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책 소개
본서는 음악 이론(화성학) 초보자들이 필자 저서 제2편과 제3편을 공부하기 위한 기초학
습서이다. 음악에 있어서 완전 초보자라 할지라도 화성학의 기본 원리를 이해하기 쉽게 설명하려고 노력했다. 본서를 충실히 공부하면 화성학의 전반부, 즉 음계, 음정, 화음, 조성, 5도권 등에 대한 화성학 원리의 확실한 개념을 알게 된다. 이어서 제2편 『모드스케일 완전해법』과 제3편 『펜타토닉스케일 완전해법』을 계속 공부하면 다양한 음악을 창작하고 작곡할 수 있음은 물론 어떤 악기이든 자기가 다루는 악기(보컬과 성악 포함, 타악기 제외)를 가지고 모드음악에서의 애드립과 펜타토닉스케일을 활용한 애드립을 자유자재로 할 수 있게된다. 결과적으로 볼 때 이 책이 화성학의 전반부를 다루었으므로 이 책을 공부하고 나면 화음중복법이나 4부합창의 작법을 제외한 화성학 이론의 기초는 물론 곡을 쓰고 음악을 만들고 표현할 수 있으며 저자의 이론서들(제2편, 제3편)을 공부할 수 있다. 화성학의 후반부 화음중복법이나 4성작법 등은 저자의 이론서들을 공부하는 데 굳이 필요치 않으므로 제외하였다. 이어서 제2편 『모드스케일 완전해법』을 통해서는 모드 음악에 대한 다양한 원리와 방법을 알게 되고 제3편 『펜타토닉스케일 완전해법』을 통해 펜타토닉적인 음악의 원리와 방법을 알게 된다. 결국 본서 1편과 더불어 저자의 책 2편과 3편을 모두 익히게 되면 화성학적인 음악과 모드적인 음악, 펜타토닉적인 음악 모두를 창작하고 연주할 수 있게 되는것이다.
차례
책 소개································· 5
들어가는 글· ······························ 8
제1장 입문· ································· 12
음이름(音名)· ······························ 12
음이름의 의미· ····························· 12
제2장 자연(장)음계···························· 16
제3장 음정(Interval)·························20
각 음정에 대한 범례· ··························22
1도 음정· ·······························22
2도 음정· ·······························23
3도 음정· ·······························24
4도 음정· ·······························25
5도 음정· ·······························26
6도 음정· ·······························26
7도 음정· ······························· 27
8도 음정· ······························· 27
장음계 도수 별로 본 음정 변화의 예· ··················28
1도 음정· ·······························28
2도 음정· ·······························28
3도 음정· ·······························29
4도와 5도 음정· ····························29
6도와 7도 음정· ····························29
8도 음정· ·······························30
음정을 쉽게 판별하는 방법(음정 변화 법칙)···············30
제4장 조표의 원리·····························34
샵(?, 올림) 계열 조···························34
플랫(♭, 내림) 계열 조··························34
5도권··································35
조별 주요3화음(가족 코드) 묶음의 예··················36
제5장 화음(Harmony)························40
주요(으뜸)3화음과 대리(버금)3화음····················40
화음은 어떻게 만들어지나?······················· 41
장3화음(Major Triad)의 구조· ····················· 41
단3화음(Minor Triad)의 구조· ·····················42
증3화음(Augment Triad)의 구조····················42
감3화음(Diminish Triad)의 구조····················42
제6장 3화음 생성 원리·························44
장음계화음(C조 다이아토닉)· ······················44
단음계화음(Am조 다이아토닉)· ·····················46
D♭조 다이아토닉·····························50
B♭m조 다이아토닉····························52
D조 다이아토닉·····························54
Bm조 다이아토닉···························· 57
E♭조 다이아토닉·····························59
Cm조 다이아토닉···························· 61
E조 다이아토닉·····························63
C?m조 다이아토닉···························65
F조 다이아토닉······························67
Dm조 다이아토닉····························68
G♭조 다이아토닉·····························70
E♭m조 다이아토닉···························· 72
G조 다이아토닉····························· 74
Em조 다이아토닉···························· 76
A♭조 다이아토닉·····························78
Fm조 다이아토닉·····························79
A조 다이아토닉····························· 81
F?m조 다이아토닉····························83
B♭조 다이아토닉·····························85
Gm조 다이아토닉····························87
B조 다이아토닉·····························89
G?m조 다이아토닉···························90
37년간 기타를 다루어 온 기타리스트(블루스락)로서 기독교음악예술원, 한세대학교와 동 대학원을 졸업하였다. 고대로부터 지금까지 세계 연주 음악의 원리로 가장 큰 영향력을 발휘하고 있으나 딱히 어디에서도 속 시원한 해법을 찾아볼 수 없는 교회선법(Church Mode)-이는 오늘날 모드스케일(Mode Scale)로 더 많이 알려져 있음-을 풀고 싶었다. 뿐만 아니라 오늘날 팝 음악에 많이 활용되고 있으며 우리나라에서도 점차 관심이 일고 있는 펜타토닉스케일(Pentatonic Scale)의 확실한 원리와 분명한 해법을 풀고 싶었다. 결국 3년의 연구 기간을 거쳐 음악 역사상 최초로 모드스케일 원리와 펜타토닉스케일 원리의 해법을 개발하고 이를 정리하여 책으로 출판하게 되었다.
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