| 1. 连续五度/Consecutive fifths |
连续五度或平行五度，是出现在平行进行中任意一对音间的五音音程，传统上在简单的四部分乐谱禁止使用，在高音和低音间的平行五度存在particular objection。甚至连续音程不平行时，在五音到十二音的音程，也最好避免。附加两个音的跳音的五音，作为被隐藏的五音， direct fifth 同样要避免，除非在相同和弦的不同编排中。
Consecutive fifths or parallel fifths, traditionally prohibited in simple four-part writing, are intervals of a fifth occurring between any pair of voices in parallel motion in consecutive chords. There is a particular objection to parallel fifths between soprano and bass. Even when the consecutive intervals are not parallel, as in the interval from fifth to twelfth (i.e. a compound fifth), they are best avoided. A fifth approached by leap in both voices, known as a hidden fifth, direct fifth or exposed fifth is similarly largely to be avoided, except in different arrangements of the same chord. |
| 2. 连续八度/Consecutive octaves |
连续八度或平行八度，是出现在平行进行中任意一对音间的八度音音程，传统上在简单的四部分乐谱禁止使用，在高音和低音间的平行八度存在particular objection。甚至连续音程不平行时，在一度音到八度音的音程，也最好避免。附加两个音的跳音的八度音，作为被隐藏的八音， direct octave 同样要避免，除非在相同和弦的不同编排中。
Consecutive octaves or parallel octaves, traditionally prohibited in simple four-part writing, are intervals of an octave occurring between any pair of voices in parallel motion in consecutive chords. There is a particular objection to parallel octaves between soprano and bass. Even when the consecutive intervals are not parallel, as in the interval from a unison to an octave, they are best avoided. An octave approached by leap in both voices, known as a hidden octave, direct octave or exposed octave is similarly largely to be avoided. |
| 3. 反行进行/Contrary motion |
反行进行用来描述相反方向的两个音的运动。
Contrary motion describes the movement of two voices in opposite directions. |
| 4. 跳音/Leaps |
跳音是用一个音级以上的音程表示任何一个音的运动。跳音被称为跳进，与级进相对。
Leaps or skips indicate the movement of any one voice by intervals of more than one step. Movement by leap is known as disjunct motion, as opposed to conjunct motion, movement by step. |
| 5. 斜行进行/Oblique motion |
斜行进行即两声部，一部保持原状，另一部向上或向下进行。
Oblique motion describes the movement of two parts when one voice remains stationary and the other moves. |
| 6. 平行进行/Parallel motion |
平行进行用来描述两声部的平行运动。五度，八度或一度音程平行传统上在四声部作品中禁用。常见的有三度平行音程或六度平行音程。
Parallel motion describes the movement of two parts in parallel. Parallel intervals of a fifth, octave or unison are traditionally prohibited in four-part writing. Parallel intervals of a third or sixth are frequent. |
| 7. 八度平行/Parallel octave |
八度平行是从八度到八度的两声部运动，传统上在四声部作品中禁用。
Parallel octaves, the movement of two parts from octave to octave, are traditionally prohibited in four-part writing. |
| 8. 同向进行/Similar motion |
同向进行是两声部朝同一方向运动。
Similar motion describes the movement of two parts in the same direction. |
| 9. 音级（级进）/Steps |
逐级移动即移向任意声部的相邻音，被定义为级进，与跳进相对。
Movement by step, that is, movement to the immediately adjacent note in any one part, is described as conjunct motion, as opposed to movement by leap, which is described as disjunct motion. |
| 10. 声部导引/Voice leading |
声部导引被视为单个声部，其被看作旋律而非单纯的和声因素。在每个声部中，常常混合级进和跳进。通常遵守特定原则。这些原则为，两个连续和弦通常在何处有一个或更多音，这些音通常在第二和弦的同一声部重复，其他音则移向尽可能近的位置。两个和弦没有普通音，则高声部反行至低声部。旋律遵循高声部。
Voice leading or part writing applies to the treatment of individual voices or parts considered melodically rather than purely as elements in chords. In each voice there is often a mixture of movement by step and movement by leap? conjunct and disjunct motion. Certain rules are usually observed. These are that where two consecutive chords have one or more notes in common, these are generally repeated in the same voice of the second chord, while other notes move to the nearest possible position. When there are no notes in common between two chords, it is effective to allow the three upper voices to move in contrary motion to the bass. Melodic considerations apply, particularly to the top voice, the soprano. |
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