檢視何良俊曲論/29 的原始碼

<p>曲至緊板，即古樂府所謂『趨』。趨者，促也。絃索中大和絃是慢板，至花和絃則緊板矣。北曲如中呂至<span class="書名">快活三</span>臨了一句，放慢來接唱<span class="書名">朝天子</span>；正宮至<span class="書名">呆骨都</span>，雙調至<span class="書名">甜水令</span>，仙呂至<span class="書名">後庭花</span>，越調至<span class="書名">小桃紅</span>，商調至<span class="書名">梧葉兒</span>，皆大和，又是慢板矣。緊慢相錯，何等節奏！南曲如<span class="書名">錦堂月</span>後<span class="書名">僥僥令</span>，<span class="書名">念奴嬌</span>後<span class="書名">古輪臺</span>，<span class="書名">梁州序</span>後<span class="書名">節節高</span>，一緊而不復收矣。</p>

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