Well, he's running it up as a scale-- but what kind of scale?

它按照一个阶行进哪种阶呢？

Piano players warm-up with Scales and Arpeggios.

钢琴演奏者用阶和琶热身。

One to one, two to two, up the scale.

一对一，二对二，顺着阶往上。

For example, octaves are a staple of Western music, but Tsimane' musical instruments don't feature them.

例如，阶是西方乐的重要组成部分，但提斯曼人的乐器却没有阶。

And that's used in a lot of Far East cultures— the pentatonic scale, just a five-note scale there.

它大量用于远东的文化中这种五声的阶 五个符的阶。

Look at what Mozart did with a five-octave piano.

看看莫扎特用五个阶的钢琴做了什么。

Kind of walking up the scale.

就像一步步走上阶。

He couldn't hear high notes. And then he couldn't hear soft voices.

开始是他听不见高阶。之后，是听不见轻声。

Unlike zaju songs, which were written for a seven-note musical scale, chuan-qi plays are written for a pentatonic scale.

传奇戏曲和杂剧不同 杂剧是按照七阶创作的 而传奇戏曲是按照五阶创作的。

We have up on the board again the scale.

再看看黑板上的阶。

And then he, at the top of it-- switched over into a chromatic scale.

然后 在顶端转换到了半阶。

So, it's a penta-- what we call a pentatonic scale.

因此 它是一个所谓的 五我们称之为五声的阶。

You need that contrast in volume in order to give your ear a sense of scale.

你需要这种量上的对比来给你的耳朵一种阶感。

This has a very significant implication, far from being restricted to the five note pentatonic scale.

这背后隐含着一个非常重要的含义，远远不只是五声阶那么简单。

Well, why would Wagner have fresh mud on his shoes if he was practicing his scales all morning?

如果瓦格纳整个早上都在练阶，为什么他的鞋子上会有新泥？

The Pythagorean “diatonic” scale, still the basis of most Western music, is made up from seven notes.

毕氏“全阶”范围仍然是多数西方乐的基石，它由七个符组成。

So he's enriched it a little bit by means of chromaticism.

他用半阶使乐变得更丰富。

And he figured out that the notes in the musical scale aren't random, they're mathematically related to each other.

他发现阶中的符不是随机的，它们在数上是相互关联的。

All right. Now let's talk about the scale we have here because he's actually changed scales.

好的 现在我们谈谈阶作者在这里改变阶了。

By pushing them down in the right order, the player can produce all the notes of the musical scale.

只要按正确的次序来按它们，吹奏者就能吹出阶上的所有符。