traffic trombone是什么意思？ 键盘乐器里的Diminished Chords(Dim)是什...
trombone\u662f\u4ec0\u4e48\u610f\u601d\u53ca\u53cd\u4e49\u8bcdtrombone [trom\u00b7bone || tr\u0251m'bəʊnɪst /trɒm-]
n. \u957f\u53f7, \u4f38\u7f29\u957f\u53f7
\u51cf\u548c\u5f26
\u589e\u548c\u5f26
\u5173\u4e8e\u97f3\u4e50\u7684\u82f1\u8bed\u8bcd\u6c47
alto \u7537\u9ad8\u97f3\uff0c\u5973\u4f4e\u97f3
tenor \u6b21\u4e2d\u97f3
baritone \u4e0a\u4f4e\u97f3\uff0c\u7537\u4e2d\u97f3
bass \u4f4e\u97f3
soprano \u5973\u9ad8\u97f3
mezzo-soprano \u5973\u6b21\u9ad8\u97f3
sharp \u9ad8\u534a\u97f3\u7b26\u53f7\uff0c\u5347\u53f7
flat \u8c03\u53f7
natural (sign) \u672c\u4f4d\u53f7
staff, stave \u4e94\u7ebf\u8c31
A,B,C,D,E,F,G \u5531\u540dla,si,do,re,mi,fa,sol
G clef, treble clef \u9ad8\u97f3\u8c31\u53f7
F clef, bass clef \u4f4e\u97f3\u8c31\u53f7
C clef, tenor clef, alto clef \u4e2d\u97f3\u8c31\u53f7
semibreve \u5168\u97f3\u7b26\uff08\u7f8e\u4f5c\uff1awhole note\uff09
minim \u4e8c\u5206\u97f3\u7b26\uff08\u7f8e\u4f5c\uff1ahalfnote\uff09
dotted crotchet \u56db\u5206\u97f3\u7b26\uff08\u7f8e\u4f5c\uff1adotted note,quarter note\uff09
quaver \u516b\u5206\u97f3\u7b26\uff08\u7f8e\u4f5c\uff1aeighth note\uff09
semiquaver \u5341\u516d\u5206\u97f3\u7b26\uff08\u7f8e\u4f5c\uff1asixteenth note\uff09
demisemiquaver \u4e09\u5341\u4e8c\u5206\u97f3\u7b26\uff08\u7f8e\u4f5c\uff1athirty-second note\uff09
hemidemisemiquaver \u516d\u5341\u56db\u5206\u97f3\u7b26\uff08\u7f8e\u4f5c\uff1asixty-fourth note\uff09
rest \u4f11\u6b62\u7b26
crotchet rest \u56db\u5206\u4f11\u6b62\u7b26\uff08\u7f8e\u4f5c\uff1aquarter rest\uff09
semitone \u534a\u97f3
pause \u4f11\u6b62
time, bar \u62cd\u5b50
rhythm \u8282\u594f
three-four time \u4e09\u56db\u62cd\u5b50
syncope, syncopation \u5207\u5206\u97f3
tone \u97f3\u7a0b
pitch \u57fa\u97f3\u97f3\u4e50
major key \u5927\u8c03
minor key \u5c0f\u8c03
scale \u97f3\u9636
arpeggio \u7436\u97f3
solfeggio \u89c6\u5531
solmization \u9636\u540d\u5531\u6cd5
diapason, range \u97f3\u57df
tuning fork \u97f3\u53c9
metronome \u8282\u62cd\u5668
chord \u548c\u5f26\uff0c\u8c10\u97f3
cadence \u8c03\u97f3
counterpoint \u591a\u58f0\u90e8\u97f3\u4e50
lyrics, words \u6b4c\u8bcd
score \u603b\u8c31\uff0c\u4e50\u8c31
orchestra \u4e50\u961f
conductor \u4e50\u961f\u6307\u6325
baton \u4e50\u961f\u6307\u6325\u68d2
band \u7ba1\u4e50\u961f
solo \u72ec\u594f\uff0c\u72ec\u5531
duet, duo \u4e8c\u91cd\u594f\uff0c\u4e8c\u91cd\u5531
trio \u4e09\u91cd\u594f\uff0c\u4e09\u91cd\u5531
quartet, quartette \u56db\u91cd\u594f\uff0c\u56db\u91cd\u5531
quintet \u4e94\u91cd\u594f\uff0c\u4e94\u91cd\u5531
choir, choral society \u5408\u594f\uff0c\u5408\u5531
vibration \u632f\u52a8
sound \u97f3
tone \u97f3\uff08\u4e50\u97f3\uff09
musical tone \u4e50\u97f3
noise \u566a\u97f3
acoustics \u58f0\u5b66
psychoacoustics \u5fc3\u7406\u58f0\u5b66
frequency \u9891\u7387
intensity \u5f3a\u5ea6
time \u65f6\u95f4
wave form \u6ce2\u5f62
pitch \u97f3\u9ad8
loudness \u54cd\u5ea6
duration \u65f6\u503c
timbre \u97f3\u8272 (tone color or quality)
tuning fork \u97f3\u53c9
pure tone \u7eaf\u97f3
complex tone \u590d\u97f3 (composite tone)
overtone(s) \u6cdb\u97f3
(aliquot tone, harmonics, flageolet tone \u5373upper partials)
overtone series \u6cdb\u97f3\u5217
partial(s) \u5206\u97f3(partial tone)
fundamental(tone) \u57fa\u97f3 (first partial)
step \u97f3\u7ea7(scale step, degree)
accidental(s) \u53d8\u97f3\u8bb0\u53f7
sharp \u5347\u53f7
flat \u964d\u53f7
double-sharp \u91cd\u5347\u53f7
double-flat \u91cd\u964d\u53f7
nature \u8fd8\u539f\u53f7 intonation \u97f3\u51c6
octave \u516b\u5ea6
range \u97f3\u57df(compass)
(voice) register \u97f3\u533a
small c \u5c0f\u5b57\u7ec4c
great C \u5927\u5b57\u7ec4C
contra C \u5927\u5b57\u4e8c\u7ec4C
unaccented octave \u5c0f\u5b57\u7ec4
one-lined octave \u5c0f\u5b57\u4e00\u7ec4 (one-line)
two-lined octave \u5c0f\u5b57\u4e8c\u7ec4 (two-line)
three -lined octave \u5c0f\u5b57\u4e09\u7ec4(three-line)
four-line octave \u5c0f\u5b57\u56db\u7ec4 (four-line)
temperament \u4e50\u5f8b
tempered scale \u5e73\u5747\u5f8b (equal temperament)
just intonation \u7eaf\u5f8b
pitch name \u97f3\u540d
enharmonic notes \u7b49\u97f3
(whole) tone \u5168\u97f3
half-tone \u534a\u97f3
natural half-tone \u81ea\u7136\u534a\u97f3
natural tone \u81ea\u7136\u5168\u97f3
chromatic tone \u53d8\u5316\u5168\u97f3
chromatic half-tone \u53d8\u5316\u534a\u97f3
notation \u8bb0\u8c31\u6cd5
staff \u4e50\u8c31
treble clef \u9ad8\u97f3\u8c31\u53f7
bass clef \u4f4e\u97f3\u8c31\u53f7
clef \u8c31\u53f7 (G clef, F clef, C clef)
note(s) \u97f3\u7b26
rest(s) \u4f11\u6b62\u7b26
breve \u4e8c\u5168\u97f3\u7b26
semibreve \u5168\u97f3\u7b26 (whole note\uff0c\u7f8e)
minim \u4e8c\u5206\u97f3\u7b26 (half note\uff0c\u7f8e)
crotchet \u56db\u5206\u97f3\u7b26(quarter note\uff0c\u7f8e)
quaver \u516b\u5206\u97f3\u7b26 (eighth note\uff0c\u7f8e)
semiquaver \u5341\u516d\u5206\u97f3\u7b26(sixteenth note\uff0c\u7f8e)
demisemiquaver \u4e09\u5341\u4e8c\u5206\u97f3\u7b26
(thirty-second note\uff0c\u7f8e)
hemidemisemi quaver \u516d\u5341\u56db\u5206\u97f3\u7b26 (sixty-fourth note\uff0c\u7f8e)
dot \u9644\u70b9
double dot \u590d\u9644\u70b9
dotted note \u9644\u70b9\u97f3\u7b26
dotted rest \u9644\u70b9\u4f11\u6b62\u7b26
score \u603b\u8c31
leger line(s) \u52a0\u7ebf (ledger line(s))
head \u7b26\u5934
stem \u7b26\u5e72
hook \u7b26\u5c3e(tail)
space \u95f4
line \u7ebf
tie \u5ef6\u97f3\u7ebf
pause \u5ef6\u957f\u53f7(hold, fermata)
bar \u5c0f\u8282 (bar line\u5c0f\u8282\u7ebf,measure)
legato \u8fde\u97f3\uff0c\u8fde\u594f
staccato \u65ad\u97f3\uff0c\u65ad\u594f
sostenuto \u6301\u97f3
trembolo \u9707\u97f3
glissando \u6ed1\u97f3
relative pitch \u76f8\u5bf9\u97f3\u9ad8\uff08\u542c\u89c9\uff09
absolute pitch \u7edd\u5bf9\u97f3\u9ad8\uff08\u542c\u89c9\uff09
sight-singing \u89c6\u5531
fixed-do \u56fa\u5b9a\u5531\u540d\u6cd5 movable-do \u97f3\u8c03\u5531\u540d\u6cd5
lyra \u4e50\u5fbd
rhythm \u8282\u594f
rhythmic pattern \u8282\u594f\u578b
accent \u91cd\u97f3
syncopation \u5207\u5206\u97f3
meter \u62cd\u5b50 (time)
duple meter(s) \u4e8c\u62cd\u5b50 (2/2,2/4,2/8)
triple meter(s) \u4e09\u62cd\u5b50 (3/2,3/4,3/8)
quadruple meter(s) \u56db\u62cd\u5b50 (4/2,4/4,4/8)
common meter \u666e\u901a\u62cd\u5b50 (4/4)
simple meter(s) \u5355\u62cd\u5b50
compound meter(s) \u590d\u62cd\u5b50
compound duple meter(s) \u590d\u4e8c\u62cd\u5b50(6/2,6/4,6/8)
compound triple meter(s) \u590d\u4e09 \u62cd\u5b50(9/4,9/8)
compound quadruple meter(s) \u590d\u56db\u62cd\u5b50 (12/4,12/8,12/16)
quintuple meter \u4e94\u62cd\u5b50
time signature \u62cd\u53f7
multi-meter \u53d8\u5316\u62cd\u5b50
irregular meter \uff08\u4e0d\u89c4\u5219\uff09\u6df7\u5408\u62cd\u5b50(7/4,11/7)
Metronome \u8282\u62cd\u673a (M.M.=Malzel\u2019s ~)
duplet \u4e8c\u8fde\u97f3
triplet \u4e09\u8fde\u97f3
quadruplet \u56db\u8fde\u97f3
quintuplet \u4e94\u8fde\u97f3
sextuplet \u516d\u8fde\u97f3
septuplet \u4e03\u8fde\u97f3
tempo \u901f\u5ea6
dynamics \u529b\u5ea6
tempo mark(s) \u901f\u5ea6\u6807\u8bb0
dynamic mark(s) \u529b\u5ea6\u6807\u8bb0
mode \u8c03\u5f0f\uff08\u72ed\u6307\u6559\u4f1a\u8c03\u5f0f\uff1b\u5e7f\u6307\u8c03\u5f0f\uff09
scale \u97f3\u9636
key \u8c03
tonality \u8c03\u6027
atonality \u65e0\u8c03\u6027
bitonality \u53cc\u91cd\u8c03\u6027
polytonality \u591a\u8c03\u6027
major \u5927\u8c03
minor \u5c0f\u8c03
key signature \u8c03\u53f7
pentatonic \u4e94\u58f0\u7684
natural \u81ea\u7136\u7684
melodic \u65cb\u5f8b\u7684
harmonic \u548c\u58f0\u7684
whole-tone \u5168\u97f3\u7684
chromatic \u534a\u97f3\u7684
ascending \u4e0a\u884c
descending \u4e0b\u884c
scale degree \uff08\u8c03\u5f0f\uff09\u97f3\u7ea7
tonic(I) \u4e3b\u97f3\uff0c\u4e3b\u548c\u5f26
supertonic(II) \u4e0a\u4e3b\u97f3\uff0c\u4e0a\u4e3b\u548c\u5f26
mediant (III) \u4e2d\u97f3\uff0c\u4e2d\u97f3\u548c\u5f26
subdominant(IV) \u4e0b\u5c5e\u97f3\uff0c\u4e0b\u5c5e\u548c\u5f26
dominant(V) \u5c5e\u97f3\uff0c\u5c5e\u548c\u5f26
submediant(VI) \u4e0b\u4e2d\u97f3\uff0c\u4e0b\u4e2d\u97f3\u548c\u5f26 (super-dominant)
leading tone(VII) \u5bfc\u97f3\uff0c\u5bfc\u548c\u5f26 (subtonic)
broken chord \u5206\u89e3\u548c\u5f26
altered chord \u53d8\u548c\u5f26
false chord \u5047\u548c\u5f26 resolution \u89e3\u51b3
relative keys \u5173\u7cfb\u5927\u5c0f\u8c03
parallel keys \u540c\u4e3b\u97f3\u8c03
interval \u97f3\u7a0b
melodic interval \u65cb\u5f8b\u97f3\u7a0b
harmonic interval \u548c\u58f0\u97f3\u7a0b
root \u6839\u97f3\uff08fundamental\uff09
scale step \u97f3\u7ea7\uff08\u97f3\u7ea7\u6570\uff1anumber of scale step\uff09
simple interval \u5355\u97f3\u7a0b
compound interval \u590d\u97f3\u7a0b
enharmonic intervals \u7b49\u97f3\u7a0b
inversion \u8f6c\u4f4d\uff08complement\uff09
minor \u5c0f\uff08\u97f3\u7a0b\uff09
major \u5927\uff08\u97f3\u7a0b\uff09
perfect \u5b8c\u5168\uff0c\u7eaf\uff08\u97f3\u7a0b\uff09
augmented \u589e\uff08\u97f3\u7a0b\uff09
diminished \u51cf\uff08\u97f3\u7a0b\uff09
double-augmented \u500d\u589e\uff08\u97f3\u7a0b\uff09
double-diminished \u500d\u51cf\uff08\u97f3\u7a0b\uff09
unison \u540c\u5ea6\uff0c\u4e00\u5ea6\uff08prime\uff09
second \u4e8c\u5ea6
third \u4e09\u5ea6
fourth \u56db\u5ea6
fifth \u4e94\u5ea6
sixth \u516d\u5ea6
seventh \u4e03\u5ea6
octave \u516b\u5ea6
ninth \u4e5d\u5ea6
tenth \u5341\u5ea6
eleventh \u5341\u4e00\u5ea6
twelfth \u5341\u4e8c\u5ea6
tri-tone \u4e09\u5168\u97f3
diatonic interval \u81ea\u7136\uff08\u97f3\u7a0b\uff09
chromatic interval \u53d8\u5316\uff08\u97f3\u7a0b\uff09
consonant \u534f\u548c\uff08\u97f3\u7a0b\u3001\u548c\u5f26\uff09
dissonant \u4e0d\u534f\u548c\uff08\u97f3\u7a0b\u3001\u548c\u5f26\uff09
chord \u548c\u5f26
triad \u4e09\u548c\u5f26
major triad \u5927\u4e09\u548c\u5f26
minor triad \u5c0f\u4e09\u548c\u5f26
diminished triad \u51cf\u4e09\u548c\u5f26
augmented triad \u589e\u4e09\u548c\u5f26
root position \u539f\u4f4d
first inversion \u7b2c\u4e00\u8f6c\u4f4d
second inversion \u7b2c\u4e8c\u8f6c\u4f4d
third inversion \u7b2c\u4e09\u8f6c\u4f4d
sixth chord \u516d\u548c\u5f26
sixth-four chord \u56db\u516d\u548c\u5f26
seventh chord \u4e03\u548c\u5f26
dominant seventh chord \u5c5e\u4e03\u548c\u5f26
diminished seventh chord \u51cf\u4e03\u548c\u5f26
ninth chord \u4e5d\u548c\u5f26
augmented sixth chord \u589e\u516d\u548c\u5f26
Added-sixth chord \u52a0\u516d\u5ea6\u548c\u5f26
fourth chord \u56db\u5ea6\u548c\u5f26
tone-cluster \u97f3\u7c07
harmony \u548c\u58f0\u5b66
harmonic analysis \u548c\u58f0\u5206\u6790
functional harmony \u529f\u80fd\u548c\u58f0
modulation \u8f6c\u8c03
transposition \u79fb\u8c03
chromatic scale \u534a\u97f3\u9636
diatonic scale \u81ea\u7136\u97f3\u9636 passing tone \u7ecf\u8fc7\u97f3
neighboring tone \u8f85\u52a9\u97f3\uff08auxiliary tone\uff0cupper or lower\uff09
anticipation \u5148\u73b0\u97f3
suspension \u5ef6\u7559\u97f3
ornament\uff08s\uff09 \u88c5\u9970\u97f3
trill \u98a4\u97f3
mordent \u6ce2\u97f3\uff08upper mordent\uff09
inverted mordent \u9006\u6ce2\u97f3\uff08lower mordent\uff1b
\u65e9\u671f\u79f0Schneller\uff09
double mordent \u590d\u6ce2\u97f3
inverted turn \u56de\u97f3
arpeggio \u7436\u97f3
melody \u65cb\u5f8b
repetition \u91cd\u590d
unity \u7edf\u4e00
variety \u53d8\u5316
variation \u53d8\u594f
theme with variation \u4e3b\u9898\u4e0e\u53d8\u594f
comparison \u5bf9\u6bd4
augmentation \u5c55\u5f00
climax \u9ad8\u6f6e
sequence \u6a21\u8fdb
melodic sequence \u65cb\u5f8b\u6a21\u8fdb
harmonic sequence \u548c\u58f0\u6a21\u8fdb
melodic progression \u65cb\u5f8b\u8fdb\u884c
melodic contour \u65cb\u5f8b\u8f6e\u5ed3
motive \u52a8\u673a
development \u53d1\u5c55
thematic material \u4e3b\u9898\u6750\u6599
phrase \u4e50\u53e5
phrasing \u5206\u53e5
period \u4e50\u6bb5
cadence \u7ec8\u6b62
perfect cadence \u5b8c\u5168\u7ec8\u6b62
imperfect cadence \u4e0d\u5b8c\u5168\u7ec8\u6b62
half cadence \u534a\u7ec8\u6b62
authentic cadence \u6b63\u683c\u7ec8\u6b62
plagal cadence \u53d8\u683c\u7ec8\u6b62
interrupted cadence \u963b\u788d\u7ec8\u6b62
deceptive cadence \u4f2a\u7ec8\u6b62
musical form \u66f2\u5f0f
one-part form \u4e00\u6bb5\u5f0f\uff0c\u4e00\u90e8\u66f2\u5f0f
binary form \u4e8c\u6bb5\u5f0f\uff0c\u4e8c\u90e8\u66f2\u5f0f\uff08AB\uff09
rounded binary form \uff08\u6709\u518d\u73b0\u7684\uff09\u4e8c\u6bb5\u5f0f
ternary form \u4e09\u6bb5\u5f0f\uff0c\u4e09\u90e8\u66f2\u5f0f\uff08ABA\uff09
four-part form \u56db\u6bb5\u5f0f
five-part form \u4e94\u6bb5\u5f0f
variation form \u53d8\u594f\u66f2\u5f0f\uff08A\uff0cA1\uff0cA2\uff0cA3\u2026\uff09strophic form \u5206\u8282\u6b4c\uff08a\uff0ca\uff0ca\uff0ca \u2026\uff09
rondo form \u56de\u65cb\u66f2\u5f0f\uff08ABACA\uff09
sonata form \u594f\u9e23\u66f2\u5f0f
exposition \u5448\u793a\u90e8
development \u5c55\u5f00\u90e8
recapitulation \u518d\u73b0\u90e8
rondo sonata form \u56de\u65cb\u594f\u9e23\u66f2\u5f0f
movement \u4e50\u7ae0
prelude \u524d\u594f\uff08\u66f2\uff09
interlude \u95f4\u594f\uff08\u66f2\uff09
coda \u5c3e\u58f0
trio \u4e09\u58f0\u4e2d\u90e8
cadanza \u534e\u5f69\u4e50\u6bb5 musical form \u4f53\u88c1
reduction \u6539\u7f16\uff08\u7f29\u7f16\uff09
trio \u4e09\u91cd\u594f
quartet \u56db\u91cd\u594f
quintet \u4e94\u91cd\u594f
opera \u6b4c\u5267
ballet \u82ad\u857e
chorus \u5408\u5531
choir \u5408\u5531\u56e2
choral music \u5408\u5531\u97f3\u4e50
cantata \u5eb7\u5854\u5854
mass \u5f25\u6492
oratorio \u6e05\u5531\u5267
passion \u53d7\u96be\u66f2
symphony \u4ea4\u54cd\u66f2
concerto \u534f\u594f\u66f2
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band \u519b\u4e50\u961f
band music \u519b\u4e50
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march \u8fdb\u884c\u66f2
jazz \u7235\u58eb\u4e50
overture \u5e8f\u66f2
ballata \u53d9\u4e8b\u66f2
inter mezzo \u95f4\u594f\u66f2
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allemande \u963f\u52d2\u66fc\u5fb7
courante \u5e93\u6717\u7279
sarabande \u8428\u62c9\u73ed\u5fb7
gigue \u5409\u683c
bourree \u5e03\u5217
polonaise \u6ce2\u6d1b\u6d85\u5179
tarantella \u5854\u5170\u53f0\u62c9
govotte \u52a0\u6c83\u7279
chaconne \u6070\u7a7a
passacaglia \u5e15\u8428\u5361\u5229\u4e9a
capriccio \u968f\u60f3\u66f2
fantasia \u5e7b\u60f3\u66f2
lullaby \u6447\u7bee\u66f2
tango \u63a2\u6208
habanera \u54c8\u5df4\u6d85\u62c9
madrigal \u7267\u6b4c
choral \u4f17\u8d5e\u6b4c
reguiem \u5b89\u9b42\u66f2
symphonic poem \u4ea4\u54cd\u8bd7
toccata \u6258\u5361\u5854
serenade \u5c0f\u591c\u66f2
nocturn \u591c\u66f2
rhapsody \u72c2\u60f3\u66f2
minuet \u5c0f\u6b65\u821e\u66f2
recitative \u5ba3\u53d9\u8c03
aria \u548f\u53f9\u8c03
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invention \u521b\u610f\u66f2
scherzo \u8c10\u8c11\u66f2
mazurka \u739b\u7956\u5361
polka \u6ce2\u5c14\u5361
fox trot \u72d0\u6b65\u821e
blues \u5e03\u9c81\u65af
rumba \u4f26\u5df4
disco \u8fea\u65af\u79d1 suite \u7ec4\u66f2
fugue \u8d4b\u683c
instrumental music \u5668\u4e50
musical instrument \u4e50\u5668
instrumentation \u4e50\u5668\u6cd5
orchestra \u7ba1\u5f26\u4e50\u961f
orchestration \u914d\u5668\u6cd5
conductor \u6307\u6325
concert master \u9996\u5e2d
podium \u6307\u6325\u53f0
wood wind instruments \u6728\u7ba1\u4e50\u5668
piccolo \u77ed\u7b1b
flute \u957f\u7b1b
oboe \u53cc\u7c27\u7ba1
clarinet \u5355\u7c27\u7ba1\uff08\u9ed1\u7ba1\uff09
bass clarinet \u4f4e\u97f3\u5355\u7c27\u7ba1
bassoon \u5927\u7ba1\uff08\u5df4\u677e\uff09
contrabassoon \u4f4e\u97f3\u5927\u7ba1
English horn \u82f1\u56fd\u7ba1
brass wind instruments \u94dc\u7ba1\u4e50\u5668
French horn \u5706\u53f7\uff0c\u6cd5\u56fd\u53f7
trumpet \u5c0f\u53f7
cornet \u77ed\u53f7
trombone \u957f\u53f7
tuba \u5927\u53f7
bass tuba \u4f4e\u97f3\u5927\u53f7
double bass tuba \u500d\u4f4e\u97f3\u5927\u53f7
tenor tuba \u6b21\u4e2d\u97f3\u5927\u53f7
bass \u4f4e\u97f3\u53f7
saxophone \u8428\u514b\u65af\u7ba1
euphonium \u5c24\u98ce\u5b81\u53f7
percussion\uff08s\uff09 \u6253\u51fb\u4e50
kettle drum \u5b9a\u97f3\u9f13
bass drum \u5927\u9f13
tenor drum \u4e2d\u9f13
side drum \u5c0f\u9f13
triangle \u4e09\u89d2\u94c1
chimes \u6392\u949f
marimba \u739b\u6797\u5df4
tubular bells \u7ba1\u949f
glockenspiel \u949f\u7434
vibraphone \u98a4\u97f3\u7434
castanets \u54cd\u677f
whip \u97ad\u54cd\u5668
rattle \u6447\u54cd\u5668
anvil \u4e50\u7827
tambourine \u94c3\u9f13
tabor \u5854\u6ce2\u9f13
bongo \u90a6\u6208\u9f13
gong \u9523
temple block \u6728\u9c7c
wood block \u5357\u6886\u5b50\uff0c\u76d2\u6886
cymbal \u94b9
harp \u7ad6\u7434
xylophone \u6728\u7434
piano \u94a2\u7434
pedal \u8e0f\u677f
stringed instruments \u5f26\u4e50\u5668
violin \u5c0f\u63d0\u7434
viola \u4e2d\u63d0\u7434
cello \u5927\u63d0\u7434
double bass \u4f4e\u97f3\u63d0\u7434 guitar \u5409\u4ed6
lute \u758f\u7279\u7434
harpsichord \u62e8\u5f26\u53e4\u94a2\u7434
clavier \uff0818\u4e16\u7eaa\uff09\u952e\u76d8\u4e50\u5668
organ \u98ce\u7434
pipe organ \u7ba1\u98ce\u7434
accordion \u624b\u98ce\u7434
keyboard \u952e\u76d8\uff08\u4e50\uff09
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bel canto \u7f8e\u58f0
a cappella \u65e0\u4f34\u594f\u5408\u5531
voice \u4eba\u58f0\uff0c\u58f0\u90e8
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coloratura soprano \u82b1\u8154\u5973\u9ad8\u97f3
lyric soprano \u6292\u60c5\u5973\u9ad8\u97f3
dramatic soprano \u620f\u5267\u5973\u9ad8\u97f3
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tenor \u7537\u9ad8\u97f3
dramatic tenor \u620f\u5267\u7537\u9ad8\u97f3
bariton \u7537\u4e2d\u97f3
bass \u7537\u4f4e\u97f3
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stage \u821e\u53f0
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Rococo \u6d1b\u53ef\u53ef
Baroque \u5df4\u6d1b\u514b
Classicism \u53e4\u5178\u4e3b\u4e49
Romanticism \u6d6a\u6f2b\u4e3b\u4e49
Impressionism \u5370\u8c61\u4e3b\u4e49
Nationalism in music \u6c11\u65cf\u4e50\u6d3e
Anti- impressionism \u53cd\u5370\u8c61\u4e3b\u4e49
Realism \u73b0\u5b9e\u4e3b\u4e49
Serialism \u5e8f\u5217\u4e3b\u4e49
Primitivism \u539f\u59cb\u4e3b\u4e49
Expressionism \u8868\u73b0\u4e3b\u4e49
Microtonalism \u5fae\u5206\u97f3\u4e3b\u4e49
Neoclassicism \u65b0\u53e4\u5178\u4e3b\u4e49
Structuralism \u7ed3\u6784\u4e3b\u4e49
Concrete Music \u5177\u4f53\u97f3\u4e50 Accidentalism \u5076\u7136\u4e3b\u4e49
Minimalism \u7701\u7565\uff08\u7b80\u7ea6\uff09\u4e3b\u4e49
Pointillism \u70b9\u63cf\u6d3e
monophonic music \u5355\u58f0\u90e8\u97f3\u4e50
homophony \u4e3b\u8c03
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polyphony \u590d\u8c03
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counterpoint \u5bf9\u4f4d
program music \u6807\u9898\u97f3\u4e50
absolute music \u7eaf\u97f3\u4e50\uff0c\u975e\u6807\u9898\u97f3\u4e50
abstract music \u62bd\u8c61\u97f3\u4e50
Traffic trombone is a term (probably invented by Greg Ferro) that colorfully describes inter-VLAN traffic flows in a network with stretched (usually overlapping) L2 domains.
In a traditional L2/L3 data center architecture with small L2 domains in the access layer and L3 forwarding across the core network, the inter-subnet traffic flows were close to optimal: a host would send a packet toward the first-hop (ingress) router (across a bridged L2 subnet), the ingress router would forward the packet across an optimal path toward the egress router, and the egress router would deliver the packet (yet again, across a bridged L2 subnet) to the destination host.
If you draw your network diagrams with core layer at the top and access layer at the bottom, the north-south traffic would be bridged (or you could already introduce routing in access or aggregation layer) and the east-west traffic would be routed. The traffic across the network core and the end-to-end latency would be minimal (the same packet would traverse the core only once).
In designs that stretch a single L2 domain across the network core (within or even between data centers), the first-hop router might be far away from the host originating the packet. The packet thus traverses the core before reaching the first-hop router, significantly increasing the latency and east-west traffic load.
In a truly broken design with mixed routing and bridging in the network core (or in designs where L3 forwarding is implemented by virtual machines), the packet might have to traverse the core multiple times before reaching the destination host.
When L2 domains stretch across multiple data centers, traffic flows belonging to a single user session might have to traverse Data Center Interconnect (DCI) link multiple times.
Traffic Trombone
Understanding what I mean by a traffic trombone requires a bit of visualization. When we have one site, everything is local. My storage is connected within my datacenter, my other subnets are routed by a local router. The path to these devices is very short, measured in meters, so latency is very small. As we migrate VMs to another datacenter, the VMs have moved, but the network traffic and storage traffic continue to go back to their original router and storage controllers, if we don’t add a little extra prevention. When we send a packet or a read/write, it goes back to the original datacenter, gets serviced, then returns back to our new datacenter where we’re now running. That backing and forthing is what we refer to as tromboning, hence the traffic trombone. (My PowerPoint presentation drives this home.) I’ll address this in two parts: network and storage.
When addressing the IP network, the first thing I’ll say about the network trombone is this is a desirable effect for existing network stateful connections (TCP). We want those connections to stay alive without disconnecting. For all new connections, we’d like to optimize the path to go through the local site. When we optimize the path, I’ll further break this down between coming to and leaving my subnet. For the remote subnets, Cisco GSS and ACE play a role with vCenter awareness to point to the correct site where this service is running. GSS points to the external ACE vIP where the workload currently lives. For leaving our subnet, we use HSRP default gateway localization forwarding traffic to the local Cisco ACE device for processing. This helps preserve symmetrical routing so our firewalls don’t drop our packets thinking something has gone wrong.
An alternative emerging technology is Locator-ID Separation Protocol (LISP). This protocol runs on both the outside of our subnet pointing to the correct site, as well as within pointing to the correct default gateway out. Think of LISP in the terms of cell phones. We used to have phone numbers that were tied to a specific cell-phone provider. When we switched carriers, we needed to get a new phone number. Phone number portability untied our phone numbers for a particular provider, it can now go with us and points to our new company we switched to. LISP does a very similar thing to IP addresses, it lets us take it with us to a new site and points to where we now live. LISP is available on certain blades in the Nexus 7000, and is also being ported to other products.
When addressing the storage area network, some products are already tackling this problem. EMC VPLEX and NetApp FlexCache each open their volumes locally without MPIO drivers extending across the datacenters, eliminating any traffic trombones. When dealing with IBM SVC and NetApp MetroCluster varieties, since they are split-controller designs the MPIO paths will have active paths to one datacenter and passive paths to the other. When the VMs move to the other site and back, one of those two sites will trombone traffic back to the primary controller for that volume. This will add latency into the IOs. In the case of SVC, we can only go campus today anyway (< 10 km) so the distance and latency is pretty short. In the case of NetApp, we need to stay with synchronous distances, but my MetroCluster customers haven’t had adverse impact to their IO. Of course, your mileage will vary depending on how much you stress your
这段话的意思是：交通服务器和其他网络仍然必须经过一个防火墙，导致交通长号和增加臭名昭著的载荷数据中心的核心
扩展阅读：marine traffic ... traffic route ... transport fever 2 ... the traffic jam ... the traffic laws ... traffic lights ... trombone champ ... tommyhilfiger官网 ... the traffic accident ...
