【up主拙作介绍】全调性前奏曲与赋格——中
有关全集的源起与调音，请见上一篇专栏中的序。
以下为中卷各曲目的写作背景与结构笔记，形式同上一篇。
No. 9 - E Major. (c. 4.45+2.15=7.00)
Prelude (Largo) is a slow march in 6/8. Arrangement of slow movement from composer's own Serenade No. 2 in E Minor. Completed 1 January.
前奏：慢步进行曲、广板、八六拍。改编自up主中学某年写成的E小调第二号小夜曲慢乐章。
Fugue (Moderato Allegro) is in common time, with 3 voices. Theme is made of dotted rhythms like the previous fugue. Countersubjects are made of simple alternating steps. Generally, stays above middle C expect for entry of 3rd voice. Completed 4 January.
赋格：三声部、偏快的中板、四四拍。主题节奏承袭上卷最后一首赋格的特点（附点式），副主题则由简单的上下级进组成。音域方面，除了第三声部的呈现以外，基本都在中音C以上（与E小调赋格相反）。
Dedicated to Mrs Tan-Lim K.S..
E大调前奏于2017年（下同）1月1日完成，赋格4日完成。题献给初级学院（对等于高中）的英文理解与写作老师兼班副主任。
No. 10 - C♯ Minor. (c. 3.05+4.00=7.05)
Prelude (Presto) is a toccata in quasi-sonata form and 2/4 time. Middle section quotes from Mahler's 3rd Symphony. Completed 4 January.
前奏：触技曲、急板、四二拍。类奏鸣曲式，第二主题引用马勒第三号交响曲第五乐章中的“小天使”旋律。
Fugue (Adagio - Moderato Allegro - Tempo I) is in 6/8 with 4 voices. First theme resembles a lullaby and second theme consists of 16th notes in its outer phrases. Development of first theme alludes to the prelude in C major. The two themes are developed separately (with first theme serving as third countersubject of second theme) and both combine in a false coda in C♯ major, only to slow down and slide back to C♯ Dorian minor. Completed 5 January.
赋格：四声部、柔板-偏快的中板-原速度、八六拍。采双主题分别发展的形式（模仿肖斯塔科维奇Op. 87最后一首D小调赋格），第一主题为摇篮曲风格，第二主题前后由十六分音符组成。第一主题发展期间“梦游”回C大调前奏曲的氛围，第二主题呈现时的最后一个副主题和第一主题相同。两个主题合并再现时短暂地转为升C大调，又反高潮地转入多里安式的小调尾声。
Dedicated to the composer's mother.
升C小调前奏于1月4日完成，赋格隔天完成。题献给up主的母亲。
No. 11 - B Major. (c. 1.30+2.00=3.30)
Prelude (Allegretto) is a sinfonia (three-part invention) in cut time (some bars in 3/4) and ABABA form. A section starts abruptly with 2 voices, the lower going through frantic chord arpreggios and the upper presenting the major melody. B section is in G# minor at first, then B minor when reprised, leading to A section coda in B minor (in a mixture of Dorian and Phrygian modes).
前奏：三声部对位曲、小快板、二二拍（偶有四三拍）。呈ABAB'A'曲式，发展都相对飞快。各段调性分别为B大调（A）、升G小调（B）、B小调（A'和B'）。尾声混合多里安和弗里吉安调式。
Fugue (Allegro) is in 9/8 (some bars in 6/8, one in 12/8) with 3 voices. Theme frequently uses semitones to ambiguify the tone and mode. Countersubjects are likewise chromatic in nature, the second one made of a descending chromatic scale. 2-voice texture is common in development. Upper voice quotes from prelude in coda.
赋格:三声部、快板、八九拍（参杂八六拍、八·十二拍）。主题以B大调分解和弦为主，但加入各种半音导音以混淆调性。副主题也以半音为主，其中一个甚至只是下降的半音音阶。发展部频繁只有两个声部互相对位。尾声中第一声部回想前奏中的第一主题。
Both completed 7 January. "Dedicated to Ji G. H. on his 18th birthday."
B大调两首都于1月7日完成。虚构题献者为当天庆祝18岁生日的季光虹，是全集中最后一部题献给《Yuri!!! on Ice》角色的前奏曲与赋格。
No. 12 - G♯ Minor. (c. 5.20+3.40=9.00)
Prelude (Moderato - Andante - Tempo I) is a sonata in common time and 3/4. An arrangement of the composer's abandoned Sonata for Piano Duo in G♯ minor. In ternary form; first theme is rustic and second theme (first presented in G minor) is quieter. Both themes are based on a descending second motif, and often modulate into remote key areas like D, F, G and A. Features the chord I-iii-III-V ('neutral triad') among other cluster chords, further ambiguifying the modality of the piece. Completed 14 January.
前奏：奏鸣曲、中板-行板-原速度、四四拍，中间为四三拍。原作为up主未完成的升G小调钢琴二重奏奏鸣曲，呈三部曲式。第一主题较粗框，第二主题先以G小调呈现，较为平静。两个主题都以下降的大二度旋律为基础，常依靠三全音关系移到D、F、G、A等调，且由于利用音块、大小三度同时出现（从这个前奏曲以降称为全集的另一个特征），使调性进一步模糊。
Fugue (Allegro molto) is in 2/4 with 4 voices. Theme is highly chromatic and cheerful, as in Nos. 9 and 11, but its prominence is gradually replaced by the main theme from the prelude. Episodes recall the eerie atmosphere of the prelude as well; even the chorale episode before the recap section, which reduces the pace of the fugue, is nervous in nature. Development of the fugue features a chain of 2 strettos of the main theme in 3 voices. The theme last appears, somewhat stretched, in the lower voices doubling each other in the octave, with the prelude theme appearing in counterpoint by the upper voices. Ends furiously with a hill-like figure in the upper voices and persistent 'neutral triads' in the basses. Completed 24 January.
赋格：四声部、非常快地、四二拍。主题旋律半音化、节奏偏欢快，同赋格9和11，但其优势逐渐为前奏的第一主题所取代。发展部也有前奏诡异、紧张的影子，再现部前突然插入的众赞歌段落亦然。发展部一开始就让三个声部将赋格主题密接合应两次；再现部则将此主题放慢让低声部演奏，和高音的前奏主题对位，最后合并成排山倒海的上下音阶及“尖”（代号：大小三度同时出现）三和弦高潮。
Dedicated to the year 2017.
升G小调前奏于1月14日完成，赋格24日完成。题献给2017年。
No. 13 - F♯ Major. (c. 2.20+5.40=8.00)
Prelude (Adagio) is a nocturne in strophic form (cut time). Main theme contains a quotation of Undertale's 'His Theme' and a foreshadowing of the fugue theme, supported by the notes 'G♯/A♭ D E A' (stands for 'As-r(i)-e-l') and chords in the bass. The recap reverses this as 'His theme' is in the bass while the supporting notes and chords are in the upper voices. Completed 5 February.
前奏：夜曲、柔板、二二拍。一部曲式，围绕着题献者的相关乐旨发展。
Fugue (Lento - più adagio) is in 3/4 with 3 voices. Theme is deeply rooted in the tonic (F♯) despite drifting into the tritione (C-natural) and mediants (A, F♯ etc.) and countersubjects hint at motives from the prelude. Episodes sound atonal but contains the theme in E-flat, D and F minor, and a stretto in the two lower voices. Pralls often occur, both in the theme and in countersubjects. Ends with an ascending scale, reprise of material from the prelude (His Theme), and hints of the last fugue (morendo, ambiguity between major and minor etc.). Completed 20 May, after a three-and-a-half-months’ hiatus.
赋格：三声部、慢板-更加柔缓地、四三拍。主题性质和前一首赋格相反，旋律也用三全音但反而强调主音，节奏则哀而不伤。副主题借用前奏中出现的乐思；这些主题都经常使用波音。发展部偏无调性，以移到降E、D、F等调的主题为骨干；低音有一次主题密接合应。尾声由一个漫长的上声音阶导入，再一次回想题献者的音名乐旨，并为全集最后一首赋格（No. 24）的结束方法埋下伏笔。
“In memoriam Asriel Dreemurr,” and dedicated to the innocent victims of war.
升F大调前奏于2月5日完成，赋格因学业关系，三个半月后的5月20日才完成。半虚构题献：纪念Undertale中的悲剧角色（无中译，也是全集最后一个题献给《Undertale》角色的前奏曲与赋格）兼战争中枉死的平民。
No. 14 - E♭ minor. (c. 1.20+3.00=4.20)
Prelude (Presto) is a divertimento in 13/16. Serially (and to some extent minimalistically) developed out of a single motive, the Schoenberg Hexachord (E♭-C-B-E-B♭-G). Ends with the theme vertically presented in a minor third higher (G♭-E♭-D-G-D♭-B♭), containing E-flat minor, E-flat major, B-flat minor and G minor, among other tonalities, at the same time. Completed 20 May.
前奏：“嬉游曲”、急板、十六·十三拍。以勋伯格的音名为乐思，用极简式的序列写作法展开。与其说无调性，更多是多调性。
Fugue (Adagio a la Valtz) is in 3/4 with 4 voices. Theme is a twelve-tone row, with only the first few notes suggesting E-flat minor, and the majority of this fugue is based on the prime, inversion, retrograde and retrograde inverse of this row, and their transpositions (their appearances are marked clearly on the score, e.g. P0, I6). The soft exposition and serial development take place over a long crescendo, until it reaches a loud chorale episode, breaking free from serial restrictions altogether. The fugue then softens, with the upper voices descending in semitones and the lower voices descending in whole tones. The lower voices continue to descend while the upper voices present the theme for one last time in stretto, and then descends in semitones again. Everything slows down to a trance in vague E-flat major. Completed 29 May.
赋格：四声部、如华尔兹（圆舞曲）的柔板、四三拍。主题为十二音列，前几个音从降E小调音阶中选出。呈现部和发展部大多以简单的十二音技法玩弄这个音列（乐谱上P为原型、I为音程反行、R为旋律逆行、数字则指移调后的主音与降E的音程数），从一开始慢慢渐强，直到最强音的自由众赞歌段落，才脱离序列主义并渐弱、放慢，以半音下降的方式抵达平静的降E大调尾声。
Dedicated to the pioneers of the 2nd Viennese School.
降E小调前奏于5月20日完成，赋格29日完成。题献给第二维也纳乐派的先驱。
No. 15 - D♭ Major. (c. 1.50+2.00=3.50)
Prelude (Vivo) is a rhapsody in 3/4, somewhat resembling a waltz in rhythm and rondo in form (ABABABA). Section A is made of alternating chords and descending scales, while Section B is a set of variations on Christian hymns. Section A segues into Section B with a diminished seven chord, while Section B ends and returns to Section A mostly via mediant modulation. The harmonic progression for each section goes D♭-E♭-B-C-A♭-A-E-D♭ (abrupt coda).
前奏：狂想曲、活泼地、四三拍。华尔兹圆舞曲式，A段由不同和弦与下降音节组成，B段则为某新教圣咏的变奏，A和B之间由减七和弦过渡，反之则多通过中音移调。
Fugue (Vivace) is in 5/4 with 3 voices. The theme, based on the D♭ major triad and scales, but very chromatic in the middle, starts slowly but abruptly accelerates, from dotted crotchets to dotted quavers and semiquavers. Countersubjects hint at the BACH cryptogram and a rhythmic retrograde version of the theme. Episodes include a modulation from Gm to B♭m induced by an ostinato, and a false slow coda in D♭ major, after the presentation of an augmentation of the theme. After this false coda, the theme is fragmented in all three voices, eventually reaching an arpeggio-staccato cadence in D♭ major which is the same as in the prelude.
赋格：三声部、活泼的快板、四五拍。主题开始较平缓、仍清楚地围绕降D主音，但中间就加快（附点全音到附点半音及十六分音符）且半音化。副主题含移调的BACH乐旨及主题的旋律逆行。发展部包括一段半音组成的固定音型、主题放慢后进入主音假尾声等，之后主题不完全出现，引入和前奏相同的主音终止（类似A大调前奏曲与赋格）。
Both completed 31 May. Dedicated to the sportsmen and sportswomen in Singapore.
降D大调两首都于5月31日完成。题献给（原文含“新加坡的”一词，可能有点狭隘，故移去）诸体坛健将。
No. 16 - B♭ Minor. (c. 5.00+4.15=9.15)
Prelude (Adagio marcia) is a funeral march in 2/4. Theme is a transformation of the variation theme in the first movement of Myaskovsky's 25th Symphony in D♭ Major. Form-wise inspired by Shostakovich's equivalent in his Op. 87, being a set of variations on a variation (theme - sextuple - octuple - climax - coda). The climax modulates to B minor and the brief coda slips into B-flat, deceptively in major before back into the minor triad. Completed 1 June.
前奏：葬礼进行曲、行进的柔板、四二拍。主题为米亚斯科夫斯基第25号交响曲第一乐章中间部小调旋律的变奏，变奏的方法则参考老肖Op. 87的降B小调前奏，但高潮则升半音到还原B小调，再回归降B（又是大调转小调）。
Fugue (Andante) is in 5/4 with 4 voices. Theme is highly chromatic, and only the latter half suggests B-flat minor. Countersubjects move in semitones, containing hints of DSCH and Dies Irae. Episodes allude to the previous preludes and/or fugues in Book II, and the E minor fugue. Shostakovich's theme for his B-flat minor fugue is also quoted and forms a counterpoint with the subject proper. These aside, the development spans almost the whole range of the piano, less the highest C and lowest A. Completed 5 June.
赋格：四声部、行板、四五拍。主题高度半音化，参考贝尔格的小提琴协奏曲，到了末尾才接近主调。副主题则以半音为主，兼含DSCH乐旨和末日经首句的旋律。发展部包括了前几首主题曲与赋格的回想（除了E小调赋格的旋律，大多取自中卷），甚至一度直接引用老肖降B小调赋格的主题与本赋格的主题形成对位。这首赋格也是前16首中音域最宽的，若在钢琴上演奏，除了最高的C和最低的A，几乎所有的键都用到。
Dedicated to the victims of, and the victory against, terror.
降B小调前奏于6月1日完成，赋格5日完成。题献给恐怖主义下的牺牲者以及对反恐胜利的期许。
下篇再续……
