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.
先分清和弦，再改变伴奏：add2、sus2与九和弦
本包通过限定独立文字／静态来源、双语含义、初学者说明与符号审阅，未发现实质问题。T2是指定手册／静帧支持的作者归属，G是本例限定术语，O是本库原创纸面任务与练习规划。来源逐项布尔值保留作者冻结时快照，publication_review记录当前通过范围；不表示来源听校、连续动作、完整来源谱例、演奏或学习效果验收。
“让伴奏丰富一点”可能指两种不同修改：换掉或增加和弦音，或只移动已有音的起放时点。先说清是哪一种，才能知道练习改变了什么。本页从D大三和弦的三个音出发，在纸上比较，再任选逐音练习；不用同时伸手按下九和弦。
已读IV-020的94段及IV-025的103段既有ASR，共197段；检查16个选定静帧及手册实际／印刷28–30、42–43页完整文字、选定标签与布局。72段因术语／唱名不确定、重复、普遍化或未读外链范围而不用于归属，不是72处听校确认错误。账本合计1030.038秒，同哈希容器1030.037秒，差异原因未定；都不是听看时长。
纸面路线独立完整，不需要钢琴、唱歌、录音或软件。可选弹奏要求能辨认下面四个键、将一拍分成两份并舒服地逐音起放；不满足就只完成纸面路线。这里不建议为未知曲谱替换和弦，也不从几张静帧判断身体动作。
G：和弦音是构成和弦的音；根音是用来命名和弦的基准，不必是实际最低音。配置（voicing）是把音分配到音区／声部的方式。节奏说明音何时开始和结束；琶音（arpeggio）把和弦音依次弹出。和弦“性质”在本页指大／小及所含七度等组成区别，不代表好坏或情绪定律。
有边界的来源归属
B42-S01 · T2
Wiwi区分添加第二音与以第二音代替第三音，并把和弦材料与伴奏节奏作为不同的变化方向。我们只保留这个区分，不把“更多音”解释成普遍更好。
IV-020静帧41／53秒add2、83／97秒sus2；325秒标题仍是八分音符，不误记成邻近转录提到的三连音。PDF-IV实际／印刷28页相应标题与选定图，29页节奏标题。
B42-S02 · T2
在指定改编练习中，Wiwi允许调整和弦的复杂程度，同时保留大、小、属等性质；示例也包含省略音的配置。这是该练习的选择条件，不是任意乐谱都可以自动添加七、九音的许可。
IV-025静帧43／60秒的候选、77秒的性质提示、144／178／235／352秒的选定配置图；92秒画面模糊，不作音符证据。PDF-IV实际／印刷42页练习文字，43页仅选定标签／布局，未逐音验收参考答案。
加一个音、换一个音、换时点：三件事
G：先用音名检查组成。下表以D为根音，按常见和弦符号约定列完整的理论拼写；不是指定音区、指法或必须同时按下的音堆。#／♯把相应字母音升高一个半音。从D按字母数D–E–F–G–A–B–C，第三个字母是F、第七个是C，具体升降由和弦性质决定。D大三和弦是D–F#–A；加E得到Dadd2，移走F#并改用E得到Dsus2。sus2中的2不表示还保留第三音；add2则保留原来的第三音。
| 符号 | 完整理论拼写 |
|---|---|
| D | D – F# – A |
| Dadd2 | D – E – F# – A |
| Dsus2 | D – E – A |
| Dmaj9 | D – F# – A – C# – E |
| D9 | D – F# – A – C – E |
| Dm9 | D – F – A – C – E |
G：Dmaj9、D9、Dm9的完整拼写都有五个不同音名，不是九个音。9是从根音字母数起的第九级，跨一个八度后对应第二级；此处都是E。Dmaj9含F#和C#，D9含F#和C，Dm9含F和C。这里D9是属九和弦的组成标签，不能单凭它断定全曲在D调或已经转调。
G：完整拼写与实际配置分开记录。演奏某种配置时可能省略五音，或把音移到另一八度；这不意味着理论拼写里没有五音，也不能把任何省音组合都当成足以唯一识别和弦。先写清完整符号与语境，再注明“此版本省略什么”，不要只数按键多少。
O：拿到曲谱，先区分谱面明确写出的音与允许选择的编配。若目标是准确读谱，先按指定版本还原；若是和弦符号即兴任务，才在说明允许的范围内试变化。添加E之前还要核对旋律、风格、和声语境和任务目标；“保持大和弦”不是充分的好听或正确保证。
原创纸面工作单：只改一个维度
先遮住核对答案，照表写六种和弦的音名，圈出第三音与第七音（若有）。再看A／B／C／D事件表：A为基准；B仅改节奏；C仅向A添加E；D仅把A的F#改成E。请分别记录事件ID、音高、起点和释放，回答每次改变哪些字段。表中顺序表示本页逐音任务，不要求和弦同时发声。
G／O：D4是中央C4右侧紧邻的白键，E4再右一白键，F#4是F4与G4之间黑键，A4是G4右侧白键。标准88键从最左A0=1数所有黑白键，D4=42、E4=44、F#4=46、A4=49。音高后数字是音区，不是指法。纸面只查这些映射；可选弹奏也只需逐音，不跨握四音或九度。
所有版本都是4/4、四分音符=60 BPM，一拍一秒；一个音乐小节后接一个完整休止小节，总8拍。0是第一小节第一拍，4是第二小节第一拍，释放时点不再保持。先算每版总秒数、起音次数和保持／休止总量，再判断B是不是换了和弦、D是不是保留了第三音。
| 版本 | ID | 音高／键号 | 起点 | 释放 |
|---|---|---|---|---|
| A | N1 | D4 / 42 | 0 | 0.5 |
| A | N2 | F#4 / 46 | 1 | 1.5 |
| A | N3 | A4 / 49 | 2 | 2.5 |
| B | N1 | D4 / 42 | 0 | 0.5 |
| B | N2 | F#4 / 46 | 1.5 | 2 |
| B | N3 | A4 / 49 | 3 | 3.5 |
| C | N1 | D4 / 42 | 0 | 0.5 |
| C | N2 | F#4 / 46 | 1 | 1.5 |
| C | N3 | A4 / 49 | 2 | 2.5 |
| C | X1 | E4 / 44 | 3 | 3.5 |
| D | N1 | D4 / 42 | 0 | 0.5 |
| D | N2 | E4 / 44 | 1 | 1.5 |
| D | N3 | A4 / 49 | 2 | 2.5 |
核对答案
六行理论拼写依次为3／4／3／5／5／5个音名。A→B保留D4、F#4、A4和每音半拍保持，只移动N2、N3的起点／释放；集合未变。A→C加X1=E4，原三个事件完全不变，成为本页Dadd2材料。A→D仅把N2音高／键号改为E4／44，起放时点不变；F#不再出现，得到Dsus2材料。这些编辑都可能改变听感；本包未实听比较。
O：若把add2写成sus2，核对第三音是否仍在；若把D9写成Dmaj9，核对C还是C#；若B多出音高或改变保持时长，说明没有做到“只改节奏时点”。如果无法判断实际音响，只记录“未判断”，不根据纸面集合声称已经听出和声。
可选逐音尝试：保留完整小节
完成纸面路线后才任选A，再选B、C或D比较，每次只选一个变化。所有音用RH（右手）逐音，LH（左手）全程休息，无踏板、无固定指法；各版保留相同的舒适音量意图（不是实测响度相等）。不舒服就停并回到纸面。每次先静默准备，开始后照表起放；拍偏移4到8（整个第二小节）完整休息并继续数拍，不把换键准备挤进保持时段。
每行八格只画第一小节，每格半拍=0.5秒；|每两格分一个四分拍。格中的ID表示该格起音并保持到格末，.表示没有保持音；第二小节另有八格全为.。ID在这四个明确列出的编辑版本中追踪事件位置，N2在D里改变音高会明确记录，不表示跨版本音高不变。
A: N1 . | N2 . | N3 . | . .
B: N1 . | . N2 | . . | N3 .
C: N1 . | N2 . | N3 . | X1 .
D: N1 . | N2 . | N3 . | . .每版8拍=8秒。A、B、D各3次起音、保持1.5拍、休止6.5拍；C有4次起音、保持2拍、休止6拍。A／D最晚2.5释放，B／C最晚3.5释放；所有版本4–8是完整休止。没有踏板也可能有琴的余响，所以休止表不是绝对静音测量。
减回A时按原字段恢复：B把N2／N3移回原时点；C去掉X1并补回休止；D把N2恢复F#4／46。保留8拍总长。若暂时只做纸面或只弹A，记录该范围，不能写完成了四版。检查重点是指定编辑是否准确，不是弹了几遍。
休息后遮住答案，从空表重建A及一个变化，这是已知材料的保留重测。接回真实乐句时，恢复原版其他音、节奏与条件，再单独核对目标变化。要测迁移，需另备未透露答案的例子；本页六行拼写和四版事件都是已公开练习，不是未见材料测试。
边界与相关阅读
本页不重印原课整首谱、配置表或示范。第20课的属十一和弦别名只视为该配置语境，未提升为普遍同音集合等式；第25课92秒模糊帧不作音符依据。手册43页参考答案未逐音检查。源提到的NC-002／003未因此重新读过。无原声听校、连续动作、全课视听、身体适用性或学习效果验证。
本包来源范围
音名、编辑与时间检查
Identify the chord before changing the pattern: add2, sus2 and ninths
This package passed bounded independent written/static-source, bilingual-meaning, beginner-instruction and symbolic review with no material findings. T2 marks attribution supported by specified handbook/still evidence, G scoped terms, and O original paper tasks and practice planning. Per-source booleans retain their author-time snapshot; publication_review records the current passed scope, not source audition, continuous motion, complete source scores, performance or learning-efficacy acceptance.
“Make the accompaniment richer” can mean two different edits: replace/add chord tones, or move the timing of existing notes. Name the edit first so you know what practice changes. Start with the three tones of a D-major triad on paper, then optionally play one note at a time; no simultaneous reach across a ninth chord is required.
All 94 existing ASR segments of IV-020 and 103 of IV-025 were read: 197 in total, with 16 selected stills and complete prose plus selected labels/layout on handbook physical/printed pages 28–30 and 42–43. 72 segments are excluded from attribution for uncertain names/solfege, repetition, generalization or unread outbound-reference scope, not 72 audition-confirmed errors. Inventory totals 1030.038 seconds and same-hash containers 1030.037, with the difference unexplained; neither is audition/viewing time.
The paper route is complete independently, requiring no piano, singing, recording or software. Optional playing requires identifying the four keys below, dividing a beat in two and comfortably attacking/releasing separate notes; otherwise use paper only. This page does not recommend substituting chords in an unknown score or infer physical movement from stills.
G: chord tones constitute a chord; its root is the naming reference and need not be the lowest sounding note. Voicing distributes tones among registers/voices. Rhythm describes when notes start and end; an arpeggio plays chord tones successively. Chord quality here concerns major/minor and included sevenths, not merit or a law of emotion.
Bounded source attribution
B42-S01 · T2
Wiwi distinguishes adding the second from replacing the third with the second, and treats chord material and accompaniment rhythm as separate directions of change. We retain that distinction without treating more notes as universally better.
IV-020 stills 41/53 seconds for add2 and 83/97 for sus2; the 325-second heading is still eighth notes, not the triplets mentioned in nearby ASR. Corresponding headings/selected diagrams on PDF-IV physical/printed page28 and rhythm headings on page29.
B42-S02 · T2
Within a specified arranging exercise, Wiwi permits changing chord complexity while preserving major/minor/dominant quality, and includes voicings with omitted tones. These are choices within that exercise, not permission to add sevenths/ninths automatically to any score.
IV-025 candidate labels at stills43/60 seconds, quality cue at77, selected voicing diagrams at144/178/235/352; blurred frame92 supplies no note evidence. Exercise prose on PDF-IV physical/printed page42; selected labels/layout only on page43, without note-by-note acceptance of the answer chart.
Add a tone, replace a tone, move its timing: three different edits
G: check composition using note names. The table uses D as root and common chord-symbol conventions to give full theoretical spellings, not registers, fingerings or piles of notes that must be struck together. #/♯ raises the letter note by a semitone. Count letters from D as D–E–F–G–A–B–C: the third letter is F and the seventh C; chord quality determines their alterations. D major is D–F#–A; adding E gives Dadd2, while removing F# and using E gives Dsus2. The 2 in sus2 does not retain the third; add2 retains it.
| Symbol | Full theoretical spelling |
|---|---|
| D | D – F# – A |
| Dadd2 | D – E – F# – A |
| Dsus2 | D – E – A |
| Dmaj9 | D – F# – A – C# – E |
| D9 | D – F# – A – C – E |
| Dm9 | D – F – A – C – E |
G: full spellings of Dmaj9, D9 and Dm9 each have five distinct note names, not nine notes. Nine counts the ninth degree from the root letter, corresponding to the second above an octave; here it is E. Dmaj9 contains F# and C#, D9 contains F# and C, and Dm9 contains F and C. D9 is a dominant-ninth chord-quality label here; it alone establishes neither a D key center nor modulation.
G: record full spelling separately from actual voicing. A voicing may omit the fifth or move a tone by an octave; that does not remove the fifth from the theoretical spelling or make every incomplete subset uniquely identify a chord. State the full symbol and context, then what this version omits, rather than counting pressed keys alone.
O: distinguish written notes from optional arranging choices when taking in a score. If the goal is accurate reading, restore the specified edition first. In a chord-symbol improvisation task, vary only what its instructions permit. Before adding E, also check melody, style, harmonic context and task goal; retaining major quality does not guarantee suitability or correctness.
Original paper worksheet: change one dimension
Hide the checks, write the six spellings and circle thirds/sevenths when present. Then inspect the A/B/C/D event table: A is baseline, B changes rhythm only, C adds E to A, and D replaces A’s F# with E. Record event ID, pitch, onset and release, and state which fields change. Event order specifies this sequential-note task, not simultaneous chord attacks.
G/O: D4 is the immediately adjacent white key to the right of middle C4; E4 is the next white key; F#4 is the black key between F4/G4; A4 is the white key right of G4. Counting all keys of a standard 88-key piano from A0=1 gives D4=42, E4=44, F#4=46, A4=49. Pitch digits identify register, not fingering. Paper work checks these mappings; optional playing uses successive notes without holding four-note shapes or a ninth span.
All versions are in 4/4 at quarter note=60 BPM, one second per beat, with one musical bar followed by one complete rest bar: 8 beats total. Zero starts bar1, four starts bar2, and release ends holding. First calculate total seconds, attack count and held/resting totals, then decide whether B changes the chord or D retains the third.
| Version | ID | Pitch / key | Onset | Release |
|---|---|---|---|---|
| A | N1 | D4 / 42 | 0 | 0.5 |
| A | N2 | F#4 / 46 | 1 | 1.5 |
| A | N3 | A4 / 49 | 2 | 2.5 |
| B | N1 | D4 / 42 | 0 | 0.5 |
| B | N2 | F#4 / 46 | 1.5 | 2 |
| B | N3 | A4 / 49 | 3 | 3.5 |
| C | N1 | D4 / 42 | 0 | 0.5 |
| C | N2 | F#4 / 46 | 1 | 1.5 |
| C | N3 | A4 / 49 | 2 | 2.5 |
| C | X1 | E4 / 44 | 3 | 3.5 |
| D | N1 | D4 / 42 | 0 | 0.5 |
| D | N2 | E4 / 44 | 1 | 1.5 |
| D | N3 | A4 / 49 | 2 | 2.5 |
Check your answers
The six theoretical spellings contain 3/4/3/5/5/5 note names. A→B retains D4/F#4/A4 and every half-beat hold, moving only N2/N3 onsets/releases; the collection is unchanged. A→C adds X1=E4 with the original three events unchanged, forming this Dadd2 material. A→D changes only N2 pitch/key to E4/44, preserving timing; F# disappears, yielding Dsus2 material. These edits may affect the sound; this package has not auditioned the comparison.
O: if you write add2 as sus2, check whether the third remains. If you write D9 as Dmaj9, check C versus C#. If B adds a pitch or alters holding duration, it has not changed timing alone. If unable to judge actual sound, record “not judged”; a paper collection does not prove hearing the harmony.
Optional successive-note attempts: retain complete bars
After completing paper work, optionally try A and then choose B, C or D for comparison, one edit at a time. RH (right hand) plays successive notes; LH (left hand) rests throughout, without pedal or prescribed fingering. Keep the same intended comfortable level across versions, without claiming measured equal loudness. Stop if uncomfortable and return to paper. Prepare silently before starting, follow the attack/release table, and rest/count throughout offsets4–8 rather than taking preparation time from a held note.
Each eight-cell row shows only bar1, at half a beat=0.5 seconds per cell; | separates quarter-note beats every two cells. An ID attacks and holds to the end of its cell; . means no held note. Bar2 has eight more . cells. IDs track event positions across these explicitly listed edits: N2’s pitch change in D is stated, not a claim that its pitch stays fixed across versions.
A: N1 . | N2 . | N3 . | . .
B: N1 . | . N2 | . . | N3 .
C: N1 . | N2 . | N3 . | X1 .
D: N1 . | N2 . | N3 . | . .Every version lasts8 beats=8 seconds. A/B/D each have3 attacks,1.5 held beats and6.5 resting beats; C has4 attacks,2 held beats and6 resting beats. A/D release their last note at2.5; B/C at3.5. Every version rests throughout4–8. Piano resonance can remain without pedal, so the rest table is not a measurement of absolute silence.
To restore A, restore the original fields: move N2/N3 back from B, remove X1 and restore its rest from C, or restore N2 to F#4/key46 from D. Keep the total8 beats. Record paper-only or A-only completion honestly rather than claiming all four versions. The check concerns exact edits, not repetition count.
After a break, hide the answers and rebuild A plus one edit in a blank table: a retention retest on known material. When rejoining a real phrase, restore its other original notes, rhythm and conditions before checking the target edit separately. Transfer requires a separate example whose answers are undisclosed; these six spellings and four event versions are disclosed practice, not unseen-material tests.
Limits and related reading
This page does not reproduce the course’s full scores, voicing charts or demonstrations. Lesson20’s dominant-eleventh aliases remain contextual voicing suggestions, not universal equalities of literal pitch sets; blurred lesson25 frame92 supplies no note evidence. The handbook page43 answer chart was not checked note by note. Mentioned NC-002/003 are not thereby newly read. Source audition, continuous motion, full-lesson audiovisual review, physical suitability and learning efficacy remain unvalidated.
Chord and pitch-collection checks
Accompaniment roles and actual bass
Source scope for this package
Spelling, edit and timing checks