审阅范围 · Review scope
公开来源文字与原创综合已审阅。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。
Public-source text and original synthesis reviewed. Keep the evidence and limitations stated in the text in view. This is not final corpus acceptance or validation of performance or learning outcomes.
公開研究第十八批：作品與和聲分析 / Public research batch 18: composition and harmonic analysis
範圍 / Scope
六篇公開案例與和聲文章；全篇文字審閱，不延伸媒體認證。
Six public case-study and harmony articles; full-text review without extending certification to media.
涵蓋統計 / Coverage totals
指派來源 / Assigned sources
6
完整公開文字已審 / Full public texts reviewed
6
文字和弦表已讀 / Inline text charts read
2
譜圖已檢視 / Score images inspected
0
音訊已聽 / Audio heard
0
影片已看 / Video viewed
0
補充來源 / Supplementary sources
0
已下載來源譜件 / Source scores downloaded
0
整合規則 / Integration rules
中英並列；來源摘要與原創教材分開。全文審閱僅指文字，不等於聽過示範、檢視圖片或驗證整部作品。
Chinese and English are paired; source summaries and original teaching designs are separate. Full-text review is not listening to demonstrations, inspecting images, or verifying a complete work.
保留原題名，不表示贊同宣傳、政治立場、品質評價或作者的獨家宣稱。節目中的諷刺角色與真實機構身分不可混同。
Retaining original titles does not endorse advertising, political positions, quality judgments, or exclusivity claims. Satirical roles in a show must not be confused with real institutional status.
和弦符號、音級拼寫、實際配音、根音、最低音與調性功能分欄。代理需看功能與聲部前後文；半音根音移動本身不是充分證據。
Keep chord symbol, pitch-class spelling, actual voicing, root, lowest pitch, and tonal function separate. Substitution requires functional and voice-leading context; semitone root motion alone is insufficient.
音色描述與好壞是有條件的聽感；簡單和弦不必差，延伸音不必好，重複三度音不普遍禁止。音符衝突不等於理論宣布作品無效。
Timbral and quality descriptions are conditional impressions: simple chords need not be poor, extensions need not be better, and doubled thirds are not generally banned. Note friction does not mean theory invalidates a piece.
不抄歌詞、完整旋律或完整和弦表；不下載譜件，不安裝或啟動文中音樂軟體、不購買、不上傳來源。原創題不是原作改編或經實證教學。
Do not copy lyrics, complete melodies, or complete charts; do not download scores, install or launch the discussed music software, buy, or upload sources. Original tasks are neither arrangements of the works nor empirically validated teaching.
文章中的歷史軟體操作不當成現行建議。原聲鋼琴路線不要求電子琴、取樣、唱歌、麥克風、錄音或軟體。
Historical software workflows are not current recommendations. The acoustic-piano route requires no electronic keyboard, sampling, singing, microphone, recording, or software.
原創共用操作 / Original shared workflow
C4 是中央 C；數字為八度，# 是升半音，空音符清單是休止。LH 為左手，RH 為右手。音名以實際鋼琴音高為準，不採移調記譜。
C4 is middle C; numbers specify octaves, # raises a semitone, and an empty pitch list is a rest. LH means left hand and RH right hand. Pitches are actual piano pitches, not transposing notation.
紙上路線需能讀音名字母、八度數字及半拍記法；不熟先看術語，只核對資料欄。可選試彈假定熟悉琴鍵位置，否則留在紙上或逐音找鍵。
The paper route assumes note-letter, octave-number, and half-beat reading; if unfamiliar, start with the terms and inspect data fields only. Optional playing assumes familiar key locations; otherwise stay on paper or locate one key at a time.
先做紙上預測，再看已公開答案。每題清楚列拍號、手別、音域與時值；所有可奏任務都無踏板。舒適速度和音量即可。
Predict on paper before reading the disclosed key. Each playable task specifies meter, hand, register, and duration and uses no pedal. Choose a comfortable pace and volume.
若手距或配合不舒服，分手、逐音、只檢查表格都可；不勉強伸展，不適即停。分解檢查與同時配音的聽感須分開記錄。
If reach or coordination is uncomfortable, separate hands, inspect single notes, or use the table only. Never force stretches; stop if uncomfortable. Log arpeggiated inspection separately from hearing simultaneous voicing.
預測、符號核對、實際聽感與未知各自記錄。完成標準是可核對資料，不是情緒一致、演奏速度、未見測驗或學習進步。
Record predictions, symbolic checks, actual impressions, and unknowns separately. Completion concerns checkable data, not shared emotion, speed, unseen testing, or evidence of learning gain.
引用預算 / Attribution budget
沒有補充來源。已比對既有 public-batch JSON，六個網址均無較早已審摘要。單篇預算合計題名、日期、篇幅、涵蓋、摘要、用途與限制；中英文與重複衍生內容都計入，MD/JSON 相同鏡像算一次。
No supplementary sources. Existing public-batch JSON contains no earlier reviewed summaries for these six URLs. Budgets combine titles, dates, lengths, coverage, summaries, roles, and limits in both languages, including repeated derivatives; identical MD/JSON mirrors count once.
新設資料、聲部、時值與問題不重述作品；一般符號解碼不主張取自單篇來源。
New data, parts, durations, and questions do not restate the works; general notation decoding is not claimed as originating in one article.
WEB-8af78ef31968 — 我幫王品集團的火鍋店「12MINI」寫了一首主題曲～
Composing the 12MINI theme song
- 發表 / Published: 2021-09-09；頁面標示字數 / Displayed length: 2185
- 審閱 / Review: 已審公開全文（僅文字） / Reviewed public article text only
- 文字行 / Text lines: 30–125；擷取總行 / Extraction total: 128
全文文字；譜圖及影音未審。
Full text; score images and audiovisual media unreviewed.
來源摘要 / Source summary
作者先確認訊息與篇幅，詞曲用試聽版核准後再錄製；未展開編曲細節。
The author confirms message and length, obtains demo approval for lyrics and melody, then records; arrangement detail is deferred.
用途 / Role
委託溝通案例；不設技巧題。
Commission-workflow context; no technique drill.
證據 / Evidence
作者自述。
Author account.
界線 / Limits
不證實品牌宣傳。
Not verification of advertising claims.
來源衍生預算 / Source-derived budget: 132/200；較早批次重用 / Prior-batch reuse: 0；正文逐字引用 / Verbatim body quotes: 0.
原創應用 / Original application
不設任務。 / No task assigned.
WEB-f0d14dfd0ffa — 這屆《眼球中央春晚》的開場配樂是我做的，我們來一起分析它吧！
Analyzing an EyeCTV gala opening score
- 發表 / Published: 2023-01-20；頁面標示字數 / Displayed length: 2153
- 審閱 / Review: 已審公開全文（僅文字） / Reviewed public article text only
- 文字行 / Text lines: 40–146；擷取總行 / Extraction total: 155
全文文字；譜圖及影音未審。
Full text; score images and audiovisual media unreviewed.
來源摘要 / Source summary
作者按舞台流程重配主題，預先規劃落點，持續低音銜接段落，交替音色。
The author reharmonizes themes around stage cues, plans harmonic destinations, connects sections with a pedal bass, and alternates timbres.
用途 / Role
配樂銜接案例。
Scoring-transition case.
證據 / Evidence
作者自述。
Author account.
界線 / Limits
諷刺劇情非政治事實；未聽成品。
Satirical narrative is not political evidence; result unheard.
來源衍生預算 / Source-derived budget: 142/200；較早批次重用 / Prior-batch reuse: 0；正文逐字引用 / Verbatim body quotes: 0.
原創應用 / Original application
題名 / Name
兩小節銜接草圖
A two-bar transition sketch
目標 / Objective
分開檢查低音持續、上聲部落點與理論時長。
Check bass continuity, upper-line destination, and calculated duration separately.
狀態 / Status
原創教材草案；無使用者演奏或成效資料。
Original teaching draft; no user-playing or efficacy data.
術語 / Terms
持續低音指音高長時不變或反覆；此題不要求跨小節連音。落點只是指定的末音。
A pedal bass sustains or repeats a pitch; this task does not tie it across the barline. “Destination” here means the specified final note.
設置 / Setup
2 小節 4/4；右手每音一拍，左手每小節 D3 四拍，換小節重新按。無踏板，沒有其他聲部。
Two bars of 4/4; every right-hand note lasts one beat. Left hand holds D3 for four beats in each bar and reattacks at the barline. No pedal or additional part.
題給資料 / Supplied data
拍號 / Meter
4/4
小節數 / Bars
2
僅供計算的四分音符每分鐘拍數 / Quarter-note BPM for calculation only
60
事件 / Events
| 手 / Hand | 小節 / Bar | 起拍 / Onset | 拍長 / Beats | 音高 / Pitches |
|---|---|---|---|---|
| 左手 / LH | 1 | 1 | 4 | D3 |
| 左手 / LH | 2 | 1 | 4 | D3 |
| 右手 / RH | 1 | 1 | 1 | E4 |
| 右手 / RH | 1 | 2 | 1 | G4 |
| 右手 / RH | 1 | 3 | 1 | A4 |
| 右手 / RH | 1 | 4 | 1 | D5 |
| 右手 / RH | 2 | 1 | 1 | F#4 |
| 右手 / RH | 2 | 2 | 1 | E4 |
| 右手 / RH | 2 | 3 | 1 | C#4 |
| 右手 / RH | 2 | 4 | 1 | D4 |
先預測 / Predict first
先寫最低音是否改變、末音與低音的距離；再算假定等速時長。
Predict whether the lowest pitch changes, its distance from the final upper note, and the duration at the assumed constant tempo.
步驟 / Steps
逐事件核對；D3 反覆發音但音高不變。原聲鋼琴可逐音找鍵，不必一次跨全音域。
Check event by event: D3 reattacks without changing pitch. On acoustic piano, locate keys individually; no whole-range stretch is needed.
可選分手或合手慢彈。實際停頓另記，不能把計算時長當實測。
Optionally play slowly, hands separately or together. Log actual pauses separately; calculated duration is not a measurement.
已公開答案 / Disclosed answer
每手各涵蓋八拍；右手八次、左手兩次發音。低音維持 D3，末音 D4 高一個八度。
Each hand covers eight beats; RH has eight attacks and LH two. Bass pitch remains D3; the final D4 is one octave above it.
若四分音符恰為每分鐘六十拍，八拍為八秒。不因此證明某次演奏準時，也不能只憑低音判定調性或轉調。
At exactly 60 quarter notes per minute, eight beats take eight seconds. This neither certifies performance timing nor establishes key or modulation from bass alone.
界線 / Limits
這是新寫的鍵盤草圖，不是原作縮譜；沒有指定和弦功能，也不模仿管弦音色。
This is a newly written keyboard sketch, not a reduction of the source work. No harmonic function or orchestral imitation is assigned.
已公開變題 / Disclosed variant
公開變題：只將第二小節末音改 E4。低音與總拍數不變，最後垂直音程改為大九度。
Disclosed variant: change only the final note of bar 2 to E4. Bass and beat total stay fixed; the final vertical interval becomes a major ninth.
完成核對 / Completion check
交付低音、末音、拍數和條件時長四欄，不填主觀情緒作標準答案。
Submit separate bass, final-note, beat-count, and conditional-duration fields; no emotional response is a correct-answer requirement.
WEB-bef32c381cdb — 《Google 翻譯歌》10 週年！我如何評價自己 10 年前的作品？
A ten-year retrospective on the Google Translate Song
- 發表 / Published: 2021-05-08；頁面標示字數 / Displayed length: 2522
- 審閱 / Review: 已審公開全文（僅文字） / Reviewed public article text only
- 文字行 / Text lines: 30–110；擷取總行 / Extraction total: 113
全文文字及文字表；譜圖及影音未審。
Full text and inline text chart; score images and audiovisual media unreviewed.
來源摘要 / Source summary
作者回顧音高校正、接近卡農的進行、低音與鍵盤分工，批評舊作節奏保守。
The author revisits pitch editing, a progression close to the familiar Canon pattern, bass/keyboard roles, and rhythmically conservative choices in an older production.
用途 / Role
編曲自評案例。
Arrangement self-review case.
證據 / Evidence
作者自述。
Author account.
界線 / Limits
自評非普遍禁則；軟體敘述屬當時。
Personal judgments are not universal rules; software statements are historical.
來源衍生預算 / Source-derived budget: 157/200；較早批次重用 / Prior-batch reuse: 0；正文逐字引用 / Verbatim body quotes: 0.
原創應用 / Original application
題名 / Name
同音高，改發音次數
Same pitches, different attack counts
目標 / Objective
把節奏密度與按鍵持續時間分開，不預設短音較好。
Separate attack density from key-hold duration without assuming shorter notes are better.
狀態 / Status
原創教材草案；無使用者演奏或成效資料。
Original teaching draft; no user-playing or efficacy data.
術語 / Terms
無 / None.
設置 / Setup
A、B 各一小節 4/4，各四拍；左手 C3 保持四拍。右手只彈 E4、G4 雙音。無踏板，無其他低音或旋律。
A and B each last one 4/4 bar, four beats. LH holds C3 for four beats. RH plays only the E4–G4 dyad. No pedal, other bass, or melody.
題給資料 / Supplied data
拍號 / Meter
4/4
每版小節 / Bars per version
1
A 版 / Version A
| 手 / Hand | 小節 / Bar | 起拍 / Onset | 拍長 / Beats | 音高 / Pitches |
|---|---|---|---|---|
| 左手 / LH | 1 | 1 | 4 | C3 |
| 右手 / RH | 1 | 1 | 2 | E4, G4 |
| 右手 / RH | 1 | 3 | 2 | E4, G4 |
B 版 / Version B
| 手 / Hand | 小節 / Bar | 起拍 / Onset | 拍長 / Beats | 音高 / Pitches |
|---|---|---|---|---|
| 左手 / LH | 1 | 1 | 4 | C3 |
| 右手 / RH | 1 | 1 | 0.5 | E4, G4 |
| 右手 / RH | 1 | 1.5 | 0.5 | 休止 / Rest |
| 右手 / RH | 1 | 2 | 0.5 | E4, G4 |
| 右手 / RH | 1 | 2.5 | 0.5 | 休止 / Rest |
| 右手 / RH | 1 | 3 | 0.5 | E4, G4 |
| 右手 / RH | 1 | 3.5 | 0.5 | 休止 / Rest |
| 右手 / RH | 1 | 4 | 0.5 | E4, G4 |
| 右手 / RH | 1 | 4.5 | 0.5 | 休止 / Rest |
先預測 / Predict first
先預測兩版右手發音次數、右手雙音的總按住時長，以及是否改了音高集合。
Predict RH attacks, total time the RH dyad is held, and whether the pitch-class collection changes.
步驟 / Steps
把 B 每拍分成兩個半拍；有音半拍後接休止半拍。若需要可慢到停下數格。
Divide each B beat into two half-beats: sound, then rest. Slow down or pause to count cells if needed.
可選先紙上、再分手試彈。寫自己的感受；不必把原聲鋼琴當電貝斯或鼓。
Optionally work on paper before separate-hand playing. Write your own impression; do not treat acoustic piano as electric bass or drums.
已公開答案 / Disclosed answer
A 右手兩次發音，總按住四拍；B 四次發音，總按住兩拍、休止兩拍。均為 C、E、G 三種音級。
A has two RH attacks with four total held beats; B has four attacks with two held beats and two resting beats. Both use pitch classes C, E, G.
A、B 左手都只發音一次、持續四拍；不是把鍵盤低音刪除。每版各四拍，依序試完共八拍。
LH attacks once and lasts four beats in both: keyboard bass is not removed. Each version has four beats; playing both sequentially totals eight.
界線 / Limits
比較同時改了發音次數與時值，不能稱為單一變項音色實驗。放鍵不代表共鳴瞬間消失。
Attack count and duration both change, so this is not a single-variable timbre experiment. Releasing a key does not instantly erase resonance.
已公開變題 / Disclosed variant
公開變題：B 只留第一、三拍的短雙音，第二、四拍全休。右手兩次發音、共按住一拍，休止三拍。
Disclosed variant: retain B’s short dyads only on beats 1 and 3; rest throughout beats 2 and 4. RH then has two attacks, one held beat, and three resting beats.
完成核對 / Completion check
區分發音次數、時值、休止、音高及喜好，不把其中之一替代全部。
Distinguish attacks, duration, rests, pitches, and preference rather than treating one as all of them.
WEB-2c9550f565b2 — 我是怎麼做出《我是台北市長參選人，柯媽媽。》的？
Making the “Taipei mayoral candidate, Ko Mama” parody
- 發表 / Published: 2024-06-29；頁面標示字數 / Displayed length: 2454
- 審閱 / Review: 已審公開全文（僅文字） / Reviewed public article text only
- 文字行 / Text lines: 30–167；擷取總行 / Extraction total: 170
全文文字；譜圖及影音未審。
Full text; score images and audiovisual media unreviewed.
來源摘要 / Source summary
作者把語音分配為打擊、低音與和聲，調整音高時值，再配置方位與混響。
The author assigns speech to percussion, bass, and harmony, edits pitch/duration, then adjusts panning and reverberation.
用途 / Role
製作分工案例。
Production-role case.
證據 / Evidence
作者自述。
Author account.
界線 / Limits
剪接非原話證據；不驗證政治或產品主張。
Edits are not evidence of original statements; political and product claims remain unverified.
來源衍生預算 / Source-derived budget: 144/200；較早批次重用 / Prior-batch reuse: 0；正文逐字引用 / Verbatim body quotes: 0.
原創應用 / Original application
題名 / Name
一個聲部能兼任兩種角色
One part can serve two roles
目標 / Objective
在明列事件中辨認低音與脈動角色，不重建任何真人語音。
Identify bass and pulse roles in explicit events without reconstructing anyone’s speech.
狀態 / Status
原創教材草案；無使用者演奏或成效資料。
Original teaching draft; no user-playing or efficacy data.
術語 / Terms
無 / None.
設置 / Setup
一小節 4/4；左手 C3 在每拍前半拍發音、後半拍休止。右手 E4、G4 雙音從第一拍持續四拍；無踏板。
One bar of 4/4: LH C3 sounds for each beat’s first half and rests for the second half. RH E4–G4 sounds from beat 1 for four beats; no pedal.
題給資料 / Supplied data
拍號 / Meter
4/4
小節數 / Bars
1
事件 / Events
| 手 / Hand | 小節 / Bar | 起拍 / Onset | 拍長 / Beats | 音高 / Pitches |
|---|---|---|---|---|
| 左手 / LH | 1 | 1 | 0.5 | C3 |
| 左手 / LH | 1 | 1.5 | 0.5 | 休止 / Rest |
| 左手 / LH | 1 | 2 | 0.5 | C3 |
| 左手 / LH | 1 | 2.5 | 0.5 | 休止 / Rest |
| 左手 / LH | 1 | 3 | 0.5 | C3 |
| 左手 / LH | 1 | 3.5 | 0.5 | 休止 / Rest |
| 左手 / LH | 1 | 4 | 0.5 | C3 |
| 左手 / LH | 1 | 4.5 | 0.5 | 休止 / Rest |
| 右手 / RH | 1 | 1 | 4 | E4, G4 |
先預測 / Predict first
先圈出最低聲部與每拍重複發音的聲部；它們必須是不同聲部嗎？
Identify the lowest part and the part reattacking every beat. Must they be different parts?
步驟 / Steps
把「實際音高」與「指定角色」分欄；同一事件可同時有兩種角色。
Separate actual pitches from assigned roles; one event may carry two roles.
紙上完成即可；可選分手慢彈，或只找 C3。禁止把這張符號表當已聽見的聲音。
Paper completion suffices. Optionally play hands separately or locate only C3. Do not treat the symbolic table as audio already heard.
已公開答案 / Disclosed answer
左手既是最低聲部，也提供每拍一次的規則起音。右手持續雙音。總長四拍，左手四次、右手一次發音。
LH is both the lowest part and a regular once-per-beat attack layer. RH sustains a dyad. Total length is four beats; LH has four attacks and RH one.
沒有另外的主旋律：本題只是分工模型，並非等候補旋律的伴奏。
There is no separate melody: this is a role model, not an accompaniment awaiting a missing tune.
界線 / Limits
短鋼琴音不等於大鼓音色；音域不能認定人聲、人物身分或政治立場。
Short piano notes do not equal kick-drum timbre; register does not establish voice type, personal identity, or political stance.
已公開變題 / Disclosed variant
公開變題：左手只在第一拍按 C3 並保持四拍；最低聲部不變，重複脈動角色消失，左手發音變一次。
Disclosed variant: LH attacks C3 only on beat 1 and holds four beats. The lowest part remains; repeated pulse disappears and LH attacks fall to one.
完成核對 / Completion check
說明角色可重疊，並指出這份資料不能告訴我們哪些聲音特性。
Explain overlapping roles and which sound properties this data cannot establish.
WEB-56b7a7352923 — 《Misia - Everything》完整和弦分析 ＆ 和弦表
Misia’s Everything: complete harmonic analysis and chart
- 發表 / Published: 2022-06-25；頁面標示字數 / Displayed length: 1439
- 審閱 / Review: 已審公開全文（僅文字） / Reviewed public article text only
- 文字行 / Text lines: 30–130；擷取總行 / Extraction total: 133
全文文字及文字表；譜圖及影音未審。
Full text and inline text chart; score images and audiovisual media unreviewed.
來源摘要 / Source summary
頁面列分段和弦與直播入口，作者明言表格為易讀省略細節，非逐音還原。
The page supplies sectional chord symbols and a livestream link; the author explicitly simplifies the chart for readability rather than exact transcription.
用途 / Role
和弦符號查讀。
Chord-symbol reference.
證據 / Evidence
作者自述。
Author account.
界線 / Limits
未聽直播；不能由表格認證配音。
Livestream unheard; the chart does not certify voicing.
來源衍生預算 / Source-derived budget: 141/200；較早批次重用 / Prior-batch reuse: 0；正文逐字引用 / Verbatim body quotes: 0.
原創應用 / Original application
題名 / Name
根音、低音、配音分欄
Separate root, bass, and voicing
目標 / Objective
以自訂兩個配音核對符號，不把符號當完整鋼琴譜。
Check symbols against two newly specified voicings without treating symbols as a complete piano score.
狀態 / Status
原創教材草案；無使用者演奏或成效資料。
Original teaching draft; no user-playing or efficacy data.
術語 / Terms
maj7 表示大三和弦加大七度；根音是命名基準，低音是當下最低音，配音是音的實際排列。
maj7 means a major triad plus a major seventh. Root is the naming reference, bass is the current lowest pitch, and voicing is the actual arrangement of notes.
設置 / Setup
兩小節 4/4，第一小節 A、第二小節 B；每手雙音都按四拍，換小節全放再按。無踏板，無旋律。
Two bars of 4/4: A in bar 1, B in bar 2. Each hand’s dyad lasts four beats; release and reattack at the barline. No pedal or melody.
題給資料 / Supplied data
拍號 / Meter
4/4
小節數 / Bars
2
題給和弦符號 / Supplied chord symbols
Dmaj7
Dmaj7/F#
事件 / Events
| 手 / Hand | 小節 / Bar | 起拍 / Onset | 拍長 / Beats | 音高 / Pitches |
|---|---|---|---|---|
| 左手 / LH | 1 | 1 | 4 | D3, F#3 |
| 右手 / RH | 1 | 1 | 4 | A3, C#4 |
| 左手 / LH | 2 | 1 | 4 | F#3, A3 |
| 右手 / RH | 2 | 1 | 4 | C#4, D4 |
先預測 / Predict first
先列每小節的四種音級、最低音與符號根音；猜哪些改變、哪些不變。
List each bar’s four pitch classes, lowest pitch, and symbol root before checking what changes and what stays fixed.
步驟 / Steps
第一欄抄題給符號，第二欄記實際八度，第三欄圈最低音；最後才填根音與未知功能。
Copy the supplied symbol, record octave-specific pitches, and circle the lowest pitch in separate columns; only then enter root and unknown function.
可選分手彈雙音；也可逐音核對但記為分解檢查，不聲稱聽過同時配音。
Optionally play dyads separately by hand. Checking one note at a time is also valid, but label it arpeggiated inspection rather than hearing the simultaneous voicing.
已公開答案 / Disclosed answer
兩小節皆含 D、F#、A、C#；符號根音皆 D。A 最低 D3，B 最低 F#3；B 為第一轉位。
Both bars contain D, F#, A, C# and have symbol root D. A’s lowest pitch is D3; B’s is F#3, making B first inversion.
每小節四拍，總共八拍；每手兩次雙音發音。音符名稱不等於固定音域，斜線後此處只指定低音。
Each bar has four beats, eight in total; each hand attacks two dyads. Pitch-class spelling does not fix register; the slash here specifies the bass.
兩個符號未給調性或前後文，不能判定主和弦或其他調性功能；配音是本題另外給的。
Neither symbol supplies key or surrounding context, so tonic or another tonal function cannot be certified. This task supplies voicings separately.
界線 / Limits
此處只解讀「和弦／單一低音」格式。若斜線下方也是和弦代號，須另查作者慣例，不能硬當單一音。
Only the “chord/single bass note” format is decoded here. If the denominator is itself a chord symbol, check the author’s convention rather than forcing a single-note reading.
已公開變題 / Disclosed variant
公開變題：只把 B 左手 F#3 改 F#2。音級、根音、第一轉位不變，但最低音降低一個八度；逐音檢查以免勉強跨距。
Disclosed variant: change only B’s LH F#3 to F#2. Pitch classes, root, and first inversion remain, but bass register drops an octave. Inspect notes individually to avoid forcing the expanded reach.
完成核對 / Completion check
交付符號、拼寫、實際音高、根音、低音與未知功能六欄；不猜原曲指法。
Submit symbol, spelling, actual pitches, root, bass, and unknown-function fields; do not guess the source song’s fingering.
WEB-3c361f7609c2 — 為什麼 Misia 的《Everything》是大師級作品？
Why Misia’s Everything is called masterful
- 發表 / Published: 2021-11-24；頁面標示字數 / Displayed length: 2175
- 審閱 / Review: 已審公開全文（僅文字） / Reviewed public article text only
- 文字行 / Text lines: 30–135；擷取總行 / Extraction total: 138
全文文字；譜圖及影音未審。
Full text; score images and audiovisual media unreviewed.
來源摘要 / Source summary
作者用八小節討論省略音、懸留解決、代理與借用和弦，連結旋律與配音。
The author examines omission, suspension resolution, substitution, and borrowed harmony across eight bars, relating melody to voicing.
用途 / Role
和聲細節分析。
Harmonic-detail analysis.
證據 / Evidence
作者自述。
Author account.
界線 / Limits
半音接近不必是代理；重複三音非通禁。
Semitone approach need not be substitution; doubled thirds are not universally forbidden.
來源衍生預算 / Source-derived budget: 134/200；較早批次重用 / Prior-batch reuse: 0；正文逐字引用 / Verbatim body quotes: 0.
原創應用 / Original application
題名 / Name
只移動一個懸留音
Move one suspended note
目標 / Objective
觀察固定三音與一音半音移動；分開音符關係和功能判定。
Observe three fixed notes and one semitone motion, separating note relations from functional interpretation.
狀態 / Status
原創教材草案；無使用者演奏或成效資料。
Original teaching draft; no user-playing or efficacy data.
術語 / Terms
本題 sus4 指四度音代替三度音；不是同時保留所有可能張力音的指令。
Here sus4 means the fourth replaces the third; it is not an instruction to retain every possible tension.
設置 / Setup
一小節 4/4，第一拍 A7sus4、第三拍 A7，各兩拍。左手 A3、E4；右手先 G4、D5，後 G4、C#5。每次雙手同時重新按，無踏板、無其他旋律。
One bar of 4/4: A7sus4 on beat 1, A7 on beat 3, two beats each. LH A3–E4; RH first G4–D5, then G4–C#5. Reattack both hands together each time; no pedal or additional melody.
題給資料 / Supplied data
拍號 / Meter
4/4
小節數 / Bars
1
題給和弦符號 / Supplied chord symbols
A7sus4
A7
事件 / Events
| 手 / Hand | 小節 / Bar | 起拍 / Onset | 拍長 / Beats | 音高 / Pitches |
|---|---|---|---|---|
| 左手 / LH | 1 | 1 | 2 | A3, E4 |
| 右手 / RH | 1 | 1 | 2 | G4, D5 |
| 左手 / LH | 1 | 3 | 2 | A3, E4 |
| 右手 / RH | 1 | 3 | 2 | G4, C#5 |
先預測 / Predict first
先找唯一改變的音，算移動方向和半音數，再判斷是否已知下一個和弦。
Identify the sole changed pitch, its direction and semitone distance, then decide whether a following chord is known.
步驟 / Steps
紙上對齊四條聲部；把相同的實際音高連起來，不先貼情緒標籤。
Align four voice lanes on paper and connect identical actual pitches before attaching emotional labels.
可選只彈右手上音 D5→C#5，或分手雙音。若合手不舒適就不合手；寫明改編。
Optionally play only the RH top line D5→C#5, or dyads separately by hand. Skip hands-together playing if uncomfortable and record the adaptation.
已公開答案 / Disclosed answer
A3、E4、G4 不變；D5 下行一半音到 C#5。兩個兩拍事件構成四拍；每手各兩次雙音發音。
A3, E4, G4 stay fixed; D5 descends one semitone to C#5. Two two-beat events fill four beats; each hand attacks two dyads.
A7sus4 的音級為 A、D、E、G；A7 為 A、C#、E、G，皆根音 A、最低音 A3。此處的 7 是小七度 G，不是 G#。
A7sus4 contains A, D, E, G; A7 contains A, C#, E, G. Both have root A and bass A3. The 7 here is minor-seventh G, not G#.
題目未給後續和弦或調性；可說懸留四度轉為三度，不能證明它必定是某調的屬功能。
No next chord or key is supplied: a suspended fourth moves to the third, but a particular key’s dominant function is not thereby established.
界線 / Limits
這不是原曲旋律或整段和弦的移調；屬七和弦種類與實際屬功能須分開。感受不設標準答案。
This is not a transposed source melody or chord passage. Dominant-seventh chord quality and actual dominant function are separate; impressions have no prescribed answer.
已公開變題 / Disclosed variant
公開變題：第二次右手仍彈 G4、D5。四音皆重複，沒有半音移動，仍是 A7sus4 而非 A7。
Disclosed variant: keep G4–D5 for the second RH dyad. All four notes repeat, no semitone motion occurs, and the symbol remains A7sus4 rather than A7.
完成核對 / Completion check
明列變動聲部、保留音、拍數與未知前後文，而不以「好聽」充當分析。
Identify changed voice, retained notes, beat total, and missing context rather than substituting “sounds good” for analysis.
原創工具驗收 / Original tool acceptance
介面先問「紙上」或「原聲鋼琴」；不自動申請麥克風、不估測未輸入的演奏。未演奏可完成符號題。
Offer paper or acoustic-piano mode first; do not request a microphone automatically or estimate an unprovided performance. Symbolic tasks may be completed without playing.
輸入欄標記「題給」「使用者觀察」「系統計算」「未驗證」。沒有音訊就不得顯示音準、節奏準確率或已聽見的情緒。
Label fields as supplied, user-observed, calculated, or unverified. Without audio, show no pitch accuracy, rhythm accuracy, or allegedly heard emotion.
功能題遇前後文不足要接受「未知」。和弦名稱正確不保證配音、指法或動作合適；不以完成次數推論進步。
Accept unknown for functional questions lacking context. A correct chord name does not certify voicing, fingering, or movement suitability; completion counts do not establish improvement.
入門次序 / Beginner route
來源 ID / Source ID
WEB-8af78ef31968
註記 / Note
先讀流程背景，不派鍵盤任務。
Read the workflow context without assigning a keyboard task.
來源 ID / Source IDs
WEB-bef32c381cdb
WEB-2c9550f565b2
註記 / Note
先在紙上數發音與角色，再可選分手試彈。
First count attacks and roles on paper; optionally try hands separately.
來源 ID / Source IDs
WEB-f0d14dfd0ffa
WEB-56b7a7352923
WEB-3c361f7609c2
註記 / Note
再讀精確音高與前後文限制；無需完成任何原曲。
Then examine precise pitches and contextual limits; no source-song performance is required.
阻礙 / Blockers
無 / None.
計算驗證 / Calculation verification
方法 / Method
以事件區間檢查每手每小節無缺拍與重疊；另核對指定音級、最低音、半音差及文字預算。
Check event intervals for gaps/overlap in each hand/bar; separately verify pitch classes, lowest pitches, semitone distances, and prose budgets.
狀態 / Status
通過 / Passed
各來源預算單位 / Per-source budget units
WEB-8af78ef31968
132
WEB-f0d14dfd0ffa
142
WEB-bef32c381cdb
157
WEB-2c9550f565b2
144
WEB-56b7a7352923
141
WEB-3c361f7609c2
134