[翻譯] 認識金屬樂（譯自英文維基）[2]

[coolfly (]v[EGADET]-[)]

術語地獄...Orz
如有翻譯錯誤之處，請不吝指正


音樂語言
Musical language

節奏與節拍
Rhythm and tempo

The rhythm in metal songs is emphatic, with deliberate stresses. Weinstein
observes that the wide array of sonic effects available to metal drummers
enables the "rhythmic pattern to take on a complexity within its elemental
drive and insistency." In many heavy metal songs, the main groove is
characterized by short, two-note or three-note rhythmic figures—generally
made up of 8th or 16th notes. These rhythmic figures are usually performed
with a staccato attack created by using a palm-muted technique on the rhythm
guitar.
節奏在金屬樂歌曲中受到大幅強調。Weinstein觀察到金屬樂鼓手使用大量聲音效果，好
令「節奏模式在強烈緊湊之餘，呈現出複雜感」。在許多的金屬歌曲中，主要的節奏採用
短促、雙音或三音的節奏型態──通常由8分或16分音符構成。這些節奏型態，往往是以
對節奏吉他施用手掌悶音的技巧，所製造出的斷音起奏方式演奏。

Brief, abrupt, and detached rhythmic cells are joined into rhythmic phrases
with a distinctive, often jerky texture. These phrases are used to create
rhythmic accompaniment and melodic figures called riffs, which help to
establish thematic hooks. Heavy metal songs also use longer rhythmic figures
such as whole note- or dotted quarter note-length chords in slow-tempo power
ballads. The tempos in early heavy metal music tended to be "slow, even
ponderous." By the late 1970s, however, metal bands were employing a wide
variety of tempos. In the 2000s decade, metal tempos range from slow ballad
tempos (quarter note = 60 beats per minute) to extremely fast blast beat
tempos (quarter note = 350 beats per minute).
短促、突兀和不連接的節奏小區塊，組合為節奏樂句，呈現出特殊、通常是不平穩的織度
。這些樂句被用來創造被稱為Riff的節奏伴奏與曲調音型，協助建構主旋律疊句。重金屬
音樂也使用較長的節奏型態，如在抒情搖滾（power ballad）中採用全音符或逗點四分音
符長度的和絃。早期的重金屬音樂傾向使用「緩慢，甚至是沉重」的節拍。然而到了1970
年代晚期，金屬樂團開始採用各式各樣的拍子。到了2000年代，金屬樂的節拍，涵蓋了緩
慢的抒情節拍（4分音符=每分鐘60拍），到極端快速的衝擊波（blast beat）節拍（4分
音符=每分鐘350拍）。

和聲
Harmony

One of the signatures of the genre is the guitar power chord. In technical
terms, the power chord is relatively simple: it involves just one main
interval, generally the perfect fifth, though an octave may be added as a
doubling of the root. Although the perfect fifth interval is the most common
basis for the power chord, power chords are also based on different intervals
such as the minor third, major third, perfect fourth, diminished fifth, or
minor sixth.Most power chords are also played with a consistent finger
arrangement that can be slid easily up and down the fretboard.
金屬樂的特徵之一，在於吉他使用強力和絃。在技術面上，強力和絃相對顯得簡單：它只
使用一個主音程，通常是完全五度音，雖然也可能採用八度音與基礎音對稱。雖然完全五
度音最常被用來作為強力和絃的基底，強力和絃也常採用不同的基礎，如小三度音、大三
度音、完全四度音、減五度音，或小六度音。大多數的強力和絃也採用一貫的指法，以便
在指板上輕易上下滑動。

典型的和聲結構
Typical harmonic structures

Heavy metal is usually based on riffs created with three main harmonic
traits: modal scale progressions, tritone and chromatic progressions, and the
use of pedal points. Traditional heavy metal tends to employ modal scales, in
particular the Aeolian and Phrygian modes. Harmonically speaking, this means
the genre typically incorporates modal chord progressions such as the Aeolian
progressions I-VI-VII, I-VII-(VI), or I-VI-IV-VII and Phrygian progressions
implying the relation between I and ｂII (I-ｂII-I, I-ｂII-III, or I-ｂII-VII
for example). Tense-sounding chromatic or tritone relationships are used in a
number of metal chord progressions.The tritone, an interval spanning three
whole tones—such as C and F#—was a forbidden dissonance in medieval
ecclesiastical singing, which led monks to call it diabolus in musica—"the
devil in music." Because of that original symbolic association, it came to be
heard in Western cultural convention as "evil". Heavy metal has made
extensive use of the tritone in guitar solos and riffs, such as in the
beginning of "Black Sabbath".
重金屬音樂通常以具有三種主要和聲特色的Riff作為基礎：調式音階行進、三全音與半音
階行進，以及持續音的應用。傳統的重金屬音樂傾向採用調式音階，尤其是伊奧利安（
Aeolian）和佛里幾亞（Phrygian）調式。就和聲上來說，這表示重金屬音樂基本上吸收
了調式音階行進，如伊奧利安行進的I-VI-VII, I-VII-(VI)或I-VI-IV-VII，和採用了介
於I與ｂII （例如I-ｂII-I, I-ｂII-III或I-ｂII-VII）的佛里幾亞行進。聲音強烈緊張
的半音階或三全音關係，在許多金屬樂和絃進程中被使用。三全音是橫跨了三個全音的音
程──例如C和F#──在中世紀教會歌唱音樂中是被禁止使用的不和諧音，因此被教士們
稱為diabolus in musica──「音樂中的惡魔」。因為這種象徵意義上的關聯性，它在西
方的文化慣例上常被稱為「邪惡」的聲音。重金屬音樂則廣泛地在吉他solo和riff上使用
三全音，像是歌曲〈Black Sabbath〉的開頭。

Heavy metal songs often make extensive use of pedal point as a harmonic
basis. A pedal point is a sustained tone, typically in the bass range, during
which at least one foreign (i.e., dissonant) harmony is sounded in the other
parts.
金屬樂歌曲常常大量採用持續音作為和聲基礎。所謂的持續音是一個持久的音調，基本上
是低音。在持續音之中，至少一個以上的異質（例如，異調）和聲，可以在其他部分被聽
見。

與古典音樂的關係
Relationship with classical music

Robert Walser argues that, alongside blues and R&B, the "assemblage of
disparate musical styles known...as 'classical music'" has been a major
influence on heavy metal since the genre's earliest days. He claims that
metal's "most influential musicians have been guitar players who have also
studied classical music. Their appropriation and adaptation of classical
models sparked the development of a new kind of guitar virtuosity [and]
changes in the harmonic and melodic language of heavy metal." The Grove Music
Online states that the "1980s brought on ...the widespread adaptation of
chord progressions and virtuosic practices from 18th-century European models,
especially Bach, Wilhelm Richard Wagner and Vivaldi, by influential
guitarists such as Eddie Van Halen, Randy Rhoads and Yngwie Malmsteen".Kurt
Bachmann of Believer has stated that "If done correctly, metal and classical
fit quite well together. Classical and metal are probably the two genres that
have the most in common when it comes to feel, texture, creativity."
Robert Walser（譯按：美國的音樂理論家）主張，除了藍調與R&B以外，「融合了不同風
格……被稱為『古典樂』的音樂」，同樣從重金屬音樂發展之初，便一直影響著這個音樂
類型。他聲稱金屬樂中「最有影響力的音樂家，都是曾鑽研古典樂的吉他手。他們對古典
樂典範的擷取和改編，激發了新型態的吉他技藝發展，以及金屬樂中和聲與旋律語言的變
化」。《葛洛夫音樂百科全書》線上版寫道，「1980年代之後……具有影響力的吉他手
如Eddie Van Halen、Randy Rhoads和Yngwie Malmsteen等人，在和絃進程與藝術慣例上
，廣泛地借鏡18世紀歐洲的音樂典範，尤其是巴哈、華格納與韋瓦第」。Believer的
Kurt Bachmann曾言，「假如方法正確，金屬樂和古典樂的元素能相輔相成。古典跟金屬
兩種類型的音樂，在感覺、織度以及創造力上，有著許多共通之處。」

Although a number of metal musicians cite classical composers as inspiration,
classical and metal are rooted in different cultural traditions and practices
—classical in the art music tradition, metal in the popular music tradition.
As musicologists Nicolas Cook and Nicola Dibben note, "Analyses of popular
music also sometimes reveal the influence of 'art traditions.' An example is
Walser’s linkage of heavy metal music with the ideologies and even some of
the performance practices of nineteenth-century Romanticism. However, it
would be clearly wrong to claim that traditions such as blues, rock, heavy
metal, rap or dance music derive primarily from 'art music.'"
儘管為數眾多的金屬音樂家表示受到古典樂作曲家的啟發，古典樂和金屬樂各自植基於
不同的文化傳統與慣例──古典樂來自藝術音樂的傳統，金屬樂則來自流行音樂的傳統。
一如音樂理論家Nicolas Cook和Nicola Dibben所指出的，「對流行音樂的分析，有時也
會揭露出『藝術傳統』的影響。一個例子是Walser揭露了重金屬音樂在意識形態，甚至是
某些表演慣例上，和十九世紀浪漫主義的關聯性。然而，若宣稱藍調、搖滾、重金屬、饒
舌或舞曲音樂，主要是由『藝術音樂』演變而來，顯然大錯特錯。」


（待續）

--
      I had nothing but the embittered sun...
      我一無所有，除卻那怨毒的太陽……

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推 nosap:應該翻成 完全四度 比較好吧
→ nosap:bpm那邊還蠻詭異的XD 進程翻成行進應該比較習慣
→ nosap:texture 應該是織度 (?
   已經調整過來了，感謝N大的建議:)
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※ 編輯: coolfly         來自: 114.38.110.111       (12/31 10:24)
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