三全音

Increasingly, polyphony and harmony were seen as two sides of the same idea, with harmonic progression entering the notion of composing, as well as the use of the tritone as a dissonance.

复调和和声逐渐被认为是同一个概念的两个方面，随着和声级数进入到作曲记谱的概念中，以及作为不和谐音的三全音的运用。

The nearest parallel in Russian opera is Mikhail Glinka's Ruslan and Lyudmila , but echoes of Musorgsky are present too: tritones used to depict alarm bells in the scene between Yaroslavna and the boyars, the closing measures of Igor's aria (suggesting the closing measures of Act II of Boris Godunov ), the comic gudok players' recitative.

在俄罗斯歌剧中与它最相似的一部是米哈伊尔格林卡的《鲁斯兰与柳德米拉》，但是与穆索尔斯基作品也有相似之处：在雅洛斯拉夫那与贵族们间的场景中用三全音来描绘警报声，伊格尔的咏叹调中相似的小节（让人想起《鲍里斯格杜诺夫》第二幕中的相似的小节）以及滑稽的古多克琴演奏者的宣叙部。

This interval, which occurs between the fourth and seventh degrees of the diatonic major scale, is also known as a tritone.

不协和音程发生在自然大音阶的四度和七度，也被称为三全音。

The augmented fourth, otherwise known as the "tritone", is an interval in the melody occurring many times as an F# over a C major chord (for example in the chorus, the words "my heart" and "one dream").

增四度，也称为三全音，是以 C大调和弦里的F#出现多次的音程。(例如﹕副歌部份的"我的心"和"一个梦")。

The eclipse (and its supernatural significance as a heavenly omen) is depicted with octatonic chord successions, in this case 7th-chords with roots a minor 3rd or tritone apart.

在日蚀中（以及其象征天国的征兆的超自然的宏大场景）用八音和弦系列来描绘，在这里用的是根音上方小三度或三全音的七和弦。

Part one studies the sequence techniques, including the original sequence and its magic cube table, the sequence distribution in each movement and the sequence application techniques in different parts; Part two is a study of chord structure, consisting of fourth-fifth chords that are comprised of tritone, polychords, tall chords, note-cluster chords, as well as whole-tone scale chords; Part three is to analyze the techniques of polyphony, involving the counterpoint of melody and that of rhythm; Part four examines techniques of orchestration, such as those of conventional orchestration and of unconventional orchestration, and the figure of changing track of orchestration acoustics; Part five is a research of musical form structure, including illustrations of musical form structures in all movements, in addition to the effects of timbre, performing methods, dynamics, and density on musical form structural force.

本文将从五个方面来分析研究王西麟《第三交响曲》：第一，序列技术研究，其中包括原始序列及其魔方表、序列在各乐章的分布、多声织体中的序列应用手法；第二，和弦结构研究，其中包括三整音叠置的四五度和弦、复合和弦、高叠和弦、音块式和弦、全音音阶纵合化和弦；第三，复调技法研究，其中包括旋律对位、节奏对位；第四，配器手法研究，其中包括常规配器手法、非常规配器手法、配器音响效果变化轨迹图；第五，曲式结构研究，其中包括各乐章曲式结构图示，以及音色、演奏法、力度、织体密度对曲式结构力的影响。

Tritoni and octaves walk up to the highest F on the keyboard and down again in quavers.

三全音和八度音一直上升到键盘上最高的F音，又在八分音符中下降。

The use of tritones and semitones is paramount throughout this work to give it its distinctly poignant flavour.

歌曲中采用了大量的三全音和半音，为作品营造了一抹特有的沉重愁惨意味。

He next took up the genre in 1867 with The Sleeping Princess , the first of three songs – the others are The Sea Princess and The False Note – to make striking use either of 2nds as harmonic coloration or of the whole-tone scale.

其后他在1867年开始了另一组创作包括：三首中的第一首《睡美人》和《海的女儿》，《虚假的说明》，惊人的运用了或是二度和声装饰，或是全音音阶。

On closer examination, though, this is not a vote for multilateralism but just the opposite.

仔细审视后我们发现，这并非是对多边主义投出的赞成票，而是恰好相反。

Uncovering their weak spots, so I can defeat them.

揭露出他们的弱点，这样我就可以打败他们了。