审阅范围 · Review scope
持续修订 · 增量检查。请保留正文中的出处与限制；不代表全库最终验收、实际演奏或学习效果验证。
Ongoing revision · incremental checks. Keep the evidence and limitations stated in the text in view. This is not final corpus acceptance or validation of performance or learning outcomes.
第一组自编练习
全部为本库原创小实验，不使用来源中的谱例、伴奏音频或课程题目。选取自己能舒适完成的范围；以下次数、速度和通过条件是实验设置，不是教学效果承诺。
E01 把起音和时值分开
用 4/4 的八个八分音符格，左手在 1、5 格开始，每音各保持 4 格；右手在 1、4、6 格开始。右手三音分别占 3、1、2 格，第 5、8 格休止；下一小节第 1 格双手重新落下。敲桌只检查起音；检查时值时，用手指持续接触桌面表示保持、抬起表示休止，再用左右手不同的单音在琴上核对，先不踩踏板。记录是否把延续音误作重复起音，是否漏掉最后一格休止。关联：节奏。
E02 预测也要接受检查
写下 D4 F4 A4 | E4 G4 B4 | F4 A4 C5，找出模式。隔一分钟，把中组改为 E4 G#4 B4 再读一次。记录有没有因为“知道下一组是什么”而忽略升号。同伴在未知位置换一音，可以检查你是否察觉变化；这仍不等于整段陌生五线谱的首次视奏。自己重复熟谱不能计入 sight-reading。关联：读谱。
E03 两条声部比一坨和弦更容易检查
低音依次 D3 G2 C3，上层两条线分别为 F3 F3 E3、C4 B3 B3。先唱上层每条线，再合弹，最后加入 A3 A3 G3。记录哪些音不动、哪些半音移动、哪一层盖过其他层。没有实际听到层次变化时，不只凭音名宣布“更好听”。关联：和声。
E04 只改一个变量的即兴
选 D F A 三个音与一个自定节奏，先做四个长度相同的短句；第二轮只改休止位置，第三轮只改结束音。最后在持续 D 低音上分别加入 B、Bb，比对色彩。每轮各录一条，并先写清本轮相对于哪一条基准只改一个变量；B与Bb的比较也保持其他条件一致。描述你真正改变了什么。材料有限不等于表达有限；同时全改会使复盘困难。关联：调式与即兴。
E05 接到落点
右手自编 E4 F4 G4 A4 | B4，竖线只标练习连接处，不表示小节线。前四音各1个八分音符，B4保持1个四分音符；用自己舒适的指法。先单独检查四个短音，再把 B4 加回，最后加一个前导 D4。比较连接是否改变指法、重音或停顿。只记录声音与可重复性；不要为了模仿一个文字描述夸张扭动手腕。关联：分组。
练习记录
日期：
实验编号：
今天只检查：
起点 / 音域 / 自定速度：
实际观察：
证据：自己的录音或笔记编号（不含他人课程素材）
更换条件后的结果：
下一次只改变：自查与预期结果
- E01：第1格双手起音，第4、6格只有右手起音，第5格只有左手起音；第2、3、7、8格都没有新起音。“没有新起音”不等于两手都休止，例如第2格两手都在保持。右手第5、8格才休止，左手每音占4格。
- E02：原三组分别可读为Dm、Em、F大三和弦的分解音；改动后中组是E大三和弦。音名列表只检查音名模式，还不是五线谱首次视奏测试；若要测五线谱，需要未练过的实际谱面。
- E03：F3先保持再下行半音到E3；C4先下行半音到B3，再保持。加入音后中间是G9省五音，详见和声笔记。听觉平衡是实际观察，没有统一“更好听”答案。
- E04：答案是自己的录音与变量记录；若同时改变节奏、休止与结束音，就不能把结果归于其中一项。
- E05：四个八分音符加一个四分音符，共3个四分音符时值；竖线不设拍号。新增前导D4时，也给它1个八分音符。不同连接条件可能需要不同准备，成功与否需自己检验。
Original exercises, set one
All are original miniature experiments. They use no source score examples, backing audio or course questions. Choose a comfortable range. Counts, speeds and success conditions below are experimental settings, not promises of learning effects.
E01 Separate onset from duration
Use eight eighth-note slots in 4/4. Start the left hand on slots 1 and 5, holding each note for 4 slots, and the right on 1, 4 and 6. The three right-hand notes occupy 3, 1 and 2 slots respectively, with rests in slots 5 and 8. Both hands arrive again on slot 1 of the next bar. Tapping checks onsets only. To check duration, keep a finger in contact with the table for a held sound and lift it for a rest. Then check on the piano using a different single pitch for each hand, initially without pedal. Record whether held sounds become repeated onsets or the final rest disappears. Related: rhythm.
E02 Check predictions too
Write D4 F4 A4 | E4 G4 B4 | F4 A4 C5 and find the pattern. A minute later, change the middle group to E4 G#4 B4 and reread. Did expecting the next group hide the sharp? A partner can alter an unknown location to test change detection; this still differs from first reading of a wholly unfamiliar staff score. Rereading familiar material is not sight-reading. Related: reading.
E03 Check individual voices rather than a chord mass
Use bass notes D3 G2 C3 and two upper lines F3 F3 E3 and C4 B3 B3. Sing each upper line, combine them, then add A3 A3 G3. Record common tones, semitone movements and any layer masking another. Note names alone do not establish a more pleasing audible balance. Related: harmony.
E04 Change one improvisation variable
Choose D F A and your own rhythm. Make four equally long phrases. In round two, change only rests; in round three, only ending notes. Finally, compare added B and Bb over a sustained D bass. Record one take per round and name the baseline against which only one variable changes. Keep other conditions fixed in the B/Bb comparison too. Describe what actually changed. Limited material does not imply limited expression; changing everything makes reflection harder. Related: modes and improvisation.
E05 Connect to the arrival
Use original right-hand E4 F4 G4 A4 | B4: the vertical line marks a practice join, not a barline. Give each of the first four notes 1 eighth note and B4 1 quarter note, with comfortable fingering. Check the four short notes, restore B4, then add a preceding D4. Compare fingering, accent and pauses at the joins. Record sound and repeatability; do not exaggerate wrist movement to imitate a verbal description. Related: grouping.
Practice log
Date:
Experiment ID:
Today's single check:
Starting point / register / chosen speed:
Actual observation:
Evidence: ID of your recording or notes, without someone else's course assets
Result after changing conditions:
Next single change:Self-checks and expected results
- E01: both hands begin on slot 1; only the right begins on 4 and 6 and only the left on 5. Slots 2, 3, 7 and 8 have no new onset. No new onset does not mean both hands rest: both hold through slot 2. The right rests on 5 and 8; each left-hand note occupies 4 slots.
- E02: the original groups are broken Dm, Em and F-major triads; the changed middle group is E major. A pitch-name list tests name patterns, not first reading of staff notation. That requires an actual unfamiliar staff score.
- E03: F3 holds, then falls a semitone to E3; C4 falls a semitone to B3, then holds. With added notes, the middle chord is G9 without its fifth; see the harmony note. Audible balance requires observation, with no universal more-pleasing answer.
- E04: your recording and variable log are the result. Changing rhythm, rests and ending together prevents attributing the result to just one.
- E05: four eighth notes plus one quarter total 3 quarter-note durations; the divider sets no meter. Give the added D4 1 eighth note too. Different joins may need different preparation; test your own result.