七和音

His performance on all these tracks, typically over a backdrop of gauzy major-seventh string pads, provides a lesson in long-form jamming against a steady, sensuous backbeat, with octave passages and a buoyant rhythm feel that echo Wes Montgomery.

他的演奏贯穿所有单曲，其典型特征是以薄纱般的第七弦乐键盘大调作为背景，借助于模仿Wes Montgomery的八度音小节和轻快节奏的感觉，提供了一个如何给稳定的、优美的基调强节奏以较长结构的人为干扰的经验。

There are at least seven pathways by which a single segment or a sequence of non-identical segments can be transformed into a geminate consonant, resulting in the evolution of a consonantal length contrast for a given language.

根据进化方法的预测，双音的共时分布和行为将反映进化的历史进程。将一个音段或不同音段序列转换成为辅音双音，以使给定语言产生辅音长度对比的进化，至少有七条可寻路径。

Aluminum frame, the sandwichcone of Non-woven carbon fiber+Cell+Non-woven carbon fiber, 75mm (3) copper clad aluminum voice coil with flat wire,the special magnet system with Faraday ring and demodulation coil, 170mm×22mm Y30 Ferrite magnet.

铝合金框架， sandwichcone非织造碳纤维+细胞+无纺布碳纤维， 75毫米（ 3 ）铜包铝线音圈与扁线，特别磁体系统与法拉第环和解调线圈，一百七十〇毫米× 22毫米Y30铁氧体磁铁。

The flamenco version of this mode contains two frequent alterations in the 7th and, even more often, the 3rd degree of the scale: if the scale is played in E Phrygian for example, G and D can be sharp.

这种调式的弗拉门戈包含在音阶第七度、更经常是在第三度上的两种频繁的变音：例如，如果音阶是在弗利基亚 E 调式上，那么 G 和 D 就是升调。

A chord consisting of a root with its third, seventh, and ninth.

九和弦由第三、第七和第九三个基础音组成的和弦

His Song of the Dark Forest artfully evokes a folk idiom through its poetic metre (a modified kol'tsovskiy stikh ), word repetition, and spare harmony which avoids the leading note. The seven songs composed between 1867 and 1871 conclude with Borodin's second Heine setting, Iz slyoz moikh ('From my Tears'), which is noteworthy for still further effects derived from 2nds.

他的《黑暗森林之歌》以诗般的韵律（ a modified kol'tsovskiy stikh ），歌词的重复以及避开导音的和声等艺术化的塑造了民歌的风格。1867年和1871年创作的七首歌中包括了鲍罗丁的第二首海涅组曲《从我的眼泪中》，其对于二度音程的进一步作用有显著的影响。

"Using eighteenth-century musical forms and the tonality of the seven-note scale, the group also drew from ethnic folk tunes , jazz, and polytonal techniques."

这批音乐家运用18世纪的音乐形式和七音音阶的调性，同时也从各民族民间曲调，爵士乐和多调性技巧中汲取养份。

But suddenly a storm came on, chromatic scales and chords with the diminishing sevenths could be heard in the orchestra, and they all ran off, dragging one of the performers again behind the scenes, and the curtain dropped. Again a fearful uproar of applause arose among the spectators, and all began screaming with rapturous faces

但是忽然刮起了一阵暴风，管弦乐队中响起了半音音阶和降低的七度音和弦，大家都奔跑起来，又把在场的一人拖到了后台，幕落了，观众之间又出现了可怕的喧嚣声和噼啪声，大家的脸上都带着洋洋得意的神情，开始呼喊起来。

But the way she used Neapolitan sixth、augmented sixth、ostinato bass、and consecutive unresolved diminished-seventh chords is unique.

Amy Beach的和声语法一直是以十九世纪的和声为基础，而她具个人特色的用法是常使用拿坡里和弦、增六和弦、顽固低音、各音级上的七和弦、和连续不解决的减七和弦。

You can do it with a hammer on (and an optional pull-off), or by bending the strings.

三音和七音是&布鲁斯音&里两个最重要的的音，你可以在小三度和大三度、小七度和大七度之间变换，方法是用一个锤击或者钩拉技巧，或者推弦。

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。