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.
“五个音”不自动等于大调五声音阶：从材料表走向短乐句
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。
只规定“用五个音”，还不知道是哪五个音，也不知道它们在某个和弦上应怎样用。先写材料，再定一句话大小的目标：重复什么、改变什么、在哪里停。这样练习的是选择与组织，而不是把音阶从头跑到尾。
已读IV-007全部118段、IV-008全部128段既有ASR，共246段；检查16个选定静帧及手册实际／印刷11–13页完整文字与选定符号／布局。194段因长串重复、无关文字或术语／唱名不确定等而不作归属证据，不是194处听校确认错误。来源归属主要依靠清晰的手册文字和静态提示。
纸面路线可独立完成，不需要听音、唱歌、录音或钢琴。可选弹奏要求能找到本页所用键、按四分拍计时并舒服地逐音起放；否则只做纸面。下文“提问／回应”是我们给两个小节的设计角色，不声称没有伴奏也已证明某种和声终止。
G：音组／音池是任务允许考虑的音名集合，不规定音的先后、长短或必然好听。音级按音阶顺序编号；把标准键盘的黑键、白键都算上，相邻两个键的距离是半音。轮廓指音高升、降或重复的走向。乐句在本任务中是一小段有计划起止的音乐想法，不是固定必须几小节。
有边界的来源归属
B43-S01 · T2
第7课限定相邻的五音材料，并让学习者记录某个和弦上不喜欢久留的音；作者明确说标记不等于禁止使用。我们保留“集合限制与语境判断分开”，不把个人标记当通用错音表。
PDF-IV实际／印刷12页的两组字母音名及标记说明；IV-007静帧14／18／31／38秒的五音提示、195秒的主观判断提示、225／239秒的标记语境。11页只检查相关音组／标签，不验收整份和弦谱。
B43-S02 · T2
第8课把材料扩展到完整G大调，先轮流再独立编旋律，并强调旋律组织而非只弹音阶。这是课程的练习路线，不是“五音掌握后就自动会即兴”的效果证明。
PDF-IV实际／印刷13页全文；IV-008静帧23／34秒的旋律目标、48秒轮流提示、215秒独立练习及228／300秒材料提示。199秒仅是说明性照片／字幕，不是钢琴动作证据。
先核实哪五个音，再问怎样组成旋律
G：课程的“五个音”不能自动改名为常用大调五声音阶。常用大调五声音阶取大调的1、2、3、5、6级；相邻五音则可能取1、2、3、4、5级。两者数量相同，成员不同。下表改用本库原创F音材料比较，不复制源课程整曲或配器。
| 音组 | 级数 | 音名 |
|---|---|---|
| 相邻五音 | 1–2–3–4–5 | F–G–A–Bb–C |
| 常用大调五声音阶 | 1–2–3–5–6 | F–G–A–C–D |
| 完整大调 | 1–2–3–4–5–6–7 | F–G–A–Bb–C–D–E |
表格音名不指定音区。Bb／B♭是B降一个半音；这里F大调第四级是Bb，不是B。相邻五音含A–Bb的半音；常用F大调五声音阶F–G–A–C–D在循环回到高八度F时，相邻间隔为2、2、3、2、3个半音。“没有半音”不等于任何和弦上每个音都适合久留。
O：把三项检查分开。①集合：音名有没有在任务允许的表里？②组织：有没有按计划重复、改变和停顿？③语境：它与实际旋律／和弦／风格怎样配合？前两项可以先在纸上检查；第三项需要相应的音乐语境与聆听，不能由集合包含关系自动打勾。
G／O：用两个明确的三和弦作纸面反例。F大三和弦为F–A–C，D小三和弦为D–F–A。两者的全部和弦音都在F大调五声音阶中，但C只属于前者的三和弦，D只属于后者。G不属于这两个三和弦，都不推出“G禁止使用”。这里比较的是三和弦成员，不把它扩张为全部和声功能或音响好坏。
O：把实际乐谱的拍号、节奏、音高和必要伴奏先核实；准确读谱任务不能因“都在某音阶里”而任意改音。本页的选择空间只属于明确标为原创的练习。要评价和弦上某音的效果，必须保留对应和弦；只弹右手的试弹不能冒充已经完成和声语境比较。
原创纸面任务：计划一个短回应
遮住核对答案，先从三个音组表找出：哪些都是五个成员？Bb和D分别在哪些集合中？再对照下面事件表，写出第一小节提问P与第二小节回应R的升降走向。版本A只用常用F大调五声音阶；版本B事先明确改为完整F大调，并只把R2的A4换成Bb4。不要等弹错了才偷偷改音池。
G／O：这里F4是中央C4右侧的F白键，G4、A4是其后两白键，Bb4是A4与B4之间的黑键，C5是中央C上方一八度的C。标准88键从A0=1数全部黑白键，F4=45、G4=47、A4=49、Bb4=50、C5=52。编号是键位，不是指法；无需同时跨握这些音。
所有版本4/4、四分音符=60 BPM。每个事件保持半拍，随后按休止表放开。P从偏移0开始，R从4开始；完整A／B在8–12留一个全休止小节，共12拍。缩小版S只有P，再于4–8全休止，共8拍。先算秒数与起音数，并指出B哪一个音需要改用较大的音池。
| ID | A音高／键号 | B音高／键号 | 起点 | 释放 | S包含？ |
|---|---|---|---|---|---|
| P1 | F4 / 45 | F4 / 45 | 0 | 0.5 | 是 |
| P2 | A4 / 49 | A4 / 49 | 1 | 1.5 | 是 |
| P3 | G4 / 47 | G4 / 47 | 2 | 2.5 | 是 |
| P4 | C5 / 52 | C5 / 52 | 3 | 3.5 | 是 |
| R1 | G4 / 47 | G4 / 47 | 4 | 4.5 | 否 |
| R2 | A4 / 49 | Bb4 / 50 | 5 | 5.5 | 否 |
| R3 | G4 / 47 | G4 / 47 | 6 | 6.5 | 否 |
| R4 | F4 / 45 | F4 / 45 | 7 | 7.5 | 否 |
核对答案
相邻五音与常用大调五声音阶各有5个不同成员，完整F大调有7个；Bb在相邻五音与完整大调中，D在常用五声音阶与完整大调中。P的轮廓是升、降、升；A的R是升、降、降。B的R2改成Bb4，虽然轮廓方向未变，具体音程已变。Bb不在本页五声音阶表里，所以B必须明确换表；集合合规仍不是音响更好的证明。
O：若不能说明改变了哪个音，先回到纸面ID比较；若计时中断，先用完整S版，而不是压缩空白。若实际听感无法判断，记录“尚未判断”，不要把作者的个人X标记变成自己的强制答案。你可以完成纸面任务而不对听感作结论。
可选逐音练习：先准备、再回应、再留空
纸面完成且具备条件时才试弹。所有音用RH（右手）逐音，LH（左手）全程休息，不加踏板或指定指法，保持同一舒适音量意图。先在计时前确认键位和回应计划；可只做S，或做A，再任选B比较。它们是本库写好的示范，不是声称已经即兴创造或掌握整课。若不舒服或找键来不及，退回纸面。
每个方括号是一小节；其中八格各半拍。ID表示该格起音并保持半拍，.表示没有保持音。每版最后一小节完整留空。P与R的标签是小节角色；音符ID如P2／R2才用于精确恢复，不能仅凭轮廓相同声称音符相同。
S: [P1 . P2 . P3 . P4 .] [. . . . . . . .]
A: [P1 . P2 . P3 . P4 .] [R1 . R2 . R3 . R4 .] [. . . . . . . .]
B: [P1 . P2 . P3 . P4 .] [R1 . R2 . R3 . R4 .] [. . . . . . . .]S有4次起音、保持2拍、休止6拍，总8秒；A／B各8次起音、保持4拍、休止8拍，总12秒。A／B的最后起音在7、释放在7.5，8–12为完整恢复小节。所有事件彼此分开，没有把上一音保持到下一音开始；这不是连奏示范。休止也不保证声学余响已经完全消失。
从S接回A时，按表把R放回4–8，并把恢复小节移到8–12，总长从8恢复到12拍；不能仍把4–8标为全休止又加入R。B回A只恢复R2=A4／49，并恢复五声音阶任务标签，其余字段不动。检查包括音高、集合标签、时点和完整休止，不只计算弹了几个音。
休息后遮住答案重建A，并口述B为何换表，这是保留重测。随后若愿意，可在纸上另写一个遵守A版相同节奏、五声音阶音池和结尾F4条件的回应；先自查再试弹，它仍是有提示的创作练习。真正未见材料迁移需要另备不透露答案的材料，本包未提供也未验证。
边界与相关阅读
两个源视频账本合计773.292秒，同哈希容器773.290秒，差异原因未定；不是听看时长。194项排除不是词错误率，也不证明这些时间段没有讲话。源完整和弦谱、实际伴奏、音色强弱、连续动作及学习效果未核。本页没有播放或麦克风功能，逐音练习也不替代带和弦的真实聆听比较。
本包来源范围
集合、轮廓与时间检查
Five selected notes are not automatically major pentatonic: from a pool to a short phrase
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.
“Use five notes” tells us neither which five nor how to use them over a chord. Write the material first, then a phrase-sized goal: what repeats, what changes, where to stop. Practice selection and organization instead of merely running a scale from beginning to end.
All 118 existing ASR segments of IV-007 and 128 of IV-008 were read: 246 total, with 16 selected stills and complete prose plus selected symbols/layout on handbook physical/printed pages 11–13. 194 segments are excluded from attribution for long repetition, unrelated text or uncertain terms/solfege; these are not194 audition-confirmed errors. Attribution relies primarily on legible handbook prose and static prompts.
The paper route is complete without listening, singing, recording or a piano. Optional playing requires finding the listed keys, counting quarter-note beats and comfortably attacking/releasing successive notes; otherwise use paper only. “Prompt/reply” below names our design roles for two bars, not proof of a harmonic cadence without accompaniment.
G: a pitch collection or pool is the set of note names a task permits considering; it specifies neither order/duration nor guaranteed musical fit. Scale degrees number notes in scale order. A semitone is the distance between adjacent keys of a standard keyboard, counting both black and white keys. Contour is the direction of pitch rising, falling or repeating. A phrase here is a short musical idea with a planned beginning/end, not a fixed required bar count.
Bounded source attribution
B43-S01 · T2
Lesson 7 restricts the material to five consecutive tones and asks learners to mark tones they dislike lingering on over a chord; the author explicitly says marks do not prohibit use. We retain the separation between collection limits and contextual judgment, not a universal wrong-note chart.
The two letter-name groups and marking instructions on PDF-IV physical/printed page 12; IV-007 stills 14/18/31/38 for five-tone prompts, 195 for subjective judgment, 225/239 for marking context. Only relevant groups/labels on page 11 are checked, not the complete chord chart.
B43-S02 · T2
Lesson 8 expands to the full G-major collection, moving from turn-taking to independent melody-making and emphasizing melody rather than scale-running. This is the course’s practice sequence, not evidence that mastering five notes automatically yields improvisation skill.
Complete prose on PDF-IV physical/printed page 13; IV-008 stills 23/34 for the melody goal, 48 for turn-taking, 215 for independent practice, 228/300 for material prompts. Frame 199 is an illustrative photo/caption, not piano-movement evidence.
Identify the five notes before asking how they form a melody
G: the course’s “five notes” must not automatically be renamed the common major pentatonic scale. Common major pentatonic uses major-scale degrees 1, 2, 3, 5, 6; five consecutive tones can use 1, 2, 3, 4, 5. Equal counts do not imply equal membership. The table compares original F-based material without reproducing the source course’s full song or arrangement.
| Collection | Degrees | Notes |
|---|---|---|
| Consecutive five | 1–2–3–4–5 | F–G–A–Bb–C |
| Common major pentatonic | 1–2–3–5–6 | F–G–A–C–D |
| Full major | 1–2–3–4–5–6–7 | F–G–A–Bb–C–D–E |
Table note names do not specify register. Bb/B♭ lowers B by one semitone; F major’s fourth degree is Bb, not B. The consecutive five-tone group includes the A–Bb semitone. Common F-major pentatonic F–G–A–C–D has cyclic gaps 2, 2, 3, 2, 3 semitones when returning to F an octave higher. Having no semitone steps does not make every tone suitable to sustain over every chord.
O: separate three checks. (1) Membership: is the note on the permitted list? (2) Organization: did planned repetition, change and pauses occur? (3) Context: how does it work with the actual melody/chord/style? The first two can be checked on paper; the third needs the relevant musical context and listening, not automatic approval from set inclusion.
G/O: use two specified triads as a paper counterexample. F major is F–A–C; D minor is D–F–A. Both triads are contained in F-major pentatonic, but C belongs only to the former triad and D only to the latter. G belongs to neither triad, which does not prohibit G. This compares triad membership, not complete harmonic function or sounding merit.
O: first verify the actual score’s meter, rhythm, pitches and necessary accompaniment. Accurate score reading does not allow arbitrary edits merely because notes share a scale. Choices here apply only to explicitly original exercises. To judge a tone over a chord, retain that chord; a right-hand-only attempt cannot stand in for a harmonic-context comparison.
Original paper task: plan a short reply
Hide the checks. First use the three pool rows: which have five members, and which include Bb or D? Then use the event table to write the rising/falling contour of prompt P in bar 1 and reply R in bar 2. Version A uses only common F-major pentatonic. Version B explicitly switches in advance to full F major and changes only R2 from A4 to Bb4. Do not silently change the pool after a mismatch.
G/O: F4 is the F white key to the right of middle C4, followed by white keys G4/A4. Bb4 is the black key between A4/B4, and C5 is C an octave above middle C. Counting all 88 keys from A0=1 gives F4=45,G4=47,A4=49,Bb4=50,C5=52. Numbers identify keys, not fingers; no simultaneous span across these notes is required.
Every version uses 4/4 at quarter note=60 BPM. Each event holds for half a beat and is followed by the specified rest. P starts at offset 0 and R at 4. Full versions A/B rest for a whole bar at 8–12:12 beats total. Reduced S has only P, then a full rest at 4–8:8 beats. First calculate seconds/attack counts and identify the B note requiring the larger pool.
| ID | A pitch / key | B pitch / key | Onset | Release | S includes? |
|---|---|---|---|---|---|
| P1 | F4 / 45 | F4 / 45 | 0 | 0.5 | yes |
| P2 | A4 / 49 | A4 / 49 | 1 | 1.5 | yes |
| P3 | G4 / 47 | G4 / 47 | 2 | 2.5 | yes |
| P4 | C5 / 52 | C5 / 52 | 3 | 3.5 | yes |
| R1 | G4 / 47 | G4 / 47 | 4 | 4.5 | no |
| R2 | A4 / 49 | Bb4 / 50 | 5 | 5.5 | no |
| R3 | G4 / 47 | G4 / 47 | 6 | 6.5 | no |
| R4 | F4 / 45 | F4 / 45 | 7 | 7.5 | no |
Check your answers
The consecutive-five and common-major-pentatonic rows each have 5 distinct members; full F major has 7. Bb is in the consecutive-five/full-major rows; D is in the pentatonic/full-major rows. P rises, falls, rises; A’s R rises, falls, falls. B replaces R2 with Bb4: the contour directions remain, but the intervals change. Bb is absent from this pentatonic list, so B must explicitly change lists. Membership compliance still does not prove better sound.
O: if you cannot name the changed note, return to paper ID comparison. If timing breaks, use the complete S version rather than compressing empty time. If unable to judge actual sound, record “not yet judged” instead of turning the author’s personal X marks into mandatory answers. Paper work can be completed without a listening judgment.
Optional successive-note practice: prepare, reply, leave space
Try playing only after paper work and if ready. RH (right hand) plays successive notes; LH (left hand) rests throughout, with no pedal or prescribed fingering and the same intended comfortable level. Confirm keys and the reply before timing starts. Do S only, or A and optionally B for comparison. These are our written examples, not claims of spontaneous invention or mastery of the whole lesson. Return to paper if uncomfortable or unable to find keys in time.
Each bracket is a bar with eight half-beat cells. An ID starts and holds a note for that half beat; . means no held note. Every version’s final bar is entirely empty. P/R label bar roles; event IDs such as P2/R2 support exact restoration. Equal contour does not imply identical notes.
S: [P1 . P2 . P3 . P4 .] [. . . . . . . .]
A: [P1 . P2 . P3 . P4 .] [R1 . R2 . R3 . R4 .] [. . . . . . . .]
B: [P1 . P2 . P3 . P4 .] [R1 . R2 . R3 . R4 .] [. . . . . . . .]S has 4 attacks, 2 held beats and 6 resting beats:8 seconds. A/B each have 8 attacks, 4 held beats and 8 resting beats:12 seconds. Their last attack is at 7 and release at 7.5, followed by the full recovery bar 8–12. Events are separated, without holding a preceding note until the next attack; this is not a legato demonstration. Rests also do not guarantee complete acoustic decay.
To extend S back to A, restore R at 4–8 and move the recovery bar to8–12, restoring 12 total beats from 8. Do not keep 4–8 labelled a full rest while adding R there. B→A restores R2=A4/key49 and the pentatonic task label, leaving other fields unchanged. Check pitches, collection labels, timing and complete rests, not just note count.
After a break, hide the answers, rebuild A and explain why B changes pools: a retention retest. If desired, write another reply on paper preserving A’s rhythm, pentatonic pool and final F4 condition; check it before trying to play. That remains guided composition. Genuine unseen-material transfer needs separately prepared undisclosed material, which this package neither supplies nor validates.
Limits and related reading
The two source inventories total 773.292 seconds; same-hash containers total 773.290, with the difference unexplained and neither being audition/viewing time. The 194 exclusions are not a word-error rate or proof that those spans contain no speech. Full source chord charts, actual accompaniment, timbre/dynamics, continuous movement and efficacy are unchecked. This page has no playback/microphone feature, and successive-note practice does not replace real listening with harmonic context.
Check collections separately from chords
Source scope for this package
Collection, contour and timeline checks