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This page preserves the author’s frozen review bytes, so prose or data may still contain candidate, pending-review or unpublished labels.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.
合手之前：把旋律、低音与完成证据分开
来源范围 · 结构化导读 · 书面检查 · 既有原创卡数据
先保留什么
先选一个小目标：加入低音后，右手八个旋律音的音高与起音位置仍能保留。单线旋律本身就是一个有效版本；音多不自动更好。这里把既有原创卡的 A/B 部分展开为纸面时间图，帮助你决定下一步练什么。
本导读复用 PUB15-6872eda828dd 的音高、节奏、速度条件和练习顺序，不新增第三个编配版本，也不把重复说明计成新练习。新增的是分栏说明、事件表示和自检方法。它不是 NC-081 的源谱，也不是两首目标歌曲的片段。
本文件冻结时为待独立审阅候选。既有卡的审阅状态不自动覆盖本导读；若已发布，请以仓库发布记录中本导读的条目为准。纸面核对与实际弹奏、学习效果分别验收。
分清角色、手和谱表
先会按 1、2、3、4 数四拍。4/4 表示本题每小节有四个四分音符拍；四分音符占一拍，全音符占四拍。音名数字表示音区，C4 是中央 C，C3 比它低一个八度。只做纸面路线时，不必先会双手弹奏。
这里把“织度（texture）”用作观察音乐各条线如何组合的词：谁承载旋律，谁提供伴奏，它们在哪个音区、何时发音。旋律／伴奏是音乐角色，右手／左手是本题分工，谱表是写谱的位置，三者不能互相代替。
NC-081 的 00:37 画面把“織度”与 Texture 配对。作者在 01:59.92–02:49.44 比较几种分配旋律、和弦音与音区的办法；03:39.52–04:31.80 说明伴奏可以高于旋律、旋律也可处于中间。这里只据既有 ASR 和选帧作有限归属；源课自称进阶，不等于初学者动作教程。
本题明确指定右手旋律、左手低音；这个分工来自原创卡，不是从最高音或上下谱表推断。换到自己的谱时，把角色、谱表、手和音区分别填好；无法确定就记“未知”，先查版本或请教师确认。
同一旋律的 A/B 时间图
沿用原卡：右手 A4 G4 A4 F4｜E4 D4 E4 C4，全部四分音符。A 只弹这条旋律，左手两小节均休止。B 保留同样右手，左手第一小节 F3 全音符，第二小节 C3 全音符。四分音符＝48，或另选并记录舒适速度；不踏板。本导读不展开原卡的选做 C 版。
B 的 F3 与 C3 是题目预设 F、C 和声的根音，但单独一个低音不是完整和弦。这张图只列真实指定的音，不偷偷补入 A、E 或其他和弦音，也不据两低音判定整首曲子的调性。
图的 0 是第一小节第一拍开始，4 是第二小节第一拍开始，8 是整段结束；它们是从开头累计的四分音符拍数，不是印刷小节号。[0,1) 表示从 0 保持到 1，终点不另增加一拍。
每个右手音按一拍记谱，在自己的终点结束；B 的 F3 在 4 结束，C3 从 4 到 8，左手不用随着每个右手音重弹。记谱时值与踏板条件不保证真实连奏、声学消音或音量平衡，不能当作已观察到的演奏结果。
在四分音符＝48 时，一拍是 60÷48＝1.25 秒，一小节 5 秒，两小节 10 秒。若改用舒适速度 t BPM，全段是 8×60÷t 秒。必须先写拍单位和速度，才能比较秒数；慢一点并不自动保证动作或理解正确。
| 累计拍区间 | 右手（A/B 相同） | A 左手 | B 左手 |
|---|---|---|---|
| [0,1) | A4 | 休止 | F3（此小节保持，不逐拍重弹） |
| [1,2) | G4 | 休止 | F3（此小节保持，不逐拍重弹） |
| [2,3) | A4 | 休止 | F3（此小节保持，不逐拍重弹） |
| [3,4) | F4 | 休止 | F3（此小节保持，不逐拍重弹） |
| [4,5) | E4 | 休止 | C3（此小节保持，不逐拍重弹） |
| [5,6) | D4 | 休止 | C3（此小节保持，不逐拍重弹） |
| [6,7) | E4 | 休止 | C3（此小节保持，不逐拍重弹） |
| [7,8) | C4 | 休止 | C3（此小节保持，不逐拍重弹） |
先预测，再对照
这里每个指定音符算一个事件，同时开始的两个音仍是两个事件。先遮住答案：A 与 B 各有多少个音符事件？各有多少个“有新音开始的不同时点”（同时几个音只算一个时点）？B 的左手在 1、2、3 是否需要重弹？到 4 时，两手分别换成什么音？
答案（预测后再看）
A 有 8 个音符事件，B 有 10 个；两版都只有 8 个不同起音时点。B 在 0 和 4 各有两音同时开始，其余时点只有右手新音。左手 1、2、3 不重弹；到 4，右手 E4、左手 C3 同时开始。增加事件数，不一定增加不同起音时点数。
| 版本 | 音符事件 | 不同起音时点 | 四分＝48 时秒数 |
|---|---|---|---|
| A | 8 | 8 | 10 |
| B | 10 | 8 | 10 |
纸面做法：逐行指认八个右手音，把 B 的两条低音长线加上；再把它们暂时遮住，确认完整恢复 A。给左右手各画一条时间线，不能用右手正在发音填掉左手的休止。答完上述问题即可完成纸面任务，不必先弹琴或播放示例。
纸面通过只表示你对照图表核对了音高、起音、保持、休止和恢复；把它记为“纸面通过”。这里没有播放或听觉测试，也不是已建立读谱内听。可以先预测轮廓，但“听起来如何”的结果要等真正听到时另记。
有条件地移到实琴
可选实琴路线沿用原卡门槛：不计时找出旋律音，旋律单独、低音单独，舒适才合手；四分音符＝48 或记录的舒适速度，不踏板。暂不合手也能继续纸面学习。本题不指定指法、手型、八度重叠、跨手或一手双声部动作。
若合手后漏了旋律音，这只是症状，可能涉及找键、进入时点或协调，不能直接诊断手指无力。先回到出错处所在的一小节，分开核对各手，再决定是否合回完整两小节；没有要求反复硬撑或加速。
分开记四栏：旋律音高／起音是否保留；实际听来低音是否掩盖旋律；舒适度；个人偏好。前两者也不要合成同一“正确分”。掩盖与舒适需真实聆听或自报，未做就记“未观察”；本数据没有替你测量这些结果。
隔次重测和恢复接缝
隔次先预测“从第二小节开始是否更难”，再重建或尝试同版第二小节。B 的原始区间 [4,8) 换成局部 [0,4)，仍是 E4 D4 E4 C4 加 C3，不能带入第一小节 F3。四分音符＝48 时是 5 秒；这是同一材料的视图，不是新练习或陌生材料迁移。
| B 原事件 | 原区间 | 第二小节局部区间 |
|---|---|---|
| M5 E4 | [4,5) | [0,1) |
| M6 D4 | [5,6) | [1,2) |
| M7 E4 | [6,7) | [2,3) |
| M8 C4 | [7,8) | [3,4) |
| L2 C3 | [4,8) | [0,4) |
返回全段时检查 4 这个接缝：第一小节最后的 F4 与低音 F3 到此结束，E4 与 C3 同时开始。只会第二小节不算完整两小节完成；分别记录纸面恢复、单手、合手和隔次结果。
给这项工作包写一行记录：版本 A/B、拍单位与速度、开始位置、今天实际做过的路线、发现的具体漏音或时点、下次从哪一拍再试。完成标准是原定小目标的可观察证据，不是“练了多久”或“音变多了”。
把方法用于自己的谱前，确认合法版本与小节边界，另查旋律、伴奏和配手，列出删减与恢复清单。本题音型不能直接套入 Kiss the Rain 或 River Flows in You；尚未提供其具体谱本，不能编造小节或指法。
证据与数据边界
来源核对为 102 段已有 ASR 与 9 张选定静帧，未听校原声、连续观看动作或逐音验收完整源谱。源课的“更好听”等偏好、外部定义引用与推广不转为本导读结论。本任务未验证实际演奏、身体适用性、学习效果或陌生乐谱迁移。
数据里 A/B 共出现 18 个音符事件实例，但它们复用 8 个相同旋律事件，另有 2 个低音事件；不是 18 个新写音符。第二小节视图只引用 B 的原事件身份。机器核对固定音名、时间线与算术，不判定真实音色、力度、指法或学习成效。
id 是原事件身份；pitch 是音名与音区；onset/end 是从段落开头累计的四分音符拍；hand 是本题分配，role 是音乐角色。variants 是两版任务，rests 是该手的休止；view 仅是原版的局部视图，不新增源事件。
可选找键对照
下表采用标准 88 键，最左 A0 记第 1 键，黑键也占编号；这是可核对的位置约定，不是指法或演奏推荐。
| 音名 | 88 键编号 |
|---|---|
| C3 | 28 |
| F3 | 33 |
| C4 | 40 |
| D4 | 42 |
| E4 | 44 |
| F4 | 45 |
| G4 | 47 |
| A4 | 49 |
继续阅读
Before combining hands: separate melody, bass and completion evidence
Source scope · Structured guide · Written checks · Existing original card data
What to preserve
Choose one small goal: retain the pitches and onset positions of eight right-hand melody notes after adding bass. A single melody line is already a valid version; more notes are not automatically better. This guide expands the A/B portion of an existing original card into a paper timeline to help you choose what to practice next.
This guide reuses PUB15-6872eda828dd’s pitches, rhythm, tempo conditions and practice order. It adds no third arrangement and counts no repeated explanation as a new drill. The additions are separate-field explanations, event representation and self-checks. This is neither NC-081’s score nor an excerpt from either target song.
At freezing, this file is a candidate awaiting independent review. The existing card’s review status does not automatically cover this guide; if published, consult this guide’s entry in the repository release record. Paper checks, actual playing and learning outcomes require separate acceptance.
Separate role, hand and staff
First be able to count four beats: 1, 2, 3, 4. In this 4/4 task, each bar contains four quarter-note beats; a quarter lasts one beat and a whole note four. Pitch-name numbers indicate register: C4 is middle C and C3 is one octave lower. The paper route does not require two-hand playing.
Here, texture is a word for observing how musical lines combine: which carries melody, which supplies accompaniment, their registers and when they sound. Melody/accompaniment are musical roles, right/left hand are assignments in this task, and staves are places where notation is written. These are distinct fields.
The NC-081 frame at 00:37 pairs 織度 with Texture. At 01:59.92–02:49.44, the author compares allocations of melody, chord tones and register; at 03:39.52–04:31.80, he describes accompaniment above melody and melody in a middle position. These are bounded attributions from existing ASR and selected stills. The source calls its topic advanced; it is not thereby a beginner movement tutorial.
This task explicitly assigns melody to RH and bass to LH. That allocation comes from the original card, not from inferring hands or roles from the highest note or staff position. On your own score, record role, staff, hand and register separately; mark an uncertain item “unknown” and check the edition or ask a teacher.
A/B timelines for the same melody
Retain the original card: RH A4 G4 A4 F4 | E4 D4 E4 C4, all quarters. A has only this melody, with LH resting in both bars. B keeps the same RH and adds LH F3 as a whole note in bar 1, then C3 as a whole note in bar 2. Use quarter note = 48, or choose and record a comfortable tempo; no pedal. This guide does not expand the original card’s optional C version.
B’s F3 and C3 are roots of the stipulated F and C harmonies, but a bass note alone is not a complete chord. The map includes only specified notes: it silently adds neither A, E nor other chord tones, and infers no whole-piece key from the two bass notes.
In the map, 0 begins bar 1, 4 begins bar 2 and 8 ends the passage. These are elapsed quarter-note beats from the start, not printed bar numbers. [0,1) means holding from 0 to 1; the endpoint adds no extra beat.
Each RH note has a written duration of one beat and ends at its own endpoint. In B, F3 ends at 4 and C3 runs from 4 to 8; LH does not reattack with every RH note. Written durations and the pedal condition guarantee neither actual legato, acoustic silence nor balance, and are not observed performance results.
At quarter note = 48, one beat is 60÷48 = 1.25 seconds, one bar five seconds and both bars ten seconds. At another comfortable tempo t BPM, the passage lasts 8×60÷t seconds. Specify beat unit and tempo before comparing seconds; slower does not automatically mean correct movement or understanding.
| Elapsed-beat interval | RH (same in A/B) | A LH | B LH |
|---|---|---|---|
| [0,1) | A4 | rest | F3 (held for this bar, not reattacked each beat) |
| [1,2) | G4 | rest | F3 (held for this bar, not reattacked each beat) |
| [2,3) | A4 | rest | F3 (held for this bar, not reattacked each beat) |
| [3,4) | F4 | rest | F3 (held for this bar, not reattacked each beat) |
| [4,5) | E4 | rest | C3 (held for this bar, not reattacked each beat) |
| [5,6) | D4 | rest | C3 (held for this bar, not reattacked each beat) |
| [6,7) | E4 | rest | C3 (held for this bar, not reattacked each beat) |
| [7,8) | C4 | rest | C3 (held for this bar, not reattacked each beat) |
Predict, then compare
Here each specified note is one event; two notes starting together are still two events. Hide the answer first: how many note events are in A and B? How many distinct times have a new note beginning (count simultaneous notes once)? Does B’s LH need to reattack at 1, 2 or 3? At 4, which note does each hand start?
Answer (after predicting)
A contains eight note events and B ten; both have eight distinct onset times. B starts two notes together at 0 and at 4; its other onsets introduce only a RH note. LH does not reattack at 1, 2 or 3. At 4, RH E4 and LH C3 start together. More events need not mean more distinct onset times.
| Version | Note events | Distinct onset times | Seconds at quarter = 48 |
|---|---|---|---|
| A | 8 | 8 | 10 |
| B | 10 | 8 | 10 |
On paper, identify the eight RH notes row by row, add B’s two long bass lines, then cover those lines and confirm that A is restored exactly. Draw separate timelines for the hands: RH activity cannot fill an LH rest. Answering the questions completes the paper task without piano playing or example playback.
A paper pass means you checked pitches, onsets, holding, rests and restoration against the map; log “paper passed.” This supplies neither playback nor an auditory test, and establishes no acquired audiation. You may predict contour, but record how it sounds separately only after actually hearing it.
A conditional route to the piano
The optional piano route retains the card’s conditions: locate melody notes without timing, then melody alone, bass alone, and combine only if comfortable. Use quarter note = 48 or a recorded comfortable tempo, without pedal. Paper learning can continue before combining. No fingering, hand shape, octave doubling, hand crossing or two-voice-in-one-hand movement is prescribed.
A missing melody note after combining is a symptom; locating keys, entry timing or coordination may contribute. It does not directly diagnose weak fingers. Return to the bar containing the problem, check each hand separately, then decide whether to rejoin the full two bars. Repeated strain or speeding up is not required.
Keep four separate fields: retained melody pitches/onsets; whether the bass actually masks the melody; comfort; and preference. Do not collapse the first two into one correctness score either. Masking and comfort require actual listening or self-report; mark “not observed” when untried. These data have measured none of those outcomes for you.
Later retesting and the restored join
On another occasion, predict whether starting at bar 2 will be harder, then reconstruct or try that bar in the same version. B’s original interval [4,8) becomes local [0,4), still E4 D4 E4 C4 over C3; do not carry in bar 1’s F3. At quarter note = 48 it lasts five seconds. This is a view of the same material, not a new drill or unfamiliar-material transfer.
| Original B event | Original interval | Bar-2 local interval |
|---|---|---|
| M5 E4 | [4,5) | [0,1) |
| M6 D4 | [5,6) | [1,2) |
| M7 E4 | [6,7) | [2,3) |
| M8 C4 | [7,8) | [3,4) |
| L2 C3 | [4,8) | [0,4) |
When returning to the whole passage, check the join at 4: bar 1’s final F4 and bass F3 end there, while E4 and C3 begin together. Knowing bar 2 alone does not complete both bars. Log paper restoration, separate hands, combined hands and later retesting independently.
Write one work-package record: A/B version, beat unit and tempo, starting location, route actually attempted, the specific missing note or timing issue, and where to retry next time. Completion requires observable evidence for the chosen small goal, not merely time spent or a larger note count.
Before applying the method to your score, verify a lawful edition and bar boundaries, identify melody, accompaniment and hand allocation separately, and list reductions and restoration. Do not transplant this pattern directly into Kiss the Rain or River Flows in You: no specific editions have been supplied, so measures and fingering must not be invented.
Evidence and data boundaries
Source checking covers 102 existing ASR segments and nine selected stills, without source audition, continuous motion viewing or a note-by-note audit of the complete source score. Preferences such as “better sound,” the quoted external definition and promotion do not become this guide’s conclusions. Actual performance, physical suitability, learning outcomes and unfamiliar-score transfer remain unvalidated.
The data contain 18 note-event instances across A/B, reusing the same eight melody events plus two bass events; these are not 18 newly composed notes. The bar-2 view only references B’s original event identities. Machine checks cover fixed pitches, timelines and arithmetic, not actual tone, dynamics, fingering or learning outcomes.
id identifies an original event; pitch gives note name/register; onset/end count elapsed quarter-note beats from the passage start; hand is the task assignment and role the musical role. variants are task versions and rests belong to the specified hand. A view is only part of an original version, not new source events.
Optional key-location reference
The table uses a standard 88-key piano, with leftmost A0 numbered 1 and black keys included. This is a checkable location convention, not fingering or a performance recommendation.
| Pitch | 88-key number |
|---|---|
| C3 | 28 |
| F3 | 33 |
| C4 | 40 |
| D4 | 42 |
| E4 | 44 |
| F4 | 45 |
| G4 | 47 |
| A4 | 49 |
Continue reading
Practice project; melody, accompaniment and bass; staves, hands and joins.