此P專門照顧到古典樂中較罕見的同音異名調(diào)（簡(jiǎn)稱等音調(diào)，Enharmonic Keys），也就是升降號(hào)超過(guò)4個(gè)的。因此，介紹后6副前奏曲與賦格的調(diào)性時(shí)，也會(huì)舉出其在前24四副中的位置和調(diào)名。又，如序所述，后6副中的D?/E?，與A的頻率比從64:45改為45:32，以進(jìn)一步實(shí)驗(yàn)并突出這附錄曲風(fēng)與前三卷的不同。

等音調(diào)附錄較不嚴(yán)肅，其中的曲目都沒有題獻(xiàn)（后來(lái)有例外，下述），又與前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：卡薩欣（類似小夜曲、嬉游曲），活潑的快板、二二拍（偶有四三拍）。結(jié)構(gòu)較B大調(diào)前奏簡(jiǎn)單，原文就以刪除號(hào)顯示，不再贅譯。

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.

賦格：四聲部，小快板，四四拍。主題簡(jiǎn)單，音符全部從大調(diào)音階中提取。發(fā)展也較倉(cāng)促，多由直接的緊接與音符延長(zhǎng)段落組成。尾聲中主題零碎再現(xiàn)。

升C大調(diào)【對(duì)應(yīng)XI. B大調(diào)】前奏于2017年12月（下同）1日完成，賦格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。曲風(fēng)沿襲A小調(diào)、降B小調(diào)和D小調(diào)三首前奏，但更接近肖斯塔科維奇Op. 87中的第12號(hào)前奏（也是等音的升G小調(diào)）。低音主題靈感源自民間拾破爛者的喚聲，類似“酒干倘賣無(wú)”，共重復(fù)十次。第八次轉(zhuǎn)至高音、第九次移到還原A小調(diào)，第十次則同時(shí)以降A(chǔ)小調(diào)、還原A小調(diào)雙調(diào)重現(xiàn)，并暗示賦格主題。全集中唯一一部注明鋼琴踏板踩點(diǎn)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.?

賦格：五聲部，柔緩的行板，四六拍。主題在主音上下跳躍，然后以半音音階下降回主音。發(fā)展部極為壓抑，以緊接的延長(zhǎng)與縮短音符令主題逐漸支離破碎，并突兀地通過(guò)半音音塊導(dǎo)入尾聲（靈感為魏因貝格的降A(chǔ)小調(diào)第16號(hào)弦樂四重奏）。

Both completed 4 December.?

降A(chǔ)小調(diào)【對(duì)應(yīng)XII. 升G小調(diào)】兩首都于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.

此段的翻譯與注解見文末。

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：鐘鳴曲，柔板，四五拍。兩個(gè)主題都以小三度為范圍游走，由模仿大鐘聲音的持續(xù)低音支撐。

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.

賦格：四聲部，偏快的中板，四二拍。主題引用某圣誕歌曲，短小活潑，副主題則以十六分音符為主……基本上沒什么好發(fā)展的，成為全集最短的賦格。

降G大調(diào)【對(duì)應(yīng)XIII. 升F小調(diào)】前奏于5日完成，賦格隔天完成。

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（之惡搞），慢板（四四拍）-接近急板的快板（八六拍）。慢部分的附點(diǎn)節(jié)奏及快部分的類賦格風(fēng)基本符合法式序曲的一般形式，但前段的主題都是由半音組成，后段的主題則是英雄超人主題的變奏，戲謔味道頗重。

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.

賦格：三聲部，愁情的中板，四四拍。主題取自俄語(yǔ)歌曲《莫斯科郊外的晚上》。發(fā)展部基本脫離一般賦格的定格，虛無(wú)縹緲。

升D小調(diào)【對(duì)應(yīng)XIV. 降E小調(diào)】前奏于6日完成，賦格隔天完成。

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，廣板，二二拍。極簡(jiǎn)、輕柔，完全在大調(diào)音階內(nèi)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.

賦格：三聲部，小快板，二二拍。主題（以及好幾個(gè)無(wú)對(duì)位段落）取自愛沙尼亞蘇維埃時(shí)代的“國(guó)歌”。副主題既有愛沙尼亞（兼芬蘭，雖然歌詞不同）現(xiàn)在的國(guó)歌，也有自創(chuàng)的，充滿戲謔式半音。

升C大調(diào)【對(duì)應(yīng)XV. 降D大調(diào)】前奏于8日完成，賦格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、節(jié)奏與旋律風(fēng)格大概都是全集中最“大眾化”的。唯一一個(gè)在最后要求無(wú)間斷進(jìn)入賦格的前奏曲，部分是因?yàn)閷懙侥菚r(shí)盼著全集的初稿即將完成，興奮使然。

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.

賦格：二聲部，甚急板，十六·六/七/五拍（跟斯特拉文斯基學(xué)的）。主題風(fēng)格模仿高加索一帶的列茲金卡舞，發(fā)展部也因此跟著桀驁不馴，一直脫離賦格的框架，但也回看初心（第一首賦格也是二聲部，發(fā)展相當(dāng)潦草）。尾聲如同C大調(diào)賦格，各聲部皆有八度和音。終止和前奏如出一轍，同A大調(diào)和降D大調(diào)的創(chuàng)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.)

視頻中的版本加入了賦格大部分的重復(fù)（即譜中最后一個(gè)da capo）。

升A小調(diào)【對(duì)應(yīng)XVI. 降B小調(diào)】前奏于16日完成，賦格隔天完成。

附上六副賦格的主題表：

又及全集完成隔天（18日），偶聞SHINee鐘鉉噩耗，雖然之前對(duì)其人其作并無(wú)印象，但不知怎的，仍對(duì)此感到十分震撼，甚于之前親友去世時(shí)，因此在其出殯當(dāng)天（21日）將上述的降A(chǔ)小調(diào)恰空與賦格配器給室內(nèi)弦樂團(tuán)（構(gòu)想人數(shù)：6-5-4-3-2）及定音鼓（只在前奏的高潮中出現(xiàn)）后題獻(xiàn)之，以示哀悼。不過(guò)光聽鋼琴版本，大概就能感覺到配器后的效果如何，且配器版還沒實(shí)際演奏、錄音過(guò)，現(xiàn)階段只能靠Musescore生成MP3，就不再上傳了。全文終。