- 更多网络例句与和声大调相关的网络例句 [注：此内容来源于网络，仅供参考]
-
There is usually a 3rd -key added in the opening of the second theme, and sometimes a new theme is composed. Then, the subordinate key is reached before the end of exposition. 5 Silence of one whole bar is frequently utilized, which not only brings profound expressive significance, but also is important to the architectonics of these sonatas. 6 The harmonization in the variation, which is the method of applying different keys to the same melody, is handled in those Andante movements. By this way, the same melody appears in variable colors of harmony, which can not only avoid dull repetition, but also keep the lyrical nature and the completeness of melody. 7 Chromatic method is applied in the periods of development, and chromatic深层线条becomes the provident feature in some periods of development. 8 Atlas motive is put to use in c minor and A major sonatas, and a lot of "sigh" tones and c sharp minor are both preferred in those three sonatas. 9 The emotional factor of "wanderer" is the roots of thoughts for the intense conflict of music.
他通常在副部的开始加入一个三度的调性，有时再加入一个新主题，最后在呈示部结束之前到达属调； 5、较多地运用整小节的休止，使其不仅具有深刻的表情意义，而且在结构乐曲中起到了不可或缺的作用； 6、舒伯特在慢板乐章中运用同一旋律异调配置的和声变奏方式来构成音乐的段落，使同一个旋律在不同的和声色彩里闪现，既避免了单调的重复，又保持了旋律的抒情性和完整性； 7、展开的段落中习惯运用半音化的发展手法，半音阶式的深层线条成为某些展开段落的显著特点； 8、c小调和A大调奏鸣曲中都运用了"阿特拉斯"动机，三首奏鸣曲中运用了大量叹息的音调，并倾向于~#c小调的运用； 9、"流浪者"的情感因素是音乐强烈冲突的深刻思想根源。
-
This paper argues that Bartók s use of harmony and his musical style are close to modal harmony featuring Chinese traditional music and that his music deserves serious study in an effort to promote the nationalization of Chinese music.
在和声运用方面，为了突出匈牙利民族音乐特征，巴托克力图摆脱严谨的传统和声条框的束缚，探索新的和声表现手法，他将匈牙利民族调式和大小调体系有机的结合起来，在和弦构成的三度叠置原则、和弦外音的观念、调关系的理解、转调及扩展半音的方法等方面进行了突破与创新。
-
This paper begins with analysis of Concertina Concerto In BB Major through part-general approach, which focus on the interpretation of structure, melody, tone, rhythm and performance techniques; furthermore, it is exhibited in a full-scale way
本论文以《降B大调手风琴协奏曲》的本体分析为切入点，运用具体分析、整体总结的研究方法，逐层深入，在曲式结构、旋律调性、和声发展及演奏中的把握等方面，对柴金这部具有传统创作特色的音乐作品做出较为全面、客观、细致的研究。
-
This paper studies the works of Vivaldi, Op.3 Lestro armonico.By the way musical form analysis of musical analytics, tries to analyze the structure, musical form, harmony, key relationship, stylistic evolvement of the works . It reveals the status of the works and the impact to the autumn period solo-concerto Four Seasons in the course from grand concerto to solo concerto . Vivaldi contributes the foundation of the solo concerto and his works get a further reference to learners.
本文以维瓦尔第的作品Op.3《和谐的灵感》为研究对象，运用音乐分析学中曲式分析的方法，试图通过对作品的结构形式、曲式、和声、调关系、风格演变等方面的分析，揭示出在从大协奏曲到独奏协奏曲的演变过程中，这套作品有着怎样的地位，对成熟时期的独奏协奏曲有着怎样的影响以及作曲家在独奏协奏曲的最终确立方面都有哪些探索，做出了怎样的贡献，对人们进一步了解维瓦尔第的其它优秀作品提出一些参考。
- 更多网络解释与和声大调相关的网络解释 [注：此内容来源于网络，仅供参考]
-
Adagio cantabile：如歌的慢板
第二乐章 如歌的慢板(Adagio cantabile)降A大调,2/4拍,三部曲式. 抒发了宁静诚挚的感情,是在贝多芬以往缓慢乐章中,最为优雅的乐章. 淳朴、优美的抒情旋律,响彻着圣咏式的和声和管风琴一般的音响. 这个旋律非常接近德国的民歌,
-
base：低音
我的低音炮买来用了几个月后就开始嗡嗡的响,把低音炮只接电源(不连接扬声器和声卡),然后由小到大调节低音(BASE)旋钮,嗡嗡声也越来越大,若把BASE旋钮调到0就没有嗡嗡声,还有就是调主音量旋钮对嗡嗡声没任何影响.
-
Tonic：主音
这个C音是"主音"(tonic). 在近300年的西方音乐发展史中,所有事件都是围绕着选择主音以及主音与其他音的关系而发生的. "调性"指的是属于一个调的和弦与和声内的这种关系,我们刚才的作品仅弹奏了属于C大调的和弦与和声,
-
major triad：大三和弦
被垂直的小节线(bar line)划和弦(chord)是由许多音(通常为 3 个以上)同时演奏出来的和声;三和弦(triad)是由三个相隔三的音符组成,也整理了这些和弦与调性(key)的关调(k=0)为例,其大三和弦(major triad)为样版也可以解决和