| 摘要: | 一般所稱之常用變化和絃，乃是指「增六五和絃」(Chord of the augmented sixth and fifth)、「增四三和絃」(Chord of the augmented sixth fourth and third)以及「增六和絃」(Chord of the augmented sixth)三者，其餘在廣義的變化和絃之列的其他和絃，本文不擬加以討論。本文的主旨，在於探討變化和絃在一般常用和聲學書籍中的用法、稱謂及標示和絃的記號等問題。而更重要的是：本文特別針對變化和絃在轉調原理上提出系列的邏輯體系，並且將轉調的方法和邏輯體系以表列方式，歸納出整體性的比較總表，同時輔以級數記號與功能記號的比較，期望讀者能在傳統的和絃標記方式和先進的功能意義之間，取得更密切意義的聯貫。本文除了在各種變化和絃上有所申論之外，並特別選擇了貝多芬(L. V. Beethoven)鋼琴奏鳴曲(Piano Sonata)中的若干譜例以為佐證，並做為參考資料，期望能對讀者有些許助益。由於變化和絃在各個時代及地區，都有各種不同的闡述及運用方式，本文不敢期望放諸四海而皆準，只願有志於此道的同好們，能夠增加一份可供參閱，並且可以隨時用之於比較研究的資料。
Generally speaking, “chromatic chord" is referred to (1) the chord of the augmented sixth and fifth, (2) the chord of the augmented sixth fourth and third, and (3) the chord of the augmented sixth. This article will discuss the above-mentioned chords; the others, in the wider sense of chromatic chord, will not be included in the context. This article will focus on the usage and appellation of chromatic chord, the indication of mark chord, etc. Especially, series of logical system inferred from chromatic chord in modulation will be stated. The method of modulation and the logical system will be showed in lists. There will be tables of integral comparison. Also, to help readers much more understand traditional indication of chord and its advanced function, series mark and function mark will be compared. Besides, some musical scores of L. V. Beethoven Piano Sonata will be selected and elaborated to justify the author's viewpoints. As we know, chromatic chord, in different times and different places, can be explained and applied in different ways. Therefore, this article might not be so-called golden rules. However, the author aims to provide interested readers with some useful information for further comparison and research. |
