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This page preserves the author’s frozen review bytes, so prose or data may still contain candidate, pending-review or unpublished labels.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.
大六与大七：九音相同，和弦仍不同
先看第六音还是第七音
同样保留大三和弦的根音、三音和五音，加大七度与加大六度会产生不同组成。再加九音也不会抹掉这个区别。本页用四个F根音的原创纸面试验，把“有无九音”和“六音还是七音”分成两个问题；不把更多音等同更好。
先前《先分清和弦，再改变伴奏》已比较add2、sus2及九和弦。本页新增的是maj7、maj9与6、6/9的两轴比较，并逐声部记录一个音替换和一次休止改起音。配置表是本库原创，不是NC-016谱例的转录。
纸面路线不需要乐器。音名后数字表示科学音高音区，中央C为C4；F3是其下方的F。V1–V5只是固定声部编号，不是左右手或手指。F是本例规定的和弦根音，不因此规定全曲调性或功能。
完整拼写与两个独立问题
本页按常见和弦符号约定列完整理论拼写，随后另列实际音区。F大三和弦为F–A–C：A保留大三度。Fmaj7加E，F6加D；大七度是11半音，大六度是9半音。六音不是“降低了七音”后的同名成员：D与E是不同字母级数。
Fmaj9含F–A–C–E–G，F6/9含F–A–C–D–G。两者都有G，区别在E与D。6/9的斜线把六与九组合在一个符号里，此处不是指定“9”为低音；九不是九个音，也不是必须让九音最高。F6/9不隐含七音。
三个诊断对照只用于查漏：Fadd9保留F–A–C并加G，不含D或E；F9的完整拼写是F–A–C–Eb–G；Fmaj9则是E而非Eb。maj9与9的区别不能仅凭最高音G判断。本例不省略成员，也不把其他编配中的省音当作错误。
F3到G4实际相距14半音，是大九度；忽略八度后G相对F的音高类距离为2。表中的组成间距按根音算音高类，实际配置则保留14。把G移低一个八度会改变音区，不自动变成sus2；本页A始终存在。
| 符号 | 完整拼写 | 音高类间距 | 七音 | 含九音 |
|---|---|---|---|---|
| F | F–A–C | 0,4,7 | — | false |
| Fmaj7 | F–A–C–E | 0,4,7,11 | E | false |
| Fmaj9 | F–A–C–E–G | 0,4,7,11,2 | E | true |
| F6 | F–A–C–D | 0,4,7,9 | — | false |
| F6/9 | F–A–C–D–G | 0,4,7,9,2 | — | true |
| Fadd9 | F–A–C–G | 0,4,7,2 | — | true |
| F9 | F–A–C–Eb–G | 0,4,7,10,2 | Eb | true |
四个完整的两小节试验
每个试验独立从0开始，均为4/4、两小节共8q，q为四分音符单位。V1=F3、V2=A3、V3=C4固定不变；V4在E4与D4之间选择；V5在第一小节休止与G4之间选择。所有有音的声部都在0起音，保持到4，第二小节4–8全部休止。
每个声部都显式列出两个连续4q事件，即使V5全程休止也分成0–4和4–8两段。没有延音线、重复记号或踏板；0处同时起音，4处只是释放并开始休止，不是第二次起音。表中休止表示没有按本任务保持音，不是测得的绝对静音。
A与C各有4个音符事件、6个休止事件；B与D各有5个音符事件、5个休止事件。四版总计18个音符事件与22个休止事件。每版五声部的时值合计40q，但经过时间仍为8q；不能把同时声部相加成更长的试验。
0–4的局部窗口只保留有音的小节，时长4q；它省掉完整休止小节，不能作为已完成8q整版的记录。核对以后恢复0–8的完整两小节。在示意速度四分音符=60 BPM时整版8秒、窗口4秒；48 BPM时分别10秒、5秒。速度是换算示例，不是演奏要求。
| 试验 | 代号 | V1 | V2 | V3 | V4 | V5 | 音符／休止事件 |
|---|---|---|---|---|---|---|---|
| A | Fmaj7 | F3 | A3 | C4 | E4 | 休止 | 4/6 |
| B | Fmaj9 | F3 | A3 | C4 | E4 | G4 | 5/5 |
| C | F6 | F3 | A3 | C4 | D4 | 休止 | 4/6 |
| D | F6/9 | F3 | A3 | C4 | D4 | G4 | 5/5 |
预测修改，再核对答案
先遮住下方修改答案。复制A的五声部完整事件表，分别预测：只加九音而保留E应该改哪里？只把七音改成六音而不加九音应该改哪里？同时做这两项应得到什么？写出改动的声部、事件种类、音高及保持时段；不要只写和弦代号。
答案：A→B只把V5的0–4休止改成G4音符；A→C只把V4的E4改为D4，下降2半音；A→D同时作这两项。B→D只替换V4，G4及其他事件均保留。每项修改都保持起止边界及第二小节完整休止；B与D虽有相同最高音，组成并不相同。
逆向恢复也要具体：B→A让V5在0–4重新休止；C→A把V4恢复E4；D→A做两项逆操作。若误加E又保留D，得到的是另一个六音集合，不能仍声称本例F6/9的五个成员；若把A也删掉，则没有保持本题的大三和弦骨架。
根音归属也有边界。F–A–C–D同时能按D–F–A–C拼成Dm7；在给定F低音时可写Dm7/F。这里规定采用F6读法，但这个音集本身不能唯一证明根音或功能，更不能证明转调。实际曲段要另看低音、旋律、前后连接及任务许可。
| 起版 | 目标版 | 改变的坐标 | 修改种类 | 半音变化 |
|---|---|---|---|---|
| A | B | V5/bar1 | 休止改音符 | — |
| A | C | V4/bar1 | 替换音高 | -2 |
| A | D | V4/bar1,V5/bar1 | 两项修改 | — |
| B | D | V4/bar1 | 替换音高 | -2 |
可选单声部与延后复测
纸面完成后，可只选V4练习一个完整试验：A或B为E4从0保持到4、4–8休止；C或D为D4从0保持到4、4–8休止。其余声部都不弹，无踏板、不指定指法；不舒适就回到纸面。此路线只体现E4与D4的差别，不能听出完整和弦或V5九音的有无。
标准88键从A0=1依次计入黑白键，表中列出全部六个用音。D4=42、E4=44，都是中央C4右侧白键；音区数字不是指法。没有实际完成的弹奏或听辨只记未尝试，不能用纸面答案填成听辨成功。
休息后遮住答案，重新建A，再只凭一个目标符号重建B、C或D并还原完整8q；这是熟悉材料的延后保持复测。再选自己已认识且允许改编的短乐句，先抄原有完整音高与节奏，再标出哪个六音或七音被保留、替换或新增，最后恢复整句。若不适用，记录不适用；本页不提供未知材料迁移成功的证据。
| 音高 | MIDI | 88键号 |
|---|---|---|
| F3 | 53 | 33 |
| A3 | 57 | 37 |
| C4 | 60 | 40 |
| D4 | 62 | 42 |
| E4 | 64 | 44 |
| G4 | 67 | 47 |
来源边界
NC-016的53段既有ASR全文已读，选定36、105、274、298秒四张静帧已看。保留的归属是：作者讨论大七、大九、加六及加六九，并展示配置变化。解释仍是未经原声听校的ASR候选；图片只支持可见代号与布局，未逐音验收全部来源谱例。
ASR第8、9段的C／唱名串不能证明添加音是C；本页不把它默默改成可靠逐字引文。有关现代、老派或风格联想的主观说法不作为效果或适配保证。账本344.086秒与同哈希容器344.064秒相差0.022秒，原因未定；ASR最后时间340.5秒，不能据此声称图像精确对齐或完整听看时长。
本页未听校原声、核连续动作、完整来源谱例、身体适用性、实际演奏或学习效果，未运行新ASR。当前作者基线为93/399的有限范围来源；本候选未独立验收或发布，不增加覆盖计数。并发批次由发布者按唯一来源ID核对。
Major sixth and major seventh: the same ninth, different chords
Find the sixth or seventh first
Keeping the root, third and fifth of a major triad, adding a major seventh produces a different collection from adding a major sixth. A ninth does not erase that difference. Four original F-root paper trials separate two questions: is a ninth present, and is the other added member a sixth or seventh? More notes do not establish better music.
Chord identity before accompaniment already compares add2, sus2 and ninth chords. This page adds a two-axis comparison of maj7 and maj9 versus 6 and 6/9, tracking a pitch replacement separately from a rest becoming a note in a specified voice. The voicings are original, not transcriptions of NC-016.
The paper route needs no instrument. A number after a note name gives scientific pitch register, with middle C named C4; F3 is the F below it. V1–V5 are fixed voice identifiers, not hands or fingers. F is the stipulated chord root here; it does not establish the key or function of a whole piece.
Complete spellings and two separate questions
The table uses common chord-symbol conventions for complete theoretical spellings; actual registers are listed separately. The F-major triad is F–A–C, retaining A as its major third. Fmaj7 adds E and F6 adds D: a major seventh spans 11 semitones, a major sixth 9. D and E are different letter degrees, so the sixth is not merely the same named member with a lowered pitch.
Fmaj9 contains F–A–C–E–G; F6/9 contains F–A–C–D–G. Both include G, but one contains E and the other D. The slash in 6/9 combines sixth and ninth in this symbol; it does not specify a bass named “9”. Ninth does not mean nine notes or require the ninth to be the highest voice. F6/9 implies no seventh.
Three diagnostic contrasts check membership: Fadd9 retains F–A–C and adds G, without D or E; the complete spelling of F9 is F–A–C–Eb–G; Fmaj9 uses E instead of Eb. The top G alone cannot distinguish maj9 from 9. These trials omit no members, without treating deliberate omissions in other arrangements as errors.
The actual interval F3–G4 is 14 semitones, a major ninth; modulo an octave, G lies 2 semitones above F. The membership table uses pitch-class offsets from the root, while the voicing retains the actual 14. Moving G down an octave changes register and does not automatically make a sus2 chord; A remains present here.
| Symbol | Complete spelling | Pitch-class offsets | Seventh | Ninth present |
|---|---|---|---|---|
| F | F–A–C | 0,4,7 | — | false |
| Fmaj7 | F–A–C–E | 0,4,7,11 | E | false |
| Fmaj9 | F–A–C–E–G | 0,4,7,11,2 | E | true |
| F6 | F–A–C–D | 0,4,7,9 | — | false |
| F6/9 | F–A–C–D–G | 0,4,7,9,2 | — | true |
| Fadd9 | F–A–C–G | 0,4,7,2 | — | true |
| F9 | F–A–C–Eb–G | 0,4,7,10,2 | Eb | true |
Four complete two-bar trials
Each trial independently starts at 0 and has two 4/4 bars totaling 8q, where q is one quarter note. V1=F3, V2=A3 and V3=C4 stay fixed; V4 selects E4 or D4; V5 selects a first-bar rest or G4. Every sounding voice attacks at 0, holds until 4 and rests throughout the second bar, 4–8.
Each voice explicitly has two consecutive 4q events, even when V5 rests during both 0–4 and 4–8. There are no ties, repeats or pedal. The simultaneous notes attack at 0; at 4 they release into rests, without a second attack. Rest means no note held under this task, not measured absolute silence.
A and C each have four note events and six rest events; B and D each have five note events and five rest events. Across the four trials there are 18 note events and 22 rest events. Five voice timelines sum to 40q per trial, but elapsed time remains 8q; simultaneous voices do not lengthen the trial.
The local 0–4 window retains only the sounding bar and lasts 4q. It omits the full rest bar and cannot count as completion of the 8q trial. Restore the complete two bars, 0–8, after checking. At an illustrative quarter-note tempo of 60 BPM, the whole trial is 8 seconds and the window 4; at 48 BPM they are 10 and 5 seconds. These are conversion examples, not playing requirements.
| Trial | Symbol | V1 | V2 | V3 | V4 | V5 | Note/rest events |
|---|---|---|---|---|---|---|---|
| A | Fmaj7 | F3 | A3 | C4 | E4 | rest | 4/6 |
| B | Fmaj9 | F3 | A3 | C4 | E4 | G4 | 5/5 |
| C | F6 | F3 | A3 | C4 | D4 | rest | 4/6 |
| D | F6/9 | F3 | A3 | C4 | D4 | G4 | 5/5 |
Predict the edit, then check
Hide the edit answers below. Copy A’s complete five-voice event table and predict: what changes when a ninth is added while E stays? What changes when the seventh becomes a sixth without adding a ninth? What results when both edits are made? Record voice, event kind, pitch and duration, rather than only a chord symbol.
Answer: A→B changes only V5’s 0–4 rest into a G4 note. A→C changes only V4 from E4 to D4, down 2 semitones. A→D combines those two edits. B→D replaces only V4, retaining G4 and every other event. All edits preserve boundaries and the full second-bar rest. B and D share a top note but have different collections.
Reverse restoration must be specific: B→A returns V5 to rest during 0–4; C→A restores E4 in V4; D→A performs both reversals. Adding E while retaining D creates a different six-note collection, not the stipulated five members of F6/9. Removing A would fail to retain this task’s major-triad core.
Root interpretation has limits. F–A–C–D can also be ordered D–F–A–C to spell Dm7; with F in the bass, Dm7/F is possible. These trials stipulate the F6 reading, but the collection alone does not uniquely prove root or function, much less modulation. A real passage requires its bass, melody, surrounding harmony and permission to revoice.
| From | To | Changed coordinates | Edit kind | Semitone change |
|---|---|---|---|---|
| A | B | V5/bar1 | rest to note | — |
| A | C | V4/bar1 | pitch replacement | -2 |
| A | D | V4/bar1,V5/bar1 | both edits | — |
| B | D | V4/bar1 | pitch replacement | -2 |
Optional single voice and delayed retest
After the paper task, optionally play only V4 for one complete trial: A or B uses E4 during 0–4 then rests during 4–8; C or D uses D4 during 0–4 then rests during 4–8. Do not play the other voices; use no pedal or prescribed fingering, and return to paper if uncomfortable. This route illustrates only E4 versus D4, not the complete harmony or presence of V5’s ninth.
Count every black and white key from A0=1 on a standard 88-key keyboard; the table lists all six used pitches. D4=42 and E4=44 are white keys to the right of middle C4; register numbers are not fingerings. Mark unperformed playing or listening as unattempted, rather than converting paper answers into claimed listening success.
After a break, hide the answers, reconstruct A, then rebuild B, C or D from its target symbol and restore the full 8q. This is a delayed retention check on familiar material. For a familiar short phrase that permits revoicing, first copy its complete original pitches and rhythm, identify any sixth or seventh retained, replaced or added, then restore the whole phrase. Record not applicable where appropriate; this page supplies no evidence of successful transfer to unfamiliar material.
| Pitch | MIDI | 88-key number |
|---|---|---|
| F3 | 53 | 33 |
| A3 | 57 | 37 |
| C4 | 60 | 40 |
| D4 | 62 | 42 |
| E4 | 64 | 44 |
| G4 | 67 | 47 |
Source boundaries
All 53 existing NC-016 ASR segments were read and four stills at 36, 105, 274 and 298 seconds inspected. Retained attribution is that the author discusses major seventh, major ninth, added-sixth and sixth/ninth chords and displays voicing changes. Explanations remain unaudited ASR candidates; images support visible labels and layout, without a note-by-note audit of complete source scores.
The C/solfege strings in ASR segments 8 and 9 do not prove an added pitch C and are not silently repaired into a reliable quotation. Subjective modern, old-fashioned or stylistic associations are not effect or compatibility guarantees. Inventory duration 344.086 seconds differs from the same-hash container’s 344.064 by 0.022 seconds, for an undetermined reason. The final ASR time is 340.5 seconds; these figures establish neither exact image alignment nor complete viewing/listening duration.
Original audio, continuous motion, full source scores, physical suitability, actual performance and learning effects remain unverified; no new ASR was run. The author baseline is 93/399 limited-scope sources. This candidate is neither independently accepted nor published and adds no coverage credit; the publisher reconciles concurrent batches by unique source ID.
Structured event timelines Source scope Validator Chord identity firstHarmony and voicing