半音的

There is usually a 3rd -key added in the opening of the second theme, and sometimes a new theme is composed. Then, the subordinate key is reached before the end of exposition. 5 Silence of one whole bar is frequently utilized, which not only brings profound expressive significance, but also is important to the architectonics of these sonatas. 6 The harmonization in the variation, which is the method of applying different keys to the same melody, is handled in those Andante movements. By this way, the same melody appears in variable colors of harmony, which can not only avoid dull repetition, but also keep the lyrical nature and the completeness of melody. 7 Chromatic method is applied in the periods of development, and chromatic深层线条becomes the provident feature in some periods of development. 8 Atlas motive is put to use in c minor and A major sonatas, and a lot of "sigh" tones and c sharp minor are both preferred in those three sonatas. 9 The emotional factor of "wanderer" is the roots of thoughts for the intense conflict of music.

他通常在副部的开始加入一个三度的调性，有时再加入一个新主题，最后在呈示部结束之前到达属调； 5、较多地运用整小节的休止，使其不仅具有深刻的表情意义，而且在结构乐曲中起到了不可或缺的作用； 6、舒伯特在慢板乐章中运用同一旋律异调配置的和声变奏方式来构成音乐的段落，使同一个旋律在不同的和声色彩里闪现，既避免了单调的重复，又保持了旋律的抒情性和完整性； 7、展开的段落中习惯运用半音化的发展手法，半音阶式的深层线条成为某些展开段落的显著特点； 8、c小调和A大调奏鸣曲中都运用了"阿特拉斯"动机，三首奏鸣曲中运用了大量叹息的音调，并倾向于~#c小调的运用； 9、"流浪者"的情感因素是音乐强烈冲突的深刻思想根源。

Just as a waltz, mazurka or barcarolle is liable to dance out of one of his Ballades, Scherzos or Polonaises, a Nocturnes can suddenly sprout a miniature mazurka ---- for example, the C sharp minor Nocturne, no 20 here---- and such unexpected juxtapositions, like the strategically placed washes of chromatic harmony or shifts between major and minor keys have much to do with the music's sense of inhabiting those fugitive realms between sleep and wakefulness. One of the most haunting examples is op.

正如华尔兹，玛祖卡舞曲，或者威尼斯的船歌都是除了叙事曲，谐谑曲或者波洛涅兹舞之外易于舞蹈的流派，夜曲却能够突然现露出玛祖卡舞曲的缩影——例如C小调夜曲，NO.20——这样意想不到的并置，就像是在大调和小调之间刻意放置的对半音和声或音律变化的一种冲击，它与存在于那些半梦半醒之间稍纵即逝领域中的乐感息息相关。

Just as a waltz, mazurka or barcarolle is liable to dance out of one of his Ballades, Scherzos or Polonaises, a Nocturnes can suddenly sprout a miniature mazurka ---- for example, the C sharp minor Nocturne, no 20 here---- and such unexpected juxtapositions, like the strategically placed washes of chromatic harmony or shifts between major and minor keys have much to do with the music's sense of inhabiting those fugitive realms between sleep and wakefulness.One of t he most haunting examples is op.

正如华尔兹，玛祖卡舞曲，或者威尼斯的船歌都是除了叙事曲，谐谑曲或者波洛涅兹舞之外易于舞蹈的流派，夜曲却能够突然现露出玛祖卡舞曲的缩影——例如 C 小调夜曲， NO.20——这样意想不到的并置，就像是在大调和小调之间刻意放置的对半音和声或音律变化的一种冲击，它与存在于那些半梦半醒之间稍纵即逝领域中的乐感息息相关。

Secondly, in terms of the dynamic development of harmony in chorus, this paper expounds harmony in chorus in different periods in the history of music: harmony in the structure of contrapuntus in the Renaissance chorus, harmony in contra-structure in Baroque chorus, harmony in chorus of the classical period, harmony in chromaticism the expansion of modes in the romantic period. These dynamic features of harmony display the principle of formal beauty in western chorus.

从合唱音乐的语言形式上看，作为美学特征的"和谐"表现在音程、和声、对位结构之中：从合唱音乐的历史发展上看，"和谐"则表现为文艺复兴时期对位结构中的"和谐"、巴洛克时期的对位与和声相结合中的"和谐"、古典主义时期的旋律与和声相结合的主调音乐中的"和谐"、浪漫主义时期半音化和声与扩张的调式中的"和谐"。

It's about the analysis of technique of harmony of the work. It mainly discusses the technique of harmony of twenty-four preludes. It includes the analysis of chord form, terminal chord, half-step chord, sustained note and modulation method.

最和声技法的分析是本文的主体部分，针对二十四首前奏曲的和声技法展开论述，以和弦形态、终止式、半音化的和声语言、持续音的偏爱和转调手法五大部分为出发点，力求多角度、全方位地对音乐作品进行分析和研究。

Movies most people will undoubtedly commendable movie clips are 1900 and Jelly Roll Morto Doo Guoqin part, especially the 1900 final concert of a "Perpetual Motion", this song all the black keys are playing the piano, and also is entirely chromatic playing, required very high skills in order to play the piano.

电影中最为人称道的电影片段无疑是1900和Jelly Roll Morto斗琴的一部分，尤其是1900最后演奏的一首"无穷动"，这首曲子全部是钢琴黑键弹奏的，也就是全是半音演奏，需要极高的钢琴技巧才能弹奏。

The part when 1900 was challenged by Jelly Roll Morto is the best of the film is agreed without quarrel. The climax is when 1900 played his last piece: enduring movement, a piece which is played solely on the black keys,(in other words half-notes), and require the best of skills in piano playing.

电影中最为人称道的电影片段无疑是1900和Jelly Roll Morto斗琴的一部分，尤其是1900最后演奏的一首"无穷动"，这首曲子全部是钢琴黑键弹奏的，也就是全是半音演奏，需要极高的钢琴技巧才能弹奏。

But it isn't simple to "Return to the acients". According to his technique of traditional music, he was actually Brahms-Lohannes's follower. Melting the semitone and harmonic in his work each quoin, he inherited Wagner's harmonic style.

对传统音乐手法的使用，使得雷格尔不折不扣地成为勃拉姆斯的追随者；将半音化的和声语言融化在其作品的每一个角落，又使其不遗余力的成为瓦格纳和声风格的继承者。

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。

Based on functional harmony of majorand minor, the work maintains the organizational role of major and minor triad;emphasize the leading position of keynote and central chord, and using a lot of coloredchromatic harmony and modern harmony with the special language of " Prokofiev"sharmony", which forms the peculiar harmony style in "song of composer"s swan".

作品以大小调功能和声为基础，保持大小三和弦的组织作用，强调主调性和中心和弦的主导地位；同时大量使用色彩性半音化和声与近现代和声手法；伴以&普氏和声&的独特语言，在作曲家的&天鹅之歌&中形成别具一格的和声风格。

And if officials on the take are not parroting the opinions of these companies, what can we suppose the money they receive is for?

如果受贿的官员不鹦鹉学舌般地复述这些公司的看法，那他们所接受的钱又能用于什么目的呢？

Love them, and love you too, Pitcher.

爱他们，也爱你，投手。