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This page preserves the author’s frozen review bytes, so prose or data may still contain candidate, pending-review or unpublished labels.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.
同一个A，为什么主音三和弦不同？
作者送审候选，尚未独立验收或发布。
同一个参照，两个不同的主音三和弦
本页是原创纸面工作单，不要求钢琴、唱歌、录音或计时。目标是把三件事分开：按给定参照写音阶、从第1／3／5级取三和弦、判断现有信息是否足以说明实际主音。纸面正确不代表听辨或演奏通过。
M指本题的A Mixolydian（混合利底亚）；L指A Locrian（洛克里亚）。两张表都指定A为主音参照，属于同主音比较；这里的指定不宣称某段音响已让人听到A的中心感。音阶的第1音、和弦的根音、旋律的第一音与实际听到的主音不能互相代替。
音级公式以同主音大调为比较基准。M为1–2–3–4–5–6–b7；L为1–b2–b3–4–b5–b6–b7。b表示比对应大调级位低半音，不是“这个音名一定加一个降号”。例如M的C#降低半音变C，F#降低半音变F。
先保留完整七音比较
采用十二平均律的书写半音与科学音高记法：中央C=C4，A4在它上方；音名后的数字是八度号，不是指法或拍数。表从A4升到A5，末音重复A音高类别，共8个位置、7种音高类别。这里没有规定每音时值、节拍、起音或休止。
M→L必须把第2、3、5、6级各降1半音：B→Bb、C#→C、E→Eb、F#→F；第1、4、7级A、D、G不变。只列2／3／5会漏掉第6级。二者都有b7，并不表示二者集合相同。
作为交叉核算，M从低A到高A的七个步距是2–2–1–2–2–1–2；L是1–2–2–1–2–2–2。都合计12，但每一步的顺序也必须对。本页重点是改变后的关系与三和弦，不把合计12当作集合身份的充分证据。
| 级位 | M：A Mixolydian | M距A4半音 | L：A Locrian | L距A4半音 | M→L |
|---|---|---|---|---|---|
| 1 | A4 | 0 | A4 | 0 | 0 |
| 2 | B4 | 2 | Bb4 | 1 | -1 |
| 3 | C#5 | 4 | C5 | 3 | -1 |
| 4 | D5 | 5 | D5 | 5 | 0 |
| 5 | E5 | 7 | Eb5 | 6 | -1 |
| 6 | F#5 | 9 | F5 | 8 | -1 |
| 7 | G5 | 10 | G5 | 10 | 0 |
| 8 | A5 | 12 | A5 | 12 | 0 |
相同的级位，改变的音程
第2级决定本例A上方是B还是Bb；第3级改变根音上方三度的大小；第5级决定五度是纯五度还是减五度。第6级也改变，但不属于从1／3／5取出的三和弦，所以只核三和弦会漏检这个集合差异。
A4到Eb5要数A–B–C–D–E五个字母位置，距离6半音，因此拼作减五度。A4到D#5同为6半音，却经过四个字母位置，拼作增四度。标准键盘上Eb5与D#5同键；本题第5级要用E字母，不能仅为同键就改写D#。这不是对所有语境禁用D#。
| 关系 | M | L |
|---|---|---|
| 1→2 | A4→B4：大二度，2半音 | A4→Bb4：小二度，1半音 |
| 1→3 | A4→C#5：大三度，4半音 | A4→C5：小三度，3半音 |
| 1→5 | A4→E5：纯五度，7半音 | A4→Eb5：减五度，6半音 |
| 3→5 | C#5→E5：小三度，3半音 | C5→Eb5：小三度，3半音 |
| 1→6 | A4→F#5：大六度，9半音 | A4→F5：小六度，8半音 |
从1、3、5取音，别只看五度总宽
本页“主音三和弦”只是按指定参照取第1、3、5级的分析名称；“主音”来自题设，不是从三和弦声音测出的结果。M给A–C#–E：大三度加小三度，构成大三和弦；L给A–C–Eb：两个小三度，构成减三和弦。根音都为A。
A–C–E是小三和弦，既不是M的1／3／5，也不是L的1／3／5。A–C#–Eb虽然外侧也是6半音，却不是A减三和弦：中间C#使两段距离为4与2半音。判断三和弦要核三个音的拼写和相邻关系，不能只看最高音。
下表的“包含”只比较给定音名，不是伴奏事件。A大三和弦不完整包含在L中；这只说明本题的集合覆盖有缺口，不能推出真实音乐中该和弦绝不可能出现。反过来，完整包含也不保证每个旋律音在任意节奏或和声位置都合适。
| 取法／标签 | 给定拼写 | 根音上方半音 | 相邻三度 | 在M中完整包含？ | 在L中完整包含？ |
|---|---|---|---|---|---|
| M的1、3、5：A大三和弦 | A4–C#5–E5 | 0–4–7 | 4+3 | 是 | 否：缺C#、E |
| L的1、3、5：A减三和弦 | A4–C5–Eb5 | 0–3–6 | 3+3 | 否：缺C、Eb | 是 |
| 反例：A小三和弦 | A4–C5–E5 | 0–3–7 | 3+4 | 否：缺C | 否：缺E |
原创纸面任务：查出只改一部分的错误
先遮住本节的核对表。抄出M的七音，不重复高八度A。分别做四次独立编辑：只降3、只降5、降3与5、降2与3与5与6；每次都从原M重新开始，不累积上一次结果。写出编辑后的七音、1／3／5，以及是否与L的七个级位全部相符。
再解释为什么“得到减三和弦”不足以证明“得到Locrian集合”。核对表第三行已经有A–C–Eb，却保留B与F#，分别不符L的Bb与F。这里把中间结果称为编辑结果，不另替它命名一种调式，也不为它附加难度或情绪评分。
如果第三行被误判成L，先圈出第2与第6级，分别修正B→Bb与F#→F；随后恢复完整七音表，再重取1／3／5。只修局部但不复核整行，会把已改对的三和弦误当成整套材料。完成标准是四行拼写、四次三和弦取音和明确的剩余差异，不是完成次数。
| 从M出发的编辑 | 完整七音结果 | 1、3、5结果 | 是否得到L？ |
|---|---|---|---|
| 只降第3级 | A–B–C–D–E–F#–G | A–C–E，小三和弦 | 否；2、5、6仍不符 |
| 只降第5级 | A–B–C#–D–Eb–F#–G | A–C#–Eb：不是本题的减三和弦 | 否；2、3、6仍不符 |
| 只降第3、5级 | A–B–C–D–Eb–F#–G | A–C–Eb，减三和弦 | 否；2、6仍不符 |
| 降第2、3、5、6级 | A–Bb–C–D–Eb–F–G | A–C–Eb，减三和弦 | 是，七个级位全部相符 |
换排列起点，不等于证明换了主音
集合忽略排列顺序；级位要依指定参照重新编号。M与D大调的音名集合相同，L与Bb大调的音名集合相同。表中的新排列与标签来自明确题设；这不是听完一段音乐后作出的定调结论。M改成L则真的更换四个音名，不只是旋转原名单。
第一音只告诉你从哪里开始。实际中心感需要音乐语境，例如持续／反复的支撑、重音与时值、旋律去向、和声组织和听觉判断；本页没有这些实际证据，不能单凭集合或第一音确定中心，也不提供自动定调规则。
遮住卡片答案，只按每张卡明说的信息填写“可确定／仍未知”。不把K1明确给定的参照偷偷补到K2，也不把K4的三个音扩充成已知七音。正确保留未知，就是这道证据题的完成条件之一。
| 声明的参照 | 按该参照排列的七音 | 与哪张集合相同？ |
|---|---|---|
| A Mixolydian，参照A | A–B–C#–D–E–F#–G | M |
| D大调，参照D | D–E–F#–G–A–B–C# | M |
| A Locrian，参照A | A–Bb–C–D–Eb–F–G | L |
| Bb大调，参照Bb | Bb–C–D–Eb–F–G–A | L |
| 卡片／给定信息 | 可写的结论 | 仍未知 |
|---|---|---|
| K1：集合M；任务明确指定A为参照 | 可按本题定义标A Mixolydian | 实际音乐是否听成A中心 |
| K2：同一集合M；只告知第一音D | 音属于集合；也与D大调共享集合 | 不能仅由第一音确定D或A主音 |
| K3：集合L；只告知第一音Bb | 音属于集合；也与Bb大调共享集合 | 不能仅由第一音确定Bb或A主音 |
| K4：只给A–C–Eb三和弦，不给七音集合 | 按拼写是A减三和弦 | 七音集合与实际主音均未确定 |
重建整张表，再做熟悉材料复测
本页没有有节奏的乐句，因此不存在缩短小节或重排休止的练法。这里的“整体恢复”是把局部改音放回两张完整七级表，并一起恢复四行编辑结果、三和弦取音和四张证据卡。所有公开答案都可对照，不把已知题目当作陌生迁移。
下次练习先不看答案，用同一个A参照、同一M／L定义与同样四种编辑重填；记录实际间隔、看到的提示和每类错误。核对后再补全整张工作单。换主音、给新谱或听音判断属于另一任务，需另记，不能从本页复测直接声称已经迁移或听出Locrian。
可直接复制这个空白记录：日期____；距离上次____；提示____；四个完整编辑结果____；第2／3／5／6级差异____；三和弦检查____；证据卡中的未知____；核对后修正____。这些空格没有预填成绩；本包实际学习／演奏观察数为0。
来源范围与本课新增内容
NC-026的83段既有ASR已全部阅读；检查41、75、138、218、225秒五张静帧。41秒可见C Mixolydian标题和单行谱表；75秒同一类音阶图有四个红圈；138秒是标C7与F的双谱表；218秒可见C Locrian标题，225秒增加指向谱面位置的红箭头。只核标签与布局，不逐音验收源谱或靠邻近ASR解释箭头的精确口述。
未经听校的ASR描述Mixolydian比同主音大调低第7级、1／3／5／7构成属七类型，以及Locrian的减五度和减三和弦；也谈到属七类型未必立即接到另一和弦。这里只保留有限候选归属。随机音都适配、99%去向、黑暗程度、使用频率、具体歌曲与演奏效果均不作为本课已证实结论。
A的两套完整拼写、四种编辑检查、三和弦反例与四张证据卡均为本库原创。与既有“大调／Lydian只改第四级”“音池是否包含和弦”“七步距找键”相比，本页重点是多个级位的完整变换，以及三和弦相同、集合相同与主音证据之间不能越过的推理步骤。
清点时长376.982秒，已核同哈希文件的容器时长376.960秒，差0.022秒原因未核；不是实际听课时长。22段用于短候选归属，61段未用不是错误数或错误率。未听原音、未连续观察动作、未验完整源谱或精确对齐；听到的主音、和声适配、身体适用性和学习效果均未验证。
同参照的第四级比较 · 音池与和弦检查 · 步距与音名 · 音程与拼写 · 本包来源范围
The same A: why do the tonic triads differ?
Author review candidate, not independently accepted or published.
One reference, two different tonic triads
This original paper worksheet needs no piano, singing, recording or timing. Separate three tasks: spell a collection from an assigned reference, select a triad from degrees 1/3/5, and decide whether the available information establishes an actual tonic. Correct paper work is not a listening or performance pass.
M means the specified A Mixolydian collection; L means A Locrian. Both assign A as tonic reference, making a same-tonic comparison. That assignment does not claim any audio has established A as a perceived center. Degree 1, a chord root, the first melody note and a heard tonic are not interchangeable.
Degree formulas use same-tonic major as the reference. M is 1–2–3–4–5–6–b7; L is 1–b2–b3–4–b5–b6–b7. Here b means one semitone below the corresponding major degree, not necessarily adding a flat to the note name. Lowering M’s C# gives C, and lowering F# gives F.
Keep the full seven-degree comparison
Use written semitones in twelve-tone equal temperament and scientific pitch notation: middle C=C4, with A4 above it. The digit after a note is an octave number, not a finger or beat. The table ascends A4 to A5, repeating the A pitch class: eight positions and seven pitch classes. No durations, meter, attacks or rests are assigned.
M→L lowers degrees 2,3,5,6 by one semitone each: B→Bb, C#→C, E→Eb, F#→F. Degrees 1,4,7 remain A,D,G. Listing only 2/3/5 misses degree 6. Sharing b7 does not make the collections identical.
For a cross-check, M’s seven steps from low A to high A are 2–2–1–2–2–1–2; L’s are 1–2–2–1–2–2–2. Both sum to 12, but the order must also match. This lesson focuses on changed relationships and triads; a total of 12 alone does not identify a collection.
| Degree | M: A Mixolydian | M semitones from A4 | L: A Locrian | L semitones from A4 | M→L |
|---|---|---|---|---|---|
| 1 | A4 | 0 | A4 | 0 | 0 |
| 2 | B4 | 2 | Bb4 | 1 | -1 |
| 3 | C#5 | 4 | C5 | 3 | -1 |
| 4 | D5 | 5 | D5 | 5 | 0 |
| 5 | E5 | 7 | Eb5 | 6 | -1 |
| 6 | F#5 | 9 | F5 | 8 | -1 |
| 7 | G5 | 10 | G5 | 10 | 0 |
| 8 | A5 | 12 | A5 | 12 | 0 |
Same degree positions, changed intervals
Degree 2 distinguishes B from Bb above A; degree 3 changes the third above the root; degree 5 changes a perfect fifth to a diminished fifth. Degree 6 also changes but is absent from a 1/3/5 triad, so checking the triad alone misses that collection difference.
A4 to Eb5 spans five letter positions A–B–C–D–E and six semitones, so it is a diminished fifth. A4 to D#5 also spans six semitones but four letter positions, making an augmented fourth. Eb5 and D#5 share a standard keyboard key; this degree-5 spelling task requires E, so equal keys do not justify D#. This does not ban D# in every context.
| Relationship | M | L |
|---|---|---|
| 1→2 | A4→B4: major second, 2 semitones | A4→Bb4: minor second, 1 semitone |
| 1→3 | A4→C#5: major third, 4 semitones | A4→C5: minor third, 3 semitones |
| 1→5 | A4→E5: perfect fifth, 7 semitones | A4→Eb5: diminished fifth, 6 semitones |
| 3→5 | C#5→E5: minor third, 3 semitones | C5→Eb5: minor third, 3 semitones |
| 1→6 | A4→F#5: major sixth, 9 semitones | A4→F5: minor sixth, 8 semitones |
Select 1,3,5; do not check only the total fifth
Here “tonic triad” names the analytical selection of degrees 1,3,5 from the assigned reference. Its tonic is supplied by the task, not measured from chord sound. M gives A–C#–E: major third plus minor third, a major triad. L gives A–C–Eb: two minor thirds, a diminished triad. Both roots are A.
A–C–E is a minor triad, neither M’s nor L’s 1/3/5 selection. Although A–C#–Eb also spans six outer semitones, it is not an A diminished triad: C# gives internal distances of four and two semitones. Check all three spellings and their internal relationships, not only the top note.
“Contained” below compares specified note names; these are not accompaniment events. L does not contain the complete A major triad. That is a coverage gap under this task’s rules, not proof the chord can never occur in real music. Conversely, complete containment does not guarantee every melody note suits every rhythmic or harmonic position.
| Selection / label | Specified spelling | Semitones above root | Stacked thirds | Entirely in M? | Entirely in L? |
|---|---|---|---|---|---|
| M degrees 1,3,5: A major triad | A4–C#5–E5 | 0–4–7 | 4+3 | yes | no: lacks C#, E |
| L degrees 1,3,5: A diminished triad | A4–C5–Eb5 | 0–3–6 | 3+3 | no: lacks C, Eb | yes |
| Counterexample: A minor triad | A4–C5–E5 | 0–3–7 | 3+4 | no: lacks C | no: lacks E |
Original paper task: diagnose incomplete edits
Cover this section’s answer table. Copy M’s seven notes without the octave A repeat. Make four independent edits: lower only 3; only 5; 3 and 5; then 2,3,5,6. Restart from original M each time rather than accumulating edits. Write the resulting seven notes, the 1/3/5 selection, and whether all seven degrees match L.
Then explain why obtaining a diminished triad does not prove you obtained the Locrian collection. The third answer row already has A–C–Eb but retains B and F#, differing from L’s Bb and F. We call intermediate results edited collections without assigning them another mode name, difficulty or mood score.
If the third row was mislabeled L, circle degrees 2 and 6 and correct B→Bb and F#→F. Then restore the full seven-note list and reselect 1/3/5. A local correction without a complete-row check can mistake a correct triad for a complete collection. Completion means four spelled rows, four triad selections and explicit remaining differences, not a repetition count.
| Edit starting from M | Complete seven-note result | Result at degrees 1,3,5 | Does this produce L? |
|---|---|---|---|
| Lower only degree 3 | A–B–C–D–E–F#–G | A–C–E, minor triad | no; degrees 2,5,6 still differ |
| Lower only degree 5 | A–B–C#–D–Eb–F#–G | A–C#–Eb: not the specified diminished triad | no; degrees 2,3,6 still differ |
| Lower only degrees 3 and 5 | A–B–C–D–Eb–F#–G | A–C–Eb, diminished triad | no; degrees 2,6 still differ |
| Lower degrees 2,3,5,6 | A–Bb–C–D–Eb–F–G | A–C–Eb, diminished triad | yes; all seven degrees match |
A new starting position does not prove a new tonic
A set ignores order; degrees must be renumbered from the assigned reference. M shares its note-name set with D major, and L with Bb major. The table’s reordered labels follow explicit task assignments; they are not conclusions after listening to music. Changing M to L actually replaces four note names, rather than rotating one list.
A first note tells you where something begins. Perceived center requires musical context such as sustained/repeated support, accent and duration, melodic direction, harmonic organization and listening judgment. This page supplies none of that actual evidence, so neither a set nor a first note establishes a center; no automatic tonic-detection rule is offered.
Cover the card answers and fill “supported / still unknown” using only each card’s stated information. Do not silently import K1’s assigned reference into K2, or expand K4’s three notes into a known seven-note collection. Keeping unsupported conclusions unknown is part of completing this evidence task.
| Declared reference | Seven notes ordered from that reference | Same set as which collection? |
|---|---|---|
| A Mixolydian, reference A | A–B–C#–D–E–F#–G | M |
| D major, reference D | D–E–F#–G–A–B–C# | M |
| A Locrian, reference A | A–Bb–C–D–Eb–F–G | L |
| Bb major, reference Bb | Bb–C–D–Eb–F–G–A | L |
| Card / supplied information | Supported conclusion | Still unknown |
|---|---|---|
| K1: set M; the task explicitly assigns A as reference | Can label A Mixolydian under this task definition | Whether actual music is heard as A-centered |
| K2: same set M; only first note D is given | The pitch belongs; the set is also shared with D major | Neither D nor A tonic follows from the first note alone |
| K3: set L; only first note Bb is given | The pitch belongs; the set is also shared with Bb major | Neither Bb nor A tonic follows from the first note alone |
| K4: only the A–C–Eb triad, without a seven-note collection | The spelling identifies an A diminished triad | The seven-note collection and actual tonic are undetermined |
Reconstruct the whole table, then retest familiar material
There is no timed phrase here, so there is no exercise that shortens bars or rearranges rests. Whole-task restoration means returning local edits to both complete seven-degree tables and restoring the four edited rows, triad selections and four evidence cards. All answers are public checks; familiar tasks are not unseen transfer.
At the next session, before viewing answers, use the same A reference, M/L definitions and four edits. Record the actual interval, prompts seen and errors by category. After checking, restore the complete worksheet. A changed tonic, a new score or a listening judgment is another task to record separately; this retest does not establish transfer or heard Locrian recognition.
Copy this blank record: date____; interval since last attempt____; prompts____; four complete edited results____; differences at degrees 2/3/5/6____; triad checks____; unknowns on evidence cards____; corrections after checking____. No scores are prefilled; this packet contains zero actual learning/performance observations.
Source scope and this lesson’s original contribution
All 83 existing NC-026 ASR segments were read; five stills at 41,75,138,218,225 seconds were inspected. At 41, a C Mixolydian title and single staff are visible; 75 has four red circles on that type of scale diagram; 138 has a grand staff labeled C7 and F. At 218, C Locrian is visible; 225 adds a red arrow pointing at a staff position. Only labels and layout are checked, without complete source-score acceptance or using nearby ASR to verify the arrow’s precise spoken explanation.
The unaudited ASR describes Mixolydian’s lowered seventh relative to same-tonic major, a dominant-seventh quality from 1/3/5/7, and Locrian’s diminished fifth and triad; it also discusses a dominant-seventh quality not necessarily moving immediately to another chord. These remain bounded candidate attributions. Universal random-note fit, a 99% destination, darkness, frequency of use, specific songs and performance effects are not established conclusions here.
The complete A spellings, four edit cases, triad counterexamples and four evidence cards are original. Existing lessons cover changing only degree four in major/Lydian, chord containment in a collection and seven-step keyboard paths. This lesson focuses on complete changes across multiple degrees and the inference limits between a matching triad, a matching collection and evidence for a tonic.
Inventory duration is 376.982 seconds; the verified same-hash file’s container duration is 376.960, with an unexplained 0.022-second difference. Neither is actual listening time. Twenty-two segments support brief candidate attributions; 61 unused segments are not an error count or rate. Source audio, continuous motion, complete source score and precise alignment are unchecked; heard tonic, harmonic fit, physical suitability and learning effects remain unverified.
Same-reference fourth-degree comparison · Collection and chord checks · Steps and pitch names · Intervals and spelling · Source scope for this packet