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This page preserves the author’s frozen review bytes, so prose or data may still contain candidate, pending-review or unpublished labels.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.
sus和弦：先查三音有没有留下
先问：三音还在吗？
和弦听起来想换一点颜色，却不想马上换根音，可以先做一个很小的纸面实验：把D大三和弦的F#暂时换成G，再换回来；或换成E，再换回来。本课比较这些音集合，并给出一条可数清的原创分解和弦练习；不要求你先听出和弦名称。
先会辨认字母音名、升号、八度、四分音符与休止即可；需要时使用文末的和弦、音程和节奏链接。C4是中央C；D4中的4表示八度，不是指法。全课可用纸笔完成，钢琴是可选路线。
先遮住答案表：D–F#–A中的F#换成G，留下哪些音？换成E呢？如果E和F#都留下，是否还是同一个三音集合？先写自己的答案或“不确定”，再核对。
本课采用常见流行和弦符号语境：sus4用纯四度代替三音，sus2用大二度代替三音，并保留根音和纯五度。这里以D为指定根音：D–G–A是Dsus4，D–E–A是Dsus2；D–F#–A才是本例的D大三和弦。
“替换”是比较音集合的操作，不是要求手指把某个键滑到另一个键。Dsus2与Dsus4都没有三音，单凭它们不能判定大调或小调。Dm的F换成G也得到D–G–A；还要看上下文决定调性与功能。
名称、完整音集合与边界
下面的配方表是分析表，不是要求同时按下的动作。相对D的半音数分别是：E=2、F#=4、G=5、A=7；字母距离与半音数共同确定二度、三度、四度、五度。例中的D、F#、A也不是“必须用的音区”。
如果F#仍在，同时加入E，三音并没有被替换。在本课约定下，可写Dadd2或Dadd9；标法存在习惯差异，精确音名比简写更可靠。add9本身不要求七音；常见D9写法则包含小七度C。不要把Dadd9、D9和Dsus2混为一谈。
还要检查旋律：即使伴奏只有D–E–A，若同时保留的旋律是F#5，整体仍含三音F#。把整个合奏一概叫作“三音已被省略的Dsus2”就不准确。这里把D4–E4–A4加F#5作为分析反例，不把它增添到后面的演奏练习中。
同一音高类集合也可能有不同命名：D–E–A可按语境解释为Dsus2，或A根音的Asus4的转位。本课的D名称来自明确给定的D根音方案，不是声响自动给出的唯一答案；加D低音也不单独证明整段调性。
现代sus和弦符号不等于古典和声中完整的延留过程。后者通常涉及具体声部的准备、延留与解决条件，必须查看实际前后音与和声。本课只练习和弦音集合；不能把“第一小节有G、第二小节有F#”自动当成已经写出一个有准备的4–3延留。
| 符号 | 音名 | 相对D半音 | 三音存在 |
|---|---|---|---|
| Dsus4 | D4 G4 A4 | 0/5/7 | 否 |
| D | D4 F#4 A4 | 0/4/7 | 是 |
| Dsus2 | D4 E4 A4 | 0/2/7 | 否 |
| 情况 | 音名 | 符号／集合 | 三音／七音 |
|---|---|---|---|
| add | D4 E4 F#4 A4 | Dadd2 / Dadd9 | 有 / 无 |
| melody | D4 E4 A4 F#5 | Dadd2 / Dadd9 collection | 有 / 无 |
| ninth | D4 F#4 A4 C5 E5 | D9 | 有 / 有 |
原创四小节：先分解，再保留休止
本例为4/4，四分音符作为均匀计时单位q，每小节4q，共16q。主路线只有一个上方声部，每小节D4、变化音、A4各1q，然后休止1q。四个变化音依次为G4、F#4、E4、F#4；每小节的意图标签依次为Dsus4、D、Dsus2、D。无踏板、延音线或反复。
表中全局q从0开始，小节拍次从1开始；[a,b)包含a、不包含b。音符终点表示本例规定的时值边界，不是测得的放键或声音消失时刻。尤其第4拍不能被跳过，下一小节D4只在下一小节第1拍开始。
分解路线每次只弹上方声部的一个音，前音在下一个音开始时按本例意图放开；A4在休止开始时放开。这样依次呈现一个小节的和弦音，绝不意味着三个音一直同时发声。实际钢琴余音仍可能继续，纸面休止不是绝对声学静音的保证。
可选低音路线另加一个声部：每小节第1拍开始D3，谱写4q，在下一小节边界放开并重新起音；最后一次在q=16结束。上方休止期间低音仍占有谱写时值，所以那不是全体声部休止。先分别读清或单手做，再决定是否合手；不用延音踏板补时值，也不要求某一指法或跨距。
主路线有12个音符事件、4段上方休止，总跨度16q。加低音后有16个音符事件、同样4段上方休止，总跨度仍是16q，不是32q；并发声部的时值不能顺次相加。键位表可帮助找音，但MIDI编号只是计算标签，不要求MIDI设备。
| 事件 | 小节:拍 | 全局q区间 | 音／休止 | 意图和弦 |
|---|---|---|---|---|
| U1-1 | 1:1 | [0,1) | D4 | Dsus4 |
| U1-2 | 1:2 | [1,2) | G4 | Dsus4 |
| U1-3 | 1:3 | [2,3) | A4 | Dsus4 |
| U1-4 | 1:4 | [3,4) | 休止 | Dsus4 |
| U2-1 | 2:1 | [4,5) | D4 | D |
| U2-2 | 2:2 | [5,6) | F#4 | D |
| U2-3 | 2:3 | [6,7) | A4 | D |
| U2-4 | 2:4 | [7,8) | 休止 | D |
| U3-1 | 3:1 | [8,9) | D4 | Dsus2 |
| U3-2 | 3:2 | [9,10) | E4 | Dsus2 |
| U3-3 | 3:3 | [10,11) | A4 | Dsus2 |
| U3-4 | 3:4 | [11,12) | 休止 | Dsus2 |
| U4-1 | 4:1 | [12,13) | D4 | D |
| U4-2 | 4:2 | [13,14) | F#4 | D |
| U4-3 | 4:3 | [14,15) | A4 | D |
| U4-4 | 4:4 | [15,16) | 休止 | D |
| 可选低音事件 | 小节:拍 | 全局q区间 | 音 |
|---|---|---|---|
| B1 | 1:1 | [0,4) | D3 |
| B2 | 2:1 | [4,8) | D3 |
| B3 | 3:1 | [8,12) | D3 |
| B4 | 4:1 | [12,16) | D3 |
| 音 | MIDI | 88键序号（A0=1） |
|---|---|---|
| D3 | 50 | 30 |
| D4 | 62 | 42 |
| E4 | 64 | 44 |
| F#4 | 66 | 46 |
| G4 | 67 | 47 |
| A4 | 69 | 49 |
| F#5 | 78 | 58 |
一次只核对一个问题
纸笔路线：遮住配方与答案，写出四个小节各自的三个音，并标出哪个小节有三音F#。再把16个q格填成音或休止，逐格核对表。若把sus2写成D–E–F#–A，先查“替换”与“加入”的区别，不把它诊断成听觉或手指问题。
钢琴路线：只在舒适的条件下试上方单音版，速度以能辨认音和保留休止为准。先独立找D4、G4、F#4、E4、A4，慢数1、2、3、4，一小节后停下核对；如果太多，先只说音名并在纸上点拍。可选择不合手，不需要把三个音抓成一个手型。
核对后接回完整四小节，特别查A4—休止—下一小节D4的接缝。先从第一小节恢复；若单独练了第三小节，再连回第二到第四小节，最后再走完整四小节。接缝检查不能省略休止，也不能把局部正确当成全段已稳定。
速度数字只供换算：四分音符=60 BPM时，1q=1秒，4q=4秒，16q=16秒；四分音符=48 BPM时，分别为1.25、5、20秒。两者都不是必须达到的目标、固定练习量或学习效果证据。
记录所选路线、实际速度及拍单位、是否看答案、休止是否保留、三音是否误加、整段结果与下一次检查时间；没观察到就写未知。下一次先不看答案重做熟悉材料，记录实际间隔，再练习。这是保留检查；本页答案已经公开，不算未见材料迁移。
来源能证明到哪里
来源NC-035的既有48段ASR文字已全部阅读；在40、55、110、118、142、170秒各检查一张静帧，共6张。40秒可见C标记，55与110秒可见C、C(sus4)、C(sus2)标记；118与142秒显示另一种分解织体布局；170秒显示包含Am与sus标记的进行。只确认这些可见标记与布局，不把完整源谱逐音审核算在内。
未经原声听校的转写提出用sus装饰和声、可用于整块或分解伴奏，并涉及大小三和弦；这些只保留为ASR候选，不把其中“随意加入”扩张为旋律、低音和全部声部都可不检查的通则。本课关于替换、三音是否仍在及原创新例的推导独立列明。
未听校原声、未连续观看动作、未逐音审核全部源谱，也未验证ASR与选帧精确对齐。清单时长230.379秒，容器时长230.357秒，差0.022秒尚未解释；这两个数都不是实际听看时长。没有新ASR、原曲复刻、真实演奏、身体适用性或学习效果验证。
D根音的配方、四小节音符与休止、可选D3低音、旋律反例和记录单均为本库原创。公开文件只含简短综合与定位，不含原始音视频、源图或完整转写。选帧加ASR文字是有限模态覆盖，不等于完整视听审阅。
Sus chords: first check whether the third remains
First ask: is the third still present?
To explore a different chord color while keeping the intended root, start with a small paper experiment: replace F# in a D major triad with G and return, or replace it with E and return. This lesson compares those pitch collections and supplies an original countable broken-chord exercise; identifying chord names by ear is not a prerequisite.
You need letter names, sharps, octaves, quarter notes and rests; use the chord, interval and rhythm links at the end if needed. C4 is middle C; the 4 in D4 is an octave number, not a fingering. The entire lesson can be completed on paper, with piano as an optional route.
Cover the answer tables first: what remains when G replaces F# in D–F#–A? What if E replaces it? If both E and F# remain, is it still the same three-note collection? Write an answer or “uncertain” before checking.
This lesson uses a common pop chord-symbol convention: sus4 replaces the third with a perfect fourth, and sus2 replaces it with a major second, retaining the root and perfect fifth. With D stipulated as root, D–G–A is Dsus4, D–E–A is Dsus2, and D–F#–A is the D major triad used here.
“Replacement” compares pitch collections; it does not instruct a finger to slide from one key to another. Dsus2 and Dsus4 contain no third, so neither alone establishes major or minor tonality. Replacing F in Dm with G also gives D–G–A; key and function still depend on context.
Names, complete collections and limits
The recipe table is analytical, not an instruction to press all keys together. Semitones above D are E=2, F#=4, G=5 and A=7; letter distance together with semitone distance determines second, third, fourth and fifth. The D, F# and A here do not prescribe a mandatory register.
If F# remains while E is added, the third has not been replaced. Under this lesson’s convention, Dadd2 or Dadd9 can describe that collection; naming practices vary, so explicit pitches are more reliable than shorthand. Add9 does not itself require a seventh; the common D9 spelling includes the minor seventh C. Keep Dadd9, D9 and Dsus2 distinct.
Check the melody as well: an accompaniment containing D–E–A still participates in a full texture with a third if a simultaneous melody retains F#5. Calling that entire texture a “Dsus2 with the third omitted” would be inaccurate. D4–E4–A4 plus F#5 is an analytical counterexample here, not an extra part in the performance exercise below.
One pitch-class collection can receive different names: D–E–A may be understood contextually as Dsus2 or as an inversion of A-rooted Asus4. The D labels here follow an explicitly chosen D-root plan, not a unique answer supplied by sound; a D bass alone does not establish the key of the passage.
A modern sus chord symbol is not the same as a complete suspension process in classical harmony. The latter normally involves preparation, suspension and resolution conditions in a particular voice and requires inspecting the surrounding notes and harmony. This lesson practices chord-tone collections; “G in bar 1, F# in bar 2” does not automatically constitute a prepared 4–3 suspension.
| Symbol | Pitches | Semitones above D | Third present |
|---|---|---|---|
| Dsus4 | D4 G4 A4 | 0/5/7 | false |
| D | D4 F#4 A4 | 0/4/7 | true |
| Dsus2 | D4 E4 A4 | 0/2/7 | false |
| Case | Pitches | Symbol / collection | Third / seventh |
|---|---|---|---|
| add | D4 E4 F#4 A4 | Dadd2 / Dadd9 | yes / no |
| melody | D4 E4 A4 F#5 | Dadd2 / Dadd9 collection | yes / no |
| ninth | D4 F#4 A4 C5 E5 | D9 | yes / yes |
Original four bars: separate the notes and keep the rests
This example is in 4/4, using the quarter note as a uniform clock unit q: 4q per bar and 16q in total. The main route has only one upper voice: D4, a changing note and A4 each last 1q, followed by a 1q rest. The changing notes are G4, F#4, E4 and F#4, with intended bar labels Dsus4, D, Dsus2 and D. There is no pedal, tie or repeat.
Global q starts at 0, while beat numbers within a bar start at 1; [a,b) includes a and excludes b. Note endpoints describe stipulated durations, not measured key releases or sound cessation. In particular, do not skip beat 4: the next D4 starts only on beat 1 of the next bar.
In the broken-chord route, play one upper-voice note at a time, intending to release the previous note as the next begins and to release A4 at the rest’s start. This presents a bar’s chord tones successively; it does not mean all three keep sounding simultaneously. Piano resonance may continue, so a written rest is not a guarantee of absolute acoustic silence.
An optional bass route adds a separate voice: start D3 on beat 1 of each bar for a notated 4q, release and rearticulate at the next bar boundary, and end the last at q=16. Bass duration continues through each upper-voice rest, so this is not an all-voice rest. Read or try the parts separately before deciding whether to combine them; do not use the damper pedal to supply durations, and no fingering or hand span is prescribed.
The main route has 12 note events and four upper-voice rests across 16q. Adding the bass gives 16 note events and the same four upper-voice rests across the same 16q, not 32q; concurrent voice durations must not be added sequentially. The key table can help locate notes; MIDI numbers are calculation labels and do not require a MIDI device.
| Event | Bar:beat | Global q span | Pitch / rest | Intended chord |
|---|---|---|---|---|
| U1-1 | 1:1 | [0,1) | D4 | Dsus4 |
| U1-2 | 1:2 | [1,2) | G4 | Dsus4 |
| U1-3 | 1:3 | [2,3) | A4 | Dsus4 |
| U1-4 | 1:4 | [3,4) | rest | Dsus4 |
| U2-1 | 2:1 | [4,5) | D4 | D |
| U2-2 | 2:2 | [5,6) | F#4 | D |
| U2-3 | 2:3 | [6,7) | A4 | D |
| U2-4 | 2:4 | [7,8) | rest | D |
| U3-1 | 3:1 | [8,9) | D4 | Dsus2 |
| U3-2 | 3:2 | [9,10) | E4 | Dsus2 |
| U3-3 | 3:3 | [10,11) | A4 | Dsus2 |
| U3-4 | 3:4 | [11,12) | rest | Dsus2 |
| U4-1 | 4:1 | [12,13) | D4 | D |
| U4-2 | 4:2 | [13,14) | F#4 | D |
| U4-3 | 4:3 | [14,15) | A4 | D |
| U4-4 | 4:4 | [15,16) | rest | D |
| Optional bass event | Bar:beat | Global q span | Pitch |
|---|---|---|---|
| B1 | 1:1 | [0,4) | D3 |
| B2 | 2:1 | [4,8) | D3 |
| B3 | 3:1 | [8,12) | D3 |
| B4 | 4:1 | [12,16) | D3 |
| Pitch | MIDI | 88-key index (A0=1) |
|---|---|---|
| D3 | 50 | 30 |
| D4 | 62 | 42 |
| E4 | 64 | 44 |
| F#4 | 66 | 46 |
| G4 | 67 | 47 |
| A4 | 69 | 49 |
| F#5 | 78 | 58 |
Check one question at a time
Paper route: cover the recipes and answers, write each bar’s three notes and identify which bars contain the third F#. Then fill sixteen q slots with notes or rests and compare each slot with the table. If sus2 was written D–E–F#–A, check replacement versus addition first; do not diagnose a hearing or fingering problem.
Piano route: try the upper single-note version only under comfortable conditions, at a tempo that permits locating notes and preserving rests. First locate D4, G4, F#4, E4 and A4 separately, then count 1,2,3,4 slowly and pause after one bar to check. If that is too much, say the names while pointing to beats on paper. Combining hands is optional, and there is no need to hold the three notes as one hand shape.
After checking, restore all four bars, especially the seam A4—rest—next-bar D4. Restore the phrase from bar 1; if bar 3 was isolated, reconnect bars 2–4 and then all four bars. Seam work must keep the rest, and local correctness does not establish a stable full passage.
Tempo figures are only conversions: at quarter note=60 BPM, 1q=1 second, 4q=4 seconds and 16q=16 seconds; at quarter note=48 BPM, they are 1.25, 5 and 20 seconds. Neither is a required target, fixed practice dose or evidence of learning effectiveness.
Record the route, actual tempo and beat unit, whether answers were visible, whether rests remained, whether a third was mistakenly added, the whole-phrase result and the next check time; mark unobserved items unknown. Next time, attempt the familiar material without answers before practicing, recording the actual interval. This is a retention check; the answers on this public page do not constitute unseen-material transfer.
What the source evidence establishes
All 48 segments of the existing NC-035 ASR text were read, and one still at each of 40,55,110,118,142 and 170 seconds was inspected, six in total. The 40-second still shows C labels; 55 and 110 show C, C(sus4) and C(sus2); 118 and 142 show another broken-texture layout; 170 shows a progression including Am and sus labels. Inspection establishes these visible labels and layouts, not a note-by-note audit of the complete source score.
The unaudited transcript proposes sus decoration, mentions block and broken accompaniment, and refers to major and minor triads. These remain ASR candidates; wording about casual insertion is not generalized into a rule that ignores melody, bass or other parts. This lesson separately states its reasoning about replacement, the retained third and the original example.
Source audio was not auditioned, continuous motion was not watched, the complete source score was not audited note by note, and precise ASR/still alignment was not verified. Inventory duration is 230.379 seconds and container duration 230.357 seconds; the 0.022-second difference remains unexplained, and neither is actual listening/viewing time. There was no new ASR, source-song reconstruction, real performance, physical-suitability validation or learning-effect validation.
The D-root recipes, four-bar notes and rests, optional D3 bass, melody counterexample and record are original to this repository. Public files contain brief synthesis and locators, without original media, source images or a complete transcript. Selected stills plus ASR text constitute limited modality coverage, not full audiovisual review.
Prerequisites and review: chords, intervals, rhythm, practice project. Checkable data, source limits.