【up主拙作介绍】全调性前奏曲与赋格——等音调附录

此P专门照顾到古典乐中较罕见的同音异名调（简称等音调，Enharmonic Keys），也就是升降号超过4个的。因此，介绍后6副前奏曲与赋格的调性时，也会举出其在前24四副中的位置和调名。又，如序所述，后6副中的D♯/E♭，与A的频率比从64:45改为45:32，以进一步实验并突出这附录曲风与前三卷的不同。

等音调附录较不严肃，其中的曲目都没有题献（后来有例外，下述），又与前24副不同。

No. 1 - C♭ Major (c. 1.35+1.25=3.00) 

Prelude (Allegro vivo) is a cassation in cut time (and briefly 3/4) and is rhythmically much simpler than the B Major prelude. The first section, where the upper voices present the main cheery theme in mirror form (the second half is the inverse of the first half), while the lower voices support with pandiatonic pedals, is repeated. The second section follows, where the cheery theme is repeated once more with increasing dissonance, leading to a new timid theme in canon by the lower voices. In the last section, the upper and lower voices exchange roles, leading towards a Cb Major cadence. Completed 1 December.

前奏：卡萨欣（类似小夜曲、嬉游曲），活泼的快板、二二拍（偶有四三拍）。结构较B大调前奏简单，原文就以删除号显示，不再赘译。

Fugue (Allegretto) is in 4 voices and common time. Theme is simple and cheery, and all the notes in the fugue belong to the Cb Major (B Major) scale (no accidentals). After the exposition follows a brief development mainly consisting of strettos and augmentations of the main theme. An abrupt coda with partial entries of the theme ends this short fugue, completed 4 December.

赋格：四声部，小快板，四四拍。主题简单，音符全部从大调音阶中提取。发展也较仓促，多由直接的紧接与音符延长段落组成。尾声中主题零碎再现。

升C大调【对应XI. B大调】前奏于2017年12月（下同）1日完成，赋格4日完成。

No. 2 - A♭ Minor (c. 4.10+4.20=8.30)

Prelude (Andante - Lento) is a chaconne in 3/4, not unlike that of the second, 16th and last preludes in op. 30. Cantus firmus sounds like the tune sung by waste collectors in East Asia. It is repeated seven times in the bass before being transferred to the soprano in the eighth. The climax is at the ninth repetition, where a sudden slow-down, a modulation to A minor and the use of extreme registers occur simultaneuosly, before softening down with a bitonal (Am and Abm) canon, hinting at the upcoming fugue's subject and return to Ab minor. This is the only piece in both the 24 and the E.A. to explicitly instruct the use of a sustain pedal if played on a piano.

前奏：恰空舞曲，行板-慢板，四三拍。曲风沿袭A小调、降B小调和D小调三首前奏，但更接近肖斯塔科维奇Op. 87中的第12号前奏（也是等音的升G小调）。低音主题灵感源自民间拾破烂者的唤声，类似“酒干倘卖无”，共重复十次。第八次转至高音、第九次移到还原A小调，第十次则同时以降A小调、还原A小调双调重现，并暗示赋格主题。全集中唯一一部注明钢琴踏板踩点的作品。

Fugue (Andante adagio) is in 5 voices and 6/4 time. Theme first steps up and down the tonic, leaps up and down, then descends chromatically, ending with a trill in the second degree resolving to the tonic again. After the five voices are presented, there are no episodes except a quartal choral interlude (two bars), and the theme is persistently presented, transposed and fragmented. Towards the end the theme itself is represented in a complex stretto, both augmented and diminished; a semitonal cluster appears out of nowhere during the stretto. 

赋格：五声部，柔缓的行板，四六拍。主题在主音上下跳跃，然后以半音音阶下降回主音。发展部极为压抑，以紧接的延长与缩短音符令主题逐渐支离破碎，并突兀地通过半音音块导入尾声（灵感为魏因贝格的降A小调第16号弦乐四重奏）。

Both completed 4 December. 

降A小调【对应XII. 升G小调】两首都于4日完成。

An arrangement of this pair for chamber string orchestra and timpani (which only appears in the climax of the prelude), completed 21 December, is dedicated to the memory of an artist.

此段的翻译与注解见文末。

No. 3 - G♭ Major (c. 2.35+1.00=3.35)

Prelude (Adagio) is a sonnerie in 5/4 and ABB format. All sections feature a theme which is limited within a minor third and developed in the style of a 2-voice fugato. The A and first B sections are accompanied by bell-like F# ostinati in the bass (hence the name 'sonnerie', imitation of bells), which suspends into a pedal point in the second B section. The B section is repeated by transposing two octaves up from the original, for a dreamy echo effect. Completed 5 December.

前奏：钟鸣曲，柔板，四五拍。两个主题都以小三度为范围游走，由模仿大钟声音的持续低音支撑。

Fugue (Moderato allegro) is in 4 voices and 2/4 time. Theme is taken from a popular Christmas carol tune and is very short and lively. Countersubjects support the lively atmosphere by introducing 16th notes. Due to the brief nature of the theme, it is developed through augmentation, inversion and stretto immediately after the exposition, making it the shortest simple fugue in the 30. Completed 6 December.

赋格：四声部，偏快的中板，四二拍。主题引用某圣诞歌曲，短小活泼，副主题则以十六分音符为主……基本上没什么好发展的，成为全集最短的赋格。

降G大调【对应XIII. 升F小调】前奏于5日完成，赋格隔天完成。

No. 4 - D♯ Minor (c. 2.55+4.20=7.15)

Prelude (Lento - Allegro quasi presto) is a French overture (or rather a parody of it) with a 2-voice double fugue structure. The slow first section (repeated once) is in common time and revolves around a sluggish chromatic theme in dotted rhythm. The fast second section is in 6/8 and revolves around a heroic theme which begins with a fourth leap. The two themes (sluggish and heroic) combine towards the end of the second section, which is also repeated once before the one-bar common time coda, recapitulating the first section and ending in a Picardy third. Completed 6 December.

前奏：法式序曲（之恶搞），慢板（四四拍）-接近急板的快板（八六拍）。慢部分的附点节奏及快部分的类赋格风基本符合法式序曲的一般形式，但前段的主题都是由半音组成，后段的主题则是英雄超人主题的变奏，戏谑味道颇重。

Fugue (Moderato sentimentale) is in 3 voices and common time. Theme is based on the Russian tune 'Moscow Nights'. The development simply wanders and is almost non-fugal in nature. Recurring episodes feature the last four notes of the theme, and simply circles around. The coda ends in an empty fifth, signifying the emptiness after the vain celebration in the prelude. Completed 7 December.

赋格：三声部，愁情的中板，四四拍。主题取自俄语歌曲《莫斯科郊外的晚上》。发展部基本脱离一般赋格的定格，虚无缥缈。

升D小调【对应XIV. 降E小调】前奏于6日完成，赋格隔天完成。

No. 5 - C♯ Major (c. 2.00+2.55=4.55)

Prelude (Largo) is an anthem in cut time. It is minimalist, soft and reflective, featuring two motives: an unchanging melody containing all seven diatonic notes, ending with an octave leap and a step upwards; and a palindrome sequence of chords (F# - E#m - D#m - C# - D#m - E#m - F#) which is constantly varied in terms of rhythm. The two combine and dissolve into the brief coda, and the diatonic melody goes through diminution. Completed 8 December.

前奏：圣歌，广板，二二拍。极简、轻柔，完全在大调音阶内沉思。

Fugue (Allegretto) is in 3 voices and cut time. Theme is taken from the Soviet Estonian anthem, as are key episodes. First countersubject is a cheeky 'dissent' tune, rising diatonically yet descending chromatically, forming dissonances with the subject. Second subject is the present anthem of Estonia (and Finland). Unlike most fugues in the series, this fugue contains no stretto on the subject, yet feature a lot of false entries (as part of the episodes which quote from the Soviet Estonian anthem). Completed 13 December.

赋格：三声部，小快板，二二拍。主题（以及好几个无对位段落）取自爱沙尼亚苏维埃时代的“国歌”。副主题既有爱沙尼亚（兼芬兰，虽然歌词不同）现在的国歌，也有自创的，充满戏谑式半音。

升C大调【对应XV. 降D大调】前奏于8日完成，赋格13日完成。

No. 6 - A♯ Minor (c. 3.00+2.00* 3.25=5.00 6.25)

Prelude (Moderato) is a tango in common time. It follows a textbook tango form in the beginning (A-A'-B-A''), with the A sections being relatively diatonic compared to the chromaticism of the major B section. The modified A sections introduce dotted rhythms in the melody, which are picked up extensively in the B section. After the exposition of the whole tango, a brief cadenzaic ("trio"-like) interlude connects the exposition to the restatement of the tango, beginning with a parallel third, below the melody, which grows increasingly independent counterpoint-wise, before being subsumed back into the melody proper. The coda briefly restates the tango rhythm in the bass before a A# major cadenza, which connects directly to the fugue (this is the only piece in either Op. 30 or Op. 31 which explicitly asks for an 'attacca' between the prelude and the fugue). Completed 16 December.

前奏：探戈舞，中板，四四拍。格式、节奏与旋律风格大概都是全集中最“大众化”的。唯一一个在最后要求无间断进入赋格的前奏曲，部分是因为写到那时盼着全集的初稿即将完成，兴奋使然。

Fugue (Presto molto) is in 2 voices and 6/16 (with episodes in 7/16 and 5/16). Subject is inspired by the rapid rhythm and idiomatic melodies of the Caucasian Lezginka dance. The diatonic-chromatic tension in the prelude manifests itself here between the diatonic subject and the chromatic, leaping (or limping) countersubject. The development grows freer and freer from this tension and the fugal framework in general, not unlike that of the development of the C Major fugue in Op. 30, as polyrhythmic restatements of the subject and several other ostinatos derived from the subject take over the eminence of the countersubject. Ends with the same cadence as the prelude. Completed 17 December.

赋格：二声部，甚急板，十六·六/七/五拍（跟斯特拉文斯基学的）。主题风格模仿高加索一带的列兹金卡舞，发展部也因此跟着桀骜不驯，一直脱离赋格的框架，但也回看初心（第一首赋格也是二声部，发展相当潦草）。尾声如同C大调赋格，各声部皆有八度和音。终止和前奏如出一辙，同A大调和降D大调的创作手法。

(*There is an optional 'da capo' indicated just before the coda. If this is followed, the length of the fugue should stretch to 3.25. However, this is considered a separate arrangement.)

视频中的版本加入了赋格大部分的重复（即谱中最后一个da capo）。

升A小调【对应XVI. 降B小调】前奏于16日完成，赋格隔天完成。

附上六副赋格的主题表：

又及全集完成隔天（18日），偶闻SHINee钟铉噩耗，虽然之前对其人其作并无印象，但不知怎的，仍对此感到十分震撼，甚于之前亲友去世时，因此在其出殡当天（21日）将上述的降A小调恰空与赋格配器给室内弦乐团（构想人数：6-5-4-3-2）及定音鼓（只在前奏的高潮中出现）后题献之，以示哀悼。不过光听钢琴版本，大概就能感觉到配器后的效果如何，且配器版还没实际演奏、录音过，现阶段只能靠Musescore生成MP3，就不再上传了。全文终。