十六分音符

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。

There is a rhythm in front of a free Introduction, by the violin playing in the bass area, enter the formal dance rhythm, the emergence of a cheerful and lively melodies, this is the first part of its A segment, B segment is composed of a series of sixteenth note very lively.

前面有个节奏自由的引子，由小提琴在低音区演奏，进入正规舞曲节奏之后，出现了一段活泼欢快的旋律，这是它第一部分的A段，B段也是用一系列十六分音符组成，十分活泼。

The music in order to sixteenth note bass part of the treble was experiencing ups and downs significantly, as an upsurge of the roar; treble part in order to enhance the characteristics of the eight degrees pop-up with the heroism of the resolute and magnificent theme, it looks more like the wind making a rallying cry.

乐曲的低音部分以十六分音符高音大幅度地急骤起伏，如同心潮的咆哮；高音部分以加强八度的特点弹出具有英雄气魄的刚毅而雄伟的主题，如同狂风逆浪中振臂呐喊。

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。。。

The right hand plays in two voices, bedding the theme on a blanket of regular semiquavers, while the left sustains both with triplet quavers.

右手弹奏出两种声音，将主题定在有规律的十六分音符上，而左手却保持着八分音符的三连音。

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。