音乐织体的写作训练

The Writing Training of Musical Texture

学习作曲技术的人都知道,当你基本上掌握了四部和声的写作原则时,还不能说就学会了作曲,就可以直接进入多声部音乐的创作过程,因为"纵向式的和声"在使用中只是原始的和声骨干,只能起到"打点"的伴奏作用,缺乏实际丰富的音乐表现力。本文谈到如何将原始的和声转化为音乐创作中的"音响布局"织体,其写作的要点及其与原生态和声的关系。在音乐的多声部写作中,织体作为多声部的载体,它的形态直接关系到音响的运动方式,因此既要顾及纵向的和声功能,也要设计横向的旋律线条。在实际的音乐创作中,配置连接得当的和声背景犹如敦实的底色,而活跃在前台的音乐织体,是达到横向线形化、纵向节奏互补的多声部音响的关键所在。

People learning composition technique know that even though you generally master the writing principles of four-part harmony, you are not able to say you＇ve learnt composition or you can set about multi-part musical creation because ＂vertical-typed harmony＂ is just an original harmony backbone in application and only plays an accompanying role without actual rich musical expression. This article discourses how to convert the original harmony into ＂sound layout＂ -texture, and also discusses the main points of texture writing and its relationship with the original ecological harmony. In multi-part musical writing, texture is a vehicle of multi parts, and its form is directly relevant to the sound movement methods, so we not only take account of the vertical harmony functions, but also design the horizontal melodic lines. In the practical musical creation, the background of properly connective harmony is just like the thick ground color. The musical texture, which be active in the foreground, is the key point of complementary multi-part sound between the horizontal linearization and vertical rhythm.