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.
先写和弦条件，再缩短准备窗口
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。
换和弦时脑中空白，可能不是手指太慢，而是还没决定下一段的目标音。先把“当前和弦、准备选的音、何时切换”写在纸上，再减少等待时间。这里先学一个更小的目标：拍速不变时，按新和弦提示准时进入已经选好的单音。
已读 IV-012／013／016 全部410段既有ASR，核对16次选定静帧及讲义实际／印刷16、17、20页文字。328段因音名不确定、概括过强、重复／无关文字或时间对应异常等不作归属证据；这不是328个已听校错误。来源音频、连续动作、完整示范谱及听觉效果没有验收。
纸面路线独立完整，不需钢琴或唱音。可选弹奏仅在能找键、数拍、舒服地依次按放单音时进行：RH为右手，LH为左手；本例LH始终休息，不需同时撑开整个音域，不指定指法，也不用踏板。若不舒服或找键尚不稳，就保留纸面任务。
G：根音是命名和弦的参照；三度音把根音算作一，向上数到第三个字母位置，再由和弦性质确定升降。音级集合在这里忽略八度和排列，例如不同八度的D都归入D。调式还涉及中心音及音之间的关系；集合相同不表示中心、重音或功能相同。和声节奏是和弦条件改变的时间安排，不是每秒有多少音符。
有边界的来源归属
B46-S01 · T2
第12课以小和弦背景练习Dorian，并借完整小十三和弦的音级说明联系。这里仅保留作者的练习取向与集合联系：不能据此说任意小和弦上的每个Dorian音都同样合适，也不能把音阶当作必须同时按下的和弦。
PDF-IV实际／印刷16页第12天；IV-012静帧25／38／48秒选定集合图与73／85秒完整任务提示。没有原伴奏听校。
B46-S02 · T2
第13课以属和弦背景练习Mixolydian，并用完整十三和弦的集合解释联系。这里不把作者的适配概括扩展到所有和弦配置、旋律或sus语境；“同一组音”也不等于同一声响或相同作用。
PDF-IV实际／印刷17页第13天；IV-013静帧34／45／54秒选定集合图、76／87秒完整任务提示。未验收原演奏或每种sus配法。
B46-S03 · T2
第16课把每个和弦缩到一个小节，并让学习者自行准备选音；作者提供先选少量音、再即兴的简化入口。本页借用“先准备、再限时切换”的思路，但下面两和弦、空小节与单音任务完全由我们另写。
PDF-IV实际／印刷20页完整文字；IV-016静帧37／57／65秒任务条件，175／287／317秒和弦标签／提示。转写中的和弦名称及时间对应有异常，归属依据为可见文字与讲义，不是未经听校的时间轴。
相同的音级集合，不同的任务条件
G／O：我们声明两项和弦条件：Dm7（D小七和弦）含D–F–A–C，G7（G属七和弦）含G–B–D–F。Dm7中的F是小三度音，G7中的B是大三度音；这里分别把F和B选作入口目标。这是已知和弦下的选音任务，不是凭一个F或B就判断整首曲子的和弦或调性。
G：若按完整理论叠置写Dm13为D–F–A–C–E–G–B、G13为G–B–D–F–A–C–E，忽略八度／排列后两者都只有七个白键音级。D Dorian（D多利亚）的顺序是D–E–F–G–A–B–C，G Mixolydian（G混合利底亚）是G–A–B–C–D–E–F，也共享这些音级。实际十三和弦常省略某些音；这个集合计算不是规定的演奏配法，更不要求一次按七个音。
G：两组集合相同，根音、三度、安排和听觉中心仍可不同。G7的“属七和弦性质”不自动证明此处是C调的V级，也不强制下一和弦必须C。若音乐明确要求悬留或保留某音，应另看实际声部；不能用集合成员资格代替旋律、节奏、音区与上下文判断。
O：先写一张条件卡：和弦标签→两个已选单音→切换起点。准备不稳时，先多留一个完整空小节；能保持拍子再去掉这个空小节，不先把BPM拉高。这样改变的是准备窗口与和弦提示的时间，未证明能在真实复杂伴奏上即兴。
| 条件 | 和弦音 | 三度音 | 计划目标 |
|---|---|---|---|
| Dm7 | D–F–A–C | F | F4 → A4 |
| G7 | G–B–D–F | B | B4 → D5 |
原创纸面任务：先预测切换时点
遮住答案。所有版本为4/4，四分音符=60 BPM；每个音保持半拍，最后留一整小节恢复。E是加长准备版，P是目标版，R是简化版；这些字母是版本名，不是和弦。按下面表格先算每版秒数、G7提示何时开始，以及每个声部的保持／休止，再看答案。
G／O：中央C为C4；F4、A4、B4是它右方同一八度内的白键，D5在再上方的C5右侧。88键从A0=1算起，F4=45、A4=49、B4=51、D5=54。键号不是手指号。事件A1=F4、A2=A4，属于第一条件Dm7；B1=B4、B2=D5，属于第二条件G7。事件ID字母不表示所弹的音名。
E缩成P时，哪几个事件前移，删掉的是音还是额外等待？R恢复成P时，旧恢复小节是否还能保持全休止？虽然本例两条件的理论七音集合相同，为什么F目标与B目标仍不同？时间以四分音符拍为单位，从每版开始累计，0为第一拍的开头，不是“第零拍”；表中区间左端包含、右端不包含。
| 版本 | Dm7提示 | G7提示 | 单音起点：ID@时点 | 额外空小节 | 恢复 | 总拍数 |
|---|---|---|---|---|---|---|
| E | 0–8 | 8–16 | A1@0, A2@2, B1@8, B2@10 | 4–8, 12–16 | 16–20 | 20 |
| P | 0–4 | 4–8 | A1@0, A2@2, B1@4, B2@6 | 无 | 8–12 | 12 |
| R | 0–4 | 无 | A1@0, A2@2 | 无 | 4–8 | 8 |
核对答案
E有4个单音事件、共20秒，G7提示在8秒；P有4个、12秒，G7在4秒；R有2个、8秒且没有G7条件。E→P保留音高与半拍保持，把B1/B2从8/10移到4/6，并删去额外空小节4–8与12–16，恢复小节由16–20移到8–12。根音／和弦性质给目标不同角色，集合相同不能取消条件。
O：若把同一音级集合误当成同一任务，先圈出各和弦的根音和三度。若总时长只算有音的部分，把所有空拍补回；若换提示时停住，先用E完整数过空小节，准备好下一目标再试P。纸面结论是标签、事件与时间正确，不是听起来必然好听。
可选练习：拍速不变，逐步减少准备空档
只在准备好且舒适时按表弹右手单音；LH始终休息，和弦只是纸面条件提示，本任务没有弹奏或播放真实和弦伴奏。可先做完整R，再E，最后P；不需连成一首曲子。每音半拍后释放，在空小节中继续计数，可默看下一目标。不用踏板，也不把半拍保持当成通用断奏定义。
每个方括号为一小节，每格半拍。RH/line是右手单一声部；ID表示该单音起并保持半拍，.为该声部休止。LH行全为休止。E的中间空小节仍有和弦条件标签，但没有按住或播放该和弦；最后恢复小节没有新条件。
E RH/line: [A1 . . . A2 . . .] [. . . . . . . .] [B1 . . . B2 . . .] [. . . . . . . .] [. . . . . . . .]
E LH: [. . . . . . . .] [. . . . . . . .] [. . . . . . . .] [. . . . . . . .] [. . . . . . . .]
P RH/line: [A1 . . . A2 . . .] [B1 . . . B2 . . .] [. . . . . . . .]
P LH: [. . . . . . . .] [. . . . . . . .] [. . . . . . . .]
R RH/line: [A1 . . . A2 . . .] [. . . . . . . .]
R LH: [. . . . . . . .] [. . . . . . . .]E／P右手各保持2拍，R保持1拍，其余时间右手均休止；LH全程休止。E额外空小节为4–8和12–16，恢复16–20；P恢复8–12；R恢复4–8。最后音释放分别在10.5、6.5、2.5；释放后不另加未写明的延长。按键释放不保证声学余响瞬间消失，本例未测余响。
R→P：保留A1/A2，加入G7条件4–8与B1/B2在4/6，恢复小节改为8–12。旧4–8恢复段现在部分有音，必须从RH/line休止中去掉4–4.5与6–6.5；LH仍完整休息到12。E→P不是加快四分音符，而是将每个条件的提示长度由8拍缩成4拍。实际谱中是否可删小节必须另核，本例只用于原创任务。
休息后遮住时点表，从和弦标签重建P，再说明每个目标音的角色，作为保留重测。回到真实乐句时，先按原谱恢复和弦／旋律、拍号、时值和接缝；未知音或上下文标待核，不用本页白键集合强行套入。未见过的迁移题需另备未透露的和弦与节奏，本包没有提供或验证它。
边界与相关阅读
来源账本合计1333.420秒；同哈希MP4容器合计1333.417秒，差异原因未定，两者都不是听看时长。IV016的部分ASR题号与画面不同时对应，未用它们判定实际演奏时间。没有原声听校、连续动作、完整源谱、实际和弦伴奏、身体适用性、学习成效或应用验证。
本包来源范围
集合与时间线检查
Plan chord conditions before shortening the preparation window
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.
Going blank at a chord change may mean the next target is undecided rather than that the fingers are too slow. Write down the current chord, chosen notes and change time before reducing waiting time. Our smaller first goal is to enter preselected single notes on time under a new chord cue without changing the beat tempo.
All 410 existing ASR segments of IV-012/013/016 were read, with 16 selected stills and prose on handbook physical/printed pages 16, 17 and 20 checked. 328 segments are excluded from attribution for uncertain note names, overbroad claims, repeated/unrelated text or timing correspondence issues; these are not 328 audition-confirmed errors. Source audio, continuous movement, complete demonstration notation and auditory effects remain unvalidated.
The paper route is independently complete without a piano or singing. Optional playing requires finding keys, counting beats and comfortably pressing/releasing successive single notes. RH means right hand and LH left hand; LH rests throughout, no simultaneous span is needed, no fingering is prescribed and no pedal is used. Keep the paper task if uncomfortable or not yet secure in finding keys.
G: a root is the reference that names a chord. For its third, count the root as one and move to the third letter position; chord quality determines accidentals. A pitch-class set here ignores octave and order, so Ds in different octaves count as D. A mode also involves a center and relationships; the same set does not imply the same center, emphasis or function. Harmonic rhythm concerns the timing of chord changes, not the number of notes per second.
Bounded source attribution
B46-S01 · T2
Lesson 12 practices Dorian over a minor-chord context and relates it to a complete theoretical minor-thirteenth pitch collection. We retain that exercise approach and set relationship only: it does not make every Dorian note equally suitable over every minor chord, or require a scale to be pressed as a simultaneous chord.
PDF-IV physical/printed page 16, day 12; IV-012 stills at 25/38/48 seconds show selected set diagrams and 73/85 the complete task prompt. Original accompaniment was not auditioned.
B46-S02 · T2
Lesson 13 practices Mixolydian over a dominant-chord context, relating it to a complete theoretical thirteenth collection. We do not extend the author’s fit heuristic to every voicing, melody or sus context. “The same set of notes” does not mean the same sound or role.
PDF-IV physical/printed page 17, day 13; IV-013 stills at 34/45/54 seconds show selected set diagrams and 76/87 the complete prompt. The original performance and every sus treatment were not validated.
B46-S03 · T2
Lesson 16 gives each chord one bar and asks learners to prepare their own note choices, offering a small selected pool as an easier entry. We retain the idea of preparing choices before timed changes; the two chords, empty bars and single-note task below are entirely our own design.
Complete prose on PDF-IV physical/printed page 20; IV-016 stills at 37/57/65 seconds show conditions, and 175/287/317 labels/prompts. ASR chord names and time alignment have anomalies; attribution relies on visible text and the handbook, not an unauditioned transcript timeline.
One pitch collection can support different task conditions
G/O: we declare two chord conditions: Dm7 (D minor seventh) contains D–F–A–C, and G7 (G dominant seventh) contains G–B–D–F. F is the minor third of Dm7, while B is the major third of G7; we choose F and B respectively as entry targets. This selects notes under known chords; one F or B cannot identify a whole piece’s harmony or key.
G: under complete theoretical stacking, Dm13 is D–F–A–C–E–G–B and G13 is G–B–D–F–A–C–E. Ignoring octave/order, both contain the seven white-key pitch classes. D Dorian runs D–E–F–G–A–B–C and G Mixolydian G–A–B–C–D–E–F, sharing that collection too. Actual thirteenth voicings often omit tones; this set calculation prescribes neither a voicing nor a seven-note grip.
G: the same collection can still have different roots, thirds, arrangements and perceived centers. G7’s dominant-seventh quality does not automatically prove a V function in C or require C next. If music specifies a suspension or retained tone, inspect its actual voice; set membership cannot replace judgments about melody, rhythm, register and context.
O: write a condition card: chord label → two chosen single notes → change time. If preparation is insecure, allow an extra whole empty bar; remove it only while retaining the pulse, without first raising BPM. This changes the preparation window and chord-cue timing, not proof of improvisation over a complex real accompaniment.
| Condition | Chord tones | Third | Planned targets |
|---|---|---|---|
| Dm7 | D–F–A–C | F | F4 → A4 |
| G7 | G–B–D–F | B | B4 → D5 |
Original paper task: predict the change time first
Hide the answers. Every version is in 4/4 at quarter note=60 BPM; each note is held for half a beat, followed by one whole recovery bar at the end. E is extended preparation, P the target and R reduced; these letters name versions, not chords. Use the tables to predict each duration, the G7 cue’s onset and each voice’s holds/rests before checking.
G/O: middle C is C4. F4, A4 and B4 are white keys to its right within that octave; D5 lies to the right of the next C5. Counting 88 keys from A0=1 gives F4=45, A4=49, B4=51 and D5=54. Key numbers are not finger numbers. Event A1=F4 and A2=A4 belong to Dm7; B1=B4 and B2=D5 belong to G7. Event-ID letters are not played pitch names.
When E becomes P, which events move earlier, and are notes or extra waiting removed? When R becomes P, can its former recovery bar remain entirely silent? Although the two conditions share a theoretical seven-note collection, why are the F and B targets different? Time is measured in quarter-note beats from each version’s start; 0 is beat one’s beginning, not “beat zero.” Intervals include the left boundary and exclude the right.
| Version | Dm7 cue | G7 cue | Note attacks: ID@time | Extra empty bars | Recovery | Total beats |
|---|---|---|---|---|---|---|
| E | 0–8 | 8–16 | A1@0, A2@2, B1@8, B2@10 | 4–8, 12–16 | 16–20 | 20 |
| P | 0–4 | 4–8 | A1@0, A2@2, B1@4, B2@6 | none | 8–12 | 12 |
| R | 0–4 | none | A1@0, A2@2 | none | 4–8 | 8 |
Check your answers
E has 4 single-note events, lasts 20 seconds and cues G7 at 8 seconds. P has 4 events, lasts 12 seconds and cues G7 at 4. R has 2 events, lasts 8 seconds and contains no G7 condition. E→P keeps pitches and half-beat holds, moves B1/B2 from 8/10 to 4/6, removes extra empty bars 4–8 and 12–16, and moves recovery from 16–20 to 8–12. Roots/chord qualities give the targets different roles despite the shared collection.
O: if one collection is mistaken for one task, circle each chord’s root and third. If duration counts only sounding notes, restore all empty beats. If cue changes cause a pause, count E’s empty bars fully and prepare the next target before trying P. Paper success means correct labels, events and time, not guaranteed musical appeal.
Optional practice: reduce preparation gaps without changing the pulse
Only when ready and comfortable, play the listed RH single notes. LH rests throughout; chords are paper condition cues, with no played or recorded harmonic backing in this task. You may do complete R, then E, then P, as separate tasks. Release after half a beat, count through empty bars and silently inspect the next target. Use no pedal; a half-beat hold is not a universal definition of staccato.
Each bracket is one bar, each cell half a beat. RH/line is the single RH voice; an ID starts and holds that note for half a beat, and . is a rest. LH rests throughout. E’s intermediate empty bars retain a chord-condition label without holding or playing that chord; the final recovery bar introduces no new condition.
E RH/line: [A1 . . . A2 . . .] [. . . . . . . .] [B1 . . . B2 . . .] [. . . . . . . .] [. . . . . . . .]
E LH: [. . . . . . . .] [. . . . . . . .] [. . . . . . . .] [. . . . . . . .] [. . . . . . . .]
P RH/line: [A1 . . . A2 . . .] [B1 . . . B2 . . .] [. . . . . . . .]
P LH: [. . . . . . . .] [. . . . . . . .] [. . . . . . . .]
R RH/line: [A1 . . . A2 . . .] [. . . . . . . .]
R LH: [. . . . . . . .] [. . . . . . . .]E/P each hold RH notes for 2 beats and R for 1; RH rests at all other times, LH throughout. E adds empty bars at 4–8 and 12–16, recovering at 16–20; P recovers at 8–12, R at 4–8. Last releases are respectively 10.5, 6.5 and 2.5, without an unwritten extension. Key release does not guarantee immediate acoustic silence; decay is unmeasured.
R→P keeps A1/A2, adds the G7 condition at 4–8 and B1/B2 at 4/6, and moves recovery to 8–12. The old 4–8 recovery now contains notes: remove 4–4.5 and 6–6.5 from RH/line rests; LH still rests through 12. E→P does not speed up quarter notes; it shortens each condition cue from 8 beats to 4. Deleting bars in an actual score needs separate justification; this applies only to our original task.
After a break, hide the timing table, reconstruct P from its chord labels and explain each target’s role as a retention retest. In a real phrase, restore its chords/melody, meter, durations and joins first. Mark unknown notes/context pending rather than forcing in our white-key collection. Unseen transfer requires separately prepared, undisclosed harmony and rhythm; this package neither supplies nor validates that task.
Limits and related reading
Source inventory totals 1333.420 seconds; the same-hash MP4 containers total 1333.417. The difference is unexplained, and neither is audition/viewing time. Some IV016 ASR task labels do not temporally match the frames and were not used to time the performance. Original-audio audition, continuous movement, full source notation, actual harmonic backing, physical suitability, efficacy and application behavior remain unvalidated.
Parallel modes and fourth-degree conditions
Source scope for this package
Set and timeline checks