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This page preserves the author’s frozen review bytes, so prose or data may still contain candidate, pending-review or unpublished labels.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.
Dm/C：先读低音指令，再核完整音组
斜线给了哪些信息？
看到Dm/C，先拆成两项：Dm指定D–F–A的小三和弦材料，斜线后的C指定低音。它不是把Dm与C大三和弦全部叠在一起，也不是写出全曲的调。先记录符号明确要求的材料，再另问实际音区、时间与前后连接。
前置是字母音名、大小三和弦与低音。C4是中央C，音名后的数字是八度而非指法；b降低半音。全课可用纸笔完成，不要求钢琴、唱音、MIDI或录音。所列音高采用普通十二平均律钢琴坐标；只为核算，不据此推断听感。
先遮住答案表：本例低音C3，上方完整放D4、F4、A4，没有其他声部。去掉八度后共有几个不同音名？有没有E、G或Bb？先写预测或“不确定”，再检查。这里所有基本三和弦音都明确给出，不靠未说明的省音或额外旋律补答案。
Dm的命名根音是D，实际最低音在本例却是C3。斜线符号本身不规定左手弹C、右手弹Dm，也不规定八度、重复次数、节奏或力度。乐队、分手或纸面声部都可实现同一低音指令；要判断实现是否符合，还得看全部实际音。
完整音组能支持哪些名称？
C3与D4–F4–A4合起来是C–D–F–A，四个不同音高类。以D为根音重排得到D–F–A–C，相对D为0、3、7、10半音，正是Dm7的完整拼写。若采用Dm7分析，C是和弦七音，放在低音是第三转位，可写Dm7/C。这里成立的是同一完整集合与低音的关系，不是两个符号在所有语境中的功能保证。
所以Dm/C不是仅把Dm三和弦原有的三个音换排列：C并不在D–F–A内，这个实现添加了第四种音。也不能因C最低就把D–F–A改称C大三和弦。低音、符号左侧三和弦的根音、完整音组的分析名称以及调性中心，是需要分别写清的四件事。
对照F/C：本例用C3–F4–A4–C5，去掉重复八度后只有C–F–A。C本来就是F三和弦的五音，所以这是F三和弦第二转位；它没有Dm/C中的D。两个配置有相同低音与共同音，不足以说完整和弦相同。四个音符也未必是四个不同音高类。
本课按常见符号列C7的完整理论音组C–E–G–Bb。Dm/C并没有E、G或Bb，不能因为低音C就叫它完整C7。实际配置可能明确省略某音，但这里没有另给C7和声计划或省音条件，不能为套名称而假装未写出的音存在。
C9sus4的常见完整材料是C–F–G–Bb–D；这里sus4取代三音E，仍含小七音Bb。Dm/C与它共享C、D、F，却缺G、Bb并多A。因此本页也不把Dm/C自动改名为C9sus4；尤其不能从低音C推造一个未给出的属七性质。普通Csus4的C–F–G同样不是本例四音集合。
下表是无节奏的名称与集合对照，只有后面的乐句表是时间任务。表中的C7、C9sus4、Csus4只是反例，不要求把它们补弹进乐句。如果别的真实声部另有E或Bb，必须把它计入整体再分析；本例“没有E、Bb”的结论只适用于明确列出的声部。
| 符号 | 明确给定的音高 | 不同音高类数量 | 本表读法 |
|---|---|---|---|
| Dm/C | C3–D4–F4–A4 | 4 | Dm材料加C低音；四种音 |
| Dm7/C | C3–D4–F4–A4 | 4 | 采用Dm7分析时为第三转位；未判功能 |
| F/C | C3–F4–A4–C5 | 3 | F三和弦第二转位；C重复，无D |
| C | C3–C4–E4–G4 | 3 | 完整C大三和弦材料 |
| C7 | C3–E4–G4–Bb4 | 4 | 完整属七拼写反例；未放入乐句 |
| C9sus4 | C3–F4–G4–Bb4–D5 | 5 | 完整常见拼写反例，含Bb而无E |
| Csus4 | C3–F4–G4 | 3 | 基本sus4反例；无D、A |
一条完整乐句：低音同名，内容仍会改变
本库原创四小节以C大调为给定背景，安排C—Dm/C—C—F/C—C—C。它采用4/4，不复制源课的三拍例子。q为四分单位，每小节4q，共16q；四条声部并发，没有其他旋律、踏板、反复或指定配手。
低音V1在q=0、4、8各开始C3，分别占4q；q=12再起C3占2q。上方三个声部在q=0起一组音占4q，之后在4、6、8、10、12各起一组占2q。q=14四声部都进入2q休止，q=16结束。这里“保持低音”指音高保持为C，并不是从头到尾只有一次起音。
表中音名表示新起音，=表示同一事件继续、没有重起，休止占独立时间。[a,b)含a不含b。q=6与10只有上方三声部换音，低音仍在原来的4q事件内；q=4、8、12低音确实重起，不能把“同一个音名”误读为一条延音线。
[4,6)是Dm/C：C3、D4、F4、A4；[8,10)是F/C：C3、F4、A4、C5。前者四种音，后者三种音。两处低音都为C3，但上方并非相同；返回C时，上方回到C4、E4、G4。它们在本例各占2q，这个时长本身不证明“没有独立和声作用”。
共有22个音符事件：低音4个、三个上声部各6个；另有4段声部休止。起音时点共6个，即0、4、6、8、10、12，不是22个不同时间点。四声部各覆盖16q，乐句总长仍是16q，不把并发时值相加为64q。
| 声部 | [0,4) | [4,6) | [6,8) | [8,10) | [10,12) | [12,14) | [14,16) |
|---|---|---|---|---|---|---|---|
| V1 | C3 | C3 | = | C3 | = | C3 | 休止 |
| V2 | C4 | D4 | C4 | F4 | C4 | C4 | 休止 |
| V3 | E4 | F4 | E4 | A4 | E4 | E4 | 休止 |
| V4 | G4 | A4 | G4 | C5 | G4 | G4 | 休止 |
| 全局q窗口 | 标签 | 完整同时音组 |
|---|---|---|
| [0,4) | C | C3–C4–E4–G4 |
| [4,6) | Dm/C | C3–D4–F4–A4 |
| [6,8) | C | C3–C4–E4–G4 |
| [8,10) | F/C | C3–F4–A4–C5 |
| [10,12) | C | C3–C4–E4–G4 |
| [12,14) | C | C3–C4–E4–G4 |
| 音高 | MIDI坐标 | 88键编号 |
|---|---|---|
| C3 | 48 | 28 |
| C4 | 60 | 40 |
| D4 | 62 | 42 |
| E4 | 64 | 44 |
| F4 | 65 | 45 |
| G4 | 67 | 47 |
| A4 | 69 | 49 |
| C5 | 72 | 52 |
此键位表只覆盖乐句中的8种实际音高；无节奏反例的Bb4、D5不属于乐句。88键从A0=1同时计黑白键，中央C4=40；MIDI数只作坐标。
把核对结果接回整句
纸面路线先圈两处斜线后的C，再各列全部实际音名、去重后的音高类和不存在的E／G／Bb。然后沿V1指出哪些地方继续、哪些地方重起，最后比较Dm/C与F/C中D是否存在。只写“低音一样”不能完成这项核对；无需同时弹出四声部。
若只想修Dm/C的音名，查看[4,8)窗口：局部0对应原第2小节第1拍，局部2对应原第3拍，局部4为窗口结束。低音从局部0保持到4，上方在2回到C组。局部核对完，恢复[0,16)全句，包括第1小节、F/C插入、最后2q休止；局部正确不等于完整乐句已核对。
本页不设实琴路线。若仅练时间换算，四分音符60 BPM时16q为16秒、局部4q为4秒；速度只是算例。谱写终点与休止不是测得的放键、衰减或绝对静音，纸面正确也不能证明已听见完整和弦或能流畅演奏。
记录核对前预测、答案是否可见、实际写出的音名、低音继续／重起的结果、未知项、一个下一步与恢复整句后的结果。空白不默认通过，本页没有真实学习者数据。隔天或另一个明确记录的延迟后，先遮答案重建相同乐句并记录间隔，再练习。
这只复测熟悉材料的保留；迁移另需难度相近且未看、未听、未练的新材料。本页带答案的名称表不能随后冒充盲测。若将任务用于自己的谱，先核全部声部与上下文，不为了套Dm/C名称擅自删去旋律音。
功能判断与来源范围
本例给C背景并安排插入后回到C，是一种明确的教学组织，不是单凭低音C证明了全段都具有唯一的C和弦功能。判断装饰、独立和弦或转调，要结合位置、持续、旋律、前后连接与更大范围；“短就只是装饰”不是自动规则，也没有固定拍数门槛。
本课与sus课的三音替换、身份课的添音／换时点、六四课的转位／功能区分相接，但新增的是斜线明确指定的低音与完整音组之间的核对。Dm/C添加C，而F/C重排F三和弦原有的C；两个斜线看似一样，集合操作并不一样。
NC-036的既有72段ASR已全部阅读，选看50、81、94、134、148秒五张静帧。50秒有C及3/4标记；81秒有C与Dm/C；94秒有C与F/C的比较布局；134秒列Em/C、G/C、Am/C、Bdim/C；148秒可见指向G/C的Cmaj9(omit3)文字。这里只核标签和布局，不逐音验收完整源谱。
ASR第17—23段提出保留低音、临时换上方Dm再返回，第24—28段涉及F/C及把短暂插入视作装饰的解释。这些归属均是未经原声听校的候选；没有把其功能解释升为普遍规则。静帧上的名称也不能证明音响实现、听感或ASR逐句精确对齐。
四小节4/4乐句、全部声部时间、反例拼写、同集合分析与记录步骤均为本库原创综合，不是源课改谱或逐音转录。没有新ASR、原声听校、连续动作、完整源谱、实际演奏或学习效果验收。候选仍待独立审阅，当前不增加已发布覆盖数。
sus与三音 · 和弦身份与编辑 · 六四与语境 · 和声与配置 · 来源范围 · 可复算数据
Dm/C: read the bass instruction, then check the complete collection
What does the slash tell us?
Read Dm/C in two parts: Dm specifies the D–F–A minor-triad material, and C after the slash specifies the bass. It does not stack an entire C-major triad under Dm or state the key of the piece. First record the material specified by the symbol; consider actual registers, timing and neighboring chords separately.
Prerequisites are letter names, major/minor triads and bass notes. C4 is middle C; a numeral after a note name is an octave, not fingering, and b lowers a note by a semitone. Paper is sufficient throughout: no piano, singing, MIDI or recording is required. Pitches use ordinary twelve-tone equal-tempered piano coordinates for calculation, not as evidence of perceived sound.
Cover the answer table first. The example has bass C3 with D4, F4 and A4 above it and no other parts. How many distinct note names remain when octaves are removed? Are E, G or Bb present? Record a prediction or “uncertain,” then check. Every basic triad tone is explicitly supplied; unspecified omissions or extra melody notes cannot fill in the answer.
Dm’s naming root is D, while the lowest actual pitch here is C3. The slash alone does not prescribe C in the left hand and Dm in the right, nor any octave, doubling, rhythm or dynamics. An ensemble, a hand distribution or paper voices can realize the same bass instruction; judging the realization requires all actual notes.
Which names does the complete collection support?
C3 together with D4–F4–A4 gives C–D–F–A, four distinct pitch classes. Reordering from root D gives D–F–A–C at 0,3,7,10 semitones: the complete spelling of Dm7. Under a Dm7 analysis, bass C is the chordal seventh, producing third inversion, written Dm7/C. This establishes the same complete collection and bass, not a guarantee of identical function for the labels in every context.
Dm/C is therefore more than rearranging the three existing Dm-triad tones: C is absent from D–F–A, so this realization adds a fourth pitch class. Nor does placing C lowest turn D–F–A into a C-major triad. Bass, the root of the triad named before the slash, an analytical name for the complete collection and tonal center are four separate entries.
Compare F/C as C3–F4–A4–C5: removing octave duplication leaves only C–F–A. C is already the fifth of the F triad, so this is its second inversion; it lacks D from Dm/C. A shared bass and some shared tones do not make the complete chords identical. Four written pitches need not mean four different pitch classes.
Using common chord-symbol spelling, the complete theoretical C7 collection is C–E–G–Bb. Dm/C contains none of E, G or Bb, so bass C does not make it a complete C7. A realization can explicitly omit a tone, but no C7 harmonic plan or omission conditions are supplied here; do not pretend absent notes are present to fit a label.
A common complete C9sus4 collection is C–F–G–Bb–D: sus4 replaces third E while retaining minor seventh Bb. Dm/C shares C,D,F with it but lacks G and Bb and adds A. This page therefore does not automatically rename Dm/C as C9sus4, especially by inventing a dominant-seventh quality from bass C. Basic Csus4, C–F–G, is also a different collection.
The following table compares names and collections without rhythm; only the later phrase table defines a timed task. C7, C9sus4 and Csus4 are counterexamples, not extra chords to play in the phrase. If another real part supplies E or Bb, include it in the full texture before analyzing; this example’s absence of E and Bb applies only to the explicitly listed parts.
| Symbol | Explicit pitches | Distinct pitch classes | Reading here |
|---|---|---|---|
| Dm/C | C3–D4–F4–A4 | 4 | Dm material plus C bass; four pitch classes |
| Dm7/C | C3–D4–F4–A4 | 4 | Third inversion under a Dm7 analysis; function unassigned |
| F/C | C3–F4–A4–C5 | 3 | F triad in second inversion; C doubled, D absent |
| C | C3–C4–E4–G4 | 3 | Complete C-major triad material |
| C7 | C3–E4–G4–Bb4 | 4 | Complete dominant-seventh spelling counterexample; outside phrase |
| C9sus4 | C3–F4–G4–Bb4–D5 | 5 | Common complete spelling counterexample, with Bb and without E |
| Csus4 | C3–F4–G4 | 3 | Basic sus4 counterexample; D and A absent |
One complete phrase: the same bass name, changing content
This original four-bar phrase stipulates C major as its background and arranges C–Dm/C–C–F/C–C–C. It uses 4/4 rather than copying the source’s triple-meter example. A quarter-note unit is q, each bar has 4q, and the whole phrase has 16q. Four voices run concurrently, with no other melody, pedal, repeats or prescribed hands.
Bass V1 starts C3 at q=0,4,8 for 4q each, and reattacks C3 at q=12 for 2q. The three upper voices start a group at q=0 lasting 4q, then groups at 4,6,8,10,12 lasting 2q each. All four voices rest for 2q from q=14 to the ending at q=16. Here “keeping the bass” means retaining pitch C, not using only one attack throughout.
In the table, a pitch name starts a new note, = continues the same event without a new attack, and rest occupies time of its own. [a,b) includes a and excludes b. Only the three upper voices change at q=6 and 10: the bass remains inside its existing 4q event. The bass does reattack at q=4,8,12; identical note names do not imply a tie.
[4,6) is Dm/C: C3,D4,F4,A4; [8,10) is F/C: C3,F4,A4,C5. The former has four pitch classes and the latter three. Both have bass C3 but different upper content; returning to C restores C4,E4,G4 above. Each insertion lasts 2q here, but duration alone does not prove the absence of a separate harmonic role.
There are 22 note events: four bass events and six in each of the three upper voices, plus four voice-rest events. The six distinct onset times are 0,4,6,8,10,12, not 22 different time points. Each voice covers 16q while the phrase lasts 16q; concurrent durations do not add up to a 64q phrase.
| Voice | [0,4) | [4,6) | [6,8) | [8,10) | [10,12) | [12,14) | [14,16) |
|---|---|---|---|---|---|---|---|
| V1 | C3 | C3 | = | C3 | = | C3 | rest |
| V2 | C4 | D4 | C4 | F4 | C4 | C4 | rest |
| V3 | E4 | F4 | E4 | A4 | E4 | E4 | rest |
| V4 | G4 | A4 | G4 | C5 | G4 | G4 | rest |
| Global q window | Label | Complete simultaneous pitches |
|---|---|---|
| [0,4) | C | C3–C4–E4–G4 |
| [4,6) | Dm/C | C3–D4–F4–A4 |
| [6,8) | C | C3–C4–E4–G4 |
| [8,10) | F/C | C3–F4–A4–C5 |
| [10,12) | C | C3–C4–E4–G4 |
| [12,14) | C | C3–C4–E4–G4 |
| Pitch | MIDI coordinate | 88-key number |
|---|---|---|
| C3 | 48 | 28 |
| C4 | 60 | 40 |
| D4 | 62 | 42 |
| E4 | 64 | 44 |
| F4 | 65 | 45 |
| G4 | 67 | 47 |
| A4 | 69 | 49 |
| C5 | 72 | 52 |
This key table covers only the phrase’s eight actual pitches; Bb4 and D5 in the untimed counterexamples are outside the phrase. Count black and white keys from A0=1 on an 88-key keyboard, with middle C4=40; MIDI numbers are coordinates only.
Return the checked detail to the whole phrase
On paper, circle C after each slash and list all actual pitches, unique pitch classes and the absence of E/G/Bb in each insertion. Follow V1 to identify continuations and reattacks, then compare the presence of D in Dm/C and F/C. “Same bass” alone does not complete the check; simultaneous four-part playing is unnecessary.
To correct only the Dm/C pitches, inspect [4,8): local 0 is original bar 2 beat 1, local 2 is its beat 3, and local 4 ends the window. Bass continues from local 0 to 4 while the upper voices return to the C group at local 2. Then restore all of [0,16), including bar 1, the F/C insertion and the final 2q rest. A correct local check is not a complete phrase check.
This page has no piano route. For time conversion alone, quarter note=60 BPM makes 16q sixteen seconds and the local 4q window four seconds; that tempo is only an arithmetic example. Written endpoints and rests are not measured key releases, decay or absolute silence. Paper correctness does not establish hearing the complete chord or fluent performance.
Record the prediction before checking, answer visibility, the note names actually written, the result for bass continuation/reattack, unknowns, one next step and the restored whole-phrase result. Blank fields do not default to a pass; no real learner data are supplied here. After the next day or another recorded delay, hide the answers and reconstruct the same phrase before practicing, recording the interval.
This retests retention of familiar material only; transfer requires comparably difficult material not previously seen, heard or practiced. This answered collection table cannot later serve as a blind test. When applying the task to your own score, check all parts and context first; do not remove melody notes merely to fit the Dm/C label.
Function and source scope
The stipulated C background and return after each insertion are a chosen teaching organization, not proof from bass C alone that the entire span has one unique C-chord function. Decoration, independent harmony and modulation require position, duration, melody, neighboring connections and broader context. “Short means merely decorative” is not an automatic rule or a fixed beat-count threshold.
This lesson connects to third replacement in the sus lesson, additions versus timing edits in the identity lesson, and inversion versus function in the six-four lesson. Its new focus is checking a slash-specified bass against the complete collection: Dm/C adds C, whereas F/C repositions C already present in an F triad. Similar-looking slashes need not perform the same collection operation.
All 72 existing NC-036 ASR segments were read, and five stills were inspected at 50,81,94,134 and 148 seconds. The 50-second frame shows C and 3/4 labels; 81 shows C and Dm/C; 94 compares C and F/C layouts; 134 lists Em/C,G/C,Am/C,Bdim/C; 148 shows Cmaj9(omit3) text pointing to G/C. Only labels and layouts were checked, not the complete source score note by note.
ASR segments 17–23 propose keeping the bass while briefly changing the upper part to Dm and returning; 24–28 concern F/C and interpreting short insertions as decoration. These attributions remain candidates unaudited against source audio; their functional explanation is not elevated to a universal rule. Displayed names establish neither the sounding realization, perceived effect nor precise sentence-level ASR alignment.
The four-bar 4/4 phrase, complete voice timelines, counterexample spellings, same-collection analysis and recording steps are original synthesis, not an arrangement or note-for-note transcription of the source. There is no new ASR or acceptance of source audio, continuous motion, the full source score, actual performance or learning effects. This candidate awaits independent review and currently adds no published coverage.
Sus and thirds · Chord identity and edits · Six-four and context · Harmony and voicing · Source scope · Recomputable data