序曰：

寫成這一系列前奏曲與賦格的初衷，一言以蔽之，無(wú)聊。（其實(shí)還是有得聊的，所以這個(gè)詞應(yīng)解讀為“吃飽太得空”。）以前在Musescore網(wǎng)上上載過(guò)，也不期望會(huì)有太多人欣賞，就趁年關(guān)將至，重新整理一遍，在B站上發(fā)布，進(jìn)一步自?shī)室幌隆?/p>

一般認(rèn)為，巴赫是為所有調(diào)性寫前奏曲與賦格的第一人。無(wú)可否認(rèn)，其兩本《良律鍵盤曲集》（BWV 846~893。一般將標(biāo)題中的“wohltemperierte”或“Well-Tempered”譯為“平均律”，但兩者不對(duì)等，這里改譯，原因不贅述）仍是全調(diào)性曲集兼前奏曲與賦格中的圭臬。不過(guò)作為現(xiàn)代人及“親俄樂(lè)”派，我比較常聽(tīng)肖斯塔科維奇的《二十四首前奏曲與賦格》（Op. 87），因此寫作自己的前奏曲與賦格時(shí)，受老肖的影響大于巴赫；不過(guò)《全調(diào)性前奏曲與賦格集》是同時(shí)致敬兩位大作曲家的。至于對(duì)位與和聲作曲方面，up主只能算是業(yè)余，沒(méi)有細(xì)究賦格曲里是否犯了平行五八度之類的通病（有時(shí)甚至故意為之），自然也就沒(méi)巴赫和老肖那么嚴(yán)謹(jǐn)。這一點(diǎn)還請(qǐng)聽(tīng)者見(jiàn)諒。

為什么B站上的版本會(huì)重新用純律調(diào)音，還是那兩個(gè)字使然：無(wú)聊。無(wú)他，結(jié)果比平均律悅耳也罷，刺耳也罷，還請(qǐng)當(dāng)成一種音樂(lè)實(shí)驗(yàn)看待。上中下三卷使用的純律比率如下，以A440為基準(zhǔn)音，并附上和平均律的音分差（精確至十分位數(shù)）：

老實(shí)說(shuō)，這串固定的純律一點(diǎn)都不純，其中的音程結(jié)合后又會(huì)產(chǎn)生新（bu）鮮（zhun）的頻率，給予不同調(diào)性不同的音（zou）色（yin），所以也用了下面幾張表格整理，從最低（flat）到最高（sharp）：

又及：

一、全集長(zhǎng)達(dá)三小時(shí)（加上附錄則多半小時(shí)左右），因此前24首不按巴赫、老肖的前例分為兩本，而是拆分為三卷，各一小時(shí)長(zhǎng)，且24首的調(diào)性按照老肖Op. 87的順序（借鑒自肖邦全調(diào)性前奏曲的五度圈及關(guān)系調(diào)系統(tǒng)）排列。因此，C大調(diào)到升F小調(diào)為上卷、E大調(diào)到降B小調(diào)為中卷、降A(chǔ)大調(diào)到D小調(diào)為下卷。后6首則采用了老肖曲集中未使用，且比較罕見(jiàn)的6個(gè)等音調(diào)（enharmonic keys，即“異名同音”），故名“等音調(diào)附錄”，嚴(yán)格上與前24首不是同一個(gè)作品。

二、各個(gè)前奏曲和賦格中大量引用了其他作曲家的樂(lè)思樂(lè)段，但都是為了自?shī)?、致敬，無(wú)意侵權(quán)。（言下之意：侵刪）

三、全集沒(méi)有指定的配器，也不一定都適合鋼琴或其他鍵盤獨(dú)奏，僅為方便起見(jiàn)而使用了Musescore提供的鋼琴音檔輸出MP3。有興趣的聽(tīng)眾可隨意抽出任何一首前奏曲與賦格，重新配器。（前提是up主所寫的這些作品本身沒(méi)構(gòu)成侵權(quán)……）

是為序。

下來(lái)以筆記的形式介紹上卷的寫作背景與結(jié)構(gòu)（原本用英文記下，中譯及附加說(shuō)明附于后。有的原文會(huì)選擇性省略，以刪除線標(biāo)示）。其余三卷的筆記會(huì)在各自的視頻上傳同時(shí)再上載。

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：小奏鳴曲、中板、四五拍（巴赫幾乎不用，老肖用過(guò)幾次，up主則是幾乎用上癮的程度）。起始的和弦組成音和巴赫、老肖一樣，不過(guò)巴赫是以分解的方式呈現(xiàn)，老肖要求同時(shí)彈出，這里則“折衷”使用琶音。主題緊接著在低音聲部出現(xiàn)，基于下降的大調(diào)音階（和賦格主題密切相關(guān)），并通過(guò)簡(jiǎn)單的賦格對(duì)位等方法一直發(fā)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.

賦格：二聲部、小快板-莊嚴(yán)地、二二拍。主題限于純四度以內(nèi)，短小精悍。甚至可以說(shuō)全集都是這個(gè)主題的變奏罷了。各聲部在尾聲有高/低八度的額外和聲。

Both completed 23 December. Dedicated to Ms Alister Chua.

C大調(diào)兩首都于2016年（下同）12月23日完成，題獻(xiàn)給中學(xué)高年級(jí)的會(huì)計(jì)學(xué)老師兼班主任。

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：帕薩卡里亞曲、柔板-更加柔緩地、四三拍。低音主題基于老肖小提琴奏鳴曲的開(kāi)頭，以四度為主，共重復(fù)十次——第六和第七次轉(zhuǎn)移到高音聲部，第十次則雙倍延長(zhǎng)。高音聲部的副主題也有老肖的影子，以類似四聲部賦格的呈現(xiàn)方式展開(kāi)。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.

賦格：三聲部、活潑的-中庸的快板-活潑的、四三拍。雙主題，主題一簡(jiǎn)短，花前一分鐘展開(kāi)；主題二還是簡(jiǎn)短，接近洛克利安調(diào)式（以7為主音）且發(fā)展得更倉(cāng)促。尾聲大多在A大調(diào)，但仍沮喪地以小調(diào)結(jié)束。

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

A小調(diào)兩首都于12月24日完成，題獻(xiàn)給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：卡農(nóng)頌曲、慢板-更慢-慢板-更慢、四四拍轉(zhuǎn)八九拍。圣誕搖籃曲的變奏，保留了原曲的架構(gòu)，但第二主題第一次呈現(xiàn)改為小調(diào)。尾聲暗示賦格主題。

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.

賦格：四聲部、中板-行板-慢板-更慢、四四拍。主題基于末日經(jīng)的第一句。發(fā)展部又移到G小調(diào)，但尾聲移回大調(diào)，對(duì)主題進(jìn)行節(jié)拍切分、加速等處理，以模仿圣誕期間的教堂鐘聲。

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

G大調(diào)前奏于12月24日完成，賦格隔天完成。虛構(gòu)者題獻(xiàn)給當(dāng)時(shí)慶祝28歲生日的維克托·尼基弗羅夫（懂自懂）。

按：原文中所有虛構(gòu)者題獻(xiàn)都會(huì)加上開(kāi)關(guān)引號(hào)。

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：小觸技曲、快板-小快板、二二拍。高音聲部維持三十二分音符，變奏末日經(jīng)首句（即上一首賦格的主題），低音聲部則根據(jù)八分音階沉穩(wěn)地演奏。有三次重復(fù)，最后一次放慢，且高低音聲部都有八度和聲支撐，更為沉重。

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.

賦格：三聲部、柔板-雙倍放慢、四四拍（偶有四三拍、八七拍）。全曲音域很少高于中音C，也罕見(jiàn)八度，但常用四度、五度、二度及九度，以模糊其調(diào)性。發(fā)展部以二聲部對(duì)位為主，第三聲部偶爾才加入。有兩個(gè)與主題無(wú)關(guān)但重要的樂(lè)段，其中一個(gè)在再現(xiàn)部開(kāi)始和結(jié)尾重復(fù)，為八七拍，由題獻(xiàn)者的姓名暗號(hào)組成；另外一個(gè)在呈現(xiàn)部結(jié)尾和全曲結(jié)尾出現(xiàn)，帶大調(diào)性質(zhì)，并在尾聲節(jié)節(jié)往高音域開(kāi)拓，試圖擺脫全曲陰沉的氛圍。

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

E小調(diào)前奏于12月25日完成，賦格隔天完成。虛構(gòu)者題獻(xiàn)給當(dāng)時(shí)慶祝26歲生日的格奧爾基·波波維奇。

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：搖籃小協(xié)奏曲、廣板、四六拍?；趗p主未完成的小提琴協(xié)奏曲，因此是全集里最長(zhǎng)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.

賦格：四聲部、中庸的行板、四四拍（偶有四六拍）。主題強(qiáng)烈偏向下屬的G調(diào)。發(fā)展部引用了魏因貝格的第二號(hào)小提琴獨(dú)奏奏鳴曲。

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

D大調(diào)前奏于12月26日完成，賦格隔天完成。題獻(xiàn)給新加坡，紀(jì)念up主遷至獅城讀書十周年。

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：四聲部四重小賦格、沉重地-更加柔緩地、四七拍。主題一長(zhǎng)兩小節(jié)，為多里安調(diào)式的民俗風(fēng)，獨(dú)自呈現(xiàn)，緊接第二和第三主題（各一小節(jié)長(zhǎng)）的同時(shí)呈現(xiàn)，稍微發(fā)展至C小調(diào)，再過(guò)渡到七小節(jié)長(zhǎng)，散漫的第四主題（暗示賦格主題）。前三個(gè)主題作為第四主題的附庸重現(xiàn)，然后老肖的影子又浮現(xiàn)了（具體借用其第二號(hào)鋼琴奏鳴曲末樂(lè)章的變奏主題）。一片寂靜后，雖然有移到A大調(diào)的傾向，但四度和聲仍占據(jù)主導(dǎo)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.

賦格：三聲部、柔板、四四拍（偶有四三拍）。主題長(zhǎng)達(dá)12小節(jié)（全集之最），且是唯一一個(gè)在主調(diào)內(nèi)需用中音譜號(hào)記下的。第一副主題呈AA'結(jié)構(gòu)，第二副主題則又更明顯地借了末日經(jīng)首句。展開(kāi)部主要由主題的雙倍加速驅(qū)動(dòng)，接近七分鐘時(shí)主題轉(zhuǎn)位出現(xiàn)，但僅此一次，只起到過(guò)渡至結(jié)尾的作用。

Dedicated to the year 2016.

B小調(diào)前奏于12月28日完成，賦格隔天完成。題獻(xiàn)給2016年。

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

Prelude (Allegretto - Vivace - Tempo I) is a L?ndler 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 L?ndler and combines the two themes together.?

前奏：蘭德勒舞曲、小快板-活潑地-原速度、四三拍。兩大主題都基于Undertale游戲中出現(xiàn)的兩個(gè)角色主導(dǎo)動(dòng)機(jī)（代表虛構(gòu)題獻(xiàn)者），其中第一主題也融合了格里格《培爾·金特》的“山魔王的大廳”主題。兩大主題的尾聲接近，最后兩者對(duì)位加速引向尾聲。

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 L?ndler prelude. Rare among the fugues, it ends loudly.

賦格：三聲部、急板-活潑地、四五拍。主題極快，接近序列，副主題雖取自前奏，但也十二音化。發(fā)展部有好幾個(gè)上升音階，試圖重建調(diào)性；間中也夾雜主題的轉(zhuǎn)位。尾聲雖回歸前奏的響亮（全集中強(qiáng)音結(jié)束的賦格不多），卻也先模仿了A小調(diào)賦格模糊的結(jié)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大調(diào)兩首都于12月29日完成，虛構(gòu)題獻(xiàn)者無(wú)官方中譯。

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：二部對(duì)位曲、小快板、四八拍。第一主題參照BWV 543的A小調(diào)前奏十六分音符動(dòng)機(jī)寫成，也引用了Undertale中的另一個(gè)角色主導(dǎo)動(dòng)機(jī)；流程為主調(diào)（升F等）下降音階轉(zhuǎn)不斷的上升四度。第二主題參照老肖第二號(hào)小提琴協(xié)奏曲開(kāi)頭及晚期其他作品中的婉轉(zhuǎn)動(dòng)機(jī)，也巧合地在Undertale其中一個(gè)BGM出現(xiàn)；第三主題則完全是Undertale獨(dú)創(chuàng)的角色主導(dǎo)動(dòng)機(jī)。

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.

賦格：四聲部、行板、四五拍（有一節(jié)四六拍）。主題基于附點(diǎn)八分音符前后加十六音符，以模仿英式號(hào)管舞的曲調(diào)。副主題則采用了前奏中出現(xiàn)的所有動(dòng)機(jī)。

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

升F小調(diào)兩首都于12月30日完成，虛構(gòu)題獻(xiàn)者同樣無(wú)中譯。

中篇再續(xù)……