看过但还没吃透斯波索斌那本的兄弟姐妹……千万别看…………会死的…………

通过音阶的临时变化音而引入领域的概念来探讨作品中的调性布局；也是作者所谓“对酒神时代的日神评估”。

可以深化和声在实际应用中的概念

应该和勋伯格和声学搭配阅读，其中的很多概念需要仔细体会。

勋伯格三部曲之一，很棒的和声书，不过最好要先读了他的和声学，在书中我们能够看到大师对古典和声的理解，自然不是十二音体系的内容，因为和声的发展与时俱进，这本书能够给你从调性和声到调性边缘的启示。

@2020-06-06 20:13:17 @2021-07-02 07:10:07

勋伯格写的很好，但翻译带来了一些问题。谱例被删改，后面的索引表、注释也缺失了。把v级小调直接改成了“属音小调”。有条件的还是要对照着原著看。

使和声更富有变化的基础是利用一个调和它的各领域之间的关系，由于受这种关系的影响而在和弦中产生的代替音以及把和弦不按原意来使用的可能性。很多属于这类的和弦应取名游移和弦，因为它们好像是在各领域之间（...

匆匆掠过一百页的作品解析，来到了神圣的第十二章，全书的结语。终章借用日神与酒神的二元性，对调性与非调性同时进行了辩护。虽然全文没怎么出现音乐术语，可似乎前十一章中出现的每一个和弦，都凝炼成了这最后...

Perhaps the most interesting feature of this song, as mentioned in my Harmonielehre, is that the tonic, E♭, does not appear throughout the whole piece; I call this" schwebende Tonalitat" (suspen...

"Variation is that kind of repetition which changes some of the features of a unit, etc., but preserves others."

诗歌 戏剧 描写性音乐 与扩展的调性 THE COMPOSERS of the Romantic period believed that music should" express" something. As so often in preceding periods, extramusical tendencies, such as poetic and ...

ACCORDING to the practice of composers of the tonal period up to and including most of the 19th century, the relationships between tonalities can be classified as follows: Class I is called DIRECT ...

中文版有错，需要参考英文版。

书之前部分中出现那不勒斯和弦的地方： 那不勒斯和弦是♭II大三和弦，构成音为♭2 - 4 - ♭6（C大调中是D♭，F，A ♭，a小调中是B♭，D，F）因为和弦构成音含♭2与♭6，和Phrygian音阶一致，又称...

Good part leading will always be of great assistance. This refers especially to the main voices, the outer voices-soprano and bass; difficult and even unmelodious progressions will better be hidden...

两对关系调，其为间接近关系，另： 1.M-SM 导入共同的属和弦(V)促成转换: 假设 T=C Major; 那么M=E Major, SM=A Major, ♭M=♭E Major, ♭SM=A♭ Major; E Major与A Major共同的属和弦为前者的I级和弦与...

为了能在后面几章的案例分析中方便查阅，今天花了点时间自制了一张完全体的领域图。在推算和制作的过程中发现『领域』的设计就是一个设计精妙的莫比乌斯带。如果不考虑音乐的时间性，音乐性的和声就能按『领域』...

Of course, part-leading must not be allowed to be a handicap to one who attempts these advanced studies. One who cannot control four parts with a certain ability either has not worked seriously or ...

The term" subdominant" is illogical and" subdominant minor" is wrong. If V dominates I, then I dominates IV, not the reverse. The term" dominant minor" would be mere nonsense; therefore this region...

这个谱例看不懂，书上什么都没写，但稍微总结了一下。 首先，中文版和英文版的音符又有出入（倒数第三个和弦的降号位置） 按照英文原版的谱例，以上四个和弦从左至右分别为： 1) F# - Ab - C - Eb → 2) Gb - Ab ...

Vagrant Harmonies There exist only three diminished seventh chords and four augmented triads. Accordingly every diminished seventh chord belongs to at least eight tonalities or regions, and every a...

相关知识点： 关于变音(Chromatical) P31 关于"类似自然音阶"(Quasi-Diatonical) P24 关于两种小调形式的来源 P12

以上共13个和弦，从左至右： 1) 自然的T - Dm 2) II级三音在D的影响下与根音形成大三度 （F变为F# ）- D 3) II级五音被sd/t中的音代替(A变为Ab) - Ddim 4) 建构在2) 上的七和弦 - Dm7 5) 建构在3) 上的七和弦 - D...

中文译本图表标识为MD 英文版此处标记为subT（与上一章节中介绍大调领域时的Supertonic相对 ），Supertonic为主音主音向上两个纯五度的音；Subtonic与其相反，为主音主音向下两个纯五度的音。（a小调，主音为a，...

In Ex. 47 introduction of various regions and modulation back to the tonic is illustrated. T-sm-T-dor-T

一 Our two main tonalities, major and minor, derive historically from the church modes. The contents of the three major-like modes-Ionian, I.ydian and Mixolydian-are concentrated in the one major t...

The first symbol always indicates the relation to the tonic. The second symbol shows the relation to the region indicated by the first symbol. Mm. reads" MEDIANT MAJOR'S MEDIANT MINOR" (in C, a min...

Only four ascending and one descending leading tones were used in the modes (cf. p. 15). These and other substitutes are derived from the relation of a tonality to segments of it which are carried ...

3 regions major-like: T, D, SD 3 regions minor-like: dor, m, sm

书生思想不上书，发个题目，倒是发电子书呀，出钱读也行，

注释2⃣️ 仆人凯鲁比诺（Cherubino）在自弹自唱，他同时也是诗词的作者。乐曲是否也是他写的呢？是否莫扎特利用这个特点来暗示他的职业性的缺点呢？

如各领域的，甚至各调的主音相距大、小二度或增四度（减五度），这些领域或调之间的关系可认为是“非常远的”，因为它们之间的共同之处是这样地少，只有在真正的大师们的笔下这种困难才能克服。

例f 和例g： II的变音和弦是省根音的重属九降五音原位，后跟终止四六

在19世纪中，减三和弦往往加上小七度。III级上的人为减三和弦也是如此；

1⃣️用横线划过的罗马数字——VI，V，III，II等表示这些和弦由于采用代替音而有所改变。

被认为最富有特征的和弦是在其中含有一个或多个可以用来作为上行或下行导音的自然音或代替音的和弦。

在收束中，传统的次序是IV-V-I，其中包含着超强进行IV-V和升进行V-I。

使和声更富有变化的基础是利用一个调和它的各领域之间的关系，由于受这种关系的影响而在和弦中产生的代替音以及把和弦不按原意来使用的可能性。很多属于这类的和弦应取名游移和弦，因为它们好像是在各领域之间（即使不是在各调之间）徘徊不定似的。然而每个变和弦必须归根到某一领域的某一级上。这样，即使看起来像是不平常的进行仍可被解释为正常的。

仆人凯鲁比诺（Cherubino）在自弹自唱，他同时也是诗词的作者。乐曲是否也是他写的呢？是否莫扎特利用这个特点来暗示他的职业性的缺点呢？

Our two main tonalities, major and minor, derive historically from the church modes. The contents of the three major-like modes-Ionian, I.ydian and Mixolydian-are concentrated in the one major tonality, and the contents of the three minor- like modes-Dorian, Phrygian and Aeolian-in the same manner, are concentrated in the minor.

Because of this origin, the minor tonality consists of two scale forms. The tones of the descending form do not differ from those of the relative major scale. The ascending form substitutes for its natural seventh tone a leading tone a half- step higher. Often, to lead more smoothly to the substitute seventh tone, the natural sixth tone is also replaced by a tone a half-step higher.

Among the regions which resemble the modes,
 three are major-like (T, D, SD) and three minor-like (dor, m., sm.).
The minor-like regions substitute [alter] those tones which make them similar to relative minor (sm.).

There exist only three diminished seventh chords and four augmented triads. Accordingly every diminished seventh chord belongs to at least eight tonalities or regions, and every augmented triad belongs, in the same manner, to six tonalities or regions.

The term" subdominant" is illogical and" subdominant minor" is wrong. If V dominates I, then I dominates IV, not the reverse. The term" dominant minor" would be mere nonsense; therefore this region will here be called" five-minor"

The v-region is very well suited to prepare the appearance of dor and SD.

Of course, part-leading must not be allowed to be a handicap to one who attempts these advanced studies. One who cannot control four parts with a certain ability either has not worked seriously or is entirely untalented and should give up music at once.

Good part leading will always be of great assistance. This refers especially to the main voices, the outer voices-soprano and bass; difficult and even unmelodious progressions will better be hidden in the middle voices-chromatic and quasi- diatonic progressions can soften many a harsh connection by their melodious qualities. The outer voices are also helpful in introducing substitutes-transformations and vagrant chords-if their directional tendencies are carefully observed. The final cadence must not be too short, especially if it has been preceded by remote deviations. Common natural chords are most effective for transitions, but in the examples even Neapolitan sixth chords, augmented triads and 56-chords, and diminished 7th chords have been treated like common chords.

ACCORDING to the practice of composers of the tonal period up to and including most of the 19th century, the relationships between tonalities can be classified as follows:

Class I is called DIRECT AND CLOSE because all these regions have five (or six) tones in common with T.

Class 2 is called INDIRECT BUT CLOSE because all these regions are closely related to the regions of Class I or to tonic minor, and have three or four tones in common with T.

In 19th century music, these extremely remote regions, and most of the regions of Class 5 (DISTANT) customarily appear in the Durchführungen (developments or elaborations).

Class 3 is called INDIRECT because all these regions are more distant than Class 2, upon which their relationship is based, and the number of tones in common with T is negligible.
MM and Mm, ♭smSM and ♭smsm are very distant on the chart, but if enharmonically changed they sound like more closely related regions.

Tonalities or regions whose tonics are a major or minor second, a diminished fifth or an augmented fourth distant from the tonic are less frequently considered as related by the composers of the period mentioned above.

Structural Functions of Harmony

第二页的下标一是全书的主导思想：音级理论。读这本书的一开始就明确这一点很重要。 当然，如果在这个标记的基础上，能够加上<和>就更明确了。可以因此便于归类。  谱例很多是勋伯格自己写的，这一点跟他的和声学类似。

Stufentheorie

勋伯格

这不是一本让人读得舒服的教材。豆瓣短评里那句"别看，会死"的警告，道出了它的真实分量：它要求你真正跟着和弦走，而不是背诵规则。全书最见功力的地方，在于把"调性扩张"讲成了有理可循的推理——所谓游移和弦、代替音，都被解释为"看似反常，仍可还原为正常进行"，从而让听感上的离调有了结构上的归宿。而终章借尼采"日神与酒神"为调性与非调性同时辩护，则把一本技术书推向了哲学层面的争辩，这也是它区别于普通和声教材的独特之处。它适合愿意啃例子、追问"为什么这样进行"的读者；若只想速成编曲，斯波索斌或许更友好。

和声的结构功能