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This page preserves the author’s frozen review bytes, so prose or data may still contain candidate, pending-review or unpublished labels.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.
数字低音：先从实际低音往上数
作者送审候选版本；尚未独立验收或发布。
原创纸面工作单；四个独立配置，不是一段和弦进行或演奏谱。用已读来源的有限定义与简写作入口，不复制源课谱例。
先解决一个读谱问题
看到低音旁的数字，先别把它当指法。今天只核对：最低音是哪一个？上方各音离这个低音几度？先认识音名字母、八度号与升号；如果尚不熟悉，可直接用本页的音名和数数表完成纸面任务。
来源给了什么入口
【作者观点】NC-055以给定低音和其上方音程数字说明数字低音，并展示三和弦原位、第一转位和第二转位的数字与简写。本轮读103段既有ASR文字、看9张选帧；没有听校原音或连续看动作。下面的D大调条件、四个配置和检查步骤是本库自编。
把数字和斜线分清楚
数字低音的数字通常上下叠写；本页为方便纯文字，用5/3、6/3、6/4表示这几组叠写数字，斜线不是除法、拍号或和弦斜杠。D/F#中的斜线另有意思：D和弦，以F#为低音。F#3中的3是八度号；指法数字表示手指。必须连同记谱位置和上下文判断，不能见到一个6就断言一定是数字低音。
把音高条件写完整
【本页条件】采用科学音高记法，中央C=C4；F#是F上方半音的升F。四题都限定在D大调音组D、E、F#、G、A、B、C#中，没有额外临时记号，且逐题给出确切八度与全部三个音。本题不从这些独立配置推断整首曲子的调性、功能或前后连接。
数音名字母，不把度数当半音数
把低音本身算第1个字母，向上数到目标字母。例如F#3→D4：F、G、A、B、C、D共6个，所以是六度；升号不额外增加一个字母。这里两音相距8个半音，是小六度。度数6和半音数8回答不同问题；只看到6本身还没有说是大六度还是小六度。本页的展开数字把较大的度数放在上方；按上方音顺序算得3和5时，叠写为5/3，并不是把你刚算出的两个音交换。
先完成四行，再看答案
先遮住下面的“核对”与“展开数字”表，只看给定配置：逐题圈出最低音，从它算到两个上方音，写出两个度数；再把给出的三个音按根、三、五的关系核对和弦身份。若还不会命名和弦，可以先完成最低音与度数两栏，把身份留待核对。四题互相独立，不依次弹成进行。
| 题 / Problem | 给定最低音 / Given bass | 给定上方音 / Given upper notes | 待填度数 / Interval numbers to fill |
|---|---|---|---|
| A | D3 | F#3 + A3 | ____ , ____ |
| B | F#3 | A3 + D4 | ____ , ____ |
| C | A2 | D3 + F#3 | ____ , ____ |
| D | D3 | F#3 + B3 | ____ , ____ |
核对：根音不一定在最低处
A、B、C都包含D、F#、A，是给定的D大三和弦；只改变最低音和具体配置。D题包含B、D、F#，以B为根时是小三度加纯五度，所以是B小三和弦Bm；最低音却是D。这里“根音”用于和弦身份，“低音”用于实际最低音，不能互换。
| 题 / Problem | 低音 / Bass | 展开数字 / Expanded figures | 根音／性质 / Root / quality | 位置与代号 / Position and symbol |
|---|---|---|---|---|
| A | D3 | 5/3 | D 大三和弦 | 原位; D |
| B | F#3 | 6/3 | D 大三和弦 | 第一转位; D/F# |
| C | A2 | 6/4 | D 大三和弦 | 第二转位; D/A |
| D | D3 | 6/3 | B 小三和弦 | 第一转位; Bm/D |
| 题 / Problem | 从低音到上音 / Bass to upper note | 字母链 / Letter chain | 度数 / Number | 半音数 / Semitones | 名称 / Name |
|---|---|---|---|---|---|
| A | D3 → F#3 | D–E–F | 3 | 4 | 大三度 |
| A | D3 → A3 | D–E–F–G–A | 5 | 7 | 纯五度 |
| B | F#3 → A3 | F–G–A | 3 | 3 | 小三度 |
| B | F#3 → D4 | F–G–A–B–C–D | 6 | 8 | 小六度 |
| C | A2 → D3 | A–B–C–D | 4 | 5 | 纯四度 |
| C | A2 → F#3 | A–B–C–D–E–F | 6 | 9 | 大六度 |
| D | D3 → F#3 | D–E–F | 3 | 4 | 大三度 |
| D | D3 → B3 | D–E–F–G–A–B | 6 | 9 | 大六度 |
相同6/3，不是相同和弦名字
比较B和D：它们都是本题中的6/3配置，但B的低音是F#、和弦是D/F#；D的低音是D、和弦是Bm/D。这个对照只说明6/3单独出现、没有低音和音高语境时不能决定根音或性质；不是说已经给全低音、音组与配置后，本题答案仍不确定。B的上方六度是小六度，D的是大六度。
省掉数字，不等于省掉声音
在本页所采用、源课展示的普通三和弦简写约定中，5/3常不写数字，6/3常只写6，6/4保留两个数字。“不写数字”仍有给定低音与调号／记号语境，不是休止，也不是删除上方音。本页的空白仅标明这种约定；不能把任意谱面空白都当成已确定的三和弦。
| 本题展开数字 / Expanded figures here | 本题简写 / Shorthand here |
|---|---|
| 5/3 | 不写数字 / no figures |
| 6/3 | 6 |
| 6/4 | 6/4 |
数字还没有决定完整弹法
本页为了能核对，另行固定了每个音的八度与全部三个音。数字低音本身不唯一指定上方音的八度分布、重复哪些音、配手、指法、节奏或声部连接。本页不要求根据一个6独自补出完整伴奏，也不把写对三个音当成已会通奏低音或已会处理真实乐谱中的全部记号。
找键只核位置
88键编号从最左A0=1计数；这是定位辅助，不是数字低音或指法，也不要求MIDI设备。下表F3与C4只作找键参照，不是四题中额外要弹的音。F#3是F3右边紧邻的黑键；先找中央C4，再按八度号区分较低的各音。表中没有按物理距离绘制键盘，也没有要求同时伸展按住。
| 音 / Pitch | 88键编号 / 88-key index | 用途 / Role |
|---|---|---|
| A2 | 25 | 题中音 |
| D3 | 30 | 题中音 |
| F3 | 33 | 仅定位参照 |
| F#3 | 34 | 题中音 |
| A3 | 37 | 题中音 |
| B3 | 39 | 题中音 |
| C4 | 40 | 仅定位参照 |
| D4 | 42 | 题中音 |
把一次核对接成小项目
完成证据可以是一张四行纸面答案：最低音、两个度数、根音／性质与哪些条件仍未知。若把F#3→D4数成5度，先写完整字母链，再重查该题；若把6读成六号琴键，先重分数字低音、八度号、键号和指法。只修一个已定位的问题，再回四题完整核对，不以重复遍数代替证据。
可选：在声学钢琴上逐个找键
纸面路线本身完整。若能舒适找键，可任选一题，逐个指出或轻弹它的三个音，不踩踏板，不要求按住前音或同时奏和弦，也不指定速度和指法。记下是否找到了给定键；逐个找到不等于已听过同时和弦、已实现数字低音或验证了手跨度。感到疼痛或明显不适就停止，回纸面或寻求能观察演奏的帮助。
下次重做，再看真实乐谱
下次先遮住答案，按相同条件重填四行；记录实际间隔与提示。改变音区或调号后另记，不能沿用这四题的答案。回到合法可用的真实谱时，先核低音、调号、临时记号与记谱约定，再请教师或可靠版本核对尚不懂的数字。本页没有教七和弦简写、变化音、延留、声部规则或完整通奏低音；熟题复测也不是陌生谱迁移证据。
有限来源，有限结论
NC-055的原始ASR仍未听校；第47段的斜杠和弦文字含糊，116秒选帧清楚显示C/E，本页仅用画面核标签，不改原转写或宣称确认语音错误。资料清点时长271.552秒与容器时长271.530秒相差0.022秒，原因未核；都不是听课时长。未使用的83段不等于83段错误，也不是错误率。没有完整源谱、原声、连续动作、实际演奏、身体适用性或学习效果验收。
只检查四个固定配置、八条音程、简写、键号及双语对应；不是通用数字低音实现器、演奏评分器或独立验收。
来源与继续阅读
音名与拍 · 音程与拼写 · 六四结构与上下文 · 原创配置数据 · 来源范围 · 固定例题检查
Figured bass: count upward from the actual bass
Author review candidate; not independently accepted or published.
An original paper worksheet: four independent voicings, not a chord progression or performance score. It starts from bounded source definitions and shorthand without copying the lesson’s score examples.
Start with one reading question
When figures appear beside a bass, do not immediately read them as fingering. Check just two things: which note is lowest, and what intervals the upper notes form above it. First recognize note letters, octave numbers and sharps; if unfamiliar, use this page’s pitch names and counting table for the paper task.
What the source contributes
[Author’s view] NC-055 explains figured bass through a given bass and interval numbers above it, showing figures and abbreviations for triads in root position, first inversion and second inversion. This pass read 103 existing ASR segments and viewed nine selected stills, without source audition or continuous-motion review. The D-major conditions, four voicings and checking steps below are our own.
Separate the meanings of numbers and slashes
Figured-bass numbers are usually stacked. This page writes 5/3, 6/3 and 6/4 in plain text for those stacks; the slash is not division, a time signature or a chord-symbol slash. The slash in D/F# instead means a D chord with F# as its bass. The 3 in F#3 is an octave number; fingering numbers identify fingers. Read notation placement and context rather than deciding that any isolated 6 must be figured bass.
State the pitch conditions
[Conditions here] Use scientific pitch notation, with middle C=C4; F# is F raised by a semitone. All four problems use the D-major collection D, E, F#, G, A, B, C#, with no additional accidentals; every problem explicitly supplies all three notes and their octaves. These independent voicings do not establish the key, harmonic function or connections of an entire piece.
Count note letters, not semitones
Count the bass letter as 1, then count upward to the target letter. For F#3→D4, F, G, A, B, C, D gives six letters, hence a sixth; the sharp does not add another letter. These pitches are eight semitones apart, a minor sixth. The interval number 6 and semitone count 8 answer different questions; 6 alone does not specify a major or minor sixth. Our expanded figures place the larger interval number above the smaller: if the listed upper notes give 3 and 5, write the stack as 5/3; this does not swap the two pitches you just checked.
Complete four rows before checking
Cover the checking and expanded-figure tables below and use only the given voicings. Circle the lowest note, count from it to each upper note and write both interval numbers; then check chord identity by arranging the supplied notes as root, third and fifth. If chord naming is unfamiliar, complete bass and interval columns first and leave identity for checking. The four problems are independent, not a progression to play in order.
| 题 / Problem | 给定最低音 / Given bass | 给定上方音 / Given upper notes | 待填度数 / Interval numbers to fill |
|---|---|---|---|
| A | D3 | F#3 + A3 | ____ , ____ |
| B | F#3 | A3 + D4 | ____ , ____ |
| C | A2 | D3 + F#3 | ____ , ____ |
| D | D3 | F#3 + B3 | ____ , ____ |
Check: the root need not be lowest
A, B and C all contain D, F# and A: the stipulated D-major triad, with different bass notes and exact voicings. Problem D contains B, D and F#; above root B these form a minor third and perfect fifth, hence the B-minor triad Bm, while D is lowest. “Root” identifies the chord; “bass” identifies the actual lowest note. They are not interchangeable.
| 题 / Problem | 低音 / Bass | 展开数字 / Expanded figures | 根音／性质 / Root / quality | 位置与代号 / Position and symbol |
|---|---|---|---|---|
| A | D3 | 5/3 | D major triad | root position; D |
| B | F#3 | 6/3 | D major triad | first inversion; D/F# |
| C | A2 | 6/4 | D major triad | second inversion; D/A |
| D | D3 | 6/3 | B minor triad | first inversion; Bm/D |
| 题 / Problem | 从低音到上音 / Bass to upper note | 字母链 / Letter chain | 度数 / Number | 半音数 / Semitones | 名称 / Name |
|---|---|---|---|---|---|
| A | D3 → F#3 | D–E–F | 3 | 4 | major third |
| A | D3 → A3 | D–E–F–G–A | 5 | 7 | perfect fifth |
| B | F#3 → A3 | F–G–A | 3 | 3 | minor third |
| B | F#3 → D4 | F–G–A–B–C–D | 6 | 8 | minor sixth |
| C | A2 → D3 | A–B–C–D | 4 | 5 | perfect fourth |
| C | A2 → F#3 | A–B–C–D–E–F | 6 | 9 | major sixth |
| D | D3 → F#3 | D–E–F | 3 | 4 | major third |
| D | D3 → B3 | D–E–F–G–A–B | 6 | 9 | major sixth |
The same 6/3 is not the same chord name
Compare B and D: both are 6/3 voicings here, but B has bass F# and chord D/F#, while D has bass D and chord Bm/D. This shows only that 6/3 alone, without the bass and pitch context, does not determine root or quality; it does not make these fully specified problems ambiguous. B’s upper sixth is minor; D’s is major.
Omitting figures does not mean omitting sound
Under the ordinary-triad shorthand adopted here and shown in the source, 5/3 commonly has no figures, 6/3 is commonly written as 6, and 6/4 retains both figures. “No figures” still has a given bass and key-signature/accidental context; it is neither a rest nor deletion of the upper notes. Our blank label marks only this convention, not a rule that any blank in any score determines a triad.
| 本题展开数字 / Expanded figures here | 本题简写 / Shorthand here |
|---|---|
| 5/3 | 不写数字 / no figures |
| 6/3 | 6 |
| 6/4 | 6/4 |
Figures do not yet specify a complete realization
To make checking possible, this page separately fixes every octave and all three notes. Figured bass alone does not uniquely specify upper-note octave placement, doubling, hand allocation, fingering, rhythm or voice leading. You need not produce a full accompaniment from an isolated 6, and three correct pitch names do not establish continuo-realization skill or mastery of all signs in real scores.
Use the keyboard map only to check locations
The 88-key index counts from the leftmost A0=1; it is a location aid, neither figured bass nor fingering, and requires no MIDI device. F3 and C4 below are location references, not additional notes to play in the four problems. F#3 is the black key immediately to the right of F3. Find middle C4 first, then distinguish lower pitches by octave number. The table is not drawn to physical scale and does not require a simultaneous stretch.
| 音 / Pitch | 88键编号 / 88-key index | 用途 / Role |
|---|---|---|
| A2 | 25 | a problem pitch |
| D3 | 30 | a problem pitch |
| F3 | 33 | location reference only |
| F#3 | 34 | a problem pitch |
| A3 | 37 | a problem pitch |
| B3 | 39 | a problem pitch |
| C4 | 40 | location reference only |
| D4 | 42 | a problem pitch |
Turn one check into a small project
Completion evidence can be a four-row paper answer: bass, two interval numbers, root/quality and conditions still unknown. If F#3→D4 was counted as a fifth, write its complete letter chain and recheck that problem. If 6 was read as key number six, first separate figure, octave, key index and fingering. Repair one located issue, then return to the complete four-row check; repetitions do not replace evidence.
Optional: locate keys successively on an acoustic piano
The paper route is complete on its own. If locating keys is comfortable, choose one problem and point to or gently play its three notes successively, without pedal; holding earlier notes or playing a simultaneous chord is not required, and no tempo or fingering is prescribed. Record whether you found the stipulated keys. This does not establish that you heard the simultaneous chord, realized figured bass or verified hand span. Stop for pain or clear discomfort; return to paper or seek help from someone who can observe your playing.
Repeat later, then inspect a real score
Next time, hide the answers and refill the four rows under the same conditions, recording the interval and prompts. Record changed register or key signature separately rather than carrying these answers over. For a legally available real score, first check bass, key signature, accidentals and conventions, then use a teacher or reliable edition to check unfamiliar figures. This page does not teach seventh-chord shorthand, alterations, suspensions, voice-leading rules or complete continuo realization; familiar-item retesting is not unfamiliar-score transfer evidence.
Bounded source, bounded conclusions
NC-055’s raw ASR remains unauditioned. Segment 47 has ambiguous slash-chord text; the selected 116-second frame clearly shows C/E. We use the image to check the label without altering the transcript or claiming a confirmed speech error. Inventory duration 271.552 seconds and container duration 271.530 seconds differ by 0.022 seconds for an unverified reason; neither is listening time. The 83 unused segments are not 83 errors or an error rate. There is no complete source-score, audio, continuous-motion, performance, physical-suitability or learning-outcome acceptance.
Checks four fixed voicings, eight intervals, shorthand, key indices and bilingual correspondence only; not a general figured-bass realizer, performance scorer or independent acceptance.
Sources and next reading
Pitches and beats · Intervals and spelling · Six-four structure and context · Original voicing data · Source scope · Fixed-example checks