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This page preserves the author’s frozen review bytes, so prose or data may still contain candidate, pending-review or unpublished labels.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.
从同一个D出发：七个步距核对大调与自然小调
作者送审候选版本；尚未独立验收或发布。
原创纸面找键工作单；两条向上音高路径，没有节奏、指法或演奏通过记录。先核音名与半音移动，再按需要选一对琴键检查。
来源只支持这两个入口
【作者观点】NC-021用全、半音次序解释大调，并示范把同主音大调的第3、6、7音降低半音。本轮已读103段既有ASR并看9张选帧，未听校原音。本页明确把所得形式称为自然小调；不是所有小调形式的完整教程。D音起点、键位表与检查步骤是本库自编，不使用源课歌曲。
先固定起点和音名
本页采用科学音高记法：中央C=C4，D4是它右边相邻白键；音名后的4或5是八度号，不是指法。两条路径都从D4到高八度D5，同一个D作主音参照；这是同主音大小调的对照。先认识#表示升半音、b表示降半音；Bb4就是降B4。
半音移动从0开始数
按本页标准钢琴键位规则，移到紧邻的下一个键，无论黑白，算1次半音移动；全音是2次半音移动。起点的位移为0。例如D4→E4经过中间的D#4，是2次移动；E4→F4之间没有其他键，是1次。这里的格距表示半音数量，不是键宽、手移动距离或相同的赫兹差。
级位与位移是两种计数
音阶级位从起点D记为第1音，依次到第8音；半音位移从0开始。两条路径各有8个音高位置，但相邻位置之间只有7个步距。末尾D5和D4属于同一音高类别（pitch class），却是不同琴键；忽略八度后，本页每条路径有7种音高类别。级位不是拍数，表中没有规定每音时值。
先填七个箭头
先遮住“音高路径核对”表。两条路径起点都为D4，按下表给定的七个步距向上找音，写下8个音名与累计位移。W表示全音2半音，H表示半音1半音。每一级顺次使用D、E、F、G、A、B、C、D字母，再决定是否需要升降号；不要仅凭黑白键颜色猜音阶。
| 路径 / Path | 起点 / Start | 七个步距 / Seven steps | 半音移动数 / Semitone moves |
|---|---|---|---|
| M D大调 | D4 | W–W–H–W–W–W–H | 2–2–1–2–2–2–1 |
| N D自然小调 | D4 | W–H–W–W–H–W–W | 2–1–2–2–1–2–2 |
音高路径核对
M是D大调，N是D自然小调。两条路径的7个步距都合计12半音，因此从D4到D5；仅总和12正确还不够，每一步顺序也必须符合本题给定模式。八个位置不意味着要同时按住八个键，也不表示已经会用任何速度弹完整音阶。
| 级位 / Position | M音 / M pitch | M累计半音 / M displacement | N音 / N pitch | N累计半音 / N displacement |
|---|---|---|---|---|
| 1 | D4 | 0 | D4 | 0 |
| 2 | E4 | 2 | E4 | 2 |
| 3 | F#4 | 4 | F4 | 3 |
| 4 | G4 | 5 | G4 | 5 |
| 5 | A4 | 7 | A4 | 7 |
| 6 | B4 | 9 | Bb4 | 8 |
| 7 | C#5 | 11 | C5 | 10 |
| 8 | D5 | 12 | D5 | 12 |
降低半音，不是机械加降号
由M改成N，只改变第3、6、7位置：F#4→F4、B4→Bb4、C#5→C5，各降低1半音；其余位置保持。已有升号的音降低半音可回到本位音，所以不是给F#或C#再随意加一个b。第6音写Bb4而非A#4，以保留逐级字母D、E、F、G、A、B、C、D；两种拼写指到同键也不自动满足相同音阶拼写任务。
| 级位 / Position | M → N | 变化 / Change |
|---|---|---|
| 3 | F#4 → F4 | -1 半音 |
| 6 | B4 → Bb4 | -1 半音 |
| 7 | C#5 → C5 | -1 半音 |
用完整半音格检查找键
下表从D4到D5列出连续13个键位，含两个仅作定位参照的黑键D#4、G#4。这些参照键不是两条目标路径里的额外音；本表是找键图，不是第三条音阶。88键编号以最左A0=1计算，和音阶级位、指法、MIDI编号是不同系统；无需MIDI设备。
| 从D4起的位移 / Offset from D4 | 键位名称 / Key label | 88键号 / 88-key index | 用途 / Role |
|---|---|---|---|
| 0 | D4 | 42 | 目标路径中的音 |
| 1 | D#4 | 43 | 仅定位参照 |
| 2 | E4 | 44 | 目标路径中的音 |
| 3 | F4 | 45 | 目标路径中的音 |
| 4 | F#4 | 46 | 目标路径中的音 |
| 5 | G4 | 47 | 目标路径中的音 |
| 6 | G#4 | 48 | 仅定位参照 |
| 7 | A4 | 49 | 目标路径中的音 |
| 8 | Bb4 | 50 | 目标路径中的音 |
| 9 | B4 | 51 | 目标路径中的音 |
| 10 | C5 | 52 | 目标路径中的音 |
| 11 | C#5 | 53 | 目标路径中的音 |
| 12 | D5 | 54 | 目标路径中的音 |
黑白键检查只问一个位置
F#4在F4右邻黑键，C#5在C5右邻黑键；Bb4在B4左邻黑键。相邻白键并不都相隔全音：E4–F4、B4–C5是半音。反过来，两个音有黑键也不说明一定隔全音；C#5–D5同样是半音。按连续键位移动次数核对，不从手指伸展感觉猜距离。
把错误变成一个待核问题
纸面完成证据是两行8个正确音名、两行7个步距和两处12半音终点核对。若N第6音写成B4，先只核A4→B4是2半音，而本题需要A4→Bb4的1半音，再重算相邻的第6→7步；修正一个音会影响两边的步距。不要同时改起点、模式与速度，也不以填满格数当作真实演奏通过。
可选的声学钢琴核对
纸面路线可以独立完成，不要求唱歌、录音或麦克风。若能舒适定位，可只选E4–F4或C#5–D5其中一对，逐个指出或轻弹，不踩踏板；不要求同时伸展按住，也不指定手、指法或速度。记录是否找到目标键，听觉结果若未核就留空。这不证明完整音阶、连奏、换指或身体适用性；感到疼痛或明显不适就停止并回到纸面。
复测保留，回谱再核语境
下次在看答案前，用相同起点与模式重填；记实际间隔和提示。换起点、看谱条件或任务后另记，不把熟题重做称为陌生谱迁移。遇到真实作品时，要另查调号、临时记号、旋律与和声语境；仅列出一组音不足以证明全曲调性，本页也不把大调或小调直接打分为开心或悲伤。
证据范围
本页仅用源课的步距模式与降低3、6、7的有限说明。历史／文化上的调式定义、字典或小说字数、普遍听觉识别与情绪主张、频率轴解释及源课歌曲未作依据。清点时长283.904秒与容器时长283.882秒差0.022秒，原因未核；不是实际听课时长。23段用于短归属，80段未用不等于错误或错误率。未完成原声、连续动作、完整源谱、真实演奏或学习效果验收。
固定音名、步距、拼写、键号与双语检查；不实现音频评分、自动定调、指法选择或演奏验收。
来源与继续阅读
音名入门 · 音程与拼写 · 原创音高路径数据 · 来源范围 · 固定例题检查
Start from the same D: seven steps through major and natural minor
Author review candidate; not independently accepted or published.
An original paper keyboard-location worksheet: two ascending pitch paths, with no rhythm, fingering or performance pass. Check pitch spelling and semitone moves first, then optionally examine one pair of keys.
Two bounded source ideas
[Author’s view] NC-021 explains major through whole/half-step order and demonstrates lowering degrees 3, 6 and 7 of a same-tonic major scale by a semitone. This pass read 103 existing ASR segments and viewed nine selected stills, without source audition. Here the resulting form is explicitly natural minor, not a complete account of all minor-scale forms. The D starting point, keyboard table and checking steps are our own, without the source song.
Fix the starting pitch and spelling
Use scientific pitch notation: middle C=C4, and D4 is the next white key to its right. The 4 or 5 after a pitch name is an octave number, not fingering. Both paths run from D4 to D5 an octave above, using the same D as tonic reference: a comparison of parallel major and minor. First recognize # as a semitone raise and b as a semitone lowering; Bb4 is B4 lowered by a semitone.
Count semitone displacement from zero
Under the standard piano-key layout used here, moving to the immediately neighboring key, black or white, counts as one semitone move; a whole step is two such moves. Displacement at the start is zero. D4→E4 passes through D#4, so it takes two moves; E4→F4 has no intervening key, so it takes one. Grid spacing denotes semitone counts, not key width, hand-travel distance or equal differences in hertz.
Scale position and displacement are different counts
Scale positions count the starting D as position 1 and continue to position 8; semitone displacement starts at 0. Each path has eight pitch positions but only seven adjacent steps. Final D5 repeats the tonic pitch class on a different key from D4; each path has seven pitch classes. Positions are not beat counts, and the tables assign no note durations.
Fill seven arrows first
Cover the pitch-path answer table first. Begin both paths at D4 and use the seven supplied steps to find pitches upward, writing eight names and cumulative displacements. W means a whole step of two semitones; H means one semitone. Use letters D, E, F, G, A, B, C, D in order for the positions, then decide which accidentals are needed; do not infer the scale from black/white key colors alone.
| 路径 / Path | 起点 / Start | 七个步距 / Seven steps | 半音移动数 / Semitone moves |
|---|---|---|---|
| M D major | D4 | W–W–H–W–W–W–H | 2–2–1–2–2–2–1 |
| N D natural minor | D4 | W–H–W–W–H–W–W | 2–1–2–2–1–2–2 |
Check the pitch paths
M is D major; N is D natural minor. The seven steps of each total 12 semitones, reaching D5 from D4. A total of 12 is not sufficient: every step must also match the given order. Eight positions do not mean holding eight keys together or being able to play a complete scale at any tempo.
| 级位 / Position | M音 / M pitch | M累计半音 / M displacement | N音 / N pitch | N累计半音 / N displacement |
|---|---|---|---|---|
| 1 | D4 | 0 | D4 | 0 |
| 2 | E4 | 2 | E4 | 2 |
| 3 | F#4 | 4 | F4 | 3 |
| 4 | G4 | 5 | G4 | 5 |
| 5 | A4 | 7 | A4 | 7 |
| 6 | B4 | 9 | Bb4 | 8 |
| 7 | C#5 | 11 | C5 | 10 |
| 8 | D5 | 12 | D5 | 12 |
Lower by a semitone, not by mechanically adding a flat
To turn M into N, change only positions 3, 6 and 7: F#4→F4, B4→Bb4 and C#5→C5, each one semitone lower; leave other positions unchanged. Lowering a sharped note by a semitone can return it to its natural, so do not arbitrarily attach b to F# or C#. Write Bb4 rather than A#4 at position 6 to preserve successive letters D, E, F, G, A, B, C, D; two spellings that locate the same key do not automatically satisfy the same scale-spelling task.
| 级位 / Position | M → N | 变化 / Change |
|---|---|---|
| 3 | F#4 → F4 | -1 semitone |
| 6 | B4 → Bb4 | -1 semitone |
| 7 | C#5 → C5 | -1 semitone |
Check locations with the complete semitone grid
The table lists 13 consecutive key positions from D4 to D5, including black keys D#4 and G#4 used only as location references. These are not extra notes in either target path; this is a location map, not a third scale. The 88-key index counts from the leftmost A0=1 and differs from scale position, fingering and MIDI numbering; no MIDI device is needed.
| 从D4起的位移 / Offset from D4 | 键位名称 / Key label | 88键号 / 88-key index | 用途 / Role |
|---|---|---|---|
| 0 | D4 | 42 | pitch in a target path |
| 1 | D#4 | 43 | location reference only |
| 2 | E4 | 44 | pitch in a target path |
| 3 | F4 | 45 | pitch in a target path |
| 4 | F#4 | 46 | pitch in a target path |
| 5 | G4 | 47 | pitch in a target path |
| 6 | G#4 | 48 | location reference only |
| 7 | A4 | 49 | pitch in a target path |
| 8 | Bb4 | 50 | pitch in a target path |
| 9 | B4 | 51 | pitch in a target path |
| 10 | C5 | 52 | pitch in a target path |
| 11 | C#5 | 53 | pitch in a target path |
| 12 | D5 | 54 | pitch in a target path |
Check one key location at a time
F#4 is the black key immediately right of F4; C#5 is immediately right of C5; Bb4 is immediately left of B4. Adjacent white keys are not always a whole step apart: E4–F4 and B4–C5 are semitones. Nor does a pair involving a black key necessarily form a whole step: C#5–D5 is also a semitone. Check moves through consecutive key positions rather than inferring distance from finger stretch.
Turn an error into one checkable question
Paper completion evidence is two rows of eight correct pitch names, two rows of seven steps and two 12-semitone endpoint checks. If position 6 of N is B4, first check that A4→B4 is two semitones while the task requires A4→Bb4, one semitone; then recheck the neighboring step from positions 6→7. Changing one pitch affects both adjoining steps. Do not simultaneously change starting pitch, pattern and tempo, or treat filled boxes as a performance pass.
Optional acoustic-piano check
The paper route is complete without singing, recording or a microphone. If locating keys is comfortable, choose just E4–F4 or C#5–D5 and point to or gently play them successively without pedal; no simultaneous stretch is required, and no hand, fingering or tempo is prescribed. Record whether the target keys were located and leave unchecked auditory results blank. This establishes no complete-scale, legato, fingering-transition or physical-suitability result; stop for pain or clear discomfort and return to paper.
Retest retention; recheck context in a score
Next time, refill the paths with the same starting pitch and patterns before seeing answers; record the actual interval and prompts. Record a changed start, score-access condition or task separately, and do not call repetition of familiar items unfamiliar-score transfer. For a real piece, separately inspect key signature, accidentals, melodic and harmonic context; a pitch collection alone does not establish the whole piece’s key, and this page does not score major or minor as happy or sad.
Evidence limits
Only the source’s step pattern and limited explanation of lowering 3, 6 and 7 are used. Historical/cultural definitions of mode, dictionary or novel word counts, universal recognition or mood claims, frequency-axis interpretations and the source song are excluded. Inventory duration 283.904 seconds differs from container duration 283.882 seconds by 0.022 seconds for an unverified reason; neither is actual listening time. Twenty-three segments support brief attributions; 80 unused segments are not errors or an error rate. Source audio, continuous motion, complete source score, actual performance and learning outcomes remain unvalidated.
Fixed checks of pitch names, steps, spelling, key indices and bilingual text; no audio scoring, automatic key detection, fingering selection or performance acceptance.
Sources and next reading
Pitch-name basics · Intervals and spelling · Original pitch-path data · Source scope · Fixed-example checks