本帖最后由 人人能唱 于 2016-9-28 21:34 编辑
mayasun 发表于 2016-9-24 09:58 ![]()
中人以下不可與言
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都等而下下之
上等孙新财你个老饭桶，你自以为英文好，你要学习《字母谱》的资料来了，我给你来个文英帖，叫你认个三天三夜。
As mentioned, by 1872, Tonic Sol-fa notation was no longer being applied to staff notation but had became a notational system in its own right. Part of the reason for this was Curwen’s belief that his notation was sufficiently comprehensive that it could provide for all aspects of musical representation and therefore, for vocal and choral music, could effectively supplant the “Old [Staff] Notation”. Pitch was notated using the first letters of the solmisation syllables together with vertical dash above or below note to indicate octave placement. The only exception to “first letter” representation was the use of chromatic notes such as fe, se, ba, ta, etc. to indicate accidentals either in a minor mode or for modulation. Rhythmic notation consisted of vertical “bar” lines—a double bar to indicate the end of a musical section, a barline to indicate main (strong) metrical divisions, half bar lines for subsidiary (medium) metrical divisions (as with the third beat in quadruple metre)—and standard punctuation marks—a colon to indicate beat divisions, a period for half-beat divisions, a comma for quarter-beat divisions, a rotated comma for third-beat division (i.e.for triplets), with a dash to indicate the continuation of a note to a subsequent beat. Rests were notated by a blank space preceded by a punctuation mark to indicate duration. Slurring, where two or more notes are sung to a single word or syllable, was indicated by a horizontal line place below the notation. The following example indicates these notational elements in the first two phrases of a well-known chorale melody. | 
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