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This page preserves the author’s frozen review bytes, so prose or data may still contain candidate, pending-review or unpublished labels.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.
这一遍证明了什么：四音练习的证据记录单
作者送审候选版本；尚未独立验收或发布。
复用本库原创E15的四个音与时值；本页的明确条件、假想记录、判读与工作单为新增原创综合，不新增练习卡或来源覆盖。
先完成一个可检查的小任务
今天只问：这四个音的顺序、起音和完整时值是否符合写好的目标？先做纸面比较，再决定是否在声学钢琴上尝试。纸面题不要求钢琴、MIDI、录音、唱歌或麦克风；纸面结果和实际演奏另记。
先知道哪些是来源，哪些是本库设计
【作者观点】FOPP-59把目标、准备、执行、检查、完成与维护联系起来；起步应由后续需要倒推。相关原书实149–150页／印148–149页已重新核对。本页沿用已发布E15的C4–E4–D4–G4，每音一个四分音符。下面的4/4、速度示例、无踏板条件和记录格式由本页另行指定，并非E15或原书已有的全部条件。
先找四个白键
中央C是C4。沿白键向右为D4、E4、F4、G4，所以目标次序是C4→E4→D4→G4；音名后的4是八度号，不是指法。下面只列C4到G4的白键，省略黑键，也不表示琴键之间的物理距离或手跨度。88键编号从最左A0=1数；它与MIDI编号是不同标号，不要求有MIDI设备。
| 音名 / Pitch | 88键号 / 88-key index | MIDI号 / MIDI number |
|---|---|---|
| C4 | 40 | 60 |
| D4 | 42 | 62 |
| E4 | 44 | 64 |
| F4 | 45 | 65 |
| G4 | 47 | 67 |
把起音与最后结束分开
【本页示例条件】4/4，一小节，四分音符=60 BPM；一拍1秒。第一音起点设为0秒，四次起音在0、1、2、3秒，末音占3–4秒，整句到4秒才结束。表中区间左端包含、右端不包含；在同一个边界可以结束前音并开始下一音。目标时值是记谱关系，不是保证声音恰好在边界消失。为这道固定纸面题，另行指定目标放键点等于表中结束点；这只是本题比较条件，不能从四分音符记谱一般性地推出精确放键时刻。
| 位置 / Position | 音 / Pitch | 开始拍 / Start beat | 结束拍 / End beat | 60 BPM秒区间 / Seconds at 60 BPM |
|---|---|---|---|---|
| 1 | C4 | 0 | 1 | [0, 1) |
| 2 | E4 | 1 | 2 | [1, 2) |
| 3 | D4 | 2 | 3 | [2, 3) |
| 4 | G4 | 3 | 4 | [3, 4) |
舒适速度需要另写条件
60 BPM只用于算术，不是入门或升级门槛。若改为四分音符48 BPM，每拍1.25秒，起音为0、1.25、2.5、3.75秒，结束在5秒；音序与四拍结构不变。记录实际选定速度，不能把48 BPM的弹奏拿去对照60 BPM的秒数。表内三份假想记录都固定为60 BPM。
先留下判断，再看结论
先盖住“结论／下一步”表。对GAP、PITCH、MATCH分别判断：音名次序是否相同？完整时间表是否相同？能否据此说学习者下次还会弹？所有数字都是编者给定的假想数据，不是真实录音、自动识别或实际学习者结果，也不是让你故意弹错的指令。
先读记录的含义
起音是一次新音开始；本表“放键”是另行给定的假想按键结束点，不是从起音推算的录音结论。GAP的E4在2秒放开，D4在3秒才开始，因此2–3秒是额外空档，不是目标中的休止；余响仍可能存在。每份记录的四个音都逐个对应目标第1–4位置，没有漏音、加音或顺序对齐算法。
| 假想记录 / Synthetic record | 音名顺序 / Pitch order | 起音秒数 / Onsets in seconds | 放键秒数 / Releases in seconds |
|---|---|---|---|
| GAP | C4 → E4 → D4 → G4 | 0, 1, 3, 4 | 1, 2, 4, 5 |
| PITCH | C4 → E4 → F4 → G4 | 0, 1, 2, 3 | 1, 2, 3, 4 |
| MATCH | C4 → E4 → D4 → G4 | 0, 1, 2, 3 | 1, 2, 3, 4 |
| 记录 / Record | 结论 / Interpretation | 下一步 / Next step |
|---|---|---|
| GAP | 音序相同；2–3秒有额外空档，整句到5秒结束。不能因为找对四键就写连续时间通过。 | 先核E4→D4的相邻拍点，再接回C4入口；原因仍待检查。 |
| PITCH | 给定起放时间相同；第三位置是F4而非D4。连续完成不能证明音高正确。 | 先在纸上指认第三音D4，再核对应键；保持原来的时间目标。 |
| MATCH | 这份假想记录符合本页音序与时间目标；它不是任何学习者的真实通过证据，也不回答下次保留。 | 真实尝试若经检查达到同样目标，再另记下次复测；不自动升级速度或关闭整个项目。 |
未检查不等于错，也不等于对
若只写出了音名、没有实际弹奏，演奏结果记“未尝试”。若弹了但听不清第三音，音高结果记“未判定”，不要填成错音或正确。没有可信时间记录时可写“连接处似乎停了一下，待核”，不能编造精确秒数；若只有起音资料，放键与末音完整时值仍是未知。
把下一步写成一个动作
GAP可先在纸上确认E4后应接D4，再把E4→D4→G4作为原句第2–4音的局部检查；每音仍一拍，没有另写新旋律。修复时可以停下找键，这只能记为定位检查。准备好后恢复C4入口与全部四音，按原定条件做一次连续尝试，到末音时值结束后记录。局部检查不能替代完整句检查。
可选的声学钢琴路线
先能舒适找到C4、E4、D4、G4，再任选一只手逐音核对；不要求同时按住四键，也不规定指法、手形或动作原因。本页比较不踩踏板，先记所选手与速度。可按每个结束边界放键，再在下个起点弹下一音；这不证明连奏、实际声长或余响。感到疼痛或明显不适就停止；可回到纸面，必要时请能观察演奏的人帮助。
证据只回答这次检查的问题
自己的听辨、教师观察与可选录音是不同证据来源，写清是谁、何时、对什么做了检查。普通录音不能单独确定指法、关节动作或精确放键点。本页不提供音频评分器或毫秒误差门槛；假想记录的精确相等只用于纸面题。实际判断可写具体位置和可辨差异，听不清就保留未知。
下次重查，另记改变的条件
结束前写好下一次要查什么。下次正常舒适准备后，在重新反复练这个目标之前，用相同音列、起点、速度、看谱与提示条件检查；记录实际间隔。改变速度、入口、手或提示时另开一行，不能直接称为同条件保留；条件相同也不能证明所有其他影响已被控制。熟悉四音的重复不是陌生乐谱迁移测验。
保持一个待办问题
项目卡只保留一个正在处理的问题，例如“完整句中E4→D4是否按相邻拍点衔接”。位置未认清先找键；位置清楚但连接停顿则查连接；本次目标达到后排下次复测。时间用完可以留下未解决问题，不把练了几分钟、做了几遍或勾了几格当作整首完成百分比。这里只管理E15这四音，不验收任何真实曲目。
| 记录栏 / Field | 填写提示 / Prompt |
|---|---|
| 范围／条件 | E15；完整四音或哪一局部；手、速度＋拍单位、看谱、提示、踏板。 |
| 这一遍用途 | 找键修复／连接检查／完整试演／下次复测；先选一个。 |
| 已观察 | 具体位置、音高或时间差异；谁听看；没有可靠秒数就写定性描述。 |
| 未检查 | 听不清、没有弹或没有观察的项目分别留下未知，不填零错误。 |
| 下一动作 | 只选一个可核动作，再回完整四音；假设与已知事实分开。 |
| 复测 | 实际间隔、条件有没有改变、重练目标前的结果；当前先留空。 |
可抄用空白：日期____；用途____；条件____；音高观察____；时间观察____；未知____；下一步____；下次复测____。所有空白需由实际检查填入。
范围与归属
原书§59的统一分手超速、先全部背完、绝对音高或天才保证不成为本页门槛；“冷弹”也不解释为身体未准备好仍必须弹。本页未做真实演奏、声音、动作、个体适合性或学习效果验证。重读两个既有原书页，不新增书籍条目、公开文章、视频审阅或纠错计数；来源已存在与实际掌握是两回事。
仅检查固定符号例题、双语字段、引用与字节身份；不是演奏评分或独立验收。
来源与继续阅读
原始E15 · 项目任务卡 · 方法与检查 · 保留与迁移 · 本页数据 · 来源范围 · 固定例题检查
What did this attempt establish? A four-note practice record
Author review candidate; not independently accepted or published.
Reuses the four pitches and durations of our original E15; the explicit conditions, hypothetical records, interpretations and worksheet are new original synthesis, with no new practice card or source coverage.
Start with one checkable task
Ask only whether these four pitches, onsets and full durations match the written target. Compare the records on paper first, then decide whether to try an acoustic piano. The paper task needs no piano, MIDI, recording, singing or microphone; record paper results separately from actual playing.
Separate source guidance from our design
[Author’s view] FOPP-59 connects goals, preparation, execution, checks, completion and maintenance; later requirements inform the start. Relevant physical pages 149–150 / printed pages 148–149 were rechecked. We reuse published E15: C4–E4–D4–G4, each a quarter note. This page additionally stipulates 4/4, example tempos, no pedal and a record format; these are not all pre-existing conditions in E15 or the book.
Locate four white keys
Middle C is C4. The white keys to its right are D4, E4, F4 and G4, so the target order is C4→E4→D4→G4. The 4 is an octave number, not a finger number. The map lists only white keys from C4 to G4; it omits black keys and does not represent physical distance or hand span. The 88-key index counts from the leftmost A0=1; it differs from MIDI numbering and requires no MIDI device.
| 音名 / Pitch | 88键号 / 88-key index | MIDI号 / MIDI number |
|---|---|---|
| C4 | 40 | 60 |
| D4 | 42 | 62 |
| E4 | 44 | 64 |
| F4 | 45 | 65 |
| G4 | 47 | 67 |
Separate onsets from the final ending
[Conditions for this example] One bar of 4/4, quarter note=60 BPM; one beat is 1 second. Set the first onset to 0 seconds: the four onsets are 0, 1, 2 and 3 seconds; the last note occupies 3–4 seconds, so the phrase ends at 4 seconds. Intervals include the left boundary and exclude the right; one note can end as the next starts. Target durations describe notation, not a guarantee that sound vanishes at the boundary. For this fixed paper problem, target key releases are additionally assigned to the listed endpoints; this comparison condition does not mean quarter-note notation generally determines exact key-release times.
| 位置 / Position | 音 / Pitch | 开始拍 / Start beat | 结束拍 / End beat | 60 BPM秒区间 / Seconds at 60 BPM |
|---|---|---|---|---|
| 1 | C4 | 0 | 1 | [0, 1) |
| 2 | E4 | 1 | 2 | [1, 2) |
| 3 | D4 | 2 | 3 | [2, 3) |
| 4 | G4 | 3 | 4 | [3, 4) |
Record a comfortable tempo explicitly
60 BPM is an arithmetic example, not an entry or advancement threshold. At quarter note=48 BPM, each beat is 1.25 seconds: onsets are 0, 1.25, 2.5 and 3.75 seconds, ending at 5 seconds; the pitches and four-beat structure stay unchanged. Record the tempo actually chosen; do not compare playing at 48 BPM with second values for 60 BPM. All three hypothetical records below use 60 BPM.
Commit a judgment before checking
Cover the interpretation / next-step table first. For GAP, PITCH and MATCH, decide whether the pitch order matches, whether the complete timeline matches, and whether this proves a learner can do it next time. Every number is stipulated hypothetical data, not a real recording, automatic recognition or learner result; these are not instructions to play errors deliberately.
Read what each record actually contains
An onset starts a new note. Here, “release” is a separately stipulated hypothetical key-release time, not a conclusion inferred from onset data or a recording. In GAP, E4 is released at 2 seconds and D4 starts at 3, leaving an added gap from 2–3 seconds, not a written rest in the target; resonance may remain. All four events in each record map explicitly to target positions 1–4; there are no omitted or extra notes or sequence-alignment algorithm.
| 假想记录 / Synthetic record | 音名顺序 / Pitch order | 起音秒数 / Onsets in seconds | 放键秒数 / Releases in seconds |
|---|---|---|---|
| GAP | C4 → E4 → D4 → G4 | 0, 1, 3, 4 | 1, 2, 4, 5 |
| PITCH | C4 → E4 → F4 → G4 | 0, 1, 2, 3 | 1, 2, 3, 4 |
| MATCH | C4 → E4 → D4 → G4 | 0, 1, 2, 3 | 1, 2, 3, 4 |
| 记录 / Record | 结论 / Interpretation | 下一步 / Next step |
|---|---|---|
| GAP | Pitches match; an added gap occupies 2–3 seconds and the phrase ends at 5. Finding all four keys does not establish the planned continuous timing. | Check the adjacent beats of E4→D4, then restore the C4 entry; the cause remains unestablished. |
| PITCH | The stipulated onset/release schedule matches; position 3 is F4 rather than D4. Continuity does not establish correct pitch. | Identify D4 at position 3 on paper, then check its key; retain the original timing goal. |
| MATCH | This hypothetical record matches this page’s pitch-order and timing targets; it is not evidence that any real learner passed, and says nothing about later retention. | If a checked real attempt meets the same goal, record a later retest separately; do not automatically increase tempo or close the whole project. |
Not checked is neither wrong nor right
If you only wrote pitch names and did not play, mark performance “not attempted.” If you played but could not identify the third pitch, mark pitch “undetermined,” not wrong or correct. Without reliable timing evidence, write “a possible pause at the join; needs checking,” not invented seconds. If only onsets are available, releases and the last note’s full duration remain unknown.
Make the next step one action
For GAP, first confirm on paper that E4 is followed by D4, then examine E4→D4→G4 as positions 2–4 of the same phrase, still one beat each, not a new melody. Stopping to locate a key is allowed during repair and counts only as a location check. When ready, restore the C4 entry and all four notes for a continuous attempt under the chosen conditions, recording after the last note’s duration ends. A local check does not replace a complete-phrase check.
Optional acoustic-piano route
First be able to find C4, E4, D4 and G4 comfortably, then choose one hand to check them successively. There is no requirement to hold all four keys together or prescribed fingering, hand shape or movement diagnosis. This comparison uses no pedal; record the chosen hand and tempo. You may release at each ending boundary and play the next note at its onset; this does not establish legato, acoustic duration or resonance. Stop for pain or clear discomfort; return to paper or seek help from someone who can observe your playing as needed.
Evidence answers only the question checked
Self-listening, teacher observation and optional recordings are different evidence sources; state who checked what and when. An ordinary recording alone cannot determine fingering, joint motion or exact key-release times. This page supplies no audio scorer or millisecond threshold; exact equality in hypothetical data is only for the paper problem. Real judgments can name a location and discernible difference; retain uncertainty when it is unclear.
Retest later; record changed conditions separately
Before finishing, write what to check next. Next session, after normal comfortable preparation but before repeated rehearsal of this target, check the same pitches, entry, tempo, score access and prompts; record the actual interval. Give changed tempo, entry, hand or prompts a separate row rather than calling it same-condition retention; matching those conditions still does not control every other influence. Repeating these familiar notes is not an unfamiliar-score transfer test.
Keep one next question
Keep one active question on the project card, such as whether E4→D4 connects on adjacent beats in the full phrase. Locate the keys first if uncertain; investigate the join if locations are known but a pause appears; schedule a retest after meeting the current goal. When time runs out, leave the question open. Minutes, repetitions and ticks are not a whole-piece completion percentage. This manages only E15’s four notes, not acceptance of any real repertoire.
| 记录栏 / Field | 填写提示 / Prompt |
|---|---|
| Scope / conditions | E15; all four notes or the stated local view; hand, tempo + beat unit, score access, prompts, pedal. |
| Purpose of this attempt | Location repair / join check / full trial / later retest; choose one first. |
| Observed | Location and pitch or timing difference; who listened/watched; use a qualitative description without reliable seconds. |
| Not checked | Leave unclear, unplayed or unobserved items unknown; do not enter zero errors. |
| Next action | Choose one checkable action, then return to all four notes; separate a hypothesis from a known fact. |
| Retest | Actual interval, any changed conditions and result before rehearsing the target again; leave blank for now. |
Copyable blank: date____; purpose____; conditions____; pitch observation____; timing observation____; unknown____; next step____; later retest____. Fill every blank from an actual check.
Scope and attribution
Section 59’s universal requirements for overspeed separate-hand work, complete memorization first, or promises about absolute pitch or genius are not entry conditions here; “cold” playing does not require playing while physically unprepared. This page has no real performance, sound, motion, individual-suitability or learning-outcome validation. Rereading two existing book pages adds no book entries, public articles, video reviews or correction counts; source availability and actual mastery differ.
Checks fixed symbolic examples, bilingual fields, references and byte identity only; not performance scoring or independent acceptance.
Sources and next reading
Original E15 · Project task cards · Methods and checks · Retention and transfer · Page data · Source scope · Fixed-example checks