例句與造句

1. A compound interval is an interval spanning more than one octave.
2. Any compound interval can be always decomposed into one or more octaves plus one simple interval.
3. The quality of a compound interval is determined by the quality of the simple interval on which it is based.
4. Enharmonic equivalence is not to be confused with octave equivalence, nor are enharmonic intervals to be confused with compound intervals.
5. Other names, determined with different naming conventions, are listed in larger than one octave ( compound intervals ) are introduced below.
6. It's difficult to find compound intervals in a sentence. 用compound intervals造句挺難的
7. Early composers such as Claudio Monteverdi often specified the octave by the use of compound intervals such as 10, 11, and 15.
8. In general, a compound interval may be defined by a sequence or " stack " of two or more simple intervals of any kind.
9. The intervals of the second, third, sixth, and seventh ( and compound intervals based on them ) may be major or minor.
10. Since compound intervals are larger than an octave, " the inversion of any compound interval is always the same as the inversion of the simple interval from which it is compounded ."
11. Since compound intervals are larger than an octave, " the inversion of any compound interval is always the same as the inversion of the simple interval from which it is compounded ."
12. When the intervals surpass the perfect Octave ( 12 semitones ), these intervals are called " compound intervals ", which include particularly the 9th, 11th, and 13th Intervals widely used in jazz and blues Music.
13. Since the function of pitch classes is a key element, the problem of compound intervals with interval recognition is not an issue whether the notes in a melody are played within a single octave or over many octaves is irrelevant.
14. The name of any interval is further qualified using the terms "'perfect "'( "'P "'), compound interval is the quality of the simple interval on which it is based.
15. On the other hand, from as early as the Suite for piano, Op . 14 ( 1914 ), he occasionally employed a form of serialism based on compound interval cycles, some of which are maximally distributed, multi-aggregate cycles (; ).
16. For instance, the interval C G is a fifth ( denoted "'P5 "') because the notes from C to the G above it encompass five letter names ( C, D, E, F, G ) and occupy five consecutive staff positions, including the positions of C and G . The compound intervals.