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The British composer Tim Salter wrote Equipoise for Xuefei Yang when she performed in the Park Lane Group Young Artist Series at the Purcell Room in January. She premiered it here and received much success with the piece from the general music critics who attended the concert. The piece is virtuosic and gives her the opportunity to display her superior technique and her enormous dynamic range. The concept of expressing balance and counter-balance was her idea and then Salter has balanced delicacy of line with powerful explosions of notes.

英国作曲家添索特的〝平衡〞，是为杨雪霏的〝帕宁集团年青艺术家〞一月份的普赛音乐厅演奏会系列而委约创作，她的首演非常成功，获得主流音乐圈的高度赞誉，这是一首超技乐曲，提供了一个机会让杨雪霏展现她出类拔萃的超群技巧和异常巨大的动态，索特以优美旋律混合具爆炸力的音符，由杨表达出平衡与反平衡的概念。

The first is a piece of in-side-worn white sweater, a piece of sport coat and a pair of black jeans.

Winter 2是一件灰白条纹状毛衣，搭配一条深蓝色牛仔裤，在冬季能穿出休闲的感觉。

The first is a piece of in-side-worn white sweater, a piece of sport coat and a pair of black jeans.

Winter 2是一件灰白条纹状毛衣，搭配一条深蓝色牛仔裤，在冬季可以穿出休闲的感觉。

Instead,she took her time to count all the money piece by piece.

反而，她把她的时间再指望所有的钱一块一块。

Instead,she took her time to count all the money piece by piece.

相反的是她却用那些时间一块一块的数她的钱。

Instead,she took her time to count all the money piece by piece.

相反，她花这些时间去一张一张的数钱。

Instead,she took her time to count all the money piece by piece.

反而，她花费更多的时间一个接一个数这些钱。

Instead,she took her time to count all the money piece by piece.

她把她的时间一点一滴的用钱来计算。

You'll make it back piece by piece -- the same way you accumulated it.

你会一点一点将损失都赚回来的----和你当初积累它们的方法一样。

Instead,she took her time to count all the money piece by piece.

相反，她却一张一张地数起了这些钱。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。