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.
先固定参照，再改变第四级：大调与 Lydian 的小比较
本包通过限定独立文字／静态来源、双语含义、初学者说明与符号审阅，未发现实质问题。T2是指定手册／静帧支持的作者归属，G是本例限定术语，O是本库原创纸面任务与练习规划。来源逐项布尔值保留作者冻结时快照，publication_review记录当前通过范围；不表示来源听校、连续动作、完整来源谱例、演奏或学习效果验收。
只听到“换一种调式”，初学者可能把整首曲子、所有音和手的位置一起换掉。本页只问一个可检查的问题：仍以 D 作参照，把第四级 G 改成 G#，哪些关系改变，哪些没有改变？先写清楚，再选择是否试弹，不用猜作者所谓“好听”的标准答案。
已读 IV-009／010／011 的全部既有 ASR：105＋100＋94＝299 段；检查18次选定静帧（17个不同图像哈希），以及讲义实际／印刷14–16页的文字、选定符号和布局。218段候选因重复、无关内容、词语不确定或超出可核范围而不用于归属，不等于218个确认错误。15页完整双谱表未逐音验收；16页第12课仅是相邻文字，不计为 IV-012 视频复核。
纸面路线不需要钢琴、唱歌、听力测验或录音。可选弹奏要求能找出下列键、数四分拍，并舒服地用右手（RH）逐音、左手（LH）保持单音；不满足时只做纸面，或选已写完整的右手版本 R。没有固定指法、强制跨距或踏板要求。
G：音组是这里允许考虑的音名集合；音级是以指定起点排列后的编号。主音是音乐中感到“回家”的中心，不能只靠集合名单证明；本页的“参照 D”是任务指定。升号 # 把同字母音升高一个半音；标准键盘把黑白键都算上，相邻键相隔半音。Lydian（利底亚）在同主音比较中可写成大调升第四级；这里不把它当成旋律的通用质量分数。
有边界的来源归属
B44-S01 · T2
作者用与大调／自然小调比较差异的方法记调式；本页只取“大调与 Lydian 相差第四级”的有限例子，不主张它是每个人最快的学习法。
PDF-IV 实际／印刷14页的说明与公式，15页选定 C Lydian 行；IV-009 静帧100、127、135秒。ASR 第47段把名称混淆，按135秒画面区分 Aeolian 与 Ionian；未听校，不归为作者口误。
B44-S02 · T2
第10课安排用 C 大调材料在作者标为 C 大和弦的伴奏上轮流编旋律。Cmaj7 是前面的说明例子；文字标签本身不验证实际伴奏每一个音或演奏效果。
PDF-IV 实际／印刷16页第10课完整文字；IV-010 静帧42秒 Cmaj7、54秒和弦标签，70／87秒练习提示。没有听原伴奏。
B44-S03 · T2
第11课以 Lydian 的升第四级作另一种材料选择。画面使用“避免冲突”的概括；本库把它保留为作者在该例中的建议，不升级为任何和声／风格都无张力的定律。
PDF-IV 实际／印刷16页第11课完整文字；IV-011 静帧30秒 E–F 半音、37秒 F–B 三全音，80／92秒升第四级与概括字幕，108秒练习提示。ASR 12–14段有“不完全禁止原第四级”的限定，但未听校，也不靠对应静帧冒称已经复核口述。
同一参照的两张材料表
G／O：下表是原创 D 音材料，未复制源练习。D 大调与 D Lydian 的七个位置只有第四级不同；“同主音比较”不是把原集合重新排个顺序。D Lydian 与 A 大调具有相同音名集合，也不自动使这段音乐以 A 为主音。调式身份、感到的主音和曲中转调需要分开判断。
| 音组 | 第1–7级音名 | 距 D 的半音数 |
|---|---|---|
| D-MAJOR | D–E–F#–G–A–B–C# | 0–2–4–5–7–9–11 |
| D-LYDIAN | D–E–F#–G#–A–B–C# | 0–2–4–6–7–9–11 |
G：纸面以同八度 D4 为起点，D4→G4 为5个半音（纯四度），D4→G#4 为6个半音（增四度，三全音的一种拼写）。F#4→G4 是1个半音，F#4→G#4 是2个。升第四级改变了关系，没有“消灭一切张力”；实际低音 D3 与旋律 G4／G#4 相隔17／18个半音，不能把低音与旋律的实际跨度误写成5／6。
G／O：D 大三和弦仍为 D–F#–A，这三个音在两张表里都没改。G 与 G# 都不属于这个三和弦；这既不等于禁止使用，也不表示任选一个都合适。节奏位置、停留长短、声部走向、同时响的其他音和风格都会影响用法。本页并未验证一段实际和声中的听感。
O：练已有乐谱时，先照所选版本核实调号、临时记号与音高；不能因为另一个调式“也能用”，就把原谱 G 私自升高。本页 M／L 选择只发生在下面原创示例。若要比较完整和弦的效果，必须保留真实和弦；一个 D 低音或右手单线都不能冒充完整大和弦的验证。
原创纸面任务：指出变化，不猜调性
先遮住核对答案。对照两张表圈出唯一不同的位置；写出不变的 D 大三和弦，并算出上面四个同八度音程。再看事件表：M 与 L 改了哪个事件？R 删除了哪条声部？哪些版本提供了完整大三和弦？最后写一句“名单相同不能证明主音”的解释。
G／O：中央 C 为 C4。D4 是其右侧相邻白键，D3 是低一个八度的 D；F#4 是 F4 与 G4 间的黑键，G#4 是 G4 与 A4 间的黑键。标准88键由 A0=1 起算：D3=30、D4=42、F#4=46、G4=47、G#4=48、A4=49。它们是键号，不是手指编号；右手音逐个弹，不要求一把抓住。
M 使用 D 大调，L 使用 D Lydian；R 完整保留 M 的右手音，只省略左手参照。三版均为4/4、四分音符=60 BPM，共8拍：演奏小节0–4，完整恢复小节4–8。右手每个音保持半拍；M／L 的左手 D3 从0保持到4。先算总秒数、每条声部保持与休止的长度，以及不同起音时点的数量；同时发生的左右手音不能把总时长相加。
| ID | 手／声部 | M 音高／键号 | L 音高／键号 | 起点 | 释放 | R 包含？ |
|---|---|---|---|---|---|---|
| D0 | 左手／参照 | D3 / 30 | D3 / 30 | 0 | 4 | 否 |
| E1 | 右手／旋律 | G4 / 47 | G#4 / 48 | 0 | 0.5 | 是 |
| E2 | 右手／旋律 | A4 / 49 | A4 / 49 | 1 | 1.5 | 是 |
| E3 | 右手／旋律 | F#4 / 46 | F#4 / 46 | 2 | 2.5 | 是 |
| E4 | 右手／旋律 | D4 / 42 | D4 / 42 | 3 | 3.5 | 是 |
核对答案
只有第四级 G→G#；D–F#–A 不变。四个纸面音程依次为5、6、1、2个半音。M→L 只改旋律事件 E1 的音高／键号，并明确把材料标签改为 D Lydian；参照 D 不变。R 去掉左手参照声部，但保留全部右手音和8拍时间。没有一版同时提供完整 D 大三和弦；共同音名集合或一个低音均不足以证明听到的主音。
O：若把 G# 仍写作 D 大调材料，先改正集合标签；若把 R 说成完整和弦比较，改记“缺少该语境”。听不出偏好或中心时写“未判断”，不是算错。只做纸面仍可完成本任务；实际聆听判断需要额外语境，不在本页合格标准内。
可选练习：保持参照，只替换一个音
完成纸面且能舒服执行时，先选 R 熟悉右手键位；准备好后再选 M 或 L。M／L 左手只保持一个 D3，右手逐音弹；不用踏板，不加和弦，维持相同的舒适音量意图。先在心里预测第一音的高低，再按事先声明的版本试弹；这是已给答案的比较，不能计为未知材料测试。若两手协调或找键困难，返回完整 R 或纸面。
下面每个方括号是一小节，八格各半拍。事件ID表示该格起音；~ 表示保持之前已起的音；. 表示该声部不保持音。melody 表示旋律／右手，reference 表示参照／左手；右手四次短音与左手单音是两个声部。R 的低音行全休止；每版第二小节两行都休止。
M reference: [D0 ~ ~ ~ ~ ~ ~ ~] [. . . . . . . .]
M melody: [E1 . E2 . E3 . E4 .] [. . . . . . . .]
L reference: [D0 ~ ~ ~ ~ ~ ~ ~] [. . . . . . . .]
L melody: [E1 . E2 . E3 . E4 .] [. . . . . . . .]
R reference: [. . . . . . . .] [. . . . . . . .]
R melody: [E1 . E2 . E3 . E4 .] [. . . . . . . .]各版总时长8秒，均有0、1、2、3四个起音时点。M／L 有5个音符起音事件，其中两个在0同时发生；R 有4个。右手保持共2拍、休止6拍；M／L 左手保持4拍、休止4拍，R 左手休止8拍。最后右手音在3.5释放，M／L 左手在4释放，4–8两声部全休止；声学余响未测量。
R 接回 M：加入参照事件 D0（D3，0–4），把 LH／参照声部的休止从0–8改成4–8；右手和总长不变。L 接回 M：只把 E1 从 G#4／48 改回 G4／47，并恢复 D 大调标签。不要同时改节奏或音量，再把差别都归因于调式。
休息后遮住表格，重写两个音组与 R→M 的完整恢复，这是保留重测。迁回真实乐句前，先核对原谱是否真的允许改音；若只是准确读谱，应恢复原谱。另一个未见调式／旋律的迁移题需要另备并隐藏答案，本包没有提供，也没有验证学习成效。
边界与相关阅读
来源账本合计999.425秒，同哈希 MP4 容器为999.423秒，差异原因未定，均不是听看时长。未听原音频、未连续观察动作、未逐音验收整份来源谱、未验证原伴奏和演奏／身体适用性／教学效果。本页只提供文字与符号任务，没有自动播放、麦克风、真实用户测试或应用行为验证。
本包来源范围
音程、集合和时间检查
Fix the reference, then change degree four: a small major/Lydian comparison
This package passed bounded independent written/static-source, bilingual-meaning, beginner-instruction and symbolic review with no material findings. T2 marks attribution supported by specified handbook/still evidence, G scoped terms, and O original paper tasks and practice planning. Per-source booleans retain their author-time snapshot; publication_review records the current passed scope, not source audition, continuous motion, complete source scores, performance or learning-efficacy acceptance.
“Change mode” can suggest changing the whole piece, every note and the hand position at once. This page asks one checkable question: with D still the reference, what changes and what stays when degree four moves from G to G#? Write the change first, then choose whether to play it; there is no need to guess a supposedly correct preference for its sound.
All existing ASR for IV-009/010/011 was read: 105 + 100 + 94 = 299 segments. Review included 18 selected still seeks (17 distinct image hashes) and prose, selected symbols/layout on handbook physical/printed pages 14–16. 218 candidate segments are excluded from attribution for repetition, unrelated content, uncertain wording or claims beyond the checked scope; these are not 218 confirmed errors. Page 15’s complete two-staff examples were not accepted note by note. Lesson 12 prose on page 16 is adjacent context, not review of video IV-012.
The paper route needs no piano, singing, hearing test or recording. Optional playing requires finding the listed keys, counting quarter-note beats and comfortably playing successive right-hand (RH) notes while holding one left-hand (LH) note. Otherwise use paper only or the fully specified RH-only version R. No fingering, forced span or pedal is prescribed.
G: a collection is the set of note names considered here; a scale degree numbers them from a specified starting point. A tonic is the musical center that feels like “home”; a set of pitches alone does not prove it. Our reference D is specified by the task. A sharp (#) raises a letter-name pitch by one semitone; adjacent standard keyboard keys, counting black and white, are a semitone apart. With the same tonic, Lydian can be described as major with raised degree four; this is not a universal melody-quality score.
Bounded source attribution
B44-S01 · T2
The author uses differences from major/natural minor to remember modes. We take only the bounded major/Lydian fourth-degree comparison, without claiming it is everyone’s fastest learning method.
PDF-IV physical/printed page 14 explanation/formulas and the selected C Lydian row on page 15; IV-009 stills at 100, 127 and 135 seconds. ASR segment 47 confuses a name; the 135-second frame distinguishes Aeolian from Ionian. Without audition, this is not classified as an author speech error.
B44-S02 · T2
Lesson 10 asks for turn-taking melodies from C-major material over accompaniment described by the author as C major. Cmaj7 appears in the preceding explanation; text labels alone do not verify every sounding accompaniment note or the performance result.
Complete lesson 10 prose on PDF-IV physical/printed page 16; IV-010 still 42 shows Cmaj7, 54 shows chord labels, and 70/87 show the task prompt. The original backing has not been auditioned.
B44-S03 · T2
Lesson 11 offers Lydian’s raised fourth as another material choice. Its slide uses broad conflict-avoidance wording; we retain this as advice in that example, not a law that removes tension in every harmony or style.
Complete lesson 11 prose on PDF-IV physical/printed page 16; IV-011 stills at 30 seconds show E–F as a semitone, 37 shows F–B as a tritone, 80/92 show raised degree four and the broad caption, and 108 shows the task. ASR segments 12–14 contain a qualification against banning the original fourth, but it is unauditioned and the corresponding stills are not claimed as verification of the spoken qualification.
Two material lists with the same reference
G/O: these original D-based lists do not reproduce the source exercise. D major and D Lydian differ only at the fourth of seven positions. A same-tonic comparison is not simply reordering the original set. D Lydian has the same note-name set as A major, but this does not automatically make A the tonic of the music. Modal identity, perceived tonic and a modulation within a piece require separate judgments.
| Collection | Degrees 1–7 | Semitones above D |
|---|---|---|
| D-MAJOR | D–E–F#–G–A–B–C# | 0–2–4–5–7–9–11 |
| D-LYDIAN | D–E–F#–G#–A–B–C# | 0–2–4–6–7–9–11 |
G: on paper within one octave, D4→G4 spans 5 semitones (a perfect fourth), and D4→G#4 spans 6 (an augmented fourth, one spelling of a tritone). F#4→G4 is 1 semitone; F#4→G#4 is 2. Raising degree four changes relationships, not all possible tension. The actual low reference D3 to melody G4/G#4 spans 17/18 semitones, so do not mislabel those performed-register distances as 5/6.
G/O: the D-major triad remains D–F#–A, unchanged in both lists. Neither G nor G# belongs to that triad. This neither prohibits them nor makes either automatically appropriate. Rhythmic position, duration, voice movement, other simultaneous pitches and style affect their use. This page has not verified their sound in an actual harmonic passage.
O: when practicing an existing score, first verify its key signature, accidentals and pitches in the chosen edition. Another available mode does not authorize sharpening its written G. The M/L choice applies only to the original examples below. A full-chord comparison must retain the actual chord; a single low D or an RH line cannot stand in for verification of a complete major-chord context.
Original paper task: name the change without guessing tonality
Hide the checks first. Circle the only different position in the two lists, write the unchanged D-major triad, and calculate the four within-octave intervals above. Then inspect the event table: which event differs between M and L? Which voice does R omit? Which versions supply a complete major triad? Finally explain in one sentence why equal lists do not prove the tonic.
G/O: middle C is C4. D4 is the adjacent white key to its right, and D3 is D one octave lower. F#4 is the black key between F4 and G4; G#4 is between G4 and A4. Counting the standard 88 keys from A0=1 gives D3=30, D4=42, F#4=46, G4=47, G#4=48 and A4=49. These are key numbers, not finger numbers; RH notes are successive, with no requirement to hold the entire span at once.
M uses D major and L uses D Lydian; R keeps all of M’s RH notes and omits only the LH reference. All three versions use 4/4 at quarter note=60 BPM and last 8 beats: an activity bar at 0–4 and a complete recovery bar at 4–8. Every RH note holds for half a beat; M/L hold LH D3 from 0 to 4. Predict seconds, each voice’s held/resting durations and the number of distinct attack times. Simultaneous LH/RH notes do not add to the elapsed duration.
| ID | Hand / voice | M pitch / key | L pitch / key | Onset | Release | R includes? |
|---|---|---|---|---|---|---|
| D0 | LH / reference | D3 / 30 | D3 / 30 | 0 | 4 | no |
| E1 | RH / melody | G4 / 47 | G#4 / 48 | 0 | 0.5 | yes |
| E2 | RH / melody | A4 / 49 | A4 / 49 | 1 | 1.5 | yes |
| E3 | RH / melody | F#4 / 46 | F#4 / 46 | 2 | 2.5 | yes |
| E4 | RH / melody | D4 / 42 | D4 / 42 | 3 | 3.5 | yes |
Check your answers
Only degree four changes, G→G#; D–F#–A stays. The four paper intervals are 5, 6, 1 and 2 semitones. M→L changes only melody event E1’s pitch/key and explicitly changes the collection label to D Lydian; reference D remains. R omits the LH reference voice while keeping all RH notes and all 8 beats. No version simultaneously supplies a complete D-major triad. A shared note-name set or one low note is insufficient to prove the heard tonic.
O: if G# is still labelled D-major material, correct the collection label. If R is called a full-chord comparison, record that the context is missing. If no preference or center is heard, write “not judged”; that is not an arithmetic mistake. The task can be completed on paper. Actual listening judgments need additional context and are outside this page’s completion criterion.
Optional practice: retain the reference, replace one note
After the paper task, if comfortable, start with R to locate RH keys; choose M or L when ready. M/L hold only one LH D3 while RH plays successive notes. Use no pedal, add no chord, and retain the same intended comfortable level. Predict the first pitch’s relative height, then try the version declared in advance. This is a disclosed comparison, not an unseen-material test. If hand coordination or key finding is difficult, return to complete R or paper.
Each bracket below is a bar of eight half-beat cells. An event ID means an attack in that cell, ~ sustains a previously attacked note, and . means that voice holds no note. The four short RH notes and single LH note are separate voices. R’s low-reference row rests throughout; both rows rest throughout the second bar in every version.
M reference: [D0 ~ ~ ~ ~ ~ ~ ~] [. . . . . . . .]
M melody: [E1 . E2 . E3 . E4 .] [. . . . . . . .]
L reference: [D0 ~ ~ ~ ~ ~ ~ ~] [. . . . . . . .]
L melody: [E1 . E2 . E3 . E4 .] [. . . . . . . .]
R reference: [. . . . . . . .] [. . . . . . . .]
R melody: [E1 . E2 . E3 . E4 .] [. . . . . . . .]Each version lasts 8 seconds with four attack times: 0, 1, 2 and 3. M/L have 5 note-attack events, including two simultaneous events at 0; R has 4. RH holds for 2 beats and rests for 6. M/L LH holds for 4 and rests for 4; R LH rests for 8. The last RH note releases at 3.5, M/L LH at 4, and both voices rest at 4–8. Acoustic decay is not measured.
R→M restores reference event D0 (D3, 0–4) and changes LH/reference rests from 0–8 to 4–8; RH and total length stay unchanged. L→M restores only E1 from G#4/key 48 to G4/key 47 and the D-major label. Do not also change rhythm or level and attribute every difference to mode.
After a break, hide the tables and reconstruct both collections and the complete R→M restoration: a retention retest. Before returning to a real phrase, check whether its task genuinely permits pitch changes; for accurate score reading, restore the written score. Transfer to another unseen mode/melody requires separately prepared, undisclosed material. This package neither supplies it nor validates learning efficacy.
Limits and related reading
Source inventory duration totals 999.425 seconds; the same-hash MP4 containers total 999.423. The difference is unexplained; neither is audition/viewing time. Original audio, continuous movement, complete source notation, actual backing, performance, physical suitability and efficacy remain unverified. This page provides written/symbolic tasks, with no automatic playback, microphone, real-user test or application-behavior validation.
Check collections separately from chords
Identify the chord before a pattern
Source scope for this package
Interval, collection and timeline checks