审阅范围 · Review scope
指定内容与证据核对。请保留正文中的出处与限制；不代表全库最终验收、实际演奏或学习效果验证。
Specified content and evidence checks. Keep the evidence and limitations stated in the text in view. This is not final corpus acceptance or validation of performance or learning outcomes.
第四组原创实验
这些是本库自编的书写与拍击任务，不使用课程谱例或伴奏，也没有代替读者完成听辨和演奏。
E13 六个小单位，可以怎样分组
均匀敲六下，先在第1、4下稍加重，分为 123|456；再在第1、3、5下稍加重，分为 12|34|56。保持每一下的间隔相同。第一种练习6/8常见的两大拍分组，第二种练习3/4常见的三拍分组；此处两组八分音符的速度相同，不是把两种拍的节拍器数值混为一谈。写下分组后再敲，录下来检查。只靠某个重音并不能证明作品拍号。关联：拍与记谱单位。
E14 和弦的结构与功能分两栏
写下 G B D F，检查它以G为根音时组成大三和弦加小七度，即G7的结构。再加一栏“当前调性与前后和弦”。先假定C大调语境并接到C和弦，分析G7可能的属功能；然后擦掉上下文，记录哪些信息已不能确定。这个任务不把一个和弦代号当成全曲调性的证明。关联：和弦与功能。
自查与预期结果
- E13：6/8例子在第1、4个小单位开始大拍；3/4例子在第1、3、5个开始拍。每个八分音符同样长时，第一种大拍的时长是第二种拍的1.5倍。若每分钟120个八分音符，则分别每分钟40个附点四分音符拍与60个四分音符拍，一小节都为3秒。
- E14：G到B为大三度，G到D为完全五度，G到F为小七度。在给定C大调语境中可分析为V7；没有上下文仍知道G7结构，却不能仅凭它确定整首作品调性。
E13互动图解提供同一原创实验的两种语言与数字自查；请先下载HTML再用浏览器打开，仓库代码页未必直接运行HTML。
E15 修复与连续演奏分开检查
自编短句 C4 E4 D4 G4，每音一个四分音符，以四分音符为一拍。先在纸上写出音名顺序。修复轮允许停下检查，目标是每个音都能找到；连接轮加入前后音；试演轮以舒适速度到第四音结束，再记错误与停顿。如果尚不能完成，缩短任务或改成敲四拍，不为“继续”硬撑身体。没有要求故意弹错。
自查：全句共4拍；一次不间断并不证明音全对，一次慢速无错也不证明更快仍无错。分开记录音名错误与额外停顿，不用一个总分遮住差异。
E16 删掉声音，保留时间
自编4/4一小节：C4 D4 E4 G4 E4 D4 C4 G3，八音各一个八分音符。简化轮只弹第1、3、5、7格，把其余格改成休止，每个保留音仍只占一格。下一轮加回第2、6格，再恢复全部音。先慢慢数八格；需要检查连接时，可只练一个接点。
自查：三轮分别有4、6、8个起音，但都保留8格、4个四分音符时值。删掉音之后若连时间一起挤掉，就不是同一时长的简化。选择能在恢复音符后继续使用的指法；简化轮成功不等于完整版完成。
E17 根音与最低音分开判断
前置：和声身份与配置、音名和八度编号。可只在纸上做，不要求弹出跨度较大的配置。三个字母D、F#、A构成D大三和弦。
- 分别找出
D3 F#3 A3、F#3 A3 D4、A2 D3 F#3、D3 A3 F#4的最低音。 - 判断根音有没有改变，再判断原位、第一转位或第二转位。
- 在配置图中切换并核对。不要只看列出的第一个字母；先比较实际音高。
自查：四组根音都是D；最低音依次为D、F#、A、D；转位依次为原位、第一、第二、原位。最后一组上方更宽，但仍以D为最低音。这里没有要求某只手承担某个音，也没有用听感猜转位。
E18 附点的长度账本
前置：相对时值。把四分音符记为1个单位，纸上计算：双附点二分音符多长？单附点八分音符多长？两者各有几个起音？
自查：前者 2 + 1 + 0.5 = 3.5，后者 0.5 + 0.25 = 0.75；各是一个音符、一个起音。两者总计4.25个单位，不能不作调整就塞进总时值4个单位的小节。这里不要求实际演奏，也不把单位直接换成秒。
E19 删一个音，保留时间
前置：练习与演出的问题、拍。原创两小节4/4旋律：D4 E4 F4 A4 | G4 F4 E4 D4，每音一个四分音符。先读八个位置，再把第3个位置改为四分休止，其他音不移位。可只数拍并用手指指向纸面，不必弹琴。
自查：仍有8个四分音符单位，7个起音；第4个位置还是A4，第5个还是G4。若补弹F4导致后面都晚一拍，就改变了时间结构。这是预先安排的删音任务，不是突然出错后的恢复能力证明；实际演出还需单独练习可靠入口，不能由本题推定已经准备好。
Original experiments, set four
These original writing/tapping tasks use no source-course score or backing track. The reader's listening and playing have not been performed on their behalf.
E13 Group six small units
Tap six evenly spaced sounds, first emphasizing units 1 and 4 as 123|456, then units 1, 3 and 5 as 12|34|56. Keep the small-unit spacing unchanged. The first practices a common two-beat grouping in 6/8; the second a common three-beat grouping in 3/4. Eighth-note speed is equal here, rather than conflating metronome numbers for different beat units. Write groups before tapping, record and check. An accent alone does not establish a work's time signature. Related: beat and notation units.
E14 Separate chord structure from function
Write G B D F. Relative to root G, check a major triad plus a minor seventh: the structure of G7. Add a column for current key and surrounding chords. First assume C major and follow with C, considering possible dominant function. Then erase context and record what is no longer determined. A chord symbol alone does not establish a whole work's key. Related: chords and function.
Self-checks and expected results
- E13: the 6/8 example starts larger beats at small units 1 and 4; the 3/4 example starts beats at 1, 3 and 5. With equal eighth-note duration, the first larger beat lasts 1.5 times the second beat. At 120 eighth notes per minute, these give 40 dotted-quarter beats and 60 quarter-note beats per minute; each bar lasts 3 seconds.
- E14: G to B is a major third, G to D a perfect fifth, and G to F a minor seventh. In the stated C-major context it can be V7. Without context G7's structure remains known, but the work's key does not follow from that chord alone.
The E13 interactive diagram provides both languages and numeric checks for this original experiment. Download the HTML and open it in a browser; the repository code viewer may not execute HTML directly.
E15 Separate repair from continuous playing
Use the original phrase C4 E4 D4 G4, one quarter note per pitch, with the quarter as the beat. Write the order first. In a repair pass, stopping to inspect is allowed; locate each pitch. In a connection pass, add surrounding notes. In a trial run, finish the full duration of note four at a comfortable speed, then record errors and pauses. If that is not yet manageable, shorten the task or tap four beats; continuity never requires physical strain. Do not deliberately play wrong notes.
Self-check: the phrase lasts 4 beats. An uninterrupted attempt does not prove all notes were right; an accurate slow attempt does not prove accuracy at higher speed. Record wrong pitch names and added pauses separately instead of hiding differences in one total score.
E16 Remove sounds while retaining time
Use this original 4/4 bar: C4 D4 E4 G4 E4 D4 C4 G3, eight eighth notes. In a reduced pass, play only slots 1, 3, 5 and 7, replacing the others with rests; each retained note still occupies only one slot. Next restore slots 2 and 6, then all notes. Count eight slow slots first; work on a single join when needed.
Self-check: the passes have 4, 6 and 8 onsets, but all retain 8 slots or 4 quarter-note durations. Removing time along with a note changes the total duration. Choose fingering that remains usable when notes return; success on the reduction does not complete the full version.
E17 Separate the root from the lowest note
Prerequisites: chord identity and voicing, note names and octave numbers. Work on paper if preferred; wide voicings need not be played. D, F# and A form a D-major triad.
- Find the lowest pitch in each of
D3 F#3 A3,F#3 A3 D4,A2 D3 F#3andD3 A3 F#4. - Check whether the root changed, then identify root position, first inversion or second inversion.
- Switch the voicing diagram to check. Compare actual pitches rather than assuming that the first written letter must be lowest.
Self-check: all four roots are D; bass notes are D, F#, A and D respectively. Positions are root, first, second and root. The last voicing spreads upper notes while retaining D at the bottom. No hand assignment or identification by perceived sound is required.
E18 Account for dotted durations
Prerequisite: relative duration. Set a quarter note to 1 unit. On paper, calculate a double-dotted half note and a dotted eighth note. How many attacks does each have?
Self-check: 2 + 1 + 0.5 = 3.5 and 0.5 + 0.25 = 0.75. Each is one note with one attack. Together they total 4.25 units, so they do not fit unchanged into a bar totaling 4 units. No playing or direct conversion of units into seconds is required.
E19 Omit a note, preserve the time
Prerequisites: practice and performance questions, beat. Our original two-bar 4/4 melody is D4 E4 F4 A4 | G4 F4 E4 D4, each note a quarter note. Read the eight positions, then replace position 3 with a quarter rest without moving the other notes. Count and point at the paper if preferred; playing is optional.
Self-check: there are still 8 quarter-note units and 7 attacks. Position 4 remains A4 and position 5 remains G4. Inserting F4 and delaying the rest by one beat changes the time structure. This is a planned omission task, not evidence of recovering from an unexpected error. Rehearsed entry points need separate practice; this task does not establish performance readiness.