These are the opening chords of a sonata.

这些是奏鸣曲的起始弦。

That the note relation in semitone and chords sequence gained attention and usage step by step along with the harmony chromaticism.

在声半音化的进程中，半音中音弦连接的性质也发生了一些化。

The plagal cadence, sometimes known as the Amen cadence from ecclesiastical use, is the progression from the chord of the subdominant to the tonic, IV - I.

格止，有时也被称为源于教会的“止”，是指从下属音弦到主音弦的进行，IV–I。

These are the opening chords of a sonata.

这些是奏鸣曲的起始和弦。

That the note relation in semitone and chords sequence gained attention and usage step by step along with the harmony chromaticism.

在和声半音化的进程中，半音中音关系和弦连接的性质也发了一些化。

The plagal cadence, sometimes known as the Amen cadence from ecclesiastical use, is the progression from the chord of the subdominant to the tonic, IV - I.

格终止，有时也被称为源于教会的“阿们终止”，是指从下属音和弦到主音和弦的进行，IV–I。

These are the opening chords of a sonata.

这些是奏鸣曲的起始和弦。

That the note relation in semitone and chords sequence gained attention and usage step by step along with the harmony chromaticism.

在和声半音化的进程中，半音中音关系和弦连接的性质也发了一些化。

The plagal cadence, sometimes known as the Amen cadence from ecclesiastical use, is the progression from the chord of the subdominant to the tonic, IV - I.

格终止，有时也被称为源于教会的“阿们终止”，是指从下属音和弦到主音和弦的进行，IV–I。

These are the opening chords of a sonata.

是奏鸣曲的起始和弦。

That the note relation in semitone and chords sequence gained attention and usage step by step along with the harmony chromaticism.

在和声半音化的进程中，半音中音关系和弦连接的质也发生了一化。

The plagal cadence, sometimes known as the Amen cadence from ecclesiastical use, is the progression from the chord of the subdominant to the tonic, IV - I.

格终止，有时也被称为源于教会的“阿们终止”，是指从下属音和弦到主音和弦的进行，IV–I。

These are the opening chords of a sonata.

这些是奏鸣曲起始和。

That the note relation in semitone and chords sequence gained attention and usage step by step along with the harmony chromaticism.

在和声半音化进程中，半音中音关系和性质也发生了一些化。

The plagal cadence, sometimes known as the Amen cadence from ecclesiastical use, is the progression from the chord of the subdominant to the tonic, IV - I.

格终止，有时也被称为源于“阿们终止”，是指从下属音和到主音和进行，IV–I。

These are the opening chords of a sonata.

这些是奏鸣曲的弦。

That the note relation in semitone and chords sequence gained attention and usage step by step along with the harmony chromaticism.

在半音化的程中，半音中音关系弦连接的性质也发生了一些化。

The plagal cadence, sometimes known as the Amen cadence from ecclesiastical use, is the progression from the chord of the subdominant to the tonic, IV - I.

格终止，有时也被称为源于教会的“阿们终止”，是指从下属音弦到主音弦的，IV–I。

These are the opening chords of a sonata.

这些是奏鸣曲的起始和弦。

That the note relation in semitone and chords sequence gained attention and usage step by step along with the harmony chromaticism.

在和声半音化的进程中，半音中音关系和弦连接的性质也发生了一些化。

The plagal cadence, sometimes known as the Amen cadence from ecclesiastical use, is the progression from the chord of the subdominant to the tonic, IV - I.

格终止，有时也被称为源于教会的“阿们终止”，是指从下属音和弦到主音和弦的进行，IV–I。

These are the opening chords of a sonata.

这些是奏鸣曲的起始弦。

That the note relation in semitone and chords sequence gained attention and usage step by step along with the harmony chromaticism.

在声半音化的进程中，半音中音弦连接的性质也发生了一些化。

The plagal cadence, sometimes known as the Amen cadence from ecclesiastical use, is the progression from the chord of the subdominant to the tonic, IV - I.

格止，有时也被称为源于教会的“止”，是指从下属音弦到主音弦的进行，IV–I。

These are the opening chords of a sonata.

这些是奏鸣曲的起始和。

That the note relation in semitone and chords sequence gained attention and usage step by step along with the harmony chromaticism.

在和声的进程中，中关系和连接的性质也发生了一些。

The plagal cadence, sometimes known as the Amen cadence from ecclesiastical use, is the progression from the chord of the subdominant to the tonic, IV - I.

格终止，有时也被称为源于教会的“阿们终止”，是指从下属和和的进行，IV–I。