七音音阶

One of the seven notes of a diatonic scale.

音级：全音阶的七个音符之一

The seventh tone in the scale of C major or the second tone in the relative minor scale.

b 音， b 调c大调音阶中的第七个音或c 小调音阶中的第二个音

Blessed with a fabulously versatile voice - one that could turn itself to gentle ballads, opera, gospel and rock with equal competence - Buckley all too often wrenched the old seven-octave beast up to 11, delivering delicately-worded phrases with a big heap of X Factor-style melisma, rather than subtlety and measure.

阿奎莱拉。天生一副令人着迷而且多才多艺的好嗓子--这种嗓音无论是唱轻柔的情歌、古典歌剧、黑人灵歌还是摇滚都会有同样大的魅力--巴克利常常把本来是七个八度音阶的曲调强行提高到十一个，这使本来那些优美精妙的歌词都变成了一大堆充满未知可能的装饰音，而失去了微妙的度量。

Based on the method of the Third structure, the writer analyzed Bartok way to build up the work kernel motive from the simple relation of the third, then to establish three pitch combinations to control the whole piece: heptachord collection, octachord collection and the twelve-tone collection.

文章将立足于三度结构手法，分析巴托克如何从简单的三度关系建立起乐曲的核心动机，然后借助动机建立控制全曲的三种音高组合――七音音阶组合、八音音阶组合及十二音组合（twelve-tone collection），再依靠不同音阶组合建立了段落结构，由小至大、由表及里，创作了这首弦乐四重奏的核心乐章。

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。

You admire in their midst the rich gamut which incessantly ascends and re-ascends the seven bells of Saint-Eustache

还可以从八度音当中欣赏圣厄斯塔舍教堂那七口大钟丰富的音阶升降不迭

The dominant seventh chord, in the key of C, is built on G. The chord notes would then be G- B - D - F. The sub dominant chord, in the key of C, is built on the fourth note of the scale, or F.

C调的属七和弦，它的根音就是G，构成这个和弦的音是G-B-D-F.C调的下属和弦，它的根音是F，是音阶上的第四个音。

The paper subsumes scale study into modes relation, reveals the relation between the sympathetic tone of the two scales and framework interval as well as allocation of modes, and holds that there are close relation between pentatonic Slendro and heptatonic .

论文把音阶研究纳入调式关系之中，揭示了这两种音阶的共同音与框架音程的关系以及调音模式的配置，认为五声斯连德若与七声佩罗格这两类甘美兰音阶之间具有密切的血缘关系并建立在共同的结构形态之上。

"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。

About one third of jazz is in blues form with twelve measures in a song and uses ---blue notes, the flatted third, fifth, and seventh notes of the musical scale.

大约有三分之一的爵士乐采用蓝调形式，一首歌有12小节，使用&蓝音&，即把第三，五，七个音阶降半音。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。