这些弦乐器为那个独奏演员演奏的几个乐段提供了的背景乐。
The strings provided a melodic background to the passages played by the soloist.
这是查克·曼卓林和他的萨克斯手，还有一段萨克斯管华彩乐段。
Here's Chuck Mangione with his saxophonist and a saxophone cadenza.
在某些节拍上，他加入一些简单的用于即席弹奏的装饰乐段。
At certain cadential points, he inserts brief cadenzas that add an improvisational touch.
这会让你在练习两个邻近的乐段时，不会间断。
This continuity rule ensures that when you have learned two adjacent segments, you can also play them together.
当你在练习一个乐段时，要包括下一个乐段的开头。
When practicing one segment, always include the beginning of the following segment.
你能指出作曲家第一、第二交响曲中相似的乐段吗？
Can you name any parallel passages in the composer's first and second symphonies?
这是史上最伟大的一段旋律之一，也是主题乐段的典范。
It's one of the great melodies of all time. It's a wonderful example of a theme.
有些器乐段落谱写得非常优美，尤其是竖琴和长笛的部分。
Some of the instrumentation is exquisite, particularly for harp and flute.
这首二部合唱曲为复二部曲式，第一部分由两个乐段构成。
This is the first two choral work for the resumption of the Rings-style, the first paragraph in part by two music composition.
现在我们要听到的是，柴可夫斯基第一钢琴协奏曲的开始乐段。
So now we are going to listen to the beginning of the first movement of Tchaikovsky's Piano Concerto.
小提琴手有用双倍停顿及和弦来精彩地演奏华彩乐段的技能。
The violinist had the technical skill to execute the cadenza, with its double stops and harmonics, with brilliance.
这里的开始乐段是由哪种乐器演奏的，铜管乐器，还是弦乐器。
对于困难的乐段，必须注意指法，并确定你使用这指法时感到自在。
In all difficult segments, it is critically important to observe the finger markings.
学习困难乐段的基本方法，就是利用和弦冲击，慢慢每一次由两个音练起。
The most basic way to learn how to play a difficult passage is to build it up two notes at a time, using the chord attack.
论文以贝多芬三十二首钢琴奏鸣曲为例，对“乐段结构”进行了较为深入的研究。
Taking thirty-two Beethoven piano sonatas as examples, this paper presents a thorough investigation on period structure.
随后独奏者即刻进入第一个华彩乐段之后的拨奏，之后交响乐团释放出第二次爆破声。
The soloist momentarily points to the pizzicato following the first cadenza, before the orchestra lets off a second blast.
其他网络资源例如教程、音乐段落和短纪录片也可以为高级别的学习者提供一些好的材料。
Other online sources such as tutorials, music clips and short documentaries can also provide some great new material for advanced learners.
这使它们成为了分手乐段练习的理想曲目，而分手乐段练习也是本书所述练习方法的一大要旨。
This makes them ideal for using HS segmental practice, a key element of the methods of this book.
该项研究关注音乐段落之间的停顿——当音乐慢下来，接着是短暂的停顿期，然后又开始新的段落。
The study focused on movement transitions - when the music slows down, is punctuated by a brief silence and begins the next movement.
如果对于很难的乐段需要用到你还未掌握的技巧，那么除了一步步分阶段提升速度以外别无选择。
For very difficult passages that require skills you don't already have, there is no alternative but to bring the speed up in stages.
用文字将音乐描述得生动立体不是件容易事，但西卜林却做到了，比如他将巴赫的某个音乐段落描述成“萦绕在长条管风琴管和琴弦周围的被珍珠外壳包裹着的令人后背发抖的旋律”。
To vivify music in words is not easy. But Mr Siblin, who memorably describes one Bach passage as a “spine-shivering, jewel-encrusted melody on a swath of organ and strings”, rises to the task.
用文字将音乐描述得生动立体不是件容易事，但西卜林却做到了，比如他将巴赫的某个音乐段落描述成“萦绕在长条管风琴管和琴弦周围的被珍珠外壳包裹着的令人后背发抖的旋律”。
To vivify music in words is not easy. But Mr Siblin, who memorably describes one Bach passage as a "spine-shivering, jewel-encrusted melody on a swath of organ and strings", rises to the task.
用文字将音乐描述得生动立体不是件容易事，但西卜林却做到了，比如他将巴赫的某个音乐段落描述成“萦绕在长条管风琴管和琴弦周围的被珍珠外壳包裹着的令人后背发抖的旋律”。
To vivify music in words is not easy. But Mr Siblin, who memorably describes one Bach passage as a "spine-shivering, jewel-encrusted melody on a swath of organ and strings", rises to the task.
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