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.
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This page preserves the author’s frozen review bytes, so prose or data may still contain candidate, pending-review or unpublished labels.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.
小调的第六、第七级：先指定音列，再读方向
先决定第六、第七级，再读完整乐句
同一条D小调旋律，可以在某处写Bb和C，也可以写Bb和C#，或B和C#。先问这次练习指定哪一组音，再问旋律往哪里走；单凭上行或下行，不能替代谱面决定音名。本课比较三种明确给定的小调音列，并把一种常见的音阶练习约定单独列出。
需要会读字母音名、升降号、四分与二分音符；可先看文末的音程、节奏与同主音音阶笔记。C4是中央C，末尾数字表示八度，不是指法。Bb表示降B，B表示还原的B；本课字母音表把每次起音的变化音都写全，不需要推断临时记号的延续范围。
先遮住下表答案，在纸上写D自然小调的八个上行位置，含高八度D。预测：只把第七级升高半音，会改哪一个音？再把第六级也升高半音，是否连第三音F也要升高？允许先写“不确定”。
三种音列：同一个主音，不同的六、七级
这里“第几级”从指定主音D数起。自然小调（natural minor）的八度内位移是0、2、3、5、7、8、10半音；和声小调（harmonic minor）只将自然小调的第七级升高半音；本课所称“旋律小调升六七音列”将自然小调的第六、第七级各升高半音。最后一个D是主音的八度重复，不是第八个不同音高类。
音阶表是无时值的音高路线。每行有8个位置、7个相邻距离、7个不同音高类；7个距离相加都是12半音。这里按十二平均律键盘计半音，只数相邻琴键间的距离，不按白键数。
三个音列都保留F：D到F是小三度，3半音。因此把六、七级升高，并没有把D小调改成D大调音列；D大调还需要F#。升高半音也不等于一律加升号：Bb升高成为B，C升高才成为C#。
D主音的三条上行路线（无时值）
| 版本 | 音名 | 相邻半音数 | 从D4起的半音位移 |
|---|---|---|---|
| N 自然小调 | D4 E4 F4 G4 A4 Bb4 C5 D5 | 2 1 2 2 1 2 2 | 0 2 3 5 7 8 10 12 |
| H 和声小调 | D4 E4 F4 G4 A4 Bb4 C#5 D5 | 2 1 2 2 1 3 1 | 0 2 3 5 7 8 11 12 |
| M 旋律小调升六七音列 | D4 E4 F4 G4 A4 B4 C#5 D5 | 2 1 2 2 2 2 1 | 0 2 3 5 7 9 11 12 |
字母拼写与半音数一起检查
和声小调中的Bb4到C#5跨B、C两个相邻字母，实际距离3半音，所以是增二度（augmented second）。Bb4到Db5也有3半音，却跨B、C、D三个字母，是小三度；同样的键盘距离不保证同样的音程名字。把C#写成Db会丢掉这里的第七级C字母位置。
B4到C#5是大二度，2半音；C#5到D5是小二度，1半音。自然小调的C5到D5则有2半音。这些是可算出的音名与距离关系，不等于已经听见“更顺”或“更想解决”；描述听感需另记实际听到什么。
再看一个不带节奏的和弦拼写比较。Am7＝A3–C4–E4–G4；A7＝A3–C#4–E4–G4。后一组可用作D小调语境中的属七和弦，C#4在D4下方半音处。这里只说明可用的和声材料与距离；并不要求小调中每个五级和弦都必须改成A7，也不把这两个和弦当成本课单音旋律的已听伴奏。
音程算例（无时值）
| 从 | 到 | 字母度数 | 半音 | 名称 |
|---|---|---|---|---|
| Bb4 | C#5 | 2 | 3 | 增二度 |
| Bb4 | Db5 | 3 | 3 | 小三度 |
| B4 | C#5 | 2 | 2 | 大二度 |
| C#5 | D5 | 2 | 1 | 小二度 |
| C5 | D5 | 2 | 2 | 大二度 |
两个和弦的拼写（无时值）
| 和弦 | 音名 | 相对根音的半音位移 |
|---|---|---|
| Am7 | A3 C4 E4 G4 | 0 3 7 10 |
| A7 | A3 C#4 E4 G4 | 0 4 7 10 |
音列与上下行练习约定分开
一种常见的旋律小调音阶练习是：上行用升六七，下行恢复自然小调音列。若题目指定这个约定，D的下行写D5–C5–Bb4–A4–G4–F4–E4–D4。下面R版就明确采用这种安排。
另一个同样明确的任务可以要求升六七音列在两个方向都不变；M版因此下行仍用C#5和B4。N版则上行仍用Bb4和C5。这些例子展示“方向”与“所选音列”是两个需要说明的条件，不声称任何体裁只有一种写法。实际作品须按谱面及当时的旋律、和声语境判断；不能凭“古典”或“爵士”标签自动改音。
R版的上、下行材料合起来包含Bb、B、C、C#，所以它并不是全段只使用一个七音音列的例子。给音阶练习取名，也不等于已经证明作品的调性或作者意图。
四小节原创旋律：只改音，先不改时间
下表四个版本都为单声部4/4，共4小节、16q；q是四分音符单位。一行表示一次音符或休止事件，区间[start,end)包含起点、不含终点。2q音持续两个单位，只在开头起音一次。没有延音线、反复、弱起、踏板或给定指法；表中的休止必须占满q=11到12。
N用自然小调，H用和声小调，M固定用升六七音列，R采用前述上行升六七、下行还原的本次练习约定。四版只有q=4、5、8、9的音名可能不同；其余音、起点、时值与休止完全相同。每版12次音符起音、1个休止事件；不是把16个q都弹一下。
若四分音符每分钟60拍，一次完整版本的谱写时长是16秒；每分钟48拍则是20秒，计数预备与版本之间的停顿另计。这些只是匀速算例，不是推荐速度、计时实测或必须保持的声学余响。选择能读清的速度；可选钢琴路线也要把手指结束按键与房间里余音的消散分开观察。
每一版都使用的完整事件时间轴
| 事件 | 小节:拍 | q区间 | 时值q | N | H | M | R |
|---|---|---|---|---|---|---|---|
| E01 | 1:1 | [0,2) | 2 | D4 | D4 | D4 | D4 |
| E02 | 1:3 | [2,3) | 1 | F4 | F4 | F4 | F4 |
| E03 | 1:4 | [3,4) | 1 | A4 | A4 | A4 | A4 |
| E04 | 2:1 | [4,5) | 1 | Bb4 | Bb4 | B4 | B4 |
| E05 | 2:2 | [5,6) | 1 | C5 | C#5 | C#5 | C#5 |
| E06 | 2:3 | [6,8) | 2 | D5 | D5 | D5 | D5 |
| E07 | 3:1 | [8,9) | 1 | C5 | C#5 | C#5 | C5 |
| E08 | 3:2 | [9,10) | 1 | Bb4 | Bb4 | B4 | Bb4 |
| E09 | 3:3 | [10,11) | 1 | A4 | A4 | A4 | A4 |
| E10 | 3:4 | [11,12) | 1 | 休止 | 休止 | 休止 | 休止 |
| E11 | 4:1 | [12,13) | 1 | G4 | G4 | G4 | G4 |
| E12 | 4:2 | [13,14) | 1 | F4 | F4 | F4 | F4 |
| E13 | 4:3 | [14,16) | 2 | D4 | D4 | D4 | D4 |
纸笔为主的检查与整句恢复
第一轮先只做N与H。遮住H栏，复制N版完整13行，预测并圈出应改的两处C5起音，再揭开答案：q=5和q=8都改为C#5。不要同时改Bb4、休止或时值。记录预测是否正确以及改错发生在哪一行。
第二轮从H到M，只改q=4与q=9的Bb4为B4。若混淆，单独抄读q=3到8：A4(1q)、B4(1q)、C#5(1q)、D5(2q)，共5q，开始于原第一小节第4拍。局部从0计时时，起音在0、1、2、3，结束在5；不把它误装成一个4/4小节。
局部核对后，立即回到M的全部四小节，从q=0数到16，保留q=8的C#5、q=9的B4与q=11的休止。再比较M与R：R只把下行q=8、9改回C5、Bb4。用“音列按题意、字母拼写、起点、时值、休止”五项检查，不能只凭局部上行成功就记录整句通过。
全程可用纸笔和口数；若选钢琴，先在键盘找到D4、Bb4、B4、C5、C#5、D5，再单音逐版弹。88键钢琴从A0编号1时，它们分别是42、50、51、52、53、54号键。先记录实际音名和休止，再单列听感；没有听到差异可写“尚不能判断”，不把一次印象当成风格或效果定律。
完成一遍熟悉材料后，计划在下一次练习开始、重新练习本题之前复测同一个M版本：同一纸笔或钢琴路线、同一可见提示、若用节拍器则同一设定速度。先遮住答案，重建或弹完整四小节，再核对。记录实际间隔与五项结果；这才是同材料保留记录，仍不能由一次结果推断长期学习效果。
空白记录可填：路线、使用提示、预测、实际速度及拍单位、错误行、音列/拼写/起点/时值/休止、整句恢复结果、下一步、计划复测时间、实际间隔、复测结果、另列听感。未做的项目保持空白。若音名正确但漏休止，下一步只核时间轴；若时间正确但把C#写成Db，下一步核字母级数，再恢复整句。
M版局部的本地时间（原q=3到8）
| 音名 | 本地起点q | 时值q | 本地终点q |
|---|---|---|---|
| A4 | 0 | 1 | 1 |
| B4 | 1 | 1 | 2 |
| C#5 | 2 | 1 | 3 |
| D5 | 3 | 2 | 5 |
可选键盘定位
| 音名 | MIDI号 | 88键号（A0=1） |
|---|---|---|
| D4 | 62 | 42 |
| Bb4 | 70 | 50 |
| B4 | 71 | 51 |
| C5 | 72 | 52 |
| C#5 | 73 | 53 |
| D5 | 74 | 54 |
换一个主音，单独记作迁移任务
最后才尝试F#小调的纸笔拼写，先不看答案：自然小调为F#4–G#4–A4–B4–C#5–D5–E5–F#5。和声小调升第七级为E#5；升六七音列再将D5变为D#5。E#5在十二平均律钢琴上与F5同键，但这里必须保留第七级E字母；F5会和下一主音F#5重复字母、缺少E级。
核答案时，三行仍各走12半音，第三音仍为A4；不要把“升六七”扩展成升第三音A#4。这是改变主音的迁移任务，结果与前面的D小调延迟复测分开登记。本课没有给F#任务时值，也不把这些无时值音阶位置算成已完成演奏事件。
答案已经公开，所以这里是引导式迁移练习；看过答案后的正确拼写不能充当陌生材料测试。要检验未见材料，另需事先未读、未听、未练且难度相近的题目。
F#拼写题答案（无时值）
| 形式 | 音名 | 相邻半音数 |
|---|---|---|
| F#自然小调 | F#4 G#4 A4 B4 C#5 D5 E5 F#5 | 2 1 2 2 1 2 2 |
| F#和声小调 | F#4 G#4 A4 B4 C#5 D5 E#5 F#5 | 2 1 2 2 1 3 1 |
| F#旋律小调升六七音列 | F#4 G#4 A4 B4 C#5 D#5 E#5 F#5 | 2 1 2 2 2 2 1 |
来源范围与本课原创部分
NC-022既有ASR的101段均已阅读；检查112、140、187、221、245秒的5张静帧。静帧可见原小调与升七音对照、六七级框线、升六级文字、上下行箭头及三种音阶名称。这里只确认可见标签与布局；没有逐音验收整份源谱，也没有听校原声或观看连续动作。
转写把升第七级与和声材料相连，把升第六级与六七级之间距离相连，并给出旋律小调上下行的讲法；这些归属保留为未经听校的ASR候选。转写中的音名混淆、关于某些声音必被某个时代作曲家排除的强说法，以及方向或体裁的普遍化，不作为本课规则。选帧与ASR时间的精确对应也未验证。
D小调四版旋律、完整事件表、5q局部、F#迁移题及记录流程均为本库原创。音名、半音与时间计算可静态复核；它们不证明原示范的听感、身体动作或学习效果。公开文件不含原视频、源图、全文转写或私人路径。
前置与延伸：音程与拼写、节奏、同主音的七个距离、小调语境与大调结尾、保留与迁移、来源记录。
Degrees 6 and 7 in minor: specify the collection, then read direction
Choose degrees 6 and 7, then read the whole phrase
One D-minor melody can use Bb and C at a particular point, Bb and C#, or B and C#. First ask which collection the exercise specifies, then which way the melody moves; direction alone cannot decide the written notes. This lesson compares three explicitly defined minor collections and separately identifies a common scale-exercise convention.
You need letter names, accidentals, quarter notes and half notes; the interval, rhythm and same-tonic scale notes linked below provide prerequisites. C4 is middle C; the final numeral is an octave, not a fingering. Bb means B-flat and B means B-natural. These letter-name tables explicitly spell every attack, so no accidental carry rule has to be inferred.
Before uncovering the table, write the eight ascending positions of D natural minor, including the upper D. Predict which note changes when only degree 7 is raised a semitone. If degree 6 is then also raised, must the third, F, rise too? “Uncertain” is a valid initial prediction.
Three collections: one tonic, different sixths and sevenths
Here a degree number is counted from the stipulated tonic D. Natural minor has within-octave offsets 0,2,3,5,7,8,10 semitones. Harmonic minor raises only natural minor’s degree 7 by a semitone. The “melodic-minor raised-6-and-7 collection” in this lesson raises natural minor’s degrees 6 and 7 by a semitone each. The final D repeats the tonic an octave higher; it is not an eighth distinct pitch class.
The scale table gives untimed pitch paths. Each row has eight positions, seven adjacent distances and seven distinct pitch classes; its seven distances total twelve semitones. Semitones here follow an equal-tempered keyboard and count adjacent-key distances, not white keys.
All three collections retain F: D to F is a minor third, three semitones. Raising degrees 6 and 7 therefore does not turn this collection into D major, which also needs F#. Raising by a semitone does not always mean adding a sharp: Bb becomes B, while C becomes C#.
Three ascending paths on D (untimed)
| Version | Pitches | Adjacent semitones | Offsets from D4 |
|---|---|---|---|
| N Natural minor | D4 E4 F4 G4 A4 Bb4 C5 D5 | 2 1 2 2 1 2 2 | 0 2 3 5 7 8 10 12 |
| H Harmonic minor | D4 E4 F4 G4 A4 Bb4 C#5 D5 | 2 1 2 2 1 3 1 | 0 2 3 5 7 8 11 12 |
| M Melodic-minor raised-6-and-7 collection | D4 E4 F4 G4 A4 B4 C#5 D5 | 2 1 2 2 2 2 1 | 0 2 3 5 7 9 11 12 |
Check letter spelling as well as semitones
In harmonic minor, Bb4 to C#5 spans the two adjacent letters B and C and measures three semitones, so it is an augmented second. Bb4 to Db5 also measures three semitones but spans B,C,D, so it is a minor third. Equal keyboard distance does not guarantee the same interval name. Writing Db instead of C# loses the degree-7 C-letter position here.
B4 to C#5 is a major second, two semitones; C#5 to D5 is a minor second, one semitone. Natural minor’s C5 to D5 instead measures two semitones. These are calculable spelling and distance relations, not an observation that anything sounds “smoother” or “more resolved”; perceived effects require a separate listening record.
Consider an untimed chord-spelling comparison: Am7 = A3–C4–E4–G4; A7 = A3–C#4–E4–G4. The latter can serve as a dominant seventh in a D-minor context, with C#4 a semitone below D4. This identifies available harmonic material and distances; it neither requires every chord on degree 5 in minor to become A7 nor supplies an already-heard accompaniment to our single-note melody.
Interval calculations (untimed)
| From | To | Letter number | Semitones | Name |
|---|---|---|---|---|
| Bb4 | C#5 | 2 | 3 | augmented second |
| Bb4 | Db5 | 3 | 3 | minor third |
| B4 | C#5 | 2 | 2 | major second |
| C#5 | D5 | 2 | 1 | minor second |
| C5 | D5 | 2 | 2 | major second |
Two chord spellings (untimed)
| Chord | Pitches | Semitone offsets from root |
|---|---|---|
| Am7 | A3 C4 E4 G4 | 0 3 7 10 |
| A7 | A3 C#4 E4 G4 | 0 4 7 10 |
Separate a collection from an up-and-down exercise convention
A common melodic-minor scale exercise uses raised 6 and 7 ascending and the natural-minor collection descending. When that convention is specified, the D descent is D5–C5–Bb4–A4–G4–F4–E4–D4. Version R below explicitly adopts this arrangement.
Another explicitly defined task can retain the raised-6-and-7 collection in both directions; version M therefore keeps C#5 and B4 descending. Version N keeps Bb4 and C5 ascending. These examples show that direction and chosen collection are two conditions to specify, without claiming that any genre has only one practice. In actual music, read the score and the local melodic and harmonic context; a “classical” or “jazz” label cannot automatically change the notes.
Taken together, R’s ascending and descending material includes Bb,B,C,C#, so the entire passage does not use just one seven-note collection. Naming a scale exercise also does not establish a composition’s key or its composer’s intention.
An original four-bar melody: change pitches while keeping time
All four versions below are single-voice 4/4, four bars totaling 16q, where q is one quarter-note unit. Each row is one note or rest event, and [start,end) includes the start but excludes the end. A 2q note occupies two units with only one initial attack. There are no ties, repeats, pickup, pedal or specified fingering. The rest occupies q=11 to 12.
N uses natural minor; H uses harmonic minor; M retains the raised-6-and-7 collection; R follows the stated up-raised/down-natural convention for this exercise. Only the pitches at q=4,5,8,9 can differ. All other pitches, onsets, durations and the rest remain identical. Each version has twelve note attacks and one rest event; the sixteen q units do not all receive attacks.
At quarter note = 60 BPM, the notated duration of one complete version is 16 seconds; at 48 BPM it is 20 seconds, excluding count-in and pauses between versions. These are constant-tempo calculations, not recommended tempos, measured performances or a prescribed acoustic decay. Choose a speed at which you can read clearly; the optional piano route also distinguishes release of a key from the fading sound in the room.
Complete event timeline for every version
| Event | Bar:beat | q interval | Duration q | N | H | M | R |
|---|---|---|---|---|---|---|---|
| E01 | 1:1 | [0,2) | 2 | D4 | D4 | D4 | D4 |
| E02 | 1:3 | [2,3) | 1 | F4 | F4 | F4 | F4 |
| E03 | 1:4 | [3,4) | 1 | A4 | A4 | A4 | A4 |
| E04 | 2:1 | [4,5) | 1 | Bb4 | Bb4 | B4 | B4 |
| E05 | 2:2 | [5,6) | 1 | C5 | C#5 | C#5 | C#5 |
| E06 | 2:3 | [6,8) | 2 | D5 | D5 | D5 | D5 |
| E07 | 3:1 | [8,9) | 1 | C5 | C#5 | C#5 | C5 |
| E08 | 3:2 | [9,10) | 1 | Bb4 | Bb4 | B4 | Bb4 |
| E09 | 3:3 | [10,11) | 1 | A4 | A4 | A4 | A4 |
| E10 | 3:4 | [11,12) | 1 | rest | rest | rest | rest |
| E11 | 4:1 | [12,13) | 1 | G4 | G4 | G4 | G4 |
| E12 | 4:2 | [13,14) | 1 | F4 | F4 | F4 | F4 |
| E13 | 4:3 | [14,16) | 2 | D4 | D4 | D4 | D4 |
Paper-first checking and whole-phrase restoration
For the first pass use only N and H. Cover H, copy all thirteen rows of N, and predict and circle the two C5 attacks that should change. Then reveal the answer: q=5 and q=8 both become C#5. Keep Bb4, the rest and durations unchanged. Record whether your prediction was correct and identify any wrongly edited row.
For the second pass change H into M by replacing Bb4 with B4 only at q=4 and q=9. If confused, copy and read q=3 to 8 separately: A4(1q), B4(1q), C#5(1q), D5(2q), totaling 5q and beginning on the original bar 1 beat 4. If local time starts at zero, attacks occur at 0,1,2,3 and the fragment ends at 5; it is not a single 4/4 bar.
After checking the fragment, restore all four bars of M immediately and count from q=0 to 16, retaining C#5 at q=8, B4 at q=9 and the rest at q=11. Then compare M with R: R changes only the descending q=8,9 back to C5,Bb4. Check five items: specified collection, letter spelling, onset, duration and rest. A successful ascending fragment alone does not count as a correct whole phrase.
Paper and spoken counting are sufficient throughout. If you choose piano, first locate D4,Bb4,B4,C5,C#5,D5, then play each version as a single-note line. On an 88-key piano numbered from A0 = 1, these are keys 42,50,51,52,53,54. Record the actual note choices and rest before adding a separate listening impression. “Cannot yet tell” is acceptable; one impression does not establish a stylistic rule or an effect law.
After a pass through the familiar material, plan to retest the same M version at the start of the next session before practicing it again: use the same paper or piano route, the same visible cues and, if using a metronome, the same set tempo. Cover the answer, reconstruct or play all four bars, then check. Record the actual delay and the five results. This is a familiar-material retention record, though one result still cannot establish a long-term learning effect.
A blank record can contain route, cues, prediction, actual tempo and beat unit, error row, collection/spelling/onset/duration/rest, whole-phrase restoration result, next action, planned retest time, actual delay, retest result and a separate listening impression. Leave unperformed items blank. If pitches are right but the rest is missing, check the timeline next. If timing is right but C# was written Db, check letter degrees, then restore the whole phrase.
Local time for the M fragment (original q=3 to 8)
| Pitch | Local onset q | Duration q | Local end q |
|---|---|---|---|
| A4 | 0 | 1 | 1 |
| B4 | 1 | 1 | 2 |
| C#5 | 2 | 1 | 3 |
| D5 | 3 | 2 | 5 |
Optional keyboard locations
| Pitch | MIDI number | 88-key number (A0=1) |
|---|---|---|
| D4 | 62 | 42 |
| Bb4 | 70 | 50 |
| B4 | 71 | 51 |
| C5 | 72 | 52 |
| C#5 | 73 | 53 |
| D5 | 74 | 54 |
A new tonic is a separate transfer task
Only afterward try the paper spelling task in F# minor, initially without the answer: natural minor is F#4–G#4–A4–B4–C#5–D5–E5–F#5. Harmonic minor raises degree 7 to E#5; the raised-6-and-7 collection also changes D5 to D#5. E#5 shares a key with F5 on an equal-tempered piano, but degree 7 here retains the letter E. F5 would duplicate the next tonic’s F letter and omit the E degree.
When checking the answers, all three paths still span twelve semitones and retain A4 as the third. Do not extend “raise 6 and 7” into raising the third to A#4. This changes tonic and is a transfer task; record it separately from the delayed D-minor retest. No durations are assigned to the F# task, and its untimed scale positions are not completed performance events.
Because the answers are public, this is a guided transfer exercise. Correct spelling after reading the answer is not an unfamiliar-material test. Such a test would need separate, comparably difficult material not previously read, heard or practiced.
F# spelling answers (untimed)
| Form | Pitches | Adjacent semitones |
|---|---|---|
| F# natural minor | F#4 G#4 A4 B4 C#5 D5 E5 F#5 | 2 1 2 2 1 2 2 |
| F# harmonic minor | F#4 G#4 A4 B4 C#5 D5 E#5 F#5 | 2 1 2 2 1 3 1 |
| F# melodic-minor raised-6-and-7 collection | F#4 G#4 A4 B4 C#5 D#5 E#5 F#5 | 2 1 2 2 2 2 1 |
Source scope and original material
All 101 segments of the existing NC-022 ASR were read; five stills at 112,140,187,221,245 seconds were inspected. They show an original-minor/raised-seventh comparison, a box around degrees 6 and 7, text about raising degree 6, direction arrows and the three scale names. This confirms visible labels and layouts only, without a note-by-note audit of the complete source score, source-audio audition or continuous-motion viewing.
The transcript links raising degree 7 with harmonic material and raising degree 6 with the spacing between degrees 6 and 7, and describes an ascending/descending melodic-minor pattern. These attributions remain unaudited ASR candidates. Confused transcribed note names, strong claims that composers of an era excluded certain sounds, and universal direction or genre claims are not adopted as rules here. Precise ASR-to-still alignment was not verified either.
The four D-minor versions, complete event table, 5q fragment, F# transfer task and recording workflow are original to this repository. Spelling, semitone and timing calculations admit static checking; they do not establish the source demonstration’s perceived sound, bodily motion or learning effects. Public files contain no source video, source images, complete transcript or private paths.
Prerequisites and next reading: intervals and spelling, rhythm, seven steps from one tonic, minor context and a major ending, retention and transfer, and source record.