電影中或舞台劇的 演員應該 都有熟讀劇本 因為劇本會告訴演員 劇中的台詞
When we watch a film or a play, we know that the actors probably learned their lines from a script, which essentially tells them what to say and when to say it. A piece of written music operates on exactly the same principle. In a very basic sense, it tells a performer what to play and when to play it. Aesthetically speaking, there's a world of difference between, say, Beethoven and Justin Bieber, but both artists have used the same building blocks to create their music: notes. And although the end result can sound quite complicated, the logic behind musical notes is actually pretty straightforward. Let's take a look at the foundational elements to music notation and how they interact to create a work of art. Music is written on five parallel lines that go across the page. These five lines are called a staff, and a staff operates on two axes: up and down and left to right. The up-and-down axis tells the performer the pitch of the note or what note to play, and the left-to-right axis tells the performer the rhythm of the note or when to play it. Let's start with pitch. To help us out, we're going to use a piano, but this system works for pretty much any instrument you can think of. In the Western music tradition, pitches are named after the first seven letters of the alphabet, A, B, C, D, E, F, and G. After that, the cycle repeats itself: A, B, C, D, E, F, G, A, B, C, D, E, F, G, and so on. But how do these pitches get their names? Well, for example, if you played an F and then played another F higher or lower on the piano, you'd notice that they sound pretty similar compared to, say, a B. Going back to the staff, every line and every space between two lines represents a separate pitch. If we put a note on one of these lines or one of these spaces, we're telling a performer to play that pitch. The higher up on the staff a note is placed, the higher the pitch. But there are obviously many, many more pitches than the nine that these lines and spaces gives us. A grand piano, for example, can play 88 separate notes. So how do we condense 88 notes onto a single staff? We use something called a clef, a weird-looking figure placed at the beginning of the staff, which acts like a reference point, telling you that a particular line or space corresponds to a specific note on your instrument. If we want to play notes that aren't on the staff, we kind of cheat and draw extra little lines called ledger lines and place the notes on them. If we have to draw so many ledger lines that it gets confusing, then we need to change to a different clef. As for telling a performer when to play the notes, two main elements control this: the beat and the rhythm. The beat of a piece of music is, by itself, kind of boring. It sounds like this. (Ticking) Notice that it doesn't change, it just plugs along quite happily. It can go slow or fast or whatever you like, really. The point is that just like the second hand on a clock divides one minute into sixty seconds, with each second just as long as every other second, the beat divides a piece of music into little fragments of time that are all the same length: beats. With a steady beat as a foundation, we can add rhythm to our pitches, and that's when music really starts to happen. This is a quarter note. It's the most basic unit of rhythm, and it's worth one beat. This is a half note, and it's worth two beats. This whole note here is worth four beats, and these little guys are eighth notes, worth half a beat each. "Great," you say, "what does that mean?" You might have noticed that across the length of a staff, there are little lines dividing it into small sections. These are bar lines and we refer to each section as a bar. At the beginning of a piece of music, just after the clef, is something called the time signature, which tells a performer how many beats are in each bar. This says there are two beats in each bar, this says there are three, this one four, and so on. The bottom number tells us what kind of note is to be used as the basic unit for the beat. One corresponds to a whole note, two to a half note, four to a quarter note, and eight to an eighth note, and so on. So this time signature here tells us that there are four quarter notes in each bar, one, two, three, four; one, two, three, four, and so on. But like I said before, if we just stick to the beat, it gets kind of boring, so we'll replace some quarter notes with different rhythms. Notice that even though the number of notes in each bar has changed, the total number of beats in each bar hasn't. So, what does our musical creation sound like? (Music) Eh, sounds okay, but maybe a bit thin, right? Let's add another instrument with its own pitch and rhythm. Now it's sounding like music. Sure, it takes some practice to get used to reading it quickly and playing what we see on our instrument, but, with a bit of time and patience, you could be the next Beethoven or Justin Bieber.
還有講台詞的時機 一首曲子的樂譜 類似劇本 簡單來說 樂譜告訴音樂家要彈奏什麼 還有彈奏的時間點 雖然每個音樂家的風格不同 比如說,貝多芬 和小賈斯汀 但兩位音樂家 都用了同樣的基本單位創造音樂: 音符 雖然最後的曲子 聽起來很複雜 但音符的基礎邏輯 其實是簡單易懂的 讓我們一起了解 樂譜最基本的要素 還有如何做曲 曲子是寫在五條平行線上的 五條線橫跨整個頁面 也就是五線譜 五線譜分兩個軸向 上跟下 左跟右 上下軸告訴音樂家 樂譜的音調 或是音符 左右軸告訴音樂家 音樂的節奏韻律 還有彈奏的時間點 首先來看音調 用鋼琴來做解釋吧 不過鋼琴樂譜的原理 也可以類推到別的樂器上 傳統西方音樂裡的 音調 是用七個英文字母命名 A B C D E F 還有G 同樣模式不斷重複 A B C D E F G A B C D E F G 以此類推 但音調的名字是怎麼來的? 舉例來說,如果你彈F 再彈另一個F 只是高低音不同 其實聽起來差不多 跟B相比就不同了 再回到五線譜 每條線,還有線與線間的空格 都代表一個音調 如果在線上畫上一個音符 或在線與線之間譜上音符 演奏者就知道要彈什麼音調 五線譜上音符越高 表示音調越高 但音樂有數之不盡的音調 不只限於九條線與間的音調 以演奏式鋼琴為例 可以彈奏88個音調 怎麼把88個音調塞進五線譜呢? 這就要用譜號來表示 譜號是個怪異的圖形 寫在五線譜的前端 譜號標示某特定音調 告訴你線與間的音符 代表的是鍵盤上哪個音 要彈奏五線譜上沒有的音符 可以偷偷在譜上多加短線 也就是加線 然後再譜上音符 但如果要畫很多加線 樂譜會讓人眼花撩亂 這時就要變換譜號 演奏者要知道彈奏的時間點 會看兩個地方 拍子 還有節奏 一首曲子的拍子 有點單調無聊 聽起來像這樣 並沒有什麼變化 就這麼周而復始的下去 可以放慢 也可以加快 隨便你怎麼變化 拍子就像時鐘的秒針 將一分鐘分為60秒 每一秒長度都一樣 拍子將一首曲子 分成很多個小段落 每一段長度相同 就是拍子 拍子抓準後 接下來是節奏 音樂是從節奏開始的 這是四分音符 節奏最基本單位 等於一拍 二分音符是兩拍 全音符是四拍 這幾個小蝌蚪是八分音符 每個音符是半拍 太棒了!但他們代表什麼啊? 你應該有注意到 五線譜上有幾條小線 將樂譜分成幾個小段落 這是小節線 每個段落是一個小節 樂譜一開始 在譜號後 會有個拍號 告訴演奏者一小節有幾拍 這個拍號表示一小節有兩拍 這是三拍 四拍 以此類推 下面的數字告訴我們 要用什麼音符當作一拍 一是全音符 二是二分音符 四是四分音符 八是八分音符 以此類推 樂譜上的拍號 告訴演奏者一小節有四拍 一 二 三 四 一 二 三 四 以此類推 但就像之前說的 如果只注意拍子 會很無趣 可以把幾個四分音符 換成別的節奏 注意,雖然音符的數目變了 每個小節不一樣 但總拍數維持不變 這首曲子聽起來如何 還可以,但有些單調 加入另一個樂器呢 配上不同音調與節奏 聽起來更像音樂了 讀譜是須要練習的 才能一邊讀譜 一邊彈奏音樂 但只要花點時間跟耐心 你有可能是下一個貝多芬 或者 小賈斯汀