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This page preserves the author’s frozen review bytes, so prose or data may still contain candidate, pending-review or unpublished labels.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.
同一个六四，先看低音怎么来、怎么走
看到D/A，先回答两个不同问题：这个和弦由哪些音构成？它在前后连接中做什么？第二个问题不能只靠一个和弦名称回答。
这是完整纸面任务，不需要钢琴、唱音或播放；没有可选弹奏路线，也不安排手、指法或踏板。先读三音小图，再追踪下表的低音与两条内声部。四条声部是同时记录的四条音线，不是四只手。
G表示限定的基础乐理，O表示本库原创设计，T2表示后面有定位的作者说明。所有格子、音区、节奏与答案为原创；没有复制源课旋律或完整配置。这里的K、P只是版本代号。
先分清结构、最低音与作用
G：字母C–D–E–F–G–A–B循环命名音。#与♯都是升号，把对应自然音升高一个半音；半音是标准钢琴相邻两键的距离，黑键也算。自然音C–D–E–F–G–A–B–C的步长是2、2、1、2、2、2、1半音。中央C记C4，过B到C才换八度编号；88键从A0＝1计，C4＝40。
G／O：本例D大三和弦用D–F♯–A，D是为和弦命名的根音，F♯是三音，A是五音；从根计半音距离为0、4、7。最低实际音叫低音。D/A表示D和弦以A作低音，不是D除以A，也不是A和弦；本例把五音放在最低，叫第二转位。
G／O：把三音紧凑地排成A3–D4–F♯4，从低音A开始按字母计数，A–B–C–D是四度，A–B–C–D–E–F是六度。这是“六四”名称的来由；本例分别相距5与9半音。6和4不是拍号6/4，也不是六拍与四拍。音程数字数的是字母位置，不等于半音数。
G／O：完整格子再加高音A4，只是在高八度再放一个A音，根音仍是D。把音移八度或重复某音不自动改变转位；要重查真正最低音。复杂原谱不能只凭最上面两个音的距离辨认全部功能。
G／O：本页设定D大调，以D为调性参照；D大调音阶为D–E–F♯–G–A–B–C♯–D。这里D和弦称一级I，A大三和弦A–C♯–E称五级V，G大三和弦G–B–D称四级IV。I／V／IV是此调中的级数，K／P不是。调性是题目给定，不是从试听推断。
G／O：转位描述根音和低音的关系；功能讨论上下文中的作用。本页K把D/A放在A接D之前，作为终止准备的示意；P把它放在G接G/B之间，用A低音连接G与B。相同D/A结构可处于不同语境。只给一个孤立D/A时，功能应标“待定”，不能保证终止、经过、听感或风格适合。
G／O：I六四可以标出音集合与转位，却不等于已判定它与原位I有相同作用。K的低音A保持而上方两音向A和弦移动，显示它与接下来的五级连接；本页不裁定所有和声分析体系的标法。P的“经过”也不等于任意两和弦之间都能插入六四。
F#4 六度 / 键46
D4 四度 / 键42
A3 低音 / 键37先找同一个音集合，再追踪不同连接
遮住答案。两版分开读：找出A3–D4–F♯4–A4同时存在的窗口；圈出最低音，写根音与转位。再沿低音一条线读前后变化，并找两条内声部是否向下移动。不要把声部名称当成左右手。
O：本例K的六四从第一小节第1拍开始，P从第2拍开始。把拍位、低音和前后连接一起看；强弱拍不是脱离上下文的功能判定器。这些是简化纸面示意，不是任意曲目的配器或严格四部写作范本。
先预测：两版相同音集合出现时，都在准备同一种句尾吗？K在偏移2时低音要重起吗？P跨偏移4的小节线时有新音开始吗？必须用完整格子回答，不能靠六四标签猜。
同样八秒，起音与保持不同
两版均为4/4、四分音符＝60 BPM，每拍1秒，每小节4拍，共两小节8拍。偏移0开始第一小节，4开始第二小节。每格1拍，音名表示新起音，=表示保持且不重起，.表示该声部休止。先预测每版秒数、音符事件数、有新音开始的不同时点数（同一时刻多音只算一个时点），再读答案。
一个版本的四条声部同时进行，K与P分开比较。到偏移6时，所有音都已在记号上结束；当时仍在保持的四个音于6结束，四声部随后均休止到8。不把声部时长相加。释放这里只是符号终点，未测琴弦余音，也没有踏板或音频实现。
K
低音 [A3 = = =] [D3 = . .]
下内声部 [D4 = C#4 =] [D4 = . .]
上内声部 [F#4 = E4 =] [F#4 = . .]
最高声部 [A4 = = =] [= = . .]P
低音 [G3 A3 B3 =] [= = . .]
下内声部 [D4 = = =] [= = . .]
上内声部 [G4 F#4 G4 =] [= = . .]
最高声部 [B4 A4 D5 =] [= = . .]核对并解释
| 版本 | 给定连接 |
|---|---|
| K | D/A→A→D；低音A保持0–4，再到D。 |
| P | G→D/A→G/B；低音G→A→B连续上行。 |
两版的D/A窗口分别是K的0–2和P的1–2；四个实际音相同，根D、低音A、第二转位。K随后是A大三和弦，再到D；P前后是G与G/B，根音同为G但低音不同。P低音G3→A3→B3每次上行2半音，是在这段给定连接中的经过线。
K的偏移2处，A3与A4继续保持；D4→C♯4下降1半音，对应低音上方4→3；F♯4→E4下降2半音，对应6→5。字母级数与半音距离不能混为一谈。这里用A三和弦而非A7，保留简单的两线比较，不照抄源课的G7配置。
每版8拍＝8秒。K有9个音符事件，起音时点0、2、4；P有10个事件，起音时点0、1、2。K在2只有两条内声部重起，低音不重起。P的D4从0保持到6，其他三声部从2保持到6，因此4的小节线没有任何新起音。每版四条末尾休止均为6–8。
修一个明确错误，再重测
若把D/A叫成A和弦，先从D–F♯–A找根，再核最低音。若因两版都写D/A而填相同功能，补上前后低音和目标再答。若把F♯拼成G♭，虽同琴键，已丢失本例D和弦三音的F字母；先修这个明确问题，不宣称它在所有语境都拼错。
纸面纠错：若在P的偏移4抄出新D4，删去那次多余起音，把原来0–6的一音保持恢复，其他声部和6–8休止不变。若把P中间低音A3换成D3，虽仍能组成D和弦，却不再是本例第二转位与G–A–B经过线；恢复A3而不要移动时间。
稍后遮答案，重新写两版低音路线、K的4→3与6→5、P在4不重起的理由。这是同题保留重测，不是陌生谱迁移验证。回到自己的谱，先核版本、调号、拍号、全部声部和前后句；信息不足就标待定，不为了套术语而改原谱。
来源与边界
原创候选，等待独立审阅，尚未发布。固定例题计算通过不等于通用和声分析器或学习效果验证。
B52-S01 · T2
第67课用三和弦第二转位说明六四名称，选定紧凑示例的数字从最低音数。我们只保留这个结构区别，不把自动转录的同音错词当术语。
ASR8、12–15、17–20、22；32秒标题，46／60／69秒选定C与C/G音位和数字。
B52-S02 · T2
第67课在句尾连接中展示C/G接G7再接C，并讨论音集合名称与作用的区别。我们的K另设D大调、音区和时间；没有验证作者的听感比喻、普遍频率或全部源谱。
ASR35、38–40、42、44–45、48、52、55、57、59–62；113秒定义，146／163／181秒选定标签；232秒方法文字。258秒仅版面。
B52-S03 · T2
第68课用前后连接和级进低音解释经过六四，含C–G/D–C/E及F–C/G–F/A示例，也展示不同根音的两端。P是本库另写的比较，不把这些例子提升为任意插入规则。
ASR14、18–25、27–28、30–32、34–35、38、43–45、47–48、51–53、55–62、65–66；51／80／165秒文字，104／113／135／189／214／248秒选定标签与低音方向，280秒仅版面。
读完两课全部112＋94＝206段既有ASR，检查20次选帧／20个不同图像哈希。68段保留为简短归属的候选支持，138段未用于归属；未用不等于确认转写错误，保留也不等于逐字准确。公开文件只有原创讲解和范围记录，没有转录、源谱或源图。
没有新ASR、原声听校、连续动作、完整源谱逐音检查、演奏、身体适用性、应用或学习效果验收。所选静帧只支持记号、文字或版面；不能证明实际听感、连奏或身体动作。
库存时长704.427秒，同哈希MP4容器合计704.383秒，差0.044秒原因未明；这些是时长口径，不是实际听看时长。
相关阅读
有限来源范围
原创固定例题检查
The same six-four: trace where the bass comes from and goes
When you see D/A, ask two different questions: which tones form the chord, and what does it do in its surrounding progression? One chord name cannot answer the second question.
This is a complete paper task requiring no piano, singing or playback. There is no optional playing route or assignment of hands, fingers or pedal. Start with the small three-tone diagram, then trace the bass and two inner voices below. Four voices mean four simultaneous lines, not four hands.
G marks scoped basic theory, O our original design, and T2 the located author explanations below. All grids, registers, rhythms and answers are original; no source melody or complete voicing is copied. K and P are version IDs only.
Separate structure, lowest tone and role
G: pitches use repeating letters C–D–E–F–G–A–B. Both # and ♯ mean sharp, raising the natural-letter pitch by one semitone. A semitone is the distance between adjacent standard-piano keys, including black keys. Natural C–D–E–F–G–A–B–C steps are 2, 2, 1, 2, 2, 2, 1 semitones. Middle C is C4, octave numbers change across B→C, and the 88 keys count from A0=1, with C4=40.
G/O: our D-major triad uses D–F♯–A. D is the root naming the chord, F♯ its third and A its fifth, at 0, 4, 7 semitones from the root. The lowest actual tone is the bass. D/A means a D chord over an A bass, not D divided by A or an A chord. Putting its fifth lowest here is second inversion.
G/O: in the compact A3–D4–F♯4 stack, count letters from bass A: A–B–C–D makes a fourth and A–B–C–D–E–F a sixth. This explains six-four; here the distances are 5 and 9 semitones respectively. The figures 6 and 4 are neither the time signature 6/4 nor six beats and four beats. Interval numbers count letter positions, not semitones.
G/O: the full grid adds another A one octave higher at A4, while the root remains D. Octave displacement or doubling does not automatically change inversion; recheck the actual lowest tone. Distances between the two highest tones alone cannot identify every function in a complex score.
G/O: this page stipulates D major with D as tonal reference and scale D–E–F♯–G–A–B–C♯–D. Here D is chord I, the A-major triad A–C♯–E is V, and the G-major triad G–B–D is IV. I/V/IV are degrees in this key; K/P are not. The key is given, not inferred by listening.
G/O: inversion describes the root–bass relation; function concerns a contextual role. K places D/A before A→D as a cadential-preparation illustration. P places it between G and G/B, using bass A to connect G and B. The same D/A structure can occur in different contexts. With an isolated D/A, mark function undetermined; it guarantees neither a cadence, passing role, sound nor stylistic fit.
G/O: I six-four can label collection and inversion without proving the same role as root-position I. In K, bass A stays while two upper tones move into the A chord, showing its connection to the following dominant. This page does not settle every harmonic-analysis convention. Passing in P also does not license inserting a six-four between arbitrary chords.
F#4 sixth / key 46
D4 fourth / key 42
A3 bass / key 37Find the shared collection, then trace different connections
Hide the answers and read the versions separately. Find the window containing A3–D4–F♯4–A4 simultaneously; circle the lowest tone and name root and inversion. Then follow the bass through its neighbors and check whether the two inner voices descend. Voice labels do not assign left or right hands.
O: K’s six-four starts on beat 1 of bar 1, P’s on beat 2. Consider metrical position together with bass and neighboring connections; strong/weak beats are not a context-free function classifier. These are simplified paper illustrations, not orchestration or strict four-part models for arbitrary pieces.
Predict: does the shared collection prepare the same kind of ending in both versions? Does K reattack its bass at offset 2? Does P start a new tone at the barline at offset 4? Use the complete grid rather than guessing from the six-four label.
The same eight seconds, different attacks and holds
Both versions use 4/4 and quarter note=60 BPM: one second per beat, four beats per bar and eight beats in two bars. Offset 0 starts bar 1 and 4 starts bar 2. Each cell is a beat: a pitch starts a new note, = holds without reattack, and . rests in that voice. Predict seconds, note-event counts and distinct times when a new note begins (count simultaneous notes once), then read the answers.
Four voices run simultaneously within a version; compare K and P separately. By offset 6, every note has symbolically ended; the four notes still held immediately before 6 end there, and all four voices then rest to 8. Do not add voice durations. Release is only a symbolic endpoint, not measured string decay, and no pedal or audio implementation is supplied.
K
Bass [A3 = = =] [D3 = . .]
Lower inner [D4 = C#4 =] [D4 = . .]
Upper inner [F#4 = E4 =] [F#4 = . .]
Top [A4 = = =] [= = . .]P
Bass [G3 A3 B3 =] [= = . .]
Lower inner [D4 = = =] [= = . .]
Upper inner [G4 F#4 G4 =] [= = . .]
Top [B4 A4 D5 =] [= = . .]Check and explain
| Version | Specified connection |
|---|---|
| K | D/A→A→D; bass A holds 0–4, then goes to D. |
| P | G→D/A→G/B; bass G→A→B ascends stepwise. |
The D/A windows are K 0–2 and P 1–2. Both contain the same four pitches, root D, bass A and second inversion. K then has an A-major triad followed by D. P is flanked by G and G/B, sharing root G but different bass tones. P’s G3→A3→B3 bass rises 2 semitones each time, a passing line in this stipulated progression.
At K offset 2, A3 and A4 continue. D4→C♯4 descends 1 semitone, corresponding to 4→3 above the bass; F♯4→E4 descends 2 semitones, corresponding to 6→5. Do not conflate letter-based interval numbers and semitone distances. We use an A triad rather than A7 for a simple two-line comparison, not a copy of the source’s G7 voicing.
Each version lasts 8 beats=8 seconds. K has 9 note events at onset times 0, 2, 4; P has 10 at 0, 1, 2. At K 2 only the two inner voices reattack, not the bass. P holds D4 from 0 to 6 and its other three voices from 2 to 6, so the barline at 4 creates no new attack. All four closing rests in each version span 6–8.
Correct one error, then retest
If you call D/A an A chord, identify the root from D–F♯–A before checking the lowest tone. If you assign the same function because both say D/A, add neighboring bass tones and targets before answering. Respelling F♯ as G♭ uses the same piano key but loses the F letter for this D chord’s third; correct that specific issue without calling the spelling wrong in every context.
Paper correction: if you copied a new D4 at P offset 4, remove that extra attack and restore the single hold from 0 to 6, leaving other voices and rests 6–8 unchanged. Replacing P’s middle bass A3 with D3 can still form a D chord, but loses this second inversion and G–A–B passing line; restore A3 without moving time.
Later hide the answers and rewrite the bass routes, K’s 4→3 and 6→5, and why P does not reattack at 4. This retests retention of the same task, not transfer to an unfamiliar score. For your own score, first verify edition, key signature, meter, all voices and surrounding phrases; mark insufficient context undetermined rather than changing the score to fit a term.
Sources and limits
Original candidate awaiting independent review, unpublished. Passing fixed-fixture calculations is not a general harmonic analyzer or learning-efficacy validation.
B52-S01 · T2
Episode 67 explains six-four through second-inversion triads, counting the selected compact example’s figures from its lowest tone. We retain this structural distinction, not ASR homophones as terminology.
ASR 8, 12–15, 17–20, 22; title at 32s and selected C and C/G pitches and figures at 46/60/69s.
B52-S02 · T2
Episode 67 shows C/G→G7→C in an ending context and discusses collection names versus role. Our K independently sets D major, register and time; author effect metaphors, prevalence and complete source scores are unverified.
ASR 35, 38–40, 42, 44–45, 48, 52, 55, 57, 59–62; definition at 113s, selected labels at 146/163/181s and method text at 232s. 258s is layout-only.
B52-S03 · T2
Episode 68 explains passing six-fours through surrounding connections and stepwise bass, including C–G/D–C/E and F–C/G–F/A, and also shows different-root endpoints. P is our own comparison, not a universal insertion rule.
ASR 14, 18–25, 27–28, 30–32, 34–35, 38, 43–45, 47–48, 51–53, 55–62, 65–66; text at 51/80/165s, selected labels/bass direction at 104/113/135/189/214/248s; 280s is layout-only.
All 112+94=206 existing ASR segments were read, with 20 selected-frame inspections/20 distinct image hashes. 68 segments remain candidate support for concise attribution and 138 are unused; unused does not mean confirmed ASR errors, nor retained verbatim accuracy. Public candidate files contain original explanations and scope records, not transcripts, source scores or images.
There was no new ASR, source audition, continuous-motion review, full-source-score note audit, performance, physical-suitability, application or learning-outcome acceptance. Selected frames support only symbols, text or layout, not audible effects, legato or body movement.
Inventory duration is 704.427 seconds; same-hash MP4 containers total 704.383 seconds. The 0.044-second difference is unexplained; these are duration measures, not actual watched/heard time.
Related reading
Register, spacing and chord identity
Trace a single line versus a whole-group shift
Bounded source scope
Original fixed-fixture checks