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.
先读改写指令：增加、删去、替换不是同一件事
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。
看到9、11、13或升降号，不必立刻抓更多键。先写清原和弦，再问：要加一个原来没有的音，删去一个音，还是用新音替换旧音？最后才检查当前旋律、声部和自己的可用动作。字面算对只是第一关，不等于可直接改写原谱。
已读IV-026／027／028全部174段既有ASR，检查20次选定静帧及讲义实际／印刷44–48页全部文字／标题、选定标签与版面结构。81段因音名不确定、未经验证的风格／适配／熟练度概括或重复尾段等不作归属证据，不是81个已听校错误。完整源谱、全部参考答案、原声与连续动作未验收。
纸面任务不需要钢琴或唱音。可选弹奏只在能找键、数拍并舒服地逐次按放单音时进行；RH为右手，LH为左手。没有右手同时大跨度、强制指法或踏板要求。无法轻松持续保持左手单音时做完整R版或纸面，不靠加力撑住。
G：和弦性质决定基本音程，如属七与大七不同；延伸音是9、11、13等高于七度的音程称呼；配置／voicing决定实际选哪些音、放在哪个音区和声部。表格中的#与b分别等同♯与♭。升降号在这里改动指定音级半音，不表示所有音都改，也不等于换调。sus4表示四度替代三度的和弦结构；名称本身不强制某种后续解决。
有边界的来源归属
B47-S01 · T2
第26课把理论十一和弦与实际省略配置分开，并提醒旋律含三度时另查适配。我们保留这项条件检查，不把流行程度的作者印象当统计，也不把十一、sus或斜线代号在所有上下文里自动等同。只删伴奏中的三度，不能保证另一个旋律声部也没有它。
PDF-IV实际／印刷44页文字与选定省略标签；IV-026静帧48／64秒理论叠置、80／94秒省略、108／145／168秒代号／角色、237秒有条件的旋律提示。未听验冲突。
B47-S02 · T2
第27课展示保留指定角色、而非弹全理论十三和弦的配置思路。作者的爵士风格／常用程度建议保留为经验；它不授予把任意原谱属七和弦换成十三和弦的通行许可。练习中的省略名单必须写明，不能只说“弹少一点”。
IV-027静帧45秒理论叠置、69／80秒角色子集、94／111秒选定双手布局；PDF-IV实际／印刷45–46页标题／文字与选定配置。两首源练习曲未逐音验收。
B47-S03 · T2
第28课示范先找目标度数，再改变已出现的音或补入未出现的音，并建议先自行尝试再看答案。我们把这个流程变成“原集合—操作—新集合”的检查；大调参照用于指定变化音，不可覆盖基本和弦代号本身的七度性质。
IV-028静帧25秒度数参照、61／74秒替换、96／117／129秒补入变化音、139秒任务提示；PDF-IV实际／印刷47页完整提示及48页答案版面。未核全部答案或实际演奏。
先保留基本身份，再解释延伸和变化
G／O：本页原创基准是D7＝D–F♯–A–C。它的七度是C，不是D大调的C♯；Dmaj7才是D–F♯–A–C♯。先识别完整代号，再查括号里的变化。把“按大调数第n音”机械套到裸写的7，会把属七误变成大七。
G：以D为根，按D大调延续计数，9＝E、11＝G、13＝B；♭9把E变成E♭，♯5把A变成A♯。从D3到E4为14半音，到E♭4为13半音。键盘上A♯和B♭可用同一键，但“升五度”的字母仍需写A♯；键相同不代表标记的角色相同。
G／O：下表是原创纸面操作，不是实际配置处方。“增加E”保留原音；“E换E♭”要移除E；“省略F♯”也不是把它改成G。D13保留子集时，被省的音必须逐一标出。理论集合不规定每个音同响，也不说明具体旋律中何者适合省略。
O：拿到真实乐谱时，先保留印刷和弦与旋律；另写想试的替代版本，并说明改动哪个声部、哪个时点。若旋律、调式、保留音或编配要求不明，标待核。这里的计算不承诺更好听，不把爵士／流行的风格标签当所有作品通用规则。
原创纸面检查：操作是否留下了不该保留的音？
先遮住表格“结果”列，根据原集合和操作写出答案。再回答：第二行能否同时保留E与E♭？第三行为什么要删F♯？第五行为什么写A♯而不是B♭？这些集合没有音区与手部安排，不是要求按下的一把和弦。
| ID | 原集合 | 操作 | 结果 | 标签／角色 |
|---|---|---|---|---|
| E1 | D F# A C | 增加自然九度 | D F# A C E | D9 |
| E2 | D F# A C E | 用降九度替换自然九度 | D F# A C Eb | D7(b9) |
| E3 | D F# A C E G | 从完整理论集合省去三度；四度已在内 | D A C E G | D9sus4 |
| E4 | D F# A C E G B | 省去五、九、十一度，明确保留子集 | D F# C B | D13选定子集 |
| E5 | D F# A C# | 把第五音升半音；保留大七度 | D F# A# C# | Dmaj7(#5) |
核对答案
按第二行“替换”的明确指令，只保留E♭；同时保留两者是另一种未指定的集合。第三行已含G，删F♯后留下四度、而不含三度，符合本例D9sus4集合。第五行改变第五个字母位置的A，故写A♯。同一个键的B♭会表达不同字母／度数；这些答案不决定真实旋律中的适用性。
O：若加音与换音混淆，先画“删除”与“加入”两栏，再核对原集合差异。若D7写出C♯，回到代号的性质，别只查大调音阶。若不会读源谱的高低或声部，先完成集合题，不从未核答案推断双手动作。
可选微练习：只改九度音，保留同一时间线
先纸面预测，再选择是否弹。A、B、R是版本名而非和弦标签；全部4/4、四分音符=60 BPM、总两小节8秒。A按D9计划，B按D7(♭9)计划；左手D3在0起、4释放，右手依次于0、1、2起音，每音保持半拍。A第三音E4，B改E♭4；第二小节双手全休止。R保留B全部右手与8秒总长，完全省去左手。
G／O：中央C是C4。D3在低一八度的C3右侧；E4在C4右侧，E♭4为D4和E4之间黑键，F♯4为F4和G4之间黑键，C5比中央C高一八度。88键由A0=1算起：D3=30、E♭4=43、E4=44、F♯4=46、C5=52。键号不是指法；右手音先后弹，不要把总音域撑成同时和弦。
事件L是LH的D3；H1是RH的F♯4，H2是C5，H3为E4或E♭4。时点以四分音符拍从0累计，0为第一拍开始，不是第零拍。每版有几个音符事件、几个起音时点？R省掉一个音后，仍要数几秒？恢复左手时，哪段休止要删？
| 版本 | 声明计划 | LH／低音 | RH在0、1、2依次出现的音 |
|---|---|---|---|
| A | D9 | D3 0–4 | F#4 → C5 → E4 |
| B | D7(b9) | D3 0–4 | F#4 → C5 → Eb4 |
| R | D7(b9) | 0–8休止 | F#4 → C5 → Eb4 |
核对时值和改动
A／B各4个音符事件、3个起音时点；R有3个事件、仍3个时点，所有版本都是8秒。A→B只改H3音高与键号44→43，不改根音D、七度C或时值。R→B加入L的0–4保持，把LH/bass休止从0–8改为4–8；右手不动。
每个方括号是一小节，每格半拍；ID为起音并保持该格，=表示继续保持同一音而不再起音，.表示该声部休止。LH/bass是低音声部，RH/upper是依次出现的上方单音声部；R的bass整段休止。保持、没有新起音、休止是不同状态。
A LH/bass: [L = = = = = = =] [. . . . . . . .]
A RH/upper: [H1 . H2 . H3 . . .] [. . . . . . . .]
B LH/bass: [L = = = = = = =] [. . . . . . . .]
B RH/upper: [H1 . H2 . H3 . . .] [. . . . . . . .]
R LH/bass: [. . . . . . . .] [. . . . . . . .]
R RH/upper: [H1 . H2 . H3 . . .] [. . . . . . . .]A／B的左手保持4拍、右手合计1.5拍；R左手0拍、右手仍1.5拍。RH休止为0.5–1、1.5–2、2.5–8；左手是否持续不改变这些休止。所有版本4–8为完整恢复小节。没有踏板，按键释放不等于保证声学余响立即消失，余响未测。
O：这个原创任务让持续低音与先后目标音相配，用于核对一个改动；并没有在任何时点把完整D9或D7(♭9)全部同时弹出，也未验证某种风格、配器或“更好听”。R尤其只是右手的减负准备，不应把听到一个E♭就认作已经证明D7(♭9)。
休息后遮住结果，从D7重建D9再按指令换成♭9，作为保留重测。回到真实乐句前，恢复印刷旋律、和弦、手部分工、时值与前后接缝；若只是纸面成立，记录为“符号检查通过、音响／适用性待核”。真正未见过的迁移题需另备并隐藏答案，本包没有提供或验证。
边界与相关阅读
来源账本合计747.649秒；同哈希MP4容器合计747.646秒，差异原因未知，均非实际听看时长。源课全部配置、练习谱、答案、音色／风格效果与身体动作未完整验收。没有实际演奏、个体适用性、学习效果或应用验证。
本包来源范围
原集合、改动与时间检查
Read the edit first: adding, omitting and replacing are different
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.
Seeing 9, 11, 13 or an accidental does not require immediately grabbing more keys. Write the original chord first, then ask whether to add an absent tone, omit a tone, or replace an existing one. Finally check the current melody, voices and available movement. Correct spelling is only the first gate, not permission to rewrite the score.
All 174 existing ASR segments of IV-026/027/028 were read, with 20 selected stills and all prose/headings plus selected labels/layout on handbook physical/printed pages 44–48 checked. 81 segments are excluded from attribution for uncertain names, unvalidated style/fit/mastery generalizations or repeated tail text; these are not 81 audition-confirmed errors. Complete source scores, all model answers, original audio and continuous movement remain unvalidated.
Paper tasks require neither a piano nor singing. Optional playing requires finding keys, counting beats and comfortably pressing/releasing successive notes; RH means right hand and LH left hand. No simultaneous wide RH span, prescribed fingering or pedal is required. If maintaining the single LH note is not comfortable, use complete R or paper rather than pressing harder.
G: chord quality determines basic intervals, such as dominant seventh versus major seventh. Extensions name intervals such as 9, 11 and 13 above the seventh. Voicing determines which tones are used and their registers/voices. In the tables, # and b mean ♯ and ♭ respectively. An accidental here changes the specified degree by a semitone, not every tone or necessarily the key. Sus4 specifies a fourth replacing the third; the label alone does not force a particular subsequent resolution.
Bounded source attribution
B47-S01 · T2
Lesson 26 distinguishes theoretical eleventh stacks from practical omissions and asks for a fit check when the melody carries the third. We retain that condition, not the author’s prevalence impression as statistics or automatic equivalence of eleventh, sus and slash labels in every context. Omitting the third from accompaniment does not remove it from a separate melody.
Prose and selected omission labels on PDF-IV physical/printed page 44; IV-026 stills 48/64 show theoretical stacking, 80/94 omissions, 108/145/168 labels/roles and 237 a conditional melody warning. No clash was auditioned.
B47-S02 · T2
Lesson 27 illustrates retaining specified roles instead of playing a complete theoretical thirteenth stack. The author’s jazz-style/commonness advice remains a heuristic, not blanket permission to replace any written dominant seventh with a thirteenth. An exercise must name omitted tones rather than merely say “play fewer.”
IV-027 stills at 45 seconds show theoretical stacking, 69/80 role subsets and 94/111 selected hand layout; PDF-IV physical/printed pages 45–46 headings/prose and selected configuration. Neither source exercise was accepted note by note.
B47-S03 · T2
Lesson 28 locates the target degree before changing a present tone or adding an absent one, and recommends trying before consulting answers. We turn this into an original-set → edit → new-set check. Major-scale reference for a specified alteration must not override the base chord symbol’s seventh quality.
IV-028 stills 25 show degree reference, 61/74 replacement, 96/117/129 added alterations and 139 the task prompt; complete prompt on PDF-IV physical/printed page 47 and answer layout on 48. All answers and actual performance remain unverified.
Keep the base identity before interpreting extensions and alterations
G/O: our original baseline is D7 = D–F♯–A–C. Its seventh is C, not D major’s C♯; Dmaj7 is D–F♯–A–C♯. Identify the full symbol before its parenthesized alteration. Mechanically applying “degree n of the major scale” to a bare 7 incorrectly changes dominant seventh into major seventh.
G: extending D-major degree counting from root D gives 9=E, 11=G and 13=B. Flat 9 changes E to E♭; sharp 5 changes A to A♯. D3–E4 spans 14 semitones, D3–E♭4 13. A♯ and B♭ can use the same piano key, but a raised fifth is still spelled A♯; the same key does not imply the same written role.
G/O: the table gives original paper operations, not voicing prescriptions. Adding E keeps the existing tones; replacing E with E♭ removes E; omitting F♯ does not itself change F♯ into G. A D13 subset must name each omitted tone. A theoretical set does not require every tone together or determine what may be omitted under a particular melody.
O: with a real score, preserve the printed chord and melody first. Write a separate proposed variant and name the changed voice and time. Mark unclear melody, mode, retained tone or arrangement requirements pending. Our arithmetic promises no improvement in sound and treats jazz/pop labels as neither universal rules nor permissions.
Original paper check: did an edit leave an unintended tone?
Hide the Result column and derive each answer from the original collection and edit. Then ask whether row two should retain both E and E♭, why row three removes F♯, and why row five spells A♯ rather than B♭. These collections specify no registers or hand assignment and are not a chord grip to play.
| ID | Original collection | Edit | Result | Label / role |
|---|---|---|---|---|
| E1 | D F# A C | Add the natural ninth | D F# A C E | D9 |
| E2 | D F# A C E | Replace natural ninth with flat ninth | D F# A C Eb | D7(b9) |
| E3 | D F# A C E G | Omit the third from the full theoretical set; the fourth is already present | D A C E G | D9sus4 |
| E4 | D F# A C E G B | Omit fifth, ninth and eleventh to retain a specified subset | D F# C B | D13 selected subset |
| E5 | D F# A C# | Raise the fifth by a semitone; keep the major seventh | D F# A# C# | Dmaj7(#5) |
Check your answers
Row two’s explicit replacement retains E♭ only; retaining both makes a different, unspecified collection. Row three already contains G, and removing F♯ leaves a fourth without a third, matching this D9sus4 collection. Row five alters fifth-letter-position A, hence A♯. B♭ would express a different letter/degree on the same key. None of these answers decides suitability under a real melody.
O: if adding and replacing are confused, draw separate Remove and Add columns and compare against the original. If D7 contains C♯, return to chord quality rather than only a major-scale chart. If register or voice notation is unclear, complete the collection task first; do not infer hand movement from unchecked answers.
Optional micro-practice: change only the ninth on the same timeline
Predict on paper before choosing to play. A, B and R are version names, not chord labels. All are in 4/4 at quarter note=60 BPM, two bars lasting 8 seconds. A declares D9, B D7(♭9). LH D3 attacks at 0 and releases at 4; RH attacks at 0, 1 and 2, holding each for half a beat. A’s third RH note is E4, changed to E♭4 in B. Both hands rest for bar two. R retains all of B’s RH and 8-second duration while omitting LH entirely.
G/O: middle C is C4. D3 lies right of the lower C3; E4 is right of C4, E♭4 the black key between D4/E4, F♯4 between F4/G4, and C5 an octave above middle C. With A0=1, the 88-key numbers are D3=30, E♭4=43, E4=44, F♯4=46 and C5=52. These are not finger numbers. RH notes are successive; do not stretch the total range into a simultaneous grip.
Event L is LH D3; H1 is RH F♯4, H2 C5, and H3 E4 or E♭4. Offsets use quarter-note beats from 0, the beginning of beat one rather than beat zero. How many note events and attack times are there in each version? After omitting a note, how long must R still last? Which rest interval must be removed when restoring LH?
| Version | Declared plan | LH / bass | RH successive notes at 0, 1, 2 |
|---|---|---|---|
| A | D9 | D3 0–4 | F#4 → C5 → E4 |
| B | D7(b9) | D3 0–4 | F#4 → C5 → Eb4 |
| R | D7(b9) | rest 0–8 | F#4 → C5 → Eb4 |
Check timing and the edit
A/B each have 4 note events and 3 attack times; R has 3 events and still 3 attack times. Every version lasts 8 seconds. A→B changes only H3’s pitch/key, 44→43, not root D, seventh C or timing. R→B restores L’s hold at 0–4, changing LH/bass rest from 0–8 to 4–8; RH is unchanged.
Each bracket is one bar and each cell half a beat. An ID attacks/holds for that cell, = continues the same note without reattacking, and . is rest in that voice. LH/bass is the bass voice and RH/upper the successive upper single-note voice; R’s bass rests throughout. Holding, no new attack and resting are different states.
A LH/bass: [L = = = = = = =] [. . . . . . . .]
A RH/upper: [H1 . H2 . H3 . . .] [. . . . . . . .]
B LH/bass: [L = = = = = = =] [. . . . . . . .]
B RH/upper: [H1 . H2 . H3 . . .] [. . . . . . . .]
R LH/bass: [. . . . . . . .] [. . . . . . . .]
R RH/upper: [H1 . H2 . H3 . . .] [. . . . . . . .]A/B hold LH for 4 beats and RH for 1.5 in total; R holds LH for 0 and RH still for 1.5. RH rests at 0.5–1, 1.5–2 and 2.5–8, unaffected by whether LH sustains. All versions recover throughout 4–8. No pedal is specified; key release does not guarantee immediate acoustic silence, and decay is unmeasured.
O: this original task combines a sustained bass with successive targets to check one edit. It never sounds the complete D9 or D7(♭9) simultaneously and validates no style, arrangement or claim of better sound. R is especially just reduced RH preparation; hearing one E♭ would not establish D7(♭9).
After a break, hide the results, rebuild D9 from D7 and replace its ninth as instructed for a retention retest. Before returning to a real phrase, restore its printed melody, harmony, hand assignment, durations and joins. If only paper checks passed, record “symbolic check passed; sound/suitability pending.” Genuine unseen transfer requires separately prepared material with undisclosed answers; this package neither supplies nor validates it.
Limits and related reading
Source inventory totals 747.649 seconds; same-hash MP4 containers total 747.646. The discrepancy is unexplained, and neither measures audition/viewing time. All source voicings, exercise scores, answers, timbral/style effects and movement remain incompletely validated. Actual performance, individual suitability, learning efficacy and application behavior were not tested.
Extension labels and actual voicings
Source scope for this package
Collection, edit and timeline checks