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.

在和声半音化进程中，半音中音关系和弦连质也发生了一些化。

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，有时也被称为会“阿们终止”，是指从下属音和弦到主音和弦进行，IV–I。

These are the opening chords of a sonata.

这些是奏鸣曲起始。

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

在声半进程中，半中关系连接性质也发生了一些。

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“阿们终止”，是指从下属主进行，IV–I。

These are the opening chords of a sonata.

这些是奏鸣曲起始和弦。

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

在和声半音化进程中，半音中音关系和弦连质也发生了一些化。

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，有时也被称为会“阿们终止”，是指从下属音和弦到主音和弦进行，IV–I。

These are the opening chords of a sonata.

这些曲的起始和弦。

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”，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.

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，有时也被称为源于教会的“阿们”，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.

在和声半化的进程中，半中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”，是指从下属和弦到主和弦的进行，IV–I。