审阅范围 · Review scope
限定范围独立审阅。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。
Independent review within the stated scope. Keep the evidence and limitations stated in the text in view. This is not final corpus acceptance or validation of performance or learning outcomes.
先分清谁负责旋律，再安排伴奏的低音
本包通过限定独立文字／静态来源、双语含义、初学者说明与符号审阅，未发现实质问题。T2是指定手册／静帧支持的作者归属，G是本例限定术语，O是本库原创纸面任务与练习规划。来源逐项布尔值保留作者冻结时快照，publication_review记录当前通过范围；不表示来源听校、连续动作、完整来源谱例、演奏或学习效果验收。
两只手都在弹，不代表两只手都在负责旋律。先写清音乐角色，才知道减掉一层后练的是什么、最后必须补回什么。下面还会区分给和弦命名的根音与实际最低音：低音不动，和弦仍可能改变。
已读IV-023／024全部194段既有ASR，检查16个选定静帧与手册实际／印刷38–41页完整文字及选定标签／布局。89段不用于归属，包括不确定术语、无关重复、未支持的普遍化或听感判断；不是听校确认的89处错误。继承账本时长899.585秒，同哈希容器元数据899.583秒，差异原因未定，不是听看时长。
纸面路线无需钢琴且能独立完成。可选弹奏路线另要求能辨认F3、A3、C4、D4，独立计四分拍、按给定时点放开音，且能舒服同时按右手两音；不满足就完成纸面路线，不硬撑跨度。没有踏板，也没有固定指法要求。
G：旋律是作为主要线条来理解的一串音；伴奏提供和声、节奏或其他支持。声部是分析中可追踪的音乐线条，不等于一只手。配置（voicing）是和弦音在音区和声部中的具体安排；根音用于命名和弦，低音是当时最低的实际音。最高音可以构成一条线，但不能仅凭“最高”就断言它是主旋律。
有边界的来源归属
B40-S01 · T2
Wiwi把左手伴奏与右手旋律的结合分成由简单到复杂的和声任务。我们提炼成“先明确固定支持，再加入另一角色”的练习安排；不是任意两手动作都能靠重复自动独立的保证。
IV-023静帧35／54／80／204／245／500秒；PDF-IV实际／印刷38–39页完整文字与选定和弦标签／布局。375秒是转场，不拿邻近ASR证明画面出现了练习细节；178秒只确认静态演奏场景。
B40-S02 · T2
Wiwi把双手伴奏的音高分配与节奏安排分开，并以右手相邻音域的配置作为入门选择。我们保留“先核各手责任与实际低音，再比较配置”的思路；音域跳进或重复三音并非一概错误，实际效果仍依作品和音响语境。
IV-024静帧45／174／194／260／307秒；PDF-IV实际／印刷40页完整文字，41页两个答案的起始音名与布局。85／100秒明确写Eb3；对应ASR音名有歧义，不用其拼写；本包不把该音区阈值当普遍声学定律。全部源谱例未逐音验收。
把“弹伴奏”拆成可检查的任务
O：先在谱面或任务单上标出谁提供主旋律，再写双手各自的责任。钢琴独奏的一种安排是左手伴奏、右手旋律；另一种场景是两手都伴奏，主旋律由歌者或别的乐器提供。这只是两种任务安排，不是钢琴所有作品的规则。若没有外部旋律，独立检查伴奏仍是完整的伴奏子任务，但不是整首歌已经演奏完成。
O：从已核实的短段开始，先列和弦组成音、实际低音及各手的起放时点。先独立完成纸面核对，再按需要练一层。加回另一层时，原来的时值和职责应保留；若简化了音，就明确记录删了什么，不能把少弹的版本称为完整纹理。
O：若加一层后中断，先检查是看错角色、未确定低音、漏掉音，还是没跟上起放时点；这些是待检查的可能原因，不是手指诊断。对照事件表定位一次具体差异，再退回相应纸面或单层任务；不要仅凭“声音厚了”断言更完整或更正确。
O：原课计时连续即兴是作者任务建议，不是最低练习时长、健康要求或学习保证。本页用有明确结束和恢复小节的短例；若不舒服或任务失控，就结束该次尝试并重设范围。恢复后先核完整短段，再放回你真实谱面中已经确认的前后文。
O：休息后或次日，遮住角色、根音和低音答案，重新标注同一题，再核对；这是已知材料保持。未见谱迁移需要另备未披露答案的材料，本页未生成或验证该测验。
原创纸面任务：低音不变，不等于和弦不变
先遮住答案，只比较下面明确给定的音，不自行补音。音名后的数字是八度，不是手指。F大三和弦拼为F–A–C，D小三和弦拼为D–F–A。Dm/F的斜线表示这里指定F作低音，m表示小三和弦。请找两个配置各自的根音、最低音，及右手保留／改变的音；再判断是否已经写出了主旋律。
| 标签 | 左手 | 右手 |
|---|---|---|
| F | F3 | A3, C4 |
| Dm/F | F3 | A3, D4 |
核对纸面答案
两处最低音都是F3；第一处根音F，第二处根音D。第二处F是D小三和弦的三音，因此是第一转位；不是因为右手某个手型叫“第一转位”。右手A3保留为同一音高，C4改成高两个半音的D4；这里只说明配置关系，不要求跨休止保持A3。给定的是两个伴奏和弦，没有另给主旋律。
G：如果把第二处左手F3改成D3，且右手仍为A3、D4，最低音已经不满足Dm/F；F这个三音也消失了，仅凭D和A无法区分大、小三和弦。标签、实际低音、实际音集合必须分别核对。另一方面，F3、A3、D4的集合可在不同语境有其他解释；本题明确指定Dm/F，不推断作品调性或唯一和声功能。
O：纸面模式A是“左手伴奏、右手旋律”；模式B是“双手伴奏、旋律来自另一个已指定声源”。本例采用模式B的伴奏子任务，外部旋律未提供。不能把A3或最高音自动叫作主旋律，也不要求学习者一边唱一边弹来补齐本题。
可选三小节：先单层，再准确恢复双手伴奏
只有满足前述准备条件才弹；也可全程在纸上核时值。每个版本均为两个音乐小节加一个全休止恢复小节，4/4，四分音符=60 BPM，总12拍=12秒。每小节四个四分拍，表中0是第一小节第一拍；释放点不再保持，小节起点0、4、8。LH=左手，RH=右手。双手版BT在0与4同时起三个音，分别在2与6一起放开；不加踏板。第二次A3与F3要重新起音，前后隔着休止，不是延音线连接。
中央C是C4，键号40；其右侧下一白键D4为42。C4左侧依次是B3、A3、G3、F3；本题A3=37，F3=33，黑白键从最左A0=1一起数。右手A3–C4跨度3半音、A3–D4跨度5半音；左手只需F3。数字跨度不是身体适用性保证，也不规定用哪两根手指。
先看BT事件表，遮住随后核对答案：哪一个音高改变，哪两个音高相同？在哪些整段时间双手没有保持音？12秒指一个版本，不是所有版本相加。此题公开答案，只是准备与核对，不是未见材料或听觉能力测试。
| ID | 音高／键号 | 手 | 声部 | 起点 | 释放 |
|---|---|---|---|---|---|
| A1 | F3 / 33 | LH | 低音 | 0 | 2 |
| A2 | A3 / 37 | RH | 内声部 | 0 | 2 |
| A3 | C4 / 40 | RH | 上声部 | 0 | 2 |
| B1 | F3 / 33 | LH | 低音 | 4 | 6 |
| B2 | A3 / 37 | RH | 内声部 | 4 | 6 |
| B3 | D4 / 42 | RH | 上声部 | 4 | 6 |
L版只保留BT左手两次F3，右手全12拍休止；R版只保留BT右手两组双音，左手全12拍休止。保留的起点、释放与恢复小节都不改变。L缺少A、C／D，R缺少F3，所以都不是完整指定和弦；它们分别检查低音时间表与上层配置，不能据此认定整首歌已经掌握。
BT在0与4共有两次同步起音组、六个音事件；每音保持2拍。各手在0–2、4–6保持音，在2–4、6–12没有保持音；8–12是完整恢复小节。保持A3同一音高不等于连续按住它。纸面可核事件，若实际弹奏再分别记录漏音、起音不同步、放开过早／过晚；无保持音不保证声学绝对无余响。
从L或R回到BT时，逐ID补回被省略的一层：音高、手、声部、起点、释放全对照，不额外增音或延长小节。各版只做一次也可以；次数不是通过条件。完整通过本页书面检查，只说明指定事件一致；是否听起来平衡、能舒适演奏或帮助学习，仍需另外验证。
边界与相关阅读
所有演奏与音响解释仍有证据边界：没有原声试听、连续动作检查、完整源谱逐音验收、身体适用性或学习效果验证。原课完整骰子表、谱例、和声进行列表与答案不在本包重印；手册41页只核文字起始标签和布局，不把“读到答案页”算成逐音确认。转录排除项及375秒转场不用于补造示范。
本包来源范围
角色、音高与时间检查
Decide who carries the melody before arranging the accompaniment bass
This package passed bounded independent written/static-source, bilingual-meaning, beginner-instruction and symbolic review with no material findings. T2 marks attribution supported by specified handbook/still evidence, G scoped terms, and O original paper tasks and practice planning. Per-source booleans retain their author-time snapshot; publication_review records the current passed scope, not source audition, continuous motion, complete source scores, performance or learning-efficacy acceptance.
Two playing hands need not both carry the melody. Name the musical roles first so that a reduction has a clear purpose and a clear restoration target. We also distinguish the root that names a chord from its actual lowest note: an unchanged bass can accompany a changed chord.
All 194 existing ASR segments of IV-023/024 were read, with 16 selected stills and complete prose plus selected labels/layout on handbook physical/printed pages 38–41. 89 segments are excluded from attribution for uncertain terminology, unrelated repetition, unsupported generalization or listening judgments; these are not 89 audition-confirmed errors. Inherited inventory duration totals 899.585 seconds; same-hash container metadata totals 899.583, with the difference unexplained. Neither measures viewing/audition time.
The paper route needs no piano and is independently complete. The optional playing route additionally requires identifying F3, A3, C4 and D4, counting quarter-note beats independently, releasing at specified times and comfortably holding two right-hand notes together. If these are not available, complete the paper route without forcing a span. No pedal or fixed fingering is required.
G: melody is a sequence understood as a main line; accompaniment supplies harmonic, rhythmic or other support. A voice is a traceable musical line, not necessarily a hand. Voicing is the specific placement of chord tones across registers and voices. The root names the chord; the bass is the actual lowest note at that moment. The highest notes can form a line, but height alone does not establish it as the main melody.
Bounded source attributions
B40-S01 · T2
Wiwi stages the combination of left-hand accompaniment and right-hand melody through simpler and more complex harmonic tasks. We distill this into establishing a defined support before adding another role, not a guarantee that repetition automatically makes any two hand actions independent.
IV-023 stills at 35/54/80/204/245/500 seconds; complete prose and selected chord labels/layout on PDF-IV physical/printed pages 38–39. At 375 seconds the frame is a transition, so nearby ASR does not establish displayed task details; 178 seconds confirms only a static playing scene.
B40-S02 · T2
Wiwi separates pitch allocation from rhythm in two-hand accompaniment and offers nearby right-hand registers as an introductory choice. We retain checking each hand’s role and the actual bass before comparing voicings; register leaps or a doubled third are not categorically wrong, and their effects depend on the work and sounding context.
IV-024 stills at 45/174/194/260/307 seconds; complete prose on PDF-IV physical/printed page 40, and starting-note labels/layout of the two answers on page 41. Frames at 85/100 seconds explicitly say Eb3, so uncertain ASR wording must not replace the label; this package does not treat that register threshold as a universal acoustic law. Complete source notation has not been accepted note by note.
Turn “play accompaniment” into checkable tasks
O: identify who supplies the main melody, then write each hand’s responsibility. One piano-solo arrangement uses left-hand accompaniment and right-hand melody; another uses both hands for accompaniment while a singer or another instrument supplies the melody. These are two task arrangements, not rules for every piano work. Without an external melody, checking the accompaniment alone is still a complete accompaniment subtask, not a performance of the complete song.
O: start with a verified short passage and list chord tones, actual bass, and each hand’s attack/release times. Complete the paper checks first, then practice a layer if needed. When restoring another layer, preserve existing timing and roles. Record any omitted notes explicitly instead of calling the reduction a complete texture.
O: after an interruption when adding a layer, check role confusion, an undecided bass, missing notes or attack/release timing. These are possible causes to examine, not finger diagnoses. Locate one specific mismatch against the event table, then return to its paper or single-layer task. A thicker sound alone does not establish greater completeness or correctness.
O: timed continuous improvisation in the source is an author-designed task, not a minimum practice duration, health requirement or learning guarantee. This page uses a short example with an explicit end and recovery bar. If uncomfortable or unable to manage the task, end that attempt and reset the scope. On returning, check the complete short passage before reintegrating it into verified surrounding material in your actual score.
O: after a break or on the next day, cover the role, root and bass answers, annotate the same task again, then check. This tests retention of known material. Unseen-score transfer requires other material with undisclosed answers; this page has not generated or validated that test.
Original paper task: the same bass need not mean the same chord
Cover the answers and compare only the specified notes, without adding pitches. A number after a note name is its octave, not a finger. The F-major triad is F–A–C; the D-minor triad is D–F–A. The slash in Dm/F specifies F as bass here, and m means a minor triad. Find each voicing’s root and lowest note, the retained/changed right-hand pitch, and whether a main melody has actually been supplied.
| Label | Left hand | Right hand |
|---|---|---|
| F | F3 | A3, C4 |
| Dm/F | F3 | A3, D4 |
Check the paper answers
Both voicings have F3 as their lowest note. Their roots are F and D respectively. In the second, F is the third of D minor, making it first inversion; this is not determined by naming a right-hand shape. A3 remains the same pitch while C4 changes to D4, two semitones higher. This describes the voicing relation without requiring A3 to be held through rests. Two accompaniment chords are supplied, with no separate main melody.
G: if the second left-hand F3 becomes D3 while the right hand retains A3/D4, its bass no longer satisfies Dm/F. The third F is also missing, so D and A alone cannot distinguish major from minor. Check the label, actual bass and actual pitch collection separately. F3/A3/D4 can have other interpretations in other contexts; this task explicitly assigns Dm/F without inferring a work’s key or a unique harmonic function.
O: paper mode A assigns accompaniment to the left hand and melody to the right. Mode B assigns accompaniment to both hands and melody to another specified source. This example uses mode B’s accompaniment subtask, with no external melody supplied. Do not automatically label A3 or the highest pitch as the main melody, or require simultaneous singing to complete this task.
Optional three bars: isolate layers, then restore both hands exactly
Play only if the stated prerequisites are met, or check all timing on paper. Every version contains two musical bars plus one fully resting recovery bar, in 4/4 at quarter note=60 BPM: 12 beats=12 seconds. Each bar has four quarter-note beats. Offset zero is the first beat of bar 1; release ends holding, and bars start at 0/4/8. LH means left hand and RH right hand. In both-hands version BT, three notes attack together at 0 and 4 and release together at 2 and 6; use no pedal. F3 and A3 attack again the second time after a rest, without a tie.
Middle C is C4, key 40; the next white key to its right is D4, key 42. Moving left from C4 gives B3, A3, G3, F3. Here A3=37 and F3=33, counting black and white keys from A0=1. The right-hand spans A3–C4 and A3–D4 are 3 and 5 semitones; the left hand needs only F3. A numerical span does not guarantee physical suitability or prescribe two fingers.
Inspect the BT event table before uncovering the checks: which pitch changes, which two retain their pitch, and during which complete intervals do both hands hold no note? Twelve seconds refers to one version, not their sum. Answers are disclosed: this is preparation and checking, not unseen-material or auditory-ability testing.
| ID | Pitch / key | Hand | Voice | Start | Release |
|---|---|---|---|---|---|
| A1 | F3 / 33 | LH | bass | 0 | 2 |
| A2 | A3 / 37 | RH | middle | 0 | 2 |
| A3 | C4 / 40 | RH | upper | 0 | 2 |
| B1 | F3 / 33 | LH | bass | 4 | 6 |
| B2 | A3 / 37 | RH | middle | 4 | 6 |
| B3 | D4 / 42 | RH | upper | 4 | 6 |
L retains only BT’s two left-hand F3 events, with the right hand resting for all 12 beats. R retains only BT’s two right-hand dyads, with the left hand resting throughout. Retained starts, releases and the recovery bar do not change. L omits A and C/D; R omits F3. Neither gives the complete assigned chords. They check the bass schedule and upper voicing respectively, not mastery of a complete song.
BT has two synchronized attack groups at 0 and 4, containing six note events, each held for two beats. Each hand holds notes during 0–2 and 4–6, and holds none during 2–4 and 6–12; 8–12 is the complete recovery bar. Retaining A3’s pitch does not mean holding it continuously. Paper can verify events; if played, separately log missing notes, unsynchronized attacks, and early/late releases. No held note does not guarantee complete acoustic silence.
To return from L or R to BT, restore the omitted layer by event ID and compare pitch, hand, voice, attack and release, without adding notes or stretching bars. One attempt per version is acceptable; a repetition count is not the pass criterion. Passing this page’s written checks establishes only consistency of the specified events. Balance in sound, comfortable execution and learning benefit need separate validation.
Limits and related reading
Performance and sound interpretations retain explicit evidence limits: no original-source audition, continuous-motion review, complete source-score acceptance, physical-suitability or learning-efficacy validation. This package does not reproduce the course’s complete dice table, scores, progression list or answers. On handbook page 41, only written starting labels/layout were checked; reading the answer page is not note-by-note confirmation. Excluded ASR and the transition at 375 seconds do not reconstruct demonstrations.
Source scope for this package
Role, pitch and timing checks