英语翻译Both these aspects of design were subject to alteration.It became increasingly common during the Baroque era for the second half to relate more precisely to the first.In particular,the listener’s comprehension of the form was aided by a ‘rhyming’ of the outer parts of each half.Thus the second half would often begin with a dominant version of the first half’s opening unit or phrase,either briefly acknowledged or quoted extensively.An inversion of

英语翻译
Both these aspects of design were subject to alteration.It became increasingly common during the Baroque era for the second half to relate more precisely to the first.In particular,the listener’s comprehension of the form was aided by a ‘rhyming’ of the outer parts of each half.Thus the second half would often begin with a dominant version of the first half’s opening unit or phrase,either briefly acknowledged or quoted extensively.An inversion of the material was also common,particularly in gigue movements (see,for instance,the Gigue from Bach’s English Suite no.4 in F).In the Allemande from the same work,not only does the material appear in retrograde,but also the hands swap roles,the left hand now taking the melodic lead.This dominant version of material was often used as a springboard to regaining the tonic,albeit often only briefly before the harmony moved further afield