音乐英语

1. 键盘/keyboard

键盘是一组杠杆或音键，由演奏者用手指在钢琴，羽管键琴，翼琴或类似的键盘乐器上按压，或者用手指按压风琴的键盘，或用脚踩管风琴的踏板或脚键盘。这个词汇广泛应用于键盘乐，以及各种键盘乐器。

A keyboard is a set of levers or keys, to be depressed by the fingers of a player on the piano, harpsichord, clavichord or similar keyboard instrument, or on the manual by the fingers, or on the pedals or pedal-board of the organ with the feet. The word is used generally, as in keyboard music, music for any keyboard instrument.

2. 白键组/White key pattern

在现代键盘乐器中，音键通常有白和黑两种颜。早期键盘乐器的音键颜的功用或许正相反。现代的白键构成一组全音和半音或相邻音间的半音。白键上的主要音阶可用于字谱上，C调， E 和 F之间的半音，B 和C之间的半音的初始演奏。

On modern keyboard instruments keys for the fingers are generally coloured white and black. On earlier keyboard instruments the colouring may be reversed. The modern white keys form a pattern of whole steps or whole tones and half steps or semitones between adjacent notes. A major scale on the white notes may be played starting, in letter notation, on C, with half steps (semitones) between E and F, and B and C.
[Illustration of keyboard, letters on notes]

3. 黑键组/Black key pattern

现代键盘乐器的黑键音在相邻的白音符间，构成全音，可演奏半音。在字谱上，黑音符见于C 和 D, D 和E, F 和 G, G 和A, A 和 B之间。黑键可演奏五声音阶。

On modern keyboard instruments black keys come between those adjacent white notes that form a whole step or whole tone, providing a half step or semitone. In letter notation the black notes are found between C and D, D and E, F and G, G and A, and A and B. The black keys provide the notes of the pentatonic scale.
[illustration of keyboard]

4. 相邻钢琴键/Adjacent piano keys

相邻钢琴键为半音。依上行顺序或下行顺序演奏，构成半音阶。

Adjacent piano keys are a half step or semitone apart.
Played in ascending or descending order they form a chromatic scale.

5. 半音/Half step

半音是西方音乐通用键盘中最小的音程。在键盘上，半音是相邻的两个音之间的距离，白键或黑键，升调或降调。

A half step or semitone is the smallest interval on the normal keyboard in Western music. On the keyboard it is the interval between adjacent notes, white or black, ascending or descending.

6. 全音/Whole step

全音是由两个半音组成的音程。

A whole step, whole tone or tone, is an interval made up of two half steps or semitones.

7. 音高/Pitch

音符的音高是根据振动的次数或频率，音在常规上的高度或深度。音乐会音高是国际通用的标准音高，为高于中C的A音，每秒振动440次，但也存在分歧。几个世纪以来，音高不断演变，有时，不同的音乐或乐器应用不同的音高。一些打击乐器没有音高，耳朵无法辨认音高。绝对音高是指一些人所具备的单凭听觉即可辨认音高的能力。相对音高是指可以辨认提示音准和其他音。

The pitch of a note is its perceived height or depth in conventional terms, according to the number of vibrations or frequency. Concert pitch is an internationally agreed standard pitch with the A above middle C at 440 vibrations per second, but there have been divergences from this. Pitches have varied over the centuries, sometimes with different pitches used for different forms of music or different instruments. Some percussion instruments are unpitched, lacking a recognisable pitch to the ear. Absolute pitch or refers to the ability some have to identify pitches by hearing alone. Relative pitch is that perceived between a given note and another note.

8. 高音/Higher pitch

高音即为高振动率的音，通用描述为每秒振动的次数多为高，每秒振动次数较少为低

Higher pitch indicates a note at a higher frequency, following the conventional description of notes with a greater number of vibrations per second as high, and with a smaller number as low.

9. 低音/Lower pitch

高音即为低振动率的音，根据通用描述，每秒振动次数较少为低，每秒振动的次数多为高。

Lower pitch indicates a note of lower frequency, following the conventional description of notes with a smaller number of vibrations per second as low, and with a greater number as high.

10. 音名/Letter names

音名是指讲英语的国家以字母A 至 G辨认音符的习惯。在德国，增加了字母H表示B（德文中的B相当于降B，其他音符用以标记升或者降）。在法国，西班牙和意大利，则运用建立在传统唱名基础上的一套标准。

Letter names or letter notation refers to the custom in English-speaking countries of identifying notes by letters from A to G. In Germany the letter H is added to denote B (German B = B flat, and other letters are modified to indicate sharps or flats). In French, Spanish and Italian a system based on traditional sol-fa is used.

11. 八度音阶/Octave

八度音阶是包括八个音的音程，第八个音与第一个音的音名相同。高八度的振动频率是低音的两倍。也就是说，440音高的A，升到880，1760等等。低八度音阶，因此，低于440的A每秒振动220次，一个低八度每秒振动110次。

An octave is an interval regarded as including eight steps, the eighth of which has the same letter name as the first note. Ascending octaves double the frequency of the lower note. Thus A at 440 rises to A at 880, 1760 and so on. The lower octaves halve the number of vibrations per second, so that the A below A at 440 has 220 vibrations per second, and an octave lower has 110 vibrations per second.

12. 半音/Semitones

半音是西方音乐普通键盘中最小的音程。在键盘上，其为相邻音间，白键或黑键间，上行或下行间的音程。

Semitones are half steps, the smallest interval on the normal keyboard in Western music. On the keyboard it the interval between adjacent notes, white or black, ascending or descending.

13. 变化音阶/Chromatic semitone

变化音阶为两个相同音名间的半音音程，例如F到升F，A到降A。在键盘上，升F于降G有着相同的音名，降A与升G有着相同的音名。在灵活性较强的乐器上可能会有所不同。

A chromatic semitone is the interval of a semitone or half step between notes of the same letter name, e.g. F to F sharp, A to A flat. On the keyboard F sharp is the same note as G flat, and A flat the same as G sharp. On more flexible instruments a distinction may be made.

14. 自然半音/Diatonic semitone

自然半音是不同音名间的半音音程，例如F到降G，A到升G。在键盘上，降G和升F是同一个音，升G和降A是同一个音，在灵活性较强的乐器上可能会有所不同。

A diatonic semitone is the interval of a semitone or half step between notes of a different letter name, e.g. F to G flat, A to G sharp. On the keyboard G flat is the same note as F sharp, and G sharp the same as A flat. On more flexible instruments a distinction may be made. 马思超年龄

1. 音乐记谱法/Music Notation

音乐记谱法是指音符的书写。历史上有多种不同的形式。近几个世纪的西方音乐所用的标准方法是采用五线谱的形式，但是运用了不同形式的音名，在一些现代音乐中运用的新形式的图示记谱法，早期，指法谱，由专为特定乐器设计的字母，数字，五线谱组成。也有一种数字谱，因为某种需要，替代了传统的字母谱，例如在中国和日本。

Music notation is the writing of notes. Historically this has taken various forms. The standard method in Western music has in recent centuries been by means of staff notation, but different forms of letter notation have been used, with imaginative forms of graphic notation in some contemporary music and, in earlier times, tablature, a combination of letters, numbers and staff designed for particular instruments. There is also a system of numerical notation that, for some purposes, has replaced traditional character notation, for example in China and Japan.

2. 五线谱/The Staff

五线谱是由五条平行线组成，现在通常在五线谱上书写音符以表明音高。素乐或素歌——教堂传统单音歌颂，依旧采用四线谱，早期音乐中，线的数目各不相同。

The staff or stave is the framework of five horizontal lines on which notes are now generally written, to indicate pitch. Plainchant or plainsong, the traditional monodic chant of the Catholic Church, still uses a four-line stave, and in earlier music the number of lines used varied.

3. 符头/Notehead(s)

符头可以是黑的（圆形或卵形）或白的，用在五线谱上以表明音高。符头的形状在历史上有很多种，比如在单音歌颂中。

Noteheads may be black (a circular or oval shape filled in) or white and are used on the staff to indicate pitch. The shape of noteheads has differed historically, as in plainchant.

4. 符干/Stem

符干连接符头，用于表明时值。因此全音符没有符干，二分音符（全音符长度的一半）的时值，用在全音符上加一条符干来表示。

Stems attached to noteheads are used to indicate relative duration. Thus the whole note or semibreve has no stem, but the relative duration of the half note or minim, half the length of the whole note is indicated by the addition of a stem.

5. 符尾/Flag

习惯上以符尾添加在符干上以表示对时值的进一步划分。带两个符尾的符干，以其外形得名，表示一个16分音符，带一个符尾的符干，表示一个8分音符，以此类推。

Flags have long been added to stems to indicate further divisions of duration. Thus a stem with two flags, so called from their appearance, indicates a 16th note or semiquaver, a note of half the duration of a stem with one flag, an 8th note or quaver, and so on.

6. 谱号/Clef

Clef这个单词（等同于法语中的“钥匙”），其用在五线谱上以表明该条线的音名及音高，其他音可在此递减。常用的有三种谱号，高音谱号（G谱号），低音谱号（F谱号）和C谱号，这三种谱号可以出现在任一线上，但最常见的是，中音谱号位于五线谱中加的那条线，高音谱号位于上数第二条线。谱号常见于谱表中各线的开头，如有必要，也可改变。

The word clef (= key in French) indicates the sign used on the staff to show the letter name and pitch of a line, from which other pitches can be deduced. Three clefs are in common use, the treble or G clef, the bass or F clef and the C clef that may be on any line, but is most often used as an alto clef on the middle line of the staff, or as a tenor clef on the second line from the top. Clefs are normally given at the beginning of each line of written music, and elsewhere if a change of register makes it necessary.

7. 高音谱号/Treble clef

现代的高音谱号（G谱号），外形取自字母G，用于表示高音，位于谱表五线谱开头，开始于下数第二条线。它表明，第二条线穿过符头，表示G调，比标准音乐会音高中的A(440)调低一级。

The modern treble clef or G clef, derived in shape from the letter G, is used for the higher registers, drawn on the staff at the beginning of a line of musical notation, starting on the second line from the bottom. It shows that noteheads that have this line running through them indicate the note G, a step below A at 440 in standard concert pitch.

8. 低音谱号/Bass clef

现代的低音谱号（F谱号），外形取自字母F，用于表示低音，位于谱表五线谱开头，开始于上数第二条线。它表明，第二条线穿过符头，表示F调，比标准音乐会音高中的A(220)调低一级。

The modern bass clef or F clef, derived in shape from the letter F, is used for lower registers, drawn on the staff at the beginning of a line of musical notation, starting on the second line down from the top. It shows that noteheads that have this line running through them indicate the note F, two steps below A at 220 in standard concert pitch.

9. 大谱表/Grand staff

大谱表由左端用垂直线与花括号连接起来的两个五线谱组成。在钢琴作品中，上面的五线谱通常标有高音谱号，下面的五线谱标有低音谱号，在钢琴作品或类似乐器作品中，前者通常为右手弹奏，后者为左手弹奏。

The grand staff is formed by the joining of two staves by a vertical line, brace or bracket at the left, to form one system. In piano music the upper staff usually has a treble clef and the lower a bass clef, the former usually for the right hand and the latter for the left in music for the piano, or for similar instruments.

10. 加线/Ledger lines

加线为较短的水平线，用以表明音调在五线谱之上或之下。
曼谷雨季主题曲
Ledger lines or leger lines are short horizontal lines used to indicate notes that lie above or below the stave.

11. 八度记号/Octave sign

八度记号位于五线谱之上或之下，表示一个或若干音调演奏时应高或低八度。通常用8ve表示。

The octave sign is used above or below the staff to indicate that a note or notes should be played an octave higher or lower. It is usually given in the form 8ve.

12. 变音记号/Accidentals

变音记号加在音符之前的符号，表示该音符要升高或降低半音或全音。当半音不属于该调，并且无调号时需要加变音记号。用降或重降号XXX, 升或重升号XXX来表示。

Accidentals are signs added before notes to indicate that they should be modified by a half step or semitone or a whole step or whole tone. They are needed when chromatic notes foreign to the key and not indicated in the key-signature occur. These are indicated by the signs for flats or double flats, XXX, sharps and double sharps, XXX.
[Signs to be inserted]

13. 降号/Flat

降号，用XXX表示，用在音符前或在调号上，表明该音高的所有音调降半音。

A flat, indicated by a sign XXX before a note, or in the key-signature for all notes of that pitch class, shows that the note so indicated is to be lowered by a half step or semitone.

14. 升号/Sharp

升号，用XXX表示，用在音符前或在调号上，表明该音高的所有音调升半音。

A sharp, indicated by a sign XXX before a note, or in the key-signature for all notes of that pitch class, shows that the note so indicated is to be raised by a half step or semitone.

15. 还原号/Natural

还原号表示一个音符既不升也不降。在音符前加XXX表示取消升或降。还原号也可用在调号改变时，取消升或降。

A natural is a note that is neither sharp nor flat. The sign XXX is used before a note to cancel a sharp or flat that would otherwise be played. The sign may also be used to cancel a sharp or flat when there is a change of key-signature.

16. 重降号/Double flat

重降号，用XXX表示，加在音符前，表明该音符降低一个全音。

A double flat, indicated by a sign XXX before a note, shows that the note is to be lowered two half steps or semitones.

17. 重升号/Double sharp

重升号，用XXX表示，加在音符前，表明该音符升高一个全音。

A double sharp, indicated by a sign XXX before a note, shows that the note is to raised two half steps or semitones.

18. 小节线/Bar line

小节线是与五线谱或谱表垂直的竖线，与拍号相对应。

A bar line is a vertical line through the staff or system to mark a metrical division, corresponding to the time signature.

19. 终止线/Double bar line

双小节线由两条与五线谱或谱表垂直的竖线组成，表明一个段落或整个音乐作品的结束。

A double bar line consists of two vertical lines through the staff or system to indicate the end of a section or the end of a piece of music.

20. 连音线/Beams

八度音或四度音或更短音程联结在一起时，用连音线来代替符尾。

Beams are used to replace flags when 8th notes or quavers or notes of shorter duration are grouped together.

1. 音阶/Scale

音阶，源自意大利语scala（楼梯），是一组递增或递减的音。

A scale, from the Italian scala (= stairs or ladder), is a pattern of notes ascending or descending by step.

2. 调式/Scale degrees

调式即为音级。可用数字和名称来表示。自然音阶的第一级为主音，第二级为上主音，第三级为中音，第四级为下属音，第五级为属音，第六级为下中音，第七级为导音。

The degrees of the scale are the scale-steps. These may be indicated by number or by name. The first degree of the diatonic scale is the tonic, the second the supertonic, the third the mediant, the fourth the subdominant, the fifth the dominant, the sixth the submediant, the seventh the leading tone or leading note.

3. 上行音阶/Ascending scale

上行自然音阶为依次由低到高上升的音。始自主音，调式上行顺序为：主音，上主音，中音，下属音，属音，下中音，导音，主音。导音

The ascending diatonic scale is the scale going up by step from lower to higher frequencies or pitches. Starting from the tonic or key-note, the scale degrees in ascending order are: tonic, supertonic, mediant, subdominant, dominant, submediant, leading tone or leading note, tonic.

4. 下行音阶/Descending scale

上行自然音阶为依次由高到低下降的音。始自主音，调式下行顺序为：主音，导音，下中音，属音，下属音，中音，上主音，主音。导音

The descending diatonic scale is the scale going down by step from higher to lower frequencies or pitches. Starting from the tonic or key-note, the scale degrees in descending order are: tonic, leading tone or leading note, submediant, dominant, subdominant, mediant, supertonic, tonic.

5. 大音阶/Major scale

大音阶是一种自然音阶，以上升顺序，包括一组全音和半音。半音在第三和第四级音阶，第七和第八音阶之间，即中音和下属音，导音和主音之间。在钢琴的白键上演奏大音阶，从C到C，递增顺序为C, D, E, F, G, A, B, C.

The major scale is a diatonic scale that, in ascending order, consists of a pattern of steps and half steps, or whole tones and semitones. The half steps or semitones occur between the third and fourth degrees of the scale and the seventh and eighth, that is between the mediant and the subdominant and between leading tone or leading note and the tonic. The major scale may be played on the white notes of the piano from C to C, in ascending order C, D, E, F, G, A, B, C.

6. 主音/Tonic

主音是音阶的第一级，是基本音。主要以主音去辨认一篇音乐作品的调。在调性音乐中，主音是最重要的调。

The tonic is the first degree of the scale, the keynote or home note. The key of a piece of music is identified by the tonic. In tonal music it is the most important note in a given key.

7. 属音/Dominant

属音是音阶的第五级。在调性音乐中，其是仅次于主音的重要调。属音是主音三和弦中最高的调，作为基础音，与主音的关系最为密切。

The dominant is the fifth degree of the scale. In tonal music it is next in importance to the tonic. The dominant is the highest note in the tonic triad, and serves as the basis of the key most closely associated with the tonic key, the first of nearly related keys.

8. 下属音/Subdominant

下属音是第四级音，所以得名是因为它是主音下的第五级音阶，在调性音乐中，下属音是较之属音次重要的音，也是相关音之一。

The subdominant or lower dominant is the fourth degree of the scale, but takes its name from the fact that it is the fifth scale-step below the tonic. In tonal music it is next in importance to the dominant, one of the nearly related keys.

9. 中音/Mediant

中音是第三级音，在主音和属音之间。主音，中音和属音一同构成主音三和弦。

The mediant is the third degree of the scale and is midway between the tonic and the dominant. Tonic, mediant and dominant together form the tonic triad.

10. 下中音/Submediant

下中音是第六级音，在下属音和主音之间。下属音，下中音和主音共同构成下属音三和弦。

The submediant is the sixth degree of the scale and is midway between the subdominant or lower dominant and the tonic. Subdominant, submediant and tonic together form the subdominant triad.

11. 导音/Leading tone

导音是第七级音，其引导主音并且是主音下的半音。

The leading tone or leading note is the seventh or degree of the scale and is a half step or Leading note semitone below the tonic, to which it leads.

12. 调号/Key Signature

调号位于一篇音乐作品或一章节的开始部分，来表示该作品或章节的调域。升降号画在五线谱相称的位置上，表示这些调通篇应该升或降，除非升降号被还原号取代。升降号也可画在调号上以表示调的改变。

A key signature is placed at the beginning of a piece of music or of a section to indicate the key of the piece or section. Sharps or flats are drawn at the appropriate place on the staff, showing that the notes so indicated should be sharpened or flattened throughout, unless the sharp or flat is cancelled by a natural sign. This last may also be in a key signature to show changes in key.

13. 升号/Sharp keys

一篇调性音乐作品的调取决于所使用的自然音阶。带升号的大音阶开始于G，恰好是C上的第五级。C调既无升号也无降号，但是G调却需要一个升号以确保开始于G调的一系列音形成必需的一组全音和半音，以及介于导音和主音间的半音。G大调，带一个升号，D大调开始于第五级，有两个升号，以此类推。G大调(1)；D 大调(2); A大调 (3); E 大调(4); B 大调 (5); 升F大调(6); 升C大调(7).每一个调按照上述顺序保持前一个调的上升，并增加一个新的上升导音。

A piece of tonal music is said to be in a key when it uses as its principal material the notes of a certain diatonic scale. Keys that have sharps in the major scale begin with the scale of G, a perfect fifth above C. The key of C has no sharps or flats, but G needs one sharp to ensure that a series of consecutive notes starting on G forms the necessary pattern of whole steps or whole tones and half steps or semitones, with a half step or semitone between the leading tone or leading note and tonic. The scale and key of G major, therefore, has one sharp, D major starting a perfect fifth higher has two, and so on. G major (1); D major (2); A major (3); E major (4); B major (5); F sharp major (6); C sharp major (7). Each key retains the sharp of the preceding key, in the order given above, and adds a newly sharpened leading tone or leading note.

14. 降号/Flat keys

一篇调性音乐作品的调取决于所使用的自然音阶。带降号的大音阶开始于F，恰好是C下的第五级。C调既无升号也无降号，但是F调却需要一个降号以确保开始于F调的一系列音形成必需的一组全音和半音，以及介于中音和下属音间的半音。F大调，带一个降号，降B大调开始于第五级，有两个降号，以此类推。F 大调 (1); 降B大调(2); 降E大调(3); 降A大调(4); 降D大调(5); 降G大调(6); 降C大调(7).每一个调按照上述顺序保持前一个调的下降，并增加一个新的降下属音。

A piece of tonal music is said to be in a key when it uses as its principal material the notes of a certain diatonic scale. Keys that have flats in the major scale begin with the scale of F, a perfect fifth below C. The key of C has no sharps or flats, but F needs one flat to ensure that a series of consecutive notes starting on F forms the necessary pattern of whole steps or whole tones and half steps or semitones, with a half step or semitone between the mediant and subdominant. The scale and key of F major, therefore, has one flat, B flat major starting a perfect fifth lower has two, and so on. F major (1); B flat major (2); E flat major (3); A flat major (4); D flat major (5); G flat major (6); C flat major (7). Each key retains the flat of the preceding key, in the order given above, and adds a newly flattened subdominant.

15. 等音/Enharmonic keys

等音是指音高相同的音。在标准的十二平均律中，升C调等同于降D调，升D调等同于降E调，以此类推。但是较敏感的调可能会区分任意两个等音，在现代键盘上，二者虽然记法不同但音高相同。等音即同音异名的音。升C大调与降D大调等音，升F大调与降G大调等音，以此类推。

Enharmonic keys are keys that are the enharmonic equivalent of each other. In standard well-tempered tuning or tuning in equal temperament the note C sharp is the enharmonic equivalent of D flat, D sharp of E flat, and so on. While more sensitive forms of tuning may distinguish between any two such notes, on the modern keyboard they are the same, although they are written differently. Enharmonic keys, are keys that are enharmonic equivalents. Thus the key of C sharp major is the enharmonic equivalent of the key of D flat major, F sharp major of G flat major, and so on.

16. 五度循环/The Circle of Fifths

升号或降号在五线谱上增加时的顺序可以用五度循环来描述。在该循环中以C为最高点上升可用右半圈表示，下降用左半圈表示。这些音符合十二平均律。相吻合的点通常为升F大调（=降G大调）

The order of keys in ascending numbers of sharps or flats can be illustrated by a circle of fifths. With C at the highest point of the circle, keys a fifth apart, ascending, can be shown on the right of the circle, keys a fifth apart, descending, on the left. These keys will coincide with their enharmonic equivalent. The point of such coincidence is usually taken at F sharp major (= G flat major)

17. 关系大调/Relative major key

任何一个大调都有相对应的小调，主音间相差小三度。因此，C大调与A主音小调相对应，即C大调的第六级音。C大调是A小调相应的关系大调，G大调是E小调的关系大调，D大调是B 小调的关系大调， A 大调是升F 小调的关系大调，以此类推。随着渐增的实践经验，在德国，长久以来通用的关系大调和相应的小调如下，大调用大写字母表示，小调用小写字母表示，C/a; G/e; D/b; A/升f; E/升c; B/升g; 升F /升d; 升C /升a.

Any major key has a relative minor, its tonic a minor third below the tonic of the major key. C major, therefore, is related to a minor key with its tonic on A, the submediant or sixth degree of the scale of C major. C major, therefore, is the relative major of A minor, G major is the relative major of E minor, D major of B minor, A major of F sharp minor, and so on. Relative majors and their minors are as follows, with the major indicated by a capital letter and the minor by a small letter, an increasingly common practice, for long current in Germany: C/a; G/e; D/b; A/f sharp; E/c sharp; B/g sharp; F sharp/d sharp; C sharp/a sharp.

18. 关系小调/Relative minor key

任何一个小调都有相对应的大调，主音间相差小三度。因此，A小调与C主音大调相对应，即A小调的第三级音。A小调是C大调相应的关系小调，E小调是G大调的关系小调，B小调是D大调的关系小调，升F 小调是 A 大调的关系小调，以此类推。随着渐增的实践经验，在德国，长久以来通用的关系小调和相应的大调如下，大调用大写字母表示，小调用小写字母表示，a/C; e/G; b/D; 升f /A; 升c /E; 升g /B; 升d /升F; 升a /升C

Any minor key has a relative major, its tonic a minor third above the tonic of the minor key. A minor, therefore, is related to a major key with its tonic on C, the mediant or third degree of the scale of A minor. A minor, therefore, is the relative minor of C major, E minor is the relative minor of G major, B minor of D major, F sharp minor of A major, and so on. Relative minors and their majors are as follows, with the major indicated by a capital letter and the minor by a small letter, an increasingly common practice, for long current in Germany: a/C; e/G; b/D; f sharp/A; c sharp/E; g sharp/B; d sharp/F sharp; a sharp/C sharp.

19. 小音阶/Minor scale

小音阶有各种不同的形式。自然小音阶为递增的全音或半音。半音介于第二级和第三级音阶之间（即上主音和中音），第五级和第六级音阶之间（即属音和下中音）。自然小音阶可在钢琴的白键上演奏，始于A调。半音介于B调和 C调, E调和 F调.

The minor scale occurs in various forms. The natural minor scale has an ascending patter of whole and half steps, or tones and semitones. Half steps or semitones occur between the second and third degrees of the scale (the supertonic and the mediant) and between the fifth and sixth (the dominant and submediant). The natural minor scale can be played on the white notes of the piano, starting on A. The half steps or semitones will occur between B and C, and E and F.

20. 上行旋律小调/Ascending melodic minor

旋律小调是旋律中小调的通用形式。上行旋律小调与自然小音阶的模式相同，但是大音阶的第六级和第七级音阶仍为升，避免第六级和第七级之间出现习惯上的较短音程，上升至导音，上升的音可。上升的第六级和第七级音用额外的升号或还原号来标记作为变音记号。A小调上行旋律小调为A - B - C - D - E – 升F - 升G - A.。半音介于B 和 C, 升G和A，即第二、第三、第七和第八音阶。

The melodic minor scale is the form of minor scale commonly used in melodies. The ascending melodic minor scale follows the pattern of the natural minor scale, but retains the sharpened sixth and seventh degrees of the scale from the major scale, thus avoiding the conventionally less common interval that would occur between the sixth degree and the seventh, raised to serve as the leading tone (leading note), sharpened to provide a more definite ending. The sharpening of the sixth and seventh degrees is indicated by additional sharp or natural signs as accidentals. The ascending melodic minor scale of A minor would, therefore, be: A - B - C - D - E - F sharp - G sharp - A. Half steps (semitones) occur between B and C, and G sharp and A, the second and third and seventh and eighth degrees of the scale.

21. 下行旋律小调/Descending melodic minor

旋律小调是旋律中小调的通用形式。上行旋律小调与自然小音阶的模式相同，大音阶的第六级和第七级音阶仍为升，下行旋律小调遵循自然小调模式。A小调下行旋律小调为在钢琴的白键上演奏，开始于A调，为A - G - F - E - D - C - B - A。半音介于F 和E, B 和C, 即第五级、第六级、第三级和第二级音阶。

The melodic minor scale is the form of minor scale commonly used in melodies. While the ascending melodic minor follows the natural minor, with the sixth and seventh degrees of the scale sharpened as in the major scale, the descending melodic minor scale follows the natural minor. The descending melodic minor scale of A minor can, therefore, be played on the white notes of the piano, starting on A, and would be: A - G - F - E - D - C - B - A. Half steps (semitones) occur between F and E, and between B and C, the fifth and sixth and the third and second degrees of the scale.

22. 重升号/Double sharps

重升号，用X表示，作用是升高一个全音。键盘上的双升C同于D，高两个半音，双升D与E相同，以此类推。双生号起协调作用，避免同一音名在第七级音阶上重复使用。这样，为了协调，升G小调上行旋律小调也就需要一个双升F导音，等音G。

A double sharp, indicated by the sign x, raises a note by two half steps (semitones). Thus C double sharp on the keyboard is the same as D, two half steps higher, D double sharp is the same as E, and so on. The use of the double sharp serves a harmonic purpose, avoiding the incorrect use of the same letter name twice in the seven degrees of the scale. Thus the ascending melodic minor scale of G sharp minor would need a leading tone (leading note) of F double sharp, the enharmonic equivalent of G, for reasons of harmony, dictated by the harmonic function of a note in a given context.

23. 重降号/Double flats

重降号用**表示，作用是降低一个全音。键盘上的双降D同于C，降两个半音，双降C与降B相同，以此类推。双生号起协调作用，避免同一音名在第七级音阶上重复使用。这样，为了协调，降C小调上行旋律小调也就需要一个第三级双降E，等音D。

A double flat, indicated by the sign **, lowers a note by two half steps (semitones). Thus D double flat on the keyboard is the same as C, two half steps lower, C double flat is the same as B flat, and so on. The use of the double flat, serves a harmonic purpose, avoiding the use of the same letter name twice in the seven degrees of the scale. Thus the ascending minor scale of C flat minor would need a mediant or third degree of E double flat, the enharmonic equivalent of D, for reasons of harmony, dictated by the harmonic function of a note in a given context.

24. 和声小音阶/Harmonic minor

　和声小音阶是小音阶的一种形式，通常起到协调作用，而非一种旋律。自然小音阶的第七级音阶升高半音。A小调和声音阶为A - B - C - D - E - F – 升G - A. 在旋律中，和声小调的第六级和第七级音阶的音程为增加的第二个音，习惯用于表现较为奇特的效果。

The harmonic minor scale is the form of minor scale that generally serves the purposes of harmony rather than those of melody. In this scale the seventh degree of the natural minor scale is raised a half step or semitone. Thus the harmonic minor scale of A minor would be: A - B - C - D - E - F - G sharp - A. In melodies the interval between the sixth and seventh degrees of the scale in the harmonic minor is an augmented second, used conventionally for more exotic effects.

25. 小音阶/Minor scales

小音阶通常有三种形式：自然小音阶，旋律小音阶，和声小音阶。三种形式中的A为主音和第三级音阶中的小三音程，第五级小主音三和弦。

Minor scales generally appear in one of three forms, natural minor (the minor mode), melodic minor, and harmonic minor. A principal feature in all three is the interval of a minor third between the tonic and the third degree of the scale, giving a minor tonic triad with the fifth degree or dominant.

26. 自然小音阶/Natural minor

自然小音阶由一组全音或半音组成。半音介于第二级和第三级音阶间，第五级和第六级音阶间。A小调自然小音阶在钢琴的白键上演奏，从A到A。也被称为伊奥利亚调式。

The natural minor scale is formed from a pattern of whole steps or tones and half steps or semitones. The half steps occur between the second and third degrees of the scale, and between the fifth and sixth degree. Thus the natural minor scale of A minor can be played on the white notes of the piano from A to A. It is also known as the minor mode or Aeolian mode.

27. 全音音阶/Whole tone scale

全音音阶完全由一组全音构成，没有半音。虽然这一音阶可以开始于任一音调，但只有两种模式可行，C音阶和升C（或降D）。C的上行全音音阶为：C - D - E – 升F – 升G – 升A (=降B) - C, 升C上的行全音音阶为：升C - 升D - 升E –双升 F -双升G -双升A (降D - 降E - F - G - A - B - 降D (= 升C).克罗德•德彪西尤其钟爱使用这一音阶，虽然没有通篇作品使用。

The whole tone scale is formed from a pattern of whole tones or whole steps, without semitones or half steps. Although such a scale can start on any note, only two forms are possible, the scale on C and that on C sharp (or D flat). The ascending whole tone scale on C is: C - D - E - F sharp - G sharp - A sharp (=B flat) - C, and on C sharp is: C sharp - D sharp - E sharp - F double sharp - G double sharp - A double sharp (D flat - E flat - F - G - A - B - D flat (= C sharp). The scale was used particularly by Claude Debussy, although never throughout a whole piece of music.

28. 五声音阶/Pentatonic scale

五声音阶包含五个音，并且没有半音阶。可以在钢琴的黑键上演奏。开始于C的五声音阶有如下音：C - D - E - G – A，最后一个音起决定作用。五声音阶存在五种形式，广泛应用一些民族的民歌或传统音乐。

The pentatonic scale, a scale of five notes, is a scale without semitones. It can be played on the black keys of the piano. Starting on C the scale has the notes C - D - E - G - A, its mode dictated by the final note. It exists, therefore, in five possible modes. It is used extensively in the folk or traditional music of many cultures.

29. 八音音阶/Octatonic scale

八音音阶由全音和半音交替而成。八度音需要八个音来完成。开始于C的八音音阶为：C - D – 降E - F – 降G – 降A –还原A - B - C. 八音音阶曾用于里姆斯基-柯萨科夫的作品，尤其多用于斯特拉文斯基的作品。

The octatonic scale consists of alternate whole steps and half steps, or tones and semitones. Eight notes are need to complete the octave. The octatonic scale starting on C is: C - D - E flat - F - G flat - A flat - A natural - B - C. The octatonic scale was used by Rimsky-Korsakov, and, more particularly, by Stravinsky.

1. 音程/Intervals

音程就是音与音之间的距离，通常由低音到高音以数字计算，在计算中包括最低音和最高音。C到D是二度，C到E是三度，C 到F是四度，以此类推。算术距离用数字表示，音程性质用其他词来描述。

Intervals are the distances between notes, generally counted numerically from a lower to a higher note, and including the bottom and top note in the calculation. Thus C to D is a second, C to E a third, C to F a fourth, and so on. The arithmetic distance is expressed numerically, and the interval quality by an additional descriptive adjective.

2. 算术距离/Arithmetic distance

音与音之间的音程，通常由低音到高音以数字计算，在计算中包括音程的最低音和最高音。C到D是二度，C到E是三度，C 到F是四度，C 到 G五度，以此类推。比八度大的音程可用比八大的数字或复音程来表示。因此，九度可被称作复二度，十度可被称作复三度，以此类推。

The intervals between notes are generally calculated numerically from the lower to the higher note, including the bottom and top note of the interval, in the calculation, giving the arithmetic distance. Thus C to D is a second, C to E a third, C to F a fourth, C to G a fifth, and so on. Intervals larger than an octave may be expressed by numbers above eight or as compound intervals. Thus a ninth (9th) may be called a compound second, a tenth (10th) a compound third, and so on.

3. 音程性质/Interval quality

音程性质，是两个音之间的确切距离，由低到高计算，包括该音程的最低音和最高音，用一个描述性形容词加一个用数字描述的音程来表示。由此，C 到D为大二度，C到E为大三度，C到 F为纯四度, C 到 G 为纯五度, C 到 A为大六度, C 到 B 为大七度。

Interval quality, that is the exact distance between two notes, calculated from a lower to a higher note, and including the bottom and top note of the interval, is given by adding a descriptive adjective to the interval expressed numerically. Thus C to D is a major second, C to E a major third, C to F a perfect fourth, C to G a perfect fifth, C to A a major sixth, C to B a major seventh.

4. 和声音程/Harmonic interval

和声音程用来描述两个同时发出声音的音符间的音程，与先后发声的曲调音程相对。

The term harmonic interval is used to indicate an interval between two notes sounded together, as opposed to a melodic interval, when two notes are sounded in succession.

5. 纯音程/Perfect interval

自然音阶的四度、五度和八度音程为纯音程，高于八度的更大音程诸如十一或十二音程称为复合纯四度和复合纯五度。其他音程可用大或小来界定。所有音程也可用减（降半音）或增（升半音）来描述。

The intervals of a fourth, fifth and octave in the diatonic scale are described as perfect intervals, as are the wider intervals above the octave, such as the eleventh or twelfth, other wise known as the compound perfect fourth and compound perfect fifth. Other intervals may be qualified as major or minor. All intervals may also be qualified as diminished (a half step or semitone lower), or augmented (a half step or semitone higher).

6. 纯四度/Perfect fourth

纯四度音程表示4:3的声波比。在大C自然音阶， C到 F, D 到G, E到A, G 到C, A 到 D ，B 到 E为纯四度，每组包含两个全音或半音。F 到 B,包含三个全音，构成增四度，被称作三全音。

An interval of a perfect fourth represents a ratio of wave lengths or frequencies of 4:3. In the diatonic scale of C major the intervals from C to F, D to G, E to A, G to C, A to D and B to E are perfect fourths, each consisting of two whole steps or tones and one half step or semitone. F to B, however, consists of three whole steps or tones, forming an augmented fourth, otherwise known as a tritone.

7. 纯五度/Perfect fifth

纯五度音程表示3:2的声波比。在大C自然音阶， C到 G, D 到 A, E 到 B, F 到 C, G 到 D, A到E 为纯五度，每组包含三个全音和一个半音。B 到 F仅包含三个全音，构成减五度。

An interval of a perfect fifth represents a ratio of wave lengths or frequencies of 3:2. In the diatonic scale of C major the intervals from C to G, D to A, E to B, F to C, G to D, and A to E are perfect fifths, each consisting of three whole steps or tones and one half step or semitone. B to F, however, consists only of three whole steps or tones, forming a diminished fifth.

8. 大音程/Major interval

二度、三度、六度、七度音程可用大小来界定。这些音程在自然大音阶中向上计算。大C到D为大二度，C 到 E 为大三度. C 到 A为大六度，C 到 B为大七度。

The intervals of a second, third, sixth and seventh may be qualified as major or minor. Such intervals calculated upwards in the diatonic major scale are major. Thus in the key of C major C to D is a major second, C to E a major third. C to A a major sixth and C to B a major seventh.

9. 大二度/Major second

大二度是一个全音，如C到 D, D 到 E, 等等。

The interval of a major second is that of a whole step or tone, as C to D, D to E, and so on.

10. 大三度/Major third

大三度为两个全音，如自然大音阶C中C 到 E, F到A, G到B

The interval of a major third is that of two whole steps or tones, as C to E, F to A, G to B in the diatonic major scale of C.

11. 大六度/Major sixth

大六度为四个全音和一个半音，如自然大音阶C中的C 到A, D 到 B, F到 D, G 到E。

The interval of a major sixth is that of four whole steps or tones and a half step or semitone, as C to A, D to B, F to D, G to E in the diatonic major scale of C.

12. 大七度/Major seventh

大七度为五个全音和一个半音，如自然大音阶C中的C 到 B, F 到 E。

The interval of a major seventh is that of five whole steps or tones and a half step or semitone, as C to B, F to E in the diatonic major scale of C.

13. 小音程/Minor interval

二度、三度、六度、七度音程可用大小来界定。小音程为小于大音程的半音。开始于C，C到降D为小二度，C到降E为小三度, C 到降A 为小六度, C到降B为小七度.

The intervals of a second, third, sixth and seventh may be qualified as major or minor. Minor intervals are a half step or semitone less than major intervals. Starting from the note C, C to D flat is a minor second, C to E flat is a minor third, C to A flat is a minor sixth, C to B flat is a minor seventh.

14. 小二度等/Minor second etc.

15. 增音程/Augmented intervals

大音程和纯音程可以升半音构成增音程.纯四度C到F升半音为增四度，大二度C 到 D 升半音为增二度。

Major and perfect intervals may be increased by a half step or semitone to form an augmented interval. Thus C to F sharp is an augmented fourth, with the upper note of the perfect fourth C to F raised a half step or semitone. C to D sharp is an augmented second, with the major second C to D increased by a half step or semitone.

16. 增二度等/Augmented second etc.

大音程和纯音程可以升半音构成增音程. 从C开始，C 到升D 为增二度, C 到升E 为增三度, C 到升F为增四度, C 到升G为增五度, C 到升A为增六度, C到升B (也就是C) 为增七度， C到升C为增八度。同理，C到升C（发小二度音），用这种方法记名为增一度。其他增音程则出现更多的同音异名，但是根据其和声功能，均被看作增音程。

Major and perfect intervals may be increased by a half step or semitone to form an augmented interval. Starting from C, C to D sharp is an augmented second, C to E sharp is an augmented third, C to F sharp is an augmented fourth, C to G sharp is an augmented fifth, C to A sharp is an augmented sixth, C to B sharp (actually = C) is an augmented seventh and C to C sharp us an augmented octave. In the same way C to C sharp, which may sound as a minor second, is, if written in this way, an augmented first. It will be seen that other augmented intervals may have more common enharmonic equivalents, but are regarded as augmented intervals according to their harmonic function.

17. 减音程/Diminished intervals

大音程和纯音程可以降半音构成减音程.随着纯四度C到F降一个半音，C到降F为减四度；随着纯五度C到G 降一个半音，C到降G为减五度；随着小三C到降E降一个半音，C到双降E为减三度。

Minor and perfect intervals may be decreased by a half step or semitone to form a diminished interval. Thus C to F flat is a diminished fourth, with the upper note of the perfect fourth C to F lowered a half step or semitone. C to G flat is a diminished fifth, with the perfect fifth C to G decreased by a half step or semitone; C to E double flat is a diminished third, with the minor third C to E flat decreased by a half step or semitone.

18. 减二度等/Diminished second etc.

大音程和纯音程可以降半音构成减音程. 一些减音程形式并不常用。C到双降D（相当于C到C，键盘上的一度），减二度较减七度或减五度不常用。以C开始，C到双降D为减二度，C到双降E为减三度，C到双降F 为减四度，C到双降G为减五度，C到双降A为减六度，C到双降B为减七度，C到双降C为减八度。许多减音程有更多的同音异名，但是根据其和声功能，均被看作减音程。

Minor and perfect intervals may be decreased by a half step or semitone to form a diminished interval. Some forms of diminished interval are less frequently used. From C to D double flat (= C to C, a unison, on the keyboard), a diminished second is less common than the diminished seventh or diminished fifth. Starting from C, C to D double flat is a diminished second, C to E double flat is a diminished third, C to F flat is a diminished fourth, C to G flat is a diminished fifth, C to A double flat is a diminished sixth, C to B double flat is a diminished seventh and C to C flat a diminished octave. It will be seen that many diminished intervals may have more common enharmonic equivalents, but are regarded as diminished intervals according to their harmonic function.

19. 倍增音程/Doubly augmented interval

倍增音程是一个纯音程或大音程增加两个半音。C到双升D为倍增二度（C到D为大二音程，C到升D为增二音程）

A doubly augmented interval is a perfect or major increased by two half steps or semitones. interval Thus C to D double sharp is a doubly augmented second (C to D is a major second, C to D sharp is an augmented second).

20. 倍减音程/Doubly diminished interval

倍减增音程是一个纯音程或小音程降两个半音。C到双降G为倍减五度（C到G为纯五度，C到降G为减五音程）

A doubly diminished interval is a perfect or minor interval decreased by two half steps or semitones. Thus C to G double flat is a doubly diminished fifth (C to G is a perfect fifth, C to G flat is a diminished fifth).

21. 移调音程/Interval transposition

移调音程是改变一篇音乐作品音高或音程的过程。在移调音程中，音程性质保持不变，但是音高和音名会改变。C – E音程即大三度，可以移调，举例来说，移高五度，变为G – B。更复杂的章节移调时可逐级音程来转换，以确保准确度，较简单的移调通过参照该音阶中要转换的音的位置来实现。C - E,C大调主音和中音，变为G – B，G大调主音和中音。

Transposition is the process of changing the pitch of a piece of music or of an interval. In interval transposition or transposition by interval, the interval quality remains the same, but the pitch and letter names will be changed. Thus the interval C - E, a major third, may be transposed, for example, a fifth higher, to become G - B. More complex passages for transposition may be transposed interval by interval, to ensure accuracy, while simpler transpositions may be made by reference to the position of the notes to be transposed in the scale. C - E, the tonic and mediant of C major, thus become G - B, the tonic and mediant of G major.

22. 转位音程/Inversion of intervals

把高音放置在原低音下时需要将音程转位。C到G为纯五度，通过把G放在八度下转位，称作转位五度或纯四度。同理，C到F，纯四度，通过把高音F放在八度下转位，得出的音程称作转位四度或纯五度。任何音程皆可转位。自然大调音阶的音程转位如下：转位后的大二度变为小七度；转位后的纯四度变为纯五度；转位后的纯五度变为纯四度；转位后的大六度变为小三度；转位后的大七度变为小二度。

Intervals may be inverted when the upper note is placed below the original lower note. Thus C to G is a perfect fifth, but inverted, with G placed an octave lower, may be described as an inverted fifth or as a perfect fourth. Similarly C to F, a perfect fourth, may be inverted by placing the upper note F an octave lower, making an interval that may be described as an inverted fourth or as a perfect fifth. Any interval may be inverted. Inversions of intervals in the diatonic major scale are as follows: An inverted major second becomes a minor seventh; an inverted major third becomes a minor sixth; an inverted perfect fourth becomes a perfect fifth; an inverted perfect fifth becomes a perfect fourth; an inverted major sixth becomes a minor third; an inverted major seventh becomes a minor second.

23. 旋律音程/Melodic interval

旋律音程为在旋律中先后发声的两个音之间的音程。

A melodic interval is the interval between two notes sounded in succession, as in a melody.

24. 复音程/Compound interval

　复音程为高于八度的音程。第九音程可以称为复二度，第十音程可以称为复三度，以此类推。

A compound interval is an interval greater than an octave. Thus a ninth may be described as a compound second, a tenth as a compound third, and so on.

25. 收缩音程/Contracted interval

收缩音程为通过升高低音或降低高音而使音程变小。

A contracted interval is an interval made smaller by raising the lower note or lowering the upper note.

26. 延展音程/Expanded interval

延展音程为通过降低低音或升高高音而使音程变大。

An expanded interval is an interval made larger by lowering the lower note or raising the higher note.

27. 和声音程/Harmonic interval

同时发声的两个音之间的音程为和声音程。

A harmonic interval is the interval between two notes sounded simultaneously.

28. 八度/Octave

八度为八个音间的音程，每一个音都有着相同的音名。八度的比率为2:1。单独的八度音听上去与该音阶相关的其他音相同，虽然音高或高或低，其中一个变为其他音的同八度。

An octave is an interval of eight notes, each having the same letter name. The ratio of frequencies of the octave is 2:1 and notes an octave apart sound the same in relation to other notes in the scale, although higher or lower in pitch, one being the octave equivalent of the other.

29. 音高/Pitch

音高关系是指一个音高和其他音高间的相关关系。

Pitch relationship refers to the relative position of relationship one pitch to another.

30. 一度/Unison

一度就是听上去是一个音。一度唱腔就是指所有的演唱者共同演唱同一个音，没有和声。对于旋律，一度的界定更宽松，比如，男人和女人一起演唱，通常单独的八度更能确切描述八度演唱。

Unison is the sounding together of one note. Unison singing indicates singing in which all singers sing the same notes, without harmony. The same term is more loosely used for singing of the same melody, for example, by men and women together, usually an octave apart, and more accurately described as singing in octaves.

31. 缩略音程/Abbreviations for intervals

音程可以用阿拉伯数字来标写，比如2，3，4，5，6，7.八度缩减为8ve。“增”可简写为aug.，“减” 简写为dim.，大简写为M，小简写为m。因此大六可以简写为M6th ,小三简写为m3rd .

Intervals may be expressed using Arabic numerals, as in 2nd, 3rd, 4th, 5th, 6th and 7th. The abbreviation for octave is 8ve. Augmented may be shortened to aug. and diminished to dim., while some abbreviate major to M and minor to m. Thus a major sixth may be abbreviated to M6th , a minor third to m3rd .

32. 协和音程/Consonant interval

协和音程为较小整数的比率，2:1, 3:2 等等。协和音程有两种形式：完全协和音程和不完全协和音程。完全协和音程为一度(1:1), 八度 (2:1), 纯五度(3:2) 和纯四度 (4:3). 不完全协和音程为三度和六度。其他音程为不协和音程。协和音程在调性音乐中很稳定；听上去不必改变。

Consonant intervals are intervals that derive from ratios between smaller integers, 2:1, 3:2 and so on. There are two kinds of consonant interval, perfect and imperfect. Perfect consonances are unison (1:1), octave (2:1), perfect fifth (3:2) and perfect fourth (4:3). Imperfect consonances are thirds and sixths. Other intervals are dissonances. Consonant intervals are regarded as stable in tonal music; they do not sound as if they must move.

33. 不协和音程/Dissonant interval

不协和音程为二度和七度。小二度和大七度为极不协和音程，大二度和小七度为不协和音程。在调性音乐中，不协和音程是不稳定的，听上去似乎他们应改变为协和音程。加四度也是不稳定的不协和音程，需要变为协和音程。不协和音程发生在自然大音阶的四度和七度，也被称为三全音。由于不协和音程造成的和谐困难和旋律困难，曾一度被称为音乐中的魔鬼。

Dissonant intervals are the second and the seventh. Minor seconds and major sevenths are regarded as harsh dissonances, major seconds and minor sevenths as less harsh. In tonal music dissonances are unstable and sound as if they should move to a consonance. The augmented fourth is also a dissonance, an unstable interval that needs to move to a consonance. This interval, which occurs between the fourth and seventh degrees of the diatonic major scale, is also known as a tritone. Because of the harmonic and melodic difficulties it caused, it was once known as diabolus in musica, the Devil in music.

1. 节奏/Rhythms

节奏是音乐的基本组成部分。是按照时值和重音，即音长和音的力度组织起来的一系列音。

Rhythm is an essential element of music. It is the arrangement of durations and stresses, the relative length of notes and the relative strength of accents.

2. 节拍/Pulse

节拍是有固定节奏音乐中的有规律的节奏。可以用一秒内的拍数来表示，用节拍器或类似器具来计量。

Pulse is the underlying regular beat in a piece of mensural music. This may be indicated numerically by the number of beats in a second, measured mechanically by a metronome or other such device.

3. 节拍/Meter (Metre)

节拍是音乐作品中重复强弱音中的一系列等音值。在音乐作品的开始部分或在节拍改变的部分用拍号来表示。节拍在此处的用途与其在诗文中长音节的抑扬短长等作用相似。

Meter (metre) is the arrangement of a series of notes of equal duration in a repeated pattern of accents, weak notes and strong notes in a piece of music. It is indicated by a time signature at the beginning of a piece of music or at a point where there is a change of meter (metre). The use of the word is analogous to its use in verse, with its traditional metrical units of iambus, trochee, dactyl and so on.

4. 小节/Measure (Bar)

小节是度量单位，即两条小节线之间的部分。

A measure or bar is a metrical unit, the space between two bar-lines.

5. 音乐记谱法/Music notation

音乐记谱法是指音符通用书写方法。整个历史和各民族的记谱方法千差万别。在今天的调性音乐中，记谱通常使用五线谱，把音符标在五线谱上。其他音乐形式可能需要不同的记谱方法。

Music notation is a general term to describe the writing down of music. Systems of notation differ widely throughout history and from culture to culture. The way of writing music down in tonal music today is normally by staff notation, using note symbols on the five-line staff or stave. Other forms of music may need different systems of notation.

6. 固定音值/Note values

固定音值在传统调性音乐中用不同的标识来表示相对时值。这些标识包括符头，符干，符尾或连音线。

Note values in traditional tonal music are represented by symbols of various kinds, which indicate relative duration. These symbols include note heads, with the necessary stems and flags or beams.

7. 全音/Whole notes

全音用XXX来表示，等于两个半音或四个四分音符。在拍号中用数字1来表示。

A whole note or semibreve is indicated by the symbol XXX and is equivalent in duration to two half notes or minims or four quarter notes or crotchets. It is represented in time signatures by the number 1.

8. 半音/Half notes

半音用XXX来表示，等于半个全音或两个四分音符。在拍号中用数字2来表示。

A half note or minim is indicated by the symbol XXX and is equivalent in duration to half a whole note or semibreve, or two quarters notes or crotchets. It is represented in time signatures by the number 2.

9. 四分音符/Quarter notes

四分音符用XXX来表示，等于半个半音或一个四分之一全音。在拍号中用数字4来表示。

A quarter note or crotchet is indicated by the symbol XXX and is equivalent in duration to half a half note or minim, or a quarter of a whole note or semibreve. It is represented in time signatures by the number 4..

10. 八分音符/8th note

八分音符用XXX来表示，等于半个四分音符，一个四分之一半音，八分之一全音。在拍号中用数字8来表示。

TAn 8th note or quaver is indicated by the symbol XXX and is equivalent in duration to half a quarter note or crotchet, a quarter of a half note or minim, and an eighth of a whole note or semibreve. It is represented in time signatures by the number 8.

11. 十六分音符/16th note

十六分音符用XXX来表示，等于半个八分音符，一个四分之一的四分音符，八分之一的半音，十六分之一的全音。在拍号中用数字16来表示。

A 16th note or semiquaver is indicated by the symbol XXX and is equivalent in duration to half an 8th note or quaver, a quarter of a quarter note or crotchet, an eighth of a half note or minim, and a sixteenth of a whole note or semibreve. It is respresented in time signatures by the number 16.

12. 三十二分音符/32nd note

三十二分音符用XXX来表示，等于半个十六分音符，一个四分之一的八分音符，八分之一的四分音符，十六分之一的半音，三十二分之一的全音。在拍号中用数字32来表示，虽然使用相对较少。

A 32nd note or demisemiquaver is indicated by the symbol XXX and is equivalent in duration to half a 16th note or semiquaver, a quarter of an 8th note or quaver, and eighth of a quarter note or crotchet, a sixteenth of a half note or minim and a thirty-second of a whole note or semibreve. It is represented in time signatures by the number 32, although its occurrence there is relatively rare.

13. 六十四分音符/64th note

六十四分音符用XXX来表示，等于半个三十二分音符，四分之一的十六分音符，八分之一的八分音符，十六分之一的四分音符，三十二分之一的半音，六十四分之一的全音。在拍号中用数字64来表示，虽然使用相对较少。

A 64th note or hemidemisemiquaver is indicated by the symbol XXX and is equivalent in duration to half a 32nd note or demisemiquaver, a quarter of a 16th note or semiquaver, an eighth of an 8th note or quaver, a sixteenth of a quarter note or crotchet, a thirty-second of a half note or minim, and a sixty-fourth of a whole note or semibreve. It is represented in time signatures by the number 64, although its occurrence there is relatively rare.

14. 连音线/Beam

在较短时值的八分音符组合在一起时，连音线用于代替符尾。单连音线可以加在八分音符上，双连音线可以加在十六分音符上，三连音线加在三十二分音符上，以此类推。使用连音线而不是单独的符尾取决于节拍，一组音符添加连音线要遵守该规则。举例来说，在一个节拍的最后一个音和另一个节拍的第一个音间添加连音线就是错的。在声乐作品中，通常使用单独的符尾；可能在几个音之间使用连音线而不是在一节上。

A beam is used to replace flags when 8th notes or quavers or notes of shorter duration are grouped together. A single beam may join 8th notes or quavers, with a double beam for 16th notes or semiquavers, a triple beam for 32nd notes, and so on. The use of beams rather than individual flags is dictated by the beat, with which note groups joined by a beam must conform. It would be wrong, for example, to join the last note of a beat with the first of another by a beam. In vocal music it is usual to use separate flags for separate syllables; beams might be used for a number of notes set against one syllable of text.

15. 时值/Duration

音乐用时间来度量，音符的时值就是该音符的持续时间。半音的时值是全音的一半。不同音符时值是节奏的基本构成要素。

Music is measured in time and the duration of a note is the time it last in relations to other notes. Thus the duration of a half note or minim is half that of a whole note or semibreve. Different note lengths or durations are an essential element in rhythm.

16. 时值标识/Durational symbols

用于记谱的时值标识包括符头，符尾或连音线。其他标识有符点，标在音符后，使该音符延长半音。四分音符标两个符点，使该音符时值增至1 1/4。半音加符点，时值等于三个四分音符。半音加两个符点，时值等于三个四分音符或一个八分音符。

Durational symbols in music notation include the forms of note heads, flags or beams used. A further symbol is the dot, which, placed after a note, adds half that note's length. A second dot adds a further quarter, making an increase in a note's duration of 1 1/4. Thus a dotted half note or minim is equal in length to three quarter notes or crotchets. A double dotted half note or minim is equal in length to three quarter notes or crotchets and an 8th note or quaver.

17. 符尾/Flag

18. 休止符/Rest

休止符标识声音中止。不同的部分使用不同的符号来表示不同时值的休止。

A rest indicates an absence of sound. Different signs are used to indicate different durations of silence in an individual part.

19. 全休止符/Whole rest

全休止符表示全音时值的声音中断。用XXX来表示，在五线谱的任意线下标注的黑矩形。

A whole rest or semibreve rest indicates absence of sound for the duration of a whole note or semibreve. It is represented by the symbol XXX , a black oblong placed below any line of the staff.

20. 二分休止符/Half rest

二分休止符表示半音时值的声音中断。用XXX来表示，在五线谱的任意线上标注的黑矩形。

A half rest or minim rest indicates absence of sound for the duration of a half note or minim. It is represented by the symbol XXX, a black oblong placed above any line on the staff.

21. 四分休止符/Quarter rest

四分休止符表示四分音符时值的声音中断。用XXX或XXX来表示。

A quarter rest or crotchet rest indicates absence of sound for the duration of a quarter note or crotchet. It is represented by the symbol XXX, or XXX.

22. 八分休止符/8th rest

八分休止符表示八分音符时值的声音中断。用XXX来表示。

An 8th rest or quaver rest indicates absence of sound for the duration of an 8th note or quaver. It is represented by the symbol XXX.

23. 十六分休止符/16th rest

十六分休止符表示十六分音符时值的声音中断。用XXX来表示。

A 16th rest or semiquaver rest indicates an absence of sound for the duration of a 16th note or semiquaver. It is represented by the symbol XXX.

24. 三十二分休止符/32nd rest

三十二分休止符表示三十二分音符时值的声音中断。用XXX来表示。

A 32nd rest or demisemiquaver rest indicates an absence of sound for the duration of a 32nd note or demisemiquaver. It is represented by the symbol XXX.

25. 六十四分休止符/64th rest

六十四分休止符表示六十四分音符时值的声音中断。用XXX来表示。

A 64th rest or hemidemisemiquaver rest indicates an absence of sound for the duration of a 64th note or hemidemisemiquaver. It is represented by the symbol XXX.

1. 拍号/Times

拍号标在音乐作品的开始部分或在节拍改变的部分，通常包含两个数字，其中一个在另一个之上。上面的数字表示拍数，下面的数字表示所使用的音。3/4表示一小节有三个四分音符，4/2表示四个二分音符，6/8表示六个八分音符。

A time signature, given on the staff at the beginning of Signature a piece of music, or at points where there is a change of meter (metre) generally consists of two numbers, one over the other. The upper number indicates the number of beats in a measure (bar) and the lower the kind of note used. Thus 3/4 indicates three quarter notes or crotchets in a measure (bar), 4/2 indicates four half notes or minims, 6/8 indicates six 8th notes or quavers.

2. 节拍/Meter (Metre)

节拍是音乐作品中重复强弱音中的一系列等音值。在音乐作品的开始部分或在节拍改变的部分用拍号来表示。节拍在此处的用途与其在诗文中长音节的抑扬短长等作用相似。

Meter (metre) is the arrangement of a series of notes of equal duration in a repeated pattern of accents, weak notes and strong notes in a piece of music. It is indicated by a time signature at the beginning of a piece of music or at a point where there is a change of meter(metre). The use of the word is analogous to its use in verse, with its traditional metrical units of iambus,trochee, dactyl and so on.

3. 单拍子/Simple meter (Metre)

单拍子就是任何音符都可分成两拍，比如2/4, 3/4, 4/4等。四分音符可以分成两个八分音符。

Simple meter (metre) or simple time is meter (metre) in which the beat is divisible by two, as in 2/4, 3/4, 4/4 and so on. The quarter note or crotchet can in each case be divided by two, to be expressed in 8th notes or quavers.

4. 二拍子/Duple meter (Bar)

二拍子是指一小节中有两拍。

Duple meter (metre) or duple time is a meter (metre) that has two beats in a measure or bar.

5. 三拍子/Triple meter (metre)

三拍子是指一小节中有三拍。

Triple meter (metre) or triple time is a meter (metre) has three beats in a measure or bar.

6. 四拍子/Quadruple meter (metre)

四拍子是指一小节中有四拍。

Quadruple meter (metre) or quadruple time is a meter (metre) that has four beats in a measure or bar.

7. 单二拍子/Simple duple meter (Metre)

单二拍子指一小节中有两拍，两拍中的每拍各分成两拍，比如2/2 或 2/4。

Simple duple meter (metre) is a meter (metre) that has two beats in a measure or bar, each of which is divisible by two, as in 2/2 or 2/4.

8. 单三拍子/Simple tripe meter (Metre)

单三拍子指一小节中有三拍，三拍中的每拍各分成两拍，比如3/2 或3/4。

Simple triple meter (metre) is a meter (metre) that has three beats in a measure or bar, each of which is divisible by two, as in 3/2 or 3/4.

9. 单四拍子/Simple quadruple meter (metre)

单四拍子指一小节中有四拍，四拍中的每拍各分成两拍，比如4/2 或4/4.

Simple quadruple meter (metre) is a meter (metre) that has four beats in a measure or bar, each of which is divisible by two, as in 4/2 or 4/4.

10. 节拍/Beat

节拍是指一篇音乐作品的节奏。这个词也用来描述指挥的动作。演奏者跟随指挥的节拍来演奏。区别在于弱拍和强拍。首先，指挥者手的向上动作表示弱拍，为强拍做准备，指挥者手的向下动作表示一小节开始时的强拍。

The beat is the rhythmic pulse of a piece of music. The word is also used for the physical indication of such a pulse by a conductor. Performers under a conductor are expected to follow the beat. A distinction is made between the up-beat and the down-beat. The first, from the movement of a conductor's hand upward, indicates a weaker beat, in preparation for a down-beat, from the downward movement of a conductor's hand, indicating a stronger beat, as at the beginning of a measure or bar.

11. Beat vales

Beat values correspond with the pulse in a piece of music and may be subdivided in various ways.

12. Beat grouping

Beats generally form regular groups of two or three, with an accent on the first note of the group.

13. 复拍子/Compound meter (metre)

复拍子是指一小节分成三部分，比如6/8, 9/8, 12/4等等。

Compound meter (metre) or compound time is meter (metre) in which the beat is divisible by three, as in 6/8, 9/8, 12/4 and so on.

14. 复二拍子/Compound duple meter (metre)

复二拍子是指一小节有两拍，两拍中的每拍各分成三拍，比如6/8 或6/4.

Compound duple meter (metre) is a meter (metre) that has two beats in a measure or bar, each of which is divisible by three, as in 6/8 or 6/4.

15. 复三拍子/Compound triple meter (metre)

复三拍子是指一小节有三拍，三拍中的每拍各分成三拍，比如9/8 或9/4.

Compound triple meter (metre) is a meter (metre) that has three beats in a measure or bar, each of which is divisible by three, as in 9/8 or 9/4.

16. 复四拍子/Compound quadruple meter (metre)

复四拍子是指一小节有四拍，四拍中的每拍各分成三拍，比如12/8 或12//4.

Compound quadruple meter (metre) is a meter (metre) that has four beats in a measure or bar, each of which is divisible by three, as in 12/8 or 12//4.

17. 2/2拍/2/2 meter (metre)

2/2拍一小节有两个半音，是单二拍子的范例。其被称为二分之二拍，用C来表示。

2/2 meter (metre), with two half notes or minims in a measure or bar, is an example of simple duple meter (metre) or time. It is known as Alla breve and shown by the sign C. (C WITH A LINE THROUGH IT)

18. 4/4拍/4/4 meter (metre)

4/4拍一小节有四个四分之一音符，是单四拍子的范例。其被称为四分之四拍，用C来表示。这并不是字母C，而是不圆满的圆，从一个圆的纯音开始算起，用来说明什么是纯时间，即三拍子标志。

4/4 meter (metre), with four quarter notes or crotchets in a measure or bar, is an example of simple quadruple meter (metre) or time. It is known as Common Time and shown by the sign C. This not the letter C but an imperfect circle, dating from a time when the perfect from of a complete circle was used to represent what was known as perfect time, a symbolical triple meter (metre).

19. 混合拍子/Irregular meter (metre)

混合拍子通常是指既不符合单拍子也不符合复拍子的特殊形式。在小节内出现拍号5、7、11或更多拍子的为混合拍子。混合拍子可以进一步划分。5/8可以看作是2/8 + 3/8或3/8 + 2/8。进一步划分通常有两组，三组或四组。

Irregular meters (metres) or times are generally those with an odd number of beats that do not fit into the usual patterns of simple and compound meter (metre). Thus time signatures with five, seven, eleven or more beats in a measure or bar indicate irregular meters (metres). Such meters (metres) are generally subdivided. Thus 5/8 may be treated as 2/8 + 3/8, or as 3/8 + 2/8. Such subdivisions may usually be in groups of two, three or four.

20. 重音/Accented notes

重音是指强于其他音的音符。音符通常分为两组和三组，每组的第一个音符通常加重。重音出现在小节的开始部分，其他音如加重可在音符上用重音记号“>”。

Accented notes are notes that are stronger than others. Notes are usually grouped in twos and threes and the first note of such a group is normally accented. Strong accents occur at the beginnings of bars and other notes may be accented by the use of an accent sign >, placed over the written note.

21. 重音/Accented sounds

重音是强于其它音的音。小节中的第一个音符为重音，及二或三个音符为一组的第一个音符。其他音如加重可在音符上用重音记号“>”。

Accented sounds are sounds that are stronger than others. Accents fall on the first note in a bar, or on the first note of a group of two or three notes. Other accents may be indicated by the placing of the accent sign > over any written note.

22. 轻音/Anacrusis

在主歌中，轻音是指主歌开始部分没有加重的音，类似于弱拍。

In verse the anacrusis is the unstressed syllable at the beginning of a verse. The term has been borrowed for use in music as a synonym of up-beat, the weaker beat preceding a strong beat.

23. 小节线/Bar line

小节线是与五线谱或谱表垂直的竖线。

The bar line is a vertical line through the staff to mark off each measure or bar.

24. 音域/Division (of note value)

音符可分为两部分或二的倍数部分。全音可分为两个半音。附点音符即一个音符加一个点以延长半音，可分为三部分或三的倍数部分。附点半音相当于三个四分音符。

Notes may be divided by two or multiples of two. Thus a whole note or semibreve is the equivalent in duration of two half notes or minims. Dotted notes, that is notes followed by a dot prolonging their duration by a half may be divided by three or multiples of three. Thus a dotted half note or minim is the equivalent of three quarter notes or crotchets.

25. 二拍子/Duple meter (metre)

二拍子是指一小节中有两拍。

Duple meter (metre) or duple time is a meter (metre) that has two beats in a measure or bar.

26. 时值/Duration

27. 力度重音/Dynamic accents

力度重音表明音符的力度，通常出现在二音或三音组的开始部分，用在音符上加符号“>”来表示。

Dynamic accents show the relative strength of notes. They occur normally at the beginning of a group of two or three notes, but may otherwise be indicated by the sign > above a written note.

28. 力度/Dynamic level

力度是指一篇音乐作品的强弱部分，通常用意大利语中的强和弱两个单词即forte 和piano的首字母表示，并用mezzo的首字母来修饰。强音的水平用字母ppp, pp, p, mp, mf, f, ff, fff来表示，有时也用其他字母和符号。

The dynamic level, the relative loudness or softness of part of a piece of music, is generally indicated by the initial letters of the Italian words for loud and soft, forte and piano, modified by the initial letter of mezzo (= half) or intensified by repetition. Relative degrees of loudness might be given by the letters ppp, pp, p, mp, mf, f, ff, fff, but other words and signs are sometimes used.

29. 小节/Measure (Bar)

小节是一个长音节，即两个小节线之间的部分。

A measure or bar is a metrical unit, the space between two bar-lines.

30. meter音/Metric accent

音是指常规音加一个meter。通常出现在二音或三音组的开始部分和小节的第一个音符即metric unit的第一个音符。

Metric accent is the normal accent associated with a particular meter (metre). This generally falls on the first of a group of two or three notes, and always on the first note of a measure or bar, that is the first note of a metric unit.

31. Pickup

The pickup is the anacrusis or upbeat, the weaker beat that precedes a strong beat, as the last beat of a measure or bar precedes the strong beat with which the following measure or bar begins.

32. Point of attack

The point of attack is normally the beginning of a phrase or group of notes that must be clearly articulated, whether in vocal or instrumental music.

33. 基本强音/Primary accent

基本强音是基本音，出现在小节中第一拍。

The primary accent is the main accent falling on the first beat in a measure or bar.

34. 五拍子/Quintuple meter(metre)

五拍子是指一小节中有五拍。五拍子是混合拍子，通常为三拍子加二拍子的组合，3 + 2，或二拍子加三拍子的组合，2 + 3.有时标在拍号上。

Quintuple meter (metre) or quintuple time is a meter (metre) that has five beats in a measure or bar. Since this is an irregular meter (metre), it is often thought of as three beats followed by two, 3 + 2, or as two beats followed by three, 2 + 3. This is sometimes indicated in the key signature.

35. 节奏型重音/Rhythmic pattern

节奏型重音是一组时值不同的音符，以不同的方式分类，常和不规则重音一起出现。与metric pattern不同的是，节奏型重音是规则的。

Rhythmic pattern is a pattern of notes of varied duration, grouped in various ways and often with irregular accents. It is distinct from metric pattern, which is regular.

36. 七拍子/Septuple meter(metre)

七拍子是指一小节中有七拍。七拍子是混合拍子，通常为四拍子，三拍子或二拍子的任意组合，2 + 3 + 2, 4 + 3,等等。有时标在拍号上。

Septuple meter (metre) or septuple time is a meter (metre) that has seven beats in a measure or bar. Since this is an irregular meter (metre), it is often thought of in various combinations of four, three or two beats, 2 + 3 + 2, 4 + 3, and so on. This is sometimes indicated in the key signature.

37. 单拍子/Simple meter (metre)

38. 五线谱/Staff

39. 音符时值的进一步划分/Subdivision of note value

音符可以分为两部分或多部分（二的倍数）。一个全音的时值等于两个半音，可以进一步分为四个四分音符，八个八分音符，以此类推。附点音符就是一个音符加一个符点来延长半音，其可分为三部分或三的倍数部分。附点半音等于三个四分音符，六个八分音符，十二个十六分音符，以此类推。

Notes may be subdivided by two or multiples of two. A whole note or semibreve is the equivalent in duration of two half notes or minims, and these may be subdivided to give four quarter notes or crotchets. Further subdivision will give eight 8th notes or quavers, and so on. Dotted notes, that is notes followed by a dot prolonging their duration by a half may be divided by three or multiples of three. Thus a dotted half note or minim is the equivalent of three quarter notes or crotchets, and these may be subdivided to give six 8th notes or quavers. Further subdivision will give twelve 16th notes or semiquavers, and so on.

40. 拍号/Time

41. 附点音符/Dotted notes

一个符点加在音符后增加半音。半音加一个符点等于三个四分音符。四分音符加一个符点等于三个八分音符。再加一个符点则在原来基础上增加一个四分音符。换句话说，第二个符点增加了第一个符点的半个时值.加两个符点的四分音符时值等于一个四分音符加一个八分音符加一个六十分音符。

A dot placed after a note increases its value by a half. Thus a half note or minim followed by a dot is equivalent in duration to three quarter notes or crotchets. A quarter note or crotchet followed by a dot is equivalent in duration to three 8th notes or quavers. A second dot added after the first dot increases the value of the original note by a further quarter. In other words the second dot adds half the value of the first dot. Thus a double dotted quarter note or crotchet is equivalent in duration to a quarter note, plus an 8th note, plus a 16th note, that is a crotchet, plus a quaver, plus a semiquaver.

42. 三连音/Triplet

用均匀的三部分来代替基本划分的两部分，拍子改变。

Triplets are groups of three notes used in place of two, giving the temporary impression of a change of meter (metre).

43. 二连音/Duplet

用均分的两部分来代替基本划分的三部分，拍子改变。

Duplets are groups of two notes used in place of three, giving the temporary impression of a change of meter (metre).

1. 三和弦结构/Triad Structures (patterns)

三和弦是由三个音组成，包含从最低音上数第三音和第五音的。也可描述为三度叠置。三和弦根据音程的性质分大，小，增，减。也可以转换作中间的音或最上面的音放在原最低音下。值得注意的是，音程是向上度量的。

Triads are patterns of three notes consisting of a note with a third and a fifth added, counting upwards from the lowest note. This may also be described as a note with a third above it, on which another third is added above that. Triads are variously described as major, minor, augmented or diminished, according to the quality of the intervals between the notes. They may also be inverted, with the middle note or top note placed below the original bottom note. It should be noticed that intervals are measured upwards.

2. 三和弦的质/Quality of triads

根据最低音与中间音之间，中间音与最高音之间的第三音的性质，三和弦可分为大，小，增或减。

Triads may be major, minor, augmented or diminished according to the quality of the thirds between the bottom and middle note, and between the middle note and the top note of the three.

3. 和弦/Chord

和弦是许多音同时发声。也有例外，只有两个音同时发声。和弦通常被定义为一个音以上的任何数量的音同时发声。

A chord is a simultaneous sounding of a number of notes. Some exclude from this definition the simultaneous sounding of only two notes. In general, however, a chord may be described as the simultaneous sounding of any number of notes more than one.

4. 转位和弦/Chord inversion

当和弦的底音置于任意其他音之上时，就出现了转位和弦。最简单的形式三和弦，可转位为原中间音或原最上面的音置于底部。三和弦第一转位是将原第三音置于底部。三和弦第二转位是将原最上面的音置于底部。

Chord inversions occur when the bottom note of a chord is placed above any of the other notes. In their simplest form, triads, or three-note chords, may be inverted by having either the original middle or the original top note at the bottom. The first inversion of a triad has the original third at the bottom. The second inversion of a triad has the original top note at the bottom.

5. 大三和弦/Major triad

大三和弦是包含根音在内的三音和弦，其上为小三和弦。同理，大三度的根音加其上的纯五度。把大自然音阶的音作为根音，只使用该音阶的音，大三和弦可由主音，下属音和属音构成，即该音阶的第一、第四和第五级音。

A major triad is a chord of three notes consisting of a root, and a major third with a minor third added above it. This is the same as a root with a major third and a perfect fifth above it. Taking the notes of the major diatonic scale as roots, and using only the notes of that scale, major triads may be formed on the tonic, subdominant and dominant, that is the first, fourth and fifth degrees of the scale.

6. 小三和弦/Minor triad

大三和弦是包含根音在内的三音和弦，其上为大三和弦。同理，小三度的根音加其上的纯五度。把大自然音阶的音作为根音，只使用该音阶的音，小三和弦可由上主音，中音和下中音构成，即该音阶的第二、第三和第六级音。

A minor triad is a chord of three notes consisting of a root, and a minor third with a major third added above it. This is the same as a root with a minor third and a perfect fifth above it. Taking the notes of the major diatonic scale as roots, and using only the notes of that scale, minor triads may be formed on the supertonic, mediant and submediant, that is the second, third and sixth degrees of the scale.

7. 根音/Root

和弦的根音是原和弦建立在其上的音。底部有根音的和弦为本位和弦。根音是和弦的基础。

The root of a chord is the note on which the original chord is built. A chord with the root at the bottom is said to be in root position. The root is also known as the fundamental of a chord.

8. 三和弦结构/Triad structure

三和弦为三个音和弦。其可表述为三度叠置。与以第三音为根音其上加第五音相同。

A triad is a three-note chord. It can be described as a root or fundamental with a third placed above it, over which a further third is added. This is the same as a root or fundamental with a third and a fifth added above it.

9. 功能和弦/Tertian chords

功能和弦由三度音构成。包括大三和弦，小三和弦，增三和弦和减三和弦，由superimposed thirds组成。更多的功能和弦可在原三和弦的基础上加上更大音程的三度，加从根音算起的第七，第九，第十一音等等

Tertian chords are made up of thirds. The phrase includes triads in the form of major triads, minor triads, augmented triads and diminished triads, which consist of superimposed thirds. Extended tertian chords simply add further intervals of a third to the original triad, giving intervals of a seventh, ninth, eleventh and so on from the root.

1. 增三和弦/Augmented triads

增三和弦是根音上加一个大三度的三音和弦，其上加一个大三度。同理，根音加大三度，其上增五度。

An augmented triad is a three-note chord with a major third added over the root, and a major third added above that. This is the same as a root with a major third and an augmented fifth added above it.

2. 减三和弦/Diminished triads

减三和弦是根音上加一个小三度的三音和弦，其上加一个小三度。同理，根音加小三度，其上加一个减五度。

A diminished triad is a three-note chord with a minor third added over the root and a minor third added above that. This is the same as a root with a minor third and a diminished fifth added above it.

3. 大三和弦/Major triad pattern

大三和弦是包含加大三度的根音在内的三音和弦，其上加一个小三度。同理，加大三度的根音，其上加一个纯五度。大三和弦的三个音作为和弦听上去同时发声或相继发声。

The major triad pattern is a pattern of three notes consisting of a root or fundamental with a major third added above it, and a minor third added above that. This is the same as a root with a major third and a perfect fifth added above it. The triad may have its three notes sounded simultaneously as a chord, or its notes may be arpeggiated, broken or sounded one after the other.

4. 小三和弦/Minor triad pattern

大三和弦是包含加小三度的根音在内的三音和弦，其上加一个大三度。同理，加小三度的根音，其上加一个纯五度。小三和弦的三个音作为和弦听上去同时发声或相继发声。

The minor triad pattern is a pattern of three notes consisting of a root or fundamental with a minor third added above it, and a major third added above that. This is the same as a root with a minor third and a perfect fifth added above it. The triad may have its three notes sounded simultaneously as a chord, or its notes may be arpeggiated, broken or sounded one after the other.

5. 罗马数字解释/Roman numeral analysis

在和声分析中，通常用罗马数字来表示构成和弦根音的音阶。音阶的第一级即主音，用罗马数字I表示，第二级即上主音用罗马数字II表示，第三级即中音用罗马数字III表示，第四级即下属音用罗马数字IV表示，第五级即属音用罗马数字V表示，第六级即下中音用罗马数字VI表示，第七级即导音用罗马数字VII表示。举例来说，在C大调中，C=I, D=II, E=III, F=IV, G=V, A=VI and B=VII. 这些数字用来表示音阶或建于此音阶上的三和弦。

In harmonic analysis it is usual to give Roman numerals to indicate degrees of the scale that form the roots of chords. Thus the first degree of the scale, or tonic, is indicated by the Roman numeral I, the second degree or supertonic is II, the third degree or mediant is III, the fourth degree or subdominant is IV, the fifth degree or dominant is V, the sixth degree or submediant is VI, and the seventh degree or leading tone (leading note) is VII. In the key of C major, for example, C=I, D=II, E=III, F=IV, G=V, A=VI and B=VII. These numerals are used to indicate either the degree of the scale or the triad built on such a degree of the scale.

1. 低音/Bass

在和声中，低音是和弦里的最低音。低音不是必需的根音。

In harmony the bass is the lowest note in a chord. This is not necessarily the root or fundamental.

2. 数字低音记号/Figured-bass symbol

低音下可加数字以提示上方声部的音程。阿拉伯数字的作用在于此。罗马数字通常不是数字低音的组成部分，但可用来分析和弦的根音。根音不是低音的必需，除非和弦在本位和弦，用数字3，5来表示，虽然在本位和弦中这样的数字标记经常被省略。第一转位中，低音上的第三音和第六音用数字6和3表示，3通常省略。第二转位中，低音上的第四音和第六音用数字6和4表示。数字可用来表示低音上的任意音程。低音上的音符各不相同，低音上的音发八度音或更高。例如，C大调主音三和弦的第一转位与中间音发出高于八度的音，E - C – G，G和低音E构成复三度。升、降、还原号位于低音下，不包含数字，表示其上和弦中的升降三度。升、降、还原号可标在数字旁边，提示这些音程本身应该升或降。存在各种不同习惯表示增或减音程。

Numbers may be added below a bass note or voice to show the intervals to be sounded above that note. For this purpose Arabic numerals are used. Roman numerals do not form a part of the normal figured bass, but may be used in analysis to indicate the root of a chord. The root is not necessarily the bass, except when chords are in root position, to be indicated by the numbers 5 and 3, although such figuring is often omitted for chords in root position. A first inversion, with a third and a sixth (the original root) above the bass, is indicated by the numbers 6 and 3, although the 3 is often omitted. A second inversion, with a fourth (the original root) and a sixth above the bass, is indicated by the numbers 6 and 4. Numerals can be used to indicate any interval above the bass. The actual placing of the notes above the bass may differ, in that notes above the bass may be sounded an octave or more higher. For example the first inversion of the tonic triad of C major may be sounded with the middle note an octave higher, giving E - C - G, with G forming a compound third with the bass E. Sharp, flat or natural signs placed below the bass without other numbers indicate a sharpened or flattened third in the chord above it. Sharp, flat or natural signs may be placed next to numerals to indicate that these intervals themselves should be sharpened or flattened. Various conventions exist to indicate augmented or diminished intervals.

3. 转位和弦/Chord inversion

当和弦的底音被其他音替换时就发生了转位和弦。最简单的形式，三和弦，可通过以加原中间音或原最高音为底音来转换。三和弦的第一转位以原第三音为底音。三和弦的第二转位以原最高音为底音。

Chord inversions occur when the bottom note of a chord is placed above any of the other notes. In their simplest form, triads, or three-note chords, may be inverted by having either the original middle or the original top note at the bottom. The first inversion of a triad has the original third at the bottom. The second inversion of a triad has the original top note at the bottom.

4. 三和弦第一转位/First Inversion triad

三和弦第一转位用数字6-3和弦来表示，以原中间音为低音，原最高音为其上的三音，原最低音，根音，为其上的六音。C大调主音三和弦在原位为C-E-G，第一转位为E-G-C。高音置于另一音部，八度或更高。

A first inversion triad, expressed numerically as a 6-3 (six-three) chord, has its original middle note as its bass, with the original top note a third above it and the original bottom note, the root, a sixth above it. Thus the tonic triad of C major is C-E-G in root position, and E-G-C in first inversion. The upper notes may be placed in another register, an octave or more higher.

5. 三和弦第二转位/Second Inversion triad

三和弦第二转位用数字6-4和弦来表示，以原最高音为低音，原最低音，根音，为其上的四音，原中间音为其上的六音。C大调主音三和弦在原位为C-E-G，第二转位为G-C-E。高音置于另一音部，八度或更高。

A second inversion triad, expressed numerically as a 6-4 (six-four) chord, has its original top note as its bass, with the original bottom note, the root, a fourth above it and the original middle note a sixth above it. Thus the tonic triad of C major is C-E-G in root position, and G-C-E in second inversion inversion. The upper notes may be placed in another register, an octave or more higher.

6. 八度代换/Octave displacement

八度代换是在原位上（或下）加一个音或更多的八度。和弦中低音或最低音的改变影响其性质，但是替换稍高的音则不会影响原和弦的性质。在本为和弦C大调主音三和弦中，C-E-G，中间音可被一个或多个高于八度的音替换，而不影响三和弦的性质。

Octave displacement is the placing of a note one or more octaves above (or below) its original position. Changes in the bass or lowest note of a chord affect its nature, but higher notes may be displaced without affecting the nature of the original chord. Thus in the tonic triad of C major in root position, C-E-G, the middle note may be placed one or more octaves higher without affecting the nature of the triad.

7. 八度重奏/Octave doubling

大三和弦的任意音符加一个相同音符即可重奏，高于八度。通常重奏时要细心，在大三和弦的中间音和弦，无论是本为还是转位，会使结构thicken，和弦变得不均衡。八度中的根音通常重奏，其次是最上面的音和第五音。

Any note in a triad may be doubled by adding the same note again, an octave higher. Care is usually taken in such doubling, as an injudicious doubling of the middle note in a triad, whether in root position or in an inversion, can thicken the texture and unbalance the chord. The root can generally be doubled at the octave and, slightly less frequently, the top note, the fifth.

8. 转位记号缩写/Abbreviated inversion symbols

转位记号用阿拉伯数字来表示。5-3,表示本位和弦，通常省略。6-3表示第一转位，3通常省略。6-4表示第二转位。

Arabic numerals are used as inversion symbols. 5-3, often omitted, indicates a chord in root position. 6-3 indicates a first inversion, with the 3 often omitted. 6-4 indicates a second inversion.

1. 属七和弦模式/Dominant Seventh chord pattern

在属三和弦上加第七音是可能的。导音导向主音，即其上的半音，因此，第七音在属音之上，事实上，下属音，自然导向中音，即主音三和弦的中间音，下属音之下的半音。半音重奏增加了从属音三和弦到主音三和弦这一过程的力度，一个常规的结束。属七和弦模式包括属音，主音，上主音和下属音。举例来说，建立在G属音基础上的C大调七和弦音调为G-B-D-F。

It is possible to add a seventh to the dominant triad. As the leading tone (leading note) leads to or is attracted to the tonic, a semitone above it, so the seventh above the dominant, in fact the subdominant, leads naturally to or is attracted to the mediant, the middle note of the tonic triad, a semitone below it. This double semitonal attraction adds strength to the progression from dominant triad to tonic triad, a common ending. The dominant seventh chord pattern consists of the dominant, leading tone (leading note), supertonic and subdominant. For example, in C major the seventh chord built on the dominant G has the notes G-B-D-F.

2. 自然七和弦/Diatonic Seventh chord

自然七和弦使用自然音阶的音，在三和弦上增加根音之上的七音。所增加的七音在主音和下属音三和弦的情况下成为大七和弦，在自然大音阶的其他音的情况下成为小七和弦。

Diatonic seventh chords use the notes of the diatonic scale to add a seventh above the root to triads. The seventh so added will be a major seventh in the case of triads on the tonic and subdominant, and a minor seventh in the case of other degrees of the diatonic major scale.

3. 属七和弦/Dominant Seventh chord

可在属三和弦上加七音，形成属音、主音、上主音和下属音的四音和弦。在C大调中为G-B-D-F。当导音导向主音，即其上的半音时，属音上的七音，事实上，下属音自然导向中音，即主音三和弦的中间音，下属音之下的半音。半音重奏增加了从属音三和弦到主音三和弦这一过程的力度，一个常规的结束。应该注意的是，五音有时会被省略，而非完整的V7和弦。C大调中，G-B-F赋予和弦以C大调特征。

It is possible to add a seventh to the dominant triad, making a four-note chord of dominant, leading tone (leading note), supertonic and subdominant. In the key of C major this would the notes G-B-D-F. As the leading tone (leading note)leads to or is attracted to the tonic, a semitone above it, so the seventh above the dominant, in fact the subdominant, leads naturally to or is attracted to the mediant, the middle note of the tonic triad, a semitone below it. This double semitonal attraction adds strength to the progression from dominant triad to tonic triad, a common ending. It should be noted that the fifth may sometimes be omitted, giving an incomplete V7 chord. In C major it is the notes G-B-F that give the chord its character.

4. 原位/Root position

和弦的根音为原和弦的基础音。根音在底部的和弦为原位。

The root or fundamental of a chord is the note on which the original chord is built. A chord with the root at the bottom is said to be in root position.

5. 第一转位/First inversion

第一转位把原三音作为低音，原最高音上为三音，原底音，即根音，上面为六音。因此，C大调主音三和弦为原位C-E-G，E-G-C为第一转位。上面的音为八度替换。换句话说，C大调主音三和弦第一转位中的G和C，可放置在底音E上的任意八度位置上。七和弦亦如此。C大调属音七和弦包括G-B-D-F.。原位中，G在底部。第一转位中，B在底部，其他音在任意八度上。

A first inversion has its original third as its bass, with the original top note a third above it and the original bottom note, the root, a sixth above it. Thus the tonic triad of C major is C-E-G in root position, and E-G-C in first inversion. The upper notes may undergo octave displacement. In other words G and C in the first inversion of the tonic triad of C major, may be placed at any octave above the bottom note, E. The same applies in a seventh chord. The dominant seventh chord in C major consists of the notes G-B-D-F. In root position G is at the bottom. In first inversion B is at the bottom, with the other notes placed above, at any octave.

6. 第二转位/Second inversion

第二转位把原五音作为低音，原最底音，即根音，上面为四音，三音上为六音。因此，C大调主音三和弦为原位C-E-G，E-G-C为第一转位。G-C-E为第二转位。上面的音为八度替换。换句话说，C大调主音三和弦第二转位中的C和E，可放置在底音G上的任意八度位置上，E。七和弦亦如此。C大调属音七和弦包括G-B-D-F.。原位中，G在底部。第一转位中，B在底部，其他音在任意八度上。第二转位中，D在底部，其他音在任意八度上

A second inversion has its original fifth as its bass, with the original bottom note, the root, a fourth above it and the third a sixth above it. Thus the tonic triad of C major is C-E-G in root position, E-G-C in first inversion, and G-C-E in second inversion. The upper notes may undergo octave displacement. In other words C and E in the second inversion of the tonic triad of C major, may be placed at any octave above the bottom note, G. The same applies in a seventh chord. The dominant seventh chord in C major consists of the notes G-B-D-F. In root position G is at the bottom. In first inversion B is at the bottom, with the other notes placed above, at any octave. In second inversion D is at the bottom, with the other notes placed above, at any octave.

7. 第三转位/Third inversion

四音和弦比如属音七和弦可进行第三转位。七音变为底音，其他音以任意顺序放置在任意八度上。C大调属音七和弦包括上升顺序的G-B-D-F。第三转位中，F在底部，其他音在任意八度上

A third inversion is possible with a four-note chord, such as the dominant seventh chord. Here the seventh becomes the bottom note, with the other notes placed above it at any octave and in any order. The dominant seventh chord in C major consists of the notes G-B-D-F, in ascending order. The third inversion has F as a bottom note, with the other notes placed above at any octave.

1. Voice spacing

The word voice is used to indicate the succession of notes sung or played by a single voice or instrument. The notes of a chord may be spaced in different ways. It is usual to distinguish close and open voice spacing.

2. Close spacing

Close spacing is spacing that places the notes of a chord close together, in close position.

3. Open spacing

Open spacing is spacing that places the notes of a chord not as close together as possible. It is usual to distinguish four-voice keyboard spacing, a form of open spacing in which three notes of a chord are played by the right hand and written on the upper of two staves, with a single bass note played by the left hand and written on the lower stave.

4. 重奏/Doubling

三和弦分入四声部时，和弦中可能也不可避免的出现重唱。大三或导音不重唱。主音大三和弦重奏的第一选择是根音，第二选择是五度音。重奏三音可增加结构的厚度，在四声部写作中通常不需要这样做。导音通常升至主音，四声部写作中重奏导音会导致重奏后的导音后跟随一个重奏后的主音，从而造成并不需要的八度平行。

Doubling of notes in a chord is possible, and inevitable if a three-note triad is to be allotted to four voices or strands of harmony. It is preferable not to double a major third or leading tone (leading note). With a major tonic triad the first choice of a note to double would be the root, the second choice the fifth. Doubling the third thickens the texture, and this is usually undesirable in simple four-part writing. Since the leading tone (leading note) generally rises to the tonic, doubling the leading note in simple four-part writing would result in doubled leading tone (note) followed by a doubled tonic, making the undesirable parallel octaves.

5. 高音声部/Soprano

高音部为女高音或男童声高音部。在声部写作中提示最高声部，界定在中C到G（即中C上的半个八度）的范围，也可能出现更大范围。高音声部通常用字母S来表示。

The soprano voice is the high female voice or unbroken male voice. In part-writing it indicates the top part, the upper voice. In writing for voices this is generally limited in range to from middle C to G one and a half octaves above middle C, although a wider compass is always possible. It is generally indicated by the letter S.

6. 中音声部/Alto

中音声部是指女低音或完整男声，传统声乐的英文表达为男性假声。在声部写作中提示最高声部下的部分，界定在中C下的G到中C上的八度之间的范围，也可能出现更大范围。中音声部通常用字母A来表示。

The alto voice is the lower female or unbroken male voice, or, in traditional English vocal music, the falsetto male voice. In part-writing it indicates the second part from the top. In writing for voices this is generally limited in range to from the G below middle C to an octave above middle C, although a wider compass is always possible. It is generally indicated by the letter A.

7. 男高音声部/Tenor

男高音声部是指最高男声，在四声部写作中提示从下向上数的第二部分，界定在中C下的C到中C上的G之间的范围，也可能出现更大范围。男高音声部通常用字母T来表示。

The tenor voice is the high male voice. In four-part writing it indicates the second part up from the bottom. In writing for voices this is generally limited in range to from the C below middle C to the G above middle C, although a wider compass is always possible. It is generally indicated by the letter T.

8. 男低音声部/Bass

男低音声部是指最低男声，在四声部写作中提示最低部分，界定在F ，中C下的八度半到中C下的B之间的范围，也可能出现更大范围。男低音声部通常用字母B来表示。

The bass voice is the low male voice. In four-part writing it indicates the bottom part. In writing for voices this is generally limited in range to from F, an octave and a half below middle C to the B below middle C, although a wider compass is always possible. It is generally indicated by the letter B.

9. 声区/Voice range

提到声部就不能不说声区。每个歌手的声区各不相同，简单的四声部写作中通常把中C到G即八度和比八度高半音的音界定为高音声部；中C下的G到中C上的八度为中音声部；中C下的C到中C上的G为男高音声部，F ，中C下的八度半到中C下的B为男低音声部。

In writing for voices the convenient voice range must be considered. While this may vary from singer to singer, it is usual in simple four-part writing to limit the soprano to a compass from middle C to G an octave and a half higher; the alto to a compass from the G below middle C to an octave above middle C; the tenor to a compass from the C below middle C to the G above middle C, and the bass to a compass from the F one and a half octaves below middle C to the B below middle

10. 声部交错/Voice crossing

当一个声部移至另一声部之上或之下时就出现了声部交错。有必要把特定旋律线放在特定声部里。

Voice crossing takes place when one voice goes above or below another. This may be necessary to preserve a particular melodic line in a particular voice.

11. 可用音域/Tessitura

可用音域是指某一部分的常用音域，可以是高，低或正常。

Tessitura signifies the general compass of a particular part, which may be high, low or normal for a voice.

12. 调性/Tonality

调性通常与调的意思相同。一篇音乐作品或章节可以是某一调或调性。当描述某一章节是某一调时，这个词通常使用最广泛的意义。

Tonality is, in general, the same as key. A piece of music or a passage may be in a particular key or tonality. The word is often used in a more general sense, when it is perceived that a passage is in a particular key or centred on it.

13. 终止/Cadence

终止是指旋律的结束。这个词常用于提示最后两个音的和谐，分为完全终止，变格终止，半终止和伪终止。

A cadence is literally the fall of a melody to its final note. The word is generally used to indicate the harmonization of the two final notes, classified as authentic or perfect, plagal, half or imperfect, and deceptive or interrupted.

14. 主和弦组成音之外的音/Tendency tone

主和弦组成音之外的音是指一个音移向另一个音。在简单的四声部写作中，导音遵循其自然属性移向主音时最为明显。下属音也是如此，下属音作为属音七和弦的一部分，倾向于移向中音。不协和音倾向于移向最近的音来解决。

A tendency tone is one that tends naturally to move to another. In simple four-part writing this is most evident when the leading tone (leading note) follows its naturally tendency to move to the tonic. Similarly the subdominant, as part of the dominant seventh chord, has a tendency to move to the mediant. There is a tendency for dissonant notes to move to the nearest note of resolution.

15. 正格终止/Authentic cadence

正格终止是指属音和弦到主音和弦的进行，V – I。正格终止非常明确的界定一篇音乐作品或章节的结束。

The authentic cadence (perfect cadence or full close) is the progression from the chord of the dominant to the tonic, V - I. This provides a very definite ending to a piece of music or a passage.

16. 变格终止/Plagal cadence

变格终止，有时也被称为源于教会的“阿们终止”，是指从下属音和弦到主音和弦的进行，IV – I。与正格终止相比，变格终止的结尾较不明确。

The plagal cadence, sometimes known as the Amen cadence from ecclesiastical use, is the progression from the chord of the subdominant to the tonic, IV - I. This provides a less definite ending than the authentic or perfect cadence.

17. 半终止/Half cadence

半终止通常是指主音和弦到属音和弦的进行，I – V。属音也可与其他和弦邻近。半终止用于提示一篇音乐作品中间部分的结束。

The half cadence (imperfect cadence or half close) is the progression generally from the chord of the tonic to the dominant, I - V. The dominant can also be approached from other chords. This cadence is used to mark the end of an intermediate part of a piece of music.

18. 伪终止/Deceptive cadence

伪终止是指从属音和弦到另一和弦（除主音和弦）的进行，V – VI。其出现在本该出现完全正格终止的地方。

The deceptive cadence (interrupted cadence or false close) is the progression from the chord of the dominant to a chord other than the tonic (often to the submediant), V - VI. It occurs when an authentic or perfect cadence may otherwise be expected.

19. 和弦进行/Chord progression

和弦进行是指一个和弦移向另一和弦的运动。这种运动遵循常规。

A chord progression is the movement of one chord to the next. This movement is governed by certain conventions in common practice.

漫步人生路粤语发音

1. 连续五度/Consecutive fifths

连续五度或平行五度，是出现在平行进行中任意一对音间的五音音程，传统上在简单的四部分乐谱禁止使用，在高音和低音间的平行五度存在particular objection。甚至连续音程不平行时，在五音到十二音的音程，也最好避免。附加两个音的跳音的五音，作为被隐藏的五音， direct fifth 同样要避免，除非在相同和弦的不同编排中。

Consecutive fifths or parallel fifths, traditionally prohibited in simple four-part writing, are intervals of a fifth occurring between any pair of voices in parallel motion in consecutive chords. There is a particular objection to parallel fifths between soprano and bass. Even when the consecutive intervals are not parallel, as in the interval from fifth to twelfth (i.e. a compound fifth), they are best avoided. A fifth approached by leap in both voices, known as a hidden fifth, direct fifth or exposed fifth is similarly largely to be avoided, except in different arrangements of the same chord.

2. 连续八度/Consecutive octaves

连续八度或平行八度，是出现在平行进行中任意一对音间的八度音音程，传统上在简单的四部分乐谱禁止使用，在高音和低音间的平行八度存在particular objection。甚至连续音程不平行时，在一度音到八度音的音程，也最好避免。附加两个音的跳音的八度音，作为被隐藏的八音， direct octave 同样要避免，除非在相同和弦的不同编排中。

Consecutive octaves or parallel octaves, traditionally prohibited in simple four-part writing, are intervals of an octave occurring between any pair of voices in parallel motion in consecutive chords. There is a particular objection to parallel octaves between soprano and bass. Even when the consecutive intervals are not parallel, as in the interval from a unison to an octave, they are best avoided. An octave approached by leap in both voices, known as a hidden octave, direct octave or exposed octave is similarly largely to be avoided.

3. 反行进行/Contrary motion

反行进行用来描述相反方向的两个音的运动。

Contrary motion describes the movement of two voices in opposite directions.

4. 跳音/Leaps

跳音是用一个音级以上的音程表示任何一个音的运动。跳音被称为跳进，与级进相对。

Leaps or skips indicate the movement of any one voice by intervals of more than one step. Movement by leap is known as disjunct motion, as opposed to conjunct motion, movement by step.

5. 斜行进行/Oblique motion

斜行进行即两声部，一部保持原状，另一部向上或向下进行。

Oblique motion describes the movement of two parts when one voice remains stationary and the other moves.

6. 平行进行/Parallel motion

平行进行用来描述两声部的平行运动。五度，八度或一度音程平行传统上在四声部作品中禁用。常见的有三度平行音程或六度平行音程。

Parallel motion describes the movement of two parts in parallel. Parallel intervals of a fifth, octave or unison are traditionally prohibited in four-part writing. Parallel intervals of a third or sixth are frequent.

7. 八度平行/Parallel octave

八度平行是从八度到八度的两声部运动，传统上在四声部作品中禁用。

Parallel octaves, the movement of two parts from octave to octave, are traditionally prohibited in four-part writing.

8. 同向进行/Similar motion

同向进行是两声部朝同一方向运动。

Similar motion describes the movement of two parts in the same direction.

9. 音级（级进）/Steps

逐级移动即移向任意声部的相邻音，被定义为级进，与跳进相对。

美丽的契约主题曲Movement by step, that is, movement to the immediately adjacent note in any one part, is described as conjunct motion, as opposed to movement by leap, which is described as disjunct motion.

10. 声部导引/Voice leading

声部导引被视为单个声部，其被看作旋律而非单纯的和声因素。在每个声部中，常常混合级进和跳进。通常遵守特定原则。这些原则为，两个连续和弦通常在何处有一个或更多音，这些音通常在第二和弦的同一声部重复，其他音则移向尽可能近的位置。两个和弦没有普通音，则高声部反行至低声部。旋律遵循高声部。

Voice leading or part writing applies to the treatment of individual voices or parts considered melodically rather than purely as elements in chords. In each voice there is often a mixture of movement by step and movement by leap? conjunct and disjunct motion. Certain rules are usually observed. These are that where two consecutive chords have one or more notes in common, these are generally repeated in the same voice of the second chord, while other notes move to the nearest possible position. When there are no notes in common between two chords, it is effective to allow the three upper voices to move in contrary motion to the bass. Melodic considerations apply, particularly to the top voice, the soprano.

1. Closing tonic

Melodic lines that end on the tonic are known as closing progressions and such an ending as a closing tonic. Such endings may be reached either by descending by step to the tonic from the supertonic, or by ascending by a half step from the leading tone (leading note).

2. 普通音/Common tone

同一个音出现在两个连续和弦中时，可被定义为普通音，通常声音相同。

When the same note occurs in two consecutive chords it may be described as a common tone (common note) and is generally kept in the same voice.

3. 属音/Dominant

属音是第五级音，重要性仅次于主音。同样，属音和弦的重要性仅次于主音和弦。完全终止发出最强结尾，进程为从属音和弦到主音和弦V - I. 习惯上附加下属音和弦，使进程变为IV - V – I。

The dominant is the fifth degree of the scale and in any key is next in importance to the tonic. Similarly the chord of the dominant is next in importance to that of the tonic. The strongest ending is offered by the authentic or perfect cadence, the progression from the chord of the dominant to that of the tonic, V - I. This is often conventionally approached from the chord of the subdominant, making the progression IV - V - I.

4. 基本和声进行/Fundamental harmonic progression

基本和声进行是根据根音来排列相继和弦，无需低音。在这点上，主音最容易移向属音或下属音，其次是上主音和中音；I 到V 或 IV，或I到 II 或 III。习惯上以符尾添加在符干上以表示对时值的进一步划分。带两个符尾的符干，以其外形得名，表示一个16分音符，带一个符尾的符干，表示一个8分音符，以此类推。属音移向主音，有时移向下属音或下中音，其次是移向上主音或中音；V - I, 有时是V - IV 或 V - VI,或V – II或 V – III。下属音移向属音，有时移向主音或上主音，其次，通常移向中音或下中音；IV - V, 有时是IV - I 或 IV - II,其次通常为IV - III 或 IV - VI. 下中音移向上主音或属音，有时移向中音或下属音，其次是移向主音；VI - II 或 VI - V, 有时为 VI - III or VI - IV,其次通常为VI – I。上主音移向属音，有时移向下属音或下中音，其次是移向主音或中音；II - V, 有时是 II - IV 或II - III, 其次通常为II - I 或 II - III.。中音移向下中音，有时移向下属音，其次是主音，上主音或属音；III - VI, 有时是 III - IV, 其次通常为 III - I, III - II 或 III - V. 导音移向中音，有时移向主音；VII - III, 有时VII - I。儿童歌曲视频大全

Fundamental harmonic progression is the ordering of chords in succession to each other according to their roots, not necessarily the bass. In this respect tonic moves most easily to dominant or subdominant, rather less easily to supertonic or mediant; I to V or IV, perhaps I to II or III. Flags have long been added to stems to indicate further divisions of duration. Thus a stem with two flags, so called from their appearance, indicates a 16th note or semiquaver, a note of half the duration of a stem with one flag, an 8th note or quaver, and so on. Dominant moves to tonic, or sometimes to subdominant or submediant, rather less easily to supertonic or mediant; V - I, sometimes V - IV or V - VI, perhaps V - II or V - III. Subdominant moves to dominant, sometimes to tonic or supertonic, less commonly to mediant or submediant; IV - V, sometimes IV - I or IV - II, less commonly IV - III or IV - VI. Submediant moves to supertonic or dominant, sometimes to mediant or subdominant, less commonly to tonic; VI - II or VI - V, sometimes VI - III or VI - IV, less commonly VI - I. Supertonic moves to dominant, sometimes to subdominant or submediant, less commonly to tonic or mediant; II - V, sometimes II - IV or II - III, less commonly II - I or II - III. Mediant moves to submediant, sometimes to subdominant, less commonly to tonic, supertonic or dominant; III - VI, sometimes III - IV, less commonly III - I, III - II or III - V. Leading tone moves to mediant, sometimes to tonic; VII - III, sometimes VII - I.

5. 协和和弦/Consonant chord

大三和弦和小三和弦传统上被看作协和和弦

Major triads and minor triads are traditionally regarded as consonant chords.

6. 不协和和弦/Dissonant chords

减三和弦和增三和弦传统上被看作不协和和弦。

Diminished triads and augmented triads are traditionally regarded as dissonant chords.

7. 不完全七和弦/Incomplete V7

大三和弦和小三和弦可省略五音。与其类似的是，属音七和弦的五音也可省略。在C大调中变为G-B-F，其根音G重奏，但是和弦中的两个音都不能重奏。

Major triads and minor triads may omit the fifth. Similarly the fifth may be omitted in a dominant seventh chord. In the key of C major this would give a chord of G-B-F, of which the root G could be doubled, but neither of the other two notes in the chord can be doubled.

8. 导音/Leading tone Leading note)

导音是第七级音，通常引导主音，虽然有许多导音在完全终止V - I时降而不是升的例子。导引上的三和弦，减三和弦，很少发生在原位，但是经常出现在第一转位或第二转位。

The leading tone (leading note), the seventh degree of the scale, leads naturally to the tonic and is generally so treated, although there are many examples of the leading tone falling rather than rising in an authentic or perfect cadence, V - I. The triad on the leading tone, a diminished triad, seldom occurs in root position, but is found often enough in first inversion or second inversion.

onerepublic9. 过度七音/Passing 7th

过度七音用来填充两个音间的间隙。G - E音程可用过度音F来填充，变为G-F-E。这样的过度音发生在弱拍。七音和弦也有这种功能，尤其是属音七和弦的第二转位，在主音三和弦的第一转位和主三和弦原位之间充当过度和弦；I6 - V4 – I。这使低音减三个音，中音-上主音-主音。在C大调中低音变为E - D – C。

Passing tones or passing notes are used to fill a gap between two notes. Thus the interval G - E may be filled by the passing tone F, to give G-F-E. Such passing tones (passing notes) occur on weak beats. The seventh chord may also have this function, particularly the second inversion of the dominant seventh, which may be used as a passing chord between the first inversion of the tonic chord and the same chord in root position; I6 - V4 - I. This gives a bass line descending by 3 step, mediant - supertonic - tonic. In C major the bass line would, then, be E - D - C.

10. 解决/Resolution

不协和音程倾向于解决。解决通常通过声音移向最近的协和音程来实现。解决应逐级进行，不协和音绝不能重复。举例来说，三全音的不协和音程，即减五度或在增四度转位，出现在导音和下属音之间（即四级和七级）的属音七和弦中。导音通过升至主音来解决，下属音通过降至中音来解决。在C大调中属音七和弦的三全音B – F解决后为C - E; B升至C，F降至E，每个音移动半音。

There is a tendency for dissonances to resolve. Such resolution is generally achieved by the movement of a voice to the nearest consonant interval. Such resolution should be by step and the dissonant note should, therefore, never be doubled. The dissonant interval of the tritone, the diminished fifth, or, in inversion the augmented fourth, for example, is found in the dominant seventh chord, between the leading tone (leading note) and the subdominant, the fourth and seventh degrees of the scale. The leading tone (leading note) resolves by rising to the tonic, while the subdominant resolves by descending to the mediant. In C major the tritone B - F in the dominant seventh chord resolves to C - E; B rises to C, F descends to E, each moving a half step.

11. 级进/Stepwise motion

级进即逐级移动，通常优先于跳进。在高音区和声部内的级进中，揉合级进和跳进要小心。跳进在低音区较普遍。

Stepwise motion, movement by step or conjunct motion, should be generally preferred to too much disjunct motion, movement by leap. There should be a careful mixture of both in the upper, soprano voice and rather more conjunct motion in the inner parts. Leaps are rather more common in the bass.

12. Tendency tone

Tendency tones (notes) form part of dissonant intervals and therefore have a tendency towards resolution. The clearest elementary example in four-part writing is found in the dominant seventh chord. Here the leading tone (leading note) has a tendency to rise to the tonic and the subdominant, which forms a dissonant diminished fifth or augmented fourth with it, tends to resolve to the mediant. In the key of C major the dissonant interval B - F resolves to C - E, its inversion F - B resolves to E - C.

13. 数字低音记号/Figured bass symbol

在和弦分析中，和弦用罗马数字来标记，数字低音以在低音线下的标阿拉伯数字和特定符号来提示和弦的性质和位置。阿拉伯数字提示应该在低音上的和弦中出现的音程。传统键盘部分和用于伴奏的能奏和弦的乐器的乐谱可能包括可预期的和弦低音部分，用阿拉伯数字和其他符号表示。据发现，通常没有必要用数字标记原位主音和弦，如果要用数字标记的话，为53。主音和弦的第一转位可用63表示，虽然3可能被省略。主音和弦的第二转位可用64表示.其他音程可用相同的方式标记。七音和弦仅用数字7就可表示。七音和弦的第一转位用65来表示。第二转位用43表示，第三转位用42表示。音程可以通过在数字旁添加升降或还原号来改变。三和弦不用数字标记。

While in harmonic analysis chords may be indicated by Roman numerals, a figured bass indicates the quality of a chord and its position by the use of Arabic numerals and certain other symbols, placed below the bass line. The Arabic numerals indicate the intervals that should appear in a chord above the bass. Traditionally keyboard parts or the parts written for other chordal instruments in accompaniment might consist of a bass part with the intended harmonies indicated by Arabic numerals and other symbols. Generally it has been found unnecessary to use figuration for a tonic chord in root position, which, if expressed would be 53.In first inversion the tonic chord might have the numbers 63 although the 3 might be omitted.In second inversion the tonic chord would have the numbers 64.Other intervals might be indicated in the same way. Thus a seventh chord might be indicated simply by the number 7. Its first inversion would be 65. The second inversion would be 43 and the third inversion 42. Intervals may be modified by the addition of signs for sharps, flats or naturals by the side of numerals. Where no numeral is used such a sign refers to the third of the chord.

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