Melody-free accompaniment of impromptu piano music

Piano Impromptu Chord Formula Simply Arranges Serial Number Chord Label Chord Name Chord Internal Chord Formula 1 C Major Tri-chord 135 Major Tri-degree+Minor Tri-degree 2 Cm Minor Chord 1b35 Minor Tri-degree+Major Tri-degree 3 C-5 Major Tri-degree minus Five Chord 13b5 Major Tri-degree+increase two degrees 4 C+5, C. 3#5 major third degree+major third degree 5cdim, C-, C minus chord 6544 Csus hanging quad 145 pure quad+sophomore 7 C6 major sixth chord 1356 major triad+sophomore 8 Cm6 minor sixth chord 1b356 minor sixth chord+sophomore 9 C7 seventh chord/kloc- Kloc-0/0 Cmaj7, CM7 Major Seventh Chord 1357 Major Third Chord+Sophomore 1cm7 Minor Seven C7#5 Seven Plus Five Chord 13#5b7 Plus Chord+Sophomore 14 C7-5, C7b5 Seven minus Five Chord/kl 5 Cm7-5, Cm7b5 minor seven minus five chords 1b3b5b7 minus three chords+junior 16 C7sus4 seven-hanging four chords 135b7 CM9 major nine chords 13572 major seven chords+minor chord 20 C9 major chords135b 77. C9+5 nine plus five major chords 13# 5b72 seven plus five chords+junior 22 C9-5 nine minus five chords 13b5b72 seven minus five chords+junior 23 Cm9 Xiao Jiu chords 1b35b72 small seven seven Xiao Jiu seven chords 1b3572 small seven chords. 35b7b2 Seventh Chord+Minor 27 C7-9+5 Seven Minus Nine Plus Five Chords 13# 5b7b2 Seven Plus Five Chords+Third Degree 28 C7-9-5 Seven Minus Nine Minus Five Chords 13b5b7b2 Seven Minus Five Chords+Third Degree 29 C69 Sixth Nine Chords 139 0 No.1. 35b724 Ninth Chord+Third Minor Chord 32cm 1 Eleventh Minor Chord 1b35b724 Xiao Jiu Chord+Third Minor Chord 33c 1 Ninth Plus Eleventh Chord 135b72# 4 Ninth Chord+major triad 34c/kloc-. 35b7246 Eleven Chords+major triad 35 C65438+ The purpose of this section is not to explain or discuss the subtle technical points and laws of harmony, but to explain the relationship between harmony and other musical expressions, such as texture and design. There are also some problems in harmony. These problems are caused by extensive contact with other related problems of acoustics. The first thing to point out is that the range of materials actually used in harmony is relatively simple, and these materials are very simple in nature. There are only a few common chords and natural heptachords in harmony, which is easy to understand, and there are not many others. Modern rich musical languages mainly increase the use of secondary materials-transmitting notes, learning notes and so on. -The chords look fresh. If we examine them, we just give the old chords a chromatic change, and some new creations show what we used to be familiar with. There is one thing that readers may feel confused just by thinking about it. The basic chords, triads and heptachords in music only include a few main notes, three or four, while modern orchestras have 50 to 100 or even more players. They are busy from beginning to end. Although they can use many non-major notes, it seems a bit strange how they can combine such a powerful band. The answer to this question lies partly in "musical texture", but not entirely in "musical texture", which is also a question of "sound distribution". As we know, every chord has its root position. This chord takes the root as the bass and has different transposition chords. This chord uses other chords as bass, and in each position above, the upper voice except bass can be transformed into many different forms. In addition, any note or notes in a chord can be applied repeatedly with the same degree or octave as required. So although the pitch of each instrument is different, the result can still be placed in the most suitable range. The bass e keeps its position all the time, and this sound is the sound that determines that this chord is the first inversion. The voice above is different. The first and second chords reuse G sound, the third and fifth chords reuse C sound, and the fourth and sixth chords reuse E sound. Now let's look at the third inversion of the G chord. These are six chords written from its many possible distribution forms; The first three chords are still distributed according to the ordinary four parts, which are suitable for vocal performance. The other three chords represent the expansion to the high and low places, and some notes are used again, which is suitable for most instrumental music. In the last chord, brackets indicate how the chord distribution is assigned to different instrument groups. The main purpose of this sign is to show that the sound distribution should be uniform, and the sound should not be piled up too much below, unless it is for special effects. Now let's talk about harmony and disharmony and their solutions. There are also some things about tone sandhi. Discordant sounds can be divided into major and non-major. The so-called main dissonance means that the phonology belongs to one of the basic chords. For example, in any natural seventh chord, the seventh sound is dissonant, and the chord is the main or basic dissonance; The so-called non-major dissonance is that they are through tones or partial tones. In any case, the normal solution to disharmony is gradual. However, there is one thing that needs to be made clear here. If the dissonance is not the main chord, the other notes will wait for the sound to be resolved before entering the new chord. If disharmony is dominant, other sounds will generally enter another new chord to solve. Now say modulation. Tone sandhi can be defined as "from one tone to another". But how do we observe its transformation? How do you know the appearance of a new tune? This problem cannot be ignored. Mode is an important and basic method in large-scale music works. Therefore, if we really want to understand the composer's intention, we must know more than definition. Because the modulation of music doesn't change key signature every time, there are only temporary marks. The elements of music are consistent in practice and theory, not isolated from each other. They are not only controlled by harmony alone, nor by rhythm alone, but by their combination. But only one chord can decide a key by itself, and this chord belongs to the seventh chord. Try to look at the seventh chord in C-G, B, D, F and -F, which means that this chord does not belong to G or any semitone chord, because they all need a #F sound. Similarly, it doesn't belong to any key with a flat sign, such as F, bB, etc. Because everyone needs a bB key, it can only be a C key. Even if the relationship with it is short, a minor will not mix up in a mess. A minor needs a #G key as the leading tone, so that its nature can be clearly established, although the frequency of G in this key is not high. Therefore, whenever there is a seventh chord in a song, especially immediately after the main chord, it will never produce the effect and feeling of tone sandhi, even if it has just been transferred from a new tone or turned back. Without these, it is impossible to grasp or understand the true meaning of the tune. Another thing to note is that the use of some temporary markers in the paragraphs and sentences of music does not necessarily mean that there is a tone sandhi. The temporary mark itself does not mean tone sandhi, and the passing tone and the non-passing tone can be tones on the natural scale or tone sandhi. .