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This page preserves the author’s frozen review bytes, so prose or data may still contain candidate, pending-review or unpublished labels.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.
音程的两个计数：先保留字母，再核半音
同一对琴键，为什么会有两个名字？
先把F4到G#4与F4到Ab4写在纸上。两组都相隔3个半音，却分别是增二度与小三度。目标是能分别回答“写了几个字母位置”和“相隔几个半音”，再组合成完整名称。先遮住下方答案，写出自己的两个计数，或写“不确定”。
需要认识A到G、#升号、b降号、八度编号和四分音符／休止。C4是中央C；F4中的4是八度编号，不是指法。可先看入门入口与音程基础。本课可完全用纸笔做，钢琴路线可选。
本课的计算采用十二平均律半音网格，主要处理不超过八度、上行或同音的书写音程。“等音”指在此模型中音高相同而拼写不同；它不表示两种写法的调性作用必然相同。下行、复音程、重升降与重增减另行学习。
先数字母，再数半音
度数是包含两端的字母位置计数。F4到Ab4先忽略降号，只数F–G–A：3个位置，所以是三度。F4到G#4只数F–G：2个位置，所以是二度。升降号不把A变成G；“三度”也不是“走了3次半音”。
半音数数的是步数，不把起点当作第1步。F4到G4经过F#4，再到G4：2步；F4到G#4再加1步，共3。相邻白键不总差2个半音：E到F、B到C只有1个半音。在本模型中，琴键编号相减可以核对半音数。
上端的字母与八度要一起保留。F4到Cb5按F–G–A–B–C数，是五度；Cb5在此模型中等于B4，所以实际相隔6个半音。不能先把Cb5改写为B4，再把改写后的四度当成原来的度数。
性质要和度数一起决定
参照表从同一主音向上数大调音阶：一、四、五、八度为完全音程；二、三、六、七度为大音程。半音参照值如下。“完全”“大”是名称，不评价好听与否。代号P、M、m、A、d依次表示完全、大、小、增、减。这里只把大调当作量尺，不据此判定练习的调性。
固定度数后再比较：本课的完全类若比参照多1个半音叫增，少1个叫减；大类若少1个叫小，少2个叫减，多1个叫增。完全四度不能叫“大四度”。这张入门尺不尝试命名负向的同度或更复杂的变化。
“大调里任何两个音都只有大或完全音程”是错误的推广。C大调中的F4到B4有4个字母位置、6个半音，是增四度。参照条件是“从主音向上”，不是“随便挑两个音”。
| 度数 | 半音参照 | 性质代号 |
|---|---|---|
| 1 | 0 | P |
| 2 | 2 | M |
| 3 | 4 | M |
| 4 | 5 | P |
| 5 | 7 | P |
| 6 | 9 | M |
| 7 | 11 | M |
| 8 | 12 | P |
原创F参照表：等高不抹去拼写
下表是本库原创静态分析，不是来源谱例或要求同时弹奏的和弦。先看F4–G#4与F4–Ab4：都为3个半音，二度比大二度多1，所以叫增二度；三度比大三度少1，所以叫小三度。
F4–A#4与F4–Bb4也可用同一对琴键：前者是增三度，后者是完全四度。F4–B4与F4–Cb5同为6个半音，却是增四度与减五度。只知道半音数，不能唯一恢复拼写或完整名称。
升号也不自动表示“增”：F#4–A#4仍是三度且相隔4个半音，所以是大三度。判断的是两端共同形成的距离，不是只看上音有没有升号。这个反例只供纸面检查，不加入后面的乐句。
| ID | 下音→上音 | 度数 | 半音 | 名称 |
|---|---|---|---|---|
| I01 | F4 → F4 | 1 | 0 | 完全一度 |
| I02 | F4 → G4 | 2 | 2 | 大二度 |
| I03 | F4 → G#4 | 2 | 3 | 增二度 |
| I04 | F4 → Ab4 | 3 | 3 | 小三度 |
| I05 | F4 → A4 | 3 | 4 | 大三度 |
| I06 | F4 → A#4 | 3 | 5 | 增三度 |
| I07 | F4 → Bb4 | 4 | 5 | 完全四度 |
| I08 | F4 → B4 | 4 | 6 | 增四度 |
| I09 | F4 → Cb5 | 5 | 6 | 减五度 |
| I10 | F4 → C5 | 5 | 7 | 完全五度 |
把拼写放回完整四小节
原创单声部练习为4/4，每小节4个四分音符单位q。每小节依次写F4、变化音、C5，各1q，再休止1q。四个变化音依次为G#4、Ab4、A4、Bb4。全句16q、12个音符事件与4段休止；不使用踏板、延音线、伴奏或反复。
时间表的全局q从0开始；小节和拍从1开始。[a,b)表示从a到b之前。终点是规定时值，不是测得的声学消失时刻。可选钢琴路线意图是在下个音开始时放开前音，在休止开始时放开C5；即使放键，余音也可能继续。
只分析每小节第1音到第2音，四个答案依次是增二度3半音、小三度3半音、大三度4半音、完全四度5半音。第1、2小节的指定音高与节奏相同，但字母答案不同。这是给定拼写的比较，不据此宣称实际听出了二度或三度，也不推断和声功能。
| ID | 小节:拍 | q区间 | 音／休止 |
|---|---|---|---|
| N1-1 | 1:1 | [0,1) | F4 |
| N1-2 | 1:2 | [1,2) | G#4 |
| N1-3 | 1:3 | [2,3) | C5 |
| N1-4 | 1:4 | [3,4) | 休止 |
| N2-1 | 2:1 | [4,5) | F4 |
| N2-2 | 2:2 | [5,6) | Ab4 |
| N2-3 | 2:3 | [6,7) | C5 |
| N2-4 | 2:4 | [7,8) | 休止 |
| N3-1 | 3:1 | [8,9) | F4 |
| N3-2 | 3:2 | [9,10) | A4 |
| N3-3 | 3:3 | [10,11) | C5 |
| N3-4 | 3:4 | [11,12) | 休止 |
| N4-1 | 4:1 | [12,13) | F4 |
| N4-2 | 4:2 | [13,14) | Bb4 |
| N4-3 | 4:3 | [14,15) | C5 |
| N4-4 | 4:4 | [15,16) | 休止 |
纸面路线与可选钢琴核对
先遮住答案表与分析段，照时间表抄写四小节，保留所有升降号、八度和休止。另画两栏，给每小节首两音填写“字母路径／度数”和“半音步数／性质”。先作答再对照；记录自己原先的答案，别只留下改正后的版本。
若第1、2小节混淆，只取这两个首音对做纸面局部检查：先写F–G、F–G–A，再独立列出两组3半音的步距。一次改一个问题。局部答对后必须回到第1小节，重写或指读全部16q，包括C5与四处休止，确认回到整体时拼写仍保留。
可选钢琴：用下面找键表确认位置，然后一次弹一个音，不要求跨距和弦或指定指法。F4是中央C右方同一八度的F；G#4／Ab4是G与A之间黑键，Bb4是A与B之间黑键，C5是中央C上方八度。找键表中MIDI是音高编号；88键编号从A0=1计数，两者都不是指法。先看原音名再找键；触到同一黑键不算证明拼写答案相同。
可选均匀计时可从四分音符60 BPM开始：1q为1秒，全句16秒；若用48 BPM，1q为1.25秒，全句20秒。这只是两种算术明确的时钟选择，不是学习者必须达到的速度。纸面可不计时；若弹奏中无法保留休止或原音名，就回到纸面，并另记实际选择。
| 音名 | MIDI编号 | 88键编号（A0=1） |
|---|---|---|
| F4 | 65 | 45 |
| G#4 | 68 | 48 |
| Ab4 | 68 | 48 |
| A4 | 69 | 49 |
| Bb4 | 70 | 50 |
| C5 | 72 | 52 |
留下能决定下一步的记录
每次记录路线、是否遮住答案、每小节原答、字母／半音／性质错在哪一栏、完整16q是否保留，以及下一次要核对的一项。钢琴可另记找错的键与漏掉的休止；本页没有收集到真实演奏数据，空白记录不能填成“已通过”。
延后复测仍使用熟悉的同一四小节：例如隔天或下次练习，记录真实间隔，遮住答案并重做全部四组分析，再恢复完整16q。比较首次原答、纠正后的即时结果与延后结果。若当场会、隔后又错，重新处理那一栏，不把一次成功写成“已经掌握”。
纸面能检查命名与规定时序，实琴记录才涉及这次找键与起放；两者都不能单独证明听辨迁移或长期学习效果。相关：读谱、节奏、保留与迁移。
来源与本课原创部分
NC-008的199段既有ASR文字已全读，另检查145、158、181、302、370秒五张静帧。选帧只支持可见音符布局、度数标签及性质分组；口述解释仍是未经原声听校的ASR候选。未核对连续动作、完整源谱或ASR与图像精确同步。
F参照表、F#反例、四小节时间表、纸面诊断与延后复测均为本库原创，不是来源演奏的重建。来源范围保留证据边界。四文件当前是待独立审阅的作者候选；本稿不改变已发布93/399的有限文字／选帧计数，不表示完整视听验收。
Two counts for intervals: keep letters, then check semitones
Why can the same pair of keys have two names?
Write F4–G#4 and F4–Ab4 on paper. Both span 3 semitones, but they are an augmented second and a minor third. The goal is to answer separately “how many written letter positions?” and “how many semitone steps?”, then combine them into a full name. Cover the answers below and write your two counts, or “uncertain”.
You need A–G, # for sharp, b for flat, octave numbers, quarter notes and rests. C4 is middle C; the 4 in F4 is an octave number, not a fingering. See the beginner entry and interval basics first if needed. This lesson works entirely on paper; piano is optional.
The calculations use a twelve-tone equal-tempered semitone grid, mainly for written intervals ascending no more than an octave or repeating one pitch. “Enharmonic” means equal pitch with different spelling in this model; it does not imply identical tonal roles. Descending and compound intervals, double accidentals and multiply altered qualities are left for separate study.
Count letters first, then semitones
Interval number counts letter positions inclusively. For F4–Ab4, temporarily ignore the flat and count F–G–A: 3 positions, so a third. F4–G#4 counts only F–G: 2 positions, so a second. An accidental does not turn A into G; “third” does not mean “three semitone steps”.
Semitone distance counts steps, with the starting pitch at step 0. F4 to G4 passes through F#4 and then G4: 2 steps; one more reaches G#4, for 3. Adjacent white keys are not always 2 semitones apart: E–F and B–C span only 1. Subtracting key numbers checks semitone distance in this model.
Keep the upper note’s letter and octave together. F4–Cb5 counts F–G–A–B–C, so it is a fifth; Cb5 equals B4 in this model, giving 6 semitones. Do not first respell Cb5 as B4 and then report the resulting fourth as the original interval number.
Determine quality together with number
The reference table measures upward from one major-scale tonic: unison, fourth, fifth and octave are perfect; second, third, sixth and seventh are major. Their semitone references follow. “Perfect” and “major” are names, not judgments of beauty. The codes P, M, m, A and d mean perfect, major, minor, augmented and diminished. The major scale is a measuring reference here, not proof of the exercise’s key.
Once the number is fixed, compare distances: in this lesson’s perfect family, 1 semitone above the reference is augmented and 1 below is diminished. In the major family, 1 below is minor, 2 below diminished and 1 above augmented. A perfect fourth is not a “major fourth”. This introductory ruler does not attempt to name negatively directed unisons or more complex alterations.
“Any two notes in a major scale form only major or perfect intervals” is an incorrect generalization. F4–B4 within C major spans 4 letter positions and 6 semitones: an augmented fourth. The reference condition is “upward from the tonic”, not “any two notes”.
| Number | Reference semitones | Quality code |
|---|---|---|
| 1 | 0 | P |
| 2 | 2 | M |
| 3 | 4 | M |
| 4 | 5 | P |
| 5 | 7 | P |
| 6 | 9 | M |
| 7 | 11 | M |
| 8 | 12 | P |
Original F reference: equal pitch does not erase spelling
The table is an original static analysis, not a source-score transcription or a chord to play simultaneously. Start with F4–G#4 and F4–Ab4: both span 3 semitones. The second is 1 above a major second, hence augmented; the third is 1 below a major third, hence minor.
F4–A#4 and F4–Bb4 can also use the same pair of keys: an augmented third and a perfect fourth. F4–B4 and F4–Cb5 both span 6 semitones, yet are an augmented fourth and a diminished fifth. Semitone count alone cannot uniquely recover spelling or the complete name.
A sharp does not automatically mean “augmented”: F#4–A#4 is still a third spanning 4 semitones, hence a major third. Judge the distance made by both endpoints, not just whether the upper note is sharp. This counterexample is for paper checking only and is not added to the phrase below.
| ID | Lower → upper | Number | Semitones | Name |
|---|---|---|---|---|
| I01 | F4 → F4 | 1 | 0 | perfect unison |
| I02 | F4 → G4 | 2 | 2 | major second |
| I03 | F4 → G#4 | 2 | 3 | augmented second |
| I04 | F4 → Ab4 | 3 | 3 | minor third |
| I05 | F4 → A4 | 3 | 4 | major third |
| I06 | F4 → A#4 | 3 | 5 | augmented third |
| I07 | F4 → Bb4 | 4 | 5 | perfect fourth |
| I08 | F4 → B4 | 4 | 6 | augmented fourth |
| I09 | F4 → Cb5 | 5 | 6 | diminished fifth |
| I10 | F4 → C5 | 5 | 7 | perfect fifth |
Put spelling into a complete four-bar phrase
The original single-voice exercise is in 4/4, with four quarter-note clock units q per bar. Each bar writes F4, a changing note and C5 for 1q each, then a 1q rest. The changing notes are G#4, Ab4, A4 and Bb4. The phrase spans 16q with 12 note events and 4 rests; it has no pedal, ties, accompaniment or repeats.
Global q starts at 0; bars and beats start at 1. [a,b) runs from a up to but excluding b. Endpoints specify durations, not measured acoustic disappearance. The optional piano route intends release of the previous note when the next starts and release of C5 at each rest; resonance may continue after release.
Analyze only the first-to-second note of each bar: augmented second/3 semitones, minor third/3, major third/4 and perfect fourth/5. Bars 1 and 2 have identical stipulated pitches and rhythm but different letter answers. This compares given spellings; it does not claim that a listener actually distinguished a second from a third or establish harmonic function.
| ID | Bar:beat | q interval | Note/rest |
|---|---|---|---|
| N1-1 | 1:1 | [0,1) | F4 |
| N1-2 | 1:2 | [1,2) | G#4 |
| N1-3 | 1:3 | [2,3) | C5 |
| N1-4 | 1:4 | [3,4) | rest |
| N2-1 | 2:1 | [4,5) | F4 |
| N2-2 | 2:2 | [5,6) | Ab4 |
| N2-3 | 2:3 | [6,7) | C5 |
| N2-4 | 2:4 | [7,8) | rest |
| N3-1 | 3:1 | [8,9) | F4 |
| N3-2 | 3:2 | [9,10) | A4 |
| N3-3 | 3:3 | [10,11) | C5 |
| N3-4 | 3:4 | [11,12) | rest |
| N4-1 | 4:1 | [12,13) | F4 |
| N4-2 | 4:2 | [13,14) | Bb4 |
| N4-3 | 4:3 | [14,15) | C5 |
| N4-4 | 4:4 | [15,16) | rest |
Paper route and optional piano check
Cover the answer tables and analysis paragraph, then copy the four bars from the timeline, preserving accidentals, octaves and rests. Make two columns and label each bar’s first pair with “letter path/number” and “semitone steps/quality”. Answer before checking, and retain your original answer rather than only the correction.
If bars 1 and 2 are confused, isolate their first pairs on paper: write F–G and F–G–A, then independently show each 3-semitone distance. Correct one issue at a time. After the local check, return to bar 1 and rewrite or point through all 16q, including C5 and all four rests, checking that spelling survives the return to the whole.
Optional piano: locate notes with the table below and play one note at a time, without a chord span or assigned fingering. F4 is the F to the right of middle C in the same octave; G#4/Ab4 is the black key between G and A, Bb4 between A and B, and C5 the C one octave above middle C. In the table, MIDI numbers identify pitches and the 88-key index starts at A0=1; neither is fingering. Read the written name before locating the key; touching one black key does not prove identical spelling answers.
An optional steady clock may start at quarter note = 60 BPM: 1q is 1 second and the phrase 16 seconds. At 48 BPM, 1q is 1.25 seconds and the phrase 20 seconds. These are two arithmetically explicit clock choices, not required learner speeds. Paper work can be untimed; if playing loses rests or written names, return to paper and record the actual choice.
| Pitch | MIDI number | 88-key index (A0=1) |
|---|---|---|
| F4 | 65 | 45 |
| G#4 | 68 | 48 |
| Ab4 | 68 | 48 |
| A4 | 69 | 49 |
| Bb4 | 70 | 50 |
| C5 | 72 | 52 |
Keep a record that determines the next step
Record the route, whether answers were hidden, your original answer for each bar, which letter/semitone/quality column failed, whether all 16q were retained, and one next check. For piano, separately note misplaced keys and omitted rests. This page contains no actual performance data; its blank record must not be labeled “passed”.
Retest the same familiar four bars after a delay, for example the next day or next practice session. Record the actual interval, hide answers, redo all four analyses, then restore the complete 16q. Compare the original attempt, the immediate corrected result and the delayed result. If an answer works now but fails later, revisit that column rather than labeling one success “mastered”.
Paper can check naming and stipulated timing; an actual piano record can address key finding and intended attacks/releases on that attempt. Neither alone proves aural transfer or long-term learning effects. Related: notation, rhythm, and retention and transfer.
Source and original contribution
All 199 existing NC-008 ASR segments were read, alongside five stills at 145, 158, 181, 302 and 370 seconds. Stills support only visible note layouts, number labels and quality groupings; spoken explanations remain ASR candidates unaudited against the original audio. Continuous motion, the complete source score and exact ASR/image synchronization were not checked.
The F reference table, F# counterexample, four-bar timeline, paper diagnosis and delayed retest are original to this repository, not reconstructions of the source performance. The source scope preserves evidence limits. These four files are author candidates awaiting independent review; this draft does not change the published 93/399 limited text/still count and does not constitute full audiovisual acceptance.