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This page preserves the author’s frozen review bytes, so prose or data may still contain candidate, pending-review or unpublished labels.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.
减三、减七、半减七：先找出第七音
两组音有三个音一样，第四个只差一个键，名字却可能不同。先别背形状：把根音、三音、五音和七音分别标出来，再核对最后那个音。下面用同一个D根音比较，让一次改动看得见。
这是完整的纸面比较任务，不要求钢琴、唱音或播放软件，也没有可选弹奏路线。箭头是读取顺序，不要求一把同时按住；没有手、指法或踏板分配。先完成字母、键号和时间检查，再把身体／音响适用性留给另一个明确的任务。
G表示本页限定乐理，O表示本库原创练习设计，T2表示后文有具体来源支持的作者说明。音列和时间表均为原创；公开的答案用于练习，不是陌生材料迁移测验。
先认字母角色，再算半音
G：根音是这个和弦读法的命名基准，不一定是实际最低音。最低音叫低音。以D算第一位，依字母D–E–F–G–A–B–C数下去，F是第三位、A是第五位、C是第七位；升降号改变音高，不改变这个字母位置。
G：♭（数据写b）把对应字母的自然音降低一个半音，♭♭降低两个；一个半音就是标准钢琴相邻两键的距离，黑键也算。C♭不是C与B之间另有一键，而是C降低到相邻的B键；拼写仍保留C这个字母。
G：本页把根音到目标音的半音数分别写出：小三度3、减五度6、减七度9、小七度10。减三和弦是0、3、6；这里的减七（fully diminished seventh）是0、3、6、9；半减七是0、3、6、10。0是根音本身。“半减”不表示只弹一半，也不是把每个间距减半。
G：要分开两把尺。根到各音，半减七是0、3、6、10；相邻音逐级上行，则是3、3、4。减七的相邻间距为3、3、3。不能把“根上方小三度、减五度、小七度”误当作依次相加3、6、10。
G／O：科学音高记号以中央C为C4，越过B到C才换八度编号。标准88键从A0＝1开始，C4＝40，C5＝52；相邻键差1。自然音C–D–E–F–G–A–B–C的步长为2、2、1、2、2、2、1。可用它推算下表；不知道某个编号时先标待核。
G／O：本例D4到C♭5为9半音，是减七度；到C5为10半音，是小七度。C♭5与B4使用同一琴键51，但从D数，B是第六个字母，C是第七个。因此写B4可以找到同一键，却不忠实表达本例要求的“减七度”角色。这里只比较钢琴键与指定拼写，不声称在任何上下文都必须同一种和声解释。
G：这里音类是忽略八度的琴键音高类别，同键异名算同一类。本页Ddim明确表示有三种不同音类的减三和弦，Ddim7或D°7表示减七和弦，Dø7或Dm7(♭5)表示半减七和弦；后两者各有四种音类。名称里的7指七度，不是要弹七个音。ø是带斜线的圈形符号；它不是数字0或除法。不同谱本可能省写7或采用不同字体，实际遇到简记先查谱本说明与写出的音，不凭符号外形补音。
G／O：Dm7(♭5)也提供一个核对办法：普通Dm7是D–F–A–C，只把A降低半音成为A♭，得到D–F–A♭–C。这里的C仍是小七度；若再把它降到C♭，就改成了减七，不再是半减七。m7(♭5)是可用的名称，不必把作者对叫法的偏好当作禁令。
原创纸面任务：把差别限定在指定音上
遮住“键号”“根上方距离”和“检查结果”列，先用字母角色与半音尺填写。预测T加哪一个七音得到F、加哪一个得到H；F→H究竟改哪一个事件、移几键？最后比较V与H的音名集合。T／F／H／V是版本ID，V不是这里的罗马数字五级和弦。N1–N4是第1–4个位置的音符事件编号，不是音名。
| ID／代号 | 音列由低到高 | 键号 | D4上方距离（半音） | 检查结果 |
|---|---|---|---|---|
| T / Ddim | D4 → F4 → Ab4 | 42, 45, 48 | 0, 3, 6 | 减三；未指定七音 |
| F / Ddim7 / D°7 | D4 → F4 → Ab4 → Cb5 | 42, 45, 48, 51 | 0, 3, 6, 9 | 减七；第七音为C♭ |
| H / Dø7 / Dm7(b5) | D4 → F4 → Ab4 → C5 | 42, 45, 48, 52 | 0, 3, 6, 10 | 半减七；第七音为C |
| V / Dø7/F | F4 → Ab4 → C5 → D5 | 45, 48, 52, 54 | 3, 6, 10, 12 | 指定D根的同一半减七音类；低音F |
G／O：V把半减七的四种音名换了排列与音区，最低音是F4。在本页预先指定D为根的读法中，可写Dø7/F；低音改成F不等于自动把根音改成F。相同音名集合在别的上下文可能有别的名称／功能，不能单靠排序唯一推定根音。配置／voicing讲实际音区、排列或重复，和弦身份还须结合所采用的结构与上下文。表中D4只是共同的计算参照；V没有额外加入D4。
核对答案
T的D–F–A♭没有七音，不能据此决定应补C还是C♭。F用C♭5／51，H用C5／52；F→H只升高N4事件一个半音，前三音不动。V仍是D、F、A♭、C四种音名，低音为F，已不是H原本的时间顺序与音区。这里的集合答案不验证声音“更紧张”或实际编配是否合适。
若把半减七写成连续三个小三度，分别重算根到第七音与最后一步：H应是10与4，不是9与3。若把C♭改写成B却声称字母角色没变，先从D重新数到第七位C。若看见低音F就改根音，回到题目已声明的D根读法，并把真实曲目的功能判断标待核。
三音版本也保留完整时间
本原创纸面表固定4/4，即每小节四个四分音符拍；四分音符＝60 BPM，所以每拍1秒。每版两小节，从0计拍。T在0、1、2起音，各持续1拍，然后3–8休止；F／H／V在0、1、2、3起音，各持续1拍，然后4–8休止。先预测四版总秒数与各自起音数，再看答案。
每格1拍，方括号为一小节；N1–N4是对应位置的事件ID，不是音名，.为该条声部休止。四版是备选版本，不是同时播放的四个声部。这里各音先后展开，没有同时发声的完整和弦，也没有实际播放；书面时值不保证任何特定连奏、断奏或声学余响。
T [N1 N2 N3 .] [. . . .]
F [N1 N2 N3 N4] [. . . .]
H [N1 N2 N3 N4] [. . . .]
V [N1 N2 N3 N4] [. . . .]核对时间与恢复
每版都8拍＝8秒。T有3个起音和5拍休止；另外三版各4个起音和4拍休止。T→H是在3–4加入C5的一拍事件，同时把原休止3–8改为4–8；不能让音与休止重叠。H→T删去N4后，要恢复3–8休止，不能把第二小节提前。
F↔H只替换N4的C♭5／C5，编号51↔52，时间不动。把V恢复成H，要恢复四个位置为D4、F4、A♭4、C5，而不只是把低音标签改回D。这些恢复操作检验原指令是否保留，不是允许改写任意原谱。
稍后遮答案，从D根重新写T、F、H并解释第七音，再核V的根／低音区别，这是保留重测。真实练谱先保留版本、全部声部、节奏与连接；若遇到含糊的减和弦符号或省写7，查原谱语境后再决定。记录“符号检查通过，听感／动作／用途待核”；本包没有提供或验证陌生迁移、实际演奏或学习成效。
来源、覆盖与审阅状态
原创候选，等待独立复核，尚未发布。选定静帧只能支持指定记号；没有完整源谱、原声、连续动作、身体适用性、实际演奏、学习效果或应用验证。
B50-S01 · T2
第64课把减三和弦与减七和弦分开，并用小三度和拼写解释构造。我们采用可见结构作为有界支持，不把作者的恐怖、紧张等描述当普遍听觉反应，也不把重复音类误当同一绝对音高。
既有ASR第8／9／11／12段术语与第32、34–36、38–41段类型说明；54／60秒选定重降号与延续，76／90秒三音／四音标签，116秒选定三全音标记。唱名不确定处隔离，以谱面核选定拼写；未听校。
B50-S02 · T2
第65课展示半减七结构及半减符号、小七降五两种标记，并表达叫法偏好。我们保留结构与符号对照，把偏好归于作者；不声称另一名称错误，不把源课中的小调用法或省写约定扩大成所有谱本通则。
既有ASR第10／11／13／17–19段结构、第26–31段标记及第41–49、51–54、57–59段偏好／省写语境；45／70／110秒结构和符号。138／151秒只核局部调式／标签，185秒选定音名可见，未核整套用法或原声。
B50-S03 · T2
两课都用移去较大和弦根音的示意比较音集合。这里仅保留“集合有相同部分”，不把它升级为在任何旋律、低音、位置与风格中都可互换或保留原功能。完整示范进行没有逐音或听觉验收。
NC-064既有ASR第69、71–72、74、76–81段子集语境与171／180秒图；NC-065第89–94段相关语境与200秒图。NC-064的203秒和NC-065的218秒仅作完整进行版面观察，不作替代效果证据。
已读NC-064／065全部101＋141＝242段既有ASR，检查16次静帧、16个不同图像哈希。56段可作上述短归属的候选文字支持；186段不用于归属，包括不确定唱名、未使用叙述、情绪／通用替代／小调／熟悉程度概括、旧电脑输入方法和推广。排除不等于已证实错误或词错误率；保留也不表示段内每句已验证。
库存时长合计573.142秒，同哈希MP4容器合计573.098秒，差0.044秒原因未明。这是两种时长记录，不是实际听看时长。
相关阅读
本包有限来源范围
拼写、键号和时间检查
Diminished triads, diminished sevenths and half-diminished sevenths: find the seventh
Two collections can share three notes and differ by one key in the fourth, yet have different names. Label the root, third, fifth and seventh before memorizing a shape, then check that last tone. We use a fixed D root to make each edit visible.
This is a complete paper-comparison task requiring no piano, singing or playback software, with no optional playing route. Arrows indicate reading order, not a simultaneous grip; no hand, fingering or pedal is assigned. Complete letter, key-number and timing checks, leaving physical/sonic suitability to a separate explicit task.
G marks theory scoped to this page, O our original exercise design, and T2 the specifically supported author explanations listed later. All sequences and schedules are original; disclosed answers support practice, not an unseen-material transfer test.
Identify letter roles before counting semitones
G: the root names the chord in the interpretation being used; it need not be the lowest actual note, which is the bass. Counting D as first in D–E–F–G–A–B–C makes F third, A fifth and C seventh. Accidentals change pitch without changing that letter position.
G: ♭, written b in the data, lowers a letter’s natural pitch by one semitone; ♭♭ lowers it by two. One semitone is the distance between adjacent standard-piano keys, including black keys. C♭ is not an extra key between C and B: it lowers C to the adjacent B key while retaining the letter C.
G: count semitones from the root to each target: minor third 3, diminished fifth 6, diminished seventh 9 and minor seventh 10. A diminished triad is 0,3,6; a fully diminished seventh is 0,3,6,9, and a half-diminished seventh is 0,3,6,10. Zero is the root. Half-diminished means neither playing half the tones nor halving every gap.
G: keep two rulers separate. Root-to-tone distances for a half-diminished seventh are 0,3,6,10, but successive ascending gaps are 3,3,4. A diminished seventh has successive gaps 3,3,3. Do not add 3,6,10 successively when a description names intervals above the root.
G/O: scientific pitch notation calls middle C C4, changing octave number across B→C. A standard 88-key piano starts at A0=1; C4=40 and C5=52, with adjacent keys differing by 1. Natural C–D–E–F–G–A–B–C steps are 2,2,1,2,2,2,1. Use this to derive the table; mark an uncertain key number pending.
G/O: D4–C♭5 spans 9 semitones, a diminished seventh; D4–C5 spans 10, a minor seventh. C♭5 and B4 use the same key 51, but B is sixth and C seventh when counted from D. B4 can locate the same key without faithfully spelling the required diminished-seventh role. We compare piano keys and specified spelling, not a mandatory harmonic interpretation in every context.
G: here a pitch class groups piano pitches while ignoring octaves; enharmonic spellings of the same key belong to one class. Ddim explicitly means a diminished triad with three distinct pitch classes; Ddim7 or D°7 a diminished seventh; Dø7 or Dm7(♭5) a half-diminished seventh. The latter two each contain four pitch classes. The 7 names a seventh interval, not a demand to play seven notes. Ø/ø is a slashed-circle-shaped symbol, not zero or division. Editions may omit 7 or use different fonts; check the edition’s notation and written notes before adding a tone from symbol appearance alone.
G/O: Dm7(♭5) offers another check: ordinary Dm7 is D–F–A–C. Lowering only A by one semitone yields D–F–A♭–C. C remains the minor seventh; also lowering it to C♭ changes the quality to diminished seventh, not half-diminished. m7(♭5) is a usable name; an author’s terminology preference is not a prohibition.
Original paper task: isolate the specified tone change
Hide Key numbers, Root distances and Check result, then fill them using letter roles and the semitone ruler. Predict which seventh added to T gives F and which gives H; identify the event and key movement in F→H. Finally compare V’s name set with H’s. T/F/H/V are version IDs; V is not a Roman-numeral dominant in this table. N1–N4 identify note events in positions 1–4, not pitch names.
| ID / label | Pitches low→high | Key numbers | Distances above D4 (semitones) | Check result |
|---|---|---|---|---|
| T / Ddim | D4 → F4 → Ab4 | 42, 45, 48 | 0, 3, 6 | Diminished triad; seventh unspecified |
| F / Ddim7 / D°7 | D4 → F4 → Ab4 → Cb5 | 42, 45, 48, 51 | 0, 3, 6, 9 | Diminished seventh; seventh is C♭ |
| H / Dø7 / Dm7(b5) | D4 → F4 → Ab4 → C5 | 42, 45, 48, 52 | 0, 3, 6, 10 | Half-diminished seventh; seventh is C |
| V / Dø7/F | F4 → Ab4 → C5 → D5 | 45, 48, 52, 54 | 3, 6, 10, 12 | Same half-diminished pitch classes under stipulated root D; bass F |
G/O: V rearranges the half-diminished collection and its registers, putting F4 lowest. Under this page’s stipulated D-root reading, it can be labeled Dø7/F; making F the bass does not automatically make F the root. The same name set may have other names/functions in another context, so sorting cannot uniquely infer a root. Voicing describes actual registers, arrangement or doubling; identity also depends on the structure and context being used. Table distances share D4 as a calculation reference; V does not add an extra D4.
Check your answers
T’s D–F–A♭ has no seventh and does not determine whether C or C♭ should be added. F uses C♭5/key51 and H C5/key52; F→H raises only event N4 by one semitone, retaining the first three tones. V still contains D,F,A♭,C, but has F in the bass and changes H’s order and registers. These set answers validate neither a more tense sound nor suitability of an arrangement.
If you write three successive minor thirds for H, recalculate root-to-seventh and the last step separately: H needs 10 and 4, not 9 and 3. If replacing C♭ with B while claiming the letter role is unchanged, count again from D to seventh-letter C. If the F bass makes you rename the root, return to the stipulated D-root reading and leave a real piece’s function pending.
Keep the full timeline for the triad version
This original paper schedule fixes 4/4: four quarter-note beats per bar. Quarter note=60 BPM makes each beat one second. Every version has two bars, counting offsets from 0. T attacks at 0,1,2 for one beat each, then rests at 3–8. F/H/V attack at 0,1,2,3 for one beat each, then rest at 4–8. Predict total seconds and attack counts before checking.
Each cell is one beat and brackets mark bars; N1–N4 identify corresponding events, not pitches. A dot (.) marks rest in that line. These are alternative versions, not four simultaneous voices. Notes unfold successively, with no complete simultaneous chord and no actual playback; written durations do not guarantee any particular legato, staccato or acoustic decay.
T [N1 N2 N3 .] [. . . .]
F [N1 N2 N3 N4] [. . . .]
H [N1 N2 N3 N4] [. . . .]
V [N1 N2 N3 N4] [. . . .]Check time and restoration
Every version lasts 8 beats=8 seconds. T has three attacks and five rest beats; the other versions each have four attacks and four rest beats. T→H adds a one-beat C5 event at 3–4 and changes rest from 3–8 to 4–8; note and rest must not overlap. H→T removes N4 and restores rest at 3–8, without bringing the second bar forward.
F↔H replaces only N4’s C♭5/C5, key51/key52, without changing timing. Restoring H from V requires restoring all four positions to D4,F4,A♭4,C5, not merely changing a bass label to D. These operations check fidelity to the stated task; they do not authorize rewriting arbitrary scores.
Later, hide the answers, reconstruct T/F/H from root D, explain the seventh and check V’s root/bass distinction for a retention retest. In real score practice, preserve the edition, all voices, rhythm and joins; resolve an ambiguous diminished symbol or omitted 7 through the score’s context first. Record “symbolic check passed; sound/movement/use pending.” This package supplies or validates no unseen transfer, actual performance or learning outcome.
Sources, coverage and review state
Original candidate awaiting independent review, unpublished. Selected stills support specified symbols only; there is no complete-source-score, original-audio, continuous-movement, physical-suitability, actual-performance, learning-efficacy or app validation.
B50-S01 · T2
Episode 64 distinguishes diminished triads from diminished sevenths through minor thirds and spelling. Visible structure provides bounded support, not proof that everyone hears fear/tension or that a recurring pitch class is the same absolute pitch.
Terms in existing ASR 8/9/11/12 and type descriptions in 32,34–36,38–41; selected double-flat notation/continuation at 54/60 seconds, triad/seventh labels at 76/90 and tritone marks at 116. Uncertain solfege is quarantined; selected spelling was checked visually, without audition.
B50-S02 · T2
Episode 65 shows half-diminished structure and both slashed-circle and minor-seven-flat-five labels, with a naming preference. We retain the structural/symbol comparison and attribute the preference to the author, without declaring the alternative wrong or generalizing minor-key use or abbreviation to every edition.
Structure in existing ASR 10/11/13/17–19, labels in 26–31 and naming/abbreviation context in 41–49,51–54,57–59; structure/symbols at 45/70/110 seconds. At 138/151 only local scale/labels were checked, and selected spelling is visible at 185; the full usage system and original audio were not validated.
B50-S03 · T2
Both lessons compare pitch collections by diagramming omission of a larger chord’s root. We retain only the shared-subset relationship, not unrestricted interchangeability or preserved function under every melody, bass, placement and style. Complete demonstration progressions were not checked note by note or auditioned.
Subset context in NC-064 existing ASR 69,71–72,74,76–81 and diagrams at 171/180 seconds; NC-065 89–94 and the 200-second diagram. NC-064 at 203 and NC-065 at 218 were layout observations of larger progressions only, not evidence of substitution effects.
All 101+141=242 existing ASR segments of NC-064/065 were read, with 16 selected stills and 16 distinct image hashes inspected. 56 segments are candidate textual support for the brief attributions; 186 are unused, including uncertain solfege, unused narrative, emotional/universal-substitution/minor-key/familiarity generalizations, historical computer-input methods and promotion. Exclusion is not a confirmed error or word-error rate; retention does not validate every sentence.
Inventory duration totals 573.142 seconds and same-hash MP4 container duration 573.098; the 0.044-second difference is unexplained. These are duration records, not actual viewing/audition time.
Related reading
Register and arrangement versus identity
Identify the chord before practicing a pattern
Harmony and voicing boundaries
Bounded source scope for this package
Spelling, key and timing checks