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.
听觉训练与抓和弦：提出假设，再核对
听到一组音，先记哪一个最低，再试着找另外的音；先允许几个候选答案。前置：音名和和弦。这里“抓和弦”指凭录音或现场声音辨认可能的和声。
【作者观点】好和弦《不需要音感很好，也可以抓出和弦的方法》提倡从局部反复聆听和键盘比对开始，再用频谱或自动估计辅助。N-TRANSCRIBE-CHORDS。其和弦类型比例与学习效果是教学经验，不是本库核实的统计结论；文章的自测也不用于判断任何人的听觉健康。
区分四种能力
【本库综合】能察觉两个音不同，能记住它们的距离，能在调性里辨认级数，以及能给一段复杂录音命名，是不同任务。训练记录要写清正在练哪一项，不能用“听出来了”概括所有能力。
【通用乐理】低音（bass）不是根音（root）的同义词。E3–G3–C4 可以组成 C 大三和弦的第一转位；若把最低的 E 自动当作根音，后续三度、五度判断就可能走错。扫描书 PDF-NC-BOOK 第 14 页的转位与斜线低音说明可作为对照，本轮核对了原页。
【本库综合】抓和弦时可以先写“候选”：当前低音是什么、哪些音确定、哪些不确定。分别试演几个可能的和声，检查旋律、前后连接和低音路线；不要因一个局部音吻合就结束判断。
频谱提供线索，不直接给出和弦身份
【通用乐理】一个乐音通常同时含基频及泛音。亮的频率线不必对应另一位乐手弹下的独立音；频率显示也不能单独决定该写升号还是降号。
【本库综合】如果分析画面暗示了一个从未听到的音，先检查它是否可能是已有低音的泛音，再看其起止与其他音的关系。自动和弦标签可以保留为候选，复核时记录改了什么、为什么改，不能反过来把标签当成唯一答案。
自编比较
弹或用现有工具生成 C3 E3 G3 B3 与 E3 G3 B3 D4，先各自描述实际音，再考虑可能的和声解释。第二组单独出现可读作 Em7；若上下文的低音另有 C，也可成为 Cmaj9 的上层音。这个例子说明同一局部信息为何需要语境，并不宣称某个音列永远只允许这两种解释。
记录原始听觉判断与查看工具后的判断，隔一段时间回到原音再试。这样能区分“自己建立了关系”和“记住了工具刚给的标签”。参见实验 E07。
有无参考音，要在记录里写清楚
【通用乐理】给你一个C4，再辨认相对于它的其他音，是带参考音的任务；不先给外部参考而辨认音名，是绝对音感（AP）相关任务。刚听过或弹过同一个音时，不能把这次表现直接当作无参考能力的证明。
【作者观点】FOPP-17 区分相对音感（RP）与AP，继而把AP、心中演奏与移调联系起来；§18建议从熟悉旋律的凭听觉复现连接到不同调和伴奏。相关实际PDF第43–47页已核对，本轮比较了选定中文段落。原著关于人人可轻松获得、年龄阈值、首调不应教授及AP为必要条件的判断，尚未在本库独立验证。
【本库综合】本库先训练可记录的音高关系与复现，不以AP作为开始读谱、即兴或创作的准入条件。§17既有中文把原第1步的延续说明另编号，导致后续步骤与原文错位；引用时依原节和实际页定位，不继承错误步号。
音高跨度不等于轻响跨度
【来源纠错】FOPP-17第25段（实45–46／印44–45）英文用dynamic range谈高音和低音，中文“音域”在这里反而正确。Q-081不把正确的语境翻译改回原书术语错误。
【通用乐理】音域（pitch range）描述高低跨度；力度范围（dynamic range）描述轻响跨度。原创例：C4改为C5变的是音高；同一个C4弹轻或弹响，目标改变的是力度。这里忽略实际音色的伴随变化，不把手机录音电平当作触键力度或个人听力测量。
【证据边界】术语分清不证明作者关于哼唱抹掉绝对音感的说法。先记录有无参考音、想象／唱／弹的任务以及可比较条件；音区超出舒适嗓音时，不要求强行唱到。
Ear training and chord transcription: propose, then check
For a group of sounds, first note the lowest pitch, then try locating others; allow several candidates initially. Prerequisites: note names, chords. Chord transcription here means identifying possible harmony from recorded or live sound.
[Author's view] NiceChord's article on transcribing chords without perfect pitch begins with repeated listening to a short passage and keyboard comparisons, then uses spectra or automatic estimates as aids. N-TRANSCRIBE-CHORDS. Its chord-type proportions and learning outcomes are teaching experience, not statistics verified here. Its self-test is not used to assess anyone's hearing health.
Separate four abilities
[Our synthesis] Detecting that two sounds differ, remembering their distance, recognizing scale degrees in a key, and naming a complex recorded passage are different tasks. Specify which is being trained; “I heard it” cannot stand for all four.
[General theory] Bass and root are different. E3–G3–C4 can be a first-inversion C-major triad. Automatically treating E as the root can misdirect the analysis of thirds and fifths. PDF-NC-BOOK, p. 14, discusses inversions and slash bass; its original page was checked.
[Our synthesis] Begin chord transcription with candidates: identify the current bass, certain notes and uncertain notes. Try possible harmonies against melody, connections and bass motion. One matching local note does not settle the interpretation.
A spectrum supplies clues, not chord identity
[General theory] A musical tone generally contains a fundamental and overtones. A bright spectral line need not represent another independently played note. A frequency display alone also cannot decide sharp versus flat spelling.
[Our synthesis] If a display suggests a note you did not hear, first consider whether it is an overtone of an existing bass note, then compare its timing with the other notes. Retain automatic chord labels as candidates. Record corrections and reasons rather than treating a label as the only answer.
Original comparison
Play, or generate with an existing tool, C3 E3 G3 B3 and E3 G3 B3 D4. Describe their actual notes before assigning harmony. The second group alone can be Em7; over a contextual C bass, it can form the upper notes of Cmaj9. This illustrates why local information needs context, without limiting that collection to only those two readings.
Record your initial auditory judgment and your judgment after consulting a tool. Return to the sound later to distinguish building a relationship from remembering a supplied label. See E07.
Related: intervals and modes, chord identity and voicing, verifiable feedback.
Record whether a reference was available
[General theory] Hearing C4 first and identifying other notes relative to it is a referenced task. Naming a note without a prior external reference concerns absolute pitch (AP). Having just heard or played that same note does not directly establish reference-free ability.
[Author's view] FOPP-17 distinguishes relative pitch (RP) from AP, then connects AP, Mental Play and transposition. Section 18 connects reproducing familiar melodies by ear with other keys and accompaniment. Relevant physical PDF pages 43–47 were checked, and selected Chinese passages compared. Universal ease, age thresholds, opposition to teaching movable do, and AP as a necessary condition have not been independently established here.
[Our synthesis] This corpus begins with observable pitch relationships and reproduction, without making AP a prerequisite for reading, improvisation or composition. The existing Chinese section 17 assigns a new number to the continuation of original step 1, shifting later steps. References use the original section and physical page rather than inheriting the wrong step numbers.
Pitch span differs from soft-to-loud span
[Source correction] FOPP-17 paragraph25 (physical45–46/printed44–45) uses dynamic range for higher/lower notes. The Chinese pitch-range wording is contextually correct; Q-081 does not reintroduce the English-source error through literal translation.
[General theory] Pitch range describes low-to-high span; dynamic range describes soft-to-loud span. Original example: replacing C4 with C5 changes pitch; playing the same C4 softly or loudly targets dynamics. This example sets aside accompanying timbre changes and does not treat phone recording level as touch force or individual hearing measurement.
[Evidence limits] Clarifying terms does not validate the author’s claim that humming erases absolute pitch. Record reference availability, imagined/sung/played task and comparable conditions first; do not force singing beyond a comfortable vocal range.