例句與造句

1. A fundamental component of his music is the use of wide intervals and chromatic passing tones.
2. Ben-Hur further elaborates on the concept of placing additional chromatic passing tones between other notes in the scales.
3. Some jazz scales, such as the bebop scales, add additional chromatic passing tones to the familiar diatonic scales.
4. Bebop scales add a single chromatic passing tone to the 7 note major scale ( Ionian and Mixolydian modes ).
5. If the interval between the main notes is a third, then the plica tone fills it in as a passing tone.
6. It's difficult to find passing tone in a sentence. 用passing tone造句挺難的
7. He often uses the blues scale, pentatonic scale and harmonic minor scale with lots of random chromatic passing tones when soloing.
8. Composers used passing tones to avoid parallel intervals, creating brief harsher dissonances, foreshadowing the style of counterpoint developed in the Renaissance.
9. If the melody note is considered a passing tone, the harmony is created either by a diminished chord or a chromatically shifted chord.
10. It is argued from this that playing impromptu ornamental flourishes and accidental passing tones are less intuitive than on chromatically ordered key arrangements.
11. When an arpeggio also contains passing tones that are not part of the chord, different music theorists may analyze the same musical excerpt differently.
12. This movement takes many harmonic and melodic elements from the first two, namely the frequent modulation to the tonic key and chromatic passing tones.
13. Reffett is also known for his use of wide vibrato string bending, fretboard tapping, legato articulation, whammy bar dive bombs, artificial harmonics, and chromatic passing tones.
14. Planing is often used by jazz arrangers to reharmonize melodic passing tones which, if voiced as a vertical sonority, might clash with the prevailing harmony in the progression.
15. Jazz guitarists also have to learn how to add in passing tones, use " guide tones " and chord tones from the chord progression to structure their improvisations.
16. For example, in major-key harmony the fourth, and thus 11th, is an avoid note and thus either treated as a passing tone or augmented ( raised a semitone ).
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