authentic cadence造句

例句与造句

1. The music is chromatic and tonally ambiguous; although the movement is essentially in D minor, this is often negated by G, which is as far as one can get from D . There are relatively few authentic cadences or key signatures to help resolve the tonal ambiguity.
2. The Andalusian is an authentic cadence, because a dominant chord ( " V " ) comes just before the tonic " i " . ( Using modal harmonies, the third, and not the fourth chord  " II "  acts as the dominant, substituted to tritone.
3. The inner Walter Everett comments on the aptness of the conciliatory lyric " Maybe you'd understand ", which closes the second of these sections, as the melody concludes on a perfect authentic cadence, representing in musical terms " a natural emblem for any coming together " . }}
4. Perfect authentic cadence ( IV V I chord progression, in which we see the chords F Major, G Major, and then C Major, in four-part harmony ) in C major . " Tonal music is built around these tonic and dominant arrival points [ cadences ], and they form one of the fundamental building blocks of musical structure ".
5. The second line begins the same as the first, but moves to a major m & VII ( in D minor the neapolitan chord ), and then modulates to the relative minor through use of a iii chord ( A minor, the V in the key of D minor ), the A minor moving to a D minor via an authentic cadence.
6. It's difficult to find authentic cadence in a sentence. 用authentic cadence造句挺难的
7. Often this involves further authentic cadences after the EEC, even ones that are more rhetorically forceful, but they serve only to reinforce the closure attained by the EEC . By the definition of the " essential closure " cadences, C must involve musical material that differs from what was heard in S . In fact, C space often includes distinctly new thematic material.
8. The MC is often triggered by repeated, declamatory ( " hammer blow " ) chords and follows either a half cadence or authentic cadence in the tonic or secondary key . ( The first level default is to build an MC around a half cadence in the new key; by far the least common option is to set the MC up by an authentic cadence in the tonic . ) This moment of punctuation serves one purpose : to announce the impending arrival of the sonata's secondary theme.
9. The MC is often triggered by repeated, declamatory ( " hammer blow " ) chords and follows either a half cadence or authentic cadence in the tonic or secondary key . ( The first level default is to build an MC around a half cadence in the new key; by far the least common option is to set the MC up by an authentic cadence in the tonic . ) This moment of punctuation serves one purpose : to announce the impending arrival of the sonata's secondary theme.
10. The authentic cadence that S-space strives for is the "'essential expositional closure ( EEC ) "', the second main moment of structural punctuation in an exposition . ( The equivalent moment in a recapitulation is the "'essential structural closure ( ESC ) "'. ) Usually, the EEC is provided by the first perfect authentic cadence articulated after S-space has begun, although this can be undermined in various ways ( such as repeating previously heard material from S, implying that the previous cadence was somehow insufficient and S-space needs to " try again " ).
11. The authentic cadence that S-space strives for is the "'essential expositional closure ( EEC ) "', the second main moment of structural punctuation in an exposition . ( The equivalent moment in a recapitulation is the "'essential structural closure ( ESC ) "'. ) Usually, the EEC is provided by the first perfect authentic cadence articulated after S-space has begun, although this can be undermined in various ways ( such as repeating previously heard material from S, implying that the previous cadence was somehow insufficient and S-space needs to " try again " ).
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