【up主拙作介绍】全调性前奏曲与赋格——上（并序）

序曰：

写成这一系列前奏曲与赋格的初衷，一言以蔽之，无聊。（其实还是有得聊的，所以这个词应解读为“吃饱太得空”。）以前在Musescore网上上载过，也不期望会有太多人欣赏，就趁年关将至，重新整理一遍，在B站上发布，进一步自娱一下。

一般认为，巴赫是为所有调性写前奏曲与赋格的第一人。无可否认，其两本《良律键盘曲集》（BWV 846~893。一般将标题中的“wohltemperierte”或“Well-Tempered”译为“平均律”，但两者不对等，这里改译，原因不赘述）仍是全调性曲集兼前奏曲与赋格中的圭臬。不过作为现代人及“亲俄乐”派，我比较常听肖斯塔科维奇的《二十四首前奏曲与赋格》（Op. 87），因此写作自己的前奏曲与赋格时，受老肖的影响大于巴赫；不过《全调性前奏曲与赋格集》是同时致敬两位大作曲家的。至于对位与和声作曲方面，up主只能算是业余，没有细究赋格曲里是否犯了平行五八度之类的通病（有时甚至故意为之），自然也就没巴赫和老肖那么严谨。这一点还请听者见谅。

为什么B站上的版本会重新用纯律调音，还是那两个字使然：无聊。无他，结果比平均律悦耳也罢，刺耳也罢，还请当成一种音乐实验看待。上中下三卷使用的纯律比率如下，以A440为基准音，并附上和平均律的音分差（精确至十分位数）：

老实说，这串固定的纯律一点都不纯，其中的音程结合后又会产生新（bu）鲜（zhun）的频率，给予不同调性不同的音（zou）色（yin），所以也用了下面几张表格整理，从最低（flat）到最高（sharp）：

又及：

一、全集长达三小时（加上附录则多半小时左右），因此前24首不按巴赫、老肖的前例分为两本，而是拆分为三卷，各一小时长，且24首的调性按照老肖Op. 87的顺序（借鉴自肖邦全调性前奏曲的五度圈及关系调系统）排列。因此，C大调到升F小调为上卷、E大调到降B小调为中卷、降A大调到D小调为下卷。后6首则采用了老肖曲集中未使用，且比较罕见的6个等音调（enharmonic keys，即“异名同音”），故名“等音调附录”，严格上与前24首不是同一个作品。

二、各个前奏曲和赋格中大量引用了其他作曲家的乐思乐段，但都是为了自娱、致敬，无意侵权。（言下之意：侵删）

三、全集没有指定的配器，也不一定都适合钢琴或其他键盘独奏，仅为方便起见而使用了Musescore提供的钢琴音档输出MP3。有兴趣的听众可随意抽出任何一首前奏曲与赋格，重新配器。（前提是up主所写的这些作品本身没构成侵权……）

是为序。

下来以笔记的形式介绍上卷的写作背景与结构（原本用英文记下，中译及附加说明附于后。有的原文会选择性省略，以删除线标示）。其余三卷的笔记会在各自的视频上传同时再上载。

No. 1 - C Major. (c. 1.30+1.55=3.25)

Prelude (Moderato) is a sonatina in 5/4, starting with the same chord which started Bach (in arpeggio) and Shostakovich's C Major (in full chord) preludes, but now in apreggiated chord; main theme (descending scale) presented in bass immediately after apre. and developed for the rest of the prelude. Some very brief fugato in between.

前奏：小奏鸣曲、中板、四五拍（巴赫几乎不用，老肖用过几次，up主则是几乎用上瘾的程度）。起始的和弦组成音和巴赫、老肖一样，不过巴赫是以分解的方式呈现，老肖要求同时弹出，这里则“折衷”使用琶音。主题紧接着在低音声部出现，基于下降的大调音阶（和赋格主题密切相关），并通过简单的赋格对位等方法一直发展。

Fugue (Allegretto - Maestoso) is in cut time, with 2 voices. Theme is limited within the range of perfect fourth, and very short. Each voice is doubled in the coda.

赋格：二声部、小快板-庄严地、二二拍。主题限于纯四度以内，短小精悍。甚至可以说全集都是这个主题的变奏罢了。各声部在尾声有高/低八度的额外和声。

Both completed 23 December. Dedicated to Ms Alister Chua.

C大调两首都于2016年（下同）12月23日完成，题献给中学高年级的会计学老师兼班主任。

No. 2 - A Minor. (c. 4.20+1.40=6.00)

Prelude (Adagio - Adagio molto) is a passacaglia in 3/4. Cantus firmus in bass is inspired by the opening of Shostakovich’s Violin Sonata, being highly quartal harmony-wise, and repeated ten times (six, seventh times in higher voice; last time augmented) throughout the prelude. Higher voice presents a simple Shostakovichian theme, which is developed in the fashion of a four-part fugue's exposition, before the higher and lower voices switch melodies. Lower voice hints at fugue theme at seventh repetition of cantus firmus, put contrapuntally with syncopation theme presented on sixth repetition of cantus firmus. Highly dissonant chorale disrupts the passacaglia, softens after a few bars until the two voices are left on their own to continue with the last three repetitions of the cantus firmus, now slower and bleaker. 

前奏：帕萨卡里亚曲、柔板-更加柔缓地、四三拍。低音主题基于老肖小提琴奏鸣曲的开头，以四度为主，共重复十次——第六和第七次转移到高音声部，第十次则双倍延长。高音声部的副主题也有老肖的影子，以类似四声部赋格的呈现方式展开。云云。

Fugue (Vivace - Allegro moderate - Vivace) is in 3/4, with 3 voices. First theme is short and occupies first minute. Second theme is likewise short, introduced separately in Locrian mode, but is presented more like a fughetta. Coda is in A major but ends with a bleak A minor chord.

赋格：三声部、活泼的-中庸的快板-活泼的、四三拍。双主题，主题一简短，花前一分钟展开；主题二还是简短，接近洛克利安调式（以7为主音）且发展得更仓促。尾声大多在A大调，但仍沮丧地以小调结束。

Both completed 24 December. Dedicated to the composer's elder brother.

A小调两首都于12月24日完成，题献给up主的哥哥。

No. 3 - G Major. (c. 2.10+3.05=5.05)

Prelude (Lento - Lento molto - lento - lento molto) is a canon based on the 'RockinG Carol' in common time (coda in 9/8). In ABAB format, corresponding to the duple-stanzaic form of the original lullaby. Modulates briefly into G Minor during the first B section. Coda hints at fugue theme. Completed 24 Decemer.

前奏：卡农颂曲、慢板-更慢-慢板-更慢、四四拍转八九拍。圣诞摇篮曲的变奏，保留了原曲的架构，但第二主题第一次呈现改为小调。尾声暗示赋格主题。

Fugue (Moderato - Andante - Lento - Lento molto) is in common time, with 4 voices. Theme is based on the first line of Dies Irae, while contersubjects contain opening motives of the Russian and Japanese national anthems. Modulates again into G minor by the middle but ends in the major with a few syncopations and restatements of the dimunitive theme which is intended to sound like Christmas church bells. Completed 25 December.

赋格：四声部、中板-行板-慢板-更慢、四四拍。主题基于末日经的第一句。发展部又移到G小调，但尾声移回大调，对主题进行节拍切分、加速等处理，以模仿圣诞期间的教堂钟声。

“Dedicated to Victor Nikoforov on his 28th birthday.”

G大调前奏于12月24日完成，赋格隔天完成。虚构者题献给当时庆祝28岁生日的维克托·尼基弗罗夫（懂自懂）。

按：原文中所有虚构者题献都会加上开关引号。

No. 4 - E Minor. (c. 1.45+5.05=6.50)

Prelude (Allegro - Allegretto) is a toccatina in cut time. A single soprano voice, in constant demisemiquavers, frantically recalls the Dies Irae fugue theme of the previous fugue, while a bass voice sounds a moderately-paced melody in octatonic scale. This is repeated once more, and yet another time but slower, with the soprano voice moving up an octave while the bass voice is supported by doubling of an octave lower. Completed 25 December.

前奏：小触技曲、快板-小快板、二二拍。高音声部维持三十二分音符，变奏末日经首句（即上一首赋格的主题），低音声部则根据八分音阶沉稳地演奏。有三次重复，最后一次放慢，且高低音声部都有八度和声支撑，更为沉重。

Fugue (Adagio - doppio più lento) is in common time (sometimes in 3/4 or 7/8), with 3 voices. Range of all voices mostly stay under middle C until coda. Actively avoids bare unisons/octaves/fifteens by tweaking them into more dissonant seconds, ninths or sevenths, and bare fourths/fifths are frequent. This makes the fugue particularly chromatic. A ‘codetta’ episode in vague B major follows the exposition. Quickly slims into 2-voice texture after exposition, with occasional 3rd voice sounding drones or a couple of notes. Halfway through the fugue, there is an episode featuring the notes ‘G E D G C B’, which is a cryptogram of Georgi Popovich’s name in Latin (GEoRGi popoviCH = G E Re G C H). This brings the fugue back to its main theme in A minor and returns shortly in the coda to reintroduce the ‘codetta’ episode. This coda is in vague E major and repeated four times - for the third and fourth times, the higher voices shift up by an octave each time and the bass drops by an octave. Completed 26 December.

赋格：三声部、柔板-双倍放慢、四四拍（偶有四三拍、八七拍）。全曲音域很少高于中音C，也罕见八度，但常用四度、五度、二度及九度，以模糊其调性。发展部以二声部对位为主，第三声部偶尔才加入。有两个与主题无关但重要的乐段，其中一个在再现部开始和结尾重复，为八七拍，由题献者的姓名暗号组成；另外一个在呈现部结尾和全曲结尾出现，带大调性质，并在尾声节节往高音域开拓，试图摆脱全曲阴沉的氛围。

“Dedicated to Georgi Popovich on his 26th birthday.”

E小调前奏于12月25日完成，赋格隔天完成。虚构者题献给当时庆祝26岁生日的格奥尔基·波波维奇。

No. 5 - D Major. (c. 11.40+3.10=14.50)

Prelude (Largo) is a lullaby in arch form and 6/4-time, reworking half of the composer’s own Violin Concerto in D Major. The longest prelude among the 24. Completed 26 December.

前奏：摇篮小协奏曲、广板、四六拍。基于up主未完成的小提琴协奏曲，因此是全集里最长的前奏。

Fugue (Andante Moderato) is in common time (occasionally 6/4), with 4 voices. Theme strongly suggests G major and resembles opening melody of Singapore’s national anthem. Quotes from Mieczyslaw Weinberg's Sonata No. 2 for Solo Violin in one of the episodes. Completed 27 December.

赋格：四声部、中庸的行板、四四拍（偶有四六拍）。主题强烈偏向下属的G调。发展部引用了魏因贝格的第二号小提琴独奏奏鸣曲。

Dedicated to Singapore on the 10th anniversary of the composer’s enrollment into Singapore’s education system.

D大调前奏于12月26日完成，赋格隔天完成。题献给新加坡，纪念up主迁至狮城读书十周年。

No. 6 - B Minor. (c. 3.10+10.00=13.10)

Prelude (Pesante - Più Adagio) is a quadruple fughetta in 7/4, with 4 voices. First theme is in folkish Dorian mode, lasting for 2 bars; once presented in all voices, this theme is left behind temporarily. Second theme and third theme are presented as countermelodies of each other in the lower voices, then in the upper voices, and these themes are only 1 bar long. Both of these themes are elaborated for a few bars more after their presentation, outlininG C minor. Fourth theme, the longest at 7 bars (and made out of notes no shorter than the half note), foreshadows that of the fugue proper. The previous themes re-enter augmented as third countermelodies of this fourth theme, revealing its relations with the third movement of Shostakovich's 2nd Piano Sonata. Total silence follows, then a coda suggesting A major ends in an inconclusive F#-B-E-A quartal chord. Completed 28 December.

前奏：四声部四重小赋格、沉重地-更加柔缓地、四七拍。主题一长两小节，为多里安调式的民俗风，独自呈现，紧接第二和第三主题（各一小节长）的同时呈现，稍微发展至C小调，再过渡到七小节长，散漫的第四主题（暗示赋格主题）。前三个主题作为第四主题的附庸重现，然后老肖的影子又浮现了（具体借用其第二号钢琴奏鸣曲末乐章的变奏主题）。一片寂静后，虽然有移到A大调的倾向，但四度和声仍占据主导地位。

Fugue (Adagio) is in common time (occasionally in 3/4) with 3 voices. Theme is one of the longest among the whole set at 12 bars, and modulates briefly into B-flat. First countersubject is in duple form, and second countersubject is a quotation of Dies Irae. The only fugue to utilise the Alto clef in notation, due to the unusual range of the theme in the upper voice. Episode are canons of fugue in dimunition. An inverse of the theme appears in the upper voice, around seven minutes into the fugue, but is not developed further as it leads directly into the slow coda. Completed 29 December.

赋格：三声部、柔板、四四拍（偶有四三拍）。主题长达12小节（全集之最），且是唯一一个在主调内需用中音谱号记下的。第一副主题呈AA'结构，第二副主题则又更明显地借了末日经首句。展开部主要由主题的双倍加速驱动，接近七分钟时主题转位出现，但仅此一次，只起到过渡至结尾的作用。

Dedicated to the year 2016.

B小调前奏于12月28日完成，赋格隔天完成。题献给2016年。

No. 7 - A Major. (3.30+1.20*=4.50)

Prelude (Allegretto - Vivace - Tempo I) is a Ländler in 3/4. First section is a variation of Alphys' leitmotif and In the Hall of the Mountain King, while second section is a variation of Undyne's leitmotif. Both sections mirror each other in format, and end with similar episodes. Coda speeds up the Ländler and combines the two themes together. 

前奏：兰德勒舞曲、小快板-活泼地-原速度、四三拍。两大主题都基于Undertale游戏中出现的两个角色主导动机（代表虚构题献者），其中第一主题也融合了格里格《培尔·金特》的“山魔王的大厅”主题。两大主题的尾声接近，最后两者对位加速引向尾声。

Fugue (Presto - Vivace) is in 5/4 with 3 voices. Theme is extremely rapid and chromatic, while countersubjects (fragmentation of the leitmotifs of Undyne and Alphys respectively) add on to the dissonance of the whole fugue. Contains episodes made up of ascending scales in order to re-establish tonality. Inverse of theme appears numerous times as well. Ends with a reminder of the A minor fugue, and the same cadence as the Ländler prelude. Rare among the fugues, it ends loudly.

赋格：三声部、急板-活泼地、四五拍。主题极快，接近序列，副主题虽取自前奏，但也十二音化。发展部有好几个上升音阶，试图重建调性；间中也夹杂主题的转位。尾声虽回归前奏的响亮（全集中强音结束的赋格不多），却也先模仿了A小调赋格模糊的结尾。

(*The optimum timing of 1.20 for this fugue may be too fast for some performers, so it may be slowed down and stretched to a timing of around 1.50. This is considered a separate arrangement.)

Both completed 29 December. "Dedicated to Undyne and Alphys."

A大调两首都于12月29日完成，虚构题献者无官方中译。

No. 8 - F♯ Minor. (1.50+3.05=4.55)

Prelude (Allegretto) is an invention in 8/4 time. The theme consists of an imitation of the Prelude of BWV 543 with its repetition of minor thirds and descendinG Chromatic scale, but also infused with the leitmotif of Mettaton Ex ("Oh My") as its first 8 notes. After descending through the F# minor scale, the melody climbs up in quartal harmony to a D, then descends again. The theme is repeated an octave lower, with a countermelody from the beginning of Shostakovich's 2nd Violin Concerto (which also appears in Undertale as part of the melody for "Oh One True Love") and Napstablook's "Pathetic House" leitmotif. 

前奏：二部对位曲、小快板、四八拍。第一主题参照BWV 543的A小调前奏十六分音符动机写成，也引用了Undertale中的另一个角色主导动机；流程为主调（升F等）下降音阶转不断的上升四度。第二主题参照老肖第二号小提琴协奏曲开头及晚期其他作品中的婉转动机，也巧合地在Undertale其中一个BGM出现；第三主题则完全是Undertale独创的角色主导动机。

Fugue (Andante) is in 5/4 (one bar is in 6/4) with 4 voices. (An arrangement of this fugue is in 2/4 throughout. This arrangement may be played with swung 16th notes.) Theme is made of dotted rhythms and hence sounds like a limping hornpipe tune; countersubjects are steadier, being made out of the above-mentioned motifs of Shostakovich, Mettaton and Napstablook.

赋格：四声部、行板、四五拍（有一节四六拍）。主题基于附点八分音符前后加十六音符，以模仿英式号管舞的曲调。副主题则采用了前奏中出现的所有动机。

Both completed 30 December. "Dedicated to Mettaton and Napstablook."

升F小调两首都于12月30日完成，虚构题献者同样无中译。

中篇再续……