有關全集的源起與調(diào)音，請見上一篇專欄中的序。

以下為中卷各曲目的寫作背景與結構筆記，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：慢步進行曲、廣板、八六拍。改編自up主中學某年寫成的E小調(diào)第二號小夜曲慢樂章。

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.

賦格：三聲部、偏快的中板、四四拍。主題節(jié)奏承襲上卷最后一首賦格的特點（附點式），副主題則由簡單的上下級進組成。音域方面，除了第三聲部的呈現(xiàn)以外，基本都在中音C以上（與E小調(diào)賦格相反）。

Dedicated to Mrs Tan-Lim K.S..

E大調(diào)前奏于2017年（下同）1月1日完成，賦格4日完成。題獻給初級學院（對等于高中）的英文理解與寫作老師兼班副主任。

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：觸技曲、急板、四二拍。類奏鳴曲式，第二主題引用馬勒第三號交響曲第五樂章中的“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.

賦格：四聲部、柔板-偏快的中板-原速度、八六拍。采雙主題分別發(fā)展的形式（模仿肖斯塔科維奇Op. 87最后一首D小調(diào)賦格），第一主題為搖籃曲風格，第二主題前后由十六分音符組成。第一主題發(fā)展期間“夢游”回C大調(diào)前奏曲的氛圍，第二主題呈現(xiàn)時的最后一個副主題和第一主題相同。兩個主題合并再現(xiàn)時短暫地轉為升C大調(diào)，又反高潮地轉入多里安式的小調(diào)尾聲。

Dedicated to the composer's mother.

升C小調(diào)前奏于1月4日完成，賦格隔天完成。題獻給up主的母親。

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：三聲部對位曲、小快板、二二拍（偶有四三拍）。呈ABAB'A'曲式，發(fā)展都相對飛快。各段調(diào)性分別為B大調(diào)（A）、升G小調(diào)（B）、B小調(diào)（A'和B'）。尾聲混合多里安和弗里吉安調(diào)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.

賦格:三聲部、快板、八九拍（參雜八六拍、八·十二拍）。主題以B大調(diào)分解和弦為主，但加入各種半音導音以混淆調(diào)性。副主題也以半音為主，其中一個甚至只是下降的半音音階。發(fā)展部頻繁只有兩個聲部互相對位。尾聲中第一聲部回想前奏中的第一主題。

Both completed 7 January. "Dedicated to Ji G. H. on his 18th birthday."

B大調(diào)兩首都于1月7日完成。虛構題獻者為當天慶祝18歲生日的季光虹，是全集中最后一部題獻給《Yuri!!! on Ice》角色的前奏曲與賦格。

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：奏鳴曲、中板-行板-原速度、四四拍，中間為四三拍。原作為up主未完成的升G小調(diào)鋼琴二重奏奏鳴曲，呈三部曲式。第一主題較粗框，第二主題先以G小調(diào)呈現(xiàn)，較為平靜。兩個主題都以下降的大二度旋律為基礎，常依靠三全音關系移到D、F、G、A等調(diào)，且由于利用音塊、大小三度同時出現(xiàn)（從這個前奏曲以降稱為全集的另一個特征），使調(diào)性進一步模糊。

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.

賦格：四聲部、非?？斓亍⑺亩?。主題旋律半音化、節(jié)奏偏歡快，同賦格9和11，但其優(yōu)勢逐漸為前奏的第一主題所取代。發(fā)展部也有前奏詭異、緊張的影子，再現(xiàn)部前突然插入的眾贊歌段落亦然。發(fā)展部一開始就讓三個聲部將賦格主題密接合應兩次；再現(xiàn)部則將此主題放慢讓低聲部演奏，和高音的前奏主題對位，最后合并成排山倒海的上下音階及“尖”（代號：大小三度同時出現(xiàn)）三和弦高潮。

Dedicated to the year 2017.

升G小調(diào)前奏于1月14日完成，賦格24日完成。題獻給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，圍繞著題獻者的相關樂旨發(fā)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.

賦格：三聲部、慢板-更加柔緩地、四三拍。主題性質(zhì)和前一首賦格相反，旋律也用三全音但反而強調(diào)主音，節(jié)奏則哀而不傷。副主題借用前奏中出現(xiàn)的樂思；這些主題都經(jīng)常使用波音。發(fā)展部偏無調(diào)性，以移到降E、D、F等調(diào)的主題為骨干；低音有一次主題密接合應。尾聲由一個漫長的上聲音階導入，再一次回想題獻者的音名樂旨，并為全集最后一首賦格（No. 24）的結束方法埋下伏筆。

“In memoriam Asriel Dreemurr,” and dedicated to the innocent victims of war.

升F大調(diào)前奏于2月5日完成，賦格因學業(yè)關系，三個半月后的5月20日才完成。半虛構題獻：紀念Undertale中的悲劇角色（無中譯，也是全集最后一個題獻給《Undertale》角色的前奏曲與賦格）兼戰(zhàn)爭中枉死的平民。

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。以勛伯格的音名為樂思，用極簡式的序列寫作法展開。與其說無調(diào)性，更多是多調(diào)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.

賦格：四聲部、如華爾茲（圓舞曲）的柔板、四三拍。主題為十二音列，前幾個音從降E小調(diào)音階中選出。呈現(xiàn)部和發(fā)展部大多以簡單的十二音技法玩弄這個音列（樂譜上P為原型、I為音程反行、R為旋律逆行、數(shù)字則指移調(diào)后的主音與降E的音程數(shù)），從一開始慢慢漸強，直到最強音的自由眾贊歌段落，才脫離序列主義并漸弱、放慢，以半音下降的方式抵達平靜的降E大調(diào)尾聲。

Dedicated to the pioneers of the 2nd Viennese School.

降E小調(diào)前奏于5月20日完成，賦格29日完成。題獻給第二維也納樂派的先驅。

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、活潑地、四三拍。華爾茲圓舞曲式，A段由不同和弦與下降音節(jié)組成，B段則為某新教圣詠的變奏，A和B之間由減七和弦過渡，反之則多通過中音移調(diào)。

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.

賦格：三聲部、活潑的快板、四五拍。主題開始較平緩、仍清楚地圍繞降D主音，但中間就加快（附點全音到附點半音及十六分音符）且半音化。副主題含移調(diào)的BACH樂旨及主題的旋律逆行。發(fā)展部包括一段半音組成的固定音型、主題放慢后進入主音假尾聲等，之后主題不完全出現(xiàn)，引入和前奏相同的主音終止（類似A大調(diào)前奏曲與賦格）。

Both completed 31 May. Dedicated to the sportsmen and sportswomen in Singapore.

降D大調(diào)兩首都于5月31日完成。題獻給（原文含“新加坡的”一詞，可能有點狹隘，故移去）諸體壇健將。

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：葬禮進行曲、行進的柔板、四二拍。主題為米亞斯科夫斯基第25號交響曲第一樂章中間部小調(diào)旋律的變奏，變奏的方法則參考老肖Op. 87的降B小調(diào)前奏，但高潮則升半音到還原B小調(diào)，再回歸降B（又是大調(diào)轉小調(diào)）。

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.

賦格：四聲部、行板、四五拍。主題高度半音化，參考貝爾格的小提琴協(xié)奏曲，到了末尾才接近主調(diào)。副主題則以半音為主，兼含DSCH樂旨和末日經(jīng)首句的旋律。發(fā)展部包括了前幾首主題曲與賦格的回想（除了E小調(diào)賦格的旋律，大多取自中卷），甚至一度直接引用老肖降B小調(diào)賦格的主題與本賦格的主題形成對位。這首賦格也是前16首中音域最寬的，若在鋼琴上演奏，除了最高的C和最低的A，幾乎所有的鍵都用到。

Dedicated to the victims of, and the victory against, terror.

降B小調(diào)前奏于6月1日完成，賦格5日完成。題獻給恐怖主義下的犧牲者以及對反恐勝利的期許。

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