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This page preserves the author’s frozen review bytes, so prose or data may still contain candidate, pending-review or unpublished labels.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.
旋律音只是线索：先筛候选，再看连接
作者送审冻结版本，当前审阅状态由发布导航说明。
先提出候选，再解释选择
同一个旋律音可能属于好几个和弦。先写出“它在不在这个和弦里”，再问“这段连接为什么考虑这个和弦”。前者可以算清；后者还需要整段音乐、节拍、配置和实际听觉。我们先做一个小型纸面项目，保留不知道的地方。
三种信息不要混成一种
来源归属：作者建议检查旋律音、后续和弦和更换频率。一般知识：成员测试只说明给定音组是否包含某音。本库设计：下面D大调短旋律、两个标签方案和任务验收，不来自源曲。作者描述的“更满意／更暗淡”等听感是其判断，本课没有试听验证，也不拿它作唯一答案。
音名与和弦标签
D大调是题目给定的调性参照，音阶为D–E–F♯–G–A–B–C♯–D。♯表示升高半音；表中的#是同一升号的文字写法。F♯在F右侧相邻琴键。m表示小三和弦，7在A7中表示属七和弦性质。这里只给音级集合，没有替你指定伴奏的实际音区、低音、手或指法。
| Chord / 和弦 | Pitch classes / 音级 |
|---|---|
| D | D–F#–A |
| A7 | A–C#–E–G |
| Em | E–G–B |
| G | G–B–D |
旋律中的数字
C4是中央C，D4是它右侧相邻白键。数字4表示音区，不是第4指。下面旋律实际用D4、E4、F♯4、G4、A4；音级表中的D或A没有指定这个音区。每个A4也属于A音级，但属于A音级不等于A是当前和弦的根音或最低音。
包含一个音，不等于包含整段
本页只允许四个候选：D、A7、Em、G。每个窗口先列其全部旋律音级，再找哪个候选包含全部。这个练习条件只是筛查工具；实际音乐可以有和弦外音，即某音不属于当时给定的和弦音组。它不自动是错音，也不能仅凭“不属于”就判断它是哪类装饰音。
先确定节拍和时间
原创旋律为两小节4/4，四分音符=60 BPM：每拍1秒，每小节4秒，共8秒。偏移从0数，偏移4是第二小节开始。表中end是记号上的结束；相邻行表示重新起音，不是延音线。此处没有伴奏发声事件或踏板设定。
先做成员题
先遮住答案。四个窗口分别为[0,2)、[2,4)、[4,6)、[6,8)，单位是四分音符拍。[0,2)表示从偏移0开始，到偏移2之前，不含2。每个窗口列出实际旋律音级，再从和弦表中找“包含该窗口全部旋律音”的候选；可能有两个、一个或没有。不要因为题目要配和弦就强选唯一答案。
表格时间均为四分音符拍；60 BPM时数值也等于秒。
| Event / 事件 | Pitch / 音高 | Start / 起点 | End / 终点 |
|---|---|---|---|
| N1 | A4 | 0 | 2 |
| N2 | G4 | 2 | 3 |
| N3 | F#4 | 3 | 4 |
| N4 | E4 | 4 | 5 |
| N5 | G4 | 5 | 6 |
| N6 | F#4 | 6 | 7 |
| N7 | D4 | 7 | 8 |
核对四个窗口
W1只有A：D和A7都包含它。W2有G与F♯：四个候选没有任何一个同时包含两音。W3有E与G：A7和Em都包含。W4有F♯与D：只有D包含两音。答案只对本页限定的候选表成立；加入其他和弦会改变结果。
两个方案只是待比较的提案
方案P：D从0到2，A7从2到6，D从6到8。方案Q：A7从0到6，D从6到8。两者只改变开头0–2的和弦标签，其余一样。开头A4同时属于D和A7，所以成员题无法决定选P还是Q。这里不宣称哪版更好听、更有句尾感或适合某种作品。
| Plan / 方案 | Chord / 和弦 | Start / 起点 | End / 终点 |
|---|---|---|---|
| P | D | 0 | 2 |
| P | A7 | 2 | 6 |
| P | D | 6 | 8 |
| Q | A7 | 0 | 6 |
| Q | D | 6 | 8 |
和声节奏不是旋律起音次数
和声节奏（harmonic rhythm）指和声更换的时间安排。P在开始以后于偏移2、6更换标签；Q只有6。两版旋律仍有7次起音。W3从偏移4开始，但P/Q的A7标签在这里继续，不要求换和弦，更不自动要求伴奏重弹。持续同一标签也不能证明所有伴奏音都一直按住。
保留一个明确的待查问题
P和Q在偏移3–4都把F♯4放在A7标签下；F♯不在A–C♯–E–G中。本页只把它标为该标签下的非成员，暂不验收和弦外音分类或实际配音。若把所有旋律音必须都是和弦音当成硬规则，就会把需要解释的地方误删掉。
把决定写成一个小任务包
先完成成员表，再准确抄出P/Q的更换位置，最后写一条待查问题：“开头换成A7后，连到后面怎样？”可交付证据是正确集合、7个旋律事件、两张完整标签时间线和一个有边界的假设。不能把“老师喜欢某种接法”写成自己已经听过的结论。
错误对应一个下一步
若把A4唯一配给A7，回查D–F♯–A也有A。若说W2无候选就表示旋律错了，改写为“这个有限集合没有全包含解”。若在偏移4标成自动换和弦，把窗口边界、旋律起音和和声更换分成三行检查。一次修一个明确问题。
什么时候才能比较听感
本页纸面任务到标签和待查问题即完成。要比较听感，仍需另行给出完整伴奏音区、配置、节奏、力度和可靠播放／示范，并保留同一旋律与拍速；否则可能把配音差异误当和弦选择的效果。这里没有提供这些条件，也没有要求初学者自己弹四音和弦来补齐。
延后重建，然后回到合法乐谱
隔开另一项活动后，遮住答案重建四个成员集合与P/Q标签，记录间隔和误差。用于自己的乐谱前，先确认任务是忠实演奏还是另写伴奏；前者应读清原配和弦与声部，不能擅自套这两个方案。先取一个短乐句，再把它前后的连接纳入；本题再次做对只是保留观察，不是已证明陌生乐谱迁移。
范围与原创建模
本页是原创纸面模型，未作源音听校、连续动作、完整源谱、实际演奏或学习效果验收。和弦标签不是完整的演奏指令，模型也不是自动配和弦算法。源曲旋律、整页乐谱、转录和截图没有复制进教材。
来源与下一步
Melody pitches are clues: screen candidates, then inspect connections
Author-time frozen submission; publication navigation states current review status.
Propose candidates, then explain a choice
One melody pitch can belong to several chords. First ask “is it in this chord?”, then “why consider this chord in this connection?” The first is calculable; the second also needs the passage, meter, voicing and actual hearing. We begin with a small paper project and retain the unknowns.
Keep three kinds of information distinct
Source attribution: the author considers melody pitches, following chords and change frequency. General knowledge: membership tests only whether a given collection includes a pitch. Our design: the D-major miniature, two label plans and completion criteria below are not source compositions. Author impressions such as satisfaction or darkness are personal judgments, not audition-verified or unique answers here.
Pitch names and chord labels
D major is the stipulated tonal reference: D–E–F♯–G–A–B–C♯–D. ♯ raises a pitch by a semitone; # in the tables is its plain-text form. F♯ is the piano key immediately right of F. m means a minor triad; 7 in A7 indicates dominant-seventh quality. Only pitch-class collections are specified, not an accompaniment register, actual bass, hand or fingering.
| Chord / 和弦 | Pitch classes / 音级 |
|---|---|
| D | D–F#–A |
| A7 | A–C#–E–G |
| Em | E–G–B |
| G | G–B–D |
Numbers in the melody
C4 is middle C and D4 its adjacent white key to the right. The numeral 4 denotes register, not finger 4. The melody uses D4, E4, F♯4, G4 and A4; D or A in a pitch-class table specifies no register. Every A4 belongs to pitch class A, but membership in A does not make A the current chord root or lowest tone.
One included pitch is not the whole passage
This page permits four candidates: D, A7, Em and G. For each window, list all melody pitch classes and find which candidate includes them all. This exercise condition is only a screening tool. Real music can contain non-chord tones—pitches outside the stipulated chord collection at that time. They are not automatically errors, nor does nonmembership alone identify an ornament category.
Set meter and time first
The original melody has two bars of 4/4 at quarter note=60 BPM: one second per beat, four seconds per bar, eight seconds total. Offsets start at 0; offset 4 begins bar 2. Each end is a symbolic note ending; adjacent rows are new attacks, not ties. No accompaniment sound events or pedal settings are specified.
Try the membership task first
Hide the answers. The four windows are [0,2), [2,4), [4,6) and [6,8), in quarter-note beats. [0,2) starts at offset 0 and ends just before offset 2, excluding 2 itself. List each window’s actual melody pitch classes and find candidates containing all of them. There may be two, one or none. A harmonization task does not force a unique answer.
Times in the tables are quarter-note beats; at 60 BPM their values also equal seconds.
| Event / 事件 | Pitch / 音高 | Start / 起点 | End / 终点 |
|---|---|---|---|
| N1 | A4 | 0 | 2 |
| N2 | G4 | 2 | 3 |
| N3 | F#4 | 3 | 4 |
| N4 | E4 | 4 | 5 |
| N5 | G4 | 5 | 6 |
| N6 | F#4 | 6 | 7 |
| N7 | D4 | 7 | 8 |
Check the four windows
W1 contains only A: both D and A7 include it. W2 contains G and F♯: none of the four candidates includes both. W3 contains E and G: A7 and Em both include them. W4 contains F♯ and D: only D includes both. These answers apply only to this restricted palette; adding other chords changes the results.
Two plans are proposals to compare
Plan P: D from 0 to 2, A7 from 2 to 6, D from 6 to 8. Plan Q: A7 from 0 to 6, D from 6 to 8. Only the opening 0–2 chord label changes; the rest matches. The opening A4 belongs to both D and A7, so membership cannot choose P or Q. Neither better sound, stronger closure nor suitability for a particular work is claimed.
| Plan / 方案 | Chord / 和弦 | Start / 起点 | End / 终点 |
|---|---|---|---|
| P | D | 0 | 2 |
| P | A7 | 2 | 6 |
| P | D | 6 | 8 |
| Q | A7 | 0 | 6 |
| Q | D | 6 | 8 |
Harmonic rhythm is not the melody attack count
Harmonic rhythm is the timing of harmony changes. After the start, P changes labels at offsets 2 and 6; Q changes only at 6. Both still have seven melody attacks. W3 starts at offset 4, but the A7 label continues in P/Q: this demands neither a harmony change nor an accompaniment reattack. A continuing label also does not prove that every accompaniment note stays held.
Keep one precise question open
Both P and Q place F♯4 at offsets 3–4 under A7; F♯ is absent from A–C♯–E–G. Here it is marked only as a nonmember under that label, without accepting a non-chord-tone classification or actual voicing. Treating every melody pitch as obligatorily a chord tone would erase precisely what needs explanation.
Turn the decision into a small work package
Complete the membership table, copy P/Q change positions accurately, then write one open question: “What happens to the following connection when the opening becomes A7?” Completion evidence comprises correct sets, seven melody events, two complete label timelines and one bounded hypothesis. A teacher’s preference for a connection is not evidence that you have heard it yourself.
Match an error to one next step
If you assign A4 uniquely to A7, check that D–F♯–A also contains A. If no W2 candidate is taken to mean a wrong melody, write “this limited palette has no all-inclusive solution.” If offset 4 becomes an automatic chord change, inspect window boundaries, melody attacks and harmony changes on separate rows. Fix one specific issue at a time.
When a sound comparison becomes possible
The paper task ends with labels and open questions. Comparing sound still requires a separately specified accompaniment register, voicing, rhythm, dynamics and reliable playback or demonstration, retaining the same melody and tempo. Otherwise voicing differences may be mistaken for the effect of chord choice. Those conditions are not provided here, and beginners are not asked to supply them by playing four-note chords.
Reconstruct later, then return to a lawful score
After another activity, hide the answers and reconstruct the four membership sets and P/Q labels; record the delay and errors. Before using your own score, distinguish faithful performance from writing a new accompaniment. Faithful performance requires reading the written harmony and parts, not substituting these plans. Start with one short phrase and then include its joins. Repeating this task correctly observes retention; it does not prove transfer to unfamiliar scores.
Scope and original modeling
This is an original paper model, without source-audio verification, continuous-motion review, complete source-score audit, performance or learning-outcome validation. Chord labels are not complete performance instructions, and the model is not an automatic harmonizer. Source melodies, full scores, transcripts and screenshots are not reproduced.
Sources and next steps
Bounded sources and concise attributions · Original data · Fixed-fixture checks · Chord and pitch pools · Endings and prediction