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本帖*后由 Stone654 于 2016-10-26 20:36 编辑 Lydian调弦法：指弹演奏者应该知道的高级概念 Danny Heines，翻译Stone654 也许你曾经用一根开放的根音弦（比如六弦）作为参照点去调音，它其实没有必要是主音。这里我们要接触一种全新的调弦，然后听一段基于这种调弦的乐段。调音如下： D A D G# A E 1 5 1 #4 5 9 这个调弦的空弦音构成了一个Dsus2#11和弦，且由于＃11的存在，它只能作为一个四级和弦。因此当把D弦作为主音弦调弦时，只有Lydian模式可以用。 我之所以用这个调弦去解释主音并非某一弦的空弦音这一概念，是想让你明白其实任何调弦都可以这样。就转移主音来说，这个调弦并不优于其他任何一个调弦。选择这个是因为接下来的曲子是按这个调弦写的。 这个调弦很适合弹奏 D Lydian, 但和任何调弦一样，你可以随意选择同调内的任一和弦作为主音。我收录于专辑Vanishing Borders中的作品Faster Than Alone便是这样的例子。 在主和弦的进行中，vi级和弦（在四品）是主音。尽管用六弦空弦和Lydian的指型图作为参考仍有可取性，但是你要知道，在这个例子中，它仅作为一种参考。主和弦才是决定我们听到的进行模式的要素，尽管指型图一样。主进行是vi–I–IV–V，这明显是由vi和弦决定，即为Aeolian或自然小调。把它看成Aeolian时，进行为小调的i–bIII–bVI–bVII。 注意到Faster Than Alone偶尔用到了升七级和弦，还有一个变了很多调的桥接段，这里没展示。 下面是A段的即兴伴奏。这里有两个版本，一个是简单拨弦版本，你可以很快掌握和弦的变化和主音；第二个是扫弦版本，给那些想要动感一些的演奏者。当然*重要的还是理解和弦变化和主音。 
原文： Lydian Tuning: Advanced Concepts for the Acoustic Fingerstyle Guitarist Danny Heines May 18, 2010 If you’ve been using an open root string such as the sixth string as a point of reference to map out a tuning, it may not necessarily be the tonic. In this lesson we’ll examine a new tuning and look at part of a piece that demonstrates this concept. The tuning is: D A D G# A E 1 5 1 #4 5 9 The open strings of this tuning form the chord Dsus2#11, which can function only as a IV chord, due to the presence of the #11. Therefore, Lydian is the only mode that will work in this tuning when using the open D string as the tonic. In using this tuning to illustrate the concept of the tonic being a note other than an open root string, I want to make it clear that you can do this in any tuning. There’s nothing about this tuning that makes it better suited than any other to shift the tonic. I just chose this one because the piece we’ll be drawing from is in this tuning. This tuning works great for playing in D Lydian, but like any tuning, you could establish the tonic around any number of the other chords in the same key. Such is the case in my piece, “Faster Than Alone” from Vanishing Borders. In the main chord progression, the vi chord, located at the 4th fret, is actually the tonic. Although it still makes sense to use the open sixth string and Lydian mode fretboard map as a point of reference, understand that in this case, it’s only a fingering reference. The tonic chord actually dictates the mode in which we hear the progression, although the fretboard map stays the same. The main progression is vi–I–IV–V, which clearly resolves to the vi chord. This puts us in Aeolian or natural minor. When analysed from the Aeolian perspective, the progression is i–bIII–bVI–bVII in the minor key. Note that “Faster Than Alone” makes occasional use of the raised 7th and also includes a bridge section (not shown here) that goes through a number of key changes before coming back to this key. What follows is the main A section chord vamp. There are two versions here. The first is the chord progression with simple fingerpicking, so you can quickly learn it to hear the chordal movement and tonic. The second version is the actual strum/picking pattern I use in playing the piece. I’ve included this for those who might want to learn the groove. The important thing, however, is to fingerpick through the chord progression to get a sense of the chord movement and tonic. |
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