【小羊翻译】第2课《音阶与调式》音乐专业英语阅读教程

闲篇儿：作为音乐&英语双专业的人，感觉我这学期翻译的这些课文能对大家有点儿帮助。本来想寒假好好修改再发的，但是忽然期末考试有复习需要就提前了，目前还是上课之前时间有限的渣翻版，最近准备论文也没有特别认真的检查，先简单整理发出来希望能给大家的复习带来帮助。有错误的地方请在评论区大声喊我修改，整体的翻译等寒假有空我会再好好看看

第一部分是课上画的听写范围，第二部分是课文分段翻译，因为考试形式是英译中，所以先放英文再放中文，便于自我检查是否每段都知道如何翻译。单词范围没有涵盖课后全部单词

祝大家期末考试顺利！

～～～～～

Lesson Two  Scales and Modes

第2课    音阶与调式

一、课堂听写范围

1）diatonic scale；2）tonic；3）nondiatonic；4）tonic center；5）tonality

6）major scale；7）natural minor scale；8）harmonic minor scale；9）melodic minor scale；10）scale pattern

11）tension；12）relaxation；13）transposition；14）staff；15）whole step

16）perfect fifth；17）circle of fifths；18）major dominant triad；19）accidental；20）étude

21）tuning；22）tetrachords；23）church mode

1）自然音阶；2）主音；3）无调性；4）调性中心；5）调性

6）大调音阶；7）自然小调音阶；8）和声小调音阶；9）旋律小调音阶；10）音阶模式

11）紧张度；12）松弛度；13）转调；14）五线谱；15）全音程

16）纯5度（音程）；17）5度圈；18）属大三和弦；19）临时变化音；20）练习曲

21）调音；22）四音音列；23）教会调式

二、课文分段翻译

Scales    音阶

      A scale is a series of ascending and descending pitches. Musicians use a scale as a convenient way of displaying the tones used in a melody or harmony. Although an infinite variety of pitch combinations are available, the following scales represent those in most common use during the past 200 years.

      音阶是一系列上升和下降的音高。音乐家使用音阶作为一种将旋律及和声中的音高陈列出来的便捷手段。尽管存在着无限种可行的音高结合，以下音阶代表着过去200年中最常使用的几种。

1. Diatonie Seales    自然音阶

      Diatonia (literally “across the tones”) defines a scale of mixed half and whole steps (and an occasional step-and-a-half) in which each individual tone plays a role. The first tone (the tonic) of a scale is a point of rest and is considered to be the most stable. Other tones lead toward or away from it creating varying degrees of tension or relaxation. Since the tonic (the first note) is the focal point of the scale, the most stable note, and the point of greatest relaxation, diatonic melodies are frequently shaped by composers to end on the tonic note. At times the word “diatonic” is used to indicate a tone that is part of a particular scale pattern-as distinguished from a nondiatonic tone that does not belong to the scale pattern.

      自然音阶，定义为一条混合了半音和全音的音阶（偶尔也有全音+半音），其中每一个单独的音都有自己的作用。音阶的第一个音（主音）是一个中止位置，并且被认为最具稳定性，其它音通过走向或远离主音可以制造出不同程度的紧张感和松弛感。因为主音（第一个音符）是音阶的焦点，是最稳定的音，并且是整条音阶中最松弛的位置，基于自然音阶的旋律通常被作曲家发展至主音作为结束。有时“自然”这个词也用来指示符合这种特别的音阶形态的一个音，以区别于不属于这种音阶形态的无调性的音。

      A. Major Scale      The major scale is a scale of seven different pitches with whole steps separating adjacent tones except for half steps between the third and fourth degrees and between the seventh and eighth (or first) degrees. The eighth pitch has the same letter name as the first and thus is treated as a duplication. Since all adjacent keys (black and white) on the piano are a half step apart, the following illustration shows that by beginning on C and playing in order only the white keys to the next C, a C major scale results.

      A. 大调音阶，是一个包含7个不同音高的音阶，除了在第3、4个和7、8个音高之间是半音关系之外，所有音级之间都是全音关系。第8个音高与第1个音高使用相同字母名，因此被视为音阶中的重复。因为钢琴上相邻的琴键（黑键与白键）之间相隔半音，如下图所示以C为起始依次只弹奏白键，就可以得到一条C大调音阶。

      This same major-scale patten of half and whole steps can be duplicated at any pitch. Such rewriting is called transposition. In the following example, the major scale is transposed so that its first tone is G and it is called the G major scale. 

      这种相同的大调音阶模式的全半音关系可以复制到以任意音高开始，这种改写被称为转调。在下面的例子中，调整后使起始音为G音的大调音阶被称为G大调音阶。

      From the preceding illustration of the G major scale， it can be seen that a sharp is necessary if the major-scale pattern of half and whole steps is to be carried out in the transposition. The following chart provides a convenient way to memorize the sharps or the flats needed when the scale begins on various pitches. The arrangement of the necessary sharps or flats is called a key signature and appears at the beginning of each staff in a composition. Notice that each successive tonic, or beginning note, is a perfect fifth, or a P5 (five scale degrees), above the previous tonic. A new sharp is added to the key signature for each succeeding P5, and in the flat signatures, a flat is dropped for each succeeding P5. 

      在上方的G大调音阶图式中，我们可以看到需要添加一个升号，从而保证转调之后依旧保留大调音阶的全半音音级关系。下面的图标为我们提供了一个在不同主调中升降号需求的简便记忆方式。每个调中需要的升降号安排被称作调号，放置于曲子中每行五线谱的开头。我们需要注意的是，每一个连续的主音，或者说音阶的起始音，都是前一个主音的上方纯5度。在每一个紧接着的上方5度音的调号，需要加入一个新的升号，或去掉一个降号。

      B.Natural Minor Scale      The natural minor scale is a scale of seven different pitches with whole steps separating adjacent tones except for half steps between the second and third degrees and between the fifth and sixth degrees. Its pitches are those of the white keys of the piano from A to A. 

      B. 自然小调音阶，是一个包含7个不同音高的音阶，除了在第2、3个和5、6个音高之间是半音关系之外，所有相邻音级之间都是全音关系。它的音高为从A到下一个A的钢琴白键。

      C. Harmonic Minor Scale      The harmonic minor scale is the natural minor scale with a raised seventh degree. The added impetus of a raised seventh degree gives more melodic thrust toward the tonic and provides for a major dominant triad. Raising the seventh degree causes a step-and-a-half to develop between the sixth and seventh degrees and a half-step between the seventh and eighth degrees. Accidentals used to raise the seventh degree do not appear in the key signature.

      C. 和声小调音阶，是升高了第7级音的自然小调音阶。升高的7级音所添加的动力，提供了更多的进行到主音的旋律推动力，并且产生了一个新的属大三和弦。升高的7级音导致了6，7级之间的增2度音程以及7，8级之间的半音音程。临时升高的7级不会在调号中出现。

      D. Melodic Minor Scale      The melodic minor scale appears in both an ascending and a descending form. The ascending form includes raised sixth and seventh degrees, producing half steps between the second and third and seventh and eighth degrees. The descending form coincides exactly with the natural minor.

      D. 旋律小调音阶，包含上行和下行两种形式。上行形式包含升高的6级和7级音，从而使第2，3级、第7，8级音之间形成半音关系。下行旋律小调形式则与自然小调音阶完全一致。

      The melodic minor scale developed because composers liked the urgency of the       raised seventh, but found the step-and-a-half interval between the sixth and seventh degrees of the harmonic minor scale too rough especially for smooth vocal writing. Thus, the melodic minor scale evolved. In descending melodic passages, no need exists for the raised seventh, so composers most often used the natural minor with the lowered seventh and sixth degrees.

      旋律小调的形成主要由于作曲家们喜欢升高的7级所产生的紧张感，但又发现和声小调中第6，7级之间的增音程关系过于不平滑，尤其是对于声乐作品的写作。因此，旋律小调就此诞生了。在下行的旋律小调形态中，并不需要升高的7级音的存在，所以作曲家们经常使用中还原6，7级的自然小调音阶。

2. Other Scales  其它音阶

      Pentatonic Scale    As its name suggests, the pentatonic scale is a five-tone scale. It is an example of a gapped scale, one that contains interval gaps of more than a whole step between adjacent pitches. 

      五声音阶，正如音阶名中提到，五声音阶是由5个音高组成的音阶。它是一个间隔音阶的例子，在相邻音高之间包含大于一个全音程间隔的音阶。

      The sequence of black keys on the keyboard coincides with the interval relationships of the pentatonic scale. A singularly brilliant exploitation of the pentatonic scale occurs in the right-hand melodic line of Chopin's étude in G-flat Major op. 10 no. 5, the popular “Black Key Étude".

      钢琴上黑键的排序与五声音阶的间隔关系一致。肖邦的降G大调练习曲op.10, No.5，也就是通称的“黑键练习曲”，其中的右手的旋律线条就是五声音阶的一个独特精彩的应用。

      The pentatonic scale is used in the traditional music of China, Japan, other Far Eastern countries, and of Africa. The tuning of pentatonic scales differs from culture to culture, and some are nearly equal-tempered five-tone scales (five tones to the octave). 

      五声音阶被用于中国、日本及一些远东其它国家和一些非洲国家的传统音乐中。五声音阶的音调随着文化的不同而有各种形式，有些甚至形成了五声平均律音阶（5个音高形成一个8度）。

3. Nondiatonic Scales    无调性音阶

      A nondiatonic scale is a scale that has no identifiable tonal center (tonic). 

      无调性音阶，指没有可明确辨认调性中心（主音）的音阶。

      A. Chromatic Scale      A chromatic scale consists entirely of half-step intervals. Since each tone of the scale is equidistant from the next, it has no tonic and is basically a nondiatonic scale.

      A. 半音音阶中包含全部的半音间隔。由于音阶中的每个音与下一个音都是等距离的，所以它没有主音，是一个基本的无调性音阶。

      Sometimes, however, a melody based on a regular diatonic scale (major or minor) is laced with many accidentals, and although all twelve tones of the chromatic scale may appear, the tonal characteristics of the diatonic scale are maintained. 

      然而在有些时候，一段基于规则自然音阶（无论大调小调）的旋律，会用很多临时升降音进行装饰。在这种情况下，就算全部半音音阶的12个音都出现了，自然音阶的音调特性依然可以维持。

      B. Whole Tone Scale      A whole tone scale is a six-tone scale made up entirely of whole steps between adjacent degrees of the scale.

      全音阶，是由相邻音级都是全音的6个音构成的音阶。

Modes    调式

      A mode is a series of pitches within the octave that comprise the basic material of a composition. Upon first investigation, it would seem that the terms “mode” and “scale” are entirely synonymous, but in certain instances, especially in medieval church music, the modes are directly related to idiomatic melodic expressions and thus transcend the usual pitch material definitions of scale patterns. However, for all practical purposes at the moment, the modes may be conveniently classified as scale forms. Two different modal systems will be discussed: Greek and Church.

      调式，是在一个8度中包含了基本作曲材料的一系列音高。从初步上看，调式和音阶仿佛完全同义，但在以中世纪教堂音乐为代表的某些实例中，调式直接联系到独特的旋律表现形态，并且超越了通常音阶形式的音高材料。

      A. Greek Modes      The modal systems of the ancient Greeks were fully developed by the fourth century B.C., but because of the decline of early Greek civilization, few of their traditions have been handed down to us. Because of the tuning differences, it is impossible to notate the Greek modes accurately using our present semitone system. Nevertheless, we know that they consisted of a variety of arrangements of tetrachords (series of four notes) and were conceived as progressing downward rather than upward (as we usually illustrate our scales).

      A. 希腊调式      古希腊的调式系统在公元前4世纪已经发展完成了，但由于古希腊文明的衰落，当时的文明的传统很少流传至今。由于调律的不同，古希腊音乐用当今的半音体系来记谱是不可能实现的。不过我们可以知道古希腊调式包含各种各样的四音音列（4个音的一系列音），并且认为是下行发展的而不是上行（用我们经常用来阐述音阶的方式形容）。

      B. Church Modes      From roughly 800 to 1500, the church modes formed the basis for nearly all Western music. Since the music of this period was primarily vocal, the modes reflect the many influences and accommodations of this medium of expression. Notice in the following illustration that the church modes are divided by range, and that the beginning tone is called the final rather than the tonic as in the diatonic scales.

      B. 教会调式      大约在公元8000年至1500年，教会调式构成了几乎所有的西方音乐。由于这个时期的音乐基本上是声乐形式，这种调式也反映出了这种声乐材料与形式的众多影响和调和。注意下方的图式，教会调式由音区范围区分，并且起始的音被称作结束音，而不是自然音阶中所称的主音。

Dorian: Natural minor scale with raised sixth degree； 

Phrygian: Natural minor scale with lowered second degree； 

Lydian: Major scale with raised fourth degree；

Mixolydian: Major scale with lowered seventh degree.

Early in the Renaissance (1450 to 1600), four other modes were acknowledged. The Aeolian is the same as the natural minor scale, and the Ionian is the same as the major scale.

多利亚音阶：升6级的自然小调音阶

弗里几亚音阶：降2级的自然小调音阶

利底亚音阶：升4级的自然大调音阶

混合利底亚音阶：降7级的自然大调音阶

另外四种音阶也在文艺复兴早期（1450-1600）被承认。爱欧利亚音阶和自然小调音阶一样，依欧尼亚音阶与自然大调音阶一样。

      As with the major and minor scales, the modes may begin on any tone as long as the arrangements of half and whole steps remain the same. 

      与大小调音阶一样，调式也可以在任意音高上开始，只要全半音关系保持相同。

      Since the final of each transposed mode lies in the same relationship to the tonic of the major scale with the same key signature, the identity of a transposed mode can be quickly determined。

      因为转调后的调式结束音，与相同调性大调音阶的主音保持同样的关系，我们可以很快区分出转调后的调式。

      The final of the Dorian mode is always the second degree of a major scale; The final of the Phrygian mode is always the third degree of a major scale; The final of the Lydian mode is always the fourth degree of a major scale; The final of the Mixolydian mode is always the fifth degree of a major scale; The final of the Aeolian mod is always the sixth degree of a major scale; The final of the Ionian mode is always the first degree of a major scale. 

      多利亚调式的结束音是大调音阶的第2级；弗里几亚调式的结束音是大调音阶的第3级；利底亚调式的结束音是大调音阶的第4级；混合利底亚调式的结束音是大调音阶的第5级；爱欧利亚调式的结束音是大调音阶的第6级；依欧尼亚调式的结束音是大调音阶的第1级。