大家见过交响乐的总谱吗?它一般有几张试卷的篇幅,上面的音符密密麻麻。看到它时,大家心里会不会冒出问题:当作曲家谱写大型交响乐时,是直接在总谱上“码格子”吗?这么多的音符,写错一个怎么办?其实,许多作曲家都习惯在五线谱上,先谱出多声部的“双钢琴版本”。例如德国著名作曲家约翰内斯·勃拉姆斯的得意之作——《海顿主题变奏曲》,就是先有了双钢琴版的前稿。1870年,勃拉姆斯收到了维也纳爱乐协会某位图书管 Have you ever seen the score of a symphony? It usually has a few pages and the notes are dense. When we see it, everyone will have a problem in mind: When composing a large symphony as a composer, it is directly on the score “code lattice”? If so many notes are written in the wrong one, what should we do? In fact, many Composers are accustomed to composing “double piano versions” of multiple voices on the stave. For example, the proud composer of the famous German composer Johannes Brahms, “The Haydn Variations”, was the first draft of a two-piano edition. In 1870, Brahms received a book from the Vienna Philharmonic Society.