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一、进行曲乐段在现代小号诞生之后的浪漫主义时期以及其后的二十世纪作曲家的管弦乐作品中,进行曲乐段占有显著地位。作曲家们非常喜欢运用现代小号来表现辉煌灿烂、胜利凯旋、刚毅雄壮的音乐形象。首先我们可以从法国作曲家柏辽兹创作的《幻想交响曲》第四乐章中,听到作者使用四支小号与铜管声部的合奏来演奏时而阴森残酷,时而灿烂庄严的进行曲乐段。这个乐段使用了级进式的附点音符进行,没有很高的音域,作曲家所追求的是整个铜管声部的和声效果。用小号与整个铜管组的合奏形式和它产生的效果,为后来的作曲家们提供了可资借鉴的经验。
First, marching music in the modern era after the birth of the romantic period and the twentieth century composer orchestral works, the march section occupies a significant position. Composers like to use modern trumpet to show brilliant, triumphant triumph, resolute and magnificent music image. First of all, we can hear from the fourth movement of “Symphony of Fantasies” written by the French composer Berlioz, that the author uses the four trumpet and brass parts of the ensemble to play time-harsh cruel, sometimes brilliant and solemn march music section . This passage uses a step-by-step, point-by-point note, without a very high sound field, and the composer is pursuing the harmony of the entire brass part. With a trumpet and the entire brass group ensemble form and the effect it produces, for the later composers to provide a reference experience.