审阅范围 · Review scope
原创例题与互动的限定独立审阅。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。
Bounded independent review of original examples and interaction. Keep the evidence and limitations stated in the text in view. This is not final corpus acceptance or validation of performance or learning outcomes.
起音、保持、释放：延音线不等于再弹一次
先数新声音从哪里开始，再数写了几个音符。两个同音高的音符如果用延音线连接，通常组成一个连续时值：后一个音符的位置不是新的起音。把相邻同音音符重复写出来而没有延音线，则有两次起音。
本课是本库原创入门说明与合成例题，不引用或重制付费课程谱例。前置：音符与休止的时值、跨小节延音。所有例题只有一个声部，4/4拍，以四分音符为一拍，无踏板、连音组、装饰音或速度变化。
打开时间线互动。图中方格是时间区间，不是五线谱；C4等标签表示音高，弧线表示本例明确写出的延音线，不是圆滑线。
四个不同问题
- 起音：这个音从何时开始？没有延音线的重复音也会重新起音。
- 保持：在这个模型里，这个音延续到哪里？延音线相连的时值相加。保持不表示音量恒定，钢琴声音可能自然衰减。
- 释放：这个书面音事件在何时结束？这不规定手指抬起方式，也不保证真实钢琴的余音立即消失。
- 休止：这个声部在指定时间不写发声音符。时间与数拍继续；其他声部仍可能发声。本课不建模其他声部。
延音线连接同音高，并不是“看到弧线就不重弹”：圆滑线通常标示乐句或连奏分组，不把不同音高合并成同一个音事件。真实谱例有疑义时，先确认谱号、音高与连线用途。
从零开始的时间格
本例用q表示一个四分音符时值。t=0是第一小节第一拍开始，t=1是第二拍开始，t=4是下一小节第一拍（或单小节例题的结束）。区间[1,3)表示从t=1开始，到t=3结束，右端不再属于这个音。在同一边界释放旧音并起新音，只是精确描述书面时序，不是强制的触键处方。
先预测，再核对
每个例子先写下起音次数与休止位置。括号内是起止时间；“延”表示与前一个同音高音符相连。
| 例子 | 书面片段 | 新起音次数 | 音事件的起止时间 |
|---|---|---|---|
| A 重复四分音符 | C4(0–1), C4(1–2), C4(2–3), C4(3–4) | 4 | C4[0,1), C4[1,2), C4[2,3), C4[3,4) |
| B 小节内延音 | C4(0–1), D4(1–2), D4延(2–3), E4(3–4) | 3 | C4[0,1), D4[1,3), E4[3,4) |
| C 休止仍占时间 | C4(0–1), 休止(1–2), D4(2–4) | 2 | C4[0,1), D4[2,4)；休止[1,2) |
| D 跨小节延音 | C4(0–1), D4(1–2), E4(2–3), G4(3–4), G4延(4–5), E4(5–6), D4(6–7), C4(7–8) | 7 | C4[0,1), D4[1,2), E4[2,3), G4[3,5), E4[5,6), D4[6,7), C4[7,8) |
B在t=2没有新起音或释放，D4继续保持。C在t=1释放C4并进入休止，到t=2才起D4。D在t=4越过小节线，G4仍然保持，不重新起音。每个例子的最终边界只结束最后一个事件，不凭空增加一个拍子的时间。
时间相加之后，再换算秒数
四分音符每分钟60个时，1q=1秒；每分钟120个时，1q=0.5秒。秒数=q×60÷BPM。A、B、C均为4q，D为8q；改变速度不改变这些例子的起音次数、延音关系或休止位置。这里的BPM始终指四分音符，不适用于把附点四分音符定为一拍的6/8例子。
一个能核对的小练习
- 遮住答案，逐个圈出新起音。遇到延音线，先核两端同音高，再把时值相加。
- 在时间线上标出每次起音、保持区间和休止。特别核B的t=2与D的t=4。
- 再看答案。如果有差异，记清是把延音当成重弹、漏掉休止时间，还是把小节线当成自动释放。
- 换一个例子重新预测。需要移到钢琴上时，再单独核对合法谱本、配手与合适速度。
互动不发声、不录音、不打分，也不验证实际触键、听觉或学习效果。静音时间图能核对书面时序，不能证明真实演奏连贯或身体动作合适。没有新增课程媒体听校或全库验收。
Attack, hold, release: a tie is not another attack
First count where a new sound begins, then count the written notes. Two notes of the same pitch joined by a tie normally make one continuous duration: the second written note does not create a new attack. Adjacent repeated notes without a tie have separate attacks.
This is original introductory teaching with synthetic examples, not a reproduction of purchased-course scores. Prerequisites: note and rest durations and ties across a barline. Every example has one voice in 4/4, with the quarter note as the beat; there is no pedal, tuplet, ornament or tempo change.
Open the interactive timeline. Its boxes are time intervals, not staff notation. Labels such as C4 name pitches; the arcs represent the explicitly specified ties in these examples, not slurs.
Four different questions
- Attack: when does this note start? An untied repeated note also starts again.
- Hold: how long does this note continue in the model? Add the durations joined by a tie. Holding does not mean constant volume: a piano sound may naturally decay.
- Release: when does this written note event end? This does not prescribe finger-lifting technique or guarantee that an acoustic piano's resonance stops immediately.
- Rest: this voice has no written sounding note during that interval. Time and counting continue; another voice may still sound. Other voices are outside this lesson.
A tie joins the same pitch. Do not turn this into “every curved line means no new attack”: a slur usually marks a phrase or legato grouping and does not merge different pitches into one note event. If a real score is unclear, first establish the clef, pitches and the line's purpose.
A zero-based time grid
Here q means one quarter-note duration. t=0 is the start of beat 1 in bar 1; t=1 starts beat 2; t=4 starts the next bar, or ends a one-bar example. The interval [1,3) begins at t=1 and ends at t=3, with the right endpoint excluded. Releasing one event and starting another at the same boundary specifies written timing, not a compulsory touch technique.
Predict before checking
For each example, write down the attack count and rest locations first. Parentheses give start and end times; “tied” joins the preceding note of the same pitch.
| Example | Written segments | New attacks | Note-event intervals |
|---|---|---|---|
| A Repeated quarter notes | C4(0–1), C4(1–2), C4(2–3), C4(3–4) | 4 | C4[0,1), C4[1,2), C4[2,3), C4[3,4) |
| B Tie inside a bar | C4(0–1), D4(1–2), D4 tied(2–3), E4(3–4) | 3 | C4[0,1), D4[1,3), E4[3,4) |
| C Rest still takes time | C4(0–1), rest(1–2), D4(2–4) | 2 | C4[0,1), D4[2,4); rest [1,2) |
| D Tie across a barline | C4(0–1), D4(1–2), E4(2–3), G4(3–4), G4 tied(4–5), E4(5–6), D4(6–7), C4(7–8) | 7 | C4[0,1), D4[1,2), E4[2,3), G4[3,5), E4[5,6), D4[6,7), C4[7,8) |
At t=2 in B there is no new attack or release: D4 continues. At t=1 in C, C4 ends and the rest begins; D4 starts at t=2. At t=4 in D, G4 continues over the barline without a new attack. Each final boundary ends the last event; it does not add an extra beat of time.
Add durations, then convert to seconds
At quarter note = 60, 1q is 1 second; at quarter note = 120, 1q is 0.5 seconds. Seconds = q × 60 ÷ BPM. A, B and C each last 4q; D lasts 8q. Tempo changes do not alter their attack counts, ties or rest positions. BPM here always counts quarter notes, not the dotted-quarter beat used in some 6/8 examples.
A small checkable task
- Cover the answers and circle each new attack. At a tie, check that the pitches match, then add the durations.
- Mark attacks, held intervals and rests on the grid. Pay particular attention to t=2 in B and t=4 in D.
- Compare with the answers. If they differ, identify whether you reattacked a tie, skipped the rest's time, or treated the barline as an automatic release.
- Predict again with a different example. Before moving to the piano, separately check a lawful score, hand assignment and a suitable tempo.
The interaction is silent, records nothing and gives no performance score. It does not validate touch, hearing or learning effectiveness. A silent time diagram can check written timing, not prove fluent playing or suitable physical movement. No new course-media listening or whole-corpus acceptance is claimed.