由分析喬納森‧哈維作品《梅湘之墓》 至自身音樂創作上的應用
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(3) Jonathan Harvey, 1939-. Tombeau de Messiaen, 1994. Olivier Messiaen, 1908-1992.
(4) Abstract. The English composer Jonathan Harvey (b.1939) has distinctive thoughts and expressions on music. Since he has been linking philosophical and religious insights with music, the voices and sounds rooted deeply within his soul has transcended musical expressions to a completely new level. Therefore, he is praised as the most spiritual English composer. His works embrace vast category, from instrumental music to electronic sounds. He gave birth to many of the classics amid the history of electronic music, with Tombeau de Messiaen (1994) being one of them. Tombeau de Messiaen was composed in honor of the French composer Olivier Messiaen (1908-1992). The piece ingeniously unified many elements that are diametric in nature, such as the electronic music as to piano, harmonic series as to the 12 equal temperament, and melody as to chord. Having been inspired by Harvey, the author attempted to implement the concepts of encompassing the opposites as well as harmony in her own work- a piece that combines guzheng and electronic music from which one quests the unique sound.. Keywords: Jonathan Harvey, Spectral Music, Electronic Music, Olivier Messiaen..
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(10) !"# $% ()*+,-./@0123s./1Jonathan Harvey, 1939- 2345 ~./(6'>?@0É789&9:1Spectral Music2@0|*;ö& h)¤<1Ö89;¡=#>?É901@AB.7CDE/É]ÔE FG@A|<./HHIJKL1The Sunday Times2LrM!"#$%& '"()*+,-.$/01234<N2./HOKL1The Guardian27PQ ./r. 5 5 5. 6789:2;<=>?@ABCDEFGHI2JKL>M+NOPQQQ !2;<+RPSTUVW2XY&+Z[\]^U_`abcdef2g h&ijUklmn0o. ./RCrMpqrst2uvwxy-z{ab2|}<N4F@ASTUD ö&ÉÖVnoWXY¦YZ[\É]^_`abhcde89|f g<. 1. 1973 Murail, 1947-. ─ .... Gerard Grisey, 1946-1998 L'Itineraire. Tristan. 2. "He is a rare spirit, ever in search of the new and numinous." Farber Music, http://www.fabermusic.com/Composers-Details.aspx?composerid=297 (Accessed 10 November, 2011). 3. "An online poll recently guessed whose music would still be played 50 years on...I would put Harvey high on the list. Beneath the compelling ebb and flow, his music has a stillness and non-specific spirituality which feed mind and spirit." Farber Music, http://www.fabermusic.com/Composers-Details.aspx?composerid=297 (Accessed 10 November, 2011). 4. "I believe this "stillness" can be found in all great music." Jonathan Harvey, In Quest of Spirit: Thoughts on Music, (Berkeley: University of California Press, 1999), 67. 1.
(11) ./@AhiýÔ»¼Éjk=1l9=fg89Émn%=o pq9o®ræst9u<l 1980 v)Twtx1Pierre Boulez, 1925- 24yz M=/{|i898&}Z~N51IRCAM, Institut de Recherche et Coordination Acoustique/Musique2D@7}ZÉ D@1Gfg89./*; ö&h@AÉå Mortuos plango, Vivos voco!19802 oBhakti119822 oRicercare una Melodia119842oMadonna of Winter and Spring119862oAdvaya119942o One Evening119942É HIJ4KL1Tombeau de Messiaen, 19942~./ ^l97fg89)$@4)<. HIJ4KLhi~íî789Éfg89ÇM%íî8_èÉ jk-ó,Õ}88tóèÖ8QÉ -È}8~-6| a8%níî7fg89M2NÉ#M0N×M 2NWX<8./~;=/r@0IJ1Olivier Messiaen, 1908-19922 @ÉÖ|7pk1IJkz=Éå)8à°±R ²o,ᣤ¥¦jku<. ÛïHIJ4KLMNÉ/q¾Û}ZÉ9&9:@A}ZMN7 *É %9&=/¡¢|£¤ÃD@OP¥¦Éù,§4MNÇM %¨©ª«./¬z{É®>MNį°<EMNÇM±M`<É%\] ²_äçS?qdz<<()<BCÖD@:;É´µùD@OP7hi¶¦< (-<·k¬./z{¥¦ÉMN ERS=8QÂ_èn¦<(G. 5. 2.
(12) <YZ@AWXɸ2 jkð¹º>µ»<([<¼\9WX=¸ iÉMN9\]bc<(`<³ÇMNabcjkz=<. ./½¾9l7fg8940ÉD@1G=9l7fg89^ @AÉ#YZ,ÕS8#!S&É07./á Ì<TB.É ¨©¿ÀD@^ÁY¼9lþÿ=ÃYfg89@AÉYÄÅ!Ì §7S&04á Ì<@AÆ3M0N-ÇÈB;~.<É· kþÿ#¡S&7fg89^<fg89ÇÉS8WXÊlïþÿÉ· kË]ÆÖS&¶É7ÌS8½¾M2N=M0N<RSYbÆ3 pk./ûüRSB;É^9&9:lÍÎB;É_èþÿ7fg89 RS78Q<. 3.
(13) !&# '()*+,-./01234 !"# $%&'()*+,6. e. 1230./É1939 v5ï./ÏÐÑÒ1Warwickshire2 ÉïÓÔrDÕ. Ö×D~1St. John's College, Combridge2£¤DJD¤Éº9ïØÙÚÛrD 1University of Glasgow2=ÓÔrD1University of Cambridge2£¤ÜJD¤É ÝÞߧ0à1Erwin Stein, 1885-195827=áÚ0âã1Hans Keller, 1919-198528Dä@<./ 1969-70 ïEåæÚçrD1Princeton University2 èé}ZêÉ1980 v)TwtxyëzM=/{|i898&}Z~N 1IRCAM2 }Z=D@É1977 ® 1993 vÉï./ÄìÑÚrD1University of Sussex2 éAÉ1993 v4Äé~íîAïÉ9E 1995 v® 2000 vïð/ñUrD 1Stanford University2éA< %ïòóôõÉ./ïvö ÷@<FÝÞà7âãDä@ÄÉ S?'ø1ùúûÑ1Béla Bartók, 1881-19452owtç1Benjamin Britten, 1913-19762oüýÑ1Arnold Schoenberg, 1874-19512=þù1AntonWebern, 1883-19452ªtÿ!É7'"1IJ1Olivier Messaen, 1908-19922¥¦ 6. Oxford Music Online, http://www.oxfordmusiconline.com/public (Accessed 28 May, 2011). Michael Downes Jonathan Harvey: Song offerings and White as jasmine (2009). Vivosvoco.com, http://www.vivosvoco.com/index.html (Accessed 10 November, 2011). 7. Boosey & Hawkes. 8. 4.
(14) =`#V$ö&<./%@A|Éá&Öpk1»WXÉ'(S )^_É*F./+4Ä,-?< 1960 v)././eûÑ031Karlheinz Stockhausen, 1928-20072 @AÉ9º9E 1975 v11)ùÛïûÑ032@§HF3ûÑ034 89L1The Music of Stockhausen: An Introduction2<1969 v./zåæÚçrD Ý4úç0ù51Milton Babbit, 1916-20112Dä@ÉEbF6>78 ¥Ì89=fg89ÿ9./á Ì< F@A:jkl9oS 9^89Éå Cantata VII: On Vision11971210= Inner Light, trilogy 11973–52<11 ;MqE<=N 1Inner Light21)¤ö&./*SCD0§> ?!0GH21Rudolf Steiner, 1861-192524E/§ %MWXN1Meditation2 á'"q÷#a<$É%&[\SÏS&É'(¡E)*É7Î+qE ÷[,-.ÖWXYZ[\Y=ÉVE./è/@A|]Ô<GH2 8)¤2-01·CD07A2D0 ~M34DN1Anthroposophy2D 3. 12. F563À¡m1q7Éde÷[Â6foqE8<./()9. 9. 1966. Summer School. Darmstadt. 1969. 1975. 10. Cantata VII: On Vision. 11. Inner Light. 1971. Inner Light I 1973 Inner Light III 1975. 12. 1891 Arbeiter Schule Theosophische Gesellschaft Anthroposophie Stuttgart 1923 Gesellschaft. Inner Light II 1977. Kraljevec Rostock 1901. 1880. , 1899. 1904. 1913 1919. 5. Emil Molt Woldorf-Astoria- Zigarettenfabrik Anthroposophische 1925 3 30.
(15) t9[>1197727¿À1GH2X=r. 5. +~&;<2L>U e2h&lg 2m/o 5. :t9[>)jk D 8É'2()R(-ú5î D tÂ,Õ 8É·k8tlÍÎD@<7ûÑ03 Stimmung11968214ER S¡2;<Ûrpk1lÍÎ8t%}8.É_èÖRS< ./@AhiýÔ»¼Ék=1l9=fg89mn%=opq 9®ræst9¡ÉÖ|=>1GÇ?@oA:st9@AoGd:pq 91Ö|=>1[:t9[>2oG[:B@Ao-d:=@A...uÉ @At$ë®&q")<e e ./()®(G9t9[>~Îl9@AÉ*%×@Aá.CF: #·kl9DEfg89#̧e Öt9rcjk8ɺpklÍÎ_ èRSÉ lÍÎ~.<D@~9&9:>?B;4)<([9t9 [>120032FGH&'>?1fg89É·k '"9lS&7fIÊ 5½ð<Ûï@./JÔFït9S&#K)Lre Tn0S2x<2&T *l¡2¢£¤5¥ ¦Z§2¨;&©ª«¬2¢£o 5 5 1980 v)%É./ï IRCAM (D@1G2-fg89@A< Dornach " the future development of music will … involve a recognition of the special character of the individual note, which expands into a melody and harmony leading straight into the world of the spirit." Oxford Music Online, http://www.oxfordmusiconline.com/public (Accessed 28 May, 2011). 13. 14. B. Stimmung. 1968. B Harmonic series 15. 2. 3. 4. 5. 7. 9. "All sorts of psychic metamorphoses are undergone by the string sound; it seems to enter into spaces like the centre of the earth - deep bass transposition - or open empty spaces." BBC Radio 3 Programmes, http://www.bbc.co.uk/programmes/b00qbzgm (Accessed 12 November, 2011). 6.
(16) Mortuos plango, vivos voco!198028)M%NS7OPQ8Q_): @AÉ16@,8./>?@A4)ÉÕ fg89./o89 7 IRCAM RÉ7¡2>r/$ÉST6j&U5V#K¹_W' 89<1982 v./D@1FS)9X/@A— Bhakti119822É8):~ `¤l9©7Y"@AÉfg89ÇMpk1 Mortuos plango, vivos voco ZÔ"NS<"Bhakti" 8[iA|\¡-]É/E8M^_``Éå abcd?eN1devotion to a god, as a path to salvation2ÉÖf+Ò)=l .Ì89gØÉj Bhakti è~( '@A4)<. ./½hfg897l94S8-=0É 9YÄ×S8áÊ5 iVj@^_7X=ÉEF)×l9^fg89@Aá&Ö#< Ricercare Una Melodia119842É~)kt=9l^fg89@Aɱd: Ml`r5îom9oú9omnooÑÚgopqsd+9l<MRicercare Una MelodiaN/~MrsNÉÖfg89ÇM«t1l9S&Éånu Öð¹ÉT9l7fg89ýÔvØw<E 1994 vÉ./D@1*:l 9=@AÉ^1fg89ÉMl~ Advaya =HIJ4KL<Advaya119942 hi~r5î==fg89Éfg89ÇM=>1x»lyzoèl= *È"Ï:Y" CD 8{<"Advaya" 8|>ÉÖ/~M,-NÉ}./ R¡>?B;r/~*È~"E)S8ÉÖ-8nåfg89 7r5îEýÔS8=1M nN7M, nNS&É* S 8Êlïr5îÉÖqE8M~)N <HIJ4KLhi~íî7Éf g89ÇM%íî8ÉlÍÎ8QóèÉ7níîÊ51=#. 16. Winchester Cathedral 7.
(17) S&É*©48> Ê5M0N=MMNÉ(¡å9&89 B;|8Ù-<e. ./RCr M®;<m¯°;<"±±q²2<N17É 9&9:pk8 t;ÐÑ@%Ý:Éï9&9: R'>?8=RSÉ./5 1°=r. ;³"´µ;<w_#¶·¸2P¹&º¯°;<u»¼½" op¾u »¿¿ÀÁÂ{®2ÃÄ&Å®Æ2Ç"ÈÉ;Ê/Ë2Ì&p¾ yÍÎËÏÐ_#<ÑBC&Ò"Ó¯ÔuÕÖo×ØÙ#Ú°ÛXÜT _#4Ý&_#;4ݤ Þ"_#ÈÉ;Ê2ß& _#T eàá 2;â&ãTä;2å;æçè&u»¼Òé>ÎÉ;Êw_#ê;¥ ëì;&Òíîï;ê&ÓÂðC&Òu!ïoÈñp¾>©òóô {Ù#4Ý"w2_õöä÷ø&ùñÙúû2É;Òé>ü{ýþ& ÿá!ë_#"Tàá2;â#o$ë +®%&;w'()*2_+ ,--ú.&+;<2³/m;0£úûoÙ12¥3+´µ;<wdÀ À4&5À6Â"!/#/"ä7#89:;<$ëo18. "7 IRCAM @ræst9@A Speakings120082É8):~st9 7fg89@AÉ% BBC Scottish SymphonyoIRCAM 7 Radio France ±Õ D@É:@AB;V?8MTst9µ.N<IRCAM }.Ë] Orchidée ·kMNµ.SÉ"ÿ1´s²t9\]S&ɺjk= ^st9lÉ~@051st9=á Ì< ./'"@§Weltethos120112 Éhi~ræst9>ÂSBo SBo©É%/æh91Berlin Philharmoniker27 :} 3 1Global Ethic Foundation2±ÕD@Éï 2011 v 10 ¡ 15 ø%æh9:. 17. "Spectral music is allied to electronic music. " Contemporary Music Review. Vol.19, Part3. (2001): 11. 18. Ibid., 12. 8.
(18) É¢£sÙ#¤J1Simon Rattle, 1955-2¥¦É9 md 80 MN< ]=B?]Ýlï§J`D0áÚs¨1Hans Küng, 19282ÉÖCr=¬ >?r!£2/"&#¼£Ç¬$/"1There will be no peace among the nations without peace among the religions2 <@A~©ª,-@A4R6 @ɱ%d È9*§ d+8«óèÉMl~r¬01Confucianism2 o®A1Judaism2o ¯Ú°A1Islam2 o[iA1Hinduism2 oUA1Buddhism2=}±A1Christianity2< æh9:²¥¦¢£sÙ#¤JPQ./~M'¡[\./@0N ÉºË :@¡./ :è³@5´./';µoS)89>RɶC./ =#_`YÄ·Æ< ./ÔE V3yëu7/¸ðÉ@Aj13L-9ɺïG >?Ô)89¸ð<F£¤¹ºå»1Universities of Southampton2oÄì ÑÚ1Sussex2ow¼Úû1Bristol2o½»¾1Birmingham2o.Ú¿rD 1Huddersfield2uÀ4ÁQÜJÉ9~ßÂ3§7lÍD~1Academia Europaea2 èêɺï 1993 v£¤wtç@rÃ1Britten Award for Composition2 <2009 v Speakings £¤ÄÅÛ@rÃ1Prince Pierre de Monaco Composition Prize2É Õv7£¤Æ:sÑÇÚD~¼rÃ1Charles Cros Grand Prix du Président de la République2É19~:¤£KÁ./@0<. 19. Olivier Messiaen, 1908-1992 Witold Lutoslawski, 1913-1994 Elliot Carter, 1908Pierre Boulez, 1925 Iannis Xenakis, 1922-2001 Győrgy Ligeti, 1923-2006 Tristan Murail, 1947Győrgy Kurtág, 19269.
(19) !-# .)/012345, e 1995 vÉ./TÑÈrD1University of California at Berkeley24yÉ 1)ktÉîÉ;!~ In Quest of Spirit: Explorations of the Spiritual Nature of MusicÉ20 º¥)ÈFÊé¥<rÔ)3¡Ë ./è)ÈMÌ¡LÍ 7l%/V)Ç]r=ÎÏ&ÉÐ)ÐN<21./89-8)Ç]/ÔÉ =ÎÏ&7ÐÉÑ®EÖ|rs9Ò§ 7F89:´¾Ór89¡ Ì5-ÇÌRnÌÉ*8É'>?8É_`abhcRÔf½ð Õ Ö»Ð< ./vö REÕ×árD1St. Michael's College2èé"BêÉ22~ ØÙ}±ÚÉ9ST}±AE/ö&<l 1960 vêëF}ZÛï}±A `ÛV$1Christian Mysticism2 ɺÜ'øeÁYCD=UDÉ23%ï'ø UDÉF[iAWXY=M)ÝÒɺ5~8'øUD'&'o' nY¦< 1977 v'ø[iAÉFÞ!ßàfá*%É9âR|ã"< ï}±A=UA£ÉFä1iV#lÞÀ=´år %&pý&"#å'(&Åp)*+2û,-p(.ë˾/£T012 3o˾455lg2&;<6" opÀ78+st2;<w& +9&2RPè:È;T_|<f2aboT=>Ù?";<'2;<#& ÅÙÇ"p+-z2@Ao24 20. 1995. Bloch Lecture. 1999 21. “a free-willed unity of consciousness, which contains divergence, beyond opposites” Jonathan Harvey, In Quest of Spirit, (Berkeley: University of California Press, 1999), 35. 22. 19. Frederick Ouseley. 1825-1889 23. Matthew Jenkins, "A Search for Emptiness", Perspectives of New Music, Vol.44 No.2 (Summer 2006): 220-231. 24. "Well, I started as a Christian, and I've never officially left! I don't see a contradiction between 10.
(20) !"#$%&'()*'+,"-. Ga O4gÅ+¦ !"#$%&'()*'+,"-.9Ga O4 In Quest of Spirit /012 012transcendence 9O6=LcfÆÇ9 O6=Lc 3456+789:/;< :/;<K!"K+7L2E1 K+7L2E1 =>+?@ABCDE1F E1FQR?@+D9( ,¡¢+=£¤¥ ( ,¡¢+=£¤¥9 G4=HIJ+KLMNOPQR G4=HIJ+KLMNOPQR S7TU,"VVWNXYZ+[\ ,"VVWNXYZ+[\9g¦ In Quest uest of Spirit /9!"<¹ ]^_`abcXY+def cXY+def§¨hi9©ª«O¬®¯ ¯ÈÉ+rs (ghi/jk+9l l°±²+xX³´µ¶·¸9i¸<¹]ºD»c <¹]ºD»c2hy VmnopVmqo+rs +rstake up and downAx<¬¼i sub-phrase tuvq+hw9xX xX¼i½¾tu¿º93hy{~29©x ©xʼi+h yz{|}~9(g (gOÀ¬iphrase / sentence+Á9½ ½h~vmqo +tu93hy VmnoAmnopmqo+ÁÂÃÄ:/ Ä:/. 2-1. Op.2, No.2. them. They both lead to the spiritual realm, which music music does too in its own way. I often have the sense that in great music, you can feel underneath the busy surface something still and calm which never changes. You could call it 'the music behind the music'. That's what I'm searching for." Ivan Hewett, "Jonathan onathan Harvey: How I gave voice to an orchestra", The Telegraph. (UK: Aug, 2008). 11.
(21) ./5e189|M·NRMæNºçá Ìrá3èé8`Mê< (\]89ëìíæ1Éáî?èé8Ãcï7ð>1ÉjæÑ~î?· Ñ~Éå)Ý·7æÑ~(ºçïÖ|<Ön×ñ*©ÐÑ~4 -8n<¡ÉEïMV;N 1Theme2RMòN 1Accompaniment2 *È,ÕÈÉ./5°=r B¿"_CDC2EFGB¿"GHGB¿"IHG5Àp¾4(J¶KL *fM&Ç ;<)ýNOP¥øQ_#OP&+R1OP/£"ST 2oý"UVWbackgroundX2|}/ñ6yJøëOVWforegroundX& AYZ[WSibelius, 1865-1957X2\D]Ï»Nñ_#^w_#=4yÍ `aËTUbcd=2h&+©ò2ñeõf2TUfC/;03 2õghIH&ij_kl&$#]2mÅGH¥ømn2 DC;Ìo25 ./5~MV;N7MòNºi-ÇÐÈÉ ó-8MnN 1ambiguous2É?i889489É;¡WXnÌ#É ×W Xáåôw1³¡ õÖ|)ÈÈÉ¡ öï*©4É¡ ÷Î *©<øþùúDÂ|1Law of Excluded Middle226º,ûkï89 ì4É89Ìüý¡2ñ½þÇWÿÐÈɺM¼)N1unity2= Î1contain2Ð!Mó½þ7MnÌN<(å#Ù"Ú}RCr. ;<¼opNqN2rH&'"(yst*ü{"uwvw#o27. HIJ4KL 1Tombeau de Messiaen2]Ô1»E/./·k8_è 9&89É7jk-6¥íî@^<8*È#Í,ÕÈÉ 25. Jonathan Harvey, "Music, Ambiguity, Buddhism: A Composer's Perspective" in Contemporary Music: Theoretical and Philosophical Perspectives, ed. Max Paddison and Irène Deliège (UK: Ashgate Publishing Company, 2010) 26. 27. P. Proposition. P. P. P ∨ ¬P. “The Essential question that occupies the musician always and inevitably reverts back to the pursuit of the One out of Many.” Igor Stravinsky, Poetics of Music in the form of six lessons (MA: Harvard University, 2003), 140. 12.
(22) Ö)~$%fg89É)~n9lS&É%*©ºçÉ[&89 Ð )-ÇÈÉnó-ÉÐ 4M~)N<. 13.
(23) !5# 678-9:-;< !"# .)67. HIJ4KLhi~íî789É%íî0 Philip Mead D@ÉMÁ Y'9N1Eastern Arts2()É ï 1994 v 11 ¡ 2 ø:ï./ÓÔ89* 1Cambridge, West Road Concert Hall2<. ./D@HIJ4KL!8~1+=/9&9:,Ñ©IJ-.É¿À @A;ÉHIJ4KLZ/k1GIJ2-89Mz=NÉ=0) 8à°±R²o,ᣤ¥¦jku<./#ÆIJf+S81 2)+Y¦Ý4/É9WXñÎ34É*qÇï8514r< 89ÐÑ|ÉVýÔMp>NS8ÉíîÇMV7fg89|íî S8M6N É*fg898QÉ7·kMlÍ8tN¥8 èÉíîÇMF jkM-6N É*©898½¾2³»S&M#KÉf g89&Ýñ9M:¥N É*8äç1*©S&JÔÙ)-É98¥E;¡ <hÕ É =ó0< ®ÉY¡>?4!"Éí緰 ÑR²#$MKN/§ 89+°%®S&|'(É)Õ*E'Ä)Èú < É^+ï,Ô4|<. 28. 14.
(24) !"# $%&'()*+. 3-1. 15.
(25) Ë. ÌÍÎ3-1Ï!"+ÐÑ;< +ÐÑ;<9ô/|õ¦¸ö+I¦ÜÝ nÕÖ×. Ò¼hi+ÓhÔAqÕÖ×ظÙÚ+/ÛÜÝ qÕÖ×ظÙÚ+/ÛÜÝ9©qÕ÷ø/ /9('() `Þß(qÜݯ. 1. àX¬ÓhÔ¯Ò¼hiÕá+hâ´µÖ× Ò¼hiÕá+hâ´µÖ×9:h~ùäàXãaº% àXãaº% h+ÓhÔã×A©OàX¬%h ©OàX¬%h9^fúàXìíî/+ûh 2. äÓhÔåæçèé+ÜÝ +Üݯ!"ÐÑ;<nÕÔç+ÓhÔ9 9*Êà+ ¬h9%h E♭9êëÌÍ ÌÍÎ3-2ÏOðhü44ýRþâ RþâARhüp ´µ+àXìíî¿ï9 9ýhüÿ´µ=L! +"áh!"^(O !"^(O ðh~ÜÝfÖ×ظÙÚ ÙÚ¾©9À#i¸/9Ö×OðÓhÔ+%ha Ö×OðÓhÔ+%ha ñòó¢9Ä!"+ÐÑ;X/ Ä!"+ÐÑ;X/9ÿ$ëظ%h{t+%&9 9êëÌÍ Î3-3ÏqÕ. 3-2. E 16.
(26) 3-3. 17.
(27) 3. ÊØh¯i¸<¹],-¬h <¹],-¬hÊØhAD♯ 9G¸=,><¬Ù? ¸=,><¬Ù?+ ,-¬h9.ÊØh .ÊØhAE♭92^!mÊØhoÖ×ظ+"ª Ö×ظ+"ª h/9êëéÍÎ3-1Ï Ï¾©9ظ±#$î9ùä%&4H{'08/+ ùä%&4H{'08/+ m081oÖ×92083¾pÊØh43¾4aá+56 2083¾pÊØh43¾4aá+56 081ù äãm7h7h7h 7hØh7ho;hÔã(Ö×9Gãh)+ Gãh)+ 56¿8ÊØh9:e 9:eA2*9208+2àXh/+ EG G♯h9© 2hz;<ÊØhh/ 2hz;<ÊØhh/9êëéÍÎ3-2Ï. 3 3-1. 18.
(28) Ë 3-2. !"+ÐÑ;X/ /Ôçظ+m%hoFundamentals9Oð%hä Oð%häÀ@ >,-ç:./901:h~ã× 01:h~ã×9:;,9êëéÍÎ3-3Ï Ï¹ApBCD »c A h9À¬%hhã*ä À¬%hhã*äà¬hã×9©OÀã%hgàXh/ àXh/+2 F p F♯92Oh34ghã+5> 2Oh34ghã+5>9×<Æ+=Ûhlº!" lº!"ÐÑ;XqÕ9 :/xXÁx<Á+6Á xXÁx<Á+6Áretrogression9GûÁ/+h/á> á>! ÈElF 7inversion+?@9 9=Û FF♯? BCÍl¯x<Á+x<h x<Á+x<h A p,> <h D9l82h/ìá 82h/ìá9|1:=Ûh FF♯9x<Á+xXh <Á+xXh E♭pGH. 19.
(29) xXh G♯+=Û|I¿º =Û|I¿º9xÊhpGHxÊh+=Ûh BCA AêëéÍ Î3-3Ï(2J. 3-33. !"Kcn`LÐÑ/+%hhãpÓhÔ åæ×àãÓhÔ9Ö×Ø !"Kcn`LÐÑ/+%hhãpÓhÔ9åæ×àãÓhÔ ¸+ÙÚ9êëq7éÍÎ33-4Ï. 20.
(30) 21.
(31) 3-4. 22.
(32) !,# -./0)12. M0ظ»c+rs rs9YÀ>8OðrsáÊZ¯. <NúÓhÔ%h+ %h+RShFundamental Tone. 2¦O+ÙÚÖ× ÙÚÖ×9fúèéi[D\»c+ú¾ÓhÔ9 9Ò¼hiÕáä ´µ+hâÖ×9»càXãaº%h+ÓhÔã×:h~ »càXãaº%h+ÓhÔã×:h~9©O ©OàX¬%h^ àXìíî/+ûh ûhgi¸/ç +RSh9.Tظ ظ%h+{t)ó ¢9lP¶<¹]´µ lP¶<¹]´µ]¶+^h A9^!2U+ÙÚä%h !2U+ÙÚä%h A ;ÓhÔ Ö×QäRSh+ó¢ QäRSh+ó¢.|õ%h+{t9lP¶UWañò añò$` A h9 ^T2UW+%h AA_1$`+ah$îUWç ;>9 9´µ¶çb^+ E♭h9%hVW{X E♭9êëéÍÎ3-5ÏÎ3-6Ï. 3-5. 29. A. Sub-harmonic harmonic. sub-harmonic harmonic fundamental. 29. Harmonic series 23.
(33) 3-6. E♭. XcdqeÙ?Descending Descending Chord Chord. cdqeÙ?ظ,"ª ظ,"ª+rs;<9»c12rs+UW*4+U »c12rs+UW*4+U9 ظ<7(n+D)4’41/8’37 4’41/8’37 %&D\ÄÅ+¦OB/9»ccd+qeÙ »ccd+qeÙ ?êëéÍÎ3-7Ï 9©!"+ !"+y%&;z{/cdqeÙ?+,~h /cdqeÙ?+,~h9ä% &+4H{'08Ö×9x+f8ghijk:ÐL x+f8ghijk:ÐLp.34 Aä2õ ä2õ9!"K Kc2rsfcB2¦Op%&+5lm y%&;z{qeÙ?+UW Kc2rsfcB2¦Op%&+5lm qeÙ?+UW9mA CÆ×noÈ£A<¹]äpqt+<crqeÙ?ã× <¹]äpqt+<crqeÙ?ã×9XBC|¢}~ XBC|¢}~ stuv+wx9qeX´µ+,-h qeX´µ+,-h A B9êëéÍÎ3-8ÏpÎ Î3-9Ï. 3-7. Prelude No.6 24.
(34) 3-8. 3-9. A. Ê$`+ah$î Monophonic Melody. 2cdqe+Ù? 2cdqe+Ù?9$`+ah$îIظ"ª+rs;< $îIظ"ª+rs;<9y%&; z{/Zc2O¬m +rs /Zc2O¬m +rs$`+ah$îäcdh/Z+h äcdh/Z+h ~Ö×9phyd hydqe+Ù?Æ×2no+È£AÙÚäø?+Ù?¢¤ ÙÚäø?+Ù?¢¤ +ah9hyädqe+?@¢a+8 ädqe+?@¢a+89©h+2 h+2 î+f¶9»2rs! ça+t@ »2rs! ça+t@. 25.
(35) 3-10. 26.
(36) !3# 456789. ,-(nrs9ظ ظrsáP¶IntroductionqeÙ?U qeÙ?UW Descending Chordp p$`ah$îUWMonophonic ophonic Melody Melody 9»cD)=¡ çUW9ÈÌlq lq¯. 3-4. änÌõ9ظ]¶D)* 8 á 37 9»c1qeÙ?>E >E D. Chord +ÕL*4+U9i¸ i¸ ZÕáA©$`+ah$î>E >E M. Melodyÿ ÄqeÙ?+UW;) ÄqeÙ?+UW;)gi¸+¹]pBCk3ò k3ò :rsph~ +Èb¯P¶vn+hw P¶vn+hw9©C¶ÿcdqe+Ù? 2*9´µ]¶ +ÕLä,-h A ¹]9,>B+Ù?,-hI ¹] A. 3-11. 27.
(37) 3-55. YÀظ+te¢¢rs»c rs»c901ç:5lm9¬©,-ظiU+ ¬©,-ظiU+ ãׯP¶+te!=1209 92tegظ/µÄP¶»c9!P¶rs+ !P¶rs+ £¤m9¥fúqeÙ?()$ ¥fúqeÙ?()$`+a$î©qeÙ?D. Chord ÕL+t e9ÿ! |¦Y<Ax<§ç +te x<§ç +te!=759xX§äĶ·iUó¢ äĶ·iUó¢ ♪=1029xʧpx:§D px:§D♪=150p!=75 ¿¸9x+§ÿC¶ x+§ÿC¶9äظ ô¨ç +©t!=509ªhi¹]«VPJ¬ ªhi¹]«VPJ¬9«n()«sX «n()«sX!=609¾ ~+%¡8te®sX!=208 =20893hi¹dò«s9º»¼+~oh. º»¼+~oh.9 8hi¯N~t+°±/. Ë. ©gah$îM. M. Melody+ÕL9x<§pxX§+teD Melody D!=809x. ʧäĬN²³+UW9grsn´ grsn´W¢×aº+wx9pÙ?rs rsjkg< 9(te¢♪=150Mk Mkظrs()te+»c98ظUW½á ¸UW½á¯ 28.
(38) 1. ¯1Introduction2r%)íîé8 AÉ-.28~¯;< 8É~%8t_èfg894}8É/0)128tÉ%3j 4812®5"2Q8É]Ô8t#'2ÉÔ·¸ÝÞ6 ð8ßÉø""2 A 8É7%é¥bc}8< 2. ()b1Section I2r()bý*ÈÌØ#Í,ÕWX─ °±R ²="8<°±R²8àm1+48£ðÉýÔfg !"¾ì1É"889,!8QÉýÔ:ð!"< 3. "#9b1Transition2 r%;<°±R²É$'()ÇM7(-ÇMÉ Ï°±R²WX=~(-%ÔÉ*7()%óè8=Y¦ ¾ñÉfg!"É>'®(-b< 4. (-b1Section II2r(-b·k()bWX>./É"8 ?@2¯jk"128æ°±R²ÇÉ(1/k,¯R²¡É 7äç?@2¯Ô"6ð8æÉ%¯WX?@Ai)Ý)QÉÐ 0?°)È9b< 5. (Gb1Section III2 r(GbWXø%()bWX ÝÉ*:´¤ 6:\ÜÉb,7?@¯WXÉ 8Æ°±R²=" 8äç0E)<)%Ä"8?É%8Q >Éäç1èR²ÉÐ ?5,¯6{roB>°±R²n¦° ±R²Þ2¸i>·ÉÒ+QCÉñ?ç·®D´R²ï0?16éE < 6. 1Closing Section2 rýÔ'*F5É 'rhi7â Ô渰±R²É{rB>R²E,ã°±"Æ|ɸi7Þ4. 29.
(39) ð>ÉÆ89GE1H®'48ào'·¸io'µ¶S&< bco WXo o¸i4¼\Éë&°$x3-1y<. bc ¯1Introduction2 ()b1Section I2. "#9b1Transition2 (-b1Section II2. (Gb1Section IKK2. 1Closing Section2. WX °±R²bc) 1D. Chord I2 8bc) 1Melody I2 °±R²bc1D. Chord II2 8bc1Melody II2 °±R²bcG 1D. Chord III2 8bcG 1Melody III2 °±R²bc[ 1D. Chord IV2. °±R²bc` 1D. Chord V2. 30. mi IÃ. ¸i. 48” 36”. p.1 p.1. !=120 !=75. 48”. p.3 p.4 p.4. 1’16. p.4. !=80 !=90 !=75 ♪=102. 48”. p.4. 49”. p.7. !=80 Jaccel. ♪=150. 1’10. p.10. ♪=150. 42”. p.13. 55”. p.14 p.15 p.16. 35”. p.17. !=80 !=114 !=160 !=50 Jaccel. !=60 Jaccel. !=208 Jaccel..
(40) !:# ;<=>?. <P¶Introduction Introduction. P¶Ø¸¿<»c <»c!=120 2te+UW9!P¶+rs¿ ¶+rs¿¦Ä:ÅU W¦£ÉAP¶rs+ ¶rs+"ªm½¥£qeÙ?()ah$î" "ª93g;>+ UW/9À:8pO pOZrsjk9ÃaºØ¸+ªd;<<¹]´µ¶ç <¹]´µ¶çÉ "+nh A9ÁÂn02h+ 02h+"ªmA©Ö×P¶ÙÚÄ9^2h+ÓhÔ ^2h+ÓhÔ ¾>9lÓhÔ+ÜÝ lÓhÔ+Üݼ9´µäh/ÅÆ+-hXÇï+~h ï+~h9Ê× x<ig!"ÐÑ/ g!"ÐÑ/9¡ç2P¶x<i»c+h~ »c+h~9Oðh~D( A %h+ÓhÔÖ×AÐÑ/Ò¼hiTape %h+ÓhÔÖ× Pianoh~q7+ q7+H(9^ A hÓhÔ/áh+/H /H9êÈÌÍÎ3-6ÏpéÍÎ3-12Ï . 3 3-6 31.
(41) 3-12. A. ÈË!"ÐÑ9ÌÔç ÌÔç A h+ÓhÔ9¡ç:áh+/H Qä|+ /H98x<i+´µÙÒ¼hiÕáÍnÓhÔ+/H Ò¼hiÕáÍnÓhÔ+/H9ØÙÕá+H( ØÙÕá+H(9 :/ÎÏ+Ðu9´µÕá÷ø+H(Ù ´µÕá÷ø+H(Ù9! ÈE+?@9 9P>®f á> 37 () 519êëéÍ ëéÍÎ3-13Ï x<i<¹](´µ+,-h ´µ+,-h A ç 9 ªÒ¼hiѶç¬hÒÓ ÒÓ´µ]¶ÕáªN9Ä(f¶ºÙ+w@ Ä(f¶ºÙ+w@Ûæ "Ï+èÔ9kפÕ+h. kפÕ+h.9¿4gi,/)9ÚÌ2Ò¼ ¼hip´µ Ö×ĺh. 3-113. 32.
(42) P¶O<rvn+h/ O<rvn+h/9ä A hç9©,><¬Ù? <¬Ù?+,~hIB Ä A hA¶//h+ã× ¶//h+ã×4ðah94ðÞh9QäÌÔ> Oðh QäÌÔ> Oðhg h/n+569! F7 F7ÈE+?@. 3-14. P¶áʬi áʬi9x<)xÊicd+hw9 9! çÈE+w 89xXiÿ(stfÜqt stfÜqt+ahÄ:/xXi<¹]ç + <¹]ç + A B♭E♯F♯:h9á> á>ä¬7hã×9l<ßuv+àst¶ç st¶ç9Wë)zÜ 12P¶+/Ûh A9 9áâò(ãeä¶9å§n02h+"ªm å§n02h+"ªmx<ip xÊi91,> ,>æç+Ù?àá¿è9*ºh D♯G♯A93:-hÄ x<i»c F♯9xÊ xÊiÿ GAF♯G ;)+56é<ê7h ê7h9pxXi +stfÜhÝ<w hÝ<w . 33.
(43) 3-15. A. 34.
(44) -o()b1Section I2. ()býÔ1 '>?*ÈWX§ °±R²="8 É*ÈWXÌØ#Í,Õ<°±R²Læ9mì¥Éå fgM66+SÏ"8N,!8QÉèé8OPm <É8QRS,!1:ð<*ÈWXÉ)f)ðɶè1éE5É Äb bc*ÈWXÝ@~./<. •. °±R²bc)1Descending Chord I2. bc¸iÚ~!=75É7¯)»%íî'4é8 A 0?Éé8T &USo³V°±R²É fg89åÕT&wÉWû2íîR²É¶ è*È»J,Õa%<×åM6w°±R²É%Qb4:ÍÎ1*%Éë uv&'x3-15yÆß)ÈR²Ô©ªvXh9Éá.Ô(-%1( 20 ÈR²Éë&&'x3-16y<¡ÉíîÇMhiÏ:iV1#lÉêz7 ëzhi½~¾ìÉ ~°±R²bc>?#Éï4Äbc|3 pkhi54z=<. 35.
(45) 3-16. 36.
(46) 3-17. cdqe+Ù?p%&4"ª+5l Ù?p%&4"ª+5l9lî8O 29 ¬qe qeÙ?+,~h ìç9 :h~ä ä%&4H{'08The The Modes of Limited Transposition Transposition /+x108xí{' {'ã×. 3-18. 37.
(47) 3-19. •. ah$îUW<Monophonic Monophonic Melody I. ah$îUWpqeÙ?Æ× pqeÙ?Æ×2no+È£¯qeÙ?îòv-hqt qeÙ?îòv-hqt9 ! çp+ïðAah$î(aî+Zh/ ah$î(aî+Zh/9! ça+t@ ! ça+t@ 2*9$î)h+9 92î+f¶Ù09Ò¼hi+Õá Õáÿlôõ ¼p:ñb9gÄÖ×+¶//Ûæ gÄÖ×+¶//Ûæ"Ï+O¬UWá¬i á¬i9 x<i+te!=809xX xXi+te®s!=9093BP2óªäqe 2óªäqe Ù?ã×+¶·iU9teò ò©!=75. 38.
(48) 3-20. Ö×ah$îUW<+ Ö×ah$îUW<+¬i9$îh~$è÷a9 93h~+ã×7 84*ºm¯$îQäañ$ $îQäañ$`+89««®N«f«±h~ «f«±h~9l8#§ ç +h~öçf9| |õO¬iDä 11 ¬hã×. 3-21 39.
(49) 3-22. ah$îUW</+¬ ah$îUW</+¬i9#§ç +h~Ñ>./ÌÔ /ÌÔ9ÂG¢ :h/>9 O¬i ¬iD»c2ZXeZÊeøÊeÊØ:e() ÊØ:e() 9:e¬iûä 11 ¬hã×9gàXhB/9 x<i ¬h i+2 F9g xXi/ÿç 2 F h9 9Â(nhùn0úAº@9xXi+2 +2 E9Ãx< i+Bÿæçg E n09êëéÍÎ3-23Ï n0. 40.
(50) 3 3-23. ʶ·iUTransition Transition. •. qeÙ?UWX qeÙ?UWXDescending Chord II. ¶·iUpqeÙ?UW qeÙ?UW<»c+Ù?!"¿º#ÿZó¢ <»c+Ù?!"¿º#ÿZó¢9)4+Õá +Ù?h~û"ó¢¯ ¯x 15 ¬Ù?ü ABF ¢×2 AD DF9x 16 ¬Ù ?ü FB♭E ¢× A♭B♭E9Dó¢2:/<hA1819 21 .*2ð" ó¢93,"ª+~h ~h$î$#ó¢9(OðÙ?+,~h9 9¾ä%&4 H{'08/+081ã× H{'08/+081ã×9pqeÙ?UW<¿º¾©9:/ :/,Z+W¢9 ÿÒ¼hi¹]ý´µ ý´µqeqt+89p´µ<º¶ç%Ú+Ù? p´µ<º¶ç%Ú+Ù?9+© ò8hiþN-h+## N-h+##4&Ä2UW+D)'(9GrspÙ?UW<¿¦ rspÙ?UW<¿¦ =ÿZ+ó¢9è: è:óªc+¶·iU. 41.
(51) 3-24. :xXUSection II. xXU¹],x<U! x<U!+rs98qeÙ?pah$îQähy+1, Qähy+1, f¶+¢Æ9W¢×aº+wx ×aº+wx9ÂG¹]P¶+rs9»¬2ª+rs »¬2ª+rs ¹]pP¶rsjk. •. ah$îUWXMonophonic MonophonicËMelody II. ah$îUWXpUW<,Z+aº^é+»c ah$îUWXpUW<,Z+aº^é+»c9´µÄah$îUW ah$îUW <)»c~hé9¾©ah$îUWX ah$îUWXäÄhy+1,9¹]»cZé ¹]»cZé 2-Zah$î+hy*9ah$îUWXI¹] ah$îUWXI¹]jkP¶ç +cdst ç +cdsth w9D©+©D©./A2* 2*9Ò¼hip´µÄèôõ¼òÖ3ñb òÖ3ñb9! ça+t@3ah$îUW ah$îUWX+himph~+ã×ÜÝDpÑ h~+ã×ÜÝDpÑ P¿º¯´µh~+ã×0c 0c?îUW<+ÜÝ9Qä$`+$î9 9««®N« f«±h~l¡ç#§ç +h §ç +h~9 h~Xnh E Dé<ÊÀç é<ÊÀç à. 42.
(52) X¬h9å012Uá> á>Ä B♭EF Oʬhn»cnh6³ nh6³9B♭P<$î UW+Bh9EF ÿ$îUW<¬i/û7++h9ëéÍ ÿ ëéÍÎ3-24Ï. 3-25. Bah$îUWX ah$îUWXa+$î¶çÊÀ+àX¬h;> ¶çÊÀ+àX¬h;>9¹]å 2P ¶x<i+n$î +n$î¯x<§äG-+78ç 9©xX§V xX§VÊÀå üÆ9 xʧÿ4cüÆ+PU xʧÿ4cüÆ+PUG-ÕLA+Ù?9ã×pP¶x<i,>+Ù pP¶x<i,>+Ù ?¿º9ÊØ:e()øXe e()øXe93»c2aºh~A©ªç + ç + F♯9^P ¶x<i,><¬Ù?5Ðä¶+h~ <¬Ù?5Ðä¶+h~9>8ç +h~ÿD ç +h~ÿDP¶x<i. 43.
(53) +G-AxX§+üÆlP¶+x +üÆlP¶+xÊi9ª¶çPU$`+ah$î +ah$î9h ~ÜÝpÑP¿º9äàX¬hÑ> äàX¬hÑ>Ö×. 3-26. 44.
(54) UW+BC¶ç<crstfÜqt+hw ¶ç<crstfÜqt+hw9pP¶xXi xXi»c+rs ¿è93äü9:hÖ×+7h hÖ×+7hëéÍÎ3-14Ï-=×ʬ÷ø+ ʬ÷ø+áâhw9 *ä 11 ¬hÖ×9àXh/ àXh/¨»c+ G hÿç Ä,>n0 À¬i/)+ 2 1 ()q F♯FEE♭D +h9lOrh+/Û<¼÷ø: +h 9n÷ø n÷ø: 3 +há>;:¬h"< ÷ø: +há>;:¬h"<92*9n÷ø()q÷ø n÷ø()q÷øûäaºh~Ö. ×98:h/¢> :ã×øXe 8:h/¢> :ã× ZXe()øÊe9êëéÍÎ3-26Ï . 3-27. •. qeÙ?UWÊ qeÙ?UWÊDescending Chord III. qeÙ?UWÊ´ ´¹]>âÑPdqe+89hyäü9 hyäü9dqtXh9W¢$`Ä~hy Ä~hyfÜáâ+89BÙ?qe1<'? qe1<'?9^2Ù?Ü 1üSå§áâÙ?+ Ù?+h~¾äx<U+qeÙ?©f93¹] 3¹]ò+2Õá +hA(¡nH(78 78pqeÙ?UW<+Ù?£9 :!"+78 :!"+78¯< 45.
(55) ¹]ä5ÐÓN++¬h/9 9a0g!"Ù?+1ð29®N/Ð>ä ä6³x 13 ¬Ù?¹]9#Xx 29 ¬>åÜ1x >åÜ1x 1 ¬9åäx 1 ¬Ù?#1x 12 ¬97û x 12 ¬Ù?_ªªx 13 ¬Ù?zå§!" ¬Ù?zå Ò¼hi+ÕL<¹]p´µºÙ9 Ò¼hi+ÕL<¹]p´µ %Ú¶ç<cr+Ù?9VqqtX$+S;> VqqtX$+S;>9¾^zÜ12üS ¾^zÜ12üS9l2f Ü%$+Ù?&`±§>9P¶ç +stqt P¶ç +stqthwÄ##¹]33 Ä##¹]339'(ò ÄÙ?;)9¾D)+9® ¾D)+9®9qthwÊÀ+,39fÜ%$+Ù? fÜ%$+Ù? aõa'ò(ºÄ:/9ästqt+hw8:)* ästqt+hw8:)*4*g.e n 4*g.e n95/ Ðê¿¿á+9©Gê¿+ª ê¿+ªAB/ЫnD95Ы59© ©é/änª q+,-9^.eä/Ð+ªX5 ä/Ð+ªX5Ð. 46.
(56) 3-28. +xÊUSection Section IIIË III. ah$îpqeÙ?ÄxÊU´|¢×ÊØaº+wx ah$îh~$` ah$îpqeÙ?ÄxÊU´|¢×ÊØaº+wx¯ah$î +78pf¶w@Dó¢|pÑPaº ó¢|pÑPaº9cdqeÙ?+te .epf¶IW ¢×aº+wx. •. ah$îUWÊ ÊMonophonic Melody III. ah$îUWÊ<¹]ä <¹]ä%:9øÚ+ah$îÓN9ÁÂgýÑPl ÁÂgýÑPl 8q¼p+qeÙ? +qeÙ?9îòqt9©g$`+$î)9I fúP¶r s+stqt+hü9 9(nhuv¼ò¶çA2tp9+Ö; tp9+Ö;9, ç<= m+9î2U+$î $îh~ä%&4H{'08/+x108x:{' %&4H{'08/+x108x:{'ã×9* !"+§9/)Dstqt+hü /)Dstqt+hü#§ç ÊÀò»c #§ç ÊÀò»cx108x:{ '+h~9¾©gç xX§pxʧ> gç xX§pxʧ>9ÿ«®N¥082+ ¥082+h~AxX§ ®N G9xʧ®N C♯D♭() G9x:§®N C♯9x+§ÿ ÿpx<§<w9 ÊØä08hÖ×2* 2*9x:§¹]®N2xXÚÕ9ä A B♭BCC♯ 47.
(57) D í¬hã×9x+§+ã×hÿ8 x+§+ã×hÿ8íh/ü9+ D h¢ E♭h8(n2ÇÀ 8(n2ÇÀ @×lq¯. x<§. xX§. xʧ. x<ÚÕ. »c%&4H{'08/+x108x:{' »c%&4H{'08/+x108x:{'. xXÚÕ. X. x<ÚÕ. 2»c08h;*9®2 G h. xXÚÕ. X. x<ÚÕ. 2»c08h;*9®2 C♯D♭G hàX h>Ø. x:§. x+§. xXÚÕ. X. x<ÚÕ. 2»c08h;*9®2 C♯h. xXÚÕ. ã×h AB♭BCC♯D. x<ÚÕ. »c%&4H{'08/+x108x:{' »c%&4H{'08/+x108x:{'9¨ 9®?*+h. xXÚÕ. ã×h AB♭BCC♯E♭. 3 3-29. 48.
(58) 49.
(59) 3-30 30. 50.
(60) $î¶+§$` `;>9å 2pP¶<¹]hw¿è+i ¿è+i9P>¶ ç2P¶+/Ûh A9 9g1,>æç+h~½¾aº93pÑP<wä7h 3pÑP<wä7h Ö×. 3-31. gah$îUWÊ Ê+BC9+ah$îg$`+¶//««,×Þ ««,×ÞÚÕ9 ªÞÚÕ+$î«f«±h ªÞÚÕ+$î«f«±h9¬©]¢×Ù?2Q Qä9®hü»$ î¢×Ù?;*9.äü9$`+hw¢qe+ .äü9$`+hw¢qe+8Aü9$`+hÆa$ 9$`+hÆa$ î+¤@9qe+hwÙ?+¤@ qe+hwÙ?+¤@932D¹]jkO¬mA¾aº+r O¬mA¾aº+r s9¬©W¢×4<¬wx <¬wx9þNq<¬UW. 51.
(61) 3-32. •. qeÙ?UW:Descending Descending Chord IV IV. BÒ¼hiç BÚbell bell+nh9¹]¶çqe+BÚ9 lGH |¢|}CZ+qeÙ?åeç qeÙ?åeç 9¾>´µ¶ç9n+qeÙ?pBÚºÙ] qeÙ?pBÚºÙ] ¶9! çDEF+>¶+9î >¶+9î¯É"+Ù?¾!"§H+9® É"+Ù?¾!"§H+9®9te.¾ ;9®9Qä~+%¡9> >¶+?@¹]IJ9Ò¼hiaº»¼+ aº»¼+stf ¶98hiþN}no+C¶ 8hiþN}no+C¶O¬UW2ªä 11 ¬Ù?ã×911 ¬Ù?B/ +P¬Ù?gP<U+$î/´GH P<U+$î/´GH:KL9«ò]¢×Ù?þN2UW9 52.
(62) ©OðÙ?6³+/H ©OðÙ?6³+/H9(Ò¼hiç BÚnh>9x<§pBÚ>¶+Ù? x<§pBÚ>¶+Ù? 29BxX§pxʧ!"D BxX§pxʧ!"D^¹]aº+h9aåcMç aåcMç 9êëéÍ Î3-32Ï 2*9qeÙ?UW/x<§¶ç+Ù?~h qeÙ?UW/x<§¶ç+Ù?~h9jk2ÑPNh$îU jk2ÑPNh$îU W+ÐL9~h¾hi¬Á/ ~h¾hi¬Á/9«ç ÊÀ+àXhh~9 9(7H(T x<§ç +h~ . 53.
(63) 3 3-33. 54.
(64) íC¶Coda. •. qeÙ?UW+ qeÙ?UW+Descending Chord V. gPUÒ¼hi¶ç ¶çOJº»+Ù?;>9¾ç <ÚP. <ÚP.9Ò¼hiB Ä9n+BÚ9©´µ( ©´µ(ظ,n+.e¶çÙ?p:ºDç ¶çÙ?p:ºDç ª9Ù?¹ ](ظ,©+teqe ](ظ,©+teqe!=50 9QÉ"zCZ9g¶§+!">®sX g¶§+!">®sX ظ,s+te!=208 =208RÙ?dqe+¶//te.d9® 9®9º»¼ò «s98hi¯N~t+°±/ 8hi¯N~t+°±/9JX,-+hy,}~+Ú. ,}~+Ú.9BÄS ;/C¶<¹]+Ù? Ù?~h9px<Uç +qeÙ?<wä%&4H{' ç +qeÙ?<wä%&4H{' 08/+081{'íÖ× {'íÖ×9®sX,>V¢×27h2* 2*9208ÄàX h/7+2 A p D♯E E♭9©Oh^ظ<¹]ç +,-h ©Oh^ظ<¹]ç +,-h9.,>B Ù?+,-h. 3-34. 3-35. 55.
(65) @. 3-36. 56.
(66) !A# BC$D&EF)GH@ !A#@. än`áT9ë ë!"gi¸+BÖWXn¥\Y49ghân+Z[. ghân+Z[.¥ \iUM0ظ+Ò¼hip´µ)+ Ò¼hip´µ)+.e¢¢94DºÙ\2ý \2ý94D> ¶94DÒ¼hiV 4DÒ¼hiV5]^_´µA©a$`a]¶´µ+.en `a]¶´µ+.en9!"I» c2iU+ÚÌ9»5Ðp/Ð+.e¢¢D\¿á 5Ðp/Ð+.e¢¢D\¿á92ÐL±ë ±ëÄqeÙ?U WË. Ë. 3-37. y%&;z{Ò¼hi Ò¼hi+»c9b+gÄcdÒ¼hip´µ)+ ´µ)+mo pmjko 9©ÄC¶2Ow+IJ 2Ow+IJ9QäÒ¼hi¶ç9n+BÚ QäÒ¼hi¶ç9n+BÚ9þNf ´µ+CÚÒ¼hi Ò¼higP¶UW+f¶p´µºÙ9»:h~Ûæ »:h~Ûæ"Ï+èÔ ©qeÙ?UW UW<ÿle.¼9%:òV5]9^_ç´µ+qeÙ? ^_ç´µ+qeÙ? qeÙ?UWX;>ÿ¹]p´µ; ;>ÿ¹]p´µ;f¶ºÙ9ýqeÙ?+Ú. +Ú.9XqeÙ ?UW:V¹]º»OJ¬N=Ò¼hi+C¶ OJ¬N=Ò¼hi+C¶$`+a$îUW $`+a$îUW9Ò¼hi. 57.
(67) ÿ(ý´µtu29lôõ¼òÈgñb lôõ¼òÈgñb9f¶D©ºÙ9D©\23¹ D©\23¹9 »Ä;)Ûæ"Ï+9 9hiça+t@Ë Ë. Ë. 3-38. !. !. 58.
(68) = !>#= ?@ABCA0DE= !"#8 .)+08 T./4B.ɨ©ÀM0N-ÇÈB;~.<ÉD@): hi~þÿ=7fg89@AHL É·kþÿ#¡S&7fg89^É rsÖ|8oWX7S&u./á Ì< fg89ÇÉ8%þÿ_ èÉ·kË]ÆÖS&¶É7nþÿS8½¾M2N=M0N<. =. ./.3YE-RrML¨;¦V{w£þx"p¾;<2yz<N30. /Z2ÀÚ48V0bÂ>8Q¼RSz=ÉÆ48¤[£®|É ÚRSóèY¦<·kûüË4ÌÉá\Ð8à]Ì1£ðÉ8^ ¼89ñ_8£ð<TB.ɨ©ï@À·kûüRSB;É`?þ ÿ4!²É þÿjk!²~-i7GióèÉV&¡|/`S8ô ÿøù8ô6<¥¦<31. |/`S8ôòoaoÈo$obø%48®Q8óèÉåcÆMòN£® |¤[ûüËY¦_èRSÉÆ3¶è*ó,Õ`S8ôÉë&&' x4-1yr. 30. "The bass moves into the middle: this is our musical revolution." Oxford Music Online, http://www.oxfordmusiconline.com (Accessed 28 May, 2011). 31. 59.
(69) 4-1. C. jk( A /Ûh9VnÖ×l9 VnÖ×l9$fho9 :G-ÿ¥$fho :G-ÿ¥$fho9 ©l9mnho9Qä¬aºho)+ Qä¬aºho)+jk9Ö×¥\£¤+hÔ Ö×¥\£¤+hÔBÖ 2hãé<ä 21 ¬hã×9 9tÄ^c2h~¦ 21 urs;?9ã×ظ urs;? +ÙÚ9¨:h~pqH(T³ ¨:h~pqH(T³A( A /ÛS9Vn×®+l9hopqH( Vn×®+l9hopqH( 6³9G-+h~pIq¿ºH( q¿ºH(9! çÈE+w8äÄÀ¬h äÄÀ¬hã+ÙÚ( A /Ûhç9A hIrs?/,/) Irs?/,/),~p,-+h9ø/±#n ø/±#n 0 A h+»c9ظ+RSh ظ+RSh9êëéÍÎ4-2ÏpÎ4-3Ï. 4-2. A. 60.
(70) 4-3. Ë. A. !"+¦Oy%&;z %&;z{;/ÛÜÝ9^ àXìíî ^ àXìíî´µpú¾. fîÒ¼hi)+ )+9À2´µ]¶+ÕLDÄz%n]¶ À2´µ]¶+ÕLDÄz%n]¶9=»c´µ 2Õµ??:ŤÕ+]¶78 2Õµ??:ŤÕ+]¶78|rsü9:4+Úh¤} |rsü9:4+Úh¤}9 y{<¸I vwQä:xYü]+Ú. xYü]+Ú.9^{pÒ¼hijk9À2rs]¶ÕL.¨»c À2rs]¶ÕL.¨»c ¶±¤Õ+ T]¶y; ¶±¤Õ+ T]¶y;Ë. !"gy%&;z{´µ]¶+ÕLDÄz%n]¶ ´µ]¶+ÕLDÄz%n]¶9=»c´µ2Õµ??: ´µ2Õµ??: ŤÕ+]¶789À Ày%&;z{+/ÛÜÝ^g àXìíî ^g àXìíî´µ pú¾fîÒ¼hi Ò¼hi)+tÄÄ2¦|rsü9:4+ tÄÄ2¦|rsü9:4+Úh¤}9 rs]¶ÕL.¨»c¶±¤Õ ¨»c¶±¤Õ+ Ty;9vwQä:xYü]+Ú. ü]+Ú.9^{ pÒ¼hijk¸/ä¶Ù?+Õá ¸/ä¶Ù?+Õá4crs\»c+~ rs\»c+~y;9aµÄ ]¶9G{! ç±¢+Ù?9î G{! ç±¢+Ù?9îË Ë. @. 61. @.
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