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\u8096\u90a6\u5347G\u5c0f\u8c03\u7ec3\u4e60\u66f2 Op.25 No.6 \u5e38\u88ab\u79f0\u4e3a\u201c\u4e09\u5ea6\u7ec3\u4e60\u66f2\u201d\u3002\u53f3\u624b\u8fde\u7eed\u4e09\u5ea6\u7684\u56f0\u96be\u4e0d\u53ea\u662f\u4e24\u97f3\u540c\u65f6\u843d\u952e\u3002\u82e5\u53ea\u8ffd\u6c42\u6574\u9f50\uff0c\u4e0a\u65b9\u65cb\u5f8b\u53ef\u80fd\u88ab\u4e0b\u65b9\u97f3\u538b\u4f4f\uff0c\u8fde\u63a5\u5904\u4e5f\u4f1a\u56e0\u4e0d\u540c\u6307\u6cd5\u800c\u5ffd\u660e\u5ffd\u6697\u3002\u771f\u6b63\u7684\u63a7\u5236\uff0c\u662f\u8ba9\u4e24\u97f3\u5171\u4eab\u8d77\u97f3\u548c\u65b9\u5411\uff0c\u540c\u65f6\u542c\u89c1\u54ea\u4e00\u6761\u7ebf\u627f\u62c5\u65cb\u5f8b\u91cd\u5fc3\uff0c\u54ea\u4e00\u6761\u7ebf\u6539\u53d8\u548c\u58f0\u989c\u8272\u3002<\/p>\n
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https:\/\/chopin.nifc.pl\/en\/chopin\/kompozycja\/192-etude-in-g-sharp-minor<\/a> ","protected":false},"excerpt":{"rendered":"","protected":false},"author":17897162,"featured_media":0,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_geoff_meta_description_en":"Using Chopin\u2019s G-sharp minor \u00c9tude, this essay explains why parallel thirds need unified motion while preserving two distinct lines.","_geoff_meta_description_zh":"\u4ee5\u8096\u90a6\u5347G\u5c0f\u8c03\u7ec3\u4e60\u66f2\u4e3a\u4f8b\uff0c\u8bf4\u660e\u5e73\u884c\u4e09\u5ea6\u65e2\u5f62\u6210\u7edf\u4e00\u65cb\u5f8b\u8f6e\u5ed3\uff0c\u4e5f\u4fdd\u7559\u4e0a\u4e0b\u58f0\u90e8\u5404\u81ea\u7684\u89e6\u952e\u3001\u97f3\u957f\u4e0e\u65b9\u5411\uff1b\u771f\u6b63\u7684\u6280\u672f\u662f\u8ba9\u4e24\u6761\u7ebf\u5171\u4eab\u53e5\u6cd5\u800c\u4e0d\u4e92\u76f8\u906e\u853d\u3002","_wpcom_ai_launchpad_first_post":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[787297389],"tags":[787298574,787298575,787298572,787298573],"class_list":["post-18554","post","type-post","status-publish","format-standard","hentry","category-western-music","tag-chopin-etudes","tag-chopin-etudes-zh","tag-parallel-thirds","tag-parallel-thirds-zh",""],"translatepress_titles":{"en_AU":"Why Should Parallel Thirds Be Heard as Two Voices?","zh_CN":"\u5e73\u884c\u4e09\u5ea6\u4e3a\u4ec0\u4e48\u4e0d\u80fd\u53ea\u542c\u6210\u4e00\u6761\u52a0\u539a\u7684\u65cb\u5f8b\uff1f"},"jetpack_publicize_connections":[],"jetpack_likes_enabled":false,"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p1ar9H-4Pg","jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/geoffreychen.com\/zh\/wp-json\/wp\/v2\/posts\/18554","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/geoffreychen.com\/zh\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/geoffreychen.com\/zh\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/geoffreychen.com\/zh\/wp-json\/wp\/v2\/users\/17897162"}],"replies":[{"embeddable":true,"href":"https:\/\/geoffreychen.com\/zh\/wp-json\/wp\/v2\/comments?post=18554"}],"version-history":[{"count":0,"href":"https:\/\/geoffreychen.com\/zh\/wp-json\/wp\/v2\/posts\/18554\/revisions"}],"wp:attachment":[{"href":"https:\/\/geoffreychen.com\/zh\/wp-json\/wp\/v2\/media?parent=18554"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/geoffreychen.com\/zh\/wp-json\/wp\/v2\/categories?post=18554"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/geoffreychen.com\/zh\/wp-json\/wp\/v2\/tags?post=18554"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
https:\/\/imslp.org\/wiki\/%C3%89tudes%2C_Op.25_(Chopin,_Fr%C3%A9d%C3%A9ric)<\/a><\/p>\n