A trio (a piece of music specially composed for a trio) is a complete collection of detailed information.

Trio is a kind of music specially composed for trio chorus. In opera, apart from duet being widely used, trio is also the most common form of voice combination. In addition to inserting a short sentence or two into a scene, the phrase has a long three-part structure, as well as fu and symphony.

Chinese name: trio mbth article 1: use case article 2: assignment format article 3: symphony use case, assignment format, symphony style. Mozart loves to use a trio, which Alfonso used to comfort two young people's fiancee in the second scene of the first act of A Woman's Heart. In Mozart's other operas, trio is often mixed with duet, quartet and quintet, and its texture is free to imitate, dialogue, foil and column, which is very flexible. The twentieth song in the third act of Carmen is a trio. There is a big space ahead for two gypsy girls to shuffle their cards and tell their fortune, and then enter the sound of Carmen, forming a trio of free textures, first as a foil and finally as a column. The mixed phenomenon of various duet forms is more common in The Wedding of Figaro. Verdi's opera Onani ends with a touching trio. The trio (recitative and trio) after the storm in the last scene of Rossini's The Barber of Seville embodies a multi-theme structure. This is the fugue form before Bach. Every sentence of music has its own answer, and the whole music is composed of a series of responses. The previous trio was a recitative, which explained the development of the plot. When the storm subsided, Ors Amawiwa and Figaro climbed onto the terrace along the downpipe and sneaked into the house. They sang a recitative. Le figaro: "Here we are at last!" Amar Viva: Turn on the light, where is Lin Xiawei? "Lin Xiawei appeared. She didn't know what they were doing and sang, "Don't try to treat me like a plaything! Amawiwa admits that he is the Lindoro that Lin Xiawei still loves. At this time, the misunderstanding was eliminated and everyone was happy. In the next trio, its first theme is F major played by Rovana. Lin Xiawei: "Ah, this moment is really wonderful. Amar Viva and the Earl are the same person! How unexpected and exciting! " Figaro was in charge of the handover, and he interrupted: "Now she knows who she loves, and it's all my credit!" The answer was sung by the count in the tune: "Ah, this moment is really happy. It is unexpected and exciting!" " "Figaro's narration brought tonality back to F major, and then the theme entered his voice:" Look, with my intelligence, lovers can be together. " The second theme is a coloratura melody, which fully shows the hero's happy mood. This theme is still presented by the heroine first, followed by the count, and Figaro's narration transitions from the first paragraph to the echo in the sentence. Lin Xiawei: Oh, together, how lucky, no longer sad. Oh, how lucky we are to be together and not be sad anymore. This is an interlude of recitative, and the three people at the end of this paragraph are combined in the form of coloratura. The third theme is a cheerful song, presented by the count. Different from the first two paragraphs, the relationship between themes is no longer a simple change of timbre, but a superposition of timbre. So, when Figaro's voice entered after Rogina's answer, it was already three overlapping parts: Earl: Take a light step, don't panic, cover the lights and go in through the window along the ladder. Lin Xiawei: Walk gently, don't panic, cover the light and go out the window along the ladder. Figaro: Walk gently, cover the light, and don't panic. Follow the ladder through the window. Rossini's trio adopts the metrical form of multi-theme fu format. It appropriately shows the same feelings of different roles in the development of drama. Different themes reveal the progressive emotions of the characters in many ways, so they become well-known masterpieces in opera. Mozart applied his symphony writing skills to opera creation. In the first act of Figaro's Wedding, the Earl was hit by Basilio, a music teacher, while trying to flirt with Susanna, who was nervously hiding from the little angel. The seventh section trio that shows this scene is a three-part structure. The main part of the presentation department has two motives, one is to express the earl's anger, and the other is to apologize for Basilio. The connection part was sung by Susanna in the connection part, and then she entered the third motive in F major, which means that all three people were embarrassed. Although the material of these three motives has nothing to do with the aria melody of the characters in the play, the mentality of the characters in the scene can also be well expressed in this duet.