声部

Kodda - Metamorphy Kodda is a nomad in a digital matrix; he plays with his brushes as he produces music and paintings - distorting time, sampling a color, a texture, a gesture, and blending them with the constant ebb of influences fed to himself to create a "unique and polyphonic" interpretation of modern painting.

Kodda是一个数字矩阵里的流浪者，他玩音乐和绘画的同时也挥动着画笔-改变时间，尝试一种颜色、一种质感、一种姿态，并将它们与不断围绕着自己的低潮混合在一起，对现代绘画诠释出一种&独特而多声部&的全新演绎。

Earlier medieval notation had no way to specify rhythm, although neumatic notations gave clear phrasing ideas, ahd somewhat later notations indicated rhymic modes.

据推测，在中世纪初期谱子上的音乐可能是使用合唱谱子的单声部演唱和合唱，并没有标记器乐如何演奏。，虽然早期纽姆谱有着清晰的分句概念，并且稍后还能标示出韵诗，可是早期的中世纪乐谱仍然都没有详尽地记录节奏。

They further develop the technique of "jumping narration".Furthermore,they focus on composing dramatic polt and circumstance,and often adopt expression forms of multi-angles and multi-voices.So,they develop the strategy of dramatic narrative to a new height.

他们进一步发展了&跳跃呈现&手法，而且注重营造戏剧性的情节与情境，往往采用多视角、多声部的表达方式，将&戏剧化&的叙事策略发展到了新的高度。

Then, various instruments such as hand drum, rawap, qalun dulcimer and ghijak, a round-bodied spike fiddle, are played as the performers sing happily in loud voices in succession. Each sings in a unique way, but as a whole the song is harmonious with alternating tension and relaxation, which forms the in spiring polyphonic effect.

接着，各件乐器手鼓、热瓦甫、卡龙琴和艾切克等竞相动情演奏，各位歌手竞相引吭高歌，他们之间互不跟调、各自为政，但是从总体上听又张弛有度、和谐统一，形成了极富感染力的多声部音乐。

The first one and the eleventh one are concentrate to the tensibility of finger, the second one is famous of it"s fingering technique which is the typical fingering of Chopin, the third and six one are experience the layer of mufti voice parts, the fourth one is keenness which carries on by its speed and music the alone difficulty , the fifth one is the"black keyetude , harmonic innovate are visibly reflected at the seventh, the tenth and the eleventh one, humorousness is performance in the bass field in the eighth one, the ninth and the twelfth one are training stretching and running technique of left hand.

第一首与第十一首是针对手指的伸张技术；第二首是赋予了肖邦典型技术特征的指法；第三首与第六首是多声部织体的演奏；第四首是以其速度和音乐进行的尖锐性而独具难度；第五首是&黑键&练习曲；和声的创新手法在第七、第十以及第十一首里都有明显地体现；第八首最大的特点在于它用左手在低音区表现出谐谑式的旋律；第九首与第十二首在单纯手指技术上是分别训练左手的伸张及快速均匀的跑动。

The piano is a kind of several department musical instruments of wide range of application, oneself had various functions, to the request of basic achievement more strict, the contents is more extensive.

钢琴是一种用途广泛的多声部乐器，本身具备了多种功能，对基本功的要求更严格，内容更广泛。

M. 1: All altos, tenors and basses sing their low or lowest register, and everyone has a different pitch.

第1小节：所有女低音、男高音和男低音声部演唱较低或他们的最低音，所有人都唱不同的音高。

By stretching the song to about 50 times slower than normal, one can enter a rich world of odd tones, microscopic vibrations and little glissandi not belonging to the actual melody, but being a natural part of the human voice and the Chinese tradition of singing.

随着歌曲旋律被放慢到比正常速度慢五十倍，这时就进入了一个丰富的单音世界，显微镜摆动着，小的滑音并不属于真实的旋律，却是人声和中国民族唱法组成的自然的声部。

Sometimes a string accompaniment doubles or replaces one or more of the vocal parts.

有时候以伴奏的弦乐器重奏或替代一个或一个以上的声部

Transcription, and analyzes Wangs inheritance, reproduction and development of Chinese ethical folk music. She also makes transverse comparisons between the musical forms of piano works by composers of both China and abroad, and illustrates that Wang uses for inference but not copies the western musical forms, that he attaches importance but not stickles to the framework of traditional Chinese music, and also that he demonstrates a characteristic of not sticking to one pattern. She makes contrastive comparisons as well of the melodies and harmonies of piano works by composers of both China and abroad, and indicates that in inquiries into the folk style of counterpoint, Wang is flexible and creative in harmonies by inheriting the character of a clear melody and the method of multi-voice in Chinese traditional music and also by absorbing the character of emphasizing the layers of texture in western piano music.

拿民族民间音乐与钢琴改编曲作纵向比较，分析其对中国民族民间音乐的继承再现与发展；拿中外钢琴作品的曲式原则作横向比较，说明他借鉴但不照搬西方音乐曲式规范，重视但不拘泥于传统中国音乐结构方法，在作品的结构上，呈现出不拘一格的特点；拿中外钢琴作品在旋律、和声等方面作相异比较，指出了在探索多声部音乐的民族风格过程中，王建中一方面继承了传统音乐中旋律线条十分突出的特点，另一方面又吸收了西方钢琴音乐注重织体的网状结构的特点，有意识地运用了我国民间多声手法，在和声的运用方面表现出灵活多样而又富于创新的特点。

I'm strongly against the death penalty — it's an eye for an eye.

我不赞成死刑——这是以牙还牙的报复行为。

And to get you the support you need, we're enlisting all elements of our national power: our diplomacy and development, our economic might and our moral suasion, so that you and the rest of our military do not bear the burden of our security alone.

并给你们所须的支援，我们正徵召国家所有各种的力量：我们的外交及发展，我们的经济力量与道德劝说，所以你们与其他军人不须要孤独地负起国家安全的责任。