the dominant tone is called "A house key", the horn mode with F as the main tone is called "F horn", and the feather tone with D as the main tone is called "D feather tone".

Each of the five notes can be the dominant note of the key, from which the five keys are produced:

Gong tone: 1 2 3 5 6 (1).

quotient: 2 3 5 6 1 (2).

Angular modulation: 3 5 6 1 2 (3).

Sign: 5 6 1 2 3(5).

Feather Formula: 6 1 2 3 5 (6).

Add a high in front of the key name to form a complete tonal name. For example, the 1=C pair is called "C", 1=D is called "D", and 1=E is called "......E".Another example is the sign modulation, 5=C is called "C sign", 5=D is called "D sign", and 5=E is called "E sign" ......And so on for other keys.

With pentatonic mode as the core, there are also six-tone and seven-tone modes, that is, keys made up of six or seven tones. In this case, the original five tones are called "orthophony" (or orthophony), and the newly added tones are called "partial tones" (or partial tones). There are four types of bias:

Change the palace: the major second degree below the palace sound, if 1 is the palace, the change palace is 7; If 4 is the palace, the changing palace is 3.

Clear angle: a minor second above the horn tone, if 3 is the angle, the clear angle is 4; If 6 is the angle, then the clear angle is b7.

Variation: A minor second below the sign, if 5 is a sign, the change is a sign

Leap: A major second below the palace sound, if 1 is the palace, the leap is b7.

The relationship between the five orthophonic and the seven partial tones is:

#4） 5 6 （b7）（7）

The palace merchant corner is clear and the feather is intercalated.

Horn sign palace.

The addition of these four deviations results in a large number of keys, such as the addition of clearing.

The seven-tone house key of the horn and the changing palace: 1 2 3 4 5 6 7 1

The six-tone feather key of the Jiabian Palace: 6 7 1 2 3 5 6

The six-tone key of the Jiachang Palace: 5 6 7 1 2 3 5

The seven-tone key of the clear angle and the leap: 5 6 b 7 1 2 3

The seven-tone key of the palace and the sign of change: 5 6 7 1 2 3

This is a link to understand what a medieval style is.

Specifically, if you want to position yourself in a melody, you can do it in one of two ways:

1.According to the final tone and key signature, determine whether the main tone and the homonymous key of the desired key are major or minor, and then see which tone the temporary diacritical mark raises or decreases, and compares the characteristic intervals of the Middle Tone to determine its key.

2.Incorporate temporary diacritical marks into key signatures, and follow the first key of sol, for example, sing sol to mix Lydia, sing mi to Phrygian, etc.

If there's anything you don't understand, you can ask me.

** With Composition Technique (Team) - Stretto

1.The key with the first solfège do as the main tone is called the ionian key. Its scale relationship is:

Wholetone, Tone, Semitone, Tone, Tone, Tone, Tone, Tone. On the surface, it is exactly the same scale structure as the natural major key and the Chinese seven-tone Qingle Palace key, and belongs to the major key mode.

2.The key with the first key of the solfège re as the main tone is called the dorian key. Its scale relationship is:

Wholetone, semitone, tone, tone, tone, tone. The peculiarity of this key is that there is a major sixth above the main note compared to the natural minor key, and this sixth is called the sixth of Doria.

On the surface, it has exactly the same scale structure as the Chinese seven-tone Qingle quotient key, which belongs to the minor key type.

3.The key with the first solfège mi as the main tone is called Phrygian. Its scale relationship is:

Semitone, tone, tone, tone, tone, tone. This mode is characterized by a minor second above the main note, called a Phrygian second, compared to a natural minor key.

On the surface, it is identical to the scale structure of the Chinese seven-tone Qingle horn scale. It belongs to the minor key type.

4.The key with the first solfège as the main tone is called the Lydian mode. Its scale relationship is:

Wholetone, tone, tone, tone, tone, tone, tone, tone. This mode is characterized by a fourth-in-depth above the main note, called a Lydian fourth, compared to the natural major.

The increase in fourth is the interval of the tritone, which gives this key a special, mysterious flavor. It belongs to the major key mode.

5.The key with the first sol as the main tone is called mixed Lydiadian (mixolydian). Its scale relationship is:

Wholetone, Tone, Semitone, Tone, Tone, Tone, Tone, Tone. The peculiarity of this key is that there is a minor seventh above the main note compared to the natural major, which we call the mixed Lydian seventh.

On the surface, it has the exact same scale structure as the Chinese seven-tone Qingle key, and it is also a major key.

6.The key with the first solfège la as the main tone is called the aeolian key. Its scale relationship is:

Wholetone, semitone, tone, tone, tone, tone. The characteristics of this key are that its scale structure is exactly the same as that of the natural minor key and the Chinese seven-tone Qingle Yu key, and it belongs to the minor key mode.

7.The key with the first solfège si, is called locrian. Its scale relationship is:

semitone, tone, tone, tone, tone, tone. The peculiarity of this key is that there is a minor second and a minus fifth above the main note compared to the natural minor key, which we call the Lokria fifth.

Like an increasing fourth, a decreasing fifth is also a tritonic interval. It is the most characteristic minor key.