What is a traditional chromatic scale?

China's traditional scale, also called pentatonic scale. It is called "pentatonic scale without semitone" or "pentatonic scale with whole tone" in detail. Widely popular in Asia, Africa, some islands in the central Pacific, Hungary and Scotland, and native American tribes before Europeans arrived in America. Often referred to as the "China scale". Its five orders have special names in the traditional culture of China, namely: public, business, communication, righteousness and Yu. Its interval organization is that each octave has three whole tones, which are divided into two strings (the upper corner of the palace) and one string (the Zheng language), and the two segments are separated by a □ tone. Each tone in the scale can be used as the tonic to establish the mode, which can form five different pentatonic modes. On the basis of the pentatonic scale, different additional sounds (partials) can be inserted into each interval of the □ tone to form the pentatonic scale. There are three different ways to insert extra sounds to form three different scales (Gongdiao).

The meaning of Gongdiao

China's traditional music theory summarizes the logical relationship among sound, rhyme, tone and tone in music practice, which is the basic theory to show the overall situation of tonality category.

Each level (tone) of a certain scale (tone) used in music practice corresponds to a certain high standard (law), which constitutes a certain tuning system; The scales in a certain tuning system are all based on a certain "sound" and embodied in a certain mode (key). Gongdiao theory is to investigate various logical relationships between them, including the comprehensive relationship between variable factors such as height, height and mode.

Just understanding "Gong" as the concept of elevation and "Diao" as the concept of mode is just a simplified explanation of "Gong Diao". A comprehensive and systematic exposition of the traditional Gongdiao theory can be carried out from four aspects: the legal basis of the traditional Gongdiao theory, the basic concept of Xue Yue in the category of Gongdiao, the relationship between Gongdiao and other systems.

The Legal Basis of Traditional Gongdiao Theory

The stone chimes unearthed between the Xia culture and the early Shang culture prove that people have just stepped out of ignorance and the concept of absolute pitch has emerged, that is, "Fa". On this basis, we compare the pitch relationship of scales used for a long time in music practice (at least one series has not been finalized in the age of human ignorance) at different levels, and compare the pitch relationship of different high positions, so that people have a preliminary understanding of Gongdiao.

China people's quantitative research on "Fa" began in the Western Zhou Dynasty. People's understanding of "law" is a sign of entering the rational stage from the perceptual stage. First, it is a systematic understanding of a series of laws; Firstly, the clear meaning of the length calculation of each law, and the resulting and stable naming system. According to physical evidence, the birth of dharma names such as Huang Zhong and Lu Da will not be later than the middle and late Western Zhou Dynasty.

China's theory of Gongdiao has been based on the twelve-law system since the court musicians in Zhou Dynasty founded the twelve-law theory.

The theory of twelve laws is the core of China's legal theory. All the legal systems produced in China's legal history, from Zhong Fa in the pre-Qin Dynasty to Xinmi Fa in Zhu Zaiyu, can be roughly divided into two categories: 1 is a variety of legal systems limited to twelve laws. For example, the three-point profit and loss method recorded in Lu's Spring and Autumn Annals, the new law of He Chengtian (a legal system based on the three-point profit and loss method to adjust the data of "Facun" on average), and the new secrecy law of Zhu Zaiyu (average method). The second category is all kinds of legal systems with more than twelve laws. For example, the pre-Qin bell rhythm (based on the five tones of Guanzi, it is a composite system of three-point gain and loss method and three-time pure law), the traditional piano rhythm, the sixty-point law (the three-point gain and loss method has been extended for more than twelve times) and the same system of Xunxu's flute rhythm and Cai's eighteen laws. These two kinds of legal systems also have the same basic principles in the history of China's law: ① to meet the needs of various palace-tune relations in the history of music and unify the twelve legal positions. (2) The unity of inter-domain relations in the practice of transferring to the palace is satisfactorily solved. The great creation of various legal systems in the past dynasties was for the revival of Huang (that is, to return to the original startup law).

The concept of "legal status" comes from the twelve laws system, which is called positive law at the core of different legal systems. The derived law is called variable law. A metrical system in which the birth rhythm sequence is more than twelve, and the pitch of variation rhythm is close to that of regular rhythm, can replace the user when dealing with the relationship between palace and melody in the application of music science, and is called the same metrical position. This phenomenon of juxtaposition and flexible substitution of different laws is quite common in the uneven legal system of all ethnic groups in the East. When the national Gongdiao system basically uses the twelve-tone name system, there will inevitably be a considerable number of microphonic differences between different sounds with the same name. At this time, although the legal system used exceeded the twelve numbers and more than twelve laws in the sequence of birth laws, it still belonged to the "twelve legal systems" or was strictly called the "twelve legal systems".

There are two norms for the names of judges in music research: ① Follow the twelve names of judges. Huang Zhong, Lu Da and other six methods, six methods and twelve methods are just the names of the three-point profit and loss method in a strict sense. However, in the above-mentioned 1 legal system, all except Huang Zhong are regarded as the "starting method" with a score of 0, and all others with the same name and surname have different pitches and slightly different pitches. For example, the Gu Xi in the three-point profit and loss law should be 408 points, the Gu Xi in the new encryption rate is 400 points, and the Gu Xi in He Chengtian's new law is only 398 points. The same name "Gu Xi" is actually the same position but different laws; At this time, the name of "Gu Xi" can be regarded as the name of "legal status". In the second legal system, in Zhu's On Qin Law, because Qin Law is a compound legal system that uses both the three-point gain and loss method and the pure method, at this time, e(408) on the emblem of Qin Law's three-point gain and loss and (386) on the 11th emblem of Gong Xian are both called "Gu Xi", which is actually a legal name rather than a definite legal name. Take a sound name. Use 12 phonetic names Gong, Yu Jiao, Shang, Zheng Zeng, Jiao, Shang Jiao, Zheng, Gong Zeng, Yu, Shang Zeng and Zheng Jiao as legal location names.

Fang Jing 60 Law and Ganle 360 Law in China's legal history. It is too detailed, and a certain number of them are in the "light tone" position between the twelve laws, which can not be clearly classified as a unified position, thus deviating from the position principle of the twelve laws in the traditional Gongdiao theory to some extent; But on the whole, Fang Jing's law and other complex legal systems still serve the needs of music practice in the Twelve Law Palace in Wei, Jin, Sui and Tang Dynasties.

The development process of legal theory in China's legal history began with the Twelve Laws Theory in the Western Zhou Dynasty, and after various stages of wide application of laws, it finally reverted to the system that Zhu Zaiyu's new law limited the secret rate to twelve laws, and it always revolved around the theory and practice of the relationship between palace and tune. This historical process fully shows that the traditional legal theory is the theoretical basis of the traditional palace tune system.

Basic concepts of music research in the category of Gongdiao

The concept of timbre, rhythm, tone and "scale" There is no special word "scale" in the study of traditional music in China, but there is a clear concept of scale. When expressing this concept, traditional music research often reveals its connotation from different angles, using words such as sound, rhythm, sound and tone respectively. Words such as pentatonic scale, pentatonic scale, hexatonic scale, heptatonic scale and heptatonic scale are often used in pentatonic scale to heptatonic scale. The word "sound" is often used when discussing the level and name of scales; When making proper names for scales with different structural forms, the word "tune" was borrowed. In these cases, related words are no longer their original commonly used concepts: tone (tone or music), rhythm (pitch standard), tone (sound in a broad sense, music in a narrow sense), tone (tone in a broad sense, range, tune in a narrow sense) and so on.

Among them, the word "sound" plays an important role in the interpretation of scales. The definition of "sound" (scale) in traditional literature can be summarized as the following three points: ① A scale is composed of levels with different pitches. (2) These tones ("sounds") are produced by certain laws, and there are certain laws between them, which are called scales. (3) The first sound of the scale is "tune" and the order is called "palace".

The concept of sound (scale) in China's traditional music theory is significantly different from the concept of "scale" summarized in modern basic music theory knowledge according to the music rules of European major and minor musical systems. The concepts of scale and mode in European music theory are only virtual and real, but at the same level, the first sound of scale is the tonic of mode; China's concept of "scale" and mode belong to two levels, and "power" and "mode" are unified. Except that the tonic of Gong mode is equivalent to the first tone of the scale, the tonic of Shang, Jiao, Zheng and Yu is different from the first tone of the scale. Theoretically, every tone belongs to Gongdiao, which is the first tone of the scale.

The traditional concept of scale is divided into the following categories according to the sound order:

Pentatonic scale-pentatonic scale, pentatonic scale-five steps or pentatonic scale.

Six Rhythms-also interpreted as six tones or six tones, its conventional concept only refers to the six-yang rhythm in Lv Lv.

Seven tones.-seven tones. Seven tones-the earliest concept term of seven tones in known literature, judging the scale structure from the pitch of seven tones in twelve tones. The appearance of this term illustrates the Spring and Autumn Period. The scale has always been viewed from the perspective of the relationship between palace tones.

In the traditional musicology literature, there is no record of the scale structure below five tones. When there is such music in the practice of national music, it is regarded as an abbreviated form of five tones in theory. The scale theory of more than seven tones is only the "music of eight tones" recorded in the Sui Dynasty.

Eight-note music-it should mean eight degrees. Sui people think it originated in the Han Dynasty. Generally speaking, the scale above seven tones is considered as a temporary change in scale theory, rather than the conventional scale. Eight tones in Sui Dynasty have a fixed position (between the ancient scale palace and the Shang grade) and a proper name (response value), which is not only considered as a conventional tone level, but also admitted that a "tone" should be established when the response value is used as the tone tonic; The "tune" in Tang and Song Dynasties also used this kind of "music of eight tones" in practice.

There is a habit of using nine tones in traditional music in China. However, in the literature, apart from the objective existence of nine tones reflected by positive order names and variable order names, so far, no theoretical evidence about nine tones has been found.

Tone level and positive variable order names

Since the pre-Qin period, China has a long tradition of using five tones and seven tones. Therefore, except for some absolutely pure music with five tones, the meaning of the order names of scales below seven tones is generally easy to drift. In this case, the seven-tone scale plays a normative role in judging the legal status, mode and mode in the traditional Gongdiao system.

In the traditional seven-tone scale, each tone has its own name. The difference is five positive tones and two tone sandhi (tone sandhi or "tone sandhi").

Pentatone-The pentatonic at the core of the pentatonic is called orthotonic. When the pitch of the first note of the scale is c, the order and name of the pentatonic scale are 1 gong (c), 2 quotient (d), 3 angle (e), No.5 (g) and 6 feather (a) respectively.

The fourth and seventh levels of the second tone-seven tones are called tone sandhi. Theoretically, it is considered to be the restored Gong Yin and Zheng Yin, which are named Gong Yin (Grade 7) and Zheng Yin (Grade 4) from the orthonormal sound. But in different scales, these two levels have two different positions: high and low chromatic.

When the gong yin is C, the fourth grade of different scales may be F or # F；; Level 7 may be b or bb. In the legal position of the second variable, there can be four parts. They have the following names in the study of traditional music:

Three basic scales in traditional music

China traditional music uses many scales because of its numerous nationalities, vast territory and long history. Among them, there are three kinds that have the greatest influence, form a traditional theoretical system and are closely related to the study of Gongdiao. For the convenience of comparison, according to the same palace system (tentatively with C as the palace), it is listed as follows: the ancient names of the above three scales all use the word "tune" as the morphological classification noun of scales, and the name "orthodox tune" comes from the Book of Jin? Xunxu's recitation in Le Zhi has been called "ancient scale" since 1920s, which was once misunderstood as instrumental scale, and some people called it "variant scale". The name "Xiazhengdiao" has a very old origin and is also called "Xu Xun's Notes". Since the 1920s, it has been called "new scale", misunderstood as "musical scale", and also called "angular scale". The name of "Popular Music Tune" comes from the records of Sui and Tang Dynasties, and it was once mistaken for the special scale of "Le Yan", and some people called it "Qingyu Scale".

Average and Gongdiao are three levels of rhythm, scale and mode in the relationship between Gongdiao.

Jun-the rhythm of "Seven Tones". According to the five-degree chain relationship, with yellow as the starting law and the pitch of yellow as C, the position and pitch distribution of "Seven Tones" are as follows:

According to the Seven Laws, the starting law is "Huangzhong" and can be named "Huangzhong Seven Laws". At this time, Huang Zhong's law was traditionally called Huang's "master of everything". Choosing any one of the twelve tones to make a law can lead to the seven tones of the even seven tones with the beginning law as the "even master", which defines the approximate pitch position of the seven tones or seven tones, but does not define the scale form of the seven-tone scale, that is, it does not define its palace tone position. The modern concept of "drawing inferences from one instance to another" depends on Gong Yin's position. So the concept of "average" is different from the concept of raising prices. The same average of seven dharma positions stipulates the above three forms of seven tones, which are called "three palaces and twenty-one changes" in Xunxu's recitation. That is to say, each pitch of the seven rhythms has three changes in the meaning of scales in different scales. This is a concept of unifying the three palaces.

There are three palaces. They belong to three scales respectively, and "Jun" is the higher concept of "Gong".

Palace-the representative name of a specific seven-tone scale. Gongyin is the tonic of the scale. Still taking Huang (yellow is C) as an example, the distribution of the pitch positions of Sangong in seven legal positions is as follows:

In the same scale form, there are five tones (modes) in the same room (the diatonic scale includes five tones and two tones). Therefore, "palace" is a higher concept of "tune".

Tone-specific modal structure. The key name usually comes from the scale name of the scale to which the key belongs. Still taking Huang as an example, its down-regulated (new scale) feather tone is yellow, male in the forest and feather tone. At this time, the feather sound is the mode tonic, which is called "modulation" in traditional music theory.

There are three levels: average, palace and tune, each with three palaces and five tones, and one with three palaces and fifteen tones, which is the core of China's traditional music theory.

The theories of Ping, Gong and Diao were distorted by feudal ideology in history. The palace theories of past dynasties often rejected the folk tradition, only recognized the orthographic sound of the three palaces, and equated the concept of "average" with "palace". Caused confusion. Under this specific condition, firstly, the separation between the court and the people in the theory of Gongdiao was formed; One is to force some people of insight to cover up the truth of the other two schools in music practice under the guise of "correct pronunciation" to a certain extent, which is also the reason why folk music often uses palace notation to record the actual tone.

Relationship between Rhythm and Sound Naming System and Gongdiao

The traditional Gongdiao theory has four systems: ① the naming system of rhythm sound. (2) Piano tuning system. (3) Gongchi notation system or folk music Gongdiao system named after chord sequence and hole sequence. (4) Gongdiao system of lyrics and songs and the tone of North and South songs. Among them, the first system, that is, the system of Gong Diao Ming, which consists of Fa Ming and Ling Ming, is relatively strict and complete in theory, with ancient books as the mainstay and the greatest influence.

The 84-tone theory uses the ancient scale to represent the same Issey Miyake: ① Five tones can be established with the tone levels of Gong, Shang, Jiao, Zheng and Yu as "turn". ② The sign change of the ancient scale implies the angular mode of the Qing-Shang scale, and the palace change also implies the angular mode of the new scale or the feather mode of the Qing-Shang scale; As a "U-turn", two voice changes can also establish corresponding patterns. (3) The tone can be set at seven legal positions of each moving average. This is called an average of seven tones (essentially as mentioned above, it should be fifteen tones). Twelve equals, and in theory, eighty-four tones can be established.

When the concepts of "Du" and "Gong" are absolutely unified, that is, the orthographic sound (ancient scale) is restricted not only in theory but also in practice, 84 tones will only become an empty name, which is the same as the case where only 5 tones are used. All the Gongdiao systems in Shi Jun have only 60 tones. In addition, in the case of adhering to the three-point profit and loss method and the limited history of the twelve methods, it is often impossible to implement the sixty tones. Folk music is limited to the performance of musical instruments, often only four averages, but most of them imply the other two palaces in the same average. In fact, all four can get 28 keys. This is only part of the practice of 84-tone theory.

Two naming methods of Gongdiao.

The names of Gongdiao in rhythmic sound word formation are composed of rhythmic names and sequential names, such as "Huang" and "forest Chinese". However, in history, due to the two appellations of "straight tone" and "tail tone", the name of this tonal word-formation method has different interpretations. Take "Huang" as an example. If the title of "Direct Tone" is used to explain it, it is "Huang's upward adjustment", which is called "Huang" for short. The tonic of the mode is too clustered. If it is explained by the title of "fine tuning", it means that "yellow is the business tone of U-turn business", which is referred to as "yellow" for short. The mode tonic is yellow, but all the tunes belong to no beat (taking no beat as the palace). In some historical periods, the title of "Wei Diao" was often used in the five-tone sacrifice and ritual music; Because of the rules of etiquette on the pattern, it is not necessary to remember the overall situation of the palace pattern system. Therefore, although the naming method of Huang Zhong Wei Shang can be clearly defined as "business without shooting" after analysis, it is not necessary to clarify the relationship between "palace" and "mode" literally. There is also a third situation, that is, those who only take the form of rhythm and sound structure without the substantive connotation of high-pitched position and mode structure (such as the naming system of Leyan 28-tone). This third situation is no longer a legal or acoustic naming system.

In the naming system of rhythm and sound, the relationship between palace and tune is mainly called "tune", which is helpful to deeply understand the relationship between palace and tune in China national music. Because of its strict and complete system, it has always existed as a guiding theory and technical specification to understand the relationship between Gongdiao and other different systems in the history of China music.

Palace-tone relationship of other systems

(1) Qindiao is generally born out of Gongdiao theory of rhythm and sound naming system, but the string order of Qindiao often has no definite meaning of Gongdiao, but only depends on the convenience of playing a particular piano piece. Therefore, its tune names often have the dual significance of the relationship between tune method and palace tune, and can not be judged directly from tune names. Between different piano schools, the relationship between the names of piano positions and string order is not the same, and the names of piano tunes are not the same. Therefore, when judging the relationship between Gongdiao and melody according to melody, we must analyze it in detail according to time, place, genre and melody, and it is impossible to simply summarize it.

② The folk music system in song, dance and instrumental music can be traced back to the court folk music from the Southern and Northern Dynasties to the Sui and Tang Dynasties, such as the merchant's three tunes in the Qing Dynasty, the Yan music in the Sui and Tang Dynasties, and the Yan music in the Song Dynasty. For example, the four tunes of Xi 'an Drum Music, the four tunes of Nanyin Xianguan (four "closed doors"), the four tunes of Zhihua Temple Jingle Music and the seven tunes of Qu Di Gongchi.

In this system of folk music Gong Diao, the concepts of Gong and Diao are often interchangeable. The actual meaning of folk music "four tones" is "four palaces"

Gongdiao system of pop music generally uses Gongchi notation, and some use chord order, handle position and hole sequence to record music, such as Si Er notation. Because of the relationship between word spectrum and sound, word spectrum symbols have the same tuning function as the twelve laws. Therefore, these notation symbols have also become the terms of Gongdiao, such as "Beisi" in the Four Tones of Sizhu, "Shangzi Tone" and "Ruler Tone" in the Seven Tones of Qu Di. The seven tones of the I-shaped gauge are divided into tone characters, indicating the palace (even), and the word "sand" is used to express its tone meaning, such as "I-shaped sand" and "six-character sand".

(3) Gongdiao, developed from Le Yan Gongdiao since Song and Yuan Dynasties. Seven palaces and twelve tones in the Southern Song Dynasty, six palaces and eleven tones in the Jin and Yuan Dynasties, twelve palaces in the Northern Song Dynasty, thirteen palaces in the Southern Song Dynasty, and nine palaces (namely five palaces and four tones) commonly used in the Qing and Song Dynasties all belong to this palace tone system.

This system adopted the name of Le Yan's Twenty-Eight Tunes in Song Dynasty, but before the etymology of Zhang Yan appeared in the early Yuan Dynasty, Gong Sheng and Shangsheng's Seven Tunes were still called "Tunes". After the further prosperity of traditional Chinese opera music, another set of terminology definitions came into being: Gongdiao, mainly called Gongdiao, and other modes besides Gongdiao, and the connotation of Gongdiao and Diaodiao. At this point, the relationship between Jun and Diao has been lost, and they have become parallel nouns at the same level.

Those called "Gong" and "Tone" respectively, such as "Seven Gong" and "Twelve Tones", mean that seven Gong Tones and six Up Tones and six Feather Tones are not completely matched. Collectively referred to as "Gongdiao", such as "Twelve Gongdiao" in "The Rhyme of Central Plains", which means: 5 Gongdiao, 5 Upregulation, 65,438+0 Feather, 65,438+0 Angle. Those who only refer to "Gong", such as "Jiugong", are actually: 5 Gong modes and 4 Shang modes.

Terms such as "Gong", "Diao" and "Gong Diao" have been completely interchangeable as concepts in later playwrights' works, losing their functions. These Gongdiao terms may have certain musical significance before the Ming and Qing Dynasties. In the later period, the essential meaning of Gongdiao has been completely lost in the existing music scores of the Qing Dynasty, such as Nanbei Opera. Therefore, China traditional opera music expresses its "palace" and "tune" with the help of the seven tones of the folk rulers on the Qu Di and the sand tones on the music score. China traditional opera music formally adopted the names of "Hong Xiao tune" and "Fan tune" in folk music biographies. As for its original name "Yan Tune", it has no meaning of Gongdiao, but in the so-called Gongdiao spectrum of traditional Chinese opera music, it has left a melody classification function that is convenient for screenwriter, lyricist and tune selection from the aspects of the cohesion of music cards and the adaptability of range.

Hou Xian's Gongdiao

Hou Xian said: Gongdiao singing belongs to the essence of his own culture, that is, a musical tendency in ancient rhythm, which is different from R &；; B There are many similarities between the majors commonly used in music styles. In addition, the drawl and transliteration of the ancient palace tune "Yiya" are different from those of western R&; The transliteration skills in B are also surprisingly identical. So the two can be very smoothly integrated. With the addition of Gongdiao, the tune of Blue and White has a stronger flavor, with local oriental color, without losing its popular charm. Palace Model and R&; The combination of B-type pop elements can make the nation transcend tradition, make fashion return to the nation, and deduce something with its own unique style.

The pitch of additional sounds can often be changed, and the changed pitch sometimes divides the interval of □ into two intervals, each of which is about three quarters of a tone.

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