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Let's talk a little bit about the minor scale.
现在我们来谈谈小调音阶
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Well, with the first movement we said he's generally going and that kind of idea, but now it's and we'll explore this when we get to harmony, this idea of major and minor so we're going music and now and that's a change from the dark minor to the brighter major.
在第一乐章,我们说过它大体上,就像这样,但现在,我们讲到和弦时再来研究这个,大调和小调的概念,我们继续听音乐,还有这个,这就是小调到大调间的转变,由阴郁转向明亮
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Well, let's get back out into the Aegean Sea and we just crossed Asia Minor.
让我们回到爱琴海地区,我们刚刚已经穿过了整个小亚细亚地区
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Or, if he does, he's only there as a minor character.
即使出现了,也仅仅是个次要的角色
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So that's all; just a minor little detail.
就是这样，只是一些很小的细节。
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Here's a famous example from Mozart's G Minor Symphony.
一个著名的例子就是莫扎特的G小调交响曲。
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Now another way is through accent and to exemplify this let's turn to some classical music the music of Mozart so here we have Mozart's Fortieth Symphony his famous g Minor Symphony and we're going to go ahead and start to play it.
另一条途径是通过重音,我们到古典音乐中来找个例子,莫扎特的音乐,我们这里要放一段莫扎特的第四十号交响曲,非常著名的g小调交响曲,那么我们就开始播放吧
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We can call them triads and we'll be talking about what that is before-- so that's one reason: major versus minor.
我们可以统称为三和弦,我们一会儿会说到,好的,这是一个答案,大和弦和小和弦
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Okay, that's a little bit of this ambiguity between major and minor in a piece of traditional Jewish music.
好了,大调和小调,在传统的犹太音乐中有些含糊的地方
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It's kind of between the major and minor that we'll talk about a little bit later on.
它算是介于大调与小调之间,等一下我们再展开讨论
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It's going to go back to minor and then I think shift back to major.
它又回到了小调,然后我认为又会回到大调
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So here in the G Minor Symphony we feel as--oh, it's so full of tension, angst,anxiety, perhaps passion, it's driving somewhere, and one of the things that's driving it is its accelerating rate of harmonic change.
在G小调交响曲里我们能感觉到，哦，音乐中充满了紧张，揪心，焦虑，甚至激情，这些感情正在向某个方向涌去，吸引它们的力量之一就是不断加速的和声变化率。
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So, let's listen to this bit of klezmer music go back and forth between minor and major.
让我们感受下这段犹太音乐,它在小调和大调之间转换
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Here's a good example of a minor from the second movement of Beethoven's Third Symphony.
这有一个小调的好例子,来自贝多芬第三交响乐的第二乐章
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All right, so let's talk about major and minor now.
好了,现在我们来讨论一下小调和大调
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Right hand if it's major, left if it's minor.
大调举右手,小调举左手
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Raise your left hand if you think it's minor.
如果是小调请举左手
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Of course, it's in minor and the voices will come in, but the bass is going, sort of plodding along in a basic duple but with a triple subdivision underneath of that.
当然,它是小调的,人声将会进入,但低音是这样,按基本的二拍子缓慢地行进,但在那下面还用了一个三连音的节奏细分
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We got used to hearing it that way, so it's kind of-- every time, you know, Schumann wants to write about the merry farmer-- But every time Chopin wants to write a funeral march-- And there's a tendency also-- minor low, major high, kind of thing.
我们早已习惯听到这种模式,因此它算...,要知道,每次,舒曼想写关于快乐的农夫的曲子,而肖邦总要写葬礼进行曲,还有一种趋向,小调低沉,大调高昂之类的
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That's Gershwin: Porgy and Bess, in minor.
这是格什温的《波吉与贝丝》,小调
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