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谐谑曲，为钢琴而作的小品4首。Scherzo, Four Pieces for piano No. 4

谐谑曲也可以是很快的快板的。The scherzo is marked allegro molto.

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谐谑曲是很快的快板。The scherzo is marked allegro molto.

惊人！！！！！热爱运动的第二谐谑曲很多。Amazing! ! ! ! ! Love the the second scherzo movement alot.

经常和这个作品一起演出的是一个24小节的谐谑曲的轮廓。Often paired with this piece is the 24 bar sketch of a scherzo.

俄罗斯和东欧钢琴作品精选安东·鲁宾斯坦谐谑曲，作品44，第二首。Russian and Eastern European Piano Music Scherzo, Op. 44, No. 2

看完之后我大笑，然后回信用几乎是谐谑的口气安慰了他。I broke into laugh after reading it, and comforted him almost in a tone of banter.

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论文的第二部分是对于肖邦第三谐谑曲的音乐学分析。The second part of the paper is the musicology analysis of the third banters tune of Chopin.

西方的“幽默”艺术与中国传统的“谐谑”技艺极为相似。The Western art of humor bears a striking likeness to the Chinese traditional skill of banter.

肖邦的谐谑曲是音乐形象对比鲜明结构庞大的一种单乐章的钢琴独奏曲。Chopin's scherzo is a single-chapter piano solo which has distinctive contrast and enormous structure.

随之而来的所有欢庆场景仿佛试图去掩盖那些谐谑曲所存在的威胁。All the jubilation that follows can sound like an attempt to forget whatever existential threat the Scherzo poses.

此联的口语化和谐谑意味，颇有曲的味道，刻画封建官僚丑态，维妙维肖。The Union colloquial and Valse means quite a lot of music taste, depicts the feudal bureaucrats ugly, with great nuance.

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然后从和声入手，分析了肖邦谐谑曲中和声进行的几种主要特点。And then, starting with harmony, the author analyzes several main harmonic progression characteristics of Chopin's scherzos.

第四章是对肖斯塔科维奇谐谑性音乐风格的成因进行分析，并展现了其体现出的美学原则。The fourth chapter discusses the reasons for the formation of the composer's scherzo style and the aesthetic principles in it.

论文的第三部分介绍谐谑后期的发展情况，本部分将对肖邦以后的谐谑精神及谐谑在中国的发展进行分析。At the last part of the paper, it is analyzed on the spiritual of Liszt' banter and the later period development of banters in China.

魏晋南北朝时期，产生了篇幅短小、寓讥于谐的谐谑小说。During the Wei-Jin and the Southern and Northern Dynasties, the bantering novel with humourous and ironical language came into being.

而交响曲中的谐谑曲所呈现出来的谐谑性风格又是贯穿肖斯塔科维奇一生的重要的创作风格之一。Besides, the scherzo and its own style in the symphony is also considered one of the major elements in the composition of the composer.

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理性与非理性是其精神情感特征，而直陈与变形，是谐谑散曲主要的表现手法。Rationality vs irrationality is the spiritual and emotional features with its main expressive skills being direct statement and change.

第二章，是通过谐谑曲中显象性的技法分析来展示其内涵性的风格特征。The second chapter analyzes the conspicuous features of the techniques in the scherzo to demonstrate its significant stylistic characters.

这些谐谑曲已不同于以往的谐谑曲体裁，不再限于嬉戏、玩闹而是隐含了深刻而复杂的思想内容。There are differences between this kind of scherzo and its previous styles. Chopin's scherzo is no longer defined to frolic and amusement.