有關(guān)全集的源起、調(diào)音等，已寫成序，不再贅述。

以下為下卷，24首中最后八副前奏曲與賦格的創(chuàng)作筆記。

No. 17 - Ab Major. (c. 1.50+5.10=7.00)

Prelude (Moderato) is an étude in 2/4 and common time. A study on polyrhythm and polytonality. Main materials are a serial arrangement of the Ab major diatonic scale as ostinato, a first theme made up of the D-natural major pentatonic scale, and a second theme which involves octave leaps and chromatic scale motion, and modulates through mediants (e.g. Bb to G). These themes are presented variously in simultaneous duple, triple, quintuple and septuple times, forming rhythmic counterpoint not unlike Stravinsky's Le Sacre. Two episodes involve the augmented triad as well.?

前奏：練習(xí)曲、中板、四二拍轉(zhuǎn)四四拍。模仿《春之祭》的復(fù)調(diào)復(fù)節(jié)奏（有二連音、三連音、五連音、七連音等同時出現(xiàn)）性質(zhì)，降A(chǔ)大調(diào)音階中的音組成序列，與調(diào)性、節(jié)奏上都毫不相干的兩個主題形成尷尬的對位，通過中音及增和弦移調(diào)發(fā)展。

Fugue (Andante) is in 3 voices and common time (an episode is in 6/8). Theme entirely comprised of notes from the major pentatonic scale. An important countersubject in implied Dorian mode immediately appears in the expo. Development is widely varied in approach towards theme (transposed, inverted, augmented...) and countersubjects, often modulating suddenly. The BACH motive and augmented triads also sneak in during the development to aid in its chromaticism. Mostly light-hearted in mood until the bass clef reappears in the score.

賦格：三聲部、行板、四四拍（間中一段為八六拍）。主題根植于五聲音階，第一副主題則偏向多里安調(diào)式。發(fā)展部對主題與副主題極盡變奏之能事，也常突然轉(zhuǎn)調(diào)，通過BACH樂旨及增和弦等手段進(jìn)一步半音化。盡管如此，全曲大多以高音譜號標(biāo)記，氛圍盡量輕快，直到尾聲才出現(xiàn)低音。

Both completed 21 June. Dedicated to Mr Zhou E. G..

降A(chǔ)大調(diào)兩首都于2017年（下同）6月21日完成，題獻(xiàn)給小學(xué)高年級的華文老師（貴姓周）。

No. 18 - F Minor. (c. 2.25+6.00=8.25)

Prelude (Adagio molto) is a dirge in 12/8. Of ABAB form: A section is made up of chromatic ascension accompanied by a F-Ab dyad below, and B section is made up of a three-note Phrygian chant motive accompanied by an Ab-C/Db dyad below.?

前奏：挽曲、極柔板、八·十二拍，呈二部曲式。

Fugue (Andante) is in 4 voices and 3/4; episodes which quote from Rachmaninoff's 2nd Elegiac Trio are in common time, and final 4 bars are in 5/4. Subject contains cells of minor thirds and major seconds. First countersubject is the retrograde of the subject proper; other countersubjects and materials used to develop the fugue include quartal harmony, the BACH motif, the above-mentioned Rachmaninoff quote, a tone row consisting of diminished seventh chords broken up and repeated up/down major thirds (e.g. C Eb Gb A E G Bb Db Ab B D F), and the subject of Bach's F Minor fugue in his first WTC (BWV 857). Eighth notes do not appear except in the Rachmaninoff quotations.

賦格（個人在全集中比較滿意的一首）：四聲部、行板，大多為四三拍（例外見下）。主題由小三度、大二度交替構(gòu)成，第一副主題僅為主題的旋律逆行。其余副主題、發(fā)展部充斥著四度和聲、BACH樂旨、類似降B小調(diào)賦格主題的十二音序列、巴赫《良率鍵盤曲集》第一本中的F小調(diào)賦格主題等。又兩次引入拉赫瑪尼諾夫《第二號挽歌三重奏》（Trio élégiaque No. 2）的樂段，并短暫轉(zhuǎn)為四四拍；這兩段也是全曲唯一出現(xiàn)八分音的段落，其余音符長度均保持在四分音以上。最后四個小節(jié)則為四五拍。

Both completed 22 June. Dedicated to the memory of Tunku Laksamana Johor.

F小調(diào)兩首都于6月22日完成，題獻(xiàn)紀(jì)念已故的柔佛蘇丹三王子。（按：up主出身在馬來西亞新山。）

No. 19 - Eb Major. (c. 2.00+2.50=4.50)

Prelude (Allegro - Maestoso) is a fanfare in arch form. First section is a quote from the Russian fanfare "Listen!" (Слушайте все!) and is repeated before the third section (with an augmented fifth) and in the coda (with canon in Ab and Bb). Second section comprises of quartal progressions typical of fanfares, and transformations of the BACH motif in the higher voices. The third section is a brief reprise of the subject from the previous fugue (F minor) supported by strong quartal, tertian and secundal chords (or clusters), after which the second section is repeated in another key and the coda follows soon after. Completed 23 June.

前奏：開場號、快板-莊嚴(yán)地、四四拍。ABA'CBA形式，A段引自前蘇聯(lián)的閱兵開場小號“聽！”，B段又是四度和聲支撐BACH樂旨，C段則回溯F小調(diào)賦格的主題。

Fugue (Allegro - Maestoso - Tempo prima) is in 4 voices and alternating 3/4 and 6/8. Theme rapidly switches between a waltz and a jig tempo. An assortment of countersubjects and harmonic devices used in the previous fugues are reused here: BACH, DSCH, chromatic scale, whole tone scale (the first countersubject is purely the last bar of the subject repeated six times, each repetition a whole tone lower), quartal harmony... Becomes more and more fragmented as more episodes are inserted, including an imitation of a false subject entry in Bm and F#m in the higher voices with an ostinato figure in the bass, a reminiscence of the majestic fanfare-like atmosphere of the prelude (marked by rituando canon of first countersubject into the Maestoso section) and a quotation of the Tristan chord soon after. Coda (linked with previous episode by acclerando canon of first countersubject)? is a chromatic (and quartal) stretto, and Eb major abruptly returns only in the last two bars (even then the 2nd last bar is largely still pandiatonic). Completed 24 June.

賦格：四聲部、快板-莊嚴(yán)地-原速度、四三拍兼八六拍。主題節(jié)奏在圓舞曲和吉格舞曲中徘徊，副主題則循環(huán)利用了前作中用到的BACH、DSCH、十二音階、全音階、四度和聲等等樂思。發(fā)展中的“莊嚴(yán)”段落回溯前奏的開場號曲風(fēng)，卻連接到特里斯坦和弦及唐突的結(jié)尾。

Dedicated to Sng Y. X. (President of NYJC's 39th Student Council).

降E大調(diào)前奏于6月23日完成，賦格隔天完成。題獻(xiàn)給初級學(xué)院的學(xué)生會會長（貴姓孫）。

No. 20 - C Minor. (c. 1.50+7.35=9.25)

Prelude is a recitative in free time (i.e. neither time signatures nor tempo markings are present throughout. The performer is free to interpret the flow of tempi in this prelude and is welcome to improvise). Basically, a variation of the first prelude in C Major. Additional material includes chromatic scalewise motion, quote from the subject of the previous fugue (Eb Major), and tonally ambiguous chords.?

前奏：詠嘆調(diào)，散板。C大調(diào)前奏的變奏版本，有引述前一首賦格（降E大調(diào)）的主題，并增添半音化元素。音檔嚴(yán)格按照樂譜生成，但實(shí)際演奏時可根據(jù)譜上的和弦即興發(fā)揮。

Fugue (Lento grandioso - Largo giocoso) is in 3 voices and 6/4. Theme is a slow march comprising of single dotted crotchets, double dotted quavers and triplets as its most significant rhythms and is melodically within clear C minor (except for leading tritones). Due to the lengthy nature of the subject, the development is also drawn out. The last episode is entirely in bass clef, made up of descending chromatic, whole tone and quartal scales, and signalling perhaps the fall of heroism.? After this the dotted rhythms reappear before dying out in the higher voices; the pastoral (or perhaps reflective, autumnal, even melancholic) Largo giocoso coda in C major soon follows, featuring a quartal osciliating pattern resembling a lullaby, as the fugue subject is recapitulated and disappears into the Mahlerian morendo that is the last bar.

賦格：三聲部、壯闊的慢板-舒適的廣板、四六拍。主題漫長具慢進(jìn)行曲風(fēng)，帶有單附點(diǎn)、雙附點(diǎn)音、三連音等，因此呈現(xiàn)、發(fā)展時也緩慢地根據(jù)這些特征變奏。尾聲前的樂段最為低沉，參雜半音、全音和四度和聲，象征英雄一去不復(fù)返；尾聲則移到C大調(diào)，為搖籃曲風(fēng)，模仿馬勒《大地之歌》尾聲的意境。

Both completed 25 June. Dedicated to the class of 1629.

C小調(diào)兩首都于6月25日完成，題獻(xiàn)給初級學(xué)院的同班同學(xué)們。

No. 21 - Bb Major. (c. 2.55+1.10=4.05)

Prelude (Andantino) is a mazurka in 3/4 (some transitional bars in 5/4). Starts with the end of the first theme alone. The first theme, then the second theme are presented and recapped in rondo fashion. A march-like episode follows, softening into a final appearance of the beginning of the first theme,?ending with an upward B-flat major scale frenzy. Completed 2 July.

前奏：馬祖卡舞曲、小行板、四三拍（參雜四五拍）。突兀地以主題的后一個樂段獨(dú)奏開始，再回旋呈現(xiàn)兩個主題。尾聲前轉(zhuǎn)入低音沉重的進(jìn)行曲風(fēng)，導(dǎo)入輕柔的第一主題。

Fugue (Presto) is in 4 voices and 3/4. Theme features rapid triple 32nd notes, hinting at the fleeting and unsustainable nature of the fugue. The development is the retrograde of the exposition plus free counterpoint. After the development, a coda inspired by that of the scherzo in Beethoven's Hammarklavier Sonata follows, ending with Bb major and an added augmented fifth (hints at the final chord of the final fugue). Completed 11 September, after a 2-month hiatus.?

賦格（這首和F大調(diào)的都寫得很馬虎）：四聲部、急板、四三拍。主題昵稱“趕著投胎”，以三十二分音符居多。發(fā)展部也一閃而過，只有主題的旋律逆行和散漫的自由對位。最后以貝多芬降B大調(diào)第29號鋼琴奏鳴曲詼諧曲的方式，加以不和諧的半音（又在暗示D小調(diào)-大調(diào)對立）倉促結(jié)束。

Dedicated to YGOS.

降B大調(diào)前奏于7月2日完成，賦格由于學(xué)業(yè)關(guān)系，延至9月11日完成。本來題獻(xiàn)給某組織，后基于個人理由取消。

No. 22 – G Minor (c. 3.05+5.35=8.40)

Prelude (Adagio - Largo) is an intermezzo in common time, based on the name of Alban Berg (Bn E D G A Bb A) and a series of chords that shift in the fashion of Satie's Gymnopedics. Completed 11 September.

前奏：間奏曲、柔板-廣板、四四拍?；谪悹柛竦囊裘麡分及l(fā)展旋律，伴以薩蒂輕音樂式的和弦。

Fugue (Adagio) is in 3 voices and common time. Subject is winding and meditative in nature, and quotes from the slow movement of Bruckner's 9th symphony. Countersubjects include the BACH and BERG cryptograms, up-and-down scalewise motion, and quartal progressions, all of which gradually overtake the prominence of the subject. The inverse of the subject in Eb appears in the bass midway, and the subject is from then onwards only presented partially (either by false entries or in stretto). Completed 13 September.

賦格：三聲部、柔板、四四拍。主題也是全集中較迂回內(nèi)斂的一個，其中引用了布魯克納第9號交響曲慢樂章的樂思。副主題交織BACH和BERG樂旨、上下音階、四度和聲，并漸漸喧賓奪主，導(dǎo)致尾聲中主題并無完整重現(xiàn)，只有零碎的不完全出現(xiàn)。

Dedicated to the memory of Berg.

G小調(diào)前奏于9月11日完成，賦格13日完成。題獻(xiàn)紀(jì)念貝爾格。

No. 23 – F Major (c. 2.00+2.25=4.25)

Prelude (Allegretto) is a table canon in common time. There are two table canons proper, with the top voice in treble and lower voice in bass. The two table canons alternate in rondo fashion (ABA'B'A), with dissonance counterpoint added in the middle A' and B' sections. This is then followed by a coda which is an inverse fugue followed by a F major cadence with neapolitan (F#) dissonance. Completed 15 September.

前奏：桌式卡農(nóng)、小快板、四四拍，有兩個主題，以回旋曲式呈現(xiàn)。中間部和尾聲參雜不和諧音，除此是純粹的F大調(diào)、D小調(diào)。

Fugue (Presto) is in 4 voices and 3/4 time. The theme is extremely rapid, though spanning over 11 bars. Countersubjects are discarded almost instantly due to the rapid nature of the fugue, but certain motives like BACH, DSCH and octatonic scales prevade, leading to a very dissonant and transient development which is repeated again note for note (from the middle of the 2nd voice's entry), the only such instance among the fugues in the book. The 4th subject enters in D major, the only instance where a subject enters in a key apart from the tonic or dominant among the fugues in the book as well. The coda recalls the first fugue, the foundation of the themes for every fugue in the book, including the F major; it ends with a parallel trill, a comedic cadence and a suddenly serious D-A progression, hinting at the grave nature of the next and final set. Completed 25 November.

賦格：四聲部、急板、四三拍。速度之快，使得主題雖長11小節(jié)卻不過幾秒。副主題包括BACH、DSCH、八聲音階等。第四聲部呈現(xiàn)主題時為D大調(diào)，是全集中唯一一次不以主調(diào)或?qū)僬{(diào)呈現(xiàn)的聲部。這首賦格也是全集（附錄除外）唯一有重復(fù)符號的。種種再次循環(huán)利用前作中的樂思，并在不斷重復(fù)中嘗試突破（不成），承先（回顧C(jī)大調(diào)賦格的奠基）啟后（尾聲的五度暗示D小調(diào)前奏與賦格的肅殺）。

Dedicated to the composer's younger sister.

F大調(diào)前奏于9月15日完成，賦格于A水準(zhǔn)（對等于高考）過后的11月25日完成。題獻(xiàn)給up主的妹妹。

No. 24 - D Minor (c. 7.00+13.20=20.20)

Prelude (Adagio maestoso - Lento subito) is a Folia (a set of variations based on the later la Folia) in 3/4. The original Folia is played first, fully harmonized, as the theme on which 17 variations develop. The first variation closely resembles the theme; however, each of the subsequent variations drops the last bar of its previous variation, such that by the last variation, only a single bar of two D notes can be heard. Also, the principle themes of every fugue in the opus is quoted (including a foreshadowing of the final fugue to follow), accompanied by dissonant cluster notes and polyrhythm. As the fugue quotations subside, the Schnittke, Bach and Shostakovich cryptograms dominate the bass, before temporarily giving way to a quotation from Bach's famous C Minor Passacaglia. Elements that unite the whole opus, including chromatic ascent/descent, quartal harmony and the use of extreme registers, reappear in this prelude as a preparation for the end of the work. Completed 16 November, before the completion of the fugue in F major (the only instance of a later prelude being completed before the previous fugue in this set).

前奏：福利亞舞曲、莊嚴(yán)的柔板-突然的慢板、四三拍。主題呈現(xiàn)和變奏一大致一樣，但之后的十六個變奏逐漸舍去前一個變奏的最后一小節(jié)（因此最后一個變奏只有兩個D音）。變奏的同時也以不和諧音和復(fù)節(jié)奏等方式，回顧了前23首賦格的主題和樂思，引用了巴赫的C小調(diào)帕薩卡里亞舞曲主題，并暗示后來賦格的三個主題。

Fugue (Adagio - alla breve - tempo prima - largo funebre), the only triple fugue (with the 2nd and 3rd subjects presented concurrently) in the set, is in 5 voices and cut time. First theme is as pure as that of the C Major fugue, but its prominence is soon obscured by false cadences (followed by Brucknerian pauses), dissonant counterpoint and the invasion of the BACH and DSCH cryptograms, which form the second theme; this second theme is formally expositioned together with the Schnittke cryptogram, which is the third theme, and then developed on its own, before letting the Schnittke (AFEDSCH) take over for its individual development section, which sounds cheerful at the beginning. However, as its exposition drifts according to the circle of fifths, it gets gradually darker (worsened by references to the Enharmonic Addendum), to the point of despair when the pure first and 'pioneer' second themes return in stretto to try and salvage the overlong and dreadful fugue altogether. Their efforts, though beautiful at times, ultimately fail, and all the five voices cluster together?before each drifting into the extreme high and low registers of the piano. Throughout, a dotted-rhythm descending scale (like the theme of the F# Minor Fugue, also a reference to Brahms’ 4th symphony), quartal harmony and equally spaced intervals (augmented triads, diminished sevenths, whole-tone and semitonal clusters), all of which unify the whole opus, reoccur as well. However, these all evaporate in the largo funebre coda, which features a pedal D in the basses, the quartal (D-)E-A-D motive in the middle voice, and a clashing F-Gb (F#) in the upper voices. Serving as the 'dead end' of this opus, it is also the longest fugue in the set. Completed 1 December.

賦格：三重五聲部、柔板-雙倍快-原速度-喪葬的廣板、二二拍。第一主題純潔如C大調(diào)賦格的主題，但發(fā)展時經(jīng)常停頓不前，受到不和諧和聲與后兩個主題干擾。第二主題由BACH和DSCH樂旨結(jié)合成，第三主題則為題獻(xiàn)者施尼特凱的音名樂旨（后四個音同DSCH），這兩個主題先同時呈現(xiàn)，再各自呈現(xiàn)發(fā)展，而第三主題的發(fā)展音域較高昂。三個主題再結(jié)合后，依此出現(xiàn)四度和弦、增和弦、減和弦、全音音塊和半音音塊，導(dǎo)向鋼琴最低的A和第二高的C不斷敲奏，算是全集的反高潮。間中有一個副主題，主導(dǎo)者喪葬式的尾聲，作曲完畢回聽時才發(fā)現(xiàn)，也出現(xiàn)在勃拉姆斯和馬勒的交響曲中，想必有其自己的特殊魅力和意涵。尾聲也再次強(qiáng)調(diào)全集大小調(diào)模糊混同的特征，其實(shí)引自施尼特凱的《中提琴協(xié)奏曲》……

Dedicated to the memory of Alfred Schnittke.

D小調(diào)前奏先于F大調(diào)賦格（唯一一次不按順序作曲的），11月16日完成，賦格12月1日完成。題獻(xiàn)紀(jì)念施尼特凱。

“正文”終前，茲附載前24首賦格的主題列表。

附錄再續(xù)……