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7.
All the traids so far have been in “root position”, because the root is the bottom note. But the notes of a triad can be re-arranged so that either the 3rd or the 5th is at the bottom. When the 3rd is at the bottom the triad is in the “first inversion”; when the 5th is at the bottom it is in the “second inversion”. This can be confusing. In the first and second inversion, “3rd” and “5th ” continue to refer to the intervals from the root in the root-position triad; they do not refer to degrees of the scale, or to the intervals from the note which is actually at the bottom of an inverted triad. Indeed, it is worth noticing that, although triads in root position always consist of two intervals of a third, inverted triads always include a 3rd and 4th.（P 21-22）
【参考译文】
到目前为止，所有的三和弦都在原位，因为，根音为低音。但是，三和弦的几个音能重新排列，既可以使三音置于低音部，也可以使五音置于低音部。三音在低音时，这个三和弦称为“第一转位”；五音在低音时，称为“第二转位”。这可能引起混淆：在第一、第二转为中，“三度”和“五度”仍指原位和弦中从根音算起的音程，不表示音阶的音级，也不表示与转位三和弦实际处于低音的这个音所构成的音程。确实值得注意的是，尽管原位三和弦总由两个三度音程构成，但转位三和弦则总包含一个三度和一个四度。
我们习惯于聆听在和声背景衬托下的旋律。就旋律的运动来说，和声增加了音乐的厚度。当一个演唱者用吉他和其他乐器的和弦为旋律伴奏，或者一个钢琴演奏者右手弹旋律，左手弹和弦时，和声的这种支持作用便清楚表现出来。(50)
All the traids so far have been in “root position”, because the root is the bottom note. But the notes of a triad can be re-arranged so that either the 3rd or the 5th is at the bottom. When the 3rd is at the bottom the triad is in the “first inversion”; when the 5th is at the bottom it is in the “second inversion”. This can be confusing. In the first and second inversion, “3rd” and “5th ” continue to refer to the intervals from the root in the root-position triad; they do not refer to degrees of the scale, or to the intervals from the note which is actually at the bottom of an inverted triad. Indeed, it is worth noticing that, although triads in root position always consist of two intervals of a third, inverted triads always include a 3rd and 4th.（P 21-22）
【参考译文】
到目前为止，所有的三和弦都在原位，因为，根音为低音。但是，三和弦的几个音能重新排列，既可以使三音置于低音部，也可以使五音置于低音部。三音在低音时，这个三和弦称为“第一转位”；五音在低音时，称为“第二转位”。这可能引起混淆：在第一、第二转为中，“三度”和“五度”仍指原位和弦中从根音算起的音程，不表示音阶的音级，也不表示与转位三和弦实际处于低音的这个音所构成的音程。确实值得注意的是，尽管原位三和弦总由两个三度音程构成，但转位三和弦则总包含一个三度和一个四度。
8.
We are accustomed to hearing melodies against a background of harmony. To the movement of the melody, harmony adds musical depth. The supporting role of harmony is clear when a signer accompanies his melody with chord on the guitar and other instruments, or when a pianist plays the melody with his right hand while the left hand plays the chords.
We are accustomed to hearing melodies against a background of harmony. To the movement of the melody, harmony adds musical depth. The supporting role of harmony is clear when a signer accompanies his melody with chord on the guitar and other instruments, or when a pianist plays the melody with his right hand while the left hand plays the chords.
我们习惯于聆听在和声背景衬托下的旋律。就旋律的运动来说，和声增加了音乐的厚度。当一个演唱者用吉他和其他乐器的和弦为旋律伴奏，或者一个钢琴演奏者右手弹旋律，左手弹和弦时，和声的这种支持作用便清楚表现出来。(50)
