审阅范围 · Review scope
限定范围独立审阅。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。
Independent review within the stated scope. Keep the evidence and limitations stated in the text in view. This is not final corpus acceptance or validation of performance or learning outcomes.
本页保留作者送审冻结字节，因此正文或数据可能仍有“候选／等待审阅／未发布”标记。当前版本已通过限定独立复核并发布；旧标记只记录冻结时状态。通过范围是双语含义、限定来源文字／静帧及原创固定例题检查，不含原声听校、连续动作、完整源谱、实际演奏、身体适用性或学习效果验证。
This page preserves the author’s frozen review bytes, so prose or data may still contain candidate, pending-review or unpublished labels. This version has passed bounded independent review and repository publication; those labels record author-time status only. Acceptance covers bilingual meaning, bounded source text/stills and original fixed-fixture checks, not source audition, continuous motion, full source scores, actual performance, physical suitability or learning outcomes.
借用iv还是局部副属：先核变化级数
先问是哪一个音变了
在明确给定的C大调背景中，Fm和D7都含调外音，却不能只贴上同一种标签。Fm含Ab；D7含F#。本课把三个原创四小节版本放在同一时钟上，比较变化的级数、完整和弦与后续目标，不要求凭听感猜调性。
前置知识是音名字母、升降号、八度、三和弦与属七和弦。C4是中央C，音名后的数字是八度，不是指法；b降半音，#升半音。可先读音程与拼写及和声与配置。全部任务可用纸笔完成。
先遮住和弦答案与后面的变化表。写下Fm与F的差别，以及D7中不在C大调自然音列里的音。分别预测它们相对C是第几级；暂不确定就保留未知，再核答案。这里给出了答案，完成后不算陌生材料测试。
同主音借用，不是换掉整张音列
这里把“借用和弦”限于在既定主调中采用同主音另一调式的和弦：C大调与C自然小调都以C为比较主音。相对小调A小调的主音不同，不能把“同主音”与“关系大小调”混为一谈。实际主音是否稳定仍需音乐语境，本页的C大调是题目条件。
C自然小调相对C大调降低第3、6、7级，即E→Eb、A→Ab、B→Bb。但借来一个Fm只需F–Ab–C；本例实际改变的是第6级A，不是第3级E。Ab是Fm和弦的三音，同时是相对主音C的降第6级：和弦成员编号与音阶级数不是同一参照。
借用版仍保留第1、4小节C和弦中的E，以及第3小节G和弦中的B；不把全句改成C自然小调。表中的自然小调只是本次来源音组，不意味着小调和声只能使用自然小调。Fm也不是A自然小调的自然三和弦，因为Ab不在那张音列中。
| 音组 | 音名 | 作用 |
|---|---|---|
| C-MAJOR | C–D–E–F–G–A–B | 本例给定的主调参照 |
| C-NATURAL-MINOR | C–D–Eb–F–G–Ab–Bb | 同主音来源音组；借用Fm |
| A-NATURAL-MINOR | A–B–C–D–E–F–G | 关系小调；主音不同，含A而非Ab |
借用回答来源，副属回答局部目标
把和弦按根音叠置：F–A–C距F为0、4、7半音，Fm的F–Ab–C为0、3、7。根音F、五音C都不动。C大调中的F是IV，借来的Fm写作小写iv；这里的小写说明小三和弦性质，不是把根音降成Fb。
D7按根音写为D–F#–A–C，距离为0、4、7、10。F#是D和弦的大三音，也是C背景中的升第4级。本例后接G–B–D，所以可把D7分析为V7/V：V级G的属七，斜线右侧表示目标。Fm的Ab与D7的F#不应因都在调外就互相替代。
这两个分析不是对所有音乐的互斥分类器：不同语境可以有多重解释。这里Fm没有被定义为G的属七；D7也不来自所列C自然小调音组。只有孤立Ab、F#或一个和弦，缺少主调、位置与后续时，应先记录证据不足。
| 符号 | 根音 | 根音序 | 半音 | 分析 | 本例读法 |
|---|---|---|---|---|---|
| C | C | C–E–G | 0,4,7 | I | 主和弦，三版的开始与结尾 |
| F | F | F–A–C | 0,4,7 | IV | R的自然大三和弦 |
| Fm | F | F–Ab–C | 0,3,7 | iv | B借自C自然小调；Ab是C的降6级 |
| D7 | D | D–F#–A–C | 0,4,7,10 | V7/V | S中指向G；F#是C的升4级 |
| G | G | G–B–D | 0,4,7 | V | 三版共同第3小节，保留B本音 |
三版四声部：保留完整时间线
R为C–F–G–C参照版；B为C–Fm–G–C借用版；S为C–D7–G–C副属版。三版是替代方案，不是接成十二小节。每版4/4、四小节，以四分音符单位q计时；每声部每小节在第1拍重新起一个4q音，起点0、4、8、12q，终点16q。
V1至V4在每一列由低至高，但不规定左右手、指法或合唱声部。四声部同时进行，每版16个音符事件、4个不同起音时点、0段休止，总经过时间16q而非64q。没有踏板、延音线或反复；即使V3最后两小节都是G3，也在12q重新起音。
区间[a,b)包含a、不含b；每个表格格子完整占据所列4q，没有未列出的休止或补音。终点是规定时值，不是实测放键或余音消失。表是原创和弦配置，不是来源谱例，也不是声部写作风格合格证或强制同时弹奏任务。
| 版本 | 声部 | 1: [0,4) | 2: [4,8) | 3: [8,12) | 4: [12,16) |
|---|---|---|---|---|---|
| R | V1 | C3 | F2 | G2 | C3 |
| R | V2 | E3 | C3 | B2 | E3 |
| R | V3 | G3 | A3 | G3 | G3 |
| R | V4 | C4 | F4 | D4 | C4 |
| B | V1 | C3 | F2 | G2 | C3 |
| B | V2 | E3 | C3 | B2 | E3 |
| B | V3 | G3 | Ab3 | G3 | G3 |
| B | V4 | C4 | F4 | D4 | C4 |
| S | V1 | C3 | D2 | G2 | C3 |
| S | V2 | E3 | C3 | B2 | E3 |
| S | V3 | G3 | F#3 | G3 | G3 |
| S | V4 | C4 | A3 | D4 | C4 |
核对变化清单，再看两种接缝
R→B只改第2小节V3：A3→Ab3，下降1半音；另外15个音符事件与所有时值完全相同。随后同一V3由Ab3到G3下降1半音。这个明确配置可供检查降第6级的去向，但不是所有借用iv都必须照搬的声部规则。
R→S在第2小节改了三个事件：V1 F2→D2，V3 A3→F#3，V4 F4→A3；V2 C3保持。不要误称它只改一个升号。S的第2至第3小节有V3 F#3→G3上行1半音，以及V2 C3→B2下行1半音，分别写出局部导音与属七和弦七音的连接。
B与S虽然时钟相同，但和弦根音、多个音与分析都不同；不能把两版实际听感的任何差别只归因于Ab和F#。这里比较的是已给条件下的分析理由，不预填“更忧伤”“更丰富”或“更有效”。
| 由R到 | 小节 | 声部 | 原音 | 新音 | 有向半音 |
|---|---|---|---|---|---|
| B | 2 | V3 | A3 | Ab3 | -1 |
| S | 2 | V1 | F2 | D2 | -3 |
| S | 2 | V3 | A3 | F#3 | -3 |
| S | 2 | V4 | F4 | A3 | -8 |
三个容易混淆的边界
与同主音调式比较不同，本页把一个借来和弦放进完整主调进行，检验哪些音保留；不是把整套音组换成另一调式。与小调语境的大调结尾不同，本例从一开始就给定C大调，最后C和弦不构成小调结尾升三音的例子。
已有局部副属目标详解D7到G；本页新增的是把它与借用iv放在同一参照表里，区分“和弦三音”“主调级数”和“目标”。无论一次借用还是一次D7→G，都不单独证明转调；真实判断还需更长的和声、终止与主音组织。
| 例 | 给定条件 | 判断 |
|---|---|---|
| Q1 | 给定C大调；第2小节F–Ab–C后接G | 本例借用iv；改变C的第6级 |
| Q2 | 给定C大调；D–F#–A–C后接G | 本例V7/V；目标G，不凭此断言转调 |
| Q3 | 只给Fm，不给主调与前后文 | 可辨小三和弦，借用来源不足以判断 |
| Q4 | 已给定C大调，最后C–E–G | 不是本课小调结尾升三音的条件 |
纸面先做，钢琴只作可选单声部核对
先隐藏答案，按R重建B与S的第2小节四个音，写出各自的根音序和相对C的变化级数。随后逐事件比较，核对R→B是一处、R→S是三处，再分别画出B和S中第2至第3小节V3的方向与半音数。
只查局部时可暂取[4,12)，共8q；局部0对应原第2小节，局部4对应原第3小节。检查后恢复第1与第4小节，从0重做整版16q及全部四声部表。只改两个音或只写和弦缩写，不等于已经完成整句恢复。
钢琴可只选V3逐音核对：R为G3–A3–G3–G3，B为G3–Ab3–G3–G3，S为G3–F#3–G3–G3，每音4q。G3在中央C左侧；Ab3是G与A之间黑键，F#3是F与G之间黑键。88键编号从A0=1同时数黑白键，中央C4=40；MIDI编号只是音高坐标，不需要设备。键表不是指法；不要求四声部同时弹或任何固定跨距。
可先不计时；如需时钟，四分音符60 BPM每版16秒，48 BPM每版20秒。选择并记录实际速度。单声部每个边界按意图放开前音并重新起音，不加踏板；这不是实际发声或身体适用性已核。单练V3不提供完整和弦，找键正确不能当作已听清借用或副属功能。
| 音高 | MIDI编号 | 88键号 |
|---|---|---|
| D2 | 38 | 18 |
| F2 | 41 | 21 |
| G2 | 43 | 23 |
| B2 | 47 | 27 |
| C3 | 48 | 28 |
| E3 | 52 | 32 |
| F#3 | 54 | 34 |
| G3 | 55 | 35 |
| Ab3 | 56 | 36 |
| A3 | 57 | 37 |
| C4 | 60 | 40 |
| D4 | 62 | 42 |
| F4 | 65 | 45 |
留下可复测的记录
记录版本、纸面或V3路线、答案是否遮住、原先写的和弦／级数、漏改或多改事件、接缝结果、整句恢复与下一项检查。未弹奏时，实琴音色、放键和听感留未知；本页空记录没有真实演奏数据，不能默认通过。
隔天或下次练习先遮住答案，重建这同一组三版，记录真实间隔，再比首次原答与即时订正。先查是否又把Ab叫成C的降3级、把F#叫成借自C自然小调，或把三处改动记成一处；修正后再次恢复完整16q。熟悉材料复测不等于新材料迁移或学习效果已证。
需要时参考节奏时钟与保留和迁移。区分书写分析、真实尝试与自己的偏好，别把其中一栏正确当作其他栏目也通过。
来源只支持有限文字与静帧
NC-045的81段既有ASR已全读，另看40、94、128、186、230秒五张静帧。40秒显示借用和弦／调式互换／调式混合名称；94与128秒显示同主音大小调和弦标签；186与230秒显示部分明暗谱行及Fm9等标签。这里只确认可见名称与布局，不宣称完整源谱逐音验收。
同主音借用、替换建议与用法语境的口述说明仍为未经原声听校的ASR候选。第32段的和弦列表有识别缺漏，不能按其字面重建；源课装饰音、演奏效果与色彩评价没有在本课验收。五帧不代表连续动作，也未验证ASR与画面精确对齐。
三版配置、变化审计、级数对照与纸面复测均为本库原创，未复刻来源进行。四文件待独立审阅；当前已发布基线仍为93/399（PC32、IV32、NC29），本稿发布增量为0。若本来源单独通过独立审阅并完成获准且核验的发布，才可条件性计为94；其他并行候选不预先相加。来源范围。
Borrowed iv or a local dominant: check the altered degree first
First ask which note changed
In an explicitly stipulated C-major context, Fm and D7 both contain chromatic notes, but that does not give them one interchangeable label. Fm contains Ab; D7 contains F#. This lesson places three original four-bar versions on the same clock to compare altered degrees, complete chords and following targets, without asking you to guess the key by ear.
Prerequisites are letter names, accidentals, octaves, triads and dominant sevenths. C4 is middle C; a numeral after a pitch is its octave, not fingering. A flat b lowers one semitone and a sharp # raises one. Start with intervals and spelling and harmony and voicing if needed. Every task can be completed on paper.
Cover the chord answers and later change table first. Write how Fm differs from F and which D7 note lies outside the C-major diatonic collection. Predict each note’s degree relative to C separately; retain “unknown” if uncertain, then check. The answers are supplied, so completion is not an unseen-material test.
Same-tonic borrowing does not replace the whole collection
Here a borrowed chord means using a chord from another mode on the same tonic within the stipulated main key: C major and C natural minor share C as the comparison tonic. Relative A minor has a different tonic; parallel modes and relative keys are distinct. A stable tonic in actual music still requires context; C major here is an exercise condition.
Relative to C major, C natural minor lowers degrees 3, 6 and 7: E→Eb, A→Ab and B→Bb. Borrowing Fm requires only F–Ab–C; the actual changed note here is degree 6, A, not degree 3, E. Ab is Fm’s chordal third and lowered scale degree 6 relative to tonic C: chord-member numbers and scale degrees use different references.
The borrowed version retains E in the C chords of bars 1 and 4 and B in bar 3’s G chord; it does not convert the phrase to C natural minor. Natural minor is this comparison’s source collection, not a claim that minor-key harmony uses only natural-minor notes. Fm is not a diatonic triad of A natural minor either, because Ab is absent from that collection.
| Collection | Notes | Role |
|---|---|---|
| C-MAJOR | C–D–E–F–G–A–B | stipulated main-key reference |
| C-NATURAL-MINOR | C–D–Eb–F–G–Ab–Bb | same-tonic source collection; Fm is borrowed |
| A-NATURAL-MINOR | A–B–C–D–E–F–G | relative minor; different tonic, A rather than Ab |
Borrowing names a source; a secondary dominant names a local target
Arrange each chord from its root: F–A–C lies 0, 4 and 7 semitones above F; Fm’s F–Ab–C lies 0, 3 and 7. Root F and fifth C stay. F is IV in C major, and borrowed Fm is lowercase iv; lowercase marks the minor triad here, not a root lowered to Fb.
D7 spells D–F#–A–C from its root, with offsets 0, 4, 7 and 10. F# is D’s major third and raised degree 4 in the C context. The following chord is G–B–D, so D7 can be analyzed here as V7/V, the dominant seventh of V, G; the right side of the slash names the target. Fm’s Ab and D7’s F# are not interchangeable merely because both are chromatic.
These analyses are not an exclusive classifier for all music; other contexts can admit multiple readings. Here Fm is not defined as G’s dominant seventh, and D7 does not come from the listed C-natural-minor collection. With only an isolated Ab, F# or chord and no main key, placement or continuation, first record insufficient evidence.
| Symbol | Root | Root order | Semitones | Analysis | Reading here |
|---|---|---|---|---|---|
| C | C | C–E–G | 0,4,7 | I | tonic chord, beginning and ending of all three |
| F | F | F–A–C | 0,4,7 | IV | diatonic major triad in R |
| Fm | F | F–Ab–C | 0,3,7 | iv | B borrows from C natural minor; Ab is C’s lowered sixth |
| D7 | D | D–F#–A–C | 0,4,7,10 | V7/V | targets G in S; F# is C’s raised fourth |
| G | G | G–B–D | 0,4,7 | V | common bar 3, retaining B-natural |
Three four-voice versions: preserve the complete timeline
R is the C–F–G–C reference; B is the C–Fm–G–C borrowed version; S is the C–D7–G–C secondary-dominant version. They are alternatives, not a twelve-bar concatenation. Each has four 4/4 bars measured in quarter-note units q. Every voice starts a fresh 4q note on each bar’s first beat, at 0, 4, 8 and 12q, ending at 16q.
V1 through V4 run from low to high in each column, but assign no hands, fingerings or choral parts. The voices run concurrently: each version has 16 note events, 4 distinct attack times and 0 rests, with 16q elapsed rather than 64q. There is no pedal, tie or repeat; even though V3 has G3 in both final bars, it reattacks at 12q.
An interval [a,b) includes a but excludes b. Each cell occupies the full listed 4q, without unlisted rests or extra notes. Endpoints specify durations, not measured key release or acoustic disappearance. These are original chord voicings, not source-score transcriptions, certification of a voice-leading style, or a requirement to play all voices together.
| Version | Voice | 1: [0,4) | 2: [4,8) | 3: [8,12) | 4: [12,16) |
|---|---|---|---|---|---|
| R | V1 | C3 | F2 | G2 | C3 |
| R | V2 | E3 | C3 | B2 | E3 |
| R | V3 | G3 | A3 | G3 | G3 |
| R | V4 | C4 | F4 | D4 | C4 |
| B | V1 | C3 | F2 | G2 | C3 |
| B | V2 | E3 | C3 | B2 | E3 |
| B | V3 | G3 | Ab3 | G3 | G3 |
| B | V4 | C4 | F4 | D4 | C4 |
| S | V1 | C3 | D2 | G2 | C3 |
| S | V2 | E3 | C3 | B2 | E3 |
| S | V3 | G3 | F#3 | G3 | G3 |
| S | V4 | C4 | A3 | D4 | C4 |
Audit the changes, then examine two joins
R→B changes only bar 2’s V3, A3→Ab3, down 1 semitone; the other 15 note events and every duration are identical. The same V3 then descends Ab3→G3 by 1 semitone. This explicit voicing lets you inspect the lowered sixth’s continuation, not a voice-leading rule every borrowed iv must copy.
R→S changes three bar-2 events: V1 F2→D2, V3 A3→F#3 and V4 F4→A3; V2 keeps C3. Do not call it a one-accidental edit. Between bars 2 and 3, S has V3 F#3→G3 up 1 semitone and V2 C3→B2 down 1, writing a local leading-tone connection and the dominant seventh’s chordal-seventh resolution.
Although B and S share a clock, their chord roots, several notes and analyses differ. Any actual listening difference cannot be attributed only to Ab versus F#. The task compares analytical reasons under stated conditions, without prefilled claims of greater sadness, richness or effectiveness.
| From R to | Bar | Voice | Old pitch | New pitch | Signed semitones |
|---|---|---|---|---|---|
| B | 2 | V3 | A3 | Ab3 | -1 |
| S | 2 | V1 | F2 | D2 | -3 |
| S | 2 | V3 | A3 | F#3 | -3 |
| S | 2 | V4 | F4 | A3 | -8 |
Three distinctions that prevent overreading
Unlike the same-tonic mode comparison, this page places one borrowed chord in a complete main-key progression and checks which notes remain; it does not replace the whole collection. Unlike the major ending in a minor context, this example stipulates C major from the start, so its final C chord is not an example of raising the third at a minor-key ending.
The existing local secondary-dominant target explains D7→G. This page adds the comparison with borrowed iv under one reference, distinguishing chordal third, main-key degree and target. Neither one borrowed chord nor one D7→G alone proves modulation; actual judgments need broader harmony, cadences and tonic organization.
| Case | Given conditions | Judgment |
|---|---|---|
| Q1 | given C major; bar 2 F–Ab–C followed by G | borrowed iv here; C degree 6 is altered |
| Q2 | given C major; D–F#–A–C followed by G | V7/V here; target G, without proving modulation |
| Q3 | Fm alone, without main key or context | minor triad identifiable; borrowing source undetermined |
| Q4 | stipulated C major, ending C–E–G | does not meet a minor-context raised-third ending condition |
Start on paper; piano is an optional single-voice check
Hide answers first. Starting from R, reconstruct all four notes of bar 2 in B and S, write their root-order spellings and altered degrees relative to C. Compare event by event: one change from R to B, three from R to S. Then draw the direction and semitone count of V3’s bar-2-to-3 motion in B and S.
A local inspection may use [4,12), lasting 8q: local 0 is original bar 2 and local 4 is original bar 3. Afterwards restore bars 1 and 4 and rebuild the whole 16q version and all four voice rows from 0. Changing two notes or writing chord abbreviations alone does not complete whole-phrase restoration.
For piano, optionally inspect V3 alone: R is G3–A3–G3–G3, B is G3–Ab3–G3–G3, and S is G3–F#3–G3–G3, each note 4q. G3 is left of middle C; Ab3 is the black key between G and A, F#3 between F and G. The 88-key index counts black and white keys from A0=1, with middle C4=40; MIDI numbers are pitch coordinates requiring no device. The table gives no fingering, and neither simultaneous four-voice playing nor a fixed span is required.
Work untimed first if useful. With a clock, quarter note = 60 BPM gives 16 seconds per version; 48 BPM gives 20. Choose and record the actual tempo. At each single-voice boundary intend release and a fresh attack, without pedal; actual sounding results and physical suitability are unverified. V3 alone does not supply full chords, and correct key finding does not establish hearing borrowed or secondary-dominant function.
| Pitch | MIDI number | 88-key index |
|---|---|---|
| D2 | 38 | 18 |
| F2 | 41 | 21 |
| G2 | 43 | 23 |
| B2 | 47 | 27 |
| C3 | 48 | 28 |
| E3 | 52 | 32 |
| F#3 | 54 | 34 |
| G3 | 55 | 35 |
| Ab3 | 56 | 36 |
| A3 | 57 | 37 |
| C4 | 60 | 40 |
| D4 | 62 | 42 |
| F4 | 65 | 45 |
Keep a record that can be retested
Record the version, paper or V3 route, whether answers were hidden, original chord/degree answers, omitted or extra edits, join result, whole-phrase restoration and one next check. Without playing, leave piano tone, release and listening impressions unknown. The blank record contains no actual performance data and must not default to a pass.
At the next day or practice session, hide answers and reconstruct the same three versions before checking, recording the actual delay. Compare with the original and immediately corrected answers. Check whether Ab was again called C’s lowered third, F# was called borrowed from C natural minor, or three edits became one. Correct the error and restore all 16q again. Retesting familiar material does not establish transfer to new material or proven learning effects.
Use rhythmic clocks and retention and transfer as needed. Keep written analysis, actual attempts and personal preference separate; success in one field does not pass the others.
Source support is limited to text and selected stills
All 81 existing NC-045 ASR segments were read, with five stills at 40, 94, 128, 186 and 230 seconds. The 40-second frame shows borrowing/interchange/mixture names; 94 and 128 show parallel-major/minor chord labels; 186 and 230 show partly emphasized score rows and labels including Fm9. Only visible names and layouts are confirmed, not a complete note-by-note source-score audit.
Spoken explanations of same-tonic borrowing, replacement suggestions and contextual use remain ASR candidates unaudited against original audio. Segment 32’s chord list has recognition omissions and cannot be reconstructed literally; source embellishments, playing results and color judgments are not accepted here. Five stills do not establish continuous motion or exact ASR/frame alignment.
The three voicings, edit audit, degree comparison and paper retest are original to this repository, without recreating the source progression. The four files await independent review. Published coverage remains 93/399 (PC32, IV32, NC29), with zero publication increment from this draft. Only after this source alone passes independent review and authorized, verified publication could it conditionally bring the count to 94; other parallel candidates are not added in advance. Source scope.