关于“611、122”

• 作 者: 知川
• 出 处: 四川音乐
• 发表日期: 1981年03期
• 关键词: 音乐作品 民间音乐 《阳关三叠》 专业创作 写作手法 作曲者 创作歌曲 阳关三叠 先现音 体裁形式

读了短文《歌曲音调要有个性》(见《四川音乐》1980年12期),感到该文对“有些歌曲作者”的指责有点近乎武断和强加于人。写点感想,略表异议。 611、166、122、211……这是一种常用的旋律写作手法,其运用十分广泛,远远不自今日始。从中国的《阳关三叠》到巴赫的作品,从民间音乐到专业创作,从所谓“严肃音乐”到“流行音乐”,各家各派,中外古今的音乐作品中比比皆是,不胜枚举。我以为,这种手法常可柔化旋律,使之更加动听。试将下例之改

Having read the essay, “The Tone of a Song Should Have a Personality” (see Sichuan Music, December 1980), I feel the allegation about “some songwriters” in this article is a bit arbitrary and imposing. Write a little thought, slightly disagree. 611,166,122,211 ...... This is a commonly used melody writing techniques, its use is very wide, far from today. From China’s “Yang Guan Triad” to Bach’s works, from folk music to professional creation, from the so-called “serious music” to “pop music”, various factions, ancient and modern Chinese and foreign music works abound, Give. I think this technique can often soften the melody to make it more pleasant. Try the following example of change