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This page preserves the author’s frozen review bytes, so prose or data may still contain candidate, pending-review or unpublished labels.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.
记谱音与实音：先定乐器，再换算
同一个音名，先问它属于哪一栏
你想让钢琴和一支降B调小号奏出相同音高。钢琴谱写G4，小号分谱应该写G4还是A4？先写下你的预测或“不确定”，再看后面的约定与换算。本课要解决的是：同一目标音高，为何在不同乐器分谱上可能写成不同音名。
记谱音高（written pitch）是分谱写出的音名和八度；实音／音乐会音高（sounding pitch / concert pitch）是用共同音高标准描述的目标音高。本课的“实音”是按约定算出的音高，不是已经听过或测得的声音。配器时先确定共同实音，再为各乐器生成自己的记谱栏。
先熟悉字母音名、升降号、八度编号和音程。C4是中央C；B4之后的自然C是C5，音名后的数字不是指法。本文用#、b分别表示升、降半音；所有练习都可用纸笔完成，钢琴只是可选核对。
先声明乐器和分谱惯例
下表采用现代常见分谱惯例，明确列出从记谱音到实音的有向音程。降B调小号的“大二度向下”是低2个半音；G调中音长笛的“纯四度向下”是低5个半音。不可只写“小号”或“长笛”就假定全家族都使用同一个数值。
“降B调”或“G调”描述乐器的移调关系，不表示这件乐器只能奏降B大调或G大调，也不是这段音乐的调号。低音长笛虽是C调，仍有低八度关系；只比较音级、不核八度，就会漏掉这类错误。这里不提供各乐器完整音域或指法表。
总谱可能显示实音，也可能显示各乐器移调后的记谱音。先看乐器名称、总谱／分谱说明及当前显示约定，再用一个已知对应音检查；已经是移调分谱时，不要再无条件移一次。抄错分谱与演奏者吹不准是不同问题。
| 乐器／惯例 | 记谱 | 实音 | 记谱→实音 |
|---|---|---|---|
| 钢琴，普通实音记谱 | C4 | C4 | 同度，0半音 |
| 降B调小号，高音谱号移调分谱 | C4 | Bb3 | 向下大二度，−2半音 |
| G调中音长笛，高音谱号移调分谱 | C4 | G3 | 向下纯四度，−5半音 |
| C调低音长笛，高音谱号分谱 | C4 | C3 | 向下纯八度，−12半音 |
| 低音提琴，普通低音谱号分谱 | C3 | C2 | 向下纯八度，−12半音 |
| 高音铁琴，高音谱号低两八度记谱 | C5 | C7 | 向上两个八度，+24半音 |
两个检查：半音数和字母跨度
令W表示记谱音的半音编号，S表示实音编号，t表示“记谱→实音”的带符号位移。向上为正，向下为负：S=W+t；反过来为指定实音写分谱，W=S−t。编号约定为C4=60，每上升半音加1；这只是算术坐标，不要求MIDI设备。十二平均律键位比较也不等于实际调音测量。
降B调小号t=−2。目标B4的编号是71，所以W=71−(−2)=73。向上大二度要求字母B→C，且跨入下一八度，故写C#5，不写Db5。Db5虽在十二平均律中同键，却把字母关系改成了三度。
G调中音长笛t=−5。目标B4需要W=71−(−5)=76；向上纯四度数B–C–D–E，得到E5。反查E5→B4是−5半音和向下纯四度。只看键数或只数音名字母都不足以完成拼写。
八度编号跟随写出的字母C分界，不是跟随同键的另一个名字。例如B#4与C5编号同为72，但B#4仍写4。表中B#4→A#4是降B调小号向下大二度的拼写练习；它是进阶纸面反例，不要求把所有音都改写成最少升降号。
| ID | 乐器 | 记谱 W | 实音 S | W编号 | S编号 | 核对重点 |
|---|---|---|---|---|---|---|
| T1 | 降B调小号，高音谱号移调分谱 | C#5 | B4 | 73 | 71 | 跨八度的大二度；不能拼Db5 |
| T2 | 降B调小号，高音谱号移调分谱 | C5 | Bb4 | 72 | 70 | D大调分谱中此C需自然号 |
| T3 | 降B调小号，高音谱号移调分谱 | B#4 | A#4 | 72 | 70 | 同键不换字母；保留大二度拼写 |
| G1 | G调中音长笛，高音谱号移调分谱 | E5 | B4 | 76 | 71 | E→B向下纯四度 |
| O1 | C调低音长笛，高音谱号分谱 | C5 | C4 | 72 | 60 | 音级相同，八度不同 |
调号跟着关系变化，临时记号仍要逐音核对
本课给共同实音参考指定C大调调号，只为明确书写条件；短句本身不证明完整调性。为降B调小号记谱时整体上移大二度，分谱调号为D大调；G调中音长笛整体上移纯四度，分谱调号为F大调。表中列的是常规大调调号对应，不是每次看到C音就改变整段调。
音名表把所有升降明确写出，所以D大调小号栏中的C#不是额外再升一次。若实音句里临时加入Bb4，小号应写C5自然音；在D大调分谱中须明确取消该处C#。若实音是B4，则小号仍写C#5。调号只是默认规则，不能代替逐音换算。
| 乐器 | 实音主音 | 记谱主音 | 分谱调号 |
|---|---|---|---|
| 钢琴，普通实音记谱 | C4 | C4 | C大调；无升降 |
| 降B调小号，高音谱号移调分谱 | C4 | D4 | D大调；F#、C# |
| G调中音长笛，高音谱号移调分谱 | C4 | F4 | F大调；Bb |
完整两小节：换音高，不挪动休止
以下旋律是本库原创，不取自源视频谱例。全段4/4、两小节、一个声部，q为四分音符单位，每个事件1q；第1小节是G4、A4、B4、休止，第2小节是C5、B4、A4、G4。没有延音线、伴奏、踏板或额外反复。起点q=0，终点q=8；[a,b)含a不含b。
三栏是同一目标旋律的三种书写参照，不是三条不同旋律要在钢琴上同时弹。每栏都有7个音符事件和1个完整休止；起音位置同为q=0、1、2、4、5、6、7。q=3到4保留休止，移调不能把它删掉或缩短。
核对第二小节时，小号D5、C#5、B4、A4各减2半音，回到C5、B4、A4、G4；中音长笛F5、E5、D5、C5各减5半音，也回到同一列。若把钢琴原栏直接交给降B调小号，开头G4会对应F4；这是未转换的分谱问题，不是通过实际试听得出的结论。
若纸上采用四分音符=60 BPM，每个事件1秒，每小节4秒，全段8秒；48 BPM时分别为1.25、5、10秒。移调不改变这些时间。休止起点要求结束前一音的记谱时值；钢琴余响可能仍在，表格没有测量声音消失时刻。
| 小节 | 拍 | q区间 | 共同实音／钢琴 | 降B调小号记谱 | G调中音长笛记谱 |
|---|---|---|---|---|---|
| 1 | 1 | [0,1) | G4 | A4 | C5 |
| 1 | 2 | [1,2) | A4 | B4 | D5 |
| 1 | 3 | [2,3) | B4 | C#5 | E5 |
| 1 | 4 | [3,4) | 休止 | 休止 | 休止 |
| 2 | 1 | [4,5) | C5 | D5 | F5 |
| 2 | 2 | [5,6) | B4 | C#5 | E5 |
| 2 | 3 | [6,7) | A4 | B4 | D5 |
| 2 | 4 | [7,8) | G4 | A4 | C5 |
先预测，再核对，再恢复全句
纸笔路线：遮住两条移调答案，先写目标实音E4给降B调小号该记什么，以及G调中音长笛写C5会对应什么实音。分别写方向、字母和半音数，再看答案：F#4与G4。前者是实音→记谱，后者是记谱→实音，不能套同一个方向。
随后把完整八行参考抄为小号与中音长笛分谱；休止行只复制起止时点，不给它音高。逐行逆算回参考，分别记“方向、拼写、八度、时间”是否出错。纸面结果全对，说明这张工作单正确，不能据此声称已经能听辨或合奏。
若第二小节C5→小号D5、B4→C#5容易混淆，先单独算这两个对应，再走完整第2小节[4,8)。检查后恢复从q=0开始的完整两小节，并保留q=3的休止。局部四拍不算完整八拍已经完成；不要为方便移调而只留下正确的几个音。
可选钢琴路线：先按下表分别找共同实音G4、A4、B4、C5，以舒适速度单音走实音栏；在休止开始时有意放开前音，并在q=8结束最后的G4。若把小号记谱栏直接当钢琴键名弹，得到的是另一个更高的键位序列，不能说它就是小号实际会发出的声音。无需小号或长笛，也不要求唱音或固定指法。
记录所用乐器惯例、显示参照、练习路线、实际拍单位与速度、提示、预测、各类错误、完整两小节结果及下次动作；没有实际观察就留未知。下一次练习先遮住答案重做同一熟悉材料，记录真实间隔后再纠错。这是延迟保留检查，不是未见材料迁移，也没有预先填好“通过”。
88键编号以A0=1、C4=40；键号=半音编号−20。
| 实音 | 半音编号 | 88键编号 |
|---|---|---|
| G4 | 67 | 47 |
| A4 | 69 | 49 |
| B4 | 71 | 51 |
| C5 | 72 | 52 |
来源范围和本课新增内容
NC-073的既有ASR共142段已全文阅读；77、89、137、158、213、231秒的6张静帧已查看。77秒可见移调乐器的文字定义，89秒有记谱与声音两行图，137秒标“记谱（低两个八度）”与高音铁琴，158秒标“记谱（高八度）”与低音提琴，后两帧标中音长笛并列声音／记谱谱表。这里只确认这些可见文字与布局，不逐音验收源谱。
未经听校的ASR候选解释了记谱与实音的差别，并以减少加线、同家族相近指法的阅读习惯说明为何移调。其口语音名存在识别噪声，不能用“朵瑞密”等片段当精确音高证据；本课没有把这些句子写成已核实原声、完整历史解释或适用于所有家族的指法规律。
本文的换算讲解、带八度对照、两小节旋律、调号与临时记号反例、还原及复测步骤均为本课原创。既有音程与音阶笔记讲拼写，本课新增“先定共同实音，再按明确乐器惯例转换并逆查”的分谱任务。未进行原音试听、连续动作审阅、实际演奏或学习效果验证。作者冻结时仍待独立审阅及发布。
Written and concert pitch: name the instrument, then convert
The same note name: first identify its column
You want a piano and a B-flat trumpet to produce the same pitch. If the piano part says G4, should the trumpet part say G4 or A4? Record a prediction or “uncertain” before reading the conventions and calculations below. This lesson asks why the same target pitch can require different note names in different instrumental parts.
Written pitch is the note name and octave in the part; sounding pitch or concert pitch describes the target pitch in a shared pitch reference. Here “sounding” means a pitch derived from the stated convention, not sound already heard or measured. For an arrangement, first specify the shared concert pitches, then derive each instrument’s written column.
Begin with letter names, accidentals, octave numbers and intervals. C4 is middle C; the natural C following B4 is C5, and the number after a note name is not a fingering. The symbols # and b mean sharp and flat by one semitone. Every exercise can be completed on paper; piano is an optional check.
Declare the instrument and notation convention first
The table adopts common modern part conventions and states the directed interval from written to sounding pitch. A B-flat trumpet sounds a major second, or 2 semitones, below written pitch; an alto flute in G sounds a perfect fourth, or 5 semitones, below. Naming only “trumpet” or “flute” is insufficient to assign one number to an entire instrument family.
“In B-flat” or “in G” names the instrument’s transposition, not a restriction to B-flat major or G major and not the passage’s key signature. A bass flute in C still sounds an octave lower; comparing pitch classes without octaves misses that error. This lesson does not provide complete instrumental ranges or fingering charts.
A score may display concert pitch or each instrument’s transposed written pitch. Check the instrument name, score/part instructions and current display convention, then test one known mapping. Do not automatically transpose an already transposed part again. A wrongly prepared part and a player’s intonation error are different problems.
| Instrument / convention | Written | Sounding | Written→sounding |
|---|---|---|---|
| Piano, ordinary concert-pitch notation | C4 | C4 | Unison, 0 semitones |
| B-flat trumpet, treble-clef transposed part | C4 | Bb3 | Down a major second, −2 semitones |
| Alto flute in G, treble-clef transposed part | C4 | G3 | Down a perfect fourth, −5 semitones |
| Bass flute in C, treble-clef part | C4 | C3 | Down a perfect octave, −12 semitones |
| Double bass, ordinary bass-clef part | C3 | C2 | Down a perfect octave, −12 semitones |
| Glockenspiel, treble notation two octaves below sounding | C5 | C7 | Up two octaves, +24 semitones |
Two checks: semitone distance and letter span
Let W be the written pitch’s semitone number, S the sounding pitch’s number, and t the signed written-to-sounding offset. Upward is positive and downward negative: S=W+t; when preparing a part for a specified sounding pitch, W=S−t. Set C4=60 and add 1 per ascending semitone. This is an arithmetic coordinate and requires no MIDI equipment. Equal-tempered keyboard comparison is not a measurement of actual tuning.
For the B-flat trumpet, t=−2. Target B4 has number 71, so W=71−(−2)=73. An upward major second requires B→C and crosses into the next octave, giving C#5, not Db5. Db5 uses the same equal-tempered key but changes the letter relationship to a third.
For the alto flute in G, t=−5. Target B4 requires W=71−(−5)=76; counting B–C–D–E upward gives the perfect fourth E5. Checking E5→B4 returns −5 semitones and a descending perfect fourth. Counting keys alone or letters alone is insufficient.
Octave numbers follow the written letter’s C boundary, not an enharmonic alternative. B#4 and C5 both have number 72, but B#4 retains octave 4. The table’s B#4→A#4 is an advanced paper example of a B-flat trumpet’s descending major second. It is not a request to respell everything with the fewest accidentals.
| ID | Instrument | Written W | Sounding S | W number | S number | Check |
|---|---|---|---|---|---|---|
| T1 | B-flat trumpet, treble-clef transposed part | C#5 | B4 | 73 | 71 | Major second across octave boundary; do not spell Db5 |
| T2 | B-flat trumpet, treble-clef transposed part | C5 | Bb4 | 72 | 70 | This C needs a natural in a D-major part |
| T3 | B-flat trumpet, treble-clef transposed part | B#4 | A#4 | 72 | 70 | Enharmonic keys do not replace letters; retain major-second spelling |
| G1 | Alto flute in G, treble-clef transposed part | E5 | B4 | 76 | 71 | E→B, descending perfect fourth |
| O1 | Bass flute in C, treble-clef part | C5 | C4 | 72 | 60 | Same pitch class, different octave |
Key signatures change with the relation; accidentals still need checking
The shared concert reference is assigned a C-major key signature to specify its notation; the short phrase alone does not establish a complete tonality. Preparing a B-flat-trumpet part raises the whole reference a major second, producing a D-major signature; the G alto-flute part rises a perfect fourth, producing an F-major signature. The table gives conventional major-key signature mappings, not a rule to change the whole key whenever a C appears.
The note-name tables spell all accidentals explicitly, so C# in the D-major trumpet column is not sharpened a second time. If the concert phrase adds Bb4, the trumpet needs C5 natural, explicitly canceling C# at that point in the D-major part. Concert B4 still needs C#5. A key signature supplies defaults; it does not replace note-by-note conversion.
| Instrument | Concert tonic | Written tonic | Part signature |
|---|---|---|---|
| Piano, ordinary concert-pitch notation | C4 | C4 | C major; no sharps or flats |
| B-flat trumpet, treble-clef transposed part | C4 | D4 | D major; F#, C# |
| Alto flute in G, treble-clef transposed part | C4 | F4 | F major; Bb |
Two complete bars: change pitches without moving the rest
The melody below is original to this repository, not copied from the source score. It has two 4/4 bars in one voice; q is a quarter-note unit and every event lasts 1q. Bar 1 is G4, A4, B4, rest; bar 2 is C5, B4, A4, G4. There are no ties, accompaniment, pedal or extra repeats. It begins at q=0 and ends at q=8; [a,b) includes a and excludes b.
The three columns are three notation references for one target melody, not three different lines to play simultaneously on piano. Each has seven note events and one complete rest, with attacks at q=0,1,2,4,5,6,7. Keep the rest from q=3 to 4; transposition must not remove or shorten it.
For bar 2, subtract 2 semitones from trumpet D5,C#5,B4,A4 to recover C5,B4,A4,G4. Subtract 5 from alto-flute F5,E5,D5,C5 to recover the same column. If the piano’s original column were handed directly to the B-flat trumpet, its opening written G4 would correspond to F4. This follows from the unconverted-part convention, not an actual listening trial.
At the illustrative tempo quarter note=60 BPM, each event occupies 1 second, each bar 4 seconds, and the passage 8 seconds. At 48 BPM these become 1.25,5 and 10 seconds. Transposition does not change those times. The rest begins where the preceding note’s notated duration ends; piano resonance may remain, and the table does not measure acoustic extinction.
| Bar | Beat | q interval | Concert / piano | B-flat trumpet written | G alto flute written |
|---|---|---|---|---|---|
| 1 | 1 | [0,1) | G4 | A4 | C5 |
| 1 | 2 | [1,2) | A4 | B4 | D5 |
| 1 | 3 | [2,3) | B4 | C#5 | E5 |
| 1 | 4 | [3,4) | rest | rest | rest |
| 2 | 1 | [4,5) | C5 | D5 | F5 |
| 2 | 2 | [5,6) | B4 | C#5 | E5 |
| 2 | 3 | [6,7) | A4 | B4 | D5 |
| 2 | 4 | [7,8) | G4 | A4 | C5 |
Predict, check, and restore the complete phrase
Paper route: cover the transposed answers and predict the B-flat-trumpet notation for concert E4, and the sounding pitch for G alto-flute written C5. Write direction, letters and semitones separately before checking: F#4 and G4. The first goes sounding→written; the second written→sounding, so they do not use the same direction.
Next, prepare trumpet and alto-flute parts from all eight reference rows. For the rest, copy its start and end without assigning pitch. Reverse every row back to the reference and record direction, spelling, octave and timing errors separately. A correct sheet establishes this paper result; it does not establish listening or ensemble skill.
If bar 2’s C5→trumpet D5 and B4→C#5 are confusing, calculate those two mappings separately, then traverse the complete second bar [4,8). After checking, restore both bars from q=0, including the rest at q=3. Completing four local beats does not count as completing all eight; do not retain only the easy notes.
Optional piano route: locate concert G4,A4,B4,C5 separately using the key table, then play the concert column one note at a time at a comfortable tempo, intending to release the preceding key when the rest begins and end the final G4 at q=8. Playing the trumpet’s written column directly as piano key names produces a different, higher key sequence; it is not the sound the trumpet would produce under the stated convention. No trumpet, flute, singing or fixed fingering is required.
Record the instrument convention, display reference, practice route, actual beat unit and tempo, cues, predictions, error types, complete two-bar result and next action; leave unobserved results unknown. At the next session, retry the same familiar material with answers covered, recording the actual interval before correcting. This is a delayed retention check, not unseen-material transfer, with no prefilled pass.
88-key numbering uses A0=1 and C4=40; key number=semitone number−20.
| Concert pitch | Semitone number | 88-key number |
|---|---|---|
| G4 | 67 | 47 |
| A4 | 69 | 49 |
| B4 | 71 | 51 |
| C5 | 72 | 52 |
Source scope and this lesson’s additions
All 142 existing ASR segments for NC-073 were read, and six stills at 77,89,137,158,213,231 seconds inspected. The 77-second frame displays a transposing-instrument definition; 89 shows written/sounding rows; 137 labels glockenspiel notation two octaves lower; 158 labels double-bass notation an octave higher; the final two show alto-flute sounding/written staves. These are observations of visible text and layout, not note-by-note source-score acceptance.
The unaudited ASR candidates explain written versus sounding pitch and offer fewer ledger lines and familiar family fingering conventions as reasons for transposition. Spoken solfège contains recognition noise and is not used as exact-pitch evidence. These passages are not presented as verified source audio, a complete historical explanation, or a fingering law for every family.
The calculation explanations, octave-specific comparisons, two-bar melody, key-signature/accidental counterexample, restoration and retest steps are original. Existing interval and scale notes teach spelling; this lesson adds a part-preparation task: specify shared concert pitches, convert under an explicit instrument convention, and check back. No original-audio audition, continuous-motion review, actual performance or learning-effect validation was conducted. At author freeze, independent review and publication are still pending.
Prerequisites and connections: note names, interval spelling, scales and transposition spelling, source scope.