And then in the next page he's going to take that same rising line and assign it to the basses.

然后在下一页里,他将把同样的上行曲调线,安排在低音部

耶鲁公开课 - 聆听音乐课程节选

Both melody and bass could have had a triplet but he chose to have the duple in the bass--the triple up above.

旋律和低音部都可以运用三连音,但是他选择低音两拍,高音三拍

耶鲁公开课 - 聆听音乐课程节选

The interesting thing here is that the bass continues along with the duple pattern.

有趣的是,低音部还是按二拍模式进行

耶鲁公开课 - 聆听音乐课程节选

So, I think if we said we've got melody, we've got theme, we've got bass, we've got a bunch of other stuff in the middle, that's just fine and dandy.

那么,如果说我们听到了旋律,听到主题,听到低音部,听到中间有一堆别的东西,就算令人满意了

耶鲁公开课 - 聆听音乐课程节选

Beethoven could have made that bass go with triplets too.

贝多芬本可以把低音部也改成三连音

耶鲁公开课 - 聆听音乐课程节选

Bass is just going--Well, what is the bass going?

低音部只是,大家说是怎样的

耶鲁公开课 - 聆听音乐课程节选

What I do is try to sing the bass.

我的话会试着跟唱低音部。

耶鲁公开课 - 聆听音乐课程节选

And all of our musical experience tells us to listen to melody; melody's beautiful--that's what we want to hear, but now to get a sense of harmony we're going to listen to the bass.

所有我们过去听音乐的经历都告诉我们应该听旋律;,旋律是美妙的，这是我们想听的，但是现在为了了解和声我们应该听低音部。

耶鲁公开课 - 聆听音乐课程节选

So you can sing this bass.

你们唱一下低音部。

耶鲁公开课 - 聆听音乐课程节选

So sing the bass with me.

和我一起唱低音部。

耶鲁公开课 - 聆听音乐课程节选

You can never--there's a strong legal precedent for not being able to make a claim about stolen bass, because these basses are limited in number, they involve rather simple harmonic progressions, and they've been used over the centuries.

可是你绝对不可能起诉别人抄袭低音部，这个强有力的法律判例，因为低音部的选择很有限，他们由很简单的和声进程组成，几个世纪以来一直在反复使用。

耶鲁公开课 - 聆听音乐课程节选

So, we'll listen to the end of the third presentation of this with the contrapuntal idea dominated by strings, melody, bass, other stuff in the middle and then he will bring in the brass for the final statement of this.

我们听完第三次主题呈现,由对位理念主导的,弦乐组,旋律,低音部,以及中间的东西,然后他会引入铜管乐器,作为最后的陈述

耶鲁公开课 - 聆听音乐课程节选

Now the basses.

现在是低音部

耶鲁公开课 - 聆听音乐课程节选