审阅范围 · Review scope
指定内容与证据核对。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。
Specified content and evidence checks. Keep the evidence and limitations stated in the text in view. This is not final corpus acceptance or validation of performance or learning outcomes.
踏板：控制的对象、时机与听到的结果
手指离键后声音仍可能继续，因为右踏板改变了制音。先认识自己的踏板，再比较何时踩、踩多深、何时放。前置：音名；从E06的一音实验开始。
【作者观点】好和弦的踏板原理篇与深度篇把右踏板解释为对制音器位置的控制，而非仅把声音“拉长”的开关。N-PEDAL-1、N-PEDAL-2。本轮读过文字，未据此宣称听过内嵌示范。
先说清楚是哪一种踏板
【通用乐理】右踏板（damper / sustain pedal）影响制音与共鸣；平台琴的中踏板（sostenuto）可保留选定的音；平台琴左踏板（una corda / shift pedal）改变击弦位置。实际机构随琴种、型号与调整而变。
【本库综合】“右踏板半踩”与“左踏板半踩”是两个问题，不能把一种踏板的结论搬给另一种。FOPP FOPP-40 反对平台琴部分踩左踏板，是该作者的明确主张；本库尚未独立验证其普遍性，不把它制定为演奏禁令。
【补充来源】不能把所有立式琴的中踏板都写成同一功能。例如 Steinway 的机构说明列出一种具有不同踏板安排的设计。这里用它确认“先认型号与机构”的必要性，不作购琴建议。M-STEINWAY-ACTION。
三个参数分开记录
【本库综合】比较踏板时，至少记录：
| 参数 | 要观察什么 |
|---|---|
| 踩下时机 | 起音之前、手指仍按住时，还是离键之后 |
| 深度 | 当前乐器何处开始有反应，何处效果已饱和 |
| 释放过程 | 余音怎样减弱、旧和声是否混进新和声 |
【作者观点】深度篇区分空行程、有效控制区与制音器完全离弦后的区间。文中给出的踏板行程比例只能视为经验说明，不能当作每台琴的标尺。
【本库综合】不能用“我脚踩到一半了”证明获得某种声音。相同脚部位置在另一台琴、不同音区或不同数位系统上，可能对应不同结果。先以同样音列和触键比较，再调整踏板；同时改变所有变量难以归因。
数位琴的迁移问题
【作者观点】数位踏板篇提醒硬件与音源都要支持连续深度，重踩后保留余音、踏板噪声和共振也可能有不同实现。N-PEDAL-6。原文的软件清单属于作者当时的观察，不作为当前功能对照表。
【本库综合】评估迁移时问“这一项声音反馈在两台琴上是否一致”，不要只问“都有三个踏板吗”。参见自编实验 E06。
相关：声部层次、连奏与释放、FOPP 的证据边界。
先保证测试顺序可解释
【本库综合】测试深度时要先发声，在手指仍按键时设置踏板深度，再离键听余音；每轮重新发声。已经完全止住的声音，不能靠事后踩踏板重新产生。把“保持声音”与“及时重新接住尚未止住的余音”分成不同任务。
【补充来源】Yamaha 的踏板入门说明的基本步骤同样把踩下踏板放在离键之前。本轮只采用这一顺序说明，未听内嵌音频，也不采纳其音色喜好为普遍标准。
先记录诠释方案，再判断声音
【作者观点】FOPP-56实际136–139页偏向对《月光》第一乐章持续踏板的特定解释，并讨论先无踏板检查连贯性。FOPP-57实际141–142页强调强弱对比。作者有关历史意图、唯一正确奏法及击弦机松动改变声音的论证未在本批独立验证，不能由这些段落要求每位初学者全程踩住或禁止踏板。
【本库练习设计】在自己能控制的两个相邻和弦上，先写“希望保留什么、希望清掉什么”。以相同起音、力度与速度比较无踏板和一个明确的换踏板方案；每次重新发声，并记录旧声是否遮住新和声。先单独核对音和节奏，再把踏板作为额外任务接回。延后重做时保留同一条件，再连前后乐句。无踏板检查能暴露部分连接问题，但不等于最终演奏必须无踏板，也不证明身体动作正确。参见PD02的配置比较。
【译意边界】中文§56第4、6、19段大体保留原著主张；不能靠改译词把争议解释变成事实。源谱、乐器、声学和实际演奏仍需分别核验；本库不凭书中小节号生成用户目标曲的踏板处方。
先分清声音描述与机构解释
【源译边界】FOPP§39第7项的dissonant谈不协和关系，不等于琴弦没有调准。§40第7项中文还颠倒了琴弦与琴槌毡接触的对象；英文移动简写本身也不能替代实琴机构观察。两项词义修正不验证书中白噪声、半弱音踏板或唯一正确用法的解释。见Q-102／Q-103。
【本库综合】若一次比较听起来更混浊，先记录改变了哪个踏板时机、哪些声音叠在一起、使用的琴是否相同。不要仅凭“混浊”推断跑调或给出维修结论。真实机构、调律和演奏结果是不同证据。
Pedals: mechanism, timing and audible result
Sound may continue after key release because the right pedal changes damping. Identify your pedal, then compare timing, depth and release. Prerequisite: note names; begin with the single-note task in E06.
[Author's view] NiceChord's mechanism article and depth article explain the right pedal as controlling damper position, rather than merely a switch that lengthens sound. N-PEDAL-1, N-PEDAL-2. Their texts were read; embedded demonstrations were not thereby heard.
Identify the pedal first
[General theory] The right damper/sustain pedal affects damping and resonance. On a grand, the middle sostenuto can retain selected notes; the left una corda/shift pedal changes the striking position. Mechanisms vary with piano type, model and regulation.
[Our synthesis] Partial right-pedal use and partial left-pedal use are separate questions. FOPP-40 explicitly opposes partial left-pedal use on a grand. Its general validity has not been independently established here, so we do not turn it into a performance prohibition.
[Supplementary source] Upright middle pedals do not all perform the same function. Steinway's action description gives a design with a different pedal arrangement. This supports checking model and mechanism first, rather than recommending a purchase. M-STEINWAY-ACTION.
Record three parameters separately
[Our synthesis] In pedal comparisons, record at least:
| Parameter | Observation |
|---|---|
| Depression timing | Before onset, while fingers hold keys, or after release? |
| Depth | Where does this instrument begin responding, and where does the effect saturate? |
| Release | How does resonance fade, and does old harmony enter the new harmony? |
[Author's view] The depth article distinguishes free travel, effective control and travel after dampers fully leave the strings. Its travel ratios are experiential explanations, not a ruler for every piano.
[Our synthesis] A halfway foot position does not prove a particular sound. The same position on another piano, register or digital system may produce another result. Compare the same notes and touch before changing pedal; changing everything together obscures cause.
Transfer to digital instruments
[Author's view] The digital-pedal article notes that hardware and sound engine both need continuous-depth support. Repedaling resonance, pedal noise and sympathetic resonance can also differ. N-PEDAL-6. Its software list reflects the author's observation at the time, rather than a current feature comparison.
[Our synthesis] Ask whether a particular sound response transfers between instruments, rather than only whether both have three pedals. See E06.
Related: voice balance, legato and release, FOPP evidence limits.
Make the test sequence interpretable
[Our synthesis] For a depth test, sound a note, set pedal depth while the key is still held, then release the key and listen. Sound a fresh note each trial. Depressing the pedal afterward cannot recreate a sound that has fully stopped. Sustaining a sound and recapturing resonance before it is fully damped are different tasks.
[Supplementary source] Yamaha's pedal introduction likewise places pedal depression before key release in its basic procedure. Only this order is used here; embedded audio was not heard and its tonal preferences are not universal standards.
Record an interpretation before judging its sound
[Author's view] FOPP-56, physical pages 136–139, favors a particular continuous-pedal reading of the first Moonlight movement and discusses checking connection without pedal first. FOPP-57, physical pages 141–142, emphasizes dynamic contrast. Claims about historical intention, an exclusively correct interpretation and audible action looseness were not independently validated in this batch. These passages do not require every beginner to hold the pedal throughout or prohibit its use.
[Our practice design] For two neighboring chords you can control, write what should remain audible and what should clear. Keep attacks, dynamics and tempo fixed while comparing no pedal with one explicit pedal-change plan. Sound notes afresh each trial and record whether old resonance masks new harmony. Check notes and rhythm separately before reintegrating pedal as another task. Retest later under the same conditions, then include neighboring phrases. A no-pedal check can expose some connection problems; it neither mandates a pedal-free performance nor proves correct movement. See the voicing comparison in PD02.
[Translation limits] Chinese §56 paragraphs 4, 6 and 19 largely retain the original assertions. Changing translated words cannot turn a disputed reading into fact. Edition, instrument, acoustics and actual performance need separate checks; the book's bar numbers do not supply pedal prescriptions for the user's goal pieces.
Separate sound descriptions from mechanism explanations
[Source-translation limits] Dissonant in FOPP section39 entry7 concerns a dissonant relationship, not necessarily mistuned strings. Chinese section40 entry7 also reverses string/hammer-felt contact roles; the English shorthand about shifting cannot replace observation of an actual piano mechanism. Neither wording correction validates the book’s white-noise, partial soft-pedal or uniquely correct-use explanations. See Q-102/Q-103.
[Our synthesis] If a comparison sounds muddier, first record which pedal timing changed, which sounds overlap and whether the instrument is the same. Muddiness alone cannot establish mistuning or a repair conclusion. Actual mechanism, tuning and performance results require different evidence.