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.
曲目选择：难度是一个轮廓
两首都标同一个等级的曲子，一首可能难在读谱，另一首难在两手协调。先找自己的具体难处，再选择作品。前置：读谱查错、练习反馈。
【作者观点】Jane Magrath 的 The Pianist’s Guide to Standard Teaching and Performance Literature（Alfred，1995）把作品作为教学与演奏选择的参考。前言特别说明其 1–10 级是相对比较，不是客观定级；同一作品不同乐章也可分别讨论。PDF-REPERTOIRE 第 8–12、15 页，本轮读过本地 OCR，并核对第 9、15 页原图。没有重建该书的作品条目或分级表。
本库的选曲问题
【本库综合】不要只记一个“几级”，还可记录这些维度：
| 维度 | 具体问题 |
|---|---|
| 读谱 | 音区、谱号、调号、临时记号是否熟悉 |
| 时间 | 节奏细分、速度、不同声部的独立性需要什么 |
| 动作 | 连续移位、跨度、重复音、双音哪项是瓶颈 |
| 声音 | 能否控制旋律、内声部、音色与踏板 |
| 结构 | 是否有多个相似但不同的段落，容易在哪里混淆 |
| 目标 | 是首次阅读、学一种技能，还是准备完整演出 |
同一学生可能在一个维度熟练，在另一个维度需要较多准备；因此两个“同等级”作品的实际负担可能很不同。
自编选择实验
从自己合法持有、感兴趣的两首作品中各选一个短段，先写出预计困难，再实际试读。把“预计问题”和“实际问题”对照：若短段简单但整曲很难维持，应重新评估耐力、记忆与结构，而不是只加快那个短段。
【本库综合】也可选一首总体容易、只含一个新挑战的作品，以及一首多个维度都陌生的作品，比较每天能获得多少有效反馈。这是观察自己的任务设计，不是保证哪一种选曲一定更快进步。
【来源边界】Magrath 的等级不能直接换算成任何当代考试等级；旧书列出的版本与出版状态也没有被本轮确认为当前可购。查到书目后仍要回到具体谱本、乐章和版本。
演出准备也要说明场景
【作者观点】Wiwi谈演出门槛把演出形式、曲目与听众期待放在一起讨论，而非只看学习年数。本库不采用文中的具体年限或教学时长作为保证。
【本库综合】准备一段给朋友听的原创短句时，先约定长度、是否看谱、能否重来，以及希望听众留意什么。把“这个场合准备好了”与“所有场合都能胜任”分开；个人曲目难度表可以增加“本次用途”一栏。
Choosing repertoire: difficulty has a profile
Two pieces with the same level can challenge different skills: reading in one, two-hand coordination in another. Identify your specific difficulty before choosing. Prerequisites: reading checks, practice feedback.
[Author's view] Jane Magrath's The Pianist's Guide to Standard Teaching and Performance Literature (Alfred, 1995) supports teaching and performance choices. Its preface describes levels 1–10 as relative comparisons, not objective ratings; movements can be discussed separately. PDF-REPERTOIRE, pp. 8–12/15: local OCR read and images of pp. 9/15 checked. We have not reconstructed its work entries or grading tables.
Our repertoire questions
[Our synthesis] Rather than recording only a level, consider:
| Dimension | Specific questions |
|---|---|
| Reading | Are register, clefs, key signature and accidentals familiar? |
| Time | What subdivisions, speeds and independent voices are required? |
| Movement | Are travel, spans, repeated notes or double notes the bottleneck? |
| Sound | Can melody, inner voices, tone and pedal be controlled? |
| Structure | Are similar but different sections likely to be confused? |
| Goal | First reading, one new skill, or a complete performance? |
One student may be fluent in one dimension and need preparation in another. Two works at the same level can therefore impose different demands.
Original selection experiment
Choose a short passage from each of two appealing works you legally possess. Predict difficulties, then try reading them. Compare predicted and actual problems. If the passage is easy but sustaining the whole work is hard, reassess endurance, memory and structure rather than only speeding up that passage.
[Our synthesis] Compare a generally easy work with one new challenge against a work unfamiliar in several dimensions. Observe the usable feedback each yields daily. This is personal task analysis, not a guarantee that one selection method produces faster progress.
[Source limits] Magrath's levels cannot be directly converted to any contemporary examination grade. This task has not confirmed current availability of the editions and publishers in the older book. Return from bibliographic references to the specific score, movement and edition.
Related: reading, practice methods, E09.
Define the performance setting too
[Author's view] Wiwi's performance-threshold article considers format, repertoire and audience expectations together rather than only years of study. Its specific time estimates are not guarantees here.
[Our synthesis] For an original short phrase shared with friends, agree on length, score access, restarts and what listeners should notice. Readiness for this setting does not establish readiness for every setting. Add intended use to the personal repertoire profile.