from (AB 1536) Mozart Piano Sonata K331 (300i)
Some early fortepianos had a percussion stop to add realism to the drum-and-cymbals tuttis of the finale.
一些早期的鋼琴有一個敲擊樂機關,會被用於結尾段,以增添鼓與鈸合奏的真實感。
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from (AB 1536) Mozart Piano Sonata K331 (300i)
Some early fortepianos had a percussion stop to add realism to the drum-and-cymbals tuttis of the finale.
一些早期的鋼琴有一個敲擊樂機關,會被用於結尾段,以增添鼓與鈸合奏的真實感。
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若要引用本網頁翻譯,請註明出處。
from (AB 1536) Mozart Piano Sonata K331 (300i)
There are relics of a harpsichord style in the crossed-hands doublings, and in the sharp contrasts of piano and forte, which should not be ironed out by pianistic crescendos.
在演奏時,應注意曲中雙手交叉彈奏應帶有大鍵琴的風格,並用對比式的,強、弱力度來詮釋,也不應該因為鋼琴可以彈奏出漸強、漸弱的力度表現,而忽略了大鍵琴僅有固定大小聲的特質。
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from (AB 1536) Mozart Piano Sonata K331 (300i)
They include effects of pastiche, even of caricature, and call for warmth of heart as well as humour.
這樣的作曲配置甚至會呈現出詼諧的模仿效果,並喚起心中溫暖與風趣的感受。
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