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小调蓝调六音：填入降五级，保留空白时间
先明确六个音，再决定哪一格发声
一条旋律允许用六个音，是否每次都必须把六个弹齐？本课先给定G小调蓝调音列G–Bb–C–Db–D–F，再用两个可选的Db音符位置比较“填入”与“留空”。目标是保留音名、方向与空白时间，不能只数自己弹了多少音。
先会读字母音名、升降号、四分与八分音符；文末有音程、节奏与音池笔记。C4是中央C，音名末尾数字表示八度；Bb与Db分别是降B、降D，不是指法。本课字母表逐次写全变化音，不依赖临时记号的延续规则。
先遮住下表，预测两件事：把G自然小调的第二、第六级去掉后剩哪些音？在C与D之间加入Db以后，应保留D还是用Db替换D？把“预测”和稍后核对的答案分开记录；不确定可以留空。
这是指定的小调蓝调音列，不是所有蓝调音乐的定义
以G为参照，G自然小调是G–A–Bb–C–D–Eb–F。去掉第二级A、第六级Eb，得到常用G小调五声音列G–Bb–C–D–F；再加入Db，得到本课六音的小调蓝调音列（minor-blues collection）。这里是添加降五级，同时保留原来的五级D。
公式1–b3–4–b5–5–b7以同主音大调的级数为参照；G大调的第三、第五、第七级分别为B、D、F#；公式中的b3、b5、b7对应Bb、Db、F，而5仍对应D。这个公式不是六个成员的顺序编号：第四个列出的成员Db是降五级b5，而第四级4仍是C。Db与D同用字母D是有意的，不要套用七声音阶每级一个不同字母的检查法。
表中的完整上行路线没有时值。蓝调一行含7个写出的位置，是6个不同音高类加上高八度G；其相邻半音距离为3、2、1、1、3、2，总和12。重复高八度主音不增加一个新的音高类；旋律也无需按这条路线顺序行进。
“小调蓝调”在这里明确命名这组音，不宣称蓝调只有这一种音列，也不自动把伴奏判成小和弦。本课只做两小节的原创音符选择，没有给十二小节和声循环；音列、乐句长度与曲式是不同条件。
无时值的上行参照
| 集合 | 音名 | 相邻半音数 | 不同音高类数 |
|---|---|---|---|
| G自然小调 | G4 A4 Bb4 C5 D5 Eb5 F5 G5 | 2 1 2 2 1 2 2 | 7 |
| G小调五声音列 | G4 Bb4 C5 D5 F5 G5 | 3 2 2 3 2 | 5 |
| 本课G小调蓝调音列 | G4 Bb4 C5 Db5 D5 F5 G5 | 3 2 1 1 3 2 | 6 |
六个成员的顺序与级数
| 列表位置 | 音名 | 同主音大调参照级数 | 距G的半音 |
|---|---|---|---|
| 1 | G | 1 | 0 |
| 2 | Bb | b3 | 3 |
| 3 | C | 4 | 5 |
| 4 | Db | b5 | 6 |
| 5 | D | 5 | 7 |
| 6 | F | b7 | 10 |
降五级、同键异名与实际音高变化
G4到Db5相隔6半音，字母G–A–B–C–D构成五度，所以是减五度。若写G4到C#5，十二平均律钢琴上终点同键，字母却构成四度，名称是增四度。为核对本课的b5公式，选择Db拼写；这不意味着真实旋律在任何语境都禁止写C#。
在本课原创旋律的C5–Db5–D5中，两次上行各走1半音，但C到Db跨两个字母，Db到D仍是同一字母的变化。此处Db填在C与D之间，只说明本例的音高连接；没有指定和声时，不据此直接把它判成某个和弦的经过音、和弦音或必需的解决音。
下表和所有键号都使用十二平均律的离散音高模型。“蓝音”（blue note）的实际演唱或演奏语境可以涉及音高变化与表达；单独把Db写进音表，并没有描述偏离琴键的音准、滑动路线、力度或时机。这里不提供也未测量这些参数；一张音阶表不能证明源示范或学习者已经实现了某种蓝音表达。
书写音程的核对
| 从 | 到 | 字母度数 | 半音数 | 名称 |
|---|---|---|---|---|
| G4 | Db5 | 5 | 6 | 减五度 |
| G4 | C#5 | 4 | 6 | 增四度 |
| C5 | Db5 | 2 | 1 | 小二度 |
| Db5 | D5 | 1 | 1 | 增一度 |
属于音列，不等于属于当下和弦
用两个独立、无时值的假设和弦作纸面反例：G7写G–B–D–F，Cm7写C–Eb–G–Bb。对照本课六音表，Bb属于音列、也属于Cm7，却不在所写G7里；D属于音列与G7，却不在所写Cm7里。Db不在这两个明确给定的和弦中，但“非和弦成员”本身不等于“禁止使用”。
反向也成立：G7中的B不在这组六音里，Cm7中的Eb也不在其中。旋律只用这组六音，不能反推出伴奏的所有音。本课没有让你同时演奏下表和弦，后面的单音尝试也不算完成带和声的听感比较；这里只检查集合交集。
要判断某个实际音在某个实际和弦上的效果，还须核对当时的配置、旋律位置、时长和表达，并聆听具体结果。纸上“在表内”只回答材料限制；它不会自动回答“和声配合合适”“听起来像某体裁”或“即兴成功”。
两个独立和弦的成员比较（无时值）
| 音名 | 在本课音列 | 在G7 | 在Cm7 |
|---|---|---|---|
| G | 是 | 是 | 是 |
| Bb | 是 | 否 | 是 |
| C | 是 | 否 | 是 |
| Db | 是 | 否 | 否 |
| D | 是 | 是 | 否 |
| F | 是 | 是 | 否 |
两小节共用时间表：两格可以填入，也可以留空
以下是单声部4/4，两小节共8q；q为四分音符单位。0.5q表示等分的一枚八分音符，所有版本均按直八分计数，不在本题偷偷改成摇摆节奏。这个时间设定不是蓝调的通用节奏定义，也不来自源示范的听校。
S保留两个可选位置为空；U只在上行位置q=2填Db5；L只在下行位置q=5.5填Db5；B在两处都填Db5。U/L只是本课的位置标签。四版都使用同一个允许音列；S实际用了其中5个音高类，其余三版用了6个。允许集合不等于每次实际使用的集合。
每一行是一个完整时间区间[start,end)，包含起点、不含终点。音符只在区间开头起音一次；写休止的行不得延长前音来填补。两个固定休止[3,4)、[7,8)在所有版本都保留；没有踏板、延音线、弱起、反复、指定指法或伴奏。q=8是本遍结束，不自动开始下一遍。
从S变成B，只把[2,2.5)、[5.5,6)两段休止换成Db5，各0.5q。总时长仍8q，起音从8次变成10次，音符占时从5q变6q，休止从3q变2q。填格增加的是音符与占时，不是总经过时间；删掉Db时也不能把后面的音提前。
完整两小节：+表示该拍的后半拍
| 事件 | 小节:拍 | q区间 | 时值q | S | U | L | B |
|---|---|---|---|---|---|---|---|
| E01 | 1:1 | [0,1) | 1 | G4 | G4 | G4 | G4 |
| E02 | 1:2 | [1,1.5) | 0.5 | Bb4 | Bb4 | Bb4 | Bb4 |
| E03 | 1:2+ | [1.5,2) | 0.5 | C5 | C5 | C5 | C5 |
| E04 | 1:3 | [2,2.5) | 0.5 | 休止 | Db5 | 休止 | Db5 |
| E05 | 1:3+ | [2.5,3) | 0.5 | D5 | D5 | D5 | D5 |
| E06 | 1:4 | [3,4) | 1 | 休止 | 休止 | 休止 | 休止 |
| E07 | 2:1 | [4,5) | 1 | F5 | F5 | F5 | F5 |
| E08 | 2:2 | [5,5.5) | 0.5 | D5 | D5 | D5 | D5 |
| E09 | 2:2+ | [5.5,6) | 0.5 | 休止 | 休止 | Db5 | Db5 |
| E10 | 2:3 | [6,6.5) | 0.5 | C5 | C5 | C5 | C5 |
| E11 | 2:3+ | [6.5,7) | 0.5 | G4 | G4 | G4 | G4 |
| E12 | 2:4 | [7,8) | 1 | 休止 | 休止 | 休止 | 休止 |
每版独立计数，不把四版相接
| 版本 | Db填入位置 | 音符起音 | 休止事件 | 音符占q | 休止q | 总q | 实际音高类 |
|---|---|---|---|---|---|---|---|
| S | 无 | 8 | 4 | 5 | 3 | 8 | 5 |
| U | E04 | 9 | 3 | 5.5 | 2.5 | 8 | 6 |
| L | E09 | 9 | 3 | 5.5 | 2.5 | 8 | 6 |
| B | E04,E09 | 10 | 2 | 6 | 2 | 8 | 6 |
先纸面选择，再恢复完整两小节
先只看S栏，选U、L、B或继续S，并在计数前写下决定。遮住对应答案栏，复制S的12行，按选择把零个、一个或两个可选休止改成Db5，再逐行核对音名、起点、终点和固定休止。这是有明确选择的原创规划任务，不把照着已写好的答案读一遍称为已经完成自由即兴。
若上行插入容易错，可先核B版全局[1,4)：Bb4(0.5q)、C5(0.5q)、Db5(0.5q)、D5(0.5q)、休止(1q)，共3q。局部原点为原q=1，即第一小节第2拍；本地起点0、0.5、1、1.5、2，本地终点3。它保留原第2、3、4拍，不是新的一整小节。
局部正确后，从原q=0走完整B版到q=8，连回第二小节的F5以及D5–Db5–C5，再保留最后休止。若最初选的是U、L或S，先恢复相应的可选休止再走完整版本。记录的是自己选定版本的结果，不能把只完成上行局部记成两小节完成。
纸笔与口数已能完成本题。可选钢琴路线先找G4、Bb4、C5、Db5、D5、F5，再逐音按自己选定版本走两小节；无需同时跨握，不指定手指或双手合奏。每小节可数“1-and、2-and、3-and、4-and”保持相等半拍，先在计时前定位。音符终点是谱写边界；实际放键与余音消散需分别观察。
以四分音符60 BPM作匀速算例，完整版本8秒，每个0.5q槽0.5秒；48 BPM则分别10秒、0.625秒。局部3q在两种速度下分别3秒、3.75秒。预备拍另计；选择能清楚读音与留空的速度，不把这些数值当成达标速度或已测得的演奏。
本次记录：所选版本、路线、是否看答案、实际速度与拍单位、两个可选槽的实际结果、固定休止、完整两小节结果、另列听感与下次检查时间。若音名正确但后音提前，先重画时间线；若时点正确却写C#，先说明自己是在核b5拼写还是另作等音改写。未观察项目保持“未知”。
下一次练习开始时，先不重练，使用同一路线、同一提示和所记速度复测上次那个版本；遮住答案，重建或弹完整两小节，再核对并记录实际间隔。这是熟悉材料的延后保留记录。随后换另一种填格选择是有提示的变化任务，不冒称未见材料迁移测验；一次正确也不证明长期学习或即兴效果。
B版局部：本地时间从原q=1开始
| 原事件 | 音或休止 | 本地区间q | 时值q |
|---|---|---|---|
| E02 | Bb4 | [0,0.5) | 0.5 |
| E03 | C5 | [0.5,1) | 0.5 |
| E04 | Db5 | [1,1.5) | 0.5 |
| E05 | D5 | [1.5,2) | 0.5 |
| E06 | 休止 | [2,3) | 1 |
键号仅作定位核算；G5只用于音阶参照
| 音名 | MIDI号 | 88键号（A0=1） |
|---|---|---|
| G4 | 67 | 47 |
| Bb4 | 70 | 50 |
| C5 | 72 | 52 |
| Db5 | 73 | 53 |
| D5 | 74 | 54 |
| F5 | 77 | 57 |
| G5 | 79 | 59 |
来源范围
NC-034的66段既有ASR已全部阅读，并检查50、57、70、121、185秒五张静帧。50秒可见“C Minor Scale”；57秒同一标题画面出现两个红叉；70秒可见“C Blues Scale”与红叉、变化音标记；121秒有省略五音的和弦标签与伴奏说明；185秒有双谱表与音阶上下行、加入八分音符的文字说明。这里只核标签、文字与布局，不逐音验收源谱。
未经听校的转写描述去掉自然小调第二、第六级，再在第四、第五级之间加音，并描述从按序音阶到改变方向和时值的练习。关于加入音的唱名、摇摆八分音符及这些练习的口述只保留为ASR候选；“乱弹就有某体裁感觉”、整套和弦必定适配或通向自由即兴的效果，不作为本课已证实结论。
没有听校原声、观看连续动作、核准完整源谱或精确ASR/静帧对齐，也没有测量蓝音音准、实际演奏或学习效果。清单346.880秒与容器346.858秒相差0.022秒，原因未查明，均不是本次实际听看时长。G音列推导、两个可选槽、四版时间表、和弦成员反例与练习记录均为本库原创；公开文件不含原音视频、源图、全文转写或私人路径。
相关阅读：音程与拼写、节奏、音池与和弦检查、五音材料与乐句、句尾与预测、来源范围。
Six minor-blues pitches: add the lowered fifth, preserve silent time
Specify six pitches, then choose which slot sounds
If a melody permits six pitches, must every attempt use all six? This lesson specifies the G minor-blues collection G–Bb–C–Db–D–F, then compares filling or leaving silent two optional Db note slots. The task preserves spelling, direction and silent time rather than merely counting played notes.
Start with letter names, accidentals, quarter notes and eighth notes; interval, rhythm and pitch-pool notes are linked below. C4 is middle C and the final numeral denotes octave. Bb and Db mean B-flat and D-flat, not fingerings. Every occurrence is explicitly spelled, without relying on accidental carry rules.
Cover the next table and predict two things: which pitches remain after removing degrees 2 and 6 of G natural minor, and whether adding Db between C and D retains or replaces D. Keep the prediction separate from the later checked answer; uncertainty may be left blank.
This is a specified minor-blues collection, not a definition of all blues music
With G as reference, G natural minor is G–A–Bb–C–D–Eb–F. Removing degree 2, A, and degree 6, Eb, gives the common G minor-pentatonic collection G–Bb–C–D–F. Adding Db yields this lesson’s six-note minor-blues collection. The lowered fifth is added while the original fifth D remains.
The formula 1–b3–4–b5–5–b7 refers to degrees of the parallel major scale: G major’s degrees 3,5,7 are B,D,F#; the formula’s b3,b5,b7 correspond to Bb,Db,F, while 5 remains D. This formula is not the six members’ list numbering. The fourth listed member, Db, is lowered degree 5, while degree 4 is still C. Db and D deliberately share the letter D; do not apply a seven-note scale’s one-letter-per-degree check here.
The complete ascending paths in the table are untimed. The blues row has seven written positions: six distinct pitch classes plus the upper G. Its adjacent semitone distances are 3,2,1,1,3,2, totaling twelve. Repeating the tonic an octave higher adds no new pitch class, and a melody need not follow this ascending order.
“Minor blues” explicitly names this collection here; it neither claims that blues uses only this collection nor automatically classifies an accompaniment as minor. This task makes original note choices in two bars and supplies no twelve-bar harmonic cycle. A collection, phrase length and musical form are separate conditions.
Untimed ascending references
| Collection | Pitches | Adjacent semitones | Distinct pitch classes |
|---|---|---|---|
| G natural minor | G4 A4 Bb4 C5 D5 Eb5 F5 G5 | 2 1 2 2 1 2 2 | 7 |
| G minor pentatonic | G4 Bb4 C5 D5 F5 G5 | 3 2 2 3 2 | 5 |
| G minor-blues collection for this task | G4 Bb4 C5 Db5 D5 F5 G5 | 3 2 1 1 3 2 | 6 |
List position and degree of the six members
| List position | Pitch | Degree relative to parallel major | Semitones from G |
|---|---|---|---|
| 1 | G | 1 | 0 |
| 2 | Bb | b3 | 3 |
| 3 | C | 4 | 5 |
| 4 | Db | b5 | 6 |
| 5 | D | 5 | 7 |
| 6 | F | b7 | 10 |
The lowered fifth, enharmonic spelling and actual pitch variation
G4 to Db5 measures six semitones and spans the letters G–A–B–C–D, so it is a diminished fifth. Writing G4 to C#5 reaches the same key on an equal-tempered piano, but its letters span a fourth, so it is an augmented fourth. This task uses Db to check its b5 formula; it does not forbid C# in every actual melodic context.
In the original C5–Db5–D5 figure, each upward move is one semitone, but C to Db crosses two letters while Db to D changes the same letter. Here Db fills the space between C and D. That describes this example’s pitch connection; without specified harmony, it does not establish a passing-tone role, chord membership or a required resolution.
The table and all key numbers use discrete pitches in a twelve-tone equal-tempered model. Actual singing or playing described as blue notes can involve pitch variation and expression. Merely writing Db in a pitch list specifies no off-keyboard intonation, glide path, dynamics or timing. Those parameters are neither supplied nor measured here; a scale table cannot establish that the source demonstration or a learner realized a particular blue-note expression.
Written interval checks
| From | To | Letter number | Semitones | Name |
|---|---|---|---|---|
| G4 | Db5 | 5 | 6 | diminished fifth |
| G4 | C#5 | 4 | 6 | augmented fourth |
| C5 | Db5 | 2 | 1 | minor second |
| Db5 | D5 | 1 | 1 | augmented unison |
Collection membership differs from membership in the current chord
Use two independent, untimed hypothetical chords as paper counterexamples: G7 is G–B–D–F and Cm7 is C–Eb–G–Bb. Against our six-pitch list, Bb belongs to the collection and Cm7 but not to the written G7; D belongs to the collection and G7 but not to the written Cm7. Db is absent from both specified chords, yet nonmembership alone does not mean a note is forbidden.
The converse matters too: G7’s B and Cm7’s Eb are outside this six-note collection. Restricting a melody to the collection does not determine every accompaniment pitch. This lesson does not ask you to play these chords simultaneously, and the later single-note attempt is not a completed listening comparison with harmony. Here we check set intersections only.
Judging an actual note over an actual chord also requires the voicing, melodic placement, duration and expression, followed by listening to the specific result. “On the list” answers a material constraint on paper; it does not automatically answer “fits the harmony,” “sounds like a genre” or “successful improvisation.”
Membership in two independent chords (untimed)
| Pitch | In this collection | In G7 | In Cm7 |
|---|---|---|---|
| G | yes | yes | yes |
| Bb | yes | no | yes |
| C | yes | no | yes |
| Db | yes | no | no |
| D | yes | yes | no |
| F | yes | yes | no |
One two-bar timeline: fill either slot or leave it silent
The example is one voice in 4/4, two bars totaling 8q, with q a quarter-note unit. Each 0.5q is an evenly divided eighth note. Every version uses straight eighths here, without silently changing to swing. This timing choice is neither a general definition of blues rhythm nor an audited timing result from the source.
S leaves both optional slots silent; U fills only the upward position at q=2 with Db5; L fills only the downward position at q=5.5; B fills both. U/L are just position labels for this task. All four share the same permitted collection. S actually uses five of its pitch classes, while the other three use six. The permitted set and the set actually used are different.
Each row is a complete interval [start,end), including the start and excluding the end. A note attacks only at the interval’s beginning; a rest row is not filled by extending the preceding note. The two fixed rests [3,4) and [7,8) remain in every version. There is no pedal, tie, pickup, repeat, prescribed fingering or accompaniment. q=8 ends this attempt rather than automatically starting another.
Changing S into B replaces only the rests [2,2.5) and [5.5,6) with Db5, each 0.5q. Total length remains 8q; attacks rise from eight to ten, note occupancy from 5q to 6q, and rest time falls from 3q to 2q. Filling a slot adds notes and note occupancy, not elapsed time. Removing Db must not pull later notes earlier.
Both complete bars: + marks the second half of a beat
| Event | Bar:beat | q interval | Duration q | S | U | L | B |
|---|---|---|---|---|---|---|---|
| E01 | 1:1 | [0,1) | 1 | G4 | G4 | G4 | G4 |
| E02 | 1:2 | [1,1.5) | 0.5 | Bb4 | Bb4 | Bb4 | Bb4 |
| E03 | 1:2+ | [1.5,2) | 0.5 | C5 | C5 | C5 | C5 |
| E04 | 1:3 | [2,2.5) | 0.5 | rest | Db5 | rest | Db5 |
| E05 | 1:3+ | [2.5,3) | 0.5 | D5 | D5 | D5 | D5 |
| E06 | 1:4 | [3,4) | 1 | rest | rest | rest | rest |
| E07 | 2:1 | [4,5) | 1 | F5 | F5 | F5 | F5 |
| E08 | 2:2 | [5,5.5) | 0.5 | D5 | D5 | D5 | D5 |
| E09 | 2:2+ | [5.5,6) | 0.5 | rest | rest | Db5 | Db5 |
| E10 | 2:3 | [6,6.5) | 0.5 | C5 | C5 | C5 | C5 |
| E11 | 2:3+ | [6.5,7) | 0.5 | G4 | G4 | G4 | G4 |
| E12 | 2:4 | [7,8) | 1 | rest | rest | rest | rest |
Count each version separately; do not concatenate them
| Version | Filled Db slots | Note attacks | Rest events | Note q | Rest q | Total q | Used pitch classes |
|---|---|---|---|---|---|---|---|
| S | none | 8 | 4 | 5 | 3 | 8 | 5 |
| U | E04 | 9 | 3 | 5.5 | 2.5 | 8 | 6 |
| L | E09 | 9 | 3 | 5.5 | 2.5 | 8 | 6 |
| B | E04,E09 | 10 | 2 | 6 | 2 | 8 | 6 |
Choose on paper, then restore both complete bars
Start with S alone and choose U,L,B or S, writing the decision before counting. Cover the relevant answer column, copy S’s twelve rows, and replace zero, one or two optional rests with Db5 according to the choice. Then check spelling, onset, endpoint and fixed rests row by row. This is an original planning task with defined choices, not a claim that reading a supplied answer completes free improvisation.
If the upward insertion is confusing, first check B’s global [1,4): Bb4(0.5q), C5(0.5q), Db5(0.5q), D5(0.5q), rest(1q), totaling 3q. Its local origin is original q=1, bar 1 beat 2. Local starts are 0,0.5,1,1.5,2 and the local end is 3. It preserves original beats 2,3,4 rather than becoming a new complete bar.
After the fragment is correct, restore all of B from original q=0 to q=8, reconnecting bar 2’s F5 and D5–Db5–C5 and retaining the final rest. If the initial choice was U,L or S, first restore its optional rests and then complete that version. Record the chosen version’s result; completing the upward fragment alone is not completing both bars.
Paper and spoken counting complete the task. For optional piano, first locate G4,Bb4,C5,Db5,D5,F5, then play the selected version one note at a time through both bars. No simultaneous stretch, fingering or hands-together playing is specified. In each bar, count “1-and,2-and,3-and,4-and” with equal half-beats and locate pitches before timing starts. Note endpoints are notated boundaries; actual key release and acoustic decay need separate observation.
As constant-tempo calculations, quarter note=60 BPM gives 8 seconds for a complete version and 0.5 seconds per 0.5q slot; 48 BPM gives 10 and 0.625 seconds. The 3q fragment lasts 3 and 3.75 seconds respectively. Count-in is additional. Choose a tempo that allows clear reading and rests; these values are neither attainment targets nor measured performances.
Record the chosen version, route, answer visibility, actual tempo and beat unit, actual outcomes at both optional slots, fixed rests, complete two-bar result, a separate listening impression and next check time. If names are right but later notes arrive early, redraw the timeline. If timing is right but C# was written, distinguish checking b5 spelling from a separate enharmonic rewrite. Leave unobserved items unknown.
At the next session, before practicing again, retest the same version using the same route, cues and recorded tempo. Cover the answers, reconstruct or play both complete bars, then check and record the actual interval. This is a delayed familiar-material retention record. Choosing a different filling pattern afterward is a cued variation task, not an unseen-material transfer test. One correct result does not establish long-term learning or improvisational success.
B fragment: local time begins at original q=1
| Parent event | Pitch or rest | Local q interval | Duration q |
|---|---|---|---|
| E02 | Bb4 | [0,0.5) | 0.5 |
| E03 | C5 | [0.5,1) | 0.5 |
| E04 | Db5 | [1,1.5) | 0.5 |
| E05 | D5 | [1.5,2) | 0.5 |
| E06 | rest | [2,3) | 1 |
Key numbers are location checks; G5 is only a scale reference
| Pitch | MIDI number | 88-key number (A0=1) |
|---|---|---|
| G4 | 67 | 47 |
| Bb4 | 70 | 50 |
| C5 | 72 | 52 |
| Db5 | 73 | 53 |
| D5 | 74 | 54 |
| F5 | 77 | 57 |
| G5 | 79 | 59 |
Source scope
All 66 existing NC-034 ASR segments were read, and five stills at 50,57,70,121,185 seconds were inspected. At 50, “C Minor Scale” is visible; at 57, that title remains visible alongside two red crosses. At 70, “C Blues Scale,” red crosses and accidentals appear; 121 shows omit-fifth chord labels and an accompaniment caption; 185 shows a grand-staff layout and text about ascending/descending scales with added eighth notes. Review covers labels, text and layout, not a note-by-note source-score audit.
The unaudited transcript describes removing natural minor’s degrees 2 and 6, adding a pitch between degrees 4 and 5, and moving from ordered scales to changed direction and duration. Spoken solfege for the added pitch, swung eighths and practice descriptions remain ASR candidates. Claims that random playing immediately creates a genre feeling, necessarily fits a complete chord cycle or produces free improvisation are not established conclusions of this lesson.
No source-audio audition, continuous-motion viewing, complete source-score acceptance or precise ASR/still alignment was performed, and blue-note intonation, actual performance and learning effects were not measured. Inventory duration 346.880 seconds and container duration 346.858 seconds differ by an unexplained 0.022 seconds; neither is actual listening/viewing time. The G-based derivation, two optional slots, four timelines, chord-membership counterexamples and practice record are original to this repository. Public files contain no source media, source images, full transcript or private paths.
Related reading: intervals and spelling, rhythm, pitch pools and chord checks, five-note material and phrases, phrase endings and prediction, and source scope.