不谐和音

基本解释 (translations)

dissonance

与不谐和音相关的网络例句 [注：此内容来源于网络，仅供参考]

There are few exceptions to this rule, and sometimes a crescendo is marked after an appoggiatura or dissonance; usually this dynamic is indicated in the text.

对这些规则有少数例外，有时在一个倚音或不谐和音后面标一个渐强记号；通常击键的力度也标明在乐谱上。

The beginning acoustic effect, which moves sluggishly, is to reminisce Joyce and Proust who initiated the composing technique of "stream of consciousness". Whilst the pile of sound piece, the unharmony tone and the application of "noisy music" in the ending part, are to show my pessimistic respect to Nuonuo, Pendereck, Schnittke, Pierre·Henry.

启始的凝滞的音响效果，是对开创了"意识流"写作技巧的乔伊斯、普鲁斯特等人背叛性的缅怀；后尾大段的音块、不谐和音程、"噪音音乐"的运用，又是对于诺诺、潘德列斯基、施尼特凯、皮埃尔·亨利悲观的致敬。

The middle movement, Vivace , is a sprightly scherzo, whose dissonances and jagged harmonic content give it a certain irony; its exoticism reminds us of Ravel's Piano Trio .

中间的乐章，速度标记为活泼的，是一个欢快的谐谑曲，不谐和音和参差的和声效果使得它有绝对的讽刺意义。它的异域情调让我们想起拉威尔德《钢琴三重奏》。

The beginning acoustic effect, which moves sluggishly, is to reminisce Joyce and Proust who initiated the composing technique of "stream of consciousness". Whilst the pile of sound piece, the unharmony tone and the application of "noisy music" in the ending part, are to show my pessimistic respect to Nuonuo, Pendereck, Schnittke, Pierre·Henry.

启始的凝滞的音响效果，是对开创了&意识流&写作技巧的乔伊斯、普鲁斯特等人背叛性的缅怀；后尾大段的音块、不谐和音程、&噪音音乐&的运用，又是对于诺诺、潘德列斯基、施尼特凯、皮埃尔·亨利悲观的致敬。

These notes of lesser importance include consonant grace notes, upbeat figures, passages that start as upbeats, the short notes in dotted figures, notes printed in small type, and connecting notes, resolutions of dissonances, accompaniment figures in general, and arpeggio figures that lead to a principal note.

下面列举的这些音符是不太重要的：和谐的装饰音、弱拍音型、弱起小节、断奏音型、音符印刷地很小而且用连接符连接着、不谐和音的转化、一般的伴奏音型、导向主音的琶音音型。

The scope of this book does not permit us to go into detail concerning the why and how of all this; however, consonances, dissonances, and harmonic overtones that blend or clash do have the role of creating tension and release.

书的范围不可能使我们深入到细节中去关注为什么和怎么样；然而，协和音程、不谐和音以及混和或撞击声的调和的泛音，确实有使人产生绷紧张力和释放的作用。