音程/Intervals

无墨 · 发表于 2008-3-4 10:01:54

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<TD class=lib_jy_table3>1. 音程/Intervals</TD></TR>
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<TD class=lib_jy_table4>　　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.</TD></TR>
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<TD class=lib_jy_table3>2. 算术距离/Arithmetic distance</TD></TR>
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<TD class=lib_jy_table4>　　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. </TD></TR>
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<TD class=lib_jy_table3>3. 音程性质/Interval quality</TD></TR>
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　　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. </TD></TR>
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<TD class=lib_jy_table3>4. 和声音程/Harmonic interval</TD></TR>
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<TD class=lib_jy_table4>　　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. </TD></TR>
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<TD class=lib_jy_table3>5. 纯音程/Perfect interval</TD></TR>
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<TD class=lib_jy_table4>　　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). </TD></TR>
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<TD class=lib_jy_table3>6. 纯四度/Perfect fourth</TD></TR>
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<TD class=lib_jy_table4>　　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. </TD></TR>
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<TD class=lib_jy_table3>7. 纯五度/Perfect fifth</TD></TR>
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<TD class=lib_jy_table4>　　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. </TD></TR>
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<TD class=lib_jy_table3>8. 大音程/Major interval</TD></TR>
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<TD class=lib_jy_table4>　　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. </TD></TR>
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<TD class=lib_jy_table3>9. 大二度/Major second</TD></TR>
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<TD class=lib_jy_table4>　　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. </TD></TR>
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<TD class=lib_jy_table3>10. 大三度/Major third</TD></TR>
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<TD class=lib_jy_table4>　　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. </TD></TR>
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<TD class=lib_jy_table3>11. 大六度/Major sixth</TD></TR>
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<TD class=lib_jy_table4>　　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. </TD></TR>
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<TD class=lib_jy_table3>12. 大七度/Major seventh</TD></TR>
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<TD class=lib_jy_table4>　　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. </TD></TR>
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<TD class=lib_jy_table3>13. 小音程/Minor interval</TD></TR>
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<TD class=lib_jy_table4>　　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. </TD></TR>
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<TD class=lib_jy_table3>14. 小二度等/Minor second etc.</TD></TR>
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<TD class=lib_jy_table4>　　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. </TD></TR>
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<TD class=lib_jy_table3>15. 增音程/Augmented intervals</TD></TR>
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<TD class=lib_jy_table4>　　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.</TD></TR>
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<TD class=lib_jy_table3>16. 增二度等/Augmented second etc.</TD></TR>
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<TD class=lib_jy_table4>　　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. </TD></TR>
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<TD class=lib_jy_table3>17. 减音程/Diminished intervals</TD></TR>
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<TD class=lib_jy_table4>　　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. </TD></TR>
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<TD class=lib_jy_table3>18. 减二度等/Diminished second etc.</TD></TR>
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<TD class=lib_jy_table4>　　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. </TD></TR>
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<TD class=lib_jy_table3>19. 倍增音程/Doubly augmented interval</TD></TR>
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<TD class=lib_jy_table4>　　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). </TD></TR>
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<TD class=lib_jy_table3>20. 倍减音程/Doubly diminished interval</TD></TR>
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<TD class=lib_jy_table4>　　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). </TD></TR>
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<TD class=lib_jy_table3>21. 移调音程/Interval transposition</TD></TR>
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<TD class=lib_jy_table4>　　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. </TD></TR>
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<TD class=lib_jy_table3>22. 转位音程/Inversion of intervals</TD></TR>
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<TD class=lib_jy_table4>　　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. </TD></TR>
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<TD class=lib_jy_table3>23. 旋律音程/Melodic interval</TD></TR>
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<TD class=lib_jy_table4>　　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.</TD></TR>
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<TD class=lib_jy_table3>24. 复音程/Compound interval</TD></TR>
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<TD class=lib_jy_table4>　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. </TD></TR>
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<TD class=lib_jy_table3>25. 收缩音程/Contracted interval</TD></TR>
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<TD class=lib_jy_table4>　　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. </TD></TR>
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<TD class=lib_jy_table3>26. 延展音程/Expanded interval</TD></TR>
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<TD class=lib_jy_table4>　　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. </TD></TR>
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<TD class=lib_jy_table3>27. 和声音程/Harmonic interval</TD></TR>
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<TD class=lib_jy_table4>　　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. </TD></TR>
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<TD class=lib_jy_table3>28. 八度/Octave</TD></TR>
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<TD class=lib_jy_table4>　　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. </TD></TR>
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<TD class=lib_jy_table3>29. 音高/Pitch</TD></TR>
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<TD class=lib_jy_table4>　　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. </TD></TR>
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<TD class=lib_jy_table3>30. 一度/Unison</TD></TR>
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<TD class=lib_jy_table4>　　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. </TD></TR>
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<TD class=lib_jy_table3>31. 缩略音程/Abbreviations for intervals</TD></TR>
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<TD class=lib_jy_table4>　　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 . </TD></TR>
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<TD class=lib_jy_table3>32. 协和音程/Consonant interval</TD></TR>
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<TD class=lib_jy_table4>　　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. </TD></TR>
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<TD class=lib_jy_table3>33. 不协和音程/Dissonant interval</TD></TR>
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<TD class=lib_jy_table4>　　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.</TD></TR></TBODY></TABLE>

qrst069 · 发表于 2008-12-31 14:14:33

1、按摩丰胸

　　如果想增大胸部，按摩无疑是最为理想的。但是按摩常常会有这塑一个盲点，就是100个人按摩会有100种结果。它没有办法创造出一个客观的平均值。这是因为每一个按摩师的力度、对穴位的敏感度都不一样。做按摩还有一个麻烦，就是随时从您自己的反应去纠正。要知道，有时自己
　　的感觉也会自己骗自己的，所以更增加了按摩要达到完美效果的难度。从经济上，按摩应该是最便宜，也是最没有风险的是，1－2年才能训练出一个合格的、符合您个人要求的按摩师，这也是众多的女性朋友总是徘徊在美容院外找不到称心如意的按摩师的缘故了丰胸价格
。
　　2、针灸丰胸
　　针灸，这是一个咱们老祖先遗留下来非常棒的智慧玩意，丰胸一样有效。但是针灸再怎么出神入化，也是简单刺激一下穴位令体内的激素活泼起来而已，再要进一步的话恐怕就不那么容易了。针灸最可行的也就是它能针对腺体、内分泌的部分进行调整，透过针扎可以刺激有关腺体的恢复，但还是没有办法让胸大肌产生效果。毕竟，它不具备运动的方式丰胸假体。
　　3、电疗丰胸
　　电疗丰胸恐怕要算目前效果最弱的一种丰胸方式了。把震动体片贴在胸部的穴位上，借用微弱的是差，身体对微弱的电子讯号开始做出反应，无形中慢慢刺激到类似按摩的穴位，看到一些基本的运动效果。电疗丰胸实际上是能过电疗来促进乳房内组织的再生，只是这种激活的手段一般人不那么容易接受或操作。但电疗本身毕竟没有什么风险性，所以也算是一个蛮不错的产品。遗憾的是，必须有足够的专业才有办法达到比较明显的效果。也许正是因为电疗丰胸操作比较复杂，专业性比较高，所以市面上一般也很难见到丰胸方法
。
　　4、注射丰胸
　　注射丰胸指的是透过小针管把亲水性的一种胶注射进去，通过注射让胸部膨胀起来。这个方法从理论和实际操作上似乎都有行的通的理由。身体本来有一套完整的自卫系统，只要有外来物入侵，这个自卫系统很快成为一个吞噬的部队，不管是什么都要把它吃掉。因此，如果这时候注射进去亲水性、不造成任何后遗症的产品，丰胸的愿望似乎应当可以顺理成章的成为现实。但是，没有人能保证它是否会真的那么有效。
　　5、填充丰胸
　　形态美的时候，往往忽略了所有的美都应是在日常生活中可以享用的。如果它仅仅只是能够观赏，往往会带来意想不到的后果，填充丰胸最大的问题也就在于此，在很多的医学案例上面，都会发现由填充而引胸部的过敏，或者因为不小心挤压而造成破坏性的结果的真实情境。
　　6、物理丰胸
　　物理丰胸可能是最慢的，但是就对于身体的可靠性它却是最可放心的。所谓的物理就是不打针、不吃药、也不透过激素、不开刀，完全借助自身肌体的再发育，来塑造女性的形体。从目前全球丰胸美容发展的趋势来看，物理性健身丰胸正越来越受到人们的瞩目，也比较受到专业美容界的认可丰胸产品
。

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