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This page preserves the author’s frozen review bytes, so prose or data may still contain candidate, pending-review or unpublished labels.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.
小调语境，大调结尾：只改最后的三音
先把问题缩成一个音
一段小调音乐最后出现大三和弦，是否要把前面的所有小三度也改掉？本课用原创G小调四小节比较两个结尾：只把最后和弦的Bb改成B，前三小节保持原样。先在纸上核对，再选择是否上琴。
前置知识是三和弦、升降号与音名八度；不熟悉时先读文末链接。G3中的3表示八度，不是指法。Bb是降B，B表示B本音；#表示升号。本课不需要MIDI、麦克风、录音或唱歌。
先遮住表格答案，写下：G–Bb–D与G–B–D的根音、五音和三音分别是什么？哪一个音变了、变了几半音？如果只知道拼写而还想象不出声音，就记录“拼写已判断／内听未知”。
本课公开两种答案，属于引导比较。读过答案后的正确回答不能当作未见材料测试，也不证明已经听出两种结尾。
先给定小调语境，再读最后的和弦
本例明确给定G小调语境、降B与降E的调号、4/4拍号。自然小调参考音列为G A Bb C D Eb F；这是拼写参照，不要求每个和弦只用这些音。调号本身不能证明一段真实音乐的调性；这里的语境是题目条件。
根音是和弦的命名基准，低音是实际最低音。本例所有三和弦采用根音在最低处的配置。第三小节D–F#–A是D大三和弦：F#是相对于G的升高第7级，同时也是D和弦的三音。这不把G小调主和弦中的Bb改成B。
A在第四小节用G–Bb–D结束；B只把这一小节改成G–B–D。相对于G，Bb是小三度，B是大三度，D是纯五度；在本例十二平均律键盘上分别距G 3、4、7半音。B不是把末和弦改到另一个根音，而是把同一主和弦的三音升高半音。
小调乐段在结尾使用同主音的大三和弦，是本课“皮卡第三度（Picardy third）”的限定用法。这里A是小调主和弦结尾，B示范这种大调主和弦结尾。它是结尾处的处理，不能仅凭最后这个和弦把前文重判成G大调，也不能据此判断某个实际作品是否转调。
谱面若沿用这个调号，B版最后的B3需要还原号取消该处的降B；A版仍为Bb3。B版的B本音不倒过来改变第一小节的Bb3。第三小节的F#也不等于第四小节的B本音；读音时先核对字母、升降与八度，再判断作用。
| 音组 | 标签 | 音高（低到高） | 根音 | 性质 | 根至三音半音数 | 根至五音半音数 |
|---|---|---|---|---|---|---|
| P1 | Gm | G3 / Bb3 / D4 | G | 小三和弦 | 3 | 7 |
| P2 | Cm | C4 / Eb4 / G4 | C | 小三和弦 | 3 | 7 |
| P3 | D | D4 / F#4 / A4 | D | 大三和弦 | 4 | 7 |
| EA | Gm | G3 / Bb3 / D4 | G | 小三和弦 | 3 | 7 |
| EB | G | G3 / B3 / D4 | G | 大三和弦 | 4 | 7 |
同一条时间线的两个结尾
q表示一个四分音符的时间单位，不是自动一秒。本例4/4每小节4q，所有音组从该小节第1拍开始，持续4q；每组的三个音同时开始、同时达到谱写终点。无踏板、反复、延音线或额外休止。A与B是可替换的两个版本，不是前后连成八小节。
区间[a,b)包含起点、不含终点。前三个音组占[0,4)、[4,8)、[8,12)，第四个占[12,16)。表格终点是谱写时值的边界，不是已经测得的放键、音响消失或演奏结果；琴弦余音可能持续，不能把它当作下一次起音。
每版有4个音组起点、12个音符事件、16q经过时间。不能把同时发声的三个音各4q相加，误算每小节12q。若选四分音符=60 BPM，整版16秒；改为四分音符=48 BPM则20秒，均不含预备拍。两个版本的时长相同。
这是一份文字音符表，不是原课谱面或任何目标曲的重建。没有给定固定指法、配手、力度或情绪；不能从表格正确推断身体动作、声音色彩或学习效果已经验证。
| 版本 | 小节 | 音组 | 同时音高 | 起点q | 时值q | 终点q |
|---|---|---|---|---|---|---|
| A | 1 | P1 | G3 / Bb3 / D4 | 0 | 4 | 4 |
| A | 2 | P2 | C4 / Eb4 / G4 | 4 | 4 | 8 |
| A | 3 | P3 | D4 / F#4 / A4 | 8 | 4 | 12 |
| A | 4 | EA | G3 / Bb3 / D4 | 12 | 4 | 16 |
| B | 1 | P1 | G3 / Bb3 / D4 | 0 | 4 | 4 |
| B | 2 | P2 | C4 / Eb4 / G4 | 4 | 4 | 8 |
| B | 3 | P3 | D4 / F#4 / A4 | 8 | 4 | 12 |
| B | 4 | EB | G3 / B3 / D4 | 12 | 4 | 16 |
把变化映到准确的琴键
标准88键从最左A0=1开始，黑白键都计数，中央C4=40；技术音号只用于核算，不需要MIDI设备。可先找到中央C，再向左找B3与它左边相邻的黑键Bb3；G3在更左边。不要为练习每次从钢琴最左端逐键数。
最后音组中G3与D4保持不变；Bb3从第38键移到B3第39键。第四小节只有这一个音高改变，前三小节的所有音与时间均相同。下面只列本课实际用到的音，并非一张连续键盘图。
| 音高 | 技术音号 | 88键序号 |
|---|---|---|
| G3 | 55 | 35 |
| Bb3 | 58 | 38 |
| B3 | 59 | 39 |
| C4 | 60 | 40 |
| D4 | 62 | 42 |
| Eb4 | 63 | 43 |
| F#4 | 66 | 46 |
| G4 | 67 | 47 |
| A4 | 69 | 49 |
用反例检查自己的判断
不能把“大三和弦”一律当作皮卡第三度。下表的判断都依赖明确给定的语境和位置；没有语境时应记录“不足以判断”，而不是硬套一个名称。
听感可以作为自己的观察，例如“有变化／没有明显变化／不确定”，不预填“更快乐”“更有希望”或所有人都会惊讶。猜测、谱面事实、自己实际听到的感受是三种记录；其中一项正确不替另两项作答。
| 例 | 给定条件 | 判断 |
|---|---|---|
| C1 | 已给定G小调，结尾G–B–D | 符合本课限定用法 |
| C2 | 已给定G小调，结尾G–Bb–D | 小调主和弦结尾；未升高三音 |
| C3 | 已给定G小调，停在D–F#–A | 根音为D，非同主音的大三和弦结尾 |
| C4 | G小调中段出现G–B–D，未给结尾 | 出现位置不是所给结尾，不能据此命名 |
| C5 | 已给定G大调，结尾G–B–D | 不是小调语境中的变化 |
| C6 | 只有孤立G–B–D，语境与位置未知 | 不足以判断 |
纸面核对，再接回整句
纸面任务：先写A/B结尾的三音、键号与半音距离，再核对答案。随后只看共同前三小节，分别写出A与B的第四小节，确认第三小节F#4仍保留、第一小节Bb3仍保留、第四小节根音与五音不变。无法判断的栏目留未知。
可选上琴：先单独找到Bb3与B3，不规定速度，记录是否找到相邻两键；这只是局部定位，不算已经弹过四小节。能舒适地同时按下所列三音时，再自行分配双手，用四分音符=60 BPM或更慢的明确速度各试A、B一次。若和弦不舒适，就保持纸面任务；不要求勉强伸展，也不把滚奏冒充表中同时起音。
整句任务每小节数1、2、3、4；每组按谱意图保持到下一小节边界，再换到下一组，最后在16q处结束按键。实际放键和余音是否符合意图需自己观察；本库没有测量。先查D和弦到G结尾的接缝，再从第一小节重做完整四小节，不能只弹最后两键就填整句通过。
记录日期、版本、拍单位与速度、是否看答案、实际尝试范围、拼写／定位／时间结果和听感；未实际演奏时听感与放键结果均留未知。出错先标明是把F#与B混淆、错了八度、漏了原来的Bb，还是接缝停顿，再选择下一次只修哪一项。
稍后遮住答案重建这同一例，记录实际间隔；次日先测后练可作为同例保留记录。迁移另需难度相近、事先未见未听未练的材料，本课公开的反例不能再充当陌生迁移题。没有真实结果时不填“已掌握”。
来源支持到哪里
本课来源为NC-074。已核对原文件SHA-256并读取全部85段既有ASR文字；没有新增转录。68秒静帧可见末和弦标签Cm；103秒静帧可见末标签C与末和弦前的还原号；两帧可见三降号调号。110秒标题帧显示“皮卡第三度 / Picardy Third”。这只确认指定画面的可见标签与符号，不是完整谱例逐音验收。
另检查的85秒帧有明显转场模糊，不用于任何精确符号主张。因此共查看4帧，3帧用于支持主张；它们不等于连续观看。既有ASR第22、25、26号（0起算）提供小调内容以大和弦收尾的候选说明，仍未听校；不据ASR错字确定术语，术语采用已查看的标题帧。
未核原声、连续动作、ASR与画面的精确同步、历史作品完整谱面或历史词源；源课对情绪、脑反应和所有听者的推测不作为本课事实。视频账本290.112秒，容器元数据290.090秒，相差0.022秒原因未查明；两者都不是本次听看时长。
G小调四小节、A/B配置、时序、键表、反例与练习记录均为本库原创。资料只增加一个待独立审阅的有限文字／静帧来源候选；已核发布基线仍为89/399，本包当前发布增量为0。通过独立审阅并完成获准且核验的发布后，本包单独贡献才可将该基线变为90/399；不合并其他并行候选。
相关入口：音程与拼写、根音与配置、句尾预测、节奏、来源范围。本课的机器校验只核给定纸面关系，不替代来源听校、完整双语语义审阅或实测学习结果。
Minor context, major ending: change only the final third
Reduce the question to one note
If music in a minor key ends with a major triad, should you change every earlier minor third too? This lesson compares two endings to an original four-bar G-minor phrase: change only the final chord’s Bb to B and preserve the first three bars. Check on paper before optionally trying the piano.
Prerequisites are triads, accidentals and pitch names with octaves; use the links below if unfamiliar. The 3 in G3 is an octave, not a finger number. Bb means B-flat, B means B-natural, and # means sharp. No MIDI, microphone, recording or singing is required.
Cover the answer tables first. Write the root, fifth and third of G–Bb–D and G–B–D. Which note changes, and by how many semitones? If you can identify the spelling but cannot imagine the sound, record “spelling identified / audiation unknown.”
Both answers are public, so this is a guided comparison. A correct response after seeing the answers is not an unseen-material test and does not establish that you heard the difference between the endings.
Specify the minor context, then read the final chord
This example explicitly specifies a G-minor context, a key signature of B-flat and E-flat, and 4/4. The natural-minor reference collection is G A Bb C D Eb F; it is a spelling reference, not a requirement that every chord use only these notes. A key signature alone cannot establish a real passage’s key; the context here is a condition of the exercise.
The root names the chord; the bass is the actual lowest note. All triads here place the root lowest. Bar 3’s D–F#–A is a D-major triad: F# is the raised seventh degree relative to G and also the third of the D chord. It does not change Bb to B in the G-minor tonic chord.
A ends in bar 4 with G–Bb–D; B changes only that bar to G–B–D. Relative to G, Bb is a minor third, B a major third, and D a perfect fifth: 3, 4 and 7 semitones on the equal-tempered keyboard used here. B does not move the final chord to another root; it raises the same tonic chord’s third by one semitone.
Ending a minor-key passage with a major triad on the same tonic is the bounded use of “Picardy third” in this lesson. A ends on the minor tonic; B illustrates this major-tonic ending. This treatment occurs at the ending: the last chord alone does not reclassify the earlier music as G major or decide whether an actual work modulates.
If notation retains this key signature, the final B3 in version B needs a natural sign to cancel B-flat there; version A retains Bb3. Version B’s B-natural does not retroactively change bar 1’s Bb3. Bar 3’s F# is also distinct from bar 4’s B-natural: first check letter, accidental and octave, then interpret the role.
| Chord | Symbol | Pitches (low to high) | Root | Quality | Semitones to third | Semitones to fifth |
|---|---|---|---|---|---|---|
| P1 | Gm | G3 / Bb3 / D4 | G | minor triad | 3 | 7 |
| P2 | Cm | C4 / Eb4 / G4 | C | minor triad | 3 | 7 |
| P3 | D | D4 / F#4 / A4 | D | major triad | 4 | 7 |
| EA | Gm | G3 / Bb3 / D4 | G | minor triad | 3 | 7 |
| EB | G | G3 / B3 / D4 | G | major triad | 4 | 7 |
Two endings on the same timeline
q is a quarter-note time unit, not automatically one second. In this 4/4 example each bar lasts 4q; every chord starts on beat 1 of its bar and lasts 4q. Its three notes begin together and share a notated endpoint. There is no pedal, repeat, tie or added rest. A and B are alternative versions, not eight consecutive bars.
An interval [a,b) includes the start and excludes the endpoint. The first three chords occupy [0,4), [4,8), [8,12), and the last occupies [12,16). Table endpoints are notated duration boundaries, not measured key releases, sound cessation or performance results. String resonance may continue and is not another attack.
Each version has four chord onset times, twelve note events and 16q elapsed time. Do not add the three concurrent 4q notes and incorrectly call a bar 12q long. At quarter note = 60 BPM one version lasts 16 seconds; at quarter note = 48 BPM it lasts 20 seconds, excluding a count-in. Both versions have the same duration.
This is a text note table, not a reconstruction of the source score or any target piece. It supplies no fixed fingering, hand allocation, dynamics or emotion. Correct tables do not establish verified physical action, sound quality or learning outcomes.
| Version | Bar | Chord | Simultaneous pitches | Onset q | Duration q | End q |
|---|---|---|---|---|---|---|
| A | 1 | P1 | G3 / Bb3 / D4 | 0 | 4 | 4 |
| A | 2 | P2 | C4 / Eb4 / G4 | 4 | 4 | 8 |
| A | 3 | P3 | D4 / F#4 / A4 | 8 | 4 | 12 |
| A | 4 | EA | G3 / Bb3 / D4 | 12 | 4 | 16 |
| B | 1 | P1 | G3 / Bb3 / D4 | 0 | 4 | 4 |
| B | 2 | P2 | C4 / Eb4 / G4 | 4 | 4 | 8 |
| B | 3 | P3 | D4 / F#4 / A4 | 8 | 4 | 12 |
| B | 4 | EB | G3 / B3 / D4 | 12 | 4 | 16 |
Map the change to exact piano keys
A standard 88-key piano counts from A0 = 1 on the left, including black and white keys; middle C4 = 40. Technical note numbers are only arithmetic references and require no MIDI device. Find middle C, then B3 immediately to its left and the adjacent black Bb3 key to B3’s left; G3 is farther left. You need not count from the piano’s far left for each attempt.
G3 and D4 stay unchanged in the final chord; Bb3 moves from key 38 to B3 at key 39. Only this pitch changes in bar 4; all pitches and times in bars 1–3 remain identical. The table lists only pitches used in this lesson and is not a continuous keyboard diagram.
| Pitch | Technical note number | 88-key index |
|---|---|---|
| G3 | 55 | 35 |
| Bb3 | 58 | 38 |
| B3 | 59 | 39 |
| C4 | 60 | 40 |
| D4 | 62 | 42 |
| Eb4 | 63 | 43 |
| F#4 | 66 | 46 |
| G4 | 67 | 47 |
| A4 | 69 | 49 |
Check the interpretation with counterexamples
A major triad is not automatically a Picardy third. Every judgment below depends on the specified context and location. Without that context, record “insufficient information” instead of forcing a label.
Listening impressions can be personal observations such as “a change / no clear change / uncertain.” Do not prefill “happier,” “more hopeful” or universal surprise. Predictions, notated facts and your actual listening impressions are three different records; correctness in one does not answer the others.
| Case | Given conditions | Judgment |
|---|---|---|
| C1 | Specified G minor, G–B–D at the ending | Fits this lesson’s bounded use |
| C2 | Specified G minor, G–Bb–D at the ending | Minor-tonic ending; the third was not raised |
| C3 | Specified G minor, stopping on D–F#–A | Root D is not the major triad on the tonic |
| C4 | G–B–D in the middle of G-minor material; ending not supplied | The supplied position is not the ending, so it does not establish this label |
| C5 | Specified G major, G–B–D at the ending | Not a change in a minor context |
| C6 | Isolated G–B–D; context and position unknown | Insufficient information |
Check on paper, then restore the whole phrase
Paper task: write each ending’s third, key number and semitone distance before checking the answers. Then look only at the common first three bars and write bar 4 for A and B separately. Confirm that bar 3 retains F#4, bar 1 retains Bb3, and bar 4 retains its root and fifth. Leave uncertain fields unknown.
Optional piano task: first locate Bb3 and B3 individually, without a fixed tempo, and record whether you found the adjacent keys. This is local orientation, not a four-bar performance. If the three listed notes can be played together comfortably, choose a hand allocation and try A and B once each at quarter note = 60 BPM or a slower specified tempo. If the chords are uncomfortable, keep the task on paper; do not force a stretch or call a rolled chord the simultaneous onset in the table.
Count 1,2,3,4 in each bar of the whole-phrase task. Intend to hold each chord to the next bar boundary, change to the next chord there, and end key holding at 16q. Whether actual releases and resonance match the intention needs your observation; this library has measured neither. Check the D-chord-to-G-ending join first, then restore all four bars from bar 1. Playing only the last two keys does not pass the whole phrase.
Record date, version, beat unit and tempo, whether the answers were visible, actual attempted scope, spelling/key-location/timing results and listening impressions. Without a performance, leave listening and release results unknown. Identify whether an error confused F# with B, used the wrong octave, lost the original Bb, or paused at the join, then choose one item to repair next.
Later, hide the answers and reconstruct this same example, recording the actual interval. Testing before practice on the next day can provide same-example retention evidence. Transfer needs comparable material not previously seen, heard or practiced; the public counterexamples here cannot subsequently count as unseen transfer items. Without actual results, do not mark mastery.
What the source evidence supports
The source is NC-074. Its original file SHA-256 was verified and all 85 existing ASR segments were read; no new transcription was run. The 68-second still shows the final chord label Cm; the 103-second still shows C and a natural sign at the final chord; both show a three-flat key signature. The 110-second title frame displays “皮卡第三度 / Picardy Third.” This establishes only these visible labels and symbols, not a complete note-by-note source-score audit.
The additionally inspected 85-second frame has obvious transition blur and supports no precise-symbol claim. Thus four frames were viewed and three support claims; they are not continuous viewing. Existing ASR IDs 22, 25 and 26 (zero-based) offer candidate explanations of a major-chord ending in minor-key material, still without audio verification. Terminology is taken from the inspected title frame, not ASR spelling errors.
Source audio, continuous motion, precise ASR/frame alignment, complete historical scores and historical etymology were not verified. Source speculation about emotion, brain responses or all listeners is not adopted as fact. The inventory gives 290.112 seconds and container metadata 290.090 seconds; the 0.022-second difference is unexplained. Neither is actual listening/viewing time in this review.
The four-bar G-minor phrase, A/B voicings, timing, key table, counterexamples and practice record are original to this library. This adds one candidate for limited text/still review, pending independent review. Verified published coverage remains 89/399 and this packet’s current publication increment is zero. Only after independent acceptance and authorized, verified publication could this packet alone change that baseline to 90/399; other parallel candidates are not combined here.
Related reading: intervals and spelling, roots and voicing, ending predictions, rhythm, and source scope. The machine validator checks the stated paper relationships; it does not replace source listening, complete bilingual semantic review or measured learning outcomes.