这叫做和弦的转位。
你的耳朵是听不到这种和弦的。
我们讨论了三和弦的根音。
我们接着来看包含四个和弦的和弦进程。
三和弦的根音是在一个三和弦最底部的音。
The root of the triad is the bottom-most pitch of that triad.
当和弦的底音被其他音替换时就发生了转位和弦。
Chord inversions occur when the bottom note of a chord is placed above any of the other notes.
看看你能不能听出这里面有多少有多少和弦，是否有和弦的转变。
See if you can determine how many chords we have here--whether we have a chord change.
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 triad may have its three notes sounded simultaneously as a chord, or its notes may be arpeggiated, broken or sounded one after the other.
它们在和弦的背景下,进行各自的演奏,而我觉得它是奇迹
They're all just doing their own thing in the context of the harmonies that are playing out here, and it's just magical I think.
我们已经引出了大和弦和小和弦的概念，那么我要问你们。
We've got this idea of major chords and minor chords so let me ask you this.
该和弦的第一个音，这个术语我们今天将会讲解，叫做什么？
The first of the triad — this is a term that we'll be going over today — is called the what?
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.
这样就有了一个有趣的问题，将这个关于和弦的疑问保留在脑海里。
So that was one interesting question that came up, so keep this in mind if you're wondering about this idea of chords.
当然，伴奏者必须对那些为旋律所配和弦的不同“表情”做出反应。
Of course, the accompanist has to respond to the different expressiveness of the chords in supporting the melody.
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。
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.
吉他琴谱安排每首歌来自专辑，完整的旋律线，歌词与和弦的符号。
Guitar tablature arrangements of every song from the album, complete with melody line, lyrics and chord symbols.
练习到来回自如切换两个和弦的程度了，再加入吉他扫弦的技能练习。
Once you are able to change between a couple of chord patterns, then add the strumming.
相对于这两者，本文提出使用神经图来做为判别音乐和弦的主要分析工具。
Instead of both approaches, neurogram is used as a main analytical tool in this paper for identifying musical chords.
这些树干就是和弦，而每个和弦的底部，从理论上说，就是被称为根的东西。
And these tree trunks were the chords and at the base of each of these chords at least conceptually, theoretically, is this thing called the root.
这就是说，当弹重和弦的时候，在第六弦上按的这个音就是重和弦的音名。
This means that, while playing the power chord, whatever note is being held down on the sixth string is the name of the power chord.
我们现在准备将注意力集中到我们可以找到的那些乐章上，来看看贝多芬如何进行和弦的。
We're going to focus now on some passages where we can do it, and we're going to see how Beethoven is setting up some chord progressions here.
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。
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.
是否有和弦的转变，这次和弦转变一共用了多少和弦，他们的变化率是规则还是不规则的？
If so, how many chords are involved in this chord change and are they changing at a regular or irregular rate?
流行音乐中也存在着多种多样的和声手法，我们从常用变化和弦的运用方面作一些简单的归纳。
There are also variety of harmony methods in popular music. We come to some simple concludes on the application of changing chord which is usually used.
用抓谱集开始学习是最容易的，因为你不需要懂得和弦的进行——它们已经在乐谱中给你标明了。
Fake books are the easiest to start with because you don't have to know chord progressions - they are given to you on the sheet music.
柴可夫斯基的乐曲中,所有和弦的时值都是一样的,但贝多芬的乐曲里,却是短音,短音,短音,长音
With the Tchaikovsky they--all the intervals are the--the durations are the same, but with the Beethoven, short, short, short, long.
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。
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.
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。
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.
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