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.
和弦换了，什么必须重新检查？
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。
看到新和弦，不必立刻重背一套音阶，也不能假定原来每个音的作用都没变。先问两件事：原来的音池能否容纳给定的和弦音？我准备停留的音，在这个和弦里是什么角色？
已读IV-014／015全部385段既有ASR，检查14个静帧及手册实际／印刷17–19页。284段疑似术语误识、无关重复或不确定候选不用于归属，不是听校确认的284处错误。视频账本合计1177.003秒，同哈希容器元数据1177.002秒，差异原因未定；这些不是听看时长。
先做完全可独立完成的纸面检查，再自行选择是否弹原创单音例。会辨认E4至B4、能舒服逐音弹奏且理解休止，才进入可选钢琴路线；否则纸面路线已经完整。数字4表示八度，不是指法。
G：和弦音是按当前和弦拼写列出的音；根音给和弦命名，不一定是实际最低音。音池是本任务允许考虑的音名集合，不等于每个音在每处都同样合适。调性中心是音乐中具有中心感的音；仅知道集合或从哪一个音开始，不能证明已经听到该中心。
G：相同音名集合可以在不同中心和和声语境中起不同作用。入门“和弦类型→调式”对照是候选策略，不是唯一答案；同一调内的连续和弦有时可共用音池，但节奏、停留位置、声部进行和实际版本仍需另核。
有边界的来源归属
B39-S01 · T2
Wiwi区分单个和弦上的简化音阶选择与一段和声的整体语境，并示范多个同调和弦共用音池。我们保留“先检查一段，而非逢和弦就重选”的思路，不把音池包含关系等同于所有音都能任意长停。
IV-014静帧23／55／70／90／246／266／290秒；PDF-IV实际／印刷17页第14天部分的完整文字。源E大调例中的C#m由手册和70／90秒标签确认；ASR第20段缺失升号，不采用其拼写。谱例只核选定标签／结构，未验原声。
B39-S02 · T2
Wiwi把换和弦练习先安排为较慢的和声更换频率，并使用示范／学习者轮替和重复时改变内容的安排。这里提炼成预先准备下一段提示的练习思路；原课重复次数是作者建议，不是保证学会的科学剂量。
IV-015静帧40／72／207秒的意图与流程文字；PDF-IV实际／印刷18–19页完整文字与选定音阶标签。180秒仍是第一题，326秒是转场，600秒仍显示第二题图表；不按邻近ASR认作第二／第三题已验证。全套音阶谱与实际示范未验。
把和声分析变成练习前的准备单
O：先从可信谱面核对和弦标签及组成音，把看不清或尚无依据的分析标“未知”。再按实际片段写：当前音池、下一和弦、一个已核对的目标音，以及切换发生在哪一小节。不要靠模糊转录补升降号。
O：准备工作先在停奏时完成。进入有计时的短段后，只读已备好的提示，不同时新增一整套分析；若来不及，就先回纸面或缩短任务，准确标记减少了什么。下面给出的留白是原创练习的一部分，不允许据此擅改原作品时值。
O：反馈分开记录：拼写错误、误判音池覆盖、混淆和弦音角色、错过切换位置或弹奏不稳。先修正具体一项，再回到原来的完整短段。只有文字或数值证据时，不猜手指原因，也不把听感写成已经验证。
O：休息后或次日遮住提示，重填同一张单，再核答案；这是已知材料的保持检查。新谱迁移须另选未预先透露答案的材料，不能把本页公开答案的重复练习称作迁移成功。
原创工作单：音池不变，目标与角色仍需核对
只作纸面分析，不先弹和弦。本题指定音池P={C,D,E,F,G,A,B}，并给出三个大三和弦C、F、G的拼写。表中音名不带八度，只比较音名类别；不是实际伴奏事件。先遮住答案，检查各和弦是否全在P中，再判断E是否属于当前三和弦。
| 和弦 | 给定拼写 |
|---|---|
| C | C–E–G |
| F | F–A–C |
| G | G–B–D |
答案与反例
三个和弦的所有组成音都在P中；三者合并也恰为P。E属于C三和弦，却不属于这里写出的F或G三和弦。它在后两者上不是和弦音，不表示必定错音或禁用音；是否作为延伸、经过或其他角色，还要看实际和声、声部与时间。
再核一个反例：D7在此明确拼为D–F#–A–C，P里没有F#，所以P不包含全部给定和弦音。#使音升高一个半音；F#是F与G之间的黑键。D7这里有四个不同的音，7不是七个音的意思。D7是属七和弦类型，不因此证明D是调性中心或已经转调；也不能据此断言C大调音乐里不可能出现D7。本题只完成“覆盖有缺口”的诊断，新的音池选择留待具体语境。
可选单音练习：先备提示，再按小节切换目标
先纸面核对全部时值，愿意且已具备上述条件时才弹。原创三小节4/4，四分音符=60 BPM，之后加一小节全休止；总16拍=16秒。表内起点／释放以从0开始的四分拍计，释放点不再保持；四个小节从0、4、8、12开始。和弦C／F／G只是每小节的分析标签，没有发声伴奏。右手一次只弹一个给定音，可用一根舒服的手指逐音弹，不要求固定手型；左手全程休息，不加踏板。
E4／F4／G4／A4／B4是中央C4右侧依次的白键（中间先经过D4）；从最左A0=1、黑白键一起数，对应44／45／47／49／51。它们先后弹，不要求同时张手覆盖。
先看事件表，遮住后面的提示答案和核对文字：第2、3小节开始时应落在哪个目标？前一小节哪段时间没有保持音、可查看预先写好的提示？所有答案公开，本例不是未见材料测试。
| ID | 音高／键号 | 起点 | 释放 |
|---|---|---|---|
| N1 | E4 / 44 | 0 | 1 |
| N2 | G4 / 47 | 2 | 3 |
| N3 | F4 / 45 | 4 | 5 |
| N4 | A4 / 49 | 6 | 7 |
| N5 | G4 / 47 | 8 | 9 |
| N6 | B4 / 51 | 10 | 11 |
提示答案与核对
第2小节起点offset4用F4，第3小节offset8用G4。准备好的提示分别放在3–4与7–8的休止格；它们不增加音符，也不挪动下一音的起点。最后11–16都没有保持音，其中12–16是完整恢复小节。
E . G . | F . A . | G . B . | . . . .
核对六次起音0、2、4、6、8、10，每音保持一拍；右手共保持6拍、休止10拍，左手16拍全休止。每格一拍，字母表示该格起音并保持，.表示没有保持音。若来不及读提示，先停止计时回纸面，不偷偷延长小节。没有保持音不保证声学上绝对无余响。
这些目标都是本题当前三和弦的组成音，只为把准备、计时与切换分开练；它们不是唯一好听的选择，也没有模拟原课伴奏。纸面通过只证明记录一致；若实际弹奏，也应分别记录错音、时点和停顿，再把短段放回你真实曲谱中已经核实的上下文。
范围与相关阅读
手册文字和选定静帧不等于原声、连续动作、全套源音阶谱或全课验收。IV-015长段重复转录不用于重建示范；14个静帧不足以证明任何即兴的具体音响。第17页相邻第13天内容只作版面语境，不新增该课覆盖；链接提到的其他课没有因此读完。身体适用性、老师认可与学习效果均未验证。
本包来源范围
集合与时值检查
When the chord changes, what needs checking?
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.
A new chord need not trigger memorization of a new scale, but neither does every earlier note retain its role. First ask two questions: does the current pitch collection contain the given chord tones, and what role does my intended arrival have over this chord?
All 385 existing ASR segments of IV-014/015 were read, alongside 14 stills and handbook physical/printed pages 17–19. 284 suspected terminology, unrelated repetition or uncertain candidates are excluded from attribution, not 284 audition-confirmed errors. Video inventory totals 1177.003 seconds; same-hash container metadata totals 1177.002, with the difference unexplained. These are not viewing/audition durations.
Complete the independently available paper check first, then optionally play the original single-note example. Use the optional piano route only if you can identify E4–B4, play separate notes comfortably and understand rests; otherwise the paper route is complete on its own. The number 4 denotes the octave, not fingering.
G: chord tones are the pitches in the current chord’s spelling. The root names the chord and need not be the actual lowest note. A pitch collection is the set of note names considered in this task, not a claim that every member suits every location equally. A tonal center is a pitch functioning as a musical center; a collection or starting note alone does not establish that this center was heard.
G: the same pitch collection can function differently with different centers and harmonic contexts. An introductory chord-type-to-mode chart is a candidate strategy, not a unique answer. Consecutive chords within one key can sometimes share a collection, while rhythm, arrival placement, voice leading and the actual edition still need checking.
Bounded source attributions
B39-S01 · T2
Wiwi distinguishes simplified scale choices over one chord from the context of a progression and illustrates sharing a collection across chords in one key. We retain the idea of checking a span before reselecting for every chord, without equating collection containment with unrestricted long arrivals on every note.
IV-014 stills at 23/55/70/90/246/266/290 seconds; complete Day 14 prose on PDF-IV physical/printed page 17. The C#m in the source’s E-major example is confirmed by the handbook and labels at 70/90 seconds; ASR segment 20 loses the sharp, so its spelling is not adopted. Only selected score labels/structure were checked, without audition.
B39-S02 · T2
Wiwi begins chord-change practice with a slower harmonic change rate, using demonstration/learner alternation and varied repetitions. We turn this into a practice idea of preparing the next context in advance; the source repetition count is author advice, not a scientifically guaranteed learning dose.
IV-015 stills at 40/72/207 seconds show the stated intention and procedure; PDF-IV physical/printed pages 18–19 supply complete prose and selected scale labels. At 180 seconds the first exercise remains, 326 is a transition, and 600 still shows the second chart; nearby ASR does not establish acceptance of later exercises. Complete scale notation and actual demonstrations remain unverified.
Turn harmonic analysis into a practice preparation sheet
O: verify chord labels and spellings from a reliable score, marking unclear or unsupported analysis unknown. For the actual passage, write the current collection, next chord, one checked target pitch, and the bar where the change occurs. Do not reconstruct accidentals from uncertain ASR.
O: prepare while not playing. During a timed short passage, consult the prepared cue instead of adding a whole new analysis. If that is too much, return to paper or shorten the task and record exactly what was reduced. Gaps below belong to our original exercise; they do not authorize changing durations in an actual work.
O: record spelling errors, incorrect collection coverage, confused chord-tone roles, missed change locations and unstable playing separately. Correct one specific issue, then return to the complete short passage. Text or numerical evidence alone cannot diagnose a finger cause or establish a listening judgment.
O: after a break or on the next day, hide the cues, refill the same sheet and check the answers. This tests retention of known material. Transfer needs other material whose answers were not disclosed in advance; repetition of this page’s answered exercise is not successful transfer.
Original worksheet: a shared collection still requires role and target checks
Paper analysis only; do not play chords first. This task assigns collection P={C,D,E,F,G,A,B} and supplies spellings of the major triads C,F,G. Names without octaves identify pitch classes, not actual accompaniment events. Cover the answers, check whether each chord is contained in P, then decide whether E belongs to that triad.
| Chord | Supplied spelling |
|---|---|
| C | C–E–G |
| F | F–A–C |
| G | G–B–D |
Answer and counterexample
Every tone of the three chords lies in P, and their combined tones equal P. E belongs to the C triad but not to the F or G triads spelled here. Being a non-chord tone over the latter two does not make it necessarily wrong or forbidden; extension, passing or other roles depend on actual harmony, voices and timing.
Check a counterexample: D7 is explicitly D–F#–A–C here, and P lacks F#, so P does not contain every given chord tone. A sharp raises a note by one semitone; F# is the black key between F and G. D7 has four distinct pitches here: 7 does not mean seven notes. D7 is a dominant-seventh chord quality; that does not establish D as tonic or a modulation, nor does it mean D7 cannot occur in C-major music. This task diagnoses only a coverage gap; a replacement collection awaits actual context.
Optional single-note practice: prepare cues, then change targets by bar
Check every duration on paper first; play only if desired and the stated prerequisites are met. Three original bars of 4/4 at quarter note=60 BPM are followed by one fully resting bar, totaling 16 beats=16 seconds. Table starts/releases are zero-based quarter-beat offsets; release ends holding. The four bars start at 0,4,8,12. C/F/G are analytical bar labels without sounding accompaniment. The right hand plays one specified note at a time, optionally using one comfortable finger, with no fixed hand shape required. The left hand rests throughout; use no pedal.
E4/F4/G4/A4/B4 are successive white keys to the right of middle C4, after passing D4. Counting every black and white key from A0=1 gives indices 44/45/47/49/51. They are played successively, without a simultaneous stretch.
Inspect the event table before uncovering the cue answers and checks: what target begins bars 2 and 3, and which preceding interval has no held note so you can consult the prepared cue? Answers are disclosed; this is not an unseen-material test.
| ID | Pitch / key | Start | Release |
|---|---|---|---|
| N1 | E4 / 44 | 0 | 1 |
| N2 | G4 / 47 | 2 | 3 |
| N3 | F4 / 45 | 4 | 5 |
| N4 | A4 / 49 | 6 | 7 |
| N5 | G4 / 47 | 8 | 9 |
| N6 | B4 / 51 | 10 | 11 |
Cue answers and checks
F4 begins bar 2 at offset 4, and G4 begins bar 3 at offset 8. Consult the prepared cues in rest intervals 3–4 and 7–8; they add no notes and do not shift the next attack. No note is held from 11–16, of which 12–16 is the complete recovery bar.
E . G . | F . A . | G . B . | . . . .
Check six attacks at 0,2,4,6,8,10, each held for one beat. The right hand holds for 6 beats and rests for 10; the left hand rests for all 16. Each cell is one beat: a letter starts and holds a note, and . has none held. If cue reading is too slow, stop timing and return to paper rather than silently lengthening a bar. No held note does not guarantee no acoustic resonance.
These targets belong to their assigned triads and separate preparation, timing and changes for this exercise. They are not the only musically effective choices and do not reproduce the course accompaniment. Paper success proves only record consistency. If played, log wrong notes, timing and interruptions separately, then reintegrate the short passage into verified context in your actual score.
Scope and related reading
Handbook prose and selected stills do not establish original audio, continuous motion, complete source-scale notation or full-lesson acceptance. Long repeated IV-015 ASR passages are not used to reconstruct demonstrations; 14 stills cannot establish an improvisation’s actual sound. Adjacent Day 13 content on page 17 is context only and adds no coverage for that lesson; linked courses are not thereby read. Physical suitability, teacher endorsement and learning efficacy remain unvalidated.
Chord identity and actual voicing
Reduce choices while retaining explicit rules
Source scope for this package
Collection and timing checks