六十四分音符

The accumulated charge is then released in a premature climax, fff and colossale, which consists of oscillating triplet semiquaver runs across the upper four octaves of the piano, kept in rhythm by a leaping left-hand crotchet accompaniment.

积聚的能量在一个早期的高潮中被释放，伴随着极度的超强音，钢琴在高音区的四个八度中表现振动的十六分音符三连音，而左手则以反复的跳跃弹出伴奏节奏。

The piano puts a momentary end to its own fury with a barely feasible manoeuvre, both hands jumping up three or four octaves simultaneously and fortissimo in the time of a semiquaver.

钢琴以一种几乎很难实行的行动终止了自己愤怒的演奏，两只手同时跳跃到三或四个八度以上并弹奏十六分音符的最强音。

This is a practice run too fast right hand Etudes speed required to play a quarter note equal to 66-72 per minute on the metronome speed of it.

这是一首练习右手快速奔跑得练习曲，速度上要求弹奏到一个四分音符等于每分钟六十六至七十二节拍器速度就行了。

The rest denote sound break down, it be called rest and shown as '0' in the music book. Rest can be disport as note full-rest, half-rest quarter rest, eight rest and sixteen rest.

二分之二拍 2/2 2/2 beat 四分子二拍 2/4 2/4 beat 四分之三拍 3/4 3/4 beat 四分之四拍 4/4 4/4 beat 八分之三拍 3/8 3/8 beat 八分之六拍 6/8 6/8 beat 八分之十二拍 12/8 12/8 beat 三、休止符rest 表示声音停顿的符号，叫休止符，用"0"来表示休止符和音符一样可分为：全休止符，二分休止符，四分休止符，八分休止符和十六分休止符。

When it ends, from the beginning of violin pinches, the melody is composed of short 16notes, building the delight dancing atmosphere in an feeble gossamer. The next skilled pinches reappear the initial part of the forth section, gradually pushing the whole composite toward the climax and thunderously ending by a sequence of pinches, leaving a forever reverie

当其告一段落后，又以小提琴的拨奏开始，用由十六分音符的短奏来构成那如游丝般的充满舞蹈气氛的旋律；然后以更具技巧的拨奏在再现第四部分的最初部分，逐渐朝气蓬勃的趋于高潮，并在结尾闪电般以拨奏结束，留下令人无限回味的遐想。。。

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。