音乐基本用语--人声/Voices and Voicing_pangdunzi

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音乐基本用语--人声/Voices and Voicing

(2008-12-29 23:23:44)

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人声/Voices and Voicing

1. Voice spacing

　　The word voice is used to indicate the succession of notes sung or played by a single voice or instrument. The notes of a chord may be spaced in different ways. It is usual to distinguish close and open voice spacing.

2. Close spacing

　　Close spacing is spacing that places the notes of a chord close together, in close position.

3. Open spacing

　　Open spacing is spacing that places the notes of a chord not as close together as possible. It is usual to distinguish four-voice keyboard spacing, a form of open spacing in which three notes of a chord are played by the right hand and written on the upper of two staves, with a single bass note played by the left hand and written on the lower stave.

4. 重奏/Doubling

　　三和弦分入四声部时，和弦中可能也不可避免的出现重唱。大三或导音不重唱。主音大三和弦重奏的第一选择是根音，第二选择是五度音。重奏三音可增加结构的厚度，在四声部写作中通常不需要这样做。导音通常升至主音，四声部写作中重奏导音会导致重奏后的导音后跟随一个重奏后的主音，从而造成并不需要的八度平行。

Doubling of notes in a chord is possible, and inevitable if a three-note triad is to be allotted to four voices or strands of harmony. It is preferable not to double a major third or leading tone (leading note). With a major tonic triad the first choice of a note to double would be the root, the second choice the fifth. Doubling the third thickens the texture, and this is usually undesirable in simple four-part writing. Since the leading tone (leading note) generally rises to the tonic, doubling the leading note in simple four-part writing would result in doubled leading tone (note) followed by a doubled tonic, making the undesirable parallel octaves.

5. 高音声部/Soprano

　　高音部为女高音或男童声高音部。在声部写作中提示最高声部，界定在中C到G（即中C上的半个八度）的范围，也可能出现更大范围。高音声部通常用字母S来表示。

The soprano voice is the high female voice or unbroken male voice. In part-writing it indicates the top part, the upper voice. In writing for voices this is generally limited in range to from middle C to G one and a half octaves above middle C, although a wider compass is always possible. It is generally indicated by the letter S.

6. 中音声部/Alto

　　中音声部是指女低音或完整男声，传统声乐的英文表达为男性假声。在声部写作中提示最高声部下的部分，界定在中C下的G到中C上的八度之间的范围，也可能出现更大范围。中音声部通常用字母A来表示。

The alto voice is the lower female or unbroken male voice, or, in traditional English vocal music, the falsetto male voice. In part-writing it indicates the second part from the top. In writing for voices this is generally limited in range to from the G below middle C to an octave above middle C, although a wider compass is always possible. It is generally indicated by the letter A.

7. 男高音声部/Tenor

　　男高音声部是指最高男声，在四声部写作中提示从下向上数的第二部分，界定在中C下的C到中C上的G之间的范围，也可能出现更大范围。男高音声部通常用字母T来表示。

The tenor voice is the high male voice. In four-part writing it indicates the second part up from the bottom. In writing for voices this is generally limited in range to from the C below middle C to the G above middle C, although a wider compass is always possible. It is generally indicated by the letter T.

8. 男低音声部/Bass

　　男低音声部是指最低男声，在四声部写作中提示最低部分，界定在F ，中C下的八度半到中C下的B之间的范围，也可能出现更大范围。男低音声部通常用字母B来表示。

The bass voice is the low male voice. In four-part writing it indicates the bottom part. In writing for voices this is generally limited in range to from F, an octave and a half below middle C to the B below middle C, although a wider compass is always possible. It is generally indicated by the letter B.

9. 声区/Voice range

　　提到声部就不能不说声区。每个歌手的声区各不相同，简单的四声部写作中通常把中C到G即八度和比八度高半音的音界定为高音声部；中C下的G到中C上的八度为中音声部；中C下的C到中C上的G为男高音声部，F ，中C下的八度半到中C下的B为男低音声部。

In writing for voices the convenient voice range must be considered. While this may vary from singer to singer, it is usual in simple four-part writing to limit the soprano to a compass from middle C to G an octave and a half higher; the alto to a compass from the G below middle C to an octave above middle C; the tenor to a compass from the C below middle C to the G above middle C, and the bass to a compass from the F one and a half octaves below middle C to the B below middle

10. 声部交错/Voice crossing

　　当一个声部移至另一声部之上或之下时就出现了声部交错。有必要把特定旋律线放在特定声部里。

Voice crossing takes place when one voice goes above or below another. This may be necessary to preserve a particular melodic line in a particular voice.

11. 可用音域/Tessitura

　　可用音域是指某一部分的常用音域，可以是高，低或正常。

Tessitura signifies the general compass of a particular part, which may be high, low or normal for a voice.

12. 调性/Tonality

　　调性通常与调的意思相同。一篇音乐作品或章节可以是某一调或调性。当描述某一章节是某一调时，这个词通常使用最广泛的意义。

Tonality is, in general, the same as key. A piece of music or a passage may be in a particular key or tonality. The word is often used in a more general sense, when it is perceived that a passage is in a particular key or centred on it.

13. 终止/Cadence

　　终止是指旋律的结束。这个词常用于提示最后两个音的和谐，分为完全终止，变格终止，半终止和伪终止。

A cadence is literally the fall of a melody to its final note. The word is generally used to indicate the harmonization of the two final notes, classified as authentic or perfect, plagal, half or imperfect, and deceptive or interrupted.

14. 主和弦组成音之外的音/Tendency tone

　　主和弦组成音之外的音是指一个音移向另一个音。在简单的四声部写作中，导音遵循其自然属性移向主音时最为明显。下属音也是如此，下属音作为属音七和弦的一部分，倾向于移向中音。不协和音倾向于移向最近的音来解决。

A tendency tone is one that tends naturally to move to another. In simple four-part writing this is most evident when the leading tone (leading note) follows its naturally tendency to move to the tonic. Similarly the subdominant, as part of the dominant seventh chord, has a tendency to move to the mediant. There is a tendency for dissonant notes to move to the nearest note of resolution.

15. 正格终止/Authentic cadence

　　正格终止是指属音和弦到主音和弦的进行，V – I。正格终止非常明确的界定一篇音乐作品或章节的结束。

The authentic cadence (perfect cadence or full close) is the progression from the chord of the dominant to the tonic, V - I. This provides a very definite ending to a piece of music or a passage.

16. 变格终止/Plagal cadence

　　变格终止，有时也被称为源于教会的“阿们终止”，是指从下属音和弦到主音和弦的进行，IV – I。与正格终止相比，变格终止的结尾较不明确。

The plagal cadence, sometimes known as the Amen cadence from ecclesiastical use, is the progression from the chord of the subdominant to the tonic, IV - I. This provides a less definite ending than the authentic or perfect cadence.

17. 半终止/Half cadence

　　半终止通常是指主音和弦到属音和弦的进行，I – V。属音也可与其他和弦邻近。半终止用于提示一篇音乐作品中间部分的结束。

The half cadence (imperfect cadence or half close) is the progression generally from the chord of the tonic to the dominant, I - V. The dominant can also be approached from other chords. This cadence is used to mark the end of an intermediate part of a piece of music.

18. 伪终止/Deceptive cadence

　　伪终止是指从属音和弦到另一和弦（除主音和弦）的进行，V – VI。其出现在本该出现完全正格终止的地方。

The deceptive cadence (interrupted cadence or false close) is the progression from the chord of the dominant to a chord other than the tonic (often to the submediant), V - VI. It occurs when an authentic or perfect cadence may otherwise be expected.

19. 和弦进行/Chord progression

　　和弦进行是指一个和弦移向另一和弦的运动。这种运动遵循常规。

A chord progression is the movement of one chord to the next. This movement is governed by certain conventions in common practice.

引文来源音乐教育_KUKE库客数字音乐图书馆

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