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.
轻声补充音不等于休止：分开练起音数量和强弱
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。
在伴奏里增加一个很轻的音，仍然增加了一个需要安排的起音。“几乎听不清”不能在事件表里直接写成休止。先把什么时候弹、保持多久、希望相对多响分开，才知道练习到底改了什么。
已读IV-030全部81段既有ASR，检查10个选定静帧及手册实际／印刷52–56页完整文字、选定标签与布局。27段因重复、术语／含义不确定、未支持的普遍化或未读外链范围而不用于归属，不是27处听校确认错误。账本457.643秒，同哈希容器元数据457.642秒，差异原因未定；时长不是听看时长。
本页先给不需要声音的完整纸面路线。可选钢琴路线要求能找到中央C4，能把一拍均分成四份，并能舒服地逐音起放；不满足就完成纸面路线。钢琴路线只用右手一键，左手休息，不加踏板、不指定手型或指法。
G：拍是计时的脉冲；起音是一次新音的开始；保持是起音后尚未放开的阶段；休止表示该声部在指定时段没有要保持的音。强弱（dynamics）描述相对音量的安排。它们是不同维度：无新起音可能仍在保持，轻声起音也不是“没弹”。没有保持音仍可能有余响，不等于实测的绝对静音。
有边界的来源归属
B41-S01 · T2
Wiwi在伴奏语境中把较轻的补充起音称作ghost notes，并展示改变其拍内位置的思路。我们只提炼“添音的位置与它的强弱应分别检查”；原课用语和喜好不等于所有乐器、风格通用的定义，也没有证明实际音响效果。
IV-030静帧20秒的作者解释、44／61／99秒的拍内位置／声部标签；PDF-IV实际／印刷52页完整标题文字与选定谱面布局。其余53–56页只读文字及选定标签／结构；未逐音验收完整谱例，也未听示范。
先确定改变哪一个变量
O：从已核实的短段画三栏：起音与释放、拍单位与速度、相对强弱。先固定音高与速度，比较“有没有补充音”；再保留全部时点，比较“补充音是否较轻”。这样即使暂时弹不出来，也能在纸上定位修改，不把改变音量误记成改变节奏。
O：若补充音消失，先核是否漏掉了事件；若落点乱，先核时间网格；若听不出强弱差异，只记录“本次未能判断／未达到目标”。不要从一次声音推断手指力量、健康问题或学习能力。纸面标签只写意图，不能证明琴上已经实现。
O：可选弹奏时，补充音的目标是比本页基准音轻、仍可辨认的起音；这是本练习的定义，不要求模仿原课音色或追求极限小声。不要把没发声算作正确，也不靠缩短保持、推迟起音或加快速度替代轻声。若不舒服或无法分辨，回到完整纸面路线。
O：休息后或次日，遮住答案重写三版本的差异；已知材料重测只检验保持。进入真实曲谱时，先恢复该版本原有音符、踏板与风格条件，再判断是否允许添加这些音；本页不授权任意改写作品。新谱迁移需要另备未透露答案的材料，未在此验证。
原创纸面比较：A少音、B添音、C只改添音的强弱
先遮住核对答案，按下面事件表重画三个版本。所有音都是C4（中央C，从最左A0=1数黑白键为第40键）；没有和弦伴奏或外部旋律。每版4/4，每小节四个四分拍，四分音符=60 BPM，一个音乐小节后接一个全休止小节，总8拍=8秒。0是第一小节第一拍；第二小节从4开始，释放时点不再保持。
把每个四分拍分成四格，每格1/4拍=0.25秒。offset1.5是第二拍后半拍的起点，offset3.5是第四拍后半拍的起点。补充音在这两处各保持1/4拍，不是保持整个后半拍；与“第四个十六分格”的起点1.75／3.75不同。
本页符号M表示本练习自定的舒适、可听见的基准音量意图；S表示比M轻、仍可听见的意图。M不是标准谱面强弱记号、固定分贝、MIDI力度或测量结果。A只含N1／N2；B加入X1／X2且都标M；C保留B全部音与时点，只把X1／X2标S。
请先回答：A→B改变哪些事件？B→C起音数量、音高、保持时长或拍速有没有改变？每版第二小节应做什么？别用“都更复杂”代替具体字段。所有答案已在本页提供，这不是盲测或听觉成绩测试。
| ID | 音高 | 起点 | 释放 | A | B | C |
|---|---|---|---|---|---|---|
| N1 | C4 | 0 | 0.5 | M | M | M |
| X1 | C4 | 1.5 | 1.75 | - | M | S |
| N2 | C4 | 2 | 2.5 | M | M | M |
| X2 | C4 | 3.5 | 3.75 | - | M | S |
表中的-表示该版本省略此事件，相应时间仍依休止表占位；不是自动缩短小节。
核对答案
A→B新增X1与X2，N1／N2的所有字段不变；音乐小节起音由2次变4次。B→C只改两个补充音的相对音量意图，4次起音与全部起放时点不变。每版第二小节4–8全休止，仍数四个四分拍。较轻不等于删音，添音也不自动改变每拍秒数。
可选单键尝试与准确还原
纸面路线完成后，只有具备上述条件且愿意时才弹。RH表示右手，LH表示左手；所有版本RH用同一个C4，LH全8拍休息，不加踏板。先A，再B，最后C，每版可只试一次；次数不是通过条件。可以只完成A或只保留纸面记录，不把减少版本称作完成了C。
下面每行只画第一小节的16格；|分拍。M／S表示该格起音并保持，~表示继续保持，.表示没有保持音。第二小节另外16格全是.。字母大小没有额外指法含义；图是本库原创时间网格，不是源谱截图。
A: M ~ . . | . . . . | M ~ . . | . . . .
B: M ~ . . | . . M . | M ~ . . | . . M .
C: M ~ . . | . . S . | M ~ . . | . . S .A共保持1拍、休止7拍；B和C各保持1.5拍、休止6.5拍。三个版本最迟在3.75放完全部音，4–8为完整恢复小节；A更早在2.5放完。右手每次同键重弹前都有休止，不是延音。若C的补充音未发声，记录漏音或无法判断，不把S改成休止来让表格“通过”。
减回A时，仅去掉X1／X2，并把它们原本占用的时间恢复为休止；N1／N2不移动。再回C时，按ID补回X1／X2的音高、起放时点及S意图，不能只补次数。若希望判断真实音量差异，需要实际聆听；本包没有录音、麦克风测量、自动评分或原声比较结果。
边界与相关阅读
本页只提炼一个来源思路，不重印原课完整配置、和声进行或示范。255秒仍是鼓谱画面，不能根据邻近转录声称已验证钢琴映射；源提及的NC-166未因此读过。10个静帧无法证明轻重、音色或动作；全部源谱逐音检查、原声听校、连续动作、身体适用性与学习效果均未验证。
本包来源范围
事件、强弱意图与休止检查
Quiet additions are not rests: separate attack count from dynamics
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.
Adding a quiet note to accompaniment still adds an attack to schedule. Barely hearing it does not turn its event into a rest. Separate when to play, how long to hold and the intended relative loudness so you can identify what a practice change actually changes.
All 81 existing ASR segments of IV-030 were read, with 10 selected stills and complete prose plus selected labels/layout on handbook physical/printed pages 52–56. 27 segments are excluded from attribution for repetition, uncertain terminology/meaning, unsupported generalization or unread outbound-reference scope, not 27 audition-confirmed errors. Inventory duration is 457.643 seconds and same-hash container metadata 457.642, with the difference unexplained; neither is audition/viewing time.
This page first provides a complete paper route requiring no sound. The optional piano route requires locating middle C4, dividing a beat into four equal parts, and comfortably attacking/releasing separate notes. Otherwise complete the paper route. The piano route uses one right-hand key; the left hand rests, with no pedal or prescribed hand shape/fingering.
G: a beat is the counting pulse; an attack starts a new note; holding is the period before release; a rest marks a period with no note to hold in that voice. Dynamics describe intended relative loudness. These dimensions differ: no new attack can still involve holding, and a quiet attack is not an omitted note. No held note can still leave resonance and does not establish measured silence.
Bounded source attribution
B41-S01 · T2
In this accompaniment context, Wiwi calls quieter supplementary attacks ghost notes and presents ways to change their placement within a beat. We distill only checking placement separately from dynamics. The source terminology and preferences are not a universal definition across instruments/styles or proof of the sounding effect.
IV-030 author explanation at still 20 seconds and placement/voice labels at 44/61/99 seconds; complete headings/prose and selected score layout on PDF-IV physical/printed page 52. Remaining pages 53–56 received text and selected label/structure reading, not note-by-note acceptance of the complete examples or audition.
Decide which variable changes first
O: for a verified short passage, make three columns: attacks/releases, beat unit/tempo, and relative dynamics. Fix pitch and tempo while comparing the presence of additions; then preserve all timing while changing their intended level. Even before you can play it, you can locate the change on paper instead of recording a dynamics change as a rhythm change.
O: if an addition disappears, check for an omitted event; if placement shifts, check the timing grid. If the dynamic contrast is unclear, record only “unable to judge/not achieved on this attempt.” One sound does not diagnose finger strength, health or learning ability. Paper labels describe intentions, not successful realization on a piano.
O: if playing, aim for additions that are quieter than this page’s reference attacks but still perceptible. This defines our exercise without requiring the source timbre or extreme softness. Do not count a failed sounding attack as correct, or substitute shorter holding, delayed attacks or faster tempo for a softer level. If uncomfortable or unable to distinguish the result, return to the complete paper route.
O: after a break or on the next day, hide the answers and rewrite the differences between versions. A known-material retest examines retention only. For an actual score, first restore that edition’s notes, pedal and style conditions, then decide whether additions are appropriate. This page does not authorize arbitrary changes to a work. Unseen-score transfer needs other material with undisclosed answers and has not been validated here.
Original paper comparison: A is sparse, B adds attacks, C changes only their level
Cover the checks and reconstruct three versions from the event table. Every note is C4 (middle C, key 40 when counting all keys from A0=1), without chordal accompaniment or an external melody. Each version is in 4/4, with four quarter-note beats per bar at quarter note=60 BPM, with one musical bar and one fully resting bar: 8 beats=8 seconds. Zero is the first beat of bar 1; bar 2 starts at 4, and release ends holding.
Divide each quarter-note beat into four cells, each 1/4 beat=0.25 seconds. Offset 1.5 begins the second half of beat 2; offset 3.5 begins the second half of beat 4. Each addition holds for 1/4 beat, not the whole half-beat. These differ from the fourth sixteenth-cell starts at 1.75/3.75.
Here M denotes an intended comfortable audible reference level chosen for this exercise; S denotes an intended quieter but still audible level. M is not a standard score-dynamics marking, a fixed decibel value, MIDI velocity or a measurement. A contains only N1/N2. B adds X1/X2, all marked M. C retains every note and timing from B, changing only X1/X2 to S.
First answer: which events change from A to B? From B to C, do attack count, pitch, holding time or tempo change? What happens in bar 2 of every version? Name fields instead of saying merely “more complex.” Answers are supplied on this page; this is not a blind test or an auditory score.
| ID | Pitch | Start | Release | A | B | C |
|---|---|---|---|---|---|---|
| N1 | C4 | 0 | 0.5 | M | M | M |
| X1 | C4 | 1.5 | 1.75 | - | M | S |
| N2 | C4 | 2 | 2.5 | M | M | M |
| X2 | C4 | 3.5 | 3.75 | - | M | S |
A dash means that version omits the event and retains its time according to the rest intervals; the bar is not shortened.
Check your answers
A→B adds X1/X2 while every N1/N2 field stays unchanged; the musical-bar attack count rises from 2 to 4. B→C changes only the intended relative level of the two additions; four attacks and all attack/release times remain. Bar 2 of each version rests throughout 4–8 while four quarter-note beats are still counted. Softer does not mean deleted, and added attacks do not automatically change seconds per beat.
Optional single-key attempts and exact restoration
After the paper route, play only if desired and the prerequisites are met. RH means right hand and LH left hand. Every version uses the same C4 in RH while LH rests for all 8 beats, without pedal. Try A, then B, then C, once each if desired; a repetition count is not the pass criterion. You may complete only A or keep only paper records without calling that completion of C.
Each line below shows only the first bar’s 16 cells; | separates beats. M/S starts and holds a note in that cell, ~ continues holding, and . means no held note. The second bar has 16 more . cells. Letter case carries no fingering meaning. This is our original timing grid, not a source-score image.
A: M ~ . . | . . . . | M ~ . . | . . . .
B: M ~ . . | . . M . | M ~ . . | . . M .
C: M ~ . . | . . S . | M ~ . . | . . S .A holds for 1 beat and rests for 7. B and C each hold for 1.5 beats and rest for 6.5. All notes finish by 3.75, and 4–8 forms a complete recovery bar; A finishes earlier at 2.5. Every RH reattack of the same key follows a rest, not a tie. If a C addition does not sound, record an omission or uncertainty rather than changing S into a rest to make the table pass.
To reduce back to A, remove only X1/X2 and restore rests where they occupied time; do not move N1/N2. To return to C, restore X1/X2 by ID with their pitch, timing and S intention, not just their count. Judging actual loudness contrast requires listening; this package contains no recording, microphone measurement, automatic scoring or comparison against source audio.
Limits and related reading
This page distills one source idea without reproducing the full course voicings, progression or demonstrations. The 255-second frame still shows drum notation; nearby ASR does not verify a piano mapping. Mentioned source NC-166 is not thereby reviewed. Ten stills cannot establish dynamics, timbre or motion; complete source-score checking, audition, continuous-motion review, physical suitability and learning efficacy remain unvalidated.
Reduction and exact restoration
Source scope for this package
Event, dynamic-intention and rest checks