Broken chord的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列懶人包和總整理

50 Easy Popular Top Line Songs For Piano / Keyboards: With Auto Accompaniment Ideal for Beginners!

為了解決Broken chord的問題，作者 這樣論述：

50 Popular Top Line Songs This book has been produced for keyboards with auto-accompaniment and contains 50 popular songs written in the treble clef only, with an added chord line above. Contents includes: Silver Threads Among the Gold; Oh! Susanna; Happy Birthday; Ode to Joy; Aura Lea - aka Love me

Tender; The Londonderry Air - aka Danny Boy; Kum Ba Yah; The Star-Spangled Banner; Waltz of the Flowers; The Yellow Rose of Texas; Campdown Races; Home on the Range; Clementine; By the Light of the Silvery Moon; On the Banks of the Ohio; Floral Dance; Morning Has Broken; Swing Low, Sweet Chariot; L

och Lomond; Early One Morning; Santa Lucia; Steal Away; Scotland the Brave; The Star of The County Down; Red is the Rose; Greensleeves; There is a Tavern in the Town; Clementine; Knees Up Mother Brown; Yankee Doodle; Drink to Me with Thine Eyes Only; The Shamrock Shore; The Ash Grove; Scarborough Fa

ir; The Irish Rover; Myfanwy; I’ll Take You Home Again, Kathleen; Lord of the Dance; Au Claire De La Lune; Slumber My Darling; Shenandoah; Ye Banks and Braes; Auld Lang Syne; Dark Eyes; Moscow Nights; Land of My Fathers; Amazing Grace; On Top of Old Smokey; Polly Wolly Doodle; The Cliffs of Doneen;

Will Ye No Come Back Again?

Broken chord進入發燒排行的影片

陳主税鋼琴小品〈秋〉、〈山之霧〉、〈雲海〉、〈楓〉之作品與彈奏探究

為了解決Broken chord的問題，作者汪柔妙 這樣論述：

本研究旨在探討臺灣作曲家與小提琴家陳主税（Chen Chu-Shui, 1942-1986）的《抒情鋼琴小品集，作品一》中〈秋〉、〈山之霧〉、〈雲海〉、〈楓〉四首鋼琴小品之音樂內涵、彈奏技巧內容及其演奏詮釋。研究者自編「訪談大綱」、「樂曲內容分析表」、「樂譜校訂勘誤表」、「彈奏技巧項目分析類目表」及「彈奏技巧項目之練習方法參照工具」五種研究工具。透過文獻探討、內容分析法與深度訪談之資料蒐集，進行分析與討論後，獲得以下結論：一、〈秋〉、〈山之霧〉、〈雲海〉、〈楓〉四首鋼琴小品具有傳統與創新的創作手法，將中西方音樂素材融入於樂曲中，賦予音樂新曲風，呈現陳主税師承許常惠的影響。二、〈秋〉、〈山之霧

〉、〈雲海〉、〈楓〉四首鋼琴小品能看到陳主税在學習作曲歷程中，勇於嘗試、自我突破地展開作曲手法。三、〈秋〉、〈山之霧〉、〈雲海〉、〈楓〉四首鋼琴小品中，優美的旋律手法，是陳主税創作作品與歌唱性表達之核心要素。四、〈秋〉、〈山之霧〉、〈雲海〉、〈楓〉四首鋼琴小品是具有鋼琴彈奏技巧與音樂性之樂曲，可提供具備中級以上程度的演奏者作為彈奏曲目。五、〈秋〉、〈山之霧〉、〈雲海〉、〈楓〉四首鋼琴小品充分反應出作曲家陳主税對大自然的熱愛。六、本研究重新校訂了已出版的《抒情鋼琴小品集》當中之〈秋〉、〈山之霧〉、〈雲海〉三首鋼琴小品，並將修訂後的樂譜放在附錄三。

The Missing Piece: Finding the Better Part of Me: a Love Journey

為了解決Broken chord的問題，作者Hill, Rob, Sr./ Waters, Jas (CON) 這樣論述：

For anyone who has suffered pain, disappointment, or a broken heart, entrepreneur and motivational speaker Rob Hill, Sr. shares the transformational personal story of his struggles and the invaluable lessons those difficult challenges have taught him about looking within to find the power to heal an

d live a purposeful life. Often the greatest opponent we face in the game of life is ourselves. We spend hours, days, and years searching for answers to the questions of our hearts. But the answer is there. Our full awareness of self, our understanding of purpose, and our appreciation for the power

of love are the missing pieces needed to heal the pain so many us feel. It was the answer to the pain I felt.These inspirational nuggets of wisdom are just a few of the priceless life lessons that have struck a chord with hundreds of thousands of people and earned Rob Hill Sr. the title, "heart heal

er." Ever since Hill made the courageous decision to dedicate his life to helping others, his own painful coming-of-age experiences--homelessness, a damaged relationship with his father, hours spent contemplating suicide--have served as the basis for his positive message of healing and transformatio

n. Whether you struggle with fostering healthy relationships, finding love, believing in yourself, overcoming the obstacles life tosses in your way, or any other number of conflicting human experiences, Hill's perceptive, penetrating yet compassionate words will help you find your way. The Missing P

iece is the captivating story of the man behind the powerful, uplifting message, part memoir and part roadmap to deep personal contentment and success.

王千庭低音管學位音樂會暨樂曲解說

為了解決Broken chord的問題，作者王千庭 這樣論述：

本文內容是筆者於民國109年5月2日於國立清華大學演奏廳所舉辦之獨奏會完整曲目，曲目包括四位作曲家:分別為約翰‧尼波默克‧胡梅爾(Johann Nepomuk Hummel)、馬爾科姆·阿諾德(Malcolm Arnold)、卡米爾‧聖桑(Camille Saint-Saëns)、卡爾‧雅可比(Carl Jacobi)，這四首曲目對低音管演奏家而言皆為不同風格的挑戰，尤其是卡米爾‧聖桑的《為低音管與鋼琴的奏鳴曲，作品168》，優美的音樂線條讓筆者百聽不厭。胡梅爾《F大調低音管協奏曲》全曲使用大量的分解和弦作為伴奏型態，並以音階、琶音的方式貫穿整首樂曲，當中低音管的高低音域大跳技巧更是此曲的精

隨；阿諾德《低音管幻想曲，作品86》七和絃琶音上、下行為此曲的主體，透過音階的方式作為七和絃和聲變換的依據；聖桑《為低音管與鋼琴的奏鳴曲，作品168》使用七和絃、掛留音、長線條樂句為主要特色，全曲皆為弱起拍；雅可比《序奏與波蘭舞曲，作品9》樂曲中將不同風格的樂段完美的連貫在一起，波蘭舞曲中特有的節奏律動貫穿全曲。演奏胡梅爾的作品，樂句流暢為極為重要；阿諾德的作品以樂曲的堆疊、音響上的擴張為主；聖桑的作品包含不同樂曲風格，段落間需要有明顯的區別；雅可比的作品則需要掌握到波蘭舞曲的獨特節奏感。