十六分音符

Allegretto third movement with an endless stream of sixteenth note rhythms, showing a dynamic and imaginative spiritual realm.

小快板的第三乐章用川流不息的十六分音符节奏，表现出一种活跃奔放的精神境界。

The sixteenth- notes arpeggio figure with accent demands cross sticking to bring out the accent.

演奏者亦须运用跨越棒法来呈现十六分音符琶音乐句的重音。

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。

A barely audible ff septuplet of semiquaver chords and two rabid glissandi are thrown in by the soloist, before piano and bass section end the movement in five different Gs.

独奏者敲出一个几乎听不清的使用最强音的十六分音符七连音和弦和两个狂燥的滑音，然后，钢琴和铜管部分在五个不同的G上结束了本乐章。

The music signal was divided into several subsections and the length of each section was equal to the duration of one semiquaver. The base frequency was obtained using one dimension DCT operated on each section. The extreme points of the musical notes were found by comparison with the adjacent sub-sections. And then, the musical scores were got using the principle of least derived notes.

采用离散余弦变换结合能量比对的手段，并提出了一种变化音最少法则：以十六分音符对应的时值作为步长，将乐曲信号分为若干个子段；对每个子段进行一维DCT操作，提取基音频率；对相邻子段进行能量比对，查找音符的端点；利用变化音最少法则，生成乐谱。

The music signal was divided into several sub-sections and the length of each section was equal to the duration of one semiquaver. The base frequency was obtained using one dimension DCT operated on each section. The extreme points of the musical notes were found by comparison with the adjacent sub-sections. And then, the musical scores were got using the principle of least derived notes.

采用离散余弦变换结合能量比对的手段，并提出了一种变化音最少法则：以十六分音符对应的时值作为步长，将乐曲信号分为若干个子段；对每个子段进行一维DCT操作，提取基音频率；对相邻子段进行能量比对，查找音符的端点；利用变化音最少法则，生成乐谱。

Quiet redirection subsequently issues from the bassoons, which take up the wandering piano-theme, while the piano itself goes over into a pp semiquaver accompaniment.

低音管接着发出安静的转折信号，带出了漫游式的钢琴主题。同时钢琴转变为最弱音的十六分音符的伴奏。

Several seconds of grotesque crashing, which arrange themselves around an arcane opening theme culminate in a whirl of sextuplet semiquaver chords, up down and up once more, spanning almost the entire breadth of the piano.

几秒钟的围绕开始主题的不可思议的撞击声过后，一连串十六分音符六连音和弦使乐曲进入高潮，由低到高，由高到低，又一次由低到高，几乎跨越了整个钢琴的音程。

So it consists mainly of semi-quaver runs, but Mozart writes at the heading, molto allegro making it more difficult to play and then very short notes so the pianist is really sweating hard.

该乐曲主要是由十六分音符组成，但莫扎特在开头部分写下的节奏飞快的音符使弹奏该曲变得颇有难度，而有些音符则非常短促有力，所以将演奏者累得大汗淋漓。

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。