[Innovation of Rakhmanov's Harmony Techniques Based on Traditional Concepts] Harmony Techniques of Pop Music

Sergei, vasilyevich and rachmaninoff (1873-1943) live in an era of great breakthroughs and innovations in composition techniques. Tristan and isolde (together for 54 years) is regarded as the pinnacle of traditional harmony, and Wagner pushed traditional harmony to a "no way out" situation. Stravinsky's Sacrifice to Spring (19 13) and Schoenberg's Pietro in the Moonlight (19 13) try to abandon the traditional harmony and start a new stove. It was not until 1930s that Schoenberg and his disciples Berger and Weber established a mature theory of twelve-tone system. Rachmaninov's harmonic characteristics are established in the exploration stage of tradition and modernity. Which is better, traditional harmony or modern harmony? For a long time, composers have made different interpretations in their actual creation, but Rachmaninov is somewhere in between.

It is very meaningful to study the characteristics of harmony between tradition and modernity. Based on the analysis of 40 vocal works written by Rachmaninov 1890 to 19 16, this paper summarizes the harmony characteristics of Rachmaninov in this period.

First of all, harmony techniques are rooted in the traditional system of major and minor tones.

Rachmaninov's harmony technique is still based on the traditional system of major and minor tones. Use three-dimensional overlapping chords to obtain full and harmonious sound effects. Relying on the functional logic in the big and small sound system and the tendency of natural sound to obtain the power of music development. However, its harmony is not dogmatically, rigidly and blindly applying functional harmony, but on this basis, it tries to explore color harmony, which greatly expands the audio material and greatly enhances the expressive force of harmony and the tension of chords. In his works, he still emphasizes the importance of T, S and D as functional pillars, and emphasizes the supporting role of D, D and SD to T, D and S.

The above example; Harmony has obvious characteristics of traditional harmony. The development of the first three harmonic series T-DD-K46-D7-T can be regarded as the most classic traditional harmonic vocabulary. The continuous four-degree rising tone of DT Ⅲ-5TSV Ⅱ 7-S Ⅱ 9-D from the fourth to seventh bars embodies the traditional chord progression habit of four drops and five drops in harmony. Therefore, this series of harmony series shows simple and rigorous traditional harmony characteristics in Rachmaninov's application of harmony.

Second, the exploration and application of modern harmony techniques

Rachmaninov is very particular about the use of modern harmony. His works are not long and grotesque sound stacks, nor illogical and abrupt chords, but the exploration of color sound under a strict logical framework.

1 Exploration of color chords and excavation of rich audio materials.

The so-called semitone chord is the triple overlapping triad and heptachord different from the traditional harmony, such as various additional chords, alternative chords, empty pentachord, touch chord and so on. Color chords are richer in sound, and both chord structure and chord progression are more colorful. The color chords used in Rachmaninov's works mainly include the following:

① Superoverlapping chords and compound chords

High overlapping chords are chords that are superimposed three times on the basis of traditional triads and heptachords. All kinds of nine chords, eleven chords and thirteen chords are high overlapping chords. For example, D 13 is based on D7, and 13 degree E is superimposed to form a high overlapping chord. A compound chord is a chord that adds a function to a function. For example, a dominant chord is superimposed on the main chord. In the above example, the chord in the third bar is a composite chord formed by superimposing TSVl on the basis of S ⅱ, and the fourth bar is a composite chord formed by S and T. ..

(2) Non-triple overlapping strings

Rachmaninov is also very cautious about the choice and application of non-third degree overlapping chords, which are mostly used for non-third degree chords composed of passing sounds and other parts, or non-third degree chords composed of chords and melodic sounds.

Among the above elements, F and bF in the first bar and other sounds form a non-triad, and the chord in the second bar is an additive chord.

2 tonality contrast and tonality fragmentation

The traditional mode-centered theory of harmony has deeply influenced generations of composers, while the theory of atonality and universality in modern composition techniques mercilessly denies this "eternal" law. The exploration of tonality logic in Rachmaninov's works is between tradition and modernity. Tonality contrast and tonality fragmentation are the remarkable characteristics of his exploration of tonality logic.

In the above example, the tonality is changed once in each bar to form a tonality contrast with the bar as the unit, and each tonality maintains the characteristics of distance relationship. This continuous tone transformation constitutes a tone segment similar to modern harmony techniques.

Third, the combination of traditional harmony and modern harmony.

On the basis of traditional harmony, Rachmaninov is determined to innovate traditional harmony techniques, and strive to explore new chord structures and new acoustic effects. Formed a harmonious language system with unique style.

Tone sandhi system in 1 progressive relation

Rachmaninov attaches great importance to the smooth progress of harmony. In his works, we can often see that one part is maintained, and the other part is the smooth line progress similar to the mode. This process makes music more layered and expressive.

In the above example, outside the melody part and the fixed bass part, the lines in the middle part gradually decrease in a semitone step, which makes the harmonic progression sound very smooth and gives the harmony color a change. This technique is a typical harmony processing method of Rakhmaninov.

Harmony is both functional and color.

Traditional functional processing plays an absolutely important role in Rachmaninov's harmony techniques, but the application of various color processing methods adds a lot of color to Rachmaninov's works. In his thought of harmony, not only the functional sequence of harmony series is considered, but also color and functionality are equally important, which makes the function and color of harmony perfectly combined. Thus, it greatly enriches the structure of chords and the tension of sounds, and expands the harmony language from both horizontal and vertical aspects.

Rachmaninov's harmony language is rich and colorful, and its effect is remarkable. His harmony thinking, which combines the strengths of tradition and modernity and strives to expand harmony expression, is worth learning. Similarly, Rachmaninov's harmony technique also provides a good idea for us to develop national harmony.

(Author: Conservatory of Music, Northwest Normal University)

Editor in Charge: Wen Jian