•Midi編曲 音樂的要素:和弦
Ⅰ、構成和弦的合音。
1.和弦的種類。
A.大調和弦。==>長三和弦
C (1 3 5 i) Major CM
C6 (1 3 5 6)
CM7 (1 3 5 7)
CM9 (1 3 5 7 2)
C69 (1 3 5 6 2)
C+5 (1 3 #5) (Caug)
C-5 (1 3 b5)
B.小調和弦。==>短三和弦
Cm (1 b3 5)
Cm6 (1 b3 5 6)
Cm maj7 (1 b3 5 7)
Cm maj9 (1 b3 5 7 2)
Cm 69 (1 b3 5 6 2)
C.屬七和弦。
C7 (1 3 5 b7)
C9 (1 3 5 b7 2)
C11 (1 3 5 b7 2 4)
C13 (1 3 5 b7 2 4 6)
C7+5 (1 3 #5 b7)
C7-5 (1 3 b5 b7)
C+11 (1 3 5 b7 2 #4)
D.短調七和弦。
Cm7 (1 b3 5 b7)
Cm9 (1 b3 5 b7 2)
Cm11 (1 b3 5 b7 2 4)
Cm13 (1 b3 5 b7 2 4 6)
E.結論:
和弦是由許多音所組合而成,多出來的記號,就多加那個音。
Cm 中的minor 是1 3 5 中的 3音改成降的音,就是Cm,也就是(1 b3 5)
Csus 中的sus 其實是加一個4的音,其實sus就是4,所以(1 4 5)
C+5 中的+5 是 5 升高半個音(例:1 3 #5),-5 是 5 降低半個音(1 3 b5)
有時-5的5不寫,如果我們看到C-,我們應該就知道,其實那就是C-5,同樣+5有時5也不寫,只寫C+,我們一看就知道那就等於是C+5。
C6 中的6是加一個6的音,(例:1 3 5 6)
CM7 和C7是不同的,一般C7是加一個b7的音在和弦中,所以C7就是(1 3 5 b7)而CM7則是在和弦中,加了7的音,所以CM7就是(1 3 5 7),而Cm7則是加一個minor 再加一個7的音,所以Cm7就是(1 b3 5 b7)。
C9 我們一看,那猜的9是等於7加上2,所以C9其實就在和弦中加一個7的音,再 加一個2的音,所以C9就是(1 3 5 b7 2)。
└─┴──>這是多加的部份
C11 與C9 差別是多了2 如果只加一個2 ,在原先的C9 中己出現了2 ,同樣的音在和弦中重覆用,並沒有意義,所以就在2+2=4,就再加一個4的音,所以,我們看一下就知道C9 (1 3 5 b7 2),而C11 (1 3 5 b7 2 4)
C13 與C11 比一比就知道是差2 ,所以C11 (1 3 5 b7 2 4),而 2 加 4 則等於6,所以C13 就是(1 3 5 b7 2 4 6)
└──>這是多加的部份
2.大調的基本和弦與常用和弦。
我們知道二個音的組合,叫合音,二個以上的音組合的音,我們就稱和弦。為什麼要
用和弦呢?其實用和弦,只是把原本單調的單音,加上許的音,使整首歌的內容,變的更豐富,當然不是亂加音,如果亂加就變成,噪音。用的和弦的音,應該包括,旋律的音。
例如:C和弦的組成是(1 3 5),只要是旋律中有1 或 3 或 5 ,我們就可以用C和弦。
F和弦的組成是(1 4 6),只要是旋律中有1 或 4 或 6 ,我們就可以用F和弦。
G和弦的組成是(5 7 2),只要是旋律中有5 或 7 或 2 ,我們就可以用G和弦。
一個大調常用的三個和弦是一級(C)、四級(F)、五級(G),當然再加上附屬小和弦,
例如:C的附屬小和弦,就Am 。也就是C往下數三個半音
Ⅱ.和弦位置
壹.C大調和Am小調的音階是相同位置,大調是以大調和弦開始,結束也是用大調和弦結束,小調是以小周和弦開始,結束也是用小調和弦結束。
貳.C大調常用的三個大調和弦(C,F,G),三個小調和弦(Am,Dm,Em)。
參.以和弦組成的音為例。
C1 3 5 ,
Cm1 b3 5 ,
C71 3 5 b7 ,
CM71 3 5 7 ,
Cm71 b3 5 b7
請寫出Dm7的和弦。
請寫出Em7的和弦。
請寫出Fm7的和弦。
請寫出Gm7的和弦。
請寫出Am7的和弦。
請寫出Bm7的和弦。
請寫出C#m7的和弦。
請寫出D#m7的和弦。
請寫出F#m7的和弦。
請寫出G#m7的和弦。
請寫出A#m7的和弦。
Ⅲ.和弦的使用。從單音主旋律配和弦。
以C大調為例。
一. 以C大調而言,有三個「大調和弦」分別是C,F,G7,另外有三個「附屬和弦」,分別是Am,Dm,Em,這是六個常用和弦。
二. 所謂「和弦」就是因為音樂家發現某幾個音組和在一起,聽起來很舒服。以C大調6個常用和弦,分別如下:
主和弦 C (1,3,5) F (4,6,1) G7 (5,7,2,4)
附屬和弦(關係小調和弦 Am (6,1,3) Dm (2,4,6) Em (3,5,7)
三. 根據上述,六個常用和弦,我們就可以把主旋律,配上和弦。
四. 通常配和弦的方法,是以一個小節,或是再細一點就是把,一個小節再分細一點,形成一個小節用兩個和弦。
五. 通常是以一個小節的第一個音為主,開始一個要用首調的主和弦,最後結束也要回到主和弦。
六. 以三個主和弦先用,再用附屬和弦,交換使用,儘量不要重覆。
七. 這是通用原則,一般「專家」在和弦的使用上,也加上了「walking Bass」的和弦,甚至也會用到許多「不和諧」的和弦,在適當的帶動歌曲的轉折與高潮,當然要用什麼和弦是「見仁見智」,多聽多學習,就會使和弦用法上,更精湛。
Ⅳ.和弦的轉調。 大調和弦轉換表的使用方法
壹. 先找出一首歌,把原先的大調的調號,確定以後。
貳. 想好要轉成什麼調?
參. 算出原先的調和新的調,多多少個半音,和弦就轉多多少個半音,少多少個半音和弦就轉少多少個半音。
肆.除大調以外,後面的無論是minor、+5、4、12....,都不變跟著加上去。
例:C大調轉 F大調 那麼大調的和弦就跟著轉。
C F
Am Dm
└──────────┴────→minor不變
Em Am
└──────────┴────→minor不變
G7 C7
└──────────┴────→7不變
F Bb
Dm Gm
└──────────┴────→minor不變
大調和弦轉換表
大調中的和弦
C大調 C bD D bE E F bG G bA A bB B
D大調 bD D bE E F bG G bA A bB B C
D大調 D bE E F bG G bA A bB B C bD
bE大調 bE E F bG G bA A bB B C bD D
E大調 E F bG G bA A bB B C bD D bE
F大調 F bG G bA A bB B C bD D bE E
bG大調 bG G bA A bB B C bD D bE E F
G大調 G bA A bB B C bD D bE E F bG
bA大調 bA A bB B C bD D bE E F bG G
A大調 A bB B C bD D bE E F bG G bA
bB大調 bB B C bD D bE E F bG G bA A
B大調 B C bD D bE E F bG G bA A bB
大調中的和弦
C大調 C #C D #D E F #F G #G A #A B
#C大調 #C D #D E F #F G #G A #A B C
D大調 D #D E F #F G #G A #A B C #C
#D大調 #D E F #F G #G A #A B C #C D
E大調 E F #F G #G A #A B C #C D #D
F大調 F #F G #G A #A B C #C D #D E
#F大調 #F G #G A #A B C #C D #D E F
G大調 G #G A #A B C #C D #D E F #F
#G大調 #G A #A B C #C D #D E F #F G
A大調 A #A B C #C D #D E F #F G #G
#A大調 #A B C #C D #D E F #F G #G A
B大調 B C #C D #D E F #F G #G A #A
#C=bD #D=bE #F=bG #G=bA #A=bB
今天: | ![]() ![]() ![]() |
昨天: | ![]() ![]() ![]() ![]() |
總計: | ![]() ![]() ![]() ![]() ![]() ![]() ![]() |
"God forbid that I should glory, save in the cross of our Lord Jesus Christ, by whom the world is crucified unto me, and I unto the world."(Gal. 6:14)
THEY were living to themselves; self with its hopes, and promises and dreams, still had hold of them; but the Lord began to fulfill their prayers. They had asked for contrition, and had surrendered for it to be given them at any cost, and He sent them sorrow; they had asked for purity, and He sent them thrilling anguish; they had asked to be meek, and He had broken their hearts; they had asked to be dead to the world, and He slew all their living hopes; they had asked to be made like unto Him, and He placed them in the furnace, sitting by "as a refiner and purifier of silver," until they should reflect His image; they had asked to lay hold of His cross, and when He had reached it to them it lacerated their hands.
They had asked they knew not what, nor how, but He had taken them at their word, and granted them all their petitions. They were hardly willing to follow Him so far, or to draw so night to Him. They had upon them an awe and fear, as Jacob at Bethel, or Eliphaz in the night visions, or as the apostles when they thought that they had seen a spirit, and knew not that it was Jesus. They could almost pray Him to depart from them, or to hide His awfulness. They found it easier to obey than to suffer, to do than to give up, to bear the cross than to hang upon it. But they cannot to back, for they have come too near the unseen cross, and its virtues have pierced too deeply within them. He is fulfilling to them His promise, "And I, if I be lifted up from the earth, will draw all men unto me" (John 12:32).
But now at last their turn has come. Before, they had only heard of the mystery, but now they feel it. He has fastened on them His look of love, as He did on Mary and Peter, and they can but choose to follow.
Little by little, from time to time, by fitting gleams, the mystery of His cross shines out upon them. They behold Him lifted up, they gaze on the glory which rays from the wounds of His holy passion; and as they gaze they advance, and are changed into His likeness, and His name shines out throught them, for He dwells in them. They live alone with Him above, in unspeakable fellowship; willing to lack what others own (and what they might have had), and to be unlike all, so that they are only like Him.
Such, are they in all ages, "who follow the Lamb whithersoever he goeth."
Had they chosen for themselves, or their friends chosen for them, they would have chosen otherwise. They would have been brighter here, but less glorious in His Kingdom. They would have had Lot's portion, not Abraham's. If they had halted anywhere-if God had taken off His hand and let them stray back-what would they not have lost? What forfeits in the resurrection?
But He stayed them up, even against themselves. Many a time their foot had well night slipped; but He in mercy held them up. Now, even in this life, they know that all He did was done well. It was good to suffer here, that they might reign hereafter; to bear the cross below, for they shall wear the crown above; and that not their will but His was done on them and in them.
-Anonymous.
基督曾說過:「我心柔和謙卑,你們當學我的樣式,這樣你們心裏就必得享安息。」這兒有雙重的真理,有忍耐、溫柔、謙卑和與神和好的美德,這與傚法基督或信靠祂有相同的意義;同時因著你有這些美德,可以完全脫離亞當墮落的本性而有信靠主高尚的行為。
連帶而有的福份,是因著脫離罪惡和對基督初步信仰、期望,受基督忍耐、溫柔、謙卑和與神和好的靈引導並管理;當你具有這些德性,你的生命就有目的,是真理和生命的基督才會在你裏面,你不再掌權,而是基督在你裏面活著。除非你願在忍耐、溫柔、謙卑和與神和好裏治死老我,否則神聖愛的靈,因無立足之地而不能在你裏面產生;而當你又為不忍耐、驕傲所困擾之際,馬上完全捨己,求神施恩幫助。當你遇到難處就促使與神親近,最能使你忍耐接受神的幫助,我們對神有多少信心和期望就可得多少的啟示。
「這些雖然很簡短,但是真正確的教義,使我們因賜下的救恩而真正完全順服神的啟示下,也真正宣告承認三而一的真神。」現在願你有個思想:完全將我的心靈獻上,單單尋求救恩,直接藉著溫柔、謙卑、忍耐和與神和好的力量,使我的生命有屬天的德性。
「並且要作這更大的事,因為我往父那裡去。」約翰福音十四章12節
祈禱不是叫我們適於那偉大的工作;祈禱本身就是偉大的工作。我們以為祈禱,是叫我們得到較高的能力,去應付神的工作。但按照耶穌基督的眼光看,祈禱是我本已救贖的奇蹟,藉著神的能力,同時也是別人救贖的奇蹟。結果子之方法,是祈禱,但須記取的,這種祈禱是建立在救贖的痛苦,不是建立於我的痛苦。一個小孩能獲得祈禱的答覆,一個聰明人反而得不著。
你無論在那裡祈禱總是一種戰爭。不管神製造環境的方法怎樣,本分就是祈禱。切不可如此作想──「我所在的地方,不見得有用;」因為你不在的地方,你必沒有有用。無論神安排你在那裡,祈禱,常常向祂祈禱。「你們若奉我的名求甚麼,我必成就。」(約十四13)我們不肯祈禱,我們得不著奮興,就不肯祈禱,那就是靈性自私的極度形態。我們要依照神的指導而勞動,但祂指導我們的是祈禱,「所以你們當求莊稼的主,打發工人出去,收祂的莊稼。
通常的工人對於工作,是沒有興奮的,但是成功通常是工作勞作出來的;同樣基督的概念,沒有那些勞苦的聖徒是不會發現的。你慇勤祈禱,從神的立場看,是無時不發生效果的。當帕子揭開,一種說不出的驚奇必然發現,你可以看出你是慣於接受耶穌基督的命令的,已經為祂收穫了不少的靈魂。
「……亞伯拉罕信神……」羅馬書四章3節
亞伯拉罕的信心是向著神本身的,他認識帶領他的神,所以他對神有絕對的信心。
亞伯拉罕一生的秘訣在於他與神的友誼。他所認識的神是一位偉大、良善、信實的朋友。無怪乎他能聽神的話,從他自身所愛的本家本族出來,走向一條未知的道路。
除了信靠神的話語,我們是否已學會把自己全然交給神呢?神有無限的愛及力量,祂是與我們立約的主並永遠的好朋友。
經上告訴我們,亞伯拉罕因著信心而榮耀了神。最能榮耀神的辦法,乃是讓世人看見神是誰,以及祂的大能力。神並不希望藉著我們所能做的事,讓世人知道祂能做什麼;神也不用那些有乖謬性格的器皿。相反的,祂一直在找尋那些謙卑的人,並用這些人在世世代代中榮耀祂。