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This page preserves the author’s frozen review bytes, so prose or data may still contain candidate, pending-review or unpublished labels.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.
加上准备ii7：目标和弦与乐句边界
先问目标，再问调性
本课先规定整句的F大调语境，再比较R：F—F—G7—C—F和P：F—Dm7—G7—C—F。每个符号占一小节。P用Dm7替换R的第二小节F，保持总时长不变；这里的“加入准备和弦”不是额外增加一小节。
在P的第二至第四小节，把C作为局部目标：Dm7是相对于C的ii7，G7是它的V7，C是局部I；相对于整句F大调，可写作ii7/V—V7/V—V。Dm7同时也是F大调内的vi7。ii7/V说明此处的目标关系，不表示Dm7含有调外音。
这是一种给定语境中的分析，不是从三个和弦测出调性。单独的Dm7—G7—C也可以出现在C大调中。要判断真实乐曲是否转调，还需要前后乐句、停顿位置及新调持续组织等证据；本课没有审听或判定任何真实乐曲的转调。
把音级、和弦成员与目标分开
F大调音阶是F–G–A–B♭–C–D–E。Dm7拼作D–F–A–C：相对D根音的半音距离是0、3、7、10。它的根音D是F大调第6级，却是局部C大调第2级；F是该和弦的小三度，C是小七度。音级与和弦成员回答不同问题。
G7拼作G–B–D–F：0、4、7、10。它相对于C是属七和弦，B是它的大三度。相对于F大调的B♭，此处使用B♮，即升高的第4级；相对于目标C，B是第7级。不要把B写成B♭，否则G–B♭–D–F会成为Gm7，改变了本题的和弦性质。
目标C三和弦拼作C–E–G；外框F三和弦拼作F–A–C。表格的字母拼写是和弦身份的一部分，键盘上的同键异名不能自动替换分析标签。所有和弦均为根位：低音是实际最低音，根音由和弦拼写确定；本例中两者恰好相同。
本题只规定大三和弦C为目标，不把“任意小七和弦接任意属七和弦”都称为有效的ii–V。先核对两个根音与同一目标的关系、和弦性质和后续目标。小调目标的准备和弦可能需要不同音集；本题不为所有小调和弦或风格制定替换规则。
两个版本使用同一个时钟
R与P均为4/4拍、五小节、四个固定声部V1至V4，每小节按由低至高排列。q代表四分音符时值，时间从0开始，每小节区间依次为[0,4)、[4,8)、[8,12)、[12,16)、[16,20)。方括号包含起点，圆括号不包含终点。
每个声部每小节只有一个4q音符；每次到新小节都重新起音，即使音高相同也不是连音线。前音在小节边界按谱释放，后音在同一边界起音；最后一音在20q结束。没有休止、延音踏板、重复记号或未写出的尾音。本表给出记谱结束点，不是实测制音或声学衰减。
每个版本有20次音符起音，四个声部各覆盖20q；声部时值相加是80q，实际并行经过的时间仍为20q。两个版本共有40个事件，不能把它们当作一首40q的连续演奏。这里的四声部是纸上和声模型，没有指定双手分配、指法或严格四部写作风格。
R与P唯一不同的事件是V1第二小节：F2变成D2，下降3个半音；其余19个事件的音高、起点和时值不变。原来的F2–A2–F3–C4含F–A–C，改成D2–A2–F3–C4后含D–F–A–C，得到完整Dm7。并非所有声部都必须移动，和弦身份才会改变。
沿着同一声部检查
P中V4的第二至第三小节是C4→B3，下降1个半音：Dm7的小七度走到G7的大三度。第三至第四小节仍沿V4看B3→C4，上行1个半音，到达目标C的根音。不要从某个声部取C，再从另一个声部取B，拼出不存在的线条。
与此同时，V3从第三小节F3到第四小节E3，下降1个半音：G7的小七度走到C的大三度。V1的D2→G2→C2分别是上行5、下行7个半音；根音D–G–C的目标关系不等于每个实际低音都下行纯五度。
R的V4也有C4→B3→C4，V3也有F3→E3。P没有新造这些上声部半音动作；变化是第二小节的根音和成员身份：R中的C4是F和弦的五度，P中的C4是Dm7的七度。因此不能仅用“多了一次半音解决”来解释这次改写。
这些线条核对的是本例的拼写与方向。它们不保证某个版本更好听，也不构成所有ii7–V7必须采用这些排列的规则。学习者可以检验一个明确预测，而不用先接受审美结论。
纸上预测、局部检查、整句还原
先遮住P的全部数据与下段答案，只看R和给定目标C。在纸上预测：要让第二小节成为C的ii7、保留A2、F3、C4，并把低音限制在C2至B2，低音应改成什么？写出完整拼写，并分别标注该根音在F大调与局部C大调的音级。预测栏留给学习者填写；这里没有代填成功记录。
随后用表格核对：答案是D2；D–F–A–C，整句vi7、局部ii7，目标关系可记ii7/V。再在同一V4行圈出C4→B3→C4，在V3行圈出F3→E3，并写出−1、+1及−1半音。若算错，先保留原预测并写出不符之处，再重新算；不要用“听起来像”代替拼写检查。
只截取第二至第三小节时，原句区间是[4,12)，局部时钟是[0,8)：这段仅含Dm7—G7，尚未包含目标C。把第四小节也纳入，原句[4,16)对应局部[0,12)，才有Dm7—G7—C。窗口起点均为原句4q；局部0、4、8分别对应原句4、8、12。这里的“包括目标”描述的是写出的事件，不是实测听感。
局部核对之后，在纸上还原P完整五小节与四声部，保留第一和第五小节F，并重新标出C在整句中为V、在局部为I。再把第二小节低音还原为F2，重建R，检查其余19个事件是否保持不变。这个来回检查同时测试改写边界和上下文标签。
若方便弹奏，可只弹P的V4：C4、C4、B3、C4、C4，每音4q、每小节重新起音；这条单音线并未实际弹出四声部和声，也不能听出只发生在V1的R/P差异。不必一次弹四声部。也可以完全在纸上完成；所列琴键仅帮助定位，中央C为C4，88键编号从A0=1算起。
如需时钟例子，四分音符=60 BPM时整句20秒、两和弦窗口8秒、含目标窗口12秒；48 BPM时分别为25秒、10秒、15秒。这些是无额外停顿的算术示例，不是速度处方。稍后另一次练习，用自己已熟悉且已知调性与和弦的短句重新找目标：先预测有无明确的ii–V关系，再检查拼写及后续落点；材料不具备这个关系时记录“不适用”即可。只有实际做过才能填写观察或迁移结果。
证据与使用边界
本课的F大调例题、固定声部、等时长改写与窗口练习是原创教学构造。NC-030只提供“在目标的属和弦前再准备一个ii”的问题背景；既有ASR中的讲解仍是未经原声核对的候选。所看五张静帧仅支持其可见文字、和弦标签与谱面布局，不支持音频、连续动作或完整演奏判定。
本次读完既有111段ASR，查看103、130、195、245、264秒的五张静帧。未做新转写，未建立逐段ASR与静帧的精确同步。既有末段标记结束于343.2秒，晚于容器时长342.805秒0.395秒；库存时长342.827秒又比容器多0.022秒，两个差异都未解释，不能用来修正原声。
拼写、时值与双语载体可接受静态检查，但不等于原声审计、身体动作评估、有效教学或转调事实的验证。预测、观察、整句还原和延后复测的结果均留空；当前稿等待独立复核，尚未计入已发布覆盖率。
固定数据表
| 版本 | 小节 | 符号 | 拼写 | 根音上方半音 | 整句标签 | 目标关系 | 局部C标签 | 低音 |
|---|---|---|---|---|---|---|---|---|
| R | 1 | F | F–A–C | 0,4,7 | I | — | IV | F2 |
| R | 2 | F | F–A–C | 0,4,7 | I | — | IV | F2 |
| R | 3 | G7 | G–B–D–F | 0,4,7,10 | V7/V | V7/V | V7 | G2 |
| R | 4 | C | C–E–G | 0,4,7 | V | V | I | C2 |
| R | 5 | F | F–A–C | 0,4,7 | I | — | IV | F2 |
| P | 1 | F | F–A–C | 0,4,7 | I | — | IV | F2 |
| P | 2 | Dm7 | D–F–A–C | 0,3,7,10 | vi7 | ii7/V | ii7 | D2 |
| P | 3 | G7 | G–B–D–F | 0,4,7,10 | V7/V | V7/V | V7 | G2 |
| P | 4 | C | C–E–G | 0,4,7 | V | V | I | C2 |
| P | 5 | F | F–A–C | 0,4,7 | I | — | IV | F2 |
| 版本 | 声部 | 第1小节 [0,4) | 第2小节 [4,8) | 第3小节 [8,12) | 第4小节 [12,16) | 第5小节 [16,20) |
|---|---|---|---|---|---|---|
| R | V1 | F2 | F2 | G2 | C2 | F2 |
| R | V2 | A2 | A2 | D3 | G2 | A2 |
| R | V3 | F3 | F3 | F3 | E3 | F3 |
| R | V4 | C4 | C4 | B3 | C4 | C4 |
| P | V1 | F2 | D2 | G2 | C2 | F2 |
| P | V2 | A2 | A2 | D3 | G2 | A2 |
| P | V3 | F3 | F3 | F3 | E3 | F3 |
| P | V4 | C4 | C4 | B3 | C4 | C4 |
| 声部 | 小节 | 起点 | 终点 | 有向半音 | P中的成员关系 |
|---|---|---|---|---|---|
| V4 | 2→3 | C4 | B3 | -1 | Dm7七度→G7三度；R中起点为F五度 |
| V4 | 3→4 | B3 | C4 | +1 | G7三度→C根音 |
| V3 | 3→4 | F3 | E3 | -1 | G7七度→C三度 |
| 窗口 | 原句区间q | 局部起音q | 时长q | 含C目标 | 含义 |
|---|---|---|---|---|---|
| preparation | [4,12) | 0,4 | 8 | false | 仅准备，尚无C目标事件 |
| with_target | [4,16) | 0,4,8 | 12 | true | 准备与C目标，仍不足以证明转调 |
| whole | [0,20) | 0,4,8,12,16 | 20 | true | 完整还原，保留F外框 |
| 音高 | MIDI | 88键编号 |
|---|---|---|
| C2 | 36 | 16 |
| D2 | 38 | 18 |
| F2 | 41 | 21 |
| G2 | 43 | 23 |
| A2 | 45 | 25 |
| D3 | 50 | 30 |
| E3 | 52 | 32 |
| F3 | 53 | 33 |
| B3 | 59 | 39 |
| C4 | 60 | 40 |
| 四分音符BPM | 每q秒 | 整句秒 | 准备窗口秒 | 含目标窗口秒 |
|---|---|---|---|---|
| 60 | 1.0 | 20.0 | 8.0 | 12.0 |
| 48 | 1.25 | 25.0 | 10.0 | 15.0 |
结构化例题 · 来源边界 · 静态检查 · 已有关联例题
Adding the preparatory ii7: target chords and phrase boundaries
Identify the target before inferring a key
This lesson stipulates F major for the whole phrase, then compares R: F—F—G7—C—F with P: F—Dm7—G7—C—F. Each symbol occupies one bar. P replaces R’s second-bar F with Dm7 without changing total duration; adding the preparatory chord here does not insert an extra bar.
In P bars 2–4, take C as the local target: Dm7 is ii7 relative to C, G7 its V7, and C the local I. Relative to the stipulated F-major phrase, write ii7/V—V7/V—V. Dm7 is also the diatonic vi7 in F major. Here ii7/V describes its target relationship; it does not mean that Dm7 contains a chromatic pitch.
This is an analysis within a given context, not a key measurement from three chords. Dm7—G7—C can also occur in C major. Judging modulation in an actual piece requires evidence from surrounding phrases, points of repose and sustained organization in the new key; this lesson neither auditions nor decides modulation in an actual piece.
Separate scale degrees, chord members and target
The F-major scale is F–G–A–B♭–C–D–E. Spell Dm7 D–F–A–C: its semitone distances above root D are 0, 3, 7, 10. Root D is degree 6 of F major but degree 2 of local C major; F is the chord’s minor third and C its minor seventh. Scale degree and chord member answer different questions.
Spell G7 G–B–D–F: 0, 4, 7, 10. It is the dominant seventh of C, and B is its major third. Relative to the B♭ of F major, this is B♮, the raised fourth degree; relative to target C, B is degree 7. Do not replace B with B♭: G–B♭–D–F would be Gm7 and would change the specified chord quality.
The target C triad is C–E–G; the framing F triad is F–A–C. Letter spelling in the tables is part of chord identity; an enharmonic keyboard equivalent cannot automatically replace an analytical label. All chords here are in root position: bass means the actual lowest pitch, whereas root comes from chord spelling; they happen to coincide in this example.
This exercise specifies a major-triad target C. It does not call any minor-seventh chord followed by any dominant-seventh chord a valid ii–V. First check both roots against the same target, chord qualities and the following target. A minor target may require a different preparatory pitch collection; this exercise prescribes no substitution rule for every minor chord or style.
Both versions use the same clock
R and P both use five bars of 4/4 and four fixed voices V1–V4, ordered low to high in each bar. q denotes a quarter-note duration; time begins at 0 and the bar intervals are [0,4), [4,8), [8,12), [12,16), [16,20). A square bracket includes the start; a round bracket excludes the end.
Each voice has one 4q note per bar. Every new bar reattacks, even at the same pitch; there are no ties. The preceding note has its notated release at the bar boundary and the following note starts at that same boundary; the final note ends at 20q. There are no rests, damper pedal, repeats or unlisted tails. These are notated end points, not measured damping or acoustic decay.
Each version has 20 note attacks, with each of four voices covering 20q. Summed voice duration is 80q, while simultaneous elapsed time remains 20q. The two versions contain 40 events; they are not one continuous 40q performance. This four-voice model is for paper analysis and specifies neither hand allocation, fingering nor a strict four-part writing style.
The only changed event between R and P is V1 in bar 2: F2 becomes D2, descending 3 semitones. The other 19 events keep their pitches, onsets and durations. F2–A2–F3–C4 contains F–A–C; D2–A2–F3–C4 instead contains D–F–A–C, making a complete Dm7. A change of chord identity need not move every voice.
Trace the same voice
In P, V4 moves C4→B3 from bar 2 to bar 3, down 1 semitone: the minor seventh of Dm7 moves to the major third of G7. Continue in V4 from bar 3 to bar 4: B3→C4 rises 1 semitone to the root of target C. Do not take C from one voice and B from another to invent a trajectory.
At the same time, V3 moves from F3 in bar 3 to E3 in bar 4, down 1 semitone: the minor seventh of G7 moves to the major third of C. V1’s D2→G2→C2 moves up 5 then down 7 semitones. The target relation of roots D–G–C does not mean that every actual bass motion descends a perfect fifth.
R also has C4→B3→C4 in V4 and F3→E3 in V3. P does not create new upper-voice semitone motions. What changes is the second-bar root and member identity: C4 is the fifth of F in R and the seventh of Dm7 in P. Thus this rewrite cannot be explained merely as adding one more semitone resolution.
These trajectories check spelling and direction in this example. They neither guarantee that one version sounds better nor require all ii7–V7 progressions to use these voicings. The learner can test an explicit prediction without first accepting an aesthetic conclusion.
Paper prediction, local check and whole-phrase restoration
First cover all P data and the next paragraph’s answer, keeping R and the given target C visible. Predict on paper: to make bar 2 the ii7 of C while retaining A2, F3 and C4 and keeping the bass within C2–B2, what should the bass become? Write the complete spelling and label its root degree in F major and local C major separately. The prediction field is for the learner; no success record has been filled in.
Then check the tables: the answer is D2; D–F–A–C, vi7 in the whole-phrase key and local ii7, with target relation ii7/V. Circle C4→B3→C4 within V4 and F3→E3 within V3, writing −1, +1 and −1 semitones. If the calculation differs, keep the original prediction and note the discrepancy before recalculating; do not replace spelling checks with “it sounds like it.”
With only bars 2–3, the parent interval is [4,12) and the local clock is [0,8): this contains Dm7—G7 but not target C. Including bar 4 extends the parent interval to [4,16), corresponding to local [0,12), and includes Dm7—G7—C. Both windows begin at parent time 4q; local 0, 4, 8 correspond to parent 4, 8, 12. “Includes the target” describes the written events, not a measured listening response.
After the local check, restore all five bars and four voices of P on paper, retaining F in bars 1 and 5. Relabel C as V in the whole phrase and I locally. Then restore the bar-2 bass to F2 to rebuild R and check that the other 19 events remain unchanged. This round trip tests both the rewrite boundary and the contextual labels.
If playing is convenient, play only P’s V4: C4, C4, B3, C4, C4, each lasting 4q with a fresh attack each bar. This single line does not realize the four-voice harmony and cannot sound the R/P difference that occurs only in V1. Playing all four voices at once is unnecessary. The entire task can stay on paper; the key list is only a locator, with middle C=C4 and 88-key numbering from A0=1.
For clock examples, at quarter note=60 BPM the whole phrase lasts 20 seconds, the two-chord window 8 seconds and the target-inclusive window 12 seconds; at 48 BPM they last 25, 10 and 15 seconds. These are arithmetic examples without added pauses, not tempo prescriptions. In a later practice session, revisit a familiar short phrase whose key and chords are already known: predict whether a definite ii–V relation is present, then check spelling and the following arrival; record “not applicable” when the relation is absent. Fill observation or transfer results only after actually doing the task.
Evidence and limits of use
The F-major exercise, fixed voices, equal-duration rewrite and window tasks are original teaching constructions. NC-030 supplies the motivating idea of preparing a target’s dominant with a ii chord; explanations in existing ASR remain candidates not checked against original audio. The five inspected stills support only their visible text, chord labels and score layout, not audio, continuous motion or complete-performance judgments.
All 111 existing ASR segments were read, and five stills at 103, 130, 195, 245 and 264 seconds were inspected. No new transcription or exact segment-to-still alignment was performed. The final existing segment ends at 343.2 seconds, 0.395 seconds beyond the 342.805-second container duration; inventory duration 342.827 seconds exceeds the container by 0.022 seconds. Both differences remain unexplained and cannot be used to correct the source audio.
Spelling, timing and bilingual carriers admit static checks, but these do not verify source audio, physical action, instructional efficacy or an actual modulation. Prediction, observation, whole-phrase restoration and delayed-retest results remain blank; this draft awaits independent review and has not added to published coverage.
Fixed data tables
| Version | Bar | Symbol | Spelling | Root semitones | Global label | Target relation | Local C label | Bass |
|---|---|---|---|---|---|---|---|---|
| R | 1 | F | F–A–C | 0,4,7 | I | — | IV | F2 |
| R | 2 | F | F–A–C | 0,4,7 | I | — | IV | F2 |
| R | 3 | G7 | G–B–D–F | 0,4,7,10 | V7/V | V7/V | V7 | G2 |
| R | 4 | C | C–E–G | 0,4,7 | V | V | I | C2 |
| R | 5 | F | F–A–C | 0,4,7 | I | — | IV | F2 |
| P | 1 | F | F–A–C | 0,4,7 | I | — | IV | F2 |
| P | 2 | Dm7 | D–F–A–C | 0,3,7,10 | vi7 | ii7/V | ii7 | D2 |
| P | 3 | G7 | G–B–D–F | 0,4,7,10 | V7/V | V7/V | V7 | G2 |
| P | 4 | C | C–E–G | 0,4,7 | V | V | I | C2 |
| P | 5 | F | F–A–C | 0,4,7 | I | — | IV | F2 |
| Version | Voice | Bar 1 [0,4) | Bar 2 [4,8) | Bar 3 [8,12) | Bar 4 [12,16) | Bar 5 [16,20) |
|---|---|---|---|---|---|---|
| R | V1 | F2 | F2 | G2 | C2 | F2 |
| R | V2 | A2 | A2 | D3 | G2 | A2 |
| R | V3 | F3 | F3 | F3 | E3 | F3 |
| R | V4 | C4 | C4 | B3 | C4 | C4 |
| P | V1 | F2 | D2 | G2 | C2 | F2 |
| P | V2 | A2 | A2 | D3 | G2 | A2 |
| P | V3 | F3 | F3 | F3 | E3 | F3 |
| P | V4 | C4 | C4 | B3 | C4 | C4 |
| Voice | Bars | From | To | Signed semitones | Member relation in P |
|---|---|---|---|---|---|
| V4 | 2→3 | C4 | B3 | -1 | Dm7 seventh→G7 third; in R the starting member is F’s fifth |
| V4 | 3→4 | B3 | C4 | +1 | G7 third→C root |
| V3 | 3→4 | F3 | E3 | -1 | G7 seventh→C third |
| Window | Parent interval q | Local onsets q | Duration q | Contains C target | Meaning |
|---|---|---|---|---|---|
| preparation | [4,12) | 0,4 | 8 | false | Preparation only; no C target event yet |
| with_target | [4,16) | 0,4,8 | 12 | true | Preparation and C target; still insufficient to prove modulation |
| whole | [0,20) | 0,4,8,12,16 | 20 | true | Whole-phrase restoration, retaining the F frame |
| Pitch | MIDI | 88-key number |
|---|---|---|
| C2 | 36 | 16 |
| D2 | 38 | 18 |
| F2 | 41 | 21 |
| G2 | 43 | 23 |
| A2 | 45 | 25 |
| D3 | 50 | 30 |
| E3 | 52 | 32 |
| F3 | 53 | 33 |
| B3 | 59 | 39 |
| C4 | 60 | 40 |
| Quarter BPM | Seconds per q | Whole seconds | Preparation seconds | With-target seconds |
|---|---|---|---|---|
| 60 | 1.0 | 20.0 | 8.0 | 12.0 |
| 48 | 1.25 | 25.0 | 10.0 | 15.0 |
Structured exercise · Source boundaries · Static checks · Related existing exercise