调号(德語:Vorzeichen,法語:Armure,英語:Key signature)是五线谱记谱法中写在(谱号)后面的(变音记号),亦即标记在谱号后面的升、降号。
![image](https://www.wiki2.zh-cn.nina.az/image/aHR0cHM6Ly93d3cud2lraTIuemgtY24ubmluYS5hei9pbWFnZS9hSFIwY0hNNkx5OTFjR3h2WVdRdWQybHJhVzFsWkdsaExtOXlaeTkzYVd0cGNHVmthV0V2WTI5dGJXOXVjeTkwYUhWdFlpOHhMekV6TDBjdGJXRnFiM0pmWlMxdGFXNXZjaTV6ZG1jdk1UVXdjSGd0UnkxdFlXcHZjbDlsTFcxcGJtOXlMbk4yWnk1d2JtYz0ucG5n.png)
調号用来标注需要升高或者降低的音符,并且一个升降号会影响同一行谱表中多有同音名的音符,所以不用在相同音名的不同线上都标记出升降号。
每个大调和(小调)的乐曲中都会按照调号标记的方式来升高或降低每个音符,然而也有特殊情况,例如一些巴洛克作品 ,或是一些在传统的民歌曲调。
产生
调号的产生和音阶的结构有着紧密的关系,例如C大調音阶中相邻的音的(全音)、(半音)关系与高低谱号表线上的C、D、E、F、G、A、B、C各音的音高一一对应,所以以C为主音的大音阶是不需要升降号的,亦即与钢琴上白键的排列完全吻合。
以C大調音阶上的(属音)(G)为新的主音,为符合大音阶的结构规律,则必须升高F音,然后把F音上的升号移到谱号后面,即产生了一个升调的调以及这个调((G大调))的調號。依此方法,若以G大調音阶上的属音做為主音可以得到(D大調)音阶。
理論上,一段音樂可以用任何調號記譜,但不適當選取調號會使譜面出現過多不必要的(变音记号)而難以閱讀。下面兩張圖分別是用C大調和B大調的調號下的(B大調)音階:
![image](https://www.wiki2.zh-cn.nina.az/image/aHR0cHM6Ly93d3cud2lraTIuemgtY24ubmluYS5hei9pbWFnZS9hSFIwY0hNNkx5OTFjR3h2WVdRdWQybHJhVzFsWkdsaExtOXlaeTkzYVd0cGNHVmthV0V2WTI5dGJXOXVjeTkwYUhWdFlpODFMelZpTDB0ek1TNW5hV1l2TWpVd2NIZ3RTM014TG1kcFpnPT0uZ2lm.gif)
![image](https://www.wiki2.zh-cn.nina.az/image/aHR0cHM6Ly93d3cud2lraTIuemgtY24ubmluYS5hei9pbWFnZS9hSFIwY0hNNkx5OTFjR3h2WVdRdWQybHJhVzFsWkdsaExtOXlaeTkzYVd0cGNHVmthV0V2WTI5dGJXOXVjeTkwYUhWdFlpODFMelZpTDB0ek1pNW5hV1l2TWpVd2NIZ3RTM015TG1kcFpnPT0uZ2lm.gif)
調號一覽
五度圈
![image](https://www.wiki2.zh-cn.nina.az/image/aHR0cHM6Ly93d3cud2lraTIuemgtY24ubmluYS5hei9pbWFnZS9hSFIwY0hNNkx5OTFjR3h2WVdRdWQybHJhVzFsWkdsaExtOXlaeTkzYVd0cGNHVmthV0V2WTI5dGJXOXVjeTkwYUhWdFlpOHpMek16TDBOcGNtTnNaVjl2Wmw5bWFXWjBhSE5mWkdWc2RYaGxYelF1YzNabkx6RXpNM0I0TFVOcGNtTnNaVjl2Wmw5bWFXWjBhSE5mWkdWc2RYaGxYelF1YzNabkxuQnVadz09LnBuZw==.png)
表格
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参考文献
- Kraus, Herbert. Das große Buch der Musiktheorie. Bonn: Voggenreiter Verlag, 2012. Seite 28.
- Bartel, Frank. Musiktheorie endlich verstehen. Berlin: Leu-Vlg Wolfgang Leupelt, 2015. Seiten 6-18.
- Schulenberg, David. Music of the Baroque. New York: Oxford University Press, 2001. p. 72.. "(…) to determine the key of a Baroque work one must always analyze its tonal structure rather than rely on the key signature."
- Cooper, David. The Petrie Collection of the Ancient Music of Ireland. Cork: Cork University Press, 2005. p. 22. "In a few cases Petrie has given what is clearly a modal melody a key signature which suggests that it is actally in a minor key. For example, Banish Misfortune is presented in D minor, although it is clearly in the Dorian mode."
- Kühn, Clemens. Musiktheorie unterrichten - Musik vermitteln. Dresden: (Bärenreiter), 2006. Seiten 31-48.
- Charritat. Theorie de la Musique. Paris: Henry Lemoine, 2014. pp. 19-34.
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