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.
本页保留作者送审冻结字节，因此正文或数据可能仍有“候选／等待审阅／未发布”标记。当前版本已通过限定独立复核并发布；旧标记只记录冻结时状态。通过范围是双语含义、限定来源文字／静帧及原创固定例题检查，不含原声听校、连续动作、完整源谱、实际演奏、身体适用性或学习效果验证。
This page preserves the author’s frozen review bytes, so prose or data may still contain candidate, pending-review or unpublished labels. This version has passed bounded independent review and repository publication; those labels record author-time status only. Acceptance covers bilingual meaning, bounded source text/stills and original fixed-fixture checks, not source audition, continuous motion, full source scores, actual performance, physical suitability or learning outcomes.
走向下一小节：十二拍低音的纸面地图
作者送审候选；尚未独立验收或发布。
把既有原创卡 PUB18-2feb61f43814 展开为可核对的时间线；新增的是读谱说明，不是另一首练习、另一张卡或新的公开文章审查。NC-010 的现有63段转写与9张选帧仅支持有限来源归属，未听校音频。
先分开两个问题
每个音先问“它属于当前和弦吗？”，再问“它怎样接到下一音？”。F#2 属于当前 D7，又能以一个上行半音接到下一小节的 G2；可选的 C#3 不属于当前 Am7，却也能以一个上行半音接到 D3。接近目标的方式与和弦成员身份是两条不同的判断，不把半音接近音一律叫非和弦音，也不把黑键一律叫经过音。
先做纸面预测
先在纸上写 Am7｜D7｜G；根音分别是 A、D、G。把三个和弦成员列出，圈出每小节首音，再标两处小节线前后的音。看到答案前，预测哪处是半音，哪处是全音；另标 C#3 是否属于 Am7、F#2 是否属于 D7。纸面路线不要求教师播放、录音或同时弹和弦。
| 和弦 / Chord | 根音 / Root | 成员 / Members |
|---|---|---|
| Am7 | A | A, C, E, G |
| D7 | D | D, F#, A, C |
| G | G | G, B, D |
完整的十二拍地图
本卡为4/4，左手依次弹单音，右手全程休息。每格是一拍四分音符；表中累计拍从0起算，小节内拍次从1起算。原版与变体是两个可选版本；变体只把第1小节第4拍 C3 换成 C#3，其余11格、时值与右手休息完全相同。不要把两个版本串成24拍任务。
版本：原版；可选变体。
| 累计拍 / Elapsed q | 小节:拍 / Bar:beat | 和弦 / Chord | 原版左手 / Base LH | 变体左手 / Variant LH | 时值 / Duration |
|---|---|---|---|---|---|
| [0,1) | 1:1 | Am7 | A2 | A2 | 1q |
| [1,2) | 1:2 | Am7 | C3 | C3 | 1q |
| [2,3) | 1:3 | Am7 | E3 | E3 | 1q |
| [3,4) | 1:4 | Am7 | C3 | C#3 | 1q |
| [4,5) | 2:1 | D7 | D3 | D3 | 1q |
| [5,6) | 2:2 | D7 | C3 | C3 | 1q |
| [6,7) | 2:3 | D7 | A2 | A2 | 1q |
| [7,8) | 2:4 | D7 | F#2 | F#2 | 1q |
| [8,9) | 3:1 | G | G2 | G2 | 1q |
| [9,10) | 3:2 | G | B2 | B2 | 1q |
| [10,11) | 3:3 | G | D3 | D3 | 1q |
| [11,12) | 3:4 | G | G2 | G2 | 1q |
右手：原版与变体均为休息 [0,12)。
累计拍 0 4 8 12
和弦 Am7 D7 G 结束
左手 A2 C3 E3 C3 | D3 C3 A2 F#2 | G2 B2 D3 G2 |
右手 [--------------- 休息 ------------------)首拍是本卡的定位点
累计拍0、4、8分别落 A2、D3、G2，正好都是所标和弦的根音。圆圈只注释已有音，不添加另一层根音伴奏。源课也在其示例中保留首拍根音，并明确保留“可能”的限定；这里不把它扩成所有走路低音的必然规则。声部连接描述相邻和声间各音的移动，不要求每步都级进。
只放大两处接点
下面是完整时间线的局部视图，不新增音符或练习。第一处取累计拍[3,5)，第二处取[7,9)；左闭右开表示包含起点、不包含终点。每个视图重新从局部拍0起算：局部拍加原点3或7才是完整线的累计拍；本地0不是全曲首拍。第一处原版 C3→D3 是上行全音；变体 C#3→D3 和第二处 F#2→G2 都是上行半音。
| 视图 / View | 完整区间 / Parent interval | 原点 / Origin | 局部拍0 → 1 / Local beats | 移动 / Move | 前音属当前和弦? / Member? |
|---|---|---|---|---|---|
| first_base | [3,5) | 3 | C3 → D3 | 2 半音 | 是 |
| first_variant | [3,5) | 3 | C#3 → D3 | 1 半音 | 否 |
| second_both | [7,9) | 7 | F#2 → G2 | 1 半音 | 是 |
成员身份与目标距离分别核对
判断成员身份先用当前小节的和弦：Am7 是 A、C、E、G；D7 是 D、F#、A、C；G 大三和弦是 G、B、D。C3 是 Am7 成员，C#3 不是；F#2 是 D7 的三音，因此本页把 F#2→G2 称半音接近，不凭黑键或半音距离就断言它是当前和弦外的音。此处“G”是和弦标签，不是对整段调性的验收。
先找对八度，再看方向
使用科学音高记号，中央C为C4；88键号以A0为第1键，是位置编号，不是指法。下表列出 F2 至 E3 的连续12键；其中8键出现在原版或变体，4键仅用于定位。F#2 是 F2 右侧相邻黑键，G2 是它右侧相邻白键；C#3 是 C3 与 D3 之间的黑键。F#3 虽同名类别，却高一个八度，不是本卡第2小节末音。
| 音高 / Pitch | 88键号 / Key index | 用途 / Role |
|---|---|---|
| F2 | 21 | 仅参照 |
| F#2 | 22 | 目标音高 |
| G2 | 23 | 目标音高 |
| G#2 | 24 | 仅参照 |
| A2 | 25 | 目标音高 |
| A#2 | 26 | 仅参照 |
| B2 | 27 | 目标音高 |
| C3 | 28 | 目标音高 |
| C#3 | 29 | 目标音高 |
| D3 | 30 | 目标音高 |
| D#3 | 31 | 仅参照 |
| E3 | 32 | 目标音高 |
时值、经过时间与声音分开
每个版本左手12个一拍事件，右手一个覆盖[0,12)的休息区间；两手共享同一条12拍时间轴，不把休息另加成24拍。无连结线。若仅为换算示例而假定四分音符=60 BPM，12拍为12秒；若=48 BPM则15秒。两拍视图分别为2秒或2.5秒。这两个速度是本页新增的算术示例，不是来源或原卡指定速度、实测记录或通关门槛。
| 四分 BPM / Quarter BPM | 12拍 / 12 beats | 2拍视图 / 2-beat view |
|---|---|---|
| 60 | 12 s | 2 s |
| 48 | 15 s | 2.5 s |
谱面四分音符不等于已核验的触键
时间线只说明预定的拍点和记谱时值，不据此推断每个键必须按住多久、声音何时完全消失、踏板状态或已经连奏。原卡先要求柔和且一致的起音、保持四分拍点；另一次才比较末音稍分离或连接，并保持速度。钢琴声音的延续与实际动作需要另外观察，本页没有音频、踏板或手部动作测量。
可选实琴：一小节、接点、完整线
先确认能读三小节四分单音并舒适找到 F#2。按原卡顺序：一小节一小节单手练；再接第1→2小节、接第2→3小节；最后串12拍。音域 F#2–E3 需要舒适移位，不要求固定张开一只手。右手休息，不要求同时唱、踩拍或录音；C#3 变体可略。实际试弹若疼痛或明显不适，停止并回到纸面。这不是身体适用性验收。
原卡的替代路线另记条件
原卡还允许整段高八度改用右手，或排音名卡让教师代弹。前者须把全部12音一起升八度、左手休息，不能只把 F#2 换成 F#3；本页表格与自动检查仍只对应原八度左手版本。后者若没有教师也不妨碍完成本页纸面核对，不据此记录已听到的演奏。
一次只修一个问题
纸面完成证据：抄对12格与右手休息，标对三个首拍根音、两处接点距离以及 C#3/F#2 的成员身份。若把 F#2 标成 D7 外音，先重列 D7 的四个成员，再重看 F#2→G2 的半音关系；不同时换音高、速度与发音方式。记“已核对／待核对”及实际提示条件；没有弹奏就把演奏结果留为未测，不把纸面正确自动算作手上通过。
单线结果不等于同时和声听感
左手单线可以观察音高走向，但没有同时响起的完整和弦；真正比较和声张力须另备并核验教师伴奏。不要从本页数据声称某个连接已经更顺或更有爵士味。“更顺”需要明确比较条件与实际听到的结果，且不是唯一答案。下一次重做原句只测保持；陌生材料迁移需另外准备同难度、未见未听未练的材料，否则记未测。
来源范围与本库新增部分
NC-010 的有限归属包括分解和弦与重排、示例首拍根音限定、经过音与目标前半音，以及偶尔用八分音符和三连音装饰。118秒选帧标经过音；130秒显示 Gb→F 和 F#→G 的源谱接点；源谱八度不是本卡八度。85秒仍是首拍圈示图，与该时刻转写主题不对齐，所以转写段号与选帧秒数分别引用，未修正音频或时间对齐。此页三小节来自本库既有原创卡，未复制源谱、源图或完整转写。
有限检查，不扩张覆盖
清点时长190.806秒、容器190.784秒，差0.022秒原因未核，都不是实际听课时长。31段用于短归属，32段未用不是错误计数或错误率。只新增一项待验收的视频文字／选帧范围；不新增练习卡、公开文章审查或音频校正。完整视听、源谱全集、连续动作、真实演奏与学习效果仍未验收。
固定卡片身份、事件、成员关系、拍数、局部视图、键号与双语检查；不是声音评分、动作或演奏验收。
来源与数据
既有原创练习卡 · 音名与八度入门 · 音程与拼写 · 时间线数据 · 视频来源范围 · 固定检查
Toward the next bar: a paper map of twelve bass beats
Author review candidate; not independently accepted or published.
This expands existing original card PUB18-2feb61f43814 into a checkable timeline. The addition is a reading guide, not another composition, card or public-article review. The existing 63 ASR segments and nine selected stills from NC-010 support limited source attribution; audio was not auditioned.
Separate two questions first
For each note ask “Does it belong to the current chord?” and then “How does it reach the next note?” F#2 belongs to the current D7 and approaches the next bar’s G2 by an ascending semitone. Optional C#3 is outside the current Am7, yet also approaches D3 by an ascending semitone. Approach and chord membership are separate judgments: a semitone approach is not automatically a non-chord tone, and a black key is not automatically a passing tone.
Make a paper prediction
Write Am7 | D7 | G on paper; their roots are A, D and G. List each chord’s members, circle each bar’s first note and mark the notes across both barlines. Before checking the answer, predict which link is a semitone and which is a whole tone; separately mark whether C#3 belongs to Am7 and F#2 to D7. The paper route needs no teacher playback, recording or simultaneous chords.
| 和弦 / Chord | 根音 / Root | 成员 / Members |
|---|---|---|
| Am7 | A | A, C, E, G |
| D7 | D | D, F#, A, C |
| G | G | G, B, D |
The complete twelve-beat map
This card uses 4/4 with successive left-hand single notes and the right hand resting throughout. Each cell is one quarter-note beat. Elapsed beats start at zero, while beat numbers within a bar start at one. Base and variant are alternative versions: the variant changes only bar 1 beat 4 from C3 to C#3. The other eleven cells, durations and right-hand rest are identical. Do not concatenate the versions into a 24-beat task.
Versions: Base; Optional variant.
| 累计拍 / Elapsed q | 小节:拍 / Bar:beat | 和弦 / Chord | 原版左手 / Base LH | 变体左手 / Variant LH | 时值 / Duration |
|---|---|---|---|---|---|
| [0,1) | 1:1 | Am7 | A2 | A2 | 1q |
| [1,2) | 1:2 | Am7 | C3 | C3 | 1q |
| [2,3) | 1:3 | Am7 | E3 | E3 | 1q |
| [3,4) | 1:4 | Am7 | C3 | C#3 | 1q |
| [4,5) | 2:1 | D7 | D3 | D3 | 1q |
| [5,6) | 2:2 | D7 | C3 | C3 | 1q |
| [6,7) | 2:3 | D7 | A2 | A2 | 1q |
| [7,8) | 2:4 | D7 | F#2 | F#2 | 1q |
| [8,9) | 3:1 | G | G2 | G2 | 1q |
| [9,10) | 3:2 | G | B2 | B2 | 1q |
| [10,11) | 3:3 | G | D3 | D3 | 1q |
| [11,12) | 3:4 | G | G2 | G2 | 1q |
Right hand: rest [0,12) in both base and variant.
Elapsed 0 4 8 12
Chord Am7 D7 G end
LH A2 C3 E3 C3 | D3 C3 A2 F#2 | G2 B2 D3 G2 |
RH [--------------- rest ------------------)First beats are this card’s anchors
At elapsed beats 0, 4 and 8 the line reaches A2, D3 and G2, roots of the labelled chords. Circles only annotate existing notes; they add no root accompaniment. The source likewise keeps first-beat roots in its example and qualifies its explanation as a possibility; this is not a universal rule for all walking bass. Voice leading concerns how notes move between successive harmonies, not compulsory stepwise movement at every note.
Zoom in on just two links
These are views of the full timeline, not additional notes or exercises. The first covers elapsed beats [3,5), the second [7,9); a half-open interval includes its start and excludes its end. Each view restarts at local beat zero. Add its origin, 3 or 7, to obtain elapsed beats in the full line; local zero is not the start of the piece. Base C3→D3 is an ascending whole tone. Variant C#3→D3 and the second link F#2→G2 are ascending semitones.
| 视图 / View | 完整区间 / Parent interval | 原点 / Origin | 局部拍0 → 1 / Local beats | 移动 / Move | 前音属当前和弦? / Member? |
|---|---|---|---|---|---|
| first_base | [3,5) | 3 | C3 → D3 | 2 semitone(s) | yes |
| first_variant | [3,5) | 3 | C#3 → D3 | 1 semitone(s) | no |
| second_both | [7,9) | 7 | F#2 → G2 | 1 semitone(s) | yes |
Check membership and target distance separately
Use the current bar’s chord to check membership: Am7 contains A, C, E, G; D7 contains D, F#, A, C; the G major triad contains G, B, D. C3 belongs to Am7 and C#3 does not. F#2 is D7’s third, so this page calls F#2→G2 a semitone approach without inferring non-chord membership from a black key or semitone distance. Here “G” labels a chord, not an accepted analysis of the whole passage’s key.
Locate the octave before checking direction
Scientific pitch notation uses C4 for middle C. On an 88-key piano, A0 is key 1; key indices locate pitches and are not finger numbers. The table lists twelve consecutive keys from F2 through E3. Eight appear in the base or variant; four are location references only. F#2 is the adjacent black key to the right of F2, and G2 the adjacent white key to its right. C#3 is the black key between C3 and D3. F#3 shares a pitch class but is an octave higher, not this card’s last note of bar 2.
| 音高 / Pitch | 88键号 / Key index | 用途 / Role |
|---|---|---|
| F2 | 21 | reference only |
| F#2 | 22 | target pitch |
| G2 | 23 | target pitch |
| G#2 | 24 | reference only |
| A2 | 25 | target pitch |
| A#2 | 26 | reference only |
| B2 | 27 | target pitch |
| C3 | 28 | target pitch |
| C#3 | 29 | target pitch |
| D3 | 30 | target pitch |
| D#3 | 31 | reference only |
| E3 | 32 | target pitch |
Separate notation, elapsed time and sound
Each version has twelve one-beat left-hand events and one right-hand rest covering [0,12). Both hands share the same twelve-beat axis; do not add rest time to get twenty-four beats. There are no ties. For arithmetic illustration only, a quarter-note tempo of 60 BPM gives twelve seconds for twelve beats; 48 BPM gives fifteen seconds. A two-beat view takes two or 2.5 seconds respectively. These tempos are new arithmetic examples on this page, not source or original-card prescriptions, measurements or passing thresholds.
| 四分 BPM / Quarter BPM | 12拍 / 12 beats | 2拍视图 / 2-beat view |
|---|---|---|
| 60 | 12 s | 2 s |
| 48 | 15 s | 2.5 s |
Written quarters do not verify touch
The timeline specifies intended beats and notated durations, not how long every key must be held, when sound completely vanishes, pedal state or achieved legato. The original card first asks for equally soft attacks with a steady quarter-note pulse; on a separate attempt it compares a slightly detached or connected final note while maintaining tempo. Actual piano sound and movement require separate observation; this page measures no audio, pedal or hand motion.
Optional piano: one bar, links, then the full line
First confirm you can read the three bars of quarter-note single notes and locate F#2 comfortably. Follow the existing card: practise one bar at a time with one hand, then the bar 1→2 link, then bar 2→3, and join all twelve beats last. The F#2–E3 range requires comfortable repositioning, not a fixed stretched hand. Rest the right hand; singing, foot tapping and recording are not required, and the C#3 variant is optional. Stop for pain or clear discomfort and return to paper. This is not physical-suitability acceptance.
Record the original card’s alternative separately
The original card also permits moving the entire line up an octave to the right hand, or arranging note-name cards for a teacher to play. The first option raises all twelve notes together and rests the left hand; it does not change only F#2 to F#3. This page’s tables and automated checks cover only the original-octave left-hand versions. Without a teacher the paper checks remain complete; do not record a heard performance that did not occur.
Repair one question at a time
Paper completion evidence is twelve correct cells plus the right-hand rest, three first-beat roots, both link distances and the C#3/F#2 membership decisions. If F#2 is labelled outside D7, first list D7’s four members again, then recheck the F#2→G2 semitone. Do not change pitch, tempo and articulation together. Record checked/pending status and actual prompts. If no playing occurred, leave performance untested; paper correctness is not an automatic playing pass.
A single line does not establish simultaneous harmony
The left-hand line can reveal melodic motion, but full chords do not sound simultaneously. Comparing harmonic tension needs separately supplied and checked teacher accompaniment. These data do not establish that a link actually sounded smoother or more jazz-like. “Smoother” needs explicit comparison conditions and actual listening, and is not a unique answer. Repeating the same line next time tests retention only. Transfer requires separate equally difficult material never seen, heard or practised; otherwise it remains untested.
Source scope and the library’s addition
Limited NC-010 attribution covers arpeggiation and reordering, qualified first-beat roots in the example, passing tones and semitone approaches, and occasional eighth-note/triplet ornaments. The 118-second still labels a passing tone; the 130-second still shows source-score Gb→F and F#→G links, whose octaves are not this card’s octaves. At 85 seconds the still remains on root circles and differs from the ASR topic at that time, so segment IDs and still seconds are cited separately, without audio correction or alignment repair. This page’s three bars come from the library’s existing original card; no source score, image or full transcript is copied.
Bounded checks without inflated coverage
Inventory duration is 190.806 seconds and container duration 190.784 seconds; their 0.022-second difference is unexplained, and neither is actual listening time. Thirty-one segments support short attributions; thirty-two unused segments are not an error count or rate. Only one video’s text/selected-still scope is proposed for acceptance, with no new practice card, public-article review or audio correction. Full audiovisual content, complete source score, continuous movement, actual performance and learning outcomes remain unvalidated.
Fixed checks of card identity, events, membership, beats, local views, key indices and bilingual text; no sound scoring, movement or performance acceptance.
Sources and data
Existing original practice card · Pitch and octave basics · Intervals and spelling · Timeline data · Video source scope · Fixed checks