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.
和声：身份、排列与声音层次
把C、E、G一起弹，再把最下面的C移到上方：音名仍相同，最低音却变了。接下来分别问“它是什么和弦”和“这些音怎样摆放”。前置：音程。
【通用乐理】chord symbol 描述和弦身份，voicing 描述实际发声的配置。转位由最低音与根音的关系决定；声部连接（voice leading）描述各条音线怎样走向下一个和弦。排列变化可以保留和弦身份，但会改变音域、密度与听感。
【作者观点】《即兴幼幼班》手册 PDF-IV 实际第40、42、44页（印刷页同号）把低音与上层和弦分开处理，并要求右手相邻配置尽量保持相近音域。第44页的“属11”示例采用省三音配置；相关正文和第40、44页原图已核对。不能据此断言所有写作 11 的符号在所有风格中都省三音。
【本库综合】拿到和弦代号时，依次问：需要什么低音？哪几个音决定大小/属的性质？哪些扩展音是色彩？旋律已经提供了哪个音？最后才决定是否加厚。低音域越密集，越需要实际听混浊程度。
自编配置比较
Dm7 → G7 → Cmaj7，左手各弹根音，右手先弹 F3 C4 → F3 B3 → E3 B3，再加入 A3 → A3 → G3。先辨认右手的保留音与半音移动，再比较加入色彩音之前和之后的声音。这里的省略配置服务于本实验，不是所有编曲场景的固定答案。
【通用乐理】在 C 大调常见的属到主连接中，G7 的 B 与 F 可趋向 C 与 E。风格、声部数量、转位、旋律及后续和声会影响实际写法；这种预期有助于读谱，却不是可以忽略原谱的保证。
两种 voicing 不要混淆
【作者观点】技巧手册 PDF-PC 第 20 页的焦点是同一和弦内部各音的音量控制；即兴手册第 40 页后的焦点更多是选音和排列。英语 voicing 在不同上下文可能涉及两者。
【本库综合】做笔记时分别记录“弹哪些音”与“哪些音突出”。否则一次和弦识别正确，仍可能没有实现旋律层次。踏板的共鸣还会进一步改变层次，参见技巧笔记。
入门定义的适用范围
【作者观点】扫描书《好和弦》PDF-NC-BOOK 第 10 页给出基于三度堆叠的保守入门定义，同时提醒“和弦”的实际用法会更宽。本轮已核对原图，不能只摘定义而丢掉这个限定。
【本库综合】学习某种和弦代号时，先确定符号所指的音程身份，再讨论实际省略与排列。OCR 容易把 E 误成 B、把升降号和括号读错；本轮第 14 页就出现这类识别差异，已经用原图确认。机器提取的一个错误字母足以改变和弦，故谱例音列不能只凭 OCR 入库。
结构、功能与实际声音分开
【作者观点】扫描书PDF-NC-BOOK实际第22–30页用三类功能组织大调和声；第23页脚注明确区分“属”表示第五级与表示特定和弦结构的语境。OCR文字已读，原图第23、24、27页已核对。本库不复制原书连接表、比喻或谱例。
【通用乐理】G B D F 的结构可写作G7；在C大调的常见语境里它可以担当属功能。和弦代号、在调中的级数和功能不是同一栏，仍需旋律、低音和前后连接。
【本库综合】把分析分为“实际哪些音”“采用什么代号”“基于什么上下文判断功能”三栏。作者关于稳定、紧张与连接路线的说明属于特定调性模型，不是所有音乐的禁行图。参见原创实验E14。
核对这个配置实际弹出了什么
【本库推导】用E03的低音 D3 G2 C3：第一轮分别是Dm7省五音、G7省五音、Cmaj7省五音。加入 A3 A3 G3 后，Dm7与Cmaj7补回五音；G和弦加的A是九音，因此更明确的实际标签是G9省五音。G7可以是原先的和声提示，但不能说加入A以后仍只含G7四个基本音。这里B保留到Cmaj7，是七和弦语境的选取，不是四部和声作业中导音解决的通用范例。
【补充来源】Open Music Theory 的和弦代号说明区分代号、低音与扩展音；本轮核对相关文字，未播放或复用其谱例。
根音相同，最低音可以不同
先看三个音：D3 F#3 A3。把D移到上方，成为 F#3 A3 D4，三个音的身份没有改变，最低音从D变成F#。前者是D大三和弦原位，后者是第一转位，可写 D/F#。斜线后是指定低音；它不是另一只手要弹的完整和弦。
【通用乐理】根音是给和弦命名的基准，不一定是实际最低音。只把上方声部换位置、保持D在最低处，仍是原位。D3 A3 F#4 因音域展开而改变配置，但没有改变转位。见可切换的配置图与原创E17。图中的上下位置表示音高，横向位置仅为放置标签，不表示先后或左右手。
【补充来源】好和弦的和弦代号与第一转位正文支持把身份、低音和排列分开；原谱图、音频未因此算作已审。1+3配置是作者为伴唱情境命名的一种安排，不是和弦代号本身规定的手部分工。该文同一句先选C3、后列出C2的文字不一致已记录；本库的原创音列单独计算，不猜原意。
【翻译复核】FOPP-44中文第2段把英文的diminished具体化为“减七”。二者不能互换：Cdim 的基本三和弦为 C Eb Gb；Cdim7 还含减七度 Bbb。这里是短的术语澄清，不重写原教材。实际PDF第101页（印刷100）已核对。
【本库综合】看1–6–2–5文章时，先把“根音级数”与“实际低音线”分开。在D大调，自编的 D Bm Em A 对应 I vi ii V。换转位会改变低音线，但不自动改变这组根音级数；也不能把每一个相邻低音都描述成向下纯五度。和声进行还需要节奏、旋律与语境才成为音乐。
【来源边界】PC-016 的全文ASR、手册实际第20页（印刷19）与43/47/53/59/91/450秒静帧已有限核对。它讨论的是和弦内部的音量突出，不是转位；“最高音常是旋律”保留“常”的条件。先触键自动更响、固定时间差不可察觉等机制和阈值尚未验证，不能由静帧推断。
主音、根音与旋律经过的音
【通用乐理】在已建立的D大调语境中，D Em A D 的和弦根音依次为 D E A D，调的主音仍可保持D。根音（root）属于和弦身份，主音（tonic）属于调或调式的中心；换和弦不自动等于换调。FOPP-68实际第183页（印刷182）把和弦与共同tonic联系的用词不能作为本库定义；其神经机制解释也未核实。这一点来自原英文，并非单独的中文误译。
【本库推导】先固定一个Dm和弦背景 D F A，比较三个原创短句：D4 E4 F4 中的E连接两个和弦音；D4 E4 D4 中的E离开又回到同一个和弦音；A4 E5 D5 若E在较强位置，则展示跳进到E、反向级进回到D。前两种分别是经过音（passing tone）和邻音（neighbor tone）；第三种符合下述教学体系中的倚音（appoggiatura）条件。具体节奏与和声一变，分析要重做。
【补充来源】扫描书实际第56–58页使用较宽的“强拍外音”解释倚音；Open Music Theory相关定义还区分进入、离开方向及跳进/级进。术语传统不完全相同，不能只看“在强拍”就替所有体系命名，也不能把和弦外音自动当成弹错。扫描OCR第58页把E误成B，原图文字与谱例均为F解决到E；本库按原图记录。
Harmony: identity, arrangement and audible layers
Play C, E and G together, then move the bottom C above the others. The names remain, but the lowest note changes. Ask which chord it is separately from how its notes are arranged. Prerequisite: intervals.
[General theory] A chord symbol describes chord identity; voicing describes its sounding arrangement. Inversion depends on the relationship between the lowest note and the root. Voice leading describes how individual lines move to the next chord. Rearranging notes can preserve identity while changing register, density and sound.
[Author's view] PDF-IV, physical pp. 40/42/44 (matching printed numbers), separates bass from upper harmony and asks adjacent right-hand voicings to remain in a similar register. Its p. 44 dominant-eleventh example omits the third. Relevant text and images of pp. 40/44 were checked. This does not establish that every 11 symbol in every style omits the third.
[Our synthesis] Ask in order: which bass is needed? Which notes establish major/minor/dominant quality? Which extensions add color? Which note is already in the melody? Only then consider thickening the texture. Dense low registers especially need actual listening for muddiness.
Original voicing comparison
For Dm7 → G7 → Cmaj7, play roots in the left hand. Begin with right-hand F3 C4 → F3 B3 → E3 B3, then add A3 → A3 → G3. Identify common tones and semitone movements before comparing the added colors by ear. These omissions serve this experiment, rather than every arrangement.
[General theory] In a common dominant-to-tonic progression in C major, G7's B and F can move toward C and E. Style, voice count, inversion, melody and following harmony affect the actual writing. Such expectations help reading but do not justify ignoring the score.
Two senses of voicing
[Author's view] PDF-PC, p. 20, focuses on relative loudness within one chord. The improvisation handbook, from p. 40 onward, focuses more on note selection and arrangement. English “voicing” can concern either, depending on context.
[Our synthesis] Record “which notes” separately from “which notes stand out.” Correct chord identification alone does not establish melodic balance. Pedal resonance also affects layers; see technique.
Limits of an introductory definition
[Author's view] PDF-NC-BOOK, p. 10, gives a conservative introductory definition based on stacked thirds while acknowledging broader use of “chord.” The image was checked; the qualification must accompany the definition.
[Our synthesis] First identify a symbol's interval structure, then discuss omissions and arrangement. OCR can confuse E with B, accidentals and parentheses. Such differences occurred on p. 14 and were checked against the image. One wrong letter can change a chord; OCR alone cannot admit a score's pitch list into the corpus.
Separate structure, function and actual sound
[Author's view] Physical pages 22–30 of PDF-NC-BOOK organize major-key harmony into three functional classes. The page-23 footnote distinguishes dominant as fifth degree from dominant as a chord structure. OCR text was read and images of 23/24/27 checked. We do not copy its connection table, metaphors or score examples.
[General theory] G B D F has the structure G7; in common C-major contexts it can have dominant function. Chord symbol, scale degree and function are separate columns, still requiring melody, bass and surrounding connections.
[Our synthesis] Record actual notes, chosen symbol and contextual grounds for function separately. The author's stability/tension/routes describe a particular tonal model, not a prohibition map for all music. See original E14.
Check what this voicing actually sounds
[Our derivation] With E03's bass D3 G2 C3, the first pass gives Dm7, G7 and Cmaj7, each omitting its fifth. Adding A3 A3 G3 restores the fifth in Dm7 and Cmaj7, but A is the ninth over G: the more explicit sounding label is G9 without its fifth. G7 can remain the initial harmonic cue, but the added A is outside its four basic chord tones. Retaining B into Cmaj7 is a choice in seventh-chord harmony, not a universal leading-tone-resolution model for four-part harmony exercises.
[Supplementary source] Open Music Theory's chord-symbol explanation separates symbols, bass and extensions. Relevant text was checked; its score examples were neither played nor reused.
Same root, different lowest note
Begin with D3 F#3 A3. Move D above the others to make F#3 A3 D4. The three note identities remain, but the bass changes from D to F#. The first is a root-position D-major triad; the second is first inversion, written D/F#. The slash specifies a bass note, not a complete chord for the other hand.
[General theory] The root names the chord and need not be its actual lowest note. Rearranging upper voices while retaining D at the bottom leaves root position intact. D3 A3 F#4 spreads the register and changes voicing without changing inversion. See the switchable diagram and original E17. Vertical placement represents pitch; horizontal placement only separates labels, without indicating timing or hands.
[Supplementary source] NiceChord's chord-symbol and first-inversion texts support separating identity, bass and arrangement; their score images and audio are not thereby reviewed. 1+3 voicing is the author's named accompaniment arrangement for singing, not a hand assignment inherent in a chord symbol. One sentence selects C3 but then lists C2; that textual inconsistency is recorded. Our original pitch lists are independently calculated rather than guessing the intended example.
[Translation review] FOPP-44 Chinese paragraph 2 specifies diminished as a diminished seventh. These are not interchangeable: the basic Cdim triad contains C Eb Gb; Cdim7 also includes the diminished seventh Bbb. This is a short terminology clarification, not a rewritten textbook. Actual PDF page 101 (printed 100) was checked.
[Our synthesis] When reading the 1–6–2–5 article, separate root scale degrees from the actual bass line. Our D-major example D Bm Em A corresponds to I vi ii V. Inversions change the bass without automatically changing those root degrees; not every successive bass movement is a descending perfect fifth. Rhythm, melody and context still turn a progression into music.
[Source limits] Complete ASR text of PC-016, handbook physical page 20 (printed 19) and stills at 43/47/53/59/91/450 seconds were cross-checked within limits. This lesson concerns loudness prominence inside a chord rather than inversion. The qualification that the top note is often the melody is retained. Claims that earlier contact automatically makes a note louder or that a fixed delay is imperceptible remain unverified; stills do not establish them.
Tonic, root and notes within a melody
[General theory] In an established D-major context, D Em A D has chord roots D E A D, while D may remain the tonic. Root concerns chord identity; tonic concerns the center of a key or mode. Changing chords does not automatically change key. The wording connecting chords with a shared tonic in FOPP-68, physical page 183 (printed 182), is not our definition; its neural explanation is also unverified. This issue occurs in the English source, not only its translation.
[Our derivation] Hold a Dm background, D F A, and compare three original phrases. In D4 E4 F4, E connects two chord tones. In D4 E4 D4, E leaves and returns to the same chord tone. In A4 E5 D5, placing E in a stronger position illustrates a leap to E and a step back to D. The first two are passing and neighbor tones. The third meets the appoggiatura conditions in the teaching framework below. Changed rhythm or harmony requires fresh analysis.
[Supplementary source] Physical scan pages 56–58 use a broad accented-non-chord-tone account of appoggiatura. Open Music Theory's relevant definitions also distinguish approach/departure direction and leap/step motion. Terminological traditions differ: strong placement alone does not assign the same label in every system, and a non-chord tone is not automatically a wrong note. OCR on scan page 58 misreads E as B; the image's text and notation show F resolving to E, which is the evidence retained here.