Two New Records of Odonata in White Nile State Sudan
阅读理解A(节假日活动) 阅读理解B(科普知识) 七选五练习 —2022届高考英语一轮复习
基础练8: 阅读理解A（节假日活动）+ 阅读理解B（科普知识）+七选五练习一阅读理解主题一节假日活动A（2021 .四川广安市高三其他模拟）Th e coming week will be very wonderfu l with so many events for you to refresh your hearts.Dark dramaAn interactive, experimental drama, entitled "On Darkness' Non-existence," will be staged. The show uses topical events from 2020 such as the breakout of COVID-19, the return of Chang'e V, the election of US president, the case of George Floyd.7:30 pm, Jan 2-Jan 6, at Eastern Avant-garde Theatre of China. Tel: 6527-6911.Rising starsYoung musicians who are actually students at Beijing No.101 High School will feature in a concert, conducted by Liu Fengde, He Rong and Shao En. The talented youngsters won First Prize at the Vienna Youth Symphonic Music Competition, and this time will play works by Beethoven, Brahms, Tchaikovsky and Chinese composers like Huang Anlun.7:30 pm, Dec 30 at Beijing Concert Hall, 1 Beixinhuajie. Tel: 6605-7006.New Years Eve ConcertThe China Philharmonic Youth Chorus will present a New Year's Eve Concert, conducted by Wu Lingfen. Piano will be played by Peter Seivewright, trumpet by Ying Cai, and organ by Wu Dan. Programme: "Hallelujah," "Toccata and Fugue in D minor," "Happy New Year to You," and "Moon Reflected onErquan," a Chinese piece but a jazz version this time for piano and trumpet.7:30 pm, Dec 31 at Forbidden City Concert Hall. Tel: 6559-8285.Movie Anniversary SpectacularChinese movie stars from the promising young to the glorious stars of last year will display their talents to celebrate the 100th anniversary of the birth of Chinese cinema. They will sing theme songs, act scenes and alsoshare their personal thoughts with the public.Besides performances by stars, musicians from the China Broadcasting Film Symphony Orchestra will provide the accompaniment. Founded in 1949, thеу specialize in recording theme musk for films. So far, they have recorded scores for over 2, 000 Chinese movies and TV series.7:30 pm, Jan 1, at the Great Hall of the People, west of Tian'anmen. Tel: 8589 -5049.1. You can book a ticket of the concert played by middle school students by calling.A.8589--5049B.6605-7006C.6559-8285D.6527-69112. What can you do on the evening of New Year's Day?A. Enjoy a concert by studentsB. Watch a dramaC. Hear movie stars sing theme songsD. Attend a concert by a chorus3. Where can you enjoy yourself if you are NOT interested in music?A. Eastern Avant-garde Theatre of ChinaB. Beijing Concert HallC. Forbidden City Concert HallD. The Great Hall of the PeopleBNew Year's Concert 2021 with Riccardo MutiThe 2021 Vienna Philharmonic New Year's Concert took place on January 1, 2021, under the baton (#a14) of Riccardo Muti in the Golden Hall of the Musikverein in Vienna. After 1993, 1997, 2000, 2004, and 201 8, this year's concert marked the 6th time that Riccardo Muti, whose close musical partnershipwith the Vienna Philharmonic has now extended about 50 years, had conducted the prestigious concert event.The 2021 New Year's Concert was broadcast in over 90 countries and followed by millions of television viewers around the world. The 2021 New Year's Concert took place without an audience.Due to ongoing high rates of infection, the Austrian Federal Government had decided that no concerts could be performed before audiences until January 6, 2021. Unfortunately, it also affected the Preview Performance on December 30, 2020, at 11 AM; the New Year's Eve Concert on December 31, 2020, at7:30 PM; and the New Year's Concert on January 1, 2021, at 11:15 AM. We therefore refunded (iE#) all paid tickets and kindly asked the ticket holders to contact us by e-mail.Riccardo Muti has conducted the most important orchestras in the world, including the Vienna Philharmonic, an orchestra to which he is linked by particularly close and important ties, and with which he has appeared in Vienna and around the world since 1971.The first New Year's Concert took place during the darkest chapter of the history of Austria and that of the Vienna Philharmonic. On January 1, 1941, a Philharmonic matinee entitled Johann Strauss Concert" was performed. Clemens Krauss conducted the concerts. In the years 1946 and 1947, Josef Krips (1902-1974) replaced Krauss, who returned in 1948 and conducted seven more New Year's Concerts until 1954.With the unexpected death of Clemens Krauss on May 16, 1954, the orchestra decided, shortly before January 1, 1955, to entrust (委托) Willi Boskovsky with the artistic direction of the New Year's Concerts.1. What do we know about the 2021 New Year's Concert?A. It had the most famous conductor.B. It was held in different countries.C. It was the sixth one held in the Golden Hall.D. It had no audience in the Golden Hall.2. How did the organizers react to the government's rules?A. They added the New Year's Eve Concert.B. They paid all the money back to the ticket holders.c. They put off the New Year's Concert until January 6, 2021.D. They asked audiences to preview the performance on December 30.3. Who conducted the Vienna Philharmonic's New Year's Concert of 1948?A. Riccardo Muti.B. Clemens Krauss.C. Josef Krips.D. Willi Boskovsky.主题二——科普知识C( 2020届湖南省师大附中高三月考)Vertebrates (脊椎动物). human beings included, are constantly changing their skin- -producing new layers of it as they slough off old cells. Understanding this process ofregeneration would help with the treatment of skin diseases and injuries such as burns.This week, a group of researchers led by Kenneth Poss of Duke University Medical Center in North Carolina, have announced a colorful new technique that should enhance such understanding. They call it " Skinbow"Skinbows themselves are an adaptation of an approach called. Brainbow" , which was invented almost a decade ago, and is used to label nerve cells different colors. Brainbow technology permits someone with an appropriate microscope to trace the connections that lots of individual nerve cells make with one another in the brain of a mouse.Dr. Poss's experimental animal is not a mammal but a fish: a zebra fish. Skinbow or Brainbow, the basic procedure is the same. Genetie engineering is used to create lines of animals whose genomes ( 基因组) contain multiple copies of genes for proteins that glow under ultraviolet rays (紫外线). These genes are controlled by DNA switches that are activated only in the appropriate tissue type -brain for Brainbows, skin for Skinbows. In the case of Skinbows, some of the proteins glow red, some glow green and some glow blue.At the moment Dr .Poss thinks his microscopes can distinguish 70 ~ 80 such colors. Moreover, unlike Brainbow technology , which requires that the animal be killed in order to see what is going on, a Skinbow is visible from the outside. Regenerative processes can be followed over an extended period.The researchers, for example, could observe in detail how a fish responds to injury. When they cut a fin from one of their charges, they were able to track cells moving to the site of the damage and helping to repair it. They also saw new cells rising from deeper layers of the skin to supplement those that had migrated to heal the injured fin. After two to three weeks, the fin hadregrown completely.The next stage will be to test how fish skin responds to diseases, and to drugs that might treat those diseases. In the fullness of time, the technology might be extended to look at skin regeneration in other species, mammals included. Even while restricted to fish, though, it is likely to produce useful insights into the process of regeneration- -not to mention the possibility of a nice little sideline (副业) in designing aquaria (水族管).1. Which of the following best explains ." slough off" underlined in Paragraph 1?A. Get rid of.B. Take advantage of.C. Adapt to.D. Rule out.2. What can we know about the Brainbow according to Paragraph 2?A.It is a colorful nerve cell.B. It was invented to trace the Skinbow.C. It can speed up the adaptation of the Skinbow.D. It helps detect connections between cells.3. Where do the Skinbow and the Brainbow differ?A. In their principles.B. In their complexity.C. In their continuity in observation.D. In their practicality in reality.4. What is the last paragraph mainly about?A. The process of skin regeneration.B. The limitations of the Skinbow.C. The prediction of a promising career.D. The possible applications of the Skinbow.D（2021 .福建恒一教育）We've long considered confusion that occurs when we don't understand something as a shortcoming.You re probably ОK. In fact, according to a new study, it isn't so much about being confused, but how we respond to that feeling matters. The study suggests some people make confusion work for them-making them learn more about something they don' t originally understand. Others, on the other hand, react to confusion by turning away from the subject completely. It all comes down to how people respond to the feelings of uncertainty and puzzlement.We have been investigating links between emotions and learning for almost a decade, and find that confusion can be beneficial to learning if appropriately regulated because it can cause learners to process the material more deeply in order to clear their confusion," explains lead author Sidney D'Mello.To test their theory, researchers invited some people to learn sessions that involved a complex idea. Then they intentionally increased the confusion. Interestingly, people who had reported higher rates of confusion were also better able to grasp the subject -and identify the scientific contradictions. Essentially, they had a positive reaction to confusion, using it as a motivation to wrap their heads around a subject. For them, confusion was a chance to learn something new.They proved what scientist Nick Hobson describes as а high degree of openness. Openness is associated with the experience of interest, absorption and wonderment," he says. Individuals higher in openness are fascinated by complex situations. It is characterized by a greater tolerance of uncertainty.' However, D'Mello cautions against deliberately sowing confusion in the context of learning. People already struggling to understand a concept--especially one that they' re under pressure to understand--may not benefit from the added confusion. Instead, confusion may work best for people who are actually looking for a challenge and don't face consequences of taking a chance to learn something new. Those would be the intellectual risk- takers who are encouraged, rather than discouraged by the feelings of confusion.1. How do some people benefit from confusion?A. They may find their shortcomings of learning.В. They may seek a solution quickly.C. They may identify their uncertain feelings.D. They may understand the subject better.2. What does Nick think of people higher in openness?A. They tolerate ambiguous situations more.B. They respond to confusion negatively.C. They are easy to get confused a lot.D. They feel at a loss for complex situations.3. What does D'Mello remind people not to do?A. Take a risk to try something new.B. Add confusion to learning on purpose.C. Face consequences of looking for a challenge.D. Risk being discouraged by confusion.4. What can be the best title for the text?A. How Confusion Affects Your CharacterB. What Confusion Means to YouC. Why Confusion May Be Good for YouD. Where Confusion Comes from二、七选五阅读（2021 浙江高考）You run into the grocery store to pick up one bottle of water. You get what you need, head to the front, and choose the line that looks fastest.You chose wrong. People who you swear got in other lines long after you are already checked out and off to the parking lot. _____1____It turns out, it's just math working against you; chances are, the other line really is faster.Grocery stores try to have enough employees at checkout to get all their customers through with minimum delay. ____2____Any small interruption -a price check, a chatty customer-can have downstream effects, holding up an entire line.If there are three lines in the store, delays will happen randomly at different registers. Think about the probability:____3____ So it's not just in your mind: Another line probably is moving faster.Researchers have a good way to deal with this problem. Make all customers stand in one long, snaking line- called a serpentine line - and serve each person at the front with the next available register. ____4____ This is what they do at most banks and fast-food restaurants. With a serpentine line, a long delay at one register won't unfairly punish the people who lined up behind it. Instead, it will slow down everyone a little bit but speed up checkout overall.____5____It takes many registers to keep one line moving quickly, and some stores can't afford the space or manpower. So wherever your next wait may be: Good luck.A. Why does this always seem to happen to you?B. So why don't most places encourage serpentine lines?C. Some of the may have stood in a queue for almost an hour.D. The chances of your line being the fastest are only one in three.E. How high is the probability that you are in the fastest waiting line?F. With three registers, this method is much faster than the traditional approach.G. But sometimes, as on a Sunday afternoon, the system gets particularly busy.【答案】A篇[分析]本文是一篇应用文。
北师大版高中英语必修第三册Unit 7 Writing Workshop Reading Club
四Unit 7Writing Workshop & Reading Club【基础全面练】Ⅰ. 语法填空1. E-mail boxes are often filled with these unwanted advertisements(advertise).2. I am currently(current) working on a sport documentary with a school friend.3. He stood there in a threatening(threaten)attitude.4. The events were faithfully(faithful) recorded in her diary.5. His eyes showed open admiration(admire) as he looked at her.6. The more they are appreciated(appreciate), the more they’ll be willing to get into the competition next time.7. It targets children with great artistic(art) talent.8. Just when I gave up hope, the beautiful “ding” sound set me free from those messy (mess)thoughts.9. No one is permitted(permit)to take books out of the building.10. He treated us as autonomous individuals(individual)who had to learn to make up our own minds about issues.Ⅱ. 完成句子1. Not only do I like this movie, but also my mother likes it.不仅我喜欢这部电影, 而且我妈妈也喜欢它。
EZdrummer 2 使用手册说明书
A BOUT THIS MANUALScreenshots included in this manual may differ from the actual product.Macintosh, Mac OS X and Audio Units are registered trademarks of Apple Computer, Inc. Windows is a trademark of Microsoft Corporation. VST is a trademark of Steinberg Media T echnology AG. RTAS is a trademark of Avid Corp. All other trademarks held by their respective owners.This manual is copyright T oontrack Music AB. No duplication, copying and distribution is permitted without written consent from the originator.EZdrummer2TABLE OF CONTENTS1 - INTRODUCTION 61.1 What is EZdrummer? 61.2 Recording Notes 72 - INSTALLATION 82.1 EZdrummer at a glance 82.2 System Requirements 82.3 Installing EZdrummer for Windows 82.4 Installing EZdrummer for Macintosh 92.5 Authorizing EZdrummer on your computer 93 - QUICK START GUIDE 103.1 Loading a Kit 103.2 Browsing the MIDI Library 113.3 Building your Drum T rack 113.4 Mixing the Kit 134 - ADDITIONAL FUNCTIONALITY 144.1 Advanced Routing 144.2 Help Menu 144.3 Adding MIDI Grooves to the Browser 154.4 Key Mapping 154.5 Expanding EZdrummer 16EZdrummer3EZdrummer 4CREDITSToontrack Development Team:Andreas Sundgren (name & concept)Erik Phersson (project management)Mattias Eklund (audio recordings and editing)Henrik Kjellberg (audio recordings)Olof Westman (programming)Rogue Marechal (support & testing)Fredrik Ärletun (graphic artist)Produced and engineered by:Neil Dorfsman, Pat Thrall, Mattias Eklund & Henrik Kjellberg. Played by Nir ZExternal consultants:Keith More (MIDI programming and velocity sweep concept) Philippe Decuyper (general expertise)Fredrik Hägglund - www.diod.nu (flash tutorial)Manual written by:Rogue Marechal & Andreas Sundgren.Proofreading by Chuck Butler.Betatesters (to whom our undying gratitude goes):Kevin Afflack, Marcello Azevedo, T ony Artimisi, Damian Blunt, Chuck Butler, Ray Campbell, John Christensen, Eric Colvin, Philippe Decuyper, Martin Fido, Lewis Gilbert, Chaim Goldman, Scott Griggs, Mark Heath, Svein Hyttebakk, Martin Keller, Joseph King, Mark King, Kenny Lee, Emmanuel Lorant, David Modisette, Motoyoshi Matsumoto, Murray McDowall, Jeffrey Naness, Kirk Pennak, John Rammelt, Robert Rainey, Marcel Ritsema, Chris Ryan, Daniel Shattuck, Fred Schendel, James Thompson.Additional Thanks:All our hard working distributors and supporting families.EZdrummer51 - INTRODUCTION1.1 What is EZdrummer?Somebody once suggested that we make a light version of Superior (Drummer). A great suggestion! Superior was and still is a monster of a box, designed with the mad scientist music producer in mind. When the time came around to actually realize the idea of a smaller drum sampler we decided to take the concept one step further. So, EZdrummer is a Superior LE and at the same time it isn’t. The experience gained from developing Superior Drummer is all there: sounds recorded and produced in partnership with the best in the business, microphone control, humanizing features, and TPC (T oontrack Percussive Compression) keeps RAM and disc space requirements to a minimum.We’ve also decided to take user friendliness above and beyond:In it’s most basic mode of operation, EZdrummer can yield a great drum track in just a few clicks. The microphone levels are all pre-set. Using the built in MIDI features you can create a drum sequence from a choice of thousands MIDI files by simply opening EZdrummer, selecting the file of your choice, and dragging it into your host.The internal mixer allows EZdrummer to work in both stereo and multitrack mode without the user having to step out of one version of the plug-in and into another. It also gives you control of levels between mics and ambience and overhead microphone leakage. Bringing all this to the user is an interface that we think speaks for itself.So who’s EZdrummer for? We think everyone. Combining quintessential features and advanced handling as well as low system requirements, EZdrummer is an entry level product but also ideal for the pros who need to be mobile. With EZdrummer we’ve taken the first step into the next generation of acoustic drum samplers. The journey starts here.Andreas Sundgren, T oontrack development teamEZdrummer6EZdrummer71.2 Recording NotesIn 2005 T oontrack Music was contacted by Pat Thrall with a request to record drums for the Superior Drummer software engine at the New Y ork studio where Pat had his professional home. We all knew Pats work (with Glenn Hughes, Black Crowes, etc) and jumped at the opportunity to work with one of our hero.We became even more excited when Pat enrolled Neil Dorfsman, another long-time hero of ours, to add his talents, passion, and experience to the recordings. Neil has been around since the 70s recording and producing artists like Kiss (oh the stories...), Bruce Springsteen, Dire Straits, Sting etc. Enough said?Pat also brought along renowned live and session drummer Nir Z, whose credits include such diverse acts as Genesis and Joss Stone, to play his GMS drums for the sessions. The team was rounded out by Mattias Eklund and Henrik Kjellberg from T oontrack Music, and together they performed a number of test recordings throughout 2005.The sounds for EZdrummer were finally recorded and produced at Avatar Studios New Y ork (formerly known as Power Station) on the 1st of October, 2005, by PatThrall, Neil Dorfsman, and Nir Z. Needless to say the recordings ended up every bit as great (and better) as expected.The timeless quality of the sound, the consistency of the playing and recording, and the legendary atmosphere from a studio that has seen many of the greats create their masterpieces within its walls, all make for a worthy start of the next generation of Toontrack Acoustic Drum samplers.EZdrummer82 - INSTALLATION 2.1 EZdrummer at a glancedfhEZdrummer is a state-of-the-art sample player powering a collection of stunning drum sounds played by a top notch session drummer and world class producers at Avatar Studios, New Y ork:• 7500 sound files at 16-bit / 44.1kHz equivalent to 5Gb of uncompressed wav files • Instant access to a large MIDI library with drag’n’drop functionality• Possibility for the user to add their own MIDI files to the library• Internal mixer with stereo and multitrack routing into the host• Preset mix modes for quick sound changes• Interface visualizes the drums and allows quick audition of the kit• Automatically combines drum hit randomizing and non-cycling• Controls for instant changes to MIDI data, extending groove context relevance • Operates in General MIDI and extend beyond the limits imposed by the standard • Direct manual, tutorial and internet help desk access from the program interface • First EZX expansion pack included with EZdrummer2.2 System Requirements• 1,5Gb free hard disc space, DVD drive• Windows XP , PIII/Athlon 1,8GHz with 512 Mb of Ram• Mac OS X 10.4, G4 1GHz with 512 Mb of Ram• Display capable of 800x600• A software sequencer or virtual instrument host• (recommended) sound card with ASIO or CoreAudio driver2.3 Installing EZdrummer for WindowsRun the EZdrummer Installer and optional EZX Cocktail Installer located in the \Install\ folder of the DVD and follow instructions.The plugin will be installed by default in the appropriate location for the currently installed host program. Y ou should however verify that this is the case and perform a custom install to change the destination target if this is not adequate for your host program (see your host manual for details).The sounds themselves, as well as various resources, are installed by default in:C:\Program Files\T oontrack\EZdrummer\Sounds\. Y ou may choose to install in a different location but samples cannot be relocated at a later stage.T o uninstall simply re-run the installer located on the media that came with thisproduct or use your operating system’s removal facility.EZdrummer92.4 Installing EZdrummer for MacintoshRun the EZdrummer Installer and optional EZX Cocktail Installerlocated in the /Install/ folder of the DVD and follow instructions. Please ensure you are logged in as an administrator before proceeding.The plugin will be installed in the default location for your operating system and should not be moved to remain available to all users and programs. The sounds themselves are installed in /Library/Application Support/EZdrummer/Sounds/ and cannot be relocated. Doing so will render the program unusable.T o uninstall simply run the EZdrummer Uninstaller provided and select thecomponents you wish to remove (it is possible to uninstall EZX Cocktail only using the appropriate Uninstaller).2.5 Authorizing EZdrummer on your computerOn first launching EZdrummer you will be presented with the authorization screen. Simply follow the instructions and, if this is your first T oontrack product, create a new user account at /register/1) Key in the Computer ID exactly as shown in the interface and serial number found on the DVD packaging. Add a short description (this can be anyting you want, for example ‘Studio B computer’).2) Generate the Authorization Code online. Y ou will receive a confirmation email. T ype in or paste the code if your application supports it.3) Y ou will be greeted with a congratulation message once EZdrummer has been authorized successfully.**********************************with your Computer ID and serial number if the authorization process fails for whatever reason.EZdrummer 103 - Quick Start GuideUsing EZdrummer is quite simple, and in this tutorial we’ll show you how to perform the most common operations. By the time you finish, you’ll know how to create a killer drum track in no time.Before you start you should ensure that your system is configured for basic audio and MIDI playback. Should you be unable to complete this tutorial, check first that your program is correctly set up and that you are able to audition other virtual instruments.3.1 Loading a KitWhen the plugin is first started the default drumcounter emphasized in the above screenshot will inform you of how much memory the kit uses.A visual representation will occupy the greatest part of theinterface of EZdrummer. If you want to hear what thedrums sound like simply click on them in the interface.If you would like to select a different drum at a certainposition (or the whole kit) simply click the constructionbar on each part of the kit and select from the menu thatcomes up:3.2 Browsing the MIDI Librarydries out? Stay in this window! All the levels between the drums in the kit are preset and the sounds are already mixed so you don’t have to worry about that... just concentrate on the music.Click the ‘Open Grooves’ button. The browser will open, allowing you to access the MIDI files that come with EZdrummer. Even without the optional expansion packs, EZdrummer ships with thousands of MIDI files to choose from.Finding the MIDI groove you want for your song could not be any easier: simply choose the overall style... let’s try the POP/ROCK library, and choose a “POP/ROCK Straight” feel in 4/4 time. Finally, select one of the Playing Variations.player section and listen to the loop. Note the beat indicator underneath the groove description.Change of tempos in your sequencer will automatically be reflected in EZdrummer’s. Instant access to a ‘double time’ or ‘half time’ variation of the groove is also available at the push of a button:example, if the playing is too aggressive for that laid back bridge youhad in mind), you can effortlessly refine the dynamics, from soft tohard at the twist of a knob using the velocity sweep control.3 through the grooves with the up/down navigationarrows. EZdrummer will seamlessly play the pat-terns as you browse through them.Once you have found the right groove to lift yoursong, simply drag and drop the MIDI file to yoursequencer right where it belongs. EZ! And there isno reason to stop there:Combine different patterns and join them together with amazing fills. We reckon you will have built your first track before dinner’s ready... how many times did that happen last year?Once you’ve dragged some MIDI files to a track, your sequencer will replay the grooves in the order they were placed. Of course, EZdrummer will synchronize to your sequencer’s master tempo, so you can change your mind and speed the song up, or slow it down, at any time.When EZdrummer is receiving MIDI information from the host, as aresult of playing back a sequence or playing an external MIDI controller,the activity LED will flash to confirm that the link is working properly.Still if you prefer your track machine-like we won’t stop you!EZdrummer3.4 Mixing the Kittrack, EZdrummer includes an internal mixer, similar tohardware you’ve probably used.Just like a real mixer you use the faders to set the levels of the different drums in the mix. Horizontal sliders at the top adjust the placement of the instruments. The global control to the left of the channel strips toggle between audience and drummer’s perspective, the latter being the default.Also like with a hardware mixer, you can mute one of the tracks to listen to a subset of the drums making up the kit. Or you can solo any drum, to hear it on its own.Y ou control how much of the room you want to be part of your drum track withthe fader farthest to the right. T urning the leakage in the snare bottom or overhead microphones OFF is also possible for that extra ‘dry’ sound.Y ou can also group the channels to slide, mute or ‘solo’ as a group.For example, to adjust the volume of all the toms at the sametime, multi-select their channels by clicking them one after theother. Click on any channel once more to deselect it.If you don’t want to mix the whole kit from scratch, there are preset mixers to change the overall character of your drum kit. Just choose one of the mixer configurations in the PRESETS pull-down menu in the upper left corner of the interface. Once you are happy with your mix, you can save a snapshot for use in your other projects. Simply select ‘Save As’ from the pull down menu and type a suitable description.4 - Additional Functionality4.1 Advanced RoutingEZdrummer routes into your host on one stereo track by default.Y ou can however route any instrument or microphone toany of the 8 available stereo tracks mapped to EZdrummer’soutputs. This will allow you to benefit from the maximumflexibility that your sequencer has to offer.T o perform the above click one of the mixer tracks andselect multichannel. This will select the most appropriaterouting for the kit. Of course your host has to be set upaccordingly to capture these outputs (see your application’smanual for details).Y ou are not limited to this configuration howeverand are free to assign drums to the track of yourchoosing by selecting the appropriate entry in thepull menu for each of the indivual channels.An alternative is to start in stereo mode andseparate a single instrument from the mix.As an exercise, go back to the stereo mode andthen try sending the kick to track 2:The kick will appear on track 2, the rest of the kitremaining on track 1, the default stereo pair.4.2 Help MenuThe help menu [?] gives you quick access to additional resources:- T ool Tips: turn the contextual tips ON or OFF- Visual Hits: turn the drum animation ON or OFF- PDF Manual: opens this manual in your PDF viewer application- Flash T utorial: a short walkthrough of EZdrummer- Online Support: opens the support website in the default browser- User MIDI folder: opens the MIDI folder reserved for your own MIDIIn addition specific resources, such as keyboard layout and recording notes will be available in product specific subfolders.4.3 Adding MIDI Grooves to the BrowserFuture expansion packs will of course ship with more MIDI grooves that are relevant to the genres they aim to address. Y ou may however extend and customize the library at any time with 3rd party MIDI packs or your own.The process is very straightforward: selecting the ‘User MIDI folder’ from the Help Menu will automatically open the relevant folder on your Desktop. Simply place your MIDI files in that location, and organize them in subfolders labelled as you see fit.On a related subject, note that grooves included in EZdrummer are not GM compliant and will not play back properly on GM devices. The hi-hat programming in particular makes use of the full extent of EZdrummer available articulations.4.4 Key MappingEZdrummer is a flexible tool that will not only allow Array you to build your drum track using the includedMIDI grooves library but also create patterns andfills from scratch in your sequencer.The layout on the left details the instruments andtechniques available for triggering from an externalMIDI controller or pencil in in your application‘piano roll’.Note that the map does extend below 20 and above65. These notes are reserved for use with futureEZX-s and should not be used with the defaultRock/Pop kit.If GM compatibility is important to you you shouldalways program the map between C1 and C3 only.This is to ensure playback on GM compatible devicesis accurate (cymbal chokes notwithstanding).Specificallly, all notes in this range are GM compliantswith the following exceptions: 39, 54, 58, 60.4.5 Expanding EZdrummerThey contain additional MIDI files toThe sounds are tweaked with specificThe first EZXT o access the expansion packs already installed on yourcomputer click the EZX display in the main window.When loading an EZX, an interactive picture of the drumkit contained in that expansion will appear in the main window of EZdrummer, giving instant access to all the prelistening and construction features specific to that particular expansion.Several EZX-s are planned or already in the works and will be announced shortly at . For now enjoy EZdrummer and your first EZX, and please let us know what expansion packs you would like to see released in the future. We will be delighted to hear from you!Why not check out Superior Drummer, EZdrummer’s bigger brother, the widely acclaimed professional line from T oontrack Music. Superior Drummer gives you even more control over your drum track with an endless variety of sounds that can be mixed to fit any style and any song. T urn to the back of this manual for a brief overview of what pros around the world use! More details at NEW! NEW!。
音乐术语大全
一、速度1. 慢速类Lento 约=52 慢板Adagio 约=56 柔板多用于奏鸣曲中段乐章和浪漫派乐曲抒情乐章2. 中速类Andante 约=66 行板Moderato 约=88 中速多用于奏鸣曲中段乐章和浪漫派乐曲抒情乐章3. 快速类Allegretto 约=108 小快板Allegro 约=132 快板Presto 约=184 急板多用于奏鸣曲 1.3 乐章和练习曲等4. 速度变化类rit 渐慢temporubato 自由速度，但总时值符合基本速度（这就是肖邦作品中最难的东西）atempo 回原速piumosso 稍快menomosso稍慢二、力度1. 强和弱pp 很弱p弱mp中弱mf 中强f强ff 很强sf 突强（贝多芬的典型标记）2. 力度变化dim 渐弱morendo逐渐消失cresc. 渐强sempre 始终，一直保持三、表情dolce 柔和地espress. 有表情地cantabile 歌唱地grazioso 优美典雅地mesto 忧郁地. 悲伤地dolendo brillante 辉煌地，炫耀地appass. 热情地，激情地scerzando 诙谐，风趣地leggiero 轻巧地四、奏法legato 连奏nonlegato 非连奏stace. 断奏，跳音gliss 刮奏五、踏板ped 踏板senzaped 不用踏板u.c. 左踏板trec. 中踏板（只有三角钢琴的中踏板在演奏中才有用处）六、其他major 大调minor 小调tema 主题m.d. 右手m.s. 左手tr. 颤音tremolo 震音D.C.从头反复（李查德的比较多）solo 独奏cadenza 华彩accelerando（accel.）渐快的acappella 无伴奏合唱absolutemusic 纯音乐，非标题音乐absolutepitch绝对音高（听觉）abstractmusic 抽象音乐accent 重音accidental(s)变音记号accordion 手风琴acoustics 声学action 弦高，即弦距离指板的高度adagietto 小柔板（66 拍/ 分钟）adagio 柔板（56 拍/ 分钟）Added-sixthchord 加六度和弦allegretto 小快板（108 拍/ 分钟）allegro 快板（132 拍/ 分钟）allemande 阿勒曼德alteredchord 变和弦Andalusia 安达露西亚（西班牙地名）andante 行板（72 拍/ 分钟）andantino 小行板（80 拍/ 分钟）animato 活泼的快板（120 拍/ 分钟）Anti-impressionism 反印象主义anticipation 先现音anvil 乐砧Aranjuez 阿兰胡埃斯（吉他协奏曲）aria 咏叹调arpeggio 琶音artist 艺术家ascending 上行assai 非常快的快板（144 拍/ 分钟），很Asturias 阿斯图里亚斯（西班牙地名）atonality 无调性augmentation 展开augmentedsixthchord 增六和弦augmentedtriad 增三和弦augmented 增（音程）authenticcadence 正格终止Bach,JohannSebastian 约翰?塞巴斯第安?巴赫［德国］ back 背板ballata 叙事曲ballet 芭蕾bandmusic 军乐band 军乐队bar 小节（barline 小节线’measure） bariton 男中音Baroque 巴洛克Barrueco,Manuel 马努埃?巴鲁埃科[古巴] bass 低音bassclarinet 低音单簧管bassclef 低音谱号bassdrum 大鼓bass tuba 低音大号bass 低音号bass 男低音bassoon大管（巴松） belcanto 美声binaryform 二段式，二部曲式（AB）bitonality 双重调性blues 布鲁斯bongo 邦戈鼓bourree 布列brasswindinstruments 铜管乐器Brazilian 巴西的Bream,Julian 朱里安?布里姆[ 英breve 二全音符brokenchord 分解和弦Brouwer,Leo里奥? 布劳威尔[ 古巴]cadanza 华彩乐段musicalform 体裁cadence 终止canon 卡农cantata 康塔塔capriccio 随想曲caprice 随想曲castanets 响板cedar 雪松cello大提琴chaconne 恰空舞曲chaconne 恰空chimes 排钟choir 合唱团choralmusic 合唱音乐choral 众赞歌chord 和弦，和声chord 和弦chorus 合唱chromatichalf-tone 变化半音chromaticinterval 变化（音程）chromaticscale 半音阶chromatictone 变化全音chromatic半音的clarinet 单簧管（黑管）classical 古典的Classicism 古典主义四拍子(12/4,12/8,12/16) [ 法国]clavier（18 世纪）键盘乐器compoundtriplemeter(s) 复三拍counterpoint 对位clef 谱号(Gclef,Fclef,Cclef) 子(9/4,9/8) courante 库朗特climax 高潮concertmaster 首席crotchet 四分音符(quarternote coda 尾声concerto 协奏曲美）coloraturasoprano 花腔女高音concerto,concierto 协奏曲cutaway 被切去的部分commonmeter 普通拍子(4/4) ConcreteMusic 具体音乐cymbal 钹comparison 对比Accidentalism 偶然主义deceptivecadence 伪终止complextone 复音conductor 指挥demisemiquaver 三十二分音符(compositetone) consonant 协和（音程、和弦）descending 下行compoundduplemeter(s) 复二拍contraC 大字二组C development 发展子(6/2,6/4,6/8) contrabassoon 低音大管development 展开部compoundinterval 复音程CCrdoba科尔多巴（西班牙地名）diatonicinterval 自然( 音程)compoundmeter(s) 复拍子cornet 短号diatonicscale 自然音compoundquadruplemeter(s) 复Coste,Napol eon拿破仑？科斯特passingtone 经过音diminishedseventhchord 减七和doubledot 复附点dynamicmark（s）力度标记弦doublemordent 复波音dynamics 力度diminishedtriad 减三和弦double-augmented 倍增（音程）ebony 乌木，乌檀diminished 减（音程）double-diminished 倍减（音程）echo 回音，回声disc 唱片，唱碟double-flat 重降号eleventh 十一度disco 迪斯科suite 组曲double-sharp 重升号Englishhorn 英国管dissonant 不协和( 音程、和弦) dramaticsoprano 戏剧女高音enharmonicintervals 等音程dominantseventhchord 属七和弦dramatictenor 戏剧男高音enharmonicnotes 等音dominant(V) 属音，属和弦duet 二重奏ensemble 合奏（团体）dot 附点duet 二重奏equalizer 均衡器dottednote 附点音符duo estudio,etude 练习曲dottedrest 附点休止符duplemeter（s）二拍子etude 练习曲doublebasstuba 倍低音大号（2/2,2/4,2/8）euphonium 尤风宁号doublebass 低音提琴guitar 吉duplet 二连音exposition 呈示部他duration 时值Expressionism 表现主义falsechord 假和弦resolution fourthchord 四度和弦gong 锣解决fourth 四度Goni,Antigoni 安提戈尼? 戈尼fantasia 幻想曲foxtrot 狐步舞[ 希腊]fifth 五度Frenchhorn 圆号，法国号govotte 加沃特fingerboard指板frequency 频率Granada 格拉纳达（西班牙地名）firstinversio n 第一转位fret 品格grave 极慢板（40 拍/ 分钟）five-partform五段式fugue 赋格greatC 大字组C fixed-do 固定唱名法functionalharmony 功能和声guitar 吉他movable-do 音调唱名法fundamental(tone) .r r，, 、■基音guitarist 吉他演奏家，吉他手flat 降调(firstpartial) guitarra 吉他，吉他拉flat 降号Gallagher,KevinR. 凯文?盖拉格habanera 哈巴涅拉flute 长笛[ 美国] halfcadence 半终止four-lineoctave 小字四组gigue 吉格half-tone 半音(four-line) glissando 滑音harmonicanalysis 和声分析four-partform四段式glockenspiel 钟琴harmonicinterval 和声音程harmonicsequence 和声模进harmonic 和声的harmony 和声学harp 竖琴harpsichord 拨弦古钢琴head 符头head，headstock 琴头hemidemisemiquaver 六十四分音符(sixty-fourthnote ，美) homophonicmusic 主调音乐homophony 主调hook 符尾(tail) imperfectcadence 不完全终止Impressionism 印象主义instrumentalmusic 器乐instrumentation 乐器法intensity 强度intermezzo 间奏曲interlude 间奏(曲) interruptedcadence 阻碍终止interval 音程invention 创意曲inversion 转位(complement)invertedmordent 逆波音(lowermordent;invertedturn 回音irregularmeter( 不规则) 混合拍子(7/4,11/7)jazz 爵士乐justintonation 纯律kettledrum 定音鼓keysignature 调号key 调keyboard 键盘( 乐) lacquer硝基漆，日本漆larghetto 小广板(60拍/ 分钟) largo 广板(46 拍/ 分钟)leadingtone(VII) 导音，导和弦(subtonic) legato 连音，连奏legerline(s) 加线(ledgerline(s)) lento 慢板(52 拍/ 分钟)line 线loudness 响度lullaby 摇篮曲mazurka 玛祖卡Microtonalism 微分音主义lute 疏特琴McFadden,Jeffrey 杰夫瑞?麦克minim 二分音符（halfnote ，美）lyra 乐徽法登［加拿大］Minimalism 省略（简约）主义lyricsoprano 抒情女高音mediant（III）中音，中音和弦minor 小调madrigal 牧歌melodiccontour 旋律轮廓minortriad 小三和弦maestoso 庄板（88 拍/ 分钟）melodicinterval 旋律音程minor 小（音程）magicflute 魔笛melodicprogression 旋律进行minor 小调mahogany桃花心木，红木melodicsequence 旋律模进minuet 小步舞曲major 大调melodic 旋律的mode调式（狭指教会调式；广指调majortriad 大三和弦melody 旋律式）major 大（音程）meter 拍子（time）moderato 中板（96 拍/分钟）major 大调metronome 节拍器modulation 转调march 进行曲Metronome 节拍机monophonicmusic 单声部音乐marimba 玛林巴（M.M.=Malzel';s~）mordent 波音（uppermordent）mass 弥撒mezzosoprano 次女高音，女中音motive 动机movement 乐章ninthchord 九和弦oratorio 清唱剧movement 乐章ninth 九度orchestra 管弦乐队multi-meter 变化拍子nocturn 夜曲orchestra 管弦乐队musicalform 曲式noise 噪音orchestration 配器法musicalinstrument 乐器notation 记谱法organ 风琴musicaltone 乐音note(s) 音符ornament(s) 装饰音Nationalisminmusi c 民族乐派nut 琴马overtoneseries 泛音列naturalhalf-tone 自然半音oboe 双簧管overtone(s) 泛音naturaltone 自然全音octave 八度overture 序曲natural 自然的octave 八度Paganini,Niccolo 尼古罗?帕格nature 还原号intonation 音准one-linedoctave 小字一组尼尼[意大利]neck 琴颈(one-line) Papandreou,Elena 艾琳娜?帕潘neighboringtone 辅助音one-partform 一段式，一部曲式德里欧[ 希腊](auxiliarytone upperorlower) opera 歌剧parallelkeys 同主音调Neoclassicism 新古典主义opus(Op.) 作品Parkening,Christopher 克里斯托弗?帕肯宁［美国］piccolo 短笛Ponce,Manuel 马努埃?庞塞［墨西partial(s) 分音(partialtone) pick 拾音器哥］passacaglia 帕萨卡利亚pipeorgan 管风琴prelude 前奏曲passion 受难曲pitchname 音名prelude 前奏( 曲)pause 延长号(hold,fermata) pitch 音高presto 急板(184 拍/ 分钟) pedal 踏板plagalcadence 变格终止Primitivism 原始主义peg 弦轴Platino,Franco 富兰科?普拉提programmusic 标题音乐pentatonic 五声的诺［意大利］psychoacoustics 心理声学percussion(s) 打击乐podium 指挥台puretone 纯音perfectcadence 完全终止Pointillism 点描派purfling 镶边，环饰perfect 完全，纯（音程）polka 波尔卡quadruplemeter(s) 四拍子period 乐段polonaise 波洛涅兹(4/2,4/4,4/8)phrase 乐句polyphonicmusic 复调音乐quadruplet 四连音phrasing 分句polyphony 复调quarter-sawn 将（原木）纵向锯成piano 钢琴polytonality 多调性四块再锯成木板的quartet 四重奏quaver 八分音符（eighthnote ，美）quintet 五重奏quintuplemeter 五拍子quintuplet 五连音range 音域（compass） rattle 摇响器Realism 现实主义recapitulation 再现部recitative 宣叙调RecuerdosdelaAlhambra 《阿尔罕布拉宫的回忆》reduction 改编（缩编）register 音区reguiem 安魂曲relativekeys 关系大小调relativepitch 相对音高( 听觉) Renaissance 文艺复兴repertoire 保留曲目，全部曲目repetition 重复rest(s) 休止符rhapsody 狂想曲rhythm 节奏rhythmicpattern 节奏型Rococo 洛可可Rodrigo,Joaquin 胡埃金?罗德里戈[西班牙]Romanticism 浪漫主义Romero,Angel 安杰尔?罗梅罗[ 西班牙]Romero,Celedonio 塞拉多尼奥? 罗梅罗[ 西班牙]Romero,Celin 塞林?罗梅罗[ 西班牙]Romero,Pepe 佩佩?罗梅罗[ 西班牙]rondoform 回旋曲式(ABACA)rondosonataform 回旋奏鸣曲式rootposition 原位root 根音(fundamental) rosette 音孔环饰，玫瑰花饰rosewood 玫瑰木，青龙木，黑黄檀roundedbinaryform( 有再现的)二段式维亚[ 西班牙] sharp 升号rumba 伦巴semibreve 全音符(wholenote side 侧板Russel,David 大卫?罗素［英国］美) sidedrum 小鼓sarabande 萨拉班德semiquaver 十六分音符sight-singing 视唱saxophone 萨克斯管(sixteenthnote ，美) simpleinterval 单音程scaledegree( 调式) 音级septuplet 七连音simplemeter(s) 单拍子scalestep 音级( 音级数：sequence 模进sixthchord 六和弦numberofscalestep)serenade 小夜曲，月下情歌sixth 六度scale 音阶serenade 小夜曲sixth-fourchord 四六和弦scherzo 谐谑曲Serialism 序列主义smallc 小字组 cscore 乐谱seventhchord 七和弦S？llscher,G？ran戈兰？索舍尔score 总谱seventh 七度[ 瑞典] secondinversion 第二转位Seville 塞维利亚( 西班牙地名)solo 独奏second 二度sextuplet 六连音solo 独奏( 唱) Segovia,Andr es安德列斯？塞戈sharp 升调sonataform 奏鸣曲式stem 符干step 音级(scalestep,degree) string 琴弦stringedinstruments 弦乐器subdominant(IV) 下属音，下属和弦submediant(VI) 下中音，下中音和弦(super-dominant) suite 组曲supertonic(II) 上主音，上主和弦suspension 延留音symphonicpoem 交响诗symphony 交响曲syncopation 切分音tabor 塔波鼓Takemitsu,Toru 武满彻[ 日本] tambourine 铃鼓tango 探戈tarantella 塔兰台拉temperament 乐律temperedscale 平均律(equaltemperament) templeblock 木鱼tempomark(s) 速度标记tempo 速度tenordrum 中鼓tenortuba 次中音大号tenor 男高音sonata 奏鸣曲sonatina 小奏鸣曲songswithoutword 无词歌/ 、_- 、■soprano 女高音Sor,Fernando 费尔南多?索尔[ 西Structuralism 结构主义班牙] sostenuto 持音sound 音space 间Spanish 西班牙的spruce 云杉staccato断音，断奏staff 五线谱staff 乐谱stage 舞台tenth 十度time 时间triplemeter(s) 三拍子ternaryform 三段式，三部曲式toccata 托卡塔(3/2,3/4,3/8)(ABA) tonality 调性triplet 三连音theater 剧场，戏剧tone 音( 乐音) tri-tone 三全音thematicmaterial 主题材料tone-cluster 音簇trombone 长号theme 主题tonic(I) 主音，主和弦trumpet 小号themewithvariation 主题与变奏top 面板tuba 大号thirdinversion 第三转位transposition 移调tubularbells 管钟third 三度trebleclef 高音谱号tuningfork 音叉three-linedoctave 小字三组trembolo 震音twelfth 十二度小字二组(three-line) triad 三和弦two-linedoctavetie 延音线triangle 三角铁(two-line)timbre 音色trill 颤音unaccentedoctave 小字组(tonecolororquality) trio 三声中部unison 齐奏( 唱) timesignature 拍号trio 三重奏unison 同度，一度(prime)unity 统一variation 变奏variationform 变奏曲式（A ，A1，A2, A3…）strophicform 分节歌（a , a, a, a…） variation 变奏variety 变化vibraphone 颤音琴vibration 振动viola 中提琴violin 小提琴vivace 有生气的快板（160 拍/ 分钟）voice 人声,声部waltz 圆舞曲,华尔兹waveform 波形whip 鞭响器wholetone 全音whole-tone 全音的Williams,John 约翰?威廉斯[ 澳大利亚]woodblock 南梆子,盒梆woodwindinstruments 木管乐器xylophone 木琴vivo 活泼的,有生气的vocalmusic 声乐。
河北衡水中学2023-2024学年高一下学期第二次综合素养评级英语试题
河北衡水中学2023-2024学年高一下学期第二次综合素养评级英语试题一、阅读理解Sunflower season is right around the corner. Here are several most beautiful golden fields near London.Garsons FarmAt Garsons Farm you will find three separate sunflower fields across its 155 acres. You’ll need to purchase a crop farm pass (£4 for adults, £1 for kids) in advance and pay 99 pence per flower. This farm is also home to over 75 varieties of fruits, vegetables and plants that can be picked during your visit, but be sure to check crop availability on its website beforehand.Hitchin Lavender FarmThis spot is most famous for its purple crops of lavender (熏衣草), but it is also home to dozens of sunflowers! You will be charged £6 for your entry to the farm, and 50 pence per stem. And for £50 you can hire a personal photographer and have your very own photos with the plants.Cotswold Farm ParkCotswold Farm Park was founded to help protect rare species of farm animals in 1971. You will not only find flowering sunflowers but plenty of furry four-legged friends, too. The park also contains several photo stations throughout the field. Tickets must be booked in advance and cost £7 per adult.Broomfield FarmThis fruit farm is open every Saturday and Sunday for those who want to see sunflowers on their weekends! It produces all kinds of fruits, vegetables and flowers that you can purchase in their farm shop or pick yourself during your visit. You are allowed to bring a picnic with you and the £4 entry is taken off your “pay and weigh” bill at the end.1．What’s the entry fee for a couple and two kids if they go to Garsons Farm?A．£6.B．£7.C．£8.D．£10.2．Where can you see rare farm animals?A．At Garsons Farm.B．At Bromfield Farm.C．At Cotswold Farm Park.D．At Hitchin Lavender Farm.3．Who is the text mainly intended for?A．Sunflower lovers.B．Holiday campers.C．Field researchers.D．Nature photographers.13-year-old Ava Dorsey is the founder of Ava’s Pet Palace, a business that sells organic dog and cat treats.“I actually had the idea when I was six with a picture I drew of a palace,”she says.It was a detailed design for dogs and cats and she had serious plans to build it one day.Unlike most dog treats that you find in stores, dog treats sold by Ava’s Pet Palace are 100% organic, and are non-GMO(非转基因). Ava has set a goal for herself with these dog treats, and she wants every treat to be healthy, tasty, and top-quality. Seriously, some of her treats sound delicious enough for people to eat! “All of my bags now have the USDA organic stamp, and we're very excited to have gotten it because it's something I've wanted for a long time,”she says.“A lot of stores like to see organic products because customers like it, so that was really exciting.”Ava says the biggest challenge of being a kid in business is when people don't take her seriously, but undoubtedly Ava has proved that her doubters are wrong! When asked how she defines(定义) success, Ava says,“When you hit a bump in the road, you shouldn't give up and you keep trying.”She learned that from her mom, who sounds like a smart lady! Some more things Ava has learned from her years in business: Hard work eventually pays off and there is nothing wrong with asking for help.As far as the future of the pet treats industry goes, Ava is optimistic——but she’d also like to be an inspiration for change.“There’s not much diversity(多样性) right now, so that’s something I would love to see in the future,”says Ava.“I would also love to see more kids in this industry.There aren't many other teenagers around, and I hope that I can be an inspiration to others who hope to lead the pet industry.”4．What can we learn about Ava’s Pet Palace from the first two paragraphs?A．It is a palace for pets.B．It is very popular among kids.C．It sells organic pet food.D．It designs stamps for customers.5．What does“hit a bump in the road”in Paragraph 3 probably mean?A．Drive on a stone road.B．Escape a setback in business.C．Face a challenging situation.D．Encounter an unexpected opportunity. 6．What can be inferred about Ava’s future goals?A．She plans to enlarge her business in other industries.B．She wants to employ more teenagers in her company.C．She intends to be a leading figure in the pet industry.D．She hopes to break new ground in the pet treats industry.7．Which of the following best describes Ava?A．Patient and hard-working.B．Determined and creative.C．Confident and humorous.D．Friendly and outgoing.A new song by the famous band The Beatles has been released despite half of the band members no longer being alive, thanks to the help of AI.The Beatles was a legendary British rock band that remained second to Elvis Presley from the 1960s. It was made up of four musicians—John Lennon, Paul McCartney, George Harrison and Ringo Starr. The new song, titled Now and Then, is unique because it combined the singing of McCartney and Starr with Lennon, who passed away in 1980, and the guitar skills of Harrison, who passed away in 2001.The song was initially written and partly recorded by Lennon in the late 1970s and further developed by band mates years later but as technology then was limited, they didn’t release it due to the sound quality not being satisfying.Peter Jackson, most famous for directing The Lord of the Rings, directed the music video for Norw and Then and it can be watched now online. It was thanks to new Al audio restoration (音频修复) technology that Peter Jackson allowed the four band members to “come together” one last time.Since its release last week, the song has been well received in the UK. Beatles fans around the world favoured this historic musical event.”Now and Then is an absolutely heart-warming piece of work, “posted Liam Gallagher, whose hits were affected by The Beatles’ musical style.Of course, there are those who are not totally interested in the song. ”Now and Then is not terrible. But honestly, it’s kind of boring, “Geoff Edgers wrote in The Washington Post.The Times in the UK said the song showed Al being used to its best advantage.8．Why was the song “Now and Then” not released at first?A．The song was not completed.B．The sound quality was not good enough.C．The band members did not like the song.D．The song was let out before its officialrelease.9．How did Peter Jackson contribute to the song?A．He wrote and recorded the song.B．He invented new audio restoration technology.C．He restored the band members’ sound using AI.D．He played the guitar on the recording.10．What is the attitude of The Times towards the release of Now and Then?A．Supportive.B．Curious.C．Unfavourable.D．Unclear. 11．What is the best title of the text?A．The Beatles Remains Second to Elvis PresleyB．Beatles Fans Welcome the New Song of The BeatlesC．Peter Jnckson Directed the Music Video for The BeatlesD．The Beatles Released a New Song with the Help of AlPsychologists tell us our self-image defines(限定) what we believe we can and cannot do. Each of us over the years has built up belief about ourselves: Unconsciously, our pictures of who we are have been formed by past experiences. As self-image plays a great role in our growth, gaining a proper understanding of it and even making changes to it can hold significant meaning for our development.Changing our self-image is possible: Some psychologists suggest we begin to change our self-image by mentally picturing ourselves performing well at some tasks. Since we presently react to things based on our present images, it's suggested that we replace those with better ones. In many experiments, people were asked to sit quietly for a few minutes each day and imagine themselves doing well. For example, subjects would sit and imagine themselves throwing darts(飞镖) at a bull's-eye on a target Over a period of weeks, their dart game improved.The point of changing self-image is not to develop an image of ourselves that is not real.The aim is to find the real self and to bring our mental images of ourselves in line with our true potential. However, it is generally accepted among psychologists that most of us fail to do justice to ourselves. We're usually better than we think we are.Another important part of changing self-image is to not think about past mistakes. Don't let failures do harm. It is all right to make mistakes. But when they have taught us what we did wrong, we should forget them and not dwell on(纠结于)them. Sometimes we keep remembering our failures or mistakes and feel guilty or embarrassed about them, and then we develop a fear.It is important to have realistic expectations of ourselves. Some of our dissatisfaction might come from expecting too much of ourselves. If our goal is to reach perfection, we are doomed(注定要失败的)from the start.12．Which situation agrees with the idea of the passage?A．To win a speech contest, Tina pictures herself speaking more confidently.B．To get along with her classmates, Doris always humbles(使卑微)herself.C．To become a star player, Alex repeatedly plays back his mistakes in his mind.D．To be better than his classmates, Joe sets an unrealistic goal.13．What is the purpose of paragraph 3?A．To clarify(澄清)the key to changing self-image.B．To confirm(确认)the effect of changing self-imageC．To propose a new view on changing self-image.D．To stress the importance of changing self-image.14．According to the author, how should we regard our past mistakes?A．They are tools for overcoming fear.B．They are warnings for future.C．They are part of our growth.D．They are barriers to our development. 15．What is the main idea that the author conveys in the passage?A．Overcoming fear through past mistakes.B．Building a realistic self-image through proper imagination.C．The importance of humility(谦卑)in personal growth.D．Setting realistic goals for personal development.Straw Weaving(草编)What’s the first thing that pops into your mind when you think of wheat straw? 16 However, Wu Cui, an intangible cultural inheritor, can turn the straw left over from harvested wheat into beautiful and eye-catching functional artworks.The Origin of Straw Weaving17 .The Book of Rites, one of the classical works of Confucianism, also records that there were already mats made of cattail grass and professional straw-weaving craftsmen during the Zhou Dynasty.The Process of Straw WeavingStraw weaving is a method of manufacturing daily items or artworks. Wu explains the process of straw weaving: selection of materials is the first step of a complicated, time-consuming and labor-intensive process that can take weeks, or even months, to complete. You need to sketch (素描)the piece on paper, which requires drawing skills. 18 .Even by finishing that process, it does not mean that you will always create a good piece of work. and the hardest part is to make it lifelike19In the past, woven straw items could be found almost in every household in the countryside. But due to the impact of industrialization. manufactured goods have replaced such products, which yield low profits, and there are only about 100 individuals engaging in the work across the country. “The world has changed, and craftsmen need to pursue the beauty and artistry of straw culture to help the craft survive and thrive,” Wu says.The Future of Straw WeavingFrom her perspective, straw weaving should respond to people’s needs and preferences, while still drawing inspiration from traditional culture. “ 20 ,” she says. When asked about her plans, Wu says she wants to dig deeper into local traditional culture and create cultural creative products by developing the straw-weaving technique.A．The Current Situation of Straw WeavingB．Next comes weaving, shaping and preserving of the workC．Craftspeople should try their best efforts to promote productsD．It was listed as a national intangible cultural heritage in 2008E．Most people would probably just see it as a pile of waste in a farmer’s fieldF．The earliest straw-weaving products were discovered at Hemudu Cultural Ruins G．Craftspeople should be responsive and creative and constantly update their products二、完形填空I was shocked when my socially awkward sister, who had suffered from Asperger Syndrome (阿斯伯格综合症), decided to sing in front of the school. I knew she would 21 me in some way, so I protested. However, my parents insisted that she 22 and I would have to be part of the audience. I silently hoped that something would happen to 23 me from watching her losing face.As I waited in the hall, sweat 24 my forehead. I comforted myself that no one knew she was my sister and tried to persuade myself that it would be 25 . The lights darkened and the 26 opened to reveal (使露面) my sister standing alone on stage. She seemed 27 , taking a minute to stammer (结结巴巴地说) her name and class. 28 began to be heard in the audience.I shifted nervously in my seat, afraid what was about to happen. But as my sister started to sing, I was 29 . Her voice flowed effortlessly and melodiously, filling the hall with its 30 .I watched in wonder, realizing I had never known she could sing so 31 . I listened carefully to the lyric (歌词) she had written herself, feeling ashamed for doubting her 32 . My heart gave way as I heard the heartfelt words.In that moment, guilt and shame flooded my heart. 33 my unwillingness to support her, she had never taken anything that I had done to her to heart. It was then that I determined to love her 34 . It was as if a veil (面纱) had been 35 from my eyes, and my heart was full.21．A．embarrass B．impress C．surprise D．support 22．A．hide B．quit C．escape D．perform 23．A．protect B．save C．recover D．rescue 24．A．picked up B．climbed upon C．took off D．went up 25．A．impressive B．exciting C．fine D．challenging 26．A．characters B．lectures C．curtains D．signals 27．A．confident B．nervous C．prepared D．relaxed28．A．Cries B．Crashes C．Whispers D．Screams 29．A．entertained B．disappointed C．relieved D．shocked 30．A．power B．weakness C．silence D．darkness 31．A．softly B．loudly C．quietly D．beautifully 32．A．abilities B．failures C．talents D．weaknesses 33．A．Without B．Despite C．Beyond D．Within 34．A．extremely B．equally C．unconditionally D．finally 35．A．lifted B．dropped C．covered D．hidden三、语法填空语法填空High school students and those who help in their education in Cyprus have developed 36 unusual robot. The robot uses ChatGPT artificial intelligence, or AI, technology. ChatGPT is a system 37 (develop) by U. S, company Open AI and backed by the technology company Microsoft. The aim of the students is to use the technology 38 (improve) learning experiences in the classroom.ChatGPT is an AI system that can have a 39 （discuss）and create written work. It can create material 40 is based on what it has learned from a large database of digital books, online writings, and other media. The robot is 41 (name) AInstein. It is the size of a small adult. The robot even has a screen for a face that appears to show human expressions.Tutor Elpidoforos Anastasiou is the project's leader. He said that students can ask it questions, it can answer back, and the robot can even help teachers teach more 42 (effective).Anastasiou showed how AI can be fitted to the classroom with AInstein 43 (show) how part of Albert Einstein's theory of time relativity can 44 (explain) by talking about a moving object called a pendulum（钟摆）.Their experience with AInstein shows that we should not fear AI, but rather approach it 45 care and responsible consideration. "四、单词拼写46．Even a small success can give you a sense of (成就). （根据汉语提示单词拼写）47．With the time to go hiking a (临近), we feel very excited. (根据中英文提示填空) 48．He (问候) me in the street with a friendly wave of the hand. (根据汉语提示单词拼写)49．Come and see her in (表演) with the new band. (根据汉语提示单词拼写) 50．Your trip to Alaska sounds really (令人着迷). (根据汉语提示单词拼写)五、完成句子51．In the 16th century, the nearby country of Wales (并入) the Kingdom of England. (根据汉语提示完成句子)52．The peaceful landscape of the “Emerald Isle” and its many green counties is a（视觉盛宴）. (根据汉语提示完成句子)53．If you introduce yourself to a friendly face, you are (非常有可能) to experience local culture and customers first-hand. (根据汉语提示完成句子) 54．Imagine (有机会) to sing together with hundreds of other people while your are at home alone. (根据汉语提示完成句子)55．It has (证明是) a positive influence on the lives of many people. (根据汉语提示完成句子)六、书信写作56．你刚观看了你校与英国一所友好学校联合在线上举办的音乐会。
莫扎特所有作品集列表
Vienna
47c
Concerto for Trumpet (lost)
Autumn 1768
Vienna
53
47e
Song,An die Freude
Autumn 1768
Vienna
49
47d
Missa brevis in G小弥撒
October-
November 1768
December 1766
Salzburg
70
61c
Recitative and Aria for Soprano, "A Berenice"
c. December 1766
Salzburg
76
42a
Symphony in F, "No. 43"
c. 1767
Vienna
43
43
Symphony in F, No. 6
October 1765
The Hague
22
22
Symphony in B-flat, No. 5降B大调交响曲(NO.5)
December 1765
The Hague
Anh.
220
16a
Symphony in A minor, "Odense"
Late 1760s
Salzburg?
78
73b
Aria for Soprano, "Per pieta, bell'idol mio"
3
3
Allegro in B-flat for Keyboard降B大调快板
4 March 1762
歌舞青春插曲-以及男女主角个人档案
歌舞青春插曲-以及男女主角个人档案第一部1. Start Of Something New 2. Get'cha Head In The Game3. What I've Been Looking For4. What I've Been Looking For (Reprise)5. Stick To The Status Quo6. When There Was Me And You7. Bop To The Top 8. Breaking Free 9. We're All In This Together 10. I Can't Take My Eyes Off Of You （没有唱过，但在练习Breaking free时有曲谱出现，在休斯顿演唱会中有演唱）第二部What Time Is ItFabulousWork This OutYou Are the Music in Me Humuhumunukukua'puaaI Don't DanceGotta Go My Own WayBet On ItEverydayAll For One能歌善舞，朋友圈子里也都是些早早踏上星途的青春明星们，妹妹Stella Hudgens和她同在2002年登上电视银幕。
凡妮莎接受过钢琴、声乐、舞蹈等方面的训练，出色的功底让凡妮莎在多部音乐舞台剧中担任主角，此外也做起了广告模特。
中文名：凡妮莎·哈金斯外文名：Vanessa Anne Hudgens别名：V、Vanny、Baby V、Sweet V国籍：美国出生地：美国加利福尼亚州萨利纳市出生日期：1988年12月14日职业：歌手、演员主要成就：发表了自己的首张音乐专辑《V》代表作品：音乐专辑《V》目录Vanessa Hudgens简介Sweet V参演电影Sweet V参演音乐剧简介Sweet V参演电视Sweet V演唱会Sweet V成长历程Sweet V人际关系Sweet V个人喜好Sweet V个人专辑①：《V》②：《Identified》Sweet V所获奖项Sweet V杂志封面Sweet V代言产品贴吧相册Vanessa Hudgens简介Sweet V参演电影Sweet V参演音乐剧简介Sweet V参演电视Sweet V演唱会Sweet V成长历程Sweet V人际关系Sweet V个人喜好Sweet V个人专辑①：《V》②：《Identified》Sweet V所获奖项Sweet V杂志封面Sweet V代言产品贴吧相册展开编辑本段Vanessa Hudgens简介中文名：凡妮莎·哈金斯英文全名最喜欢的电视节目：Vanessa Anne HudgensDegrassi: The Next Generation 星座: 射手最喜欢的车：Porsche Carerra GT身高：158cm 最喜欢的牛仔裤：Frankie B jeans体重：47.24kg 最喜欢的科目：科学特征：黑头发、棕色眼睛还有迷人的眼神和甜蜜的笑容,十分亲切粉丝名称：V蜜代表作品：歌舞青春【3部】、乐队狂飙（bandslam）、美女与野兽（beastly）专辑：《V》、《Identified》好友：Alyson Michalka、Brittany Snow 、Samantha Droke、Kayslee Collins,Emily Osment,Ashley Tisdale,、Zac Efron、Alexa Nikolas, Brenda Song、Miley Cyrus、Corbin Bleu 男友：Zac Efron【粉丝称两人为Zanessa】眼睛色：棕色（黑色一说已经被否定）发色：黑色父母：Greg Hudgens 、Gina Guangco 妹妹：Stella Hudgens编辑本段Sweet V参演电影★2003《Thirteen》 ......Noel First film to star with Brady Corbe ★2004 《Thunderbirds》 ......Tintin Second film to star with Brady Corbet ★2006《歌舞青春》 ..........Gabriella Montez★2007 《歌舞青春2》............Gabriella Montez ★2008 《歌舞青春3》 ..........Gabriella Montez ★2009 《Bandslam》（中文名《乐团狂飙》）（2009年8月14日上映)..........Sa5m★2011 《Sucker Punch》(影片暂定2011年3月25日上映) ..........Blondie《Beastly》（2011年3月18日上映) ..........Linda Taylor编辑本段Sweet V参演音乐剧2010 Rent (The Musical) 中文名:吉屋出租饰演: Mimi Marquez 时间: August 6~8（8月6日~8日）地点: Hollywood Bowl Directed简介《吉屋出租》堪称全美百老汇音乐界上世纪90年代的辉煌传奇，其迷人之处在于勾勒了艺术家挣扎的人生百态、诉说了动人爱情故事，在音乐素材上更打破了传统百老汇剧场模式，涵盖了丰富的音乐类型与元素，从狂放不羁的怀旧摇滚到抒情的民谣小品、从强而有力的节奏蓝调到空灵的福音音乐、甚至是火热的探戈舞曲……一应俱全，担纲作曲、作词、舞台剧剧本创作的乔纳森?拉尔森视高清电影《吉屋出租》为意大利歌剧大师普契尼的经典之作《波希米亚人》的现代诠释版，藉由该剧把真实的人生境况和周遭朋友的生活点滴搬上了音乐的舞台，从而造就出一个由不同文化、经济、性向和音乐拼贴而成的世界。
VOA主题音乐
Science in the News-Expansion of Knowledge
Explorations-All Souls Waltz by Nakai / Kater
The Making of a Nation-Hail Columbia by Phylo/Hopkinson
Scott Joplin, the "King of Ragtime Composers", in 1904 was near the peak of his career when his young bride, Freddie Alexander of Little Rock, Arkansas died just 2 months after their marriage. The existance of Freddie was almost forgotten. None of Joplin's acquaintances who had been interviewed for eariler biographies had ever referred to her. Edward A. Berlin in his recently published Joplin biography, "King of Ragtime" devotes an entire chapter to Freddie. His meticulous research proves her existence and brings to light several facts about her. I quote: "It is strange that none of Joplin's associates who were interviewed in later years, including his widow Lottie and his friends Arthur Marshall and Sam Patterson, mentioned Freddie. Perhaps the brevity of the marriage made it insignificant in the minds of his friends.But Freddie was not insignificantto Joplin, for some years later he was to memorialize her in his most ambitious work [his opera "Treemonisha"]".
高一上英语教案8篇
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俄罗斯手机用户指南说明书
Specifics of the Russian Accordion Timbre in DuetPerformanceVladislav BerezhnoyRussian State Specialized Arts AcademyMoscow, Russiae-mail:***************Abstract—The article is dedicated to the role of timbre in modern duet accordion performance and also tone and dynamic specifics of the Russian accordion.Keywords—Russian accordion; multi-timbre accordion; timbre; timbre coordination; register; basic registers; timbre dramaI.I NTRODUCTIONThe timbre-register palette of the accordion is a shade or the sound character of a tone. It is that quality which distinguishes one sound from another. In an accordion duet the sound of one performer may be different from the other and could even be very different if necessary (especially in orchestra music with different symphonic orchestra tones).An accordion players’ orchestra sounds bright when there are different timbres or multi-timbre instruments. Each composition has its own sound palette and shows the author's initial idea in the best way. It is an important quality for a performer to find, to keep and to enrich the tone material with new colors. The orchestra's instruments should be perfectly in tune to form an orchestra scale and to have a dynamic scale from ppp to fff. It is important to stress that all issues considered in this article are vital not only for accordion duets, but also for French and Russian accordion players.II.T HE I MPORTANCE OF T IMBREAn important quality of the Russian accordion is a special penetration of the tone defined by the purity of unison setting of two reeds. In the accordion players’ duet a wrong setting of one of the instruments may take place in non-academic genres (musette, tango), but in academic performance both accordions should be toned identically. Let's imagine the lyric song by A. Shalaev “A stripe” arranged for the performers’ duet on a wrongly tuned reeds of one or two instruments with a specific sharp sound. We will feel immediate aesthetic misbalance and the sharp tone will distort the musical character especially at traditional performances of the melody by two accordions.This will be even more obvious if one listens to a performance with accordions all playing in the same high pitch. This sound is characteristic for the French “musette” registers and in the Russian accordion construction “musette” is not used. The vibrant sound of this register is more vivid than unison, it sounds rather like a violin vibrato or a cello (but in a very harsh and simple form). It creates a tender sound which is pleasant for the listener's ear and attracts a lot of accordion lovers. But during lyrical folk music performances and also classic and modern academic compositions a wrong setting gives an impression of misplayed music.III.T HE M ETHODOLOGY OF A CCORDION T IMBREWe can play chamber, piano, choir and orchestra music with instruments of Jupiter, Acco, Rus` and Mir types. There are 15 standard registers: tone duplication [from 5 to 7] by reed switches, exact unison timbre (combination of the tones in the broken and the straight deck) ready-elected left key-cord.Tone, dynamic and tissue difference in the sound of the four manuals (right key-cord and three manuals in the left key-cord) can be explained by the resonators’ different positions inside the left and the right accordion semi-case and also their different voices sizes. In the multi-timbre duet of the ready-elected accordions a composer or an arranger has a chance to combine different tones and to increase, decrease or to straighten a tone or a group of music tissue.Anton Rubinstein used to say that a grand piano is one hundred and more instruments. A multi-timbre ready-elected accordion or even more a duet of concert accordions may undoubtedly be called a small symphony orchestra. It is important to stress that up to the 1960s the issues of timbre coordination in a duet or a solo accordion performance was not methodologically covered. However, A. Shalaev and N. Krylov, which were playing multi-timbre instruments, managed to get the sound of multi-timbres. Multi-timbre accordions existed but performers didn’t use them in academic music.It should be said that where in a piano timbre there is a string movement frequency, in an organ timbre there is an air column vibration placed inside the tube case, in a domra timbre or a balalaika there is a string fluctuation increased by the specifics of the deck resonator and the accordion's timbre is defined by a metal plate fluctuation (voice). An accordion's small sound element size defines its special timbre characteristics. If in instruments like the piano, the violin or the organ the sound specifics allow the performer to specify overtones, in accordion overtone specification that isInternational Conference on Arts, Design and Contemporary Education (ICADCE 2015)noticeable for the ear is impossible. The Improvement of the palette of sound options of modern concert accordions and different color combinations in a duet happens by means of ready timbres construction on the basis of four basis registers in the right semi-case of the accordion: in the right deck there is a brighter and clearer sound and in the left deck the sound is rather opaque and silent.For reeds, two unisons, one an octave higher and one an octave lower, create fifteen different registers. The base of the color variety of the accordion “Jupiter” consists of four timbres: fagot, clarinet, concertina and piccolo. Combining these four timbres creates eleven more registers: fagot and clarinet, fagot and concertina, accordion with fagot, tutti, organ, organ with clarinet, organ with concertina, accordion, celesta, hobo, accordion with piccolo. All timbres containing fagot are transponder registers [5, p.42].Left three-manual key-cord also has two timbres:Bass key-cords. For an accordion, an instrument created in Russia, an important and meaningful four-sound or even a six-sound bass has always beencharacteristic. M.I. Imhanitsky emphasizes: “Its full-sound foundation appeared and still is a firm basis ofall the lining above voices, it is capable to color withwarmth all music tissue, to underline the power ofbreath of all tissue vertical” [4, p.190];Chromatic buttons. Chromatic buttons with prepared accords as a special accompanying type in the 1960swere just a way of harmonization. A small scale ofprepared accords (Sol of the small and Fa# of the first)is defined by the dense location of this or thatappearance of every accord. It also provides harmoniccombinations of the quarta-quinta and the terzocombination. Triple sounds of the buttons are a bitsilent in comparison with identical accords of theright and chromatic buttons. The buttons’ timbre isvelvet in the low register (Mi of contra-octave – Mi ofthe small), clear and bright in the middle register (Reof the small – Fa of the first) bright and singing in thehigh register (Sol of the first – Fa of the second).If in an accordion solo performance an additional difficulty is the technique of switching from the ready key-cord to the chromatic one, then in the duet there's no such problem. Besides, in an ensemble of chromatic button accordions it is possible to present music tissue components only through the chromatic button and bass key-cords and also through their combination. Different combinations of three left key-cords may considerably enrich the timbre palette of a composition.Music sound shading is important both for orchestra and ensemble performance. As we see, timbre character in modern concert accordions duets may be widely colored. It is accompanied by the presence of 34 timbres in an ensemble – fifteen in the right key-cords and two in the left ones. A mechanism of register switching provides specific characteristics of intonation-timbre coloring. In a duet there are both mono-timbres and their different combinations. An ensemble, unlike a single accordion, possesses wider opportunities in orchestra compositions registering. Timbre-tissue differentiation can be doubled; that is possible as a result of timbre difference between the sound scale of the right and the left key-cords. This quality, arranged by two accordionists, allows using all tissue registers. Their dynamic specifics should be taken into consideration in order to not break voices’ functional hierarchy.IV.T IMBRE U SE IN C OMPOSITIONSA.General UseIt is important to remark that notation demands for multi-timbre and mono-timbre ensembles are the same (functions opposition with keeping of interior functional unity), that's why an opinion that it is easier to compose or instrument a mono-timbre ensemble is wrong. But the means for these demands in a mono-timbre duet are much lower. Modern concert accordion duets have the option to choose the timbre and the sound while a duet of non-register accordions may choose only the character of the sounding. In a mono-timber the specter of actions for different timbre palette achievements is much lower, but articulation, dynamic and texture decisions are important.In an accordion duet it is important to consider that the more important the essential difference between the music tissue functions, the higher the dynamic, articulation, timbre of tissue contrast should be. For a moderate opposition tissue functions division or individualization may be enough (depending on the situation). In cases where the maximum opposition is needed it is recommended to use both methods at the same time. For instance, in A. Shalaev`s “Moldavian Dance” arrangement for a mono-timbre duet we can see two melodic lines: the theme and its imitation. Using different sound-extraction methods would not be wise, that’s why the author tries the method of melodic lines division by tessiture, which allows us to vividly hear both voices “Fig. 1”.Fig. 1. Moldavian Dance by A. Shalaev.The combination of similar timbres leads to an increase of their main characteristics. The soft timbre gets softer and the harsh one gets harsher. Mono timbres in accordion player's duets concentrate on accord's quality, the interval, cluster and also decrease dissonance [2, p. 219–220].B.Tissue Development PrinciplesTissue development principles are an important basis on which many accordion performers work. It is obvious that there can be two kinds of tissue - a mono-plan and multi-plan.Mono-plan timbre.A mono-plan principle suggests the usage of opaqueor bright timbres depending on the character “Fig. 2”.Fig. 2. J. Kukuzenko. Syrba.Related instruments like domra or balalaika possessindividual timbres in a duet. If one is listening to anycomposition performed on these instruments it is easyto define the domra or the balalaika parts, even if theyare played in the same octave. The same may be saidabout other multi-timbre duets. This principle shouldbe applied to accordionists’ ensembles in order togive every instrument its own particular soundcoloring. It is important for accordionists’ duets tohave instruments with rich timbre options. Performersshould also possess the necessary skills to incorporatethese options.Multi-plan timbres.The combination of contrasting timbres (a bright oneand an opaque one) and functional lines creates thesecond tissue kind - a multi-plan one “Fig. 3”.Fig. 3.It is important to remember that the accordionists canuse not only the instruments’ timbres, but also theircombined timbres. There may be a lot of combinationof the ready left and the button key-cords. Thesemultiple combinations allow the performers to hold, ifnecessary, a melodic, a harmonic, a sub-sound and abass line at the same time of the same music tissuewith different music sounds. Performers perfectlypossessing all the multiple sound extraction methodsmay implement an artistic image in all its timbrevariety and use all the shades contained in this timbre.V.U SING THE F ULL P OTENTIAL OF T IMBREA.Required playing skillsMany accordionists who play transcriptions (with no registers) on multi-timbre instruments don't possess enough registration skill. First of all, one should have an idea of the timbre. Multi-timbre accordions with seventeen standard registers (fifteen on the right key-cord and two in the left), four-octave bass and buttons may become an obstacle: by changing the registers mechanically one should be able to differentiate a sound even within a timbre. One just has to remember some outstanding accordionists of the after-war period like N. Rizul and A. Shalae, who played mass produced accordions with ready accords, with no registers and left button keys, and got unique timbre nuances. Even on such instruments the voices of three manuals in different tessitures may remind one of the sounds of a flute, a fagot, a French horn, a tuba and other symphony orchestra instruments. If a performer hears timbre differences on a non-register accordion (“Yasnaya Polyana”, “Rubin”), then he will completely incorporate a rich colorful scale on a multi-timbre accordion.We often experience problems when modern repertoire for an accordion duet (with arrangements or composer's registers) is performed by two-sound instruments. At the same time many accordionists do not follow the register marked by the author.B.Following the CompositionLack of understanding of the transponent role of the required register is also characteristic of professional performers. Yet, one should remember that music tissue transfiguration to a different octave distorts the composer’s or the arranger’s initial idea. For instance, if a register tutti is marked and there’s no remark on another octave, then the voice in the first key will sound an actave lower. Accordingly, when performing the ReMinor Vivaldi-Bach concert on accordion it is necessary to consider register specifics as marked by the author “Fig. 4”.Fig. 4. A.Vivaldi-I. Bach Re Minor Concert.This example shows that for an ensemble performer performing the second part on a non-register accordion it’s important to perform the notation in another octave than it is registered only to transport a more powerful tissue sounding that will be heard in accordance with the author's idea “Fig. 5”.Fig. 5. A.Vivaldi-I.Bach. Re Minor Concert.Thus, an accordionist or an arranger will be capable of incorporating different colors and shades into the artistic idea only if they can differentiate these timbres.C.Artistic Value of TimbreIt is necessary to stress that a timbre as one of the means of musical language possesses an independent emotional and genre impact. But it completely expresses the power of its impact only in combination with the other musical speech elements. L. Dunaev, for instance, remarks that orchestral means affecting the expressiveness of brass orchestra of N. Ivanov-Radkevich, includes both music tissue components and the timbre ones: “...Imitation of the solo and choir singings acquired by the means of the orchestra: by comparison of the solo, ensemble, tutti and combination of the necessary facture changes” [3, p.76[. The same means may be observed in Vl. Zolotarev`s accordion duet arrangement “Rondo Cappricioso” and also some other duet transcriptions.VI.T IMBRE IN C ONTEMPORARY A CCORDION M USICTimbre achievements in music practice in the context of the new timbre spheres are particularly acute for modern duet art. Multiple principles and tendencies of the timbre development of the XXth century separate them from previous centuries. Timbre’s importance as emotional, expressive, composition and structure element has risen. Its role has grown in a general architectonics’ plot of music compositions. An expression of these processes of composers’ art is a difficult and varied expressive side of modern accordion duet compositions. If A. Shalaev’s art is based on a folk and dance basis and is characterized by a more common circle of images and music language, then in Vl. Zolotarev`s and S. Berinsky`s compositions the search for new and unused means of music expression is brightly expressed. The timbre side remains one of the central ones, considering a wide variability in interpretations. Vl. Zolotarev and S. Berinsky try to find new forms for duets.Modern performers also understand the different folk songs and dances of A.Shalaev. Its innovation is first of all in the composition’s register, which was not intended by the author. A good example is “Moldavian Dance” performed by E. Listunova and Ivashkin.Accordionists and instrumentalists say that the steadiness of the sound and the timbre combination of both parties of the duet depends on what exactly performers, the arranger and the composer are planning to use as expressive means for the theme development as well as new musical material implementation. If performers want to get dynamic growth, it is important to exclude dynamically strong registers, if brightness is important, lighter timbres should be excluded. For any expressive elements it is vital to use the lower tessiture register.Timbre drama of compositions has individual laws. F.R. Lips writes: “The main role in right registration choice plays the style and the composition content. Generally, the registration plan is kept due to the general architectonics of the composition. It is better to change registers only in some important key moments, on the forms side changes, during the increase or decrease of the number of voices, facture changes, etc.” [5, с. 44, 45]. V.V. Vasiliev remarks: “When studying timbre drama for the first time an impression may appear that timbre register switching is equal to the change of orchestra instruments. Yet, it is not like this. Coloring change in the accordion is analogue to the timbre shades of violin and piano, to which the accordion does not give way” [1, с. 79].In the duet accordion repertoire (in which timbre opportunities double in comparison to solo) transcriptions of orchestra music are predominant. That is why as a rule the first accordion party plays a definite registre (bayan, for instance) and will therefore transfer the color of the sound of the first violins and the button keys in the first octave which will support the cello coloring. At the same time the second ensemble player may change the register if necessary to fit the violin or the piano.Thus, in modern duet accordion performance we see the increase of importance of the timbre in musical expression. If in 1970s a timbre was a secondary mean of expression, now it becomes primal.R EFERENCES[1]Vasiliev V.V. Russian Composer`s Music of 1970-ies -90-ies and themain tendencies of its performance interprettion. Arts MA theses17.00.02, Moscow, 2004.[2]Dunaev L.F. The Science of Instrumentalism Groeth, its developmentin Russian Music Studies of the Xxth century. 17.00.02. Мoscow, 2000.[3]Dunaev L.F. Artistic Heritage of N.T. Ivanov-Radkevich – a newstage in instrumentalism developmet for brass orchestra 17.00.02. М., 1977.[4]Imhanitsky M.I. The History of Accordion art: a Manual. Moscow,Gnesiny Academy. 2006.[5]Lips F.R. The art of Accordion Perforamce. Moscow, Music, 1998.[6]Rosenfield N.G., Ivanov M.D. Harmonicas, bayans, accordions:college manual. Moscow, Light Industry, 1974.[7]Roisman L.I. Organ in the History of Russian Music Culture in 2volumes. Kazan Conservatory, 2001. Vol.1。
Corelli Trio Sonata in D, Op. 3 No. 2 Movement IV
15. CorelliTrio Sonata in D, Op. 3 No. 2: Movement IV(For Unit 6: Further Musical Understanding) Background information and performance circumstances Arcangelo Corelli (1653–1713) is one of the most important and influential composers of the Baroque period. This is all the more remarkable for the fact that his output was very small, being just four sets of twelve trio sonatas, twelve solo sonatas and twelve concerti grossi, plus a handful of other works. All of his music was written for instrumental forces (almost entirely string ensemble) and the form and style of these works were highly regarded by the later generation of Baroque composers such as Handel and Bach. His music was widely recognised and circulated through publishing with as many as 35 different editions of his Op.1 Trio Sonatas being published during the eighteenth-century alone. The compositional techniques Corelli employed are frequently cited as a model for students of Baroque counterpoint and harmony today.Corelli was born into a prosperous landowning family in Fusignano in Northern Italy, although sadly his father died before Arcangelo was born. He studied for four years at nearby Bologna at a time when Italians reigned as the best instrument makers, teachers and performers of string music in the whole of Europe. In 1675, he moved to Rome where he remained for the rest of his life earning his living as a violinist and composer. Queen Christine of Sweden was an early patron of Corelli (he dedicated his Op.1 Trio Sonatas to her) but the Op.3 Trio Sonatas were dedicated in 1689 to Duke Francesco II of Modena. At the time, Corelli was employed by Cardinal Pamphili as his music master, living in the Cardina l’s palace and organising and directing the regular academies (Sunday concerts) there. Corelli was notable for being a strict disciplinarian with his orchestra, being one of the first directors to insist that violinists within a section achieve unanimity in their bowing. These Op.1 and Op.3 Trio Sonatas are known as ‘Sonata da Chiesa’ (or ‘Church Sonatas’) and were designed to be played either in church or for sacred concerts. Typically there are four movements in the order slow – fast – slow – fast and the style is broadly contrapuntal in character. Op.2 and Op.4 Trio Sonatas were called ‘Sonata da Camera’ (or ‘Chamber Sonatas’) and are more secular in style, usually also in four movements with an opening prelude followed by three dances (sarabanda, corrente, gavotta etc.) and are generally more homophonic in texture.Op.3 consists of twelve such Sonata da Chiesa (six in major keys and six in minor keys). The keys use no more than two sharps or flats except for one which is in F minor. No.2 is in D major and all four movements (grave – allegro – adagio – allegro) are in that key. There is no melodic link between the movements although they are clearly designed to be played as a whole (the third movement, for instance, finishes with an inconclusive Phrygian cadence).Performing forces and their handlingAlthough called ‘Trio Sonata’ this work requires four performers:●Violin 1●Violin 2●Violone●Organ.The first violin part (probably designed to be played by Corelli himself) and the second violin part (possibly played by Matteo Fornari, one of Corelli’s pupils) are broadly equal partners in that they share a similar tessitura (range of pitch), with Violin I covering two octaves and a semitone and Violin II a 14th. They frequently imitate each other at the unison and are constantly crossing parts and exchanging ideas. Although the first violin always states the material first in this (and other) movements, the second violin finishes the whole sonata on top. The writing is idiomatic, although the parts are not difficult to play, only twice (in bars 11-13 and again in bar 34) requiring either player to venture beyond first position, and not using the bottom G string except for the penultimate note in the first violin part. It is possible that performers would embellish the repeated sections with some ornamentation (although this is not heard on the anthology CD). The violone is a low-pitched bowed string instrument similar to the bass viol, often with five or six strings. However, the term is used loosely and may simply refer to any bass string instrument such as the violoncello. Certainly, Corelli often performed with the Spanish cellist G.B. Lulier who was referred to as ‘Giovannino del violone’. The pitch range is two octaves, and fits comfortably within the range of the modern cello.The continuo part is provided by the organ which would probably have been a single manual pipe organ without pedals. The player would have been expected to improvise the inner harmonies by providing suitable chords above the bass line according to the figured bass. Corelli’s original figuring is likely to have been somewhat sparser than that provided by this edition, but it is interesting to note the passages where the organ is given a simplified version of the bass part (bars 7 and 22).TextureThe movement is typically contrapuntal. It is in a three–part texture with the violone part joining in the counterpoint for most of the movement.The opening section is fugal in style. The first violin states the subject (monophonic texture) and the second violin provides the answer a 4th lower (called a ‘real answer’ as it is exactly the same). In bar 5 the two violins start an inverted version of the subject in parallel 3rds before the violone completes the entries of the original subject starting midway through bar 6. Stretto entries (where the parts come in more closely), showing imitation, in bars 11-13 are followed by a closing passage where the violins sustain an inverted pedal point (briefly doubled in bars16-17) above the moving bass line.Corelli achieves much variety within this three-part texture. Often the parts are polarised with the two violins close together above a bass much lower in pitch (e.g. bars 18-19), but they are more evenly spaced at the start of bar 27. Violin 2 and Violone sometimes work together inparallel 10ths (bars 8-9) although in the later part of the movement the imitation is largely confined to the violins with the violone providing a more distinct bass line (bars 28-end). The texture is more obviously homophonic at cadence points (bars 26-27, 42-43). An interesting effect occurs in bars 32-34 where the two violins leapfrog over each other with successive entries of imitation a 4th higher. It is worth noting also how Corelli draws the movement (and the whole sonata) to a close by dropping all three parts down an octave for the final three bars.Structure and tonalityThis movement is in binary form: A (repeated) B (repeated). As the movement is broadly monothematic the structure is defined by the repeat marks and the tonality.●The A section (bars 1-19) starts in D major and modulates to the dominant (A major).●The B section (bars 20-43) begins on the dominant with the same melodic material(inverted) and modulates through various related keys before returning to the tonic at the end. Bars 41-43 could be regarded as a Codetta.This table shows phrase structure and keys.HarmonyThis movement is entirely functional and diatonic, that is, all the accidentals in the music are related to a change of key. The harmony is largely consonant and uses mostly root position chords and first inversion chords (shown by a 6 in the figuring).Dissonance occurs through carefully prepared suspensions (a 7-6 on the first beats of bars 9 and 10 for example, and a 4-3 on the second beat of bar 40) and double suspensions (9-8 and 7-6 simultaneously on the second beats of bars 29 and 30). Suspensions also occur in the organ part alone (notice the figures at bar 23) and as part of a IIb7– V progression (bar18). Usually, all suspensions resolve downwards by step, but the first violin leaves the dissonance occurring on the first beat of bar 39 unresolved with a leap upwards.There are frequent perfect cadences which define the phrase structure (bars 4, 10-11, 18-19) and the changes of key (B minor in bars 27-28, E minor in bars 31-32). These latter examples are masculine cadences (finishing on strong beats) whereas the earlier ones (e.g. bar 4) are feminine cadences (finishing on weak beats). The strongly functional harmony is also evident in the cycle of fifths progression (bars 32-35) and the tonic pedal notes heralding the ends of sections (bars 15-18 and 39-40).MelodyAs already stated, this movement is monothematic with all the melodic invention deriving from the opening three-note motif based on a rising 3rd. Corelli develops this apparently simple motif in the following ways:●as a rising sequence with added passing notes (second half of bar 1)● a further sequence of this embellished version (first half of bar 2)●in inversion (bar 5)●as a falling one-bar sequence with the embellishments removed (2nd violin and violonebars 8-10)●juxtaposition of the opening motif and its inversion in rising sequence (bar 11 andsubsequent entries)●extended falling sequence in violone (bars 15-17).●addition of an anacrucis to the motif for the entries starting in bar 32.As a consequence of this development of the motif, almost all of the melody is based on the interval of a 3rd and stepwise movement. Occasionally, an octave leap (e.g. 1st violin in bar 7) will break the chains of characteristic descending sequences.Rhythm and metreThis movement is written in the style of a gigue, which is a lively dance in compound time, more usually found in the Sonata da Camera. With a time signature of 6/8, compound duple, the strongly rhythmical character of the music is enhanced by the phrasing in dotted crotchet beats in the opening subject (bars 1-2) and the cadence points in bars 2 and 4. Corelli plays around with this regularity of metre to add interest and buoyancy to the movement:●violone entry in bar 6 starts half way through the bar (all subsequent entries are at onebar’s distance – bars 11-12, 21-22 etc.)●syncopation in the 1st violin part in bars 26-27●hemiolas in bars 27 and 31 with the harmony changing on the 1st, 3rd and 5th quavers ofthe bar giving a feel of 3/4 time.The theme consists of quaver and semiquaver rhythms and they are prevalent throughout. Occasionally rhythms of longer duration occur in the upper parts eg. bar 15.。
蕾哈娜单曲《rightnow》的英文歌词
蕾哈娜单曲《right now》的英文歌词《Right Now》是巴巴多斯女歌手蕾哈娜演唱的一首歌曲，歌词、曲谱由大卫·库塔、乔吉奥·图因福特、蕾哈娜、星际之门、尼基·罗曼罗、Ne-Yo、The-Dream谱写，作为蕾哈娜第七张录音室专辑《Unapologetic》的第五发单曲，于2013年5月28日发行。
2014年10月，该歌曲荣获BMI伦敦奖授予的2014年伦敦流行奖歌曲奖。
《Right Now》创作背景在《Right Now》的单曲封面上，眼神迷离的蕾哈娜以短发出镜，眼睛以下的部分被一片血红色覆盖，艺术签名由蕾哈娜亲自书写。
2012年，该歌曲的词曲编写者大卫·库塔、乔吉奥·图因福特、星际之门、尼基·罗曼罗皆由参与该歌曲的制作、乐器的编排。
制作在在加利福尼亚的录音室进行，在流程中，技师和助理由丹妮拉·瑞维拉和沙维尔·史蒂芬森担任，混音技术由曼尼·马洛魁恩掌控，库克·哈瑞、马克斯·托瓦负责人声录音，人声录制工作也被前者包揽。
《Right Now》歌曲歌词英文Tomorrow way too far awayAnd we can't get back yesterdayBut we young right nowWe got right nowSo get up right now'Cause all we got is right nowTomorrow way too far awayAnd we can't get back yesterdayBut we young right nowWe got right nowSo get up right now'Cause all we got is right nowBaby tonight I need youAnd I feel it when I see youWherever you wanna goWhenever baby I'm yoursTomorrow way too far awayAnd we can't get back yesterdayBut we young right nowWe got right nowSo get up right now'Cause all we got is right nowTomorrow way too far awayAnd we can't get back yesterdayBut we young right nowWe got right nowSo get up right now'Cause all we got is right now'Cause all we got is right nowSo close I can taste youAin't escape I can take youCan't fight the feelingGot me feel feelingYou got me feelingSomething you wanted to do all your life There's no more waiting tonight is the night And it can't be wrong not if it feels this right Turn it up, scream it loud, yeah Tomorrow way too far awayAnd we can't get back yesterdayBut we young right nowWe got right nowSo get up right now'Cause all we got is right now Tomorrow way too far away And we can't get back yesterday But we young right nowWe got right nowSo get up right now'Cause all we got is right now 'Cause all we got is right now 中文未来太遥远我们也无法重回昨日但我们现在正年轻我们拥有的是此时此刻所以来吧,就是现在因为此时此刻就是我们的所有未来太遥远我们也无法重回昨日我们现在正年轻我们拥有的是此时此刻所以抖擞起来就是现在因为此时此刻就是我们的所有亲爱的今晚我需要你当我看到你的时候,我就感觉到了无论你在何方无论何时我都属于你未来太遥远我们也无法重回昨日但我们现在正年轻我们拥有的是此时此刻所以抖擞起来就是现在因为此时此刻,就是我们的所有未来太遥远我们也无法重回昨日但我们现在正年轻我们拥有的是此时此刻所以抖擞起来就是现在因为此时此刻就是我们的所有因为此时此刻就是我们的所有我们之间的距离近得我可以尝到你的滋味别恐惧我能征服你我阻挡不了这种情愫感受我你让我感受到了有些事情你爱,就想去做别再等了今夜就是最佳时机只要享受今宵便不会出错不会错的我们感觉如此快乐嗨起来，大声喊出来未来太遥远我们也无法重回昨日但我们现在正年轻我们拥有的是此时此刻所以抖擞起来就是现在因为此时此刻就是我们的所有未来太遥远我们也无法重回昨日但我们现在正年轻我们拥有的是此时此刻，所以抖擞起来就是现在因为此时此刻,就是我们的所有因为此时此刻,就是我们的所有《Right Now》歌曲鉴赏《Right Now》尽管有着《Phresh Out the Runway》的刺耳缺点，但仍然是《Unapologetic》中起眼的舞曲，也是所属专辑中数一数二的电音高潮、令听者赞不绝口的良曲。
万圣节恐怖歌曲：Heart Skips a Beat歌词
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车尔尼 作品列表 编号 记录 Czerny
作品列表作品92号：托卡塔（Toccata）作品139号：简易练习100首作品151号：大的颤动练习Grand Exercice de Trilles Op.151 (Piano solo)作品161号：48首前奏与终止练习曲作品229号：为两架钢琴而用的快速练习曲40首作品239号：二重奏练习曲50首作品244号：大的半音阶练习作品245号：大的三度音阶与双音经过句练习作品261号：基本练习101首作品268号：练习曲式大奏鸣曲作品277号：初级练习10首作品299号：快速练习40首作品335号：连奏和断奏练习作品336号：24首练习作品337号：每日课程40首作品355号：装饰音练习作品359号：初级教程第一课作品365号：演奏家的高级练习曲作品380号：24个大调的三度练习曲作品388号：准备的简易练习曲作品399号：改善左手的1十首大练习曲作品400号：赋格的练习作品409号：50首特性练习曲作品428号：60首初级练习作品433号：准备过程的练习曲作品453号：初步简易练习150首作品481号：初步练习50首作品495号：42首四手练习曲作品499号：两首为少年钢琴家写的练习曲作品553号：6首八度练习曲作品584号：钢琴初级教程作品599号：实用初级练习100首作品613号：表情练习曲集作品632号：12首练习曲作品636号：灵活手指的预备练习作品684号：24首爱尔兰歌调练习作品692号：24首大型沙龙练习曲作品694号：少年练习曲作品699号：右手的艺术作品706号：24首新爱尔兰练习曲作品718号：24首左手简易练习曲作品727号：两架钢琴的12首练习曲作品735号：左手三度练习曲作品737号：40首天天练作品740号：灵活手指的华丽练习50首作品748号：小手用的练习25首作品749号：小手用的练习25首作品750号：基本练习30首作品751号：四手用的音阶练习作品753号：30首华丽练习曲作品755号：特性练习曲25首作品756号：25首大练习曲作品765号：库朗特练习曲作品767号：50首表情练习曲作品777号：五指练习24首作品779号：大的耐力和速度练习曲作品785号：25首大的特性练习曲作品792号：35首为达到钢琴精确技巧的练习曲作品793号：大的琶音练习作品802号：实用练指法作品807号：新的练习曲作品818号：50首手指练习作品819号：曲调和节奏练习曲集作品820号：50首天天练习作品821号：8或16小节的练习160首作品822号：通向颠峰的途径作品823号：初步练习作品824号：四手练习作品825号：儿童钢琴教程作品829号：华丽练习曲作品834号：演奏家练习曲作品835号：儿童的方法作品837号：现代钢琴篇章作品838号：和弦低音练习作品840号：50首旋律练习作品845号：12首轻快练习作品848号：小手新钢琴日课32首作品849号：流畅练习曲作品861号：左手练习曲Works Listed by Opus NumberFor Piano Unless Otherwise Noted1 - 99•Op.1 - Variations Concertantes on a Theme of Krumpholz for Violin & Piano•Op.2 - Brilliant Rondeau on the Cavatine de Carafa for Piano 4-Hands•Op.3 - Brilliant Fantasy and Variations on "Romance of Blangini" for Piano with String Accompaniment•Op.4 - Le Souvenir, Variations•Op.5 - Grand Rondeau No.1 in C Major•Op.6 - Waltz or Exercises•Op.7 - Piano Sonata No.1 in Ab Major•Op.8 - Amicitiae, Andantino with Variations•Op.9 - Variations Brillant & Facile on a Favorite Theme•Op.10 - Brillant Grand Sonata in C minor for Piano 4-Hands•Op.11 - Brilliant Divertissement for Piano 4-Hands•Op.12 - Variations on Schubert's Trauer-Walzer D.365 No.2 (Solo & Duet Versions)•Op.13 - Piano Sonata No.2 in A minor•Op.14 - Brilliant Variations on an Austrian Waltz•Op.15 - Recreation for the Carnival, Brilliant Choice of Waltz and easy: 2 Books•Op.16 - Introduction and Variations on "O cara memoria"•Op.17 - Brilliant Rondo on a favorite Menuet of C. Kreutzer (Alternate Title: Fantaisie deA. Delaseurie sur un Air Suisse)•Op.18 - Brilliant Grande Polonaise•Op.19 - Variations of a Barcarole Favorite•Op.20 - Introduction and Variations on a Marche favorite della Donna del Lago•Op.21 - Introductions and Variations on a Cav. Favorite "Sorte secondami"•Op.22 - Rondino No.1 on "Cara attendimi"•Op.23 - Brillant Rondo No.2 in G Major for Piano 4-Hands•Op.24 - Presto Caratteristico, Duet in A minor•Op.25 - Brilliant Variations on "Ah come nancondere" for Piano 4-Hands•Op.26 - Rondo quasi Capriccio in Eb Major•Op.27 - Fantasy in Bb Major•Op.28 - Piano Concerto in F Major•Op.29 - Rondino No.2 on a Theme de l'Opera Corradino•Op.30 - Rondino No.3 on a Theme de l'Opera Armida•Op.31 - 3 Fugues•Op.32 - New Year's Gifts, 24 Waltzes•Op.33 - La Ricordanza, Variazioni sopra un Tema di Rode•Op.34 - Duet after the 1st Trio of Mayseder for Piano 4-Hands•Op.35 - Waltz di Bravura•Op.36 - Impromptus ou variations brillantes•Op.37 - Fantasy followed by a Romance varied•Op.38 - 1st Grand Potpourri Concerto for 2 Pianos 6-Hands•Op.39 - Rondino No.4 on a Theme by Fesca•Op.40 - Brilliant Variations on Ballet La Danseuse d'Arthere for Piano 4-Hands•Op.41 - Rondino No.5 on a Theme by Beethoven•Op.42 - Rondino No.6 on an original Theme•Op.43 - Brilliant Divertissement No.2 on a Cav. "Aure felice" for Piano 4-Hands •Op.44 - Romance of Beethoven arranged as a Brilliant Rondo for Piano 4-Hands •Op.45 - Charms of Baden, Rondo Pastoral•Op.46 - Variations on a Bohemian Air•Op.47 - Grand Exercise in Bravura in the form of Brilliant Rondo•Op.48 - Die Schiffende, for V oice & Piano with words by Holtz•Op.49 - 2 Brillant Sonatinas•Op.50 - 2 Brillant Sonatinas for Piano 4-Hands•Op.51 - 2 Brilliant Sonatinas for Violin & Piano•Op.52 - Variations in an Easy Style on the Air from Die Fee aus Frankreich•Op.53 - Rondoletto Scherzando in C Major•Op.54 - Brilliant and Characteristic Overture for Piano 4-Hands•Op.55 - Charms of Friendship on a Theme of Beethoven•Op.56 - Introduction and Variations on the 1st Galoppe•Op.57 - Piano Sonata No.3 in F minor•Op.58 - Legerrazza e Bravura, Brilliant Rondo (with Quartet Accompaniment)•Op.59 - Introduction and Brilliant Variations on a Rondo and Marche favorite of Roland •Op.60 - Einleitung, Variations and Rondo on C. M. von Weber's Hunting Chorus from Euryanthe (with Orchestral Accompaniment)•Op.61 - Preludes, Cadences, and a Short Fantasia in a Brilliant Style•Op.62 - Caprice and Variations on "An Alexis" by Himmel•Op.63 - Brilliant and Easy Toccatine on Tarrantelle of the Ballet Die Fee und der Ritter •Op.64 - Fantasy in the Modern Style on Potpourri•Op.65 - Piano Sonata No.4 in G Major•Op.66 - Rondo and Waltz in C Major•Op.67 - Concert Variations followed by a Hunting Rondo on the walk of the Ballet, Barbe Bleu for Piano 4-Hands•Op.68 - Passionate Rondo•Op.69 - Allegretto grazioso on a Theme from the Ballet, Barbe Bleu•Op.70 - Romance in D Major•Op.71 - Brilliant Nocturne after "Das waren mir selige Tage, for Piano 4-Hands•Op.72 - 2 Nice Rondos•Op.73 - Variations on "Gott erhalte Franz den Kaiser" (with Quartet or Orchestral Accompaniment)•Op.74 - Brilliant Rondoletto in Eb Major•Op.75 - 3 Grand Allegros•Op.76 - Piano Sonata No.5 in E Major•Op.77 - Variations on "God Save the King"•Op.78 - Piano Concerto in C Major•Op.79 - 3 Grand Marches (Solo & Duet versions)•Op.80 - Introduction and 7 V ariations, Concerto for Piano & Flute (or Violin)•Op.81 - Variations on Marche Anglais•Op.82 - Grand Exercise in F Major•Op.83 - Romance from W. Scott's "Fraulein vorn See" for Voice & Piano•Op.84 - Grand Potpourri No.2 for 2 Pianos 6-Hands•Op.85 - 3 Polonaises•Op.86 - Variations sur l'hymne Bavarois•Op.87 - Introduction & Variations Faciles on a Waltz of Mr. le Comte de Gallenberg for Piano 4-Hands•Op.88 - Rondino No.7 on a Motif from the Opera "Elisa e Claudio" of Mercadante•Op.89 - Capriccio a la Fuga in E minor•Op.90 - 6 Rondeaux Mignons for Piano 4-Hands•Op.91 - German Air with Variations, "Es Ritten drei Rieter•Op.92 - Toccata or Exercise in C Major•Op.93 - Rondo Espressivo in E Major•Op.94 - 2 Grand Marches for Piano 4-Hands•Op.95 - Notturno Brillant for Piano, Violin, Viola, Cello, Flute, Clarinet, Horn, Bassoon, & Double Bass)•Op.96 - Rondino No.8 on an Original Theme (alla Polacca)•Op.97 - Rondino No.9, "La Chasse"•Op.98 - Rondino No.10 on a Theme of Mozart•Op.99 - Rondino No.11 on a Theme of Haydn100 - 199•Op.100 - Rondino No.12 on a Theme of Cherubini•Op.101 - Grand March composed for the Coronation of the Empress Caroline of Austria for Piano 4-Hands•Op.102 - Rondeau Brillante No.3 for Piano 4-Hands•Op.103 - Variations Brillante sur un Air Militaire Francaise•Op.104 - 3 Sonatines Faciles et Brillantes for Piano with Violin & Cello Accompaniment ad libitum•Op.105 - Piano Trio No.1 in Eb Major•Op.106 - Introduction & Variations on an Original Theme for Piano 4-Hands•Op.107 - Rondeau Brillante dans le Style Francaise in D minor•Op.108 - Caprice in E minor•Op.109 - 5 Unvergangliche Blumchen for V oice & Piano•Op.110 - 1st Decameron Musical, Recueil de Compositions Brillant et Faciles (10 Bks., Solo Piano Version)•Op.111 - 1st Decameron Musical, Recueil de Compositions Brillant et Faciles (10 Bks., Piano 4H Version)•Op.112 - Galoppe Varie No.2•Op.113 - Variations on an Original Theme•Op.114 - Valse Variée•Op.115 - Easy Variations on a Theme from the Farce, Staberl's Reise Abentheuer in Frankfort and Munchen•Op.116 - Impromptu Brillant for Piano 4-Hands•Op.117 - Tendress, Amitie, & Confiance, 3 Rondeaux•Op.118 - Grande Polonaise Brillante (with string quartet ad libitum)•Op.119 - Sonate Militaire et Brillante for Piano 4-Hands•Op.120 - Sonate Sentimentale for Piano 4-Hands•Op.121 - Sonate Pastorale for Piano 4-Hands•Op.122 - Grand Divertissement in the Form of a Rondo Brillante with Orchestral Accompaniment•Op.123 - Variations Brillante sur "Gott Erbalte Franz den Kaiser" for Piano 4-Hands •Op.124 - Piano Sonata No.6 in D minor•Op.125 - Variations Brillantes on a Theme from the Opera 'Il Crociato' for Piano 4-Hands •Op.126 - Grande Serenade Concertante for Clarinet, Horn, Cello, & Piano•Op.127 - Rondino No.13 on a Theme from Auber's Opera "Le maçon", for Piano Quintet •Op.128 - Rondeau Brillant in A Major•Op.129 - Duo concertant in G Major for Flute (or Violin) & Piano•Op.130 - Variations Brillantes on 2 Themes from the Opera 'L'Ultimo Giorno di Pompei' for Piano 4-Hands•Op.131 - Fantasie Elegante (or Potpourri Brillant) on Themes from the Opera 'La Dame Blanche'•Op.132 - Variations Brillantes sur "Depechons Travaillons" de l'Opera 'Le Macon' (Solo & Duet Versions)•Op.133 - Introduction & Variations on the Cavatine from the Opera 'L'Ultimo Giorno di Pompei'•Op.134 - Impromptu (or Variations) on a Theme from the Opera 'Oberon'•Op.135 - Variations on a Theme from teh Opera 'Oberon'•Op.136 - Hommage aux Dames, Repertoire des Nouvelles Compositions Brillantes (3 Bks.)•Op.137 - Allegro Affetuoso for Piano 4-Hands•Op.138 - Variations de Concert on "La Marche des Grecs" de l'opera 'Le Siege de Corinthe'•Op.139 - 100 Progressive Etudes•Op.140 - Introductions & Variations on a Favorite Air from 'Das Madchen aus der Feenwelt'•Op.141 - Variations on the Favorite Duet "Bruderlein Fein" for Piano 4-Hands•Op.142 - Overture for Orchestra in C minor•Op.143 - Piano Sonata No.7 (Grande Fantaisie en forme de Sonate)•Op.144 - Piano Sonata No.8 in Eb Major (Grande Fantaisie en forme de Sonate) •Op.145 - Piano Sonata No.9 (Grande Fantaisie en forme de Sonate)•Op.146 - Funeral March on the Death of Ludwig van Beethoven (Solo & Duet Versions) •Op.147 - Variations a Capriccio on 2 Themes from the Opera 'Oberon' for Piano 4-Hands •Op.148 - Piano Quartet No.1•Op.149 - Rondoletto Concertant in F Major•Op.150 - 3 Polonaises Sentimentales•Op.151 - Grand Exercise on the Shake•Op.152 - Grand Exercise in All the Keys, Major & Minor•Op.153 - Concerto in C Major for Piano 4-Hands & Orchestra•Op.154 - Graduale Pastorale in F Major, "Hodie Christus Natus Est", for 4 V oices, 2 Violins, Viola, 2 Clarinets, 2 Horns, Cello, Double Bass, & Organ•Op.155 - Exsulta filia Sion, Offertorium Pastorale•Op.156 - Belohnung der fleissigen Jugend, 3 Sonatinen for Piano Duet•Op.157 - Fantasia in A Major, Der Brand von Maria-Zell•Op.158 - 3 Rondeaux Faciles &3 Sonatines Faciles Instructives et Doigtees in 4 Bks.(Bk.1 - Rondeaux Piano Solo Version, Bk.2 Rondeaux Duet Version, Bk.3 SonatinesPiano Solo Version, Bk.4 Sonatines Duet V ersion)•Op.159 - Rondeau Brillant di Bravura in A Major with Orchestral Accompaniment•Op.160 - Introduction, Variations, & Polacca after a Theme from Bellini's "Il Pirata", for Piano & Orchestra•Op.161 - 48 Etudes in the Form of Preludes•Op.162 - Fantaisie Brillante on Diverse Themes Suisses & Tiroliens•Op.163 - 6 Easy Sonatinas•Op.164 - Rondino No.14 sur "Ma Quell Amabile" dans 'Il Pirata'•Op.165 - Grand Nocturne Brillant for Piano 4-Hands•Op.166 - Piano Trio No.2 in A Major•Op.167 - Sonatina in A Major•Op.168 - 2 Rondeaux•Op.169 - Rondino No.15 on a Theme of Paganini•Op.170 - Grandes Variations Brillantes on Paganini's "La Campanella"•Op.171 - Fantasia on 3 Themes of Haydn, Mozart, & Beethoven•Op.172 - Grand Capriccio in C minor•Op.173 - Piano Trio No.3 in E Major•Op.174 - Ecossaises Brillantes (or Exercises de Bravura)•Op.175 - Second Decameron Musical, Recueil de Compositions Amusantes (10 Bks., Piano Solo)•Op.176 - Second Decameron Musical, Recueil de Compositions Amusantes (10 Bks., Piano Duet)•Op.177 - Allegro Fugato in Quintetto for Strings•Op.178 - Grand Sonata in F minor for Piano 4-Hands•Op.179 - Introduction, Variations, & Polacca on 2 Favorite Airs from "Der Alpen Konig und der Menschenfried"•Op.180 - Introduction & Variations on a Favorite Air from "Der Alpen Konig und der Menschenfried" (Solo & Duet Versions)Opus Numbers 181-192 are collectively entitled "12 Grand Rondeaux Nationaux Brillants et Caracteristiques"•o Op.181 - Rondeau National Allemando Op.182 - Rondeau Anglais et Ecossaiso Op.183 - Rondeau Bohemeo Op.184 - Rondeau Espagnolo Op.185 - Rondeau Francaiso Op.186 - Rondeau Hongroiso Op.187 - Rondeau Italieno Op.188 - Rondeau Polonoiso Op.189 - Rondeau Russeo Op.190 - Rondeau Suedoiso Op.191 - Rondeau Suisseo Op.192 - Rondeau Turque•Op.193 - Galoppe Variee No.3•Op.194 - Introduction, Variations, & Rondo on 2 Favorite Styrian Alpine Airs (Solo & Duet Versions)•Op.195 - Rondino No.16 sur 'Ah come rapida'•Op.196 - Introduction, Variations, & Rondo on "Or Che Son Vicino a Te" (Solo & Duet Versions)•Op.197 - Fantasie Elegante No.3 sur 'La muette de Portici'•Op.198 - Rondino No.17 on the 2 Barcarolles from 'La Muette de Portici'•Op.199 - Variations sur "Ach! ich Stell" du Falsche Dir (Solo & Duet Versions)200 - 299•Op.200– The Art of Improvisation (or The School of Extemporaneous Performance) •Op.201 - 6 Rondeax d'Amusement•Op.202 - Introduction, Variation Brillantes, et Rondeau de Chasse•Op.203 - Valse Autrichienne•Op.204 - Divertissement de Concert for Piano & Orchestra (or Adagio, variations et rondeau)•Op.205 - Impromptu Brillant on a Theme of Rossini•Op.206 - Theme Russe, variee•Op.207 - Rondoletto sur le Theme Hollandis Favori, "Wien Neelands Bloed in de Aders Vloeit"•Op.208 - Introduction & Variations sur 'La muette de Portici' (Auber)•Op.209 - Divertissement Briallant & Facile•Op.210 - Concertino for Piano with Orchestral Accompaniment in C Major•Op.211 - 2 Trios Brillants for Piano, Violin, & Cello (C Major & A Major)•Op.212 - 6 Grands Potpourris Brillants & Concertants (Versions for Piano, Violin, & Cello or 2 Pianos)•Op.213 - Andante & Rondo with Orchestral Accompaniment in C Major•Op.214 - Piano Concerto No.1 in A minor•Op.215 - Rondoletto Brillant sur Plusiers Motifs tires des Romances Francais•Op.216 - Rondoletto Brillant on 2 Motifs from the Opera 'William Tell'•Op.217 - Rondeau de Chasse on "Quelle Savage Harmonie" from 'William Tell'•Op.218 - Potpourri Brillant on Motifs from the Opera 'Faust'•Op.219 - Introduction & Variations on the Pas de Trois from 'William Tell'•Op.220 - Variations Brillantes on the Tyrolienne from 'William Tell'•Op.221 - 2 Grandes Fantasies on Motifs from 'William Tell' (No.1 E minor, No.2 A Major)•Op.222 - Impromptu Brillant on a Pastorale from 'William Tell'•Op.223 - Variations Brillantes on "Das Wandern ist des Mullers Lust" of Schubert (Solo & Duet Versions)•Op.224 - 2 Piano Quartets Brillantes1. F Major2.G Major•Op.225 - Variations Brillantes on a Romance from Ivanhoe's Opera 'Templar & Judinn' for Piano 4-Hands•Op.226 - Fantasia in F minor for Piano 4-HandsOpus Numbers 227-229 & 295-297 are part of the Collection "Les Pianistes Associes, ou Compositions Brillant et Concertant•o Op.227 - Bk.1, Rondeau Brillant for Piano 6-Handso Op.228 - Bk.2Variations Brillante on a Tyrolien Theme from the Opera 'La Fiancee' for Piano 6-Handso Op.229 - Bk.3Divertissement Militaire for Piano 6-Hands•Op.230 - Concerto for 4 Pianos in C Major•Op.231 - 3 Rondeau Mignons Facile & Brillantes on Favorite Themes (Solo & Duet Versions)•Op.232 - Grand Variations di Bravura on 2 Motifs from the Opera 'Fra Diavolo' (Auber) •Op.233 - Rondo Brillant (For Piano Solo or with Orchestral Accompaniment)•Op.234 - Introduction & Variations Brillantes sur la Marche dans "Gli Arabi nelle Gallie"•Op.235 - Rondino No.18 on a Theme of Auber•Op.236 - Variations Brillantes on the Petit Tambour (For Solo Piano or with Orchestral Accompaniment)•Op.237 - Einzugs Marsch, Performed at the Opening of the Hungarian Diet, Sept. 13, 1830 (Solo & Duet Versions)•Op.238 - March Performed on the Occasion of the Coronation of His Imperial Majesty Ferdinand as King of Hungary, Sept. 28, 1830 (Solo & Duet Versions)•Op.239 - 50 Duett Studies•Op.240 - Fantasy Romantique No.1 on Sir Walter Scott's 'Roman Waverley' for Piano 4-Hands•Op.241 - Fantasy Romantique No.2 on Sir Walter Scott's 'Guy Mannering' for Piano 4-Hands•Op.242 - Fantasy Romantique No.3 on Sir Walter Scott's 'Rob Roy' for Piano 4-Hands •Op.243 - Fantasy Romantique No.4 on Sir Walter Scott's 'Ivanhoe' for Piano 4-Hands•Op.244 - Grand Exercice de la Gamme Chromatique avec toutes les Differentes Maruieres du Doigte•Op.245 - Grand Exercice des Gammes en Tierces & des Passages Doubles•Op.246 - Introduction, Variations, & Finale on a Choeur de l'Opera 'Fra Diavolo' •Op.247 - Souvenirs Teatral (ca.50 Fantasies each with solo & duet versions)•Op.248 - Introduction & Variations Concertant on a Tirolienne in F minor for Piano & Cello•Op.249 - Variations on the Favorite Charmant Waltz by Strauss•Op.250 - Festal March in A Major•Op.251 - 3rd Decameron Musical, 10 Bks. for Piano Solo•Op.252 - 3rd Decameron Musical, 10 Bks. for Piano 4-Hands•Op.253 - Le Golfe de Naples, Tableau Nocturne ou Fanasie Pittoresque•Op.254 - Grand Rondeau Briallant in F Major for Piano 4-Hands•Op.255 - Rondeau a la Barcarolle in A Major•Op.256 - Fantasy Concerto in G Major for Piano, Flute, & Cello•Op.257 - Grand Polonaise in C Major•Op.258 - 2 Themes Original Varies•Op.259 - Grand Rondeau Militaire & Brillante for Piano 4-Hands•Op.260 - Rondo•Op.261 - 101 Progressive Exercises•Op.262 - 3 Piano Quartets Brillantes & non Difficiles (C, EB, & F)•Op.263 - Variations Precede d'une Introduction sur un Motif de 'La Fiancee'•Op.264 - Introduction & Allegro Agitato in G minor for Piano Duet•Op.265 - Rondeau Precede d'une Introduction•Op.266 - Variations Brillantes & non difficiles on a Original Valse for Piano 4-Hands •Op.267 - Allegro & Galop in F Major•Op.268 - Piano Sonata No.10 (Grande Sonate d'Etude)•Op.269 - Introduction & Grand Polonaise Brillante for Piano 4-Hands•Op.270 - 3 Themes Originaux, Varies•Op.271 - La Joyeust et la Sentimentale, 2 Rondos•Op.272 - Rondo Polacca•Op.273 - Variations on a Theme of Paganini•Op.274 - Souvenir de Contemporains, 3 Rondeaux Brillante & Facile sur des Motifs Favoris de Notre Tems (Solo & Duet Versions)•Op.275 - 3 Themes Choisis from the Opera 'Robert le Diable'•Op.276 - Serenade Venetienne, Divertissement Concertant on a Barcarolle for 3 Voices - Accompanied by Variations Brillantes For Piano, Flute, Clarinet, & Cello in A Major •Op.277 - Le Chiron Musical (or Collection des Compositions Instructives) for Piano 4-Hands•Op.278 - Rondo en Bolero in D Major•Op.279 - Rondino No.19 on 2 Favorite Motifs from the Opera 'Zampa'•Op.280 - Variations Brillantes on an English March in E Major•Op.281 - Variations Brillantes on a Theme from the Opera 'Norma' in F Major•Op.282 - Le Cornet de Postillon, Variations on a Theme of Rossini•Op.283 - Grand Rondo Brillante in F Major•Op.284 - Rondino No.20 on Schubert's "Das Ständchen" in C Major•Op.285 - Grandes Variations Concertantes on a Theme from the Opera 'Montechi e Capuleti' in Bb Major for (2 Piano & Piano Solo Versions)•Op.286 - Grand Rondo Brillante in C Major•Op.287 - 3 Ariette Italienne for Tenor V oice & Piano•Op.288 - 6 Divertissements in the Form of a Rondo•Op.289 - Piano Trio No.4 in A minor•Op.290 - La Douceur, Rondo Elegant•Op.291 - Grand Rondo for Piano 4-Hands•Op.292 - Variations Brillantes on an Original Theme in F Major•Op.293 - La Rivalite, Rondo Brillante & Concertant for Piano 4-Hands•Op.294 - Grand Potpourri in A Major for Piano, Flute, Violin, Alto, & CelloOpus Numbers 227-229 & 295-297 are part of the Collection "Les Pianistes Associes, ou Compositions Brillant et Concertant•o Op.295 - Bk.4 - Variations Brillantes on a Theme from the Opera 'Montechi e Capuleti' for Piano 6-Handso Op.296 - Bk.5 - Polonaise for Piano 6-Handso Op.297 - Bk.6 Variations Brillantes on a Theme from the Opera 'Norma' for Piano 6-Hands•Op.298 - Grand Potpourri No.3 for 2 Pianos, 6-Hands•Op.299 - The School of Velocity, 30 Exercises300 - 399•Op.300 - L'Art de Preludier•Op.301 - Variations on a Waltz of Reissenger•Op.302 - Italian Theme & Variations•Op.303 - Introduction & Variations Brillantes on a Theme of Mr. Rudolphe de Vivenot •Op.304 - Variations on a Theme of Lafont in D Major for Violin & Piano•Op.305 - Variations on a Spanish Theme in A Major for Violin & Piano•Op.306 - Souvenir de Jeune Age, Rondo on the Romance from the Opera 'Le Pre aux Clercs' (Herold)•Op.307 - Variations Brillantes on a Theme from the Opera 'Le Serment' for Piano 4-Hands•Op.308 - Variations on an Original Theme•Op.309 - Introduction & Variations in G Major on a Theme from 'Le Pre aux Clercs' for Piano, Violin, & Cello (Herold)•Op.310 - Variations Brillantes on "Dans Cette Belle" from the Opera 'Le Serment'•Op.311 - 2 Rondeaux on Thems from the Opera 'Le Pre aux Clercs' (Herold)•Op.312 - Variations on "A la Fleur du Bel Age" from the Opera 'Le Pre aux Clercs' for Piano 4-Hands (Herold)•Op.313 - The Young Pianist, 2 Sonatines Faciles (C Major, & G Major)•Op.314 - Grand Polonaise Brillante in A Major for Piano & Violin•Op.315 - Cadenzas for Beethoven's Piano Concertos, 2 Bks.•Op.316 - 10 Petit Rondeaux•Op.317 - Variations on an Original Theme in A Major•Op.318 - 6 Graduals for Soprano, Alto, Tenor, & Bass with ad lib Accompaniment for Piano/Organ•Op.319 - Variations•Op.320 - Variations•Op.321 - Rondo in Bb Major for Piano 4-Hands•Op.322 - Rondo in Bb Major for Piano Solo•Op.323 - L'Allegresse, Rondo in Bb Major•Op.324 - Variations Brillantes on a Waltz of Lanner•Op.325 - 3 Fantasies on Themes from Donizetti's Opera 'L'Elisir d'Amore' (Solo & Duet Versions)•Op.326 - 3 Themes Favoris from the Opera 'Zampa'•Op.327 - 3 Fantasies on Donzietti's Opera 'Parisina' (Solo & Duet Versions)•Op.328 - 3 Fantasies on Donizetti's Opera 'Il Furioso all' Isola di St. Domingo' (Solo & Duet Versions)•Op.329 - Variations on a Theme from De Marschner's Opera 'Hans Heiling' for Piano 4-Hands•Op.330 - Tausend Tonblumen•Op.331 - Grande Sonata No.3 in Bb Major for Piano 4-Hands•Op.332 - Variations Brillante on a Theme from the Opera 'Robert le Diable'•Op.333 - Les Elegantes, Variations Brillantes (3 Bks.)o Bk.1 - Sur la Tyrolienne Favorite, Almaliedo Bk.2 - Sur la Sonnambulao Bk.3 - Sur un Valse Favorite•Op.334 - Souvenir de Peste, Variations sur un Valse: Erinnerung an Pest de J. Strauss •Op.335 - Legato & Staccato Exercises, 2 Bks.•Op.336 - Fantasie on Cherubini's Opera 'Ali Baba'•Op.337 - 40 tägliche Studien•Op.338 - Introduction & Variations on an Original Theme in D Major•Op.339 - 3 Brillant Fantasies on Themes of F. Schubert (Several Versions for Different Combinations of Instruments)•Op.340 - Variations of J. Strauss's 'Pfennig Waltz'•Op.341 - Variations Brillantes on a Theme from the Opera 'Hans Heiling'•Op.342 - 3 Fantasies on Bellini's Opera 'Beatrice di Tenda' (Solo & Duet Versions) •Op.343 - 3 Themes from the Opera 'Lestocq' (1.G, 2.F, 3.C)•Op.344 - 3 Rondinos from the Opera 'Lestocq' (1.C, 2.A, 3.B)•Op.345 - Die Ruinen von Neustadt, Fantasia in D minor•Op.346 - Fantasie on the Opera 'Lestocq'•Op.347 - Variations on a Theme from 'Lestocq' in A Major•Op.348 - Grande Exercise in the Form of a Fantasie Improvisee in E minor•Op.349 - 3 Instructive Sonatines•Op.350 - Le Dernier Soupir de Herold, Variations on a Theme of Herold•Op.351 - Neujahrsgeschenk, Fantasia•Op.352 - Souvenir de Boieldieu, Variations in Bb Major•Op.353 - Variations Brillantes on 'Conversations Walzer'•Op.354 - Amusement des Pianistes, Collection de Morceaux Agreables & Brillantes, 8 Bks.•Op.355 - Ecole des Ornamens (The School of Embellishments)•Op.356 - Variations Brillantes on the Theme 'Vien qua Dorina Bella'•Op.357 - 3 Themes Italiens, Variations for Piano 4-Hands•Op.358 - Duo Concertant in Bb Major for 2 Pianos•Op.359 - First Lessons for Beginners, 50 Exercises, Studies, & Preludes, 2 Bks. •Op.360 - Grande Fantasie on the Opera 'Gustave'•Op.361 - Introduction & Variations Brillantes on a Theme from the Opera 'La Medicine sans Medecin'•Op.362 - Rondo Brillante & non Difficile on a Theme from the Opera 'La Medicine sans Medecin'•Op.363 - Introduction & Variations on the Duo "Suoni la Tromba e Intrepido" from the Opera 'I Puritani'•Op.364 - Grand Exercise in A minor•Op.365 - The School of the Virtuoso, 60 Studies on Bravura Playing•Op.366 - Variations Brillantes on a Theme from Lobe's Opera 'La Princesse de Grenade' in C Major•Op.367 - Rondoletto Elegant on a Theme from Lobe's Opera 'La Princesse de Grenade' •Op.368 - 8 Nocturnes•Op.369 - Gran Capriccio di Bravura in F minor•Op.370 - Variations Brillantes on a Theme from the Opera 'I Puritani'•Op.371 - 2 Rondolettos Faciles on Themes from the Opera 'I Puritani' (D & C Major) •Op.372 - 6 Rondeau-Galopes•Op.373 - 10 Rondeaux for Piano 4-Hands•Op.374 - 3 Rondeaux for Piano & Flute•Op.375 - Introduction & Variations Brillantes on a Theme from the Opera 'I Puritani' •Op.376 - Fantasie & Variations on a Theme from the Opera 'I Puritani' for Piano 4-Hands •Op.377 - Fantasie & Variations Brillantes on a Theme of Madame Malibran•Op.378 - Valse Brillante in Ab Major•Op.379 - Flore Theatrale (or Fantasies Brillantes) on Modern Operas•Op.380 - Grand Exercise in 3rds in all the 24 Keys•Op.381 - 3 Serenades on Themes of Rossini•Op.382 - 2 Fantasies Brillantes on Themes from Carafa's Opera 'La Prison d'Edimburg' •Op.383 - 3 Fantaisies on Themes from Donizetti's Opera 'Lucia di Lammermoor' •Op.384 - Grandes Variations on an Air from the Opera 'Le Cheval de Bronze'•Op.385 - 12 Rondeaux Amusantes & Instructives on Favorite Themes。
加州旅馆双吉他谱
加州旅馆双吉他谱
加州旅馆是一支来自美国的摇滚乐队，成立于1991年，以其独特的音乐风格和文化内涵在全球范围内受到了广泛的欢迎。
"双吉他"是他们的一首非常经典的歌曲，下面我将为大家介绍这首歌曲的吉他谱。
前奏：
D-D-D-D(4次) B#-B#-B#-B#(4次)
主歌：
G-G-G-G(4次) D-D-D-D(4次)
C-C-C-C(4次) G-G-G-G(4次)
副歌：
C-C-C-C(2次) D-D-D-D(2次) G-G-G-G(2次) Em-Em-Em-Em(2次) C-C-C-C(2次) D-D-D-D(2次) G-G-G-G(2次) B-B-B-B(2次)
间奏：
D-D-D-D(2次) B#-B#-B#-B#(2次)
D-D-D-D(2次) G-G-G-G(2次)
C-C-C-C(2次) G-G-G-G(2次)
D-D-D-D(2次) A-A-A-A(2次)
结尾：
G-G-G-G(2次) D-D-D-D(2次)
C-C-C-C(2次) G-G-G-G(2次)
C-C-C-C(2次) D-D-D-D(2次)
G(1次)
以上就是"双吉他"这首歌曲的吉他谱，希望大家可以通过练习掌握这首歌曲，也希望更多的音乐爱好者可以欣赏到加州旅馆的音乐魅力和文化内涵。
2024届北京市石景山区景山学校七年级英语第二学期期末考试试题含答案
2024届北京市石景山区景山学校七年级英语第二学期期末考试试题满分120分，时间90分钟一、完形填空(10分)1、阅读下面短文，从各小题所给的四个选项中选出最佳选项。
Hello, everybody! How do you usually get to school? By bus? On foot? Robby Burch, a student ____1____ a small village, gets to school a little differently—he goes to school by ____2____. Yes, he rides his white horse to school every day. The idea was his dad’s. When his family enjoyed their vacation at their farm last summer. His dad said, “Robby, you can ride your horse to school every day.” Robby thought it was a ____3____ idea. So he went to ask his ____4____, Joe Green, “Could I ride a horse to school?” To his ____5____, the teacher said yes! Robby got the green light! His teacher even allowed（同意）Robby to ____6____ the horse next to his office. Then, Robby’s happy days began. Every ____7____ he goes to school at 7:30. Every afternoon, he ____8____ school at 5:45. Robby said the first time he sat on a horse as a 4-year-old kid he was ____9____, but now, he loves riding horses more than anything. It is really an exciting thing. His dad and his teacher are _____10_____ kind that he loves them deeply.1. A. across B. from C. on D. to2. A. horse B. bike C. bus D. car3. A. terrible B. great C. boring D. bad4. A. friend B. parent C. teacher D. neighbor5. A. surprised B. surprising C. surprise D. surprisingly6. A. keep B. carry C. milk D. move7. A. morning B. afternoon C. evening D. night8. A. comes B. gets C. arrives D. leaves9. A. afraid B. happy C. relaxed D. interested10. A. very B. too C. so D. really二、阅读理解（40分）2、Look! Here comes a cute bus. It looks like a panda with black ears and big eyes. It can take 22 people and is about 12 meters long. A group of Chinese people made it. People call it Smart Panda Bus.The Smart Panda Bus can do many things. It uses AI technology (科技). The bus can drive by itself. Don’t worry! It’s very safe (安全的). When you get on the bus, you can swipe (刷) your face. The bus will read your face and know who you are. Thereare also robots on the bus. You can talk to them and ask them for help. If there is a thief (小偷) on the bus, the bus will call the police.On the bus, there is a vending machine. You can buy food and drinks here. This can save you much time.People in some cities, such as Changzhou in Jiangsu, Wuhan in Hubei and Deyang in Sichuan, can take the bus. Do you want to take the bus? More cities in China will put the bus into use. I think soon you can take the bus in your city.1. The Smart Panda Bus comes from ________.A. IndiaB. ChinaC. AfricaD. America2. The Smart Panda Bus can make our life ________.A. safeB. cheapC. quietD. expensive3. The “vending machine” can ________ on the bus.A. sell foodB. tell storiesC. make a wishD. take a message4. Paragraph 2 tells us ________.A. who made the busB. what the bus can doC. how the bus drivesD. what the robots can’t do5. What can we know from the text?A. There is a panda on the bus.B. The bus can’t call the police.C. The bus can read your hand.D. We can take the bus in some cities now.3、阅读短文，然后回答短文下面的问题。
中国传统文化之古代娱乐英文版
Famous saying
• Don't know People's Daily entertainment methods, could not know a nation, as individuals, if we don't know how he pastime of leisure method, we will not familiar with the person. • - Lin yutang
According to the historical data record • The ChuShi DongTang epitaph ":" neither bitter volunteers don't return to the good book, right ZuoQin entertainment." • "The north, the history of all XuanDi, jamie had," or gather for horse, new grass coelacanth, forcing for cable sent riding, traction, and even over spilt blood, think entertainment." • The suzhou weaving bureau volunteers ":" wu into autumn, every years conspiracies. "together dou cricket • The ta kung pao "report," a 20th century China, xinji boomed, the south, the first pu BianYu north MTR lyric poems, the socalled classy society sparrows CARDS, each dimension, but those who see eosinophilic first among them, forget. "lay waste meals
中国传统文化之古代娱乐英文版
Famous saying
• Don't know People's Daily entertainment methods, could not know a nation, as individuals, if we don't know how he pastime of leisure method, we will not familiar with the person. • - Lin yutang
racing
• Horse racing, in ancient called it "ChiZhu" or "landed". Early in the fourth century BC, the middle one horse king period, popular in the qi activity had the childe "with tian qi ChiZhu heavy shoot" when used YiRuoShengJiang advice from sun bin stories today. To han dynasty, horse racing, not only popular activity is increasingly prosperous folk, but also to prevail in court, emperor, etc all love racing activities.
Modern football origin and developed in the nineteenth century Britain, but i 1960s in the history of mankind as a whole Football activity for, its origin was very old, and the international football federation of ancient China, "says game called cuju Is football origin.
02 音乐术语_中英对照
吉他术语吉他：部件Body：琴体Neck：琴颈Fingerboard：指板Headstock：琴头Turning key：旋钮machine head String：琴弦Pickup：拾音器Single：单拾音器Humbucker：双拾音器Bridge：琴桥Pot：电位器Tremolo：颤音系统Tremolo arm：摇把Switch：拨档开关Pickguard：护板Top：面板Veneer：贴面Fret：品Fret wire：品丝Nut：琴枕Truss rod：琴颈钢筋Truss rod cover：钢筋盖板Binding：镶边Inlay：镶嵌Strap button/pin：背带扣Jack：插孔Pick：拨片Amplifier：音箱Cable：电线材料：Basswood：椴木Ashwood：芩木Alder：桤木Ebony：乌木Mahogany：桃花心木rosewood:玫瑰木,紫檀,红木Spruce：杉木Maple：枫木Nato：那都Cedar：雪松Sapeli：沙比利Flame veneer：虎皮纹贴面Quilted veneer：爆炸纹贴面Spalted veneer：渍纹贴面ebony:乌木,黑檀basswood;椴木poplar:白杨木swamp ash:沼泽岑木alder:赤扬,也有翻译桤木flamed maple:火纹枫木,虎皮枫木quilted maple:水纹枫木,絮状枫木,团状枫木bubinga:非洲特有的木材,没有准确的中文译名,有叫铁木,也有叫宾枷木, 其他很多都是中国没有的木头,都没有译名,一般都直接叫英文名字machine head:弦准,也就是调弦音准的东西,国内有翻译成旋钮.neck:琴颈,特指拇指接触部分的木材,或整体琴颈的尺寸,弯曲度.fingerboard:指板,特指除拇指以外四个手指接触部分的木材,也指尺寸和弯曲度,另fretboard也是这个意思. fret:品丝,指板上的金属部分,body:琴身,特指琴体主要木材组成部分,有别于面板,背板.top:面板,有一定厚度的加于琴身之上的木材,用以对琴身音色的补偿,并具有装饰作用. veneer:贴面,有别于面板,贴面只是很薄的一层装饰作用木板,对音色并无大的影响. back:背板,电吉他中比较少出现,但在bass中经常出现,古典,民谣是必不可少的部分,此部分相对于面板而存在.pick up:拾音器,拾取琴弦震动转化为电信号的部件,电子乐器中的关键.single coil:单线圈拾音器,早期出现的拾音器类型,音色明亮,但噪音较大. humbucker:双线圈拾音器,为了避免单线圈噪音而出现的两个单并排模式的拾音器,但音色并不是两个单的叠加,而是比单线圈更厚实有力的音色,两种不同的风格.mini-humbucker:迷你双线圈(注意跟小双的区别),比单线圈大,比双线圈小的双线圈拾音器.soapbar:肥皂盒拾音器,跟迷你双线圈一样的大小,但却是单线圈的结构.humbucking strat single humbucker:这两个名词都是形容单线圈外形大小的双拾音器,国内一般译名叫小双,用来在strat全单的琴上也能安装的双线圈拾音器.pick:拨片,拨片的具体材质英文请查字典(开始写以后我才发现,原来写这个是个大工程啊)string:琴弦,nickle:镍,在琴的金属部件,琴弦上都经常见到的单词,一般指镀镍chrome:铬(这个字念ge而不是ruo),用途同上brass:黄铜,同上stainless steel:不锈钢,同上switch:在吉他上是指切换拾音器的选择开关,但在其他地方有其他的含义,基本上都是选择开关的意思volume:在吉他上是指拾音器输出功率的意思,而不是音量的意思,几乎每一个我见到的初学吉他的人,都会用这个旋钮来控制吉他的音量,这是错误的,普通的吉他演奏中这个旋钮是全开的,在需要减低拾音器输出功率时才用,这关系到音色,而不是音量,要调节音量请去控制效果器或者音箱.但在bass上,这个就确实是控制音量的了,因为bass大多数都是带前级的,tone:在吉他上这个词是最容易产生误解的,因为在任何地方你都有可能看到这个单词,不管是效果器还是音箱上,这个词在不同的地方有不同的含义,在吉他上一般翻译成音色,也有翻译成音调,但我觉得都不准确,吉他上的tone代表的是明暗度,或者说是亮/闷,硬/柔的区别.一般的吉他使用都是全开的,所以有些吉他干脆就去掉这个控制钮. jack:所有电子乐器中,这个词代表插孔,但分输入还是输出,input就是输入,output就是输出.一般特指1/4输入/输出,1/4输出也称为6.3或者6.5插孔. xlr:这个是相对于上面的1/4输出,在国内叫卡农,或者卡龙.这个是mic输出输入的标准,也是平衡信号的标准,在吉他和bass上很少机会见到这种输出方式.高档合成效果器基本上都有这个输出.分公和母两种。