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This page preserves the author’s frozen review bytes, so prose or data may still contain candidate, pending-review or unpublished labels.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.
音和时钟不变，分组可以不同
先预测，再看表
本课要解决一个小问题：同样的五个四分音符时间单位，怎样标成3+2或2+3，同时保留每个音和休止？这里比较两种纸面分组，不是在识别一段实际录音。
先会看四分音符与四分休止、音名和八度即可；不熟悉时先看文末的节奏与音程链接。全课可用纸笔完成，不需要钢琴、MIDI、麦克风或唱歌。
本例固定5/4拍号，以四分音符为均匀计时单位q，每小节5q。大组长度也用q表示；3q组与2q组并不等长，不要把它们改数成两个等长的拍。
两小节内容相同：D4四分、E4四分、F#4四分、四分休止、A4四分。只有一个声部，无伴奏、踏板、反复或延音线；A与B都是这同一条材料的标注版本，不是先后相加的两段音乐。
A每小节标3+2，B标2+3。先遮住后面的答案表，在纸上写：A与B的第二组分别从本小节第几拍开始？那里是哪个音，还是休止？换分组会不会增加音符或延长小节？不确定可以照实写下。
这是公开答案的引导任务；看过表后答对，不算未见材料测验，也不证明已经听出分组、内听成功或弹奏稳定。
共同时间表与分组答案
下表的全局q从0开始计时，小节拍次从1开始。区间[a,b)含起点a、不含终点b；例如休止[3,4)占完整1q。表中终点是谱写时值的边界，不是测得的实际放键或声音消失时刻。
组内口数在组首回到1：A每小节为1、2、3、1、2，B为1、2、1、2、3。它们只标记这份工作单的分组；不自动规定重音、力度、连断奏或手指。
A第二组从第4拍开始，即全局q=3与8；两处正好是休止。分组边界不要求新增一次钢琴起音，不能为了喊“1”补一个音，也不能删掉休止。
B第二组从第3拍开始，即全局q=2与7；两处是原有F#4的起音。这里每小节只弹一次这个F#4，不能因它又是组首而重复一次。
换A/B后，全局起音仍为0、1、2、4、5、6、7、9，休止仍为[3,4)与[8,9)，全段终点仍为10q。共8个音符事件和2段休止，不能把两种标注加成16个音符或20q。
分组表逐段列出半开区间；相邻组共享边界但没有重叠。q=5是第二小节开始，q=10只表示全段结束，不是要再弹一个音或另开一组。
两种分组的总时长相同，不保证听者产生相同或不同的拍感。本课没有真实演奏、听辨、录音或学习结果；表格正确只证明给定纸面关系。
| 小节 | 拍次 | 全局q区间 | 音／休止 | A口数 | B口数 |
|---|---|---|---|---|---|
| 1 | 1 | [0,1) | D4 | 1 | 1 |
| 1 | 2 | [1,2) | E4 | 2 | 2 |
| 1 | 3 | [2,3) | F#4 | 3 | 1 |
| 1 | 4 | [3,4) | 休止 | 1 | 2 |
| 1 | 5 | [4,5) | A4 | 2 | 3 |
| 2 | 1 | [5,6) | D4 | 1 | 1 |
| 2 | 2 | [6,7) | E4 | 2 | 2 |
| 2 | 3 | [7,8) | F#4 | 3 | 1 |
| 2 | 4 | [8,9) | 休止 | 1 | 2 |
| 2 | 5 | [9,10) | A4 | 2 | 3 |
| 版本 | 小节 | 组次 | 全局q区间 | 长度q | 组首内容 |
|---|---|---|---|---|---|
| A | 1 | 1 | [0,3) | 3 | D4 |
| A | 1 | 2 | [3,5) | 2 | 休止 |
| A | 2 | 1 | [5,8) | 3 | D4 |
| A | 2 | 2 | [8,10) | 2 | 休止 |
| B | 1 | 1 | [0,2) | 2 | D4 |
| B | 1 | 2 | [2,5) | 3 | F#4 |
| B | 2 | 1 | [5,7) | 2 | D4 |
| B | 2 | 2 | [7,10) | 3 | F#4 |
找键与秒数
C4指中央C，从A0=第1键起把黑白键都算入，C4为第40键。D4在C4右边一个白键，E4再右边一个白键；F#4是F4右侧黑键，A4是G4右侧白键。音名后的4是八度，不是指法。
键位表连续列出D4到A4的8键，其中4键是目标、4键只作位置参照。参照键不能加入旋律；本例只是逐个单音，不要求同时伸手覆盖全部音。
若任选四分音符=60 BPM，则1q=1秒，一小节5秒、全段10秒；若选四分=48，则1q=1.25秒，一小节6.25秒、全段12.5秒。A/B在同一所选速度下使用同一时钟；3+2不会把3q组挤成与2q组等长。
这些速度仅用于算术示例，不是来源规定、练习门槛或真实测量。纸面路线不用速度；可选实琴路线另选舒适且写清单位的速度，暂不加伴奏、踏板或力度任务。
| 音高 | 88键号 | 用途 |
|---|---|---|
| D4 | 42 | 目标 |
| D#4 | 43 | 参照 |
| E4 | 44 | 目标 |
| F4 | 45 | 参照 |
| F#4 | 46 | 目标 |
| G4 | 47 | 参照 |
| G#4 | 48 | 参照 |
| A4 | 49 | 目标 |
| 四分BPM | 1q秒 | 一小节秒 | 全段秒 | 窗口秒 |
|---|---|---|---|---|
| 60 | 1 | 5 | 10 | 4 |
| 48 | 1.25 | 6.25 | 12.5 | 5 |
一个问题、一个小窗口，再接回全句
先只选一个目标：能否保留休止，同时准确指出所选版本第二组的起点？先在纸上核第一小节，再把第二小节接上；找键有困难时先逐个定位D4、E4、F#4、A4，暂不计时。
若总在F#4之后漏掉休止，取第一小节第2–5拍的窗口[1,5)：E4、F#4、休止、A4，各1q。局部起点记0只是方便画表，换回全局要加1；它仍从原小节第2拍开始，不是新的第1拍。
窗口中A的口数是2、3、1、2，第二组起点为局部2／全局3；B是2、1、2、3，第二组起点为局部1／全局2。先遮答案预测，再核局部表，不能一截短就把组内口数全重设成1。
可选实琴：只选A或B、一个舒适速度和方便的一只手，先逐个单音核键位，再按时间表走窗口。计划在休止开始时放开前音，休止中不新增音，并留出完整1q；实际余响可继续存在。这里的放键是练习意图，不是本课实际测得的动作。本课未指定指法或通过录音检查实际时值。
立即核对只问所选目标。若休止仍被填音，下一动作可退回纸面逐格指读；若不确定自己是否稳住时钟，记“不确定”，不能由分组标签反推已经弹对。核过窗口后，恢复第一小节，再接回原来两小节10q，不无限重复四格。
换A到B时只换分组标注，暂不同时改速度、音、时值、手或力度要求。反过来也一样；若另改条件，把它作为另一尝试记录。任何需要停下核对的地方都可以停，不把停顿伪装成连贯演奏证据。
复制下面的空白记录，先填预测，再做任务；没有观察到的字段留“未知”。记录分组版本、窗口原点与范围、速度及单位或纸面、提示、预测、观察渠道、实际结果／不确定、一个下一动作、完整乐句回接结果、计划和实际复测延迟。
下次先遮分组答案再试，照实记录实际间隔和是否用提示。这是对已见材料的保留检查；要讨论迁移，另需事先未见、未听、未练的新材料，本课没有准备或验证它。
| 局部q起点 | 全局q起点 | 原小节拍次 | 内容 | A口数 | B口数 |
|---|---|---|---|---|---|
| 0 | 1 | 2 | E4 | 2 | 2 |
| 1 | 2 | 3 | F#4 | 3 | 1 |
| 2 | 3 | 4 | 休止 | 1 | 2 |
| 3 | 4 | 5 | A4 | 2 | 3 |
{
"grouping_version": null,
"parent_range_q": null,
"local_origin_q": null,
"tempo_quarter_bpm_or_paper": null,
"cues_used": null,
"prediction_before_check": null,
"observation_channel": null,
"actual_result_or_uncertain": null,
"one_next_action": null,
"whole_phrase_restoration_result": null,
"planned_retest_delay": null,
"actual_retest_delay": null
}来源边界与本库原创部分
NC-078的121段既有ASR已读，6张既有选帧已看，未听原声。6个文件哈希各不相同，但只出现两种主要谱面布局，多张内容近似；重复查看不增加独立画面数。
选帧只支持可见的5/4拍号，不能从这些静图确认3+2或2+3的听觉分组。未经听校的转写第77–80与84号段出现相关分组及“另一例未必有清晰固定分组”的候选说法；这里只标为转写候选，时间坐标未核对到原声或谱面变化。编号为原始0起算ID。
本课两小节D4材料、共同时间表、A/B分组、局部窗口、键位图与练习记录均为本库原创，没有复刻来源曲目。5=3+2=2+3是给定例题的算术；不能推导所有5/4作品都有唯一分组，也不把质数、文化习惯或“正常／不正常”的说法写成普遍听觉规则。
清点时长642.880秒与容器642.858秒相差0.022秒，原因未核；两者都不是实际听看时长。5段用于候选归属，其余116段未用于归属，不等于116处错误或错误率；原ASR不改写。
本稿尚待独立审阅，未发布。当前已发布有限文字／选帧范围仍为88/399；只有独立接受、符合发布授权并核验发布后，NC-078才可能使其增至89/399。新增练习卡、公开文章审阅、书籍条目、纠错均为0；没有完整视听、源谱、身体适用性或学习效果验收。
相关入口： 拍与时值、音名与音程、拍单位与起音、练习项目、来源范围、原创数据、固定例题检查。
Same notes and clock, different groupings
Predict before reading the answers
This lesson asks one small question: how can five quarter-note time units be marked as 3+2 or 2+3 while preserving every note and rest? It compares two paper groupings, rather than identifying an actual recording.
You only need quarter notes, quarter rests, pitch names and octaves; if unfamiliar, use the rhythm and interval links at the end first. The whole lesson works with pencil and paper, without a piano, MIDI, microphone or singing.
This example fixes a 5/4 time signature and uses the quarter note as a uniform clock unit q, with 5q per bar. Larger-group lengths are also measured in q; a 3q group and a 2q group are unequal, so do not count them as two equally long beats.
The two bars have identical contents: D4 quarter, E4 quarter, F#4 quarter, quarter rest, A4 quarter. There is one voice, without accompaniment, pedal, repeats or ties; A and B annotate this same material and are not two passages to add together.
A marks 3+2 in each bar; B marks 2+3. Cover the answer tables and write: on which beat of the bar does the second group start in A and in B? Is that position a note or a rest? Does changing the grouping add notes or lengthen a bar? Record uncertainty if needed.
This is a guided task with public answers; answering after reading the tables is not an unseen-material test and does not establish heard grouping, successful audiation or stable performance.
Shared timeline and grouping answers
Global q in the table is elapsed time starting at 0; beat numbers within a bar start at 1. An interval [a,b) includes a and excludes b; the rest [3,4), for example, occupies a full 1q. Endpoints describe notated durations, rather than measured key release or sound cessation.
The within-group count returns to 1 at each group start: A gives 1,2,3,1,2 per bar and B gives 1,2,1,2,3. These only mark grouping in this worksheet; they do not automatically prescribe accents, loudness, articulation or fingers.
A starts its second group on beat 4, at global q=3 and 8; both positions are rests. A group boundary does not require a new piano attack: do not add a note to say “1” or remove the rest.
B starts its second group on beat 3, at global q=2 and 7; both positions already contain an F#4 attack. There is only one such F#4 in each bar; do not repeat it because it is also a group start.
After switching A/B, attacks remain at 0,1,2,4,5,6,7,9, rests remain [3,4) and [8,9), and the passage ends at 10q. There are eight note events and two rest intervals; the two annotations do not become sixteen notes or 20q.
The grouping table lists half-open spans; neighboring groups share a boundary without overlapping. q=5 begins bar 2, while q=10 only ends the passage and does not request another note or group.
Equal total duration across the groupings guarantees neither identical nor different perceived meter. This lesson has no actual performance, listening test, recording or learning results; correct tables establish only the stated paper relationships.
| Bar | Beat | Global q interval | Note/rest | A count | B count |
|---|---|---|---|---|---|
| 1 | 1 | [0,1) | D4 | 1 | 1 |
| 1 | 2 | [1,2) | E4 | 2 | 2 |
| 1 | 3 | [2,3) | F#4 | 3 | 1 |
| 1 | 4 | [3,4) | rest | 1 | 2 |
| 1 | 5 | [4,5) | A4 | 2 | 3 |
| 2 | 1 | [5,6) | D4 | 1 | 1 |
| 2 | 2 | [6,7) | E4 | 2 | 2 |
| 2 | 3 | [7,8) | F#4 | 3 | 1 |
| 2 | 4 | [8,9) | rest | 1 | 2 |
| 2 | 5 | [9,10) | A4 | 2 | 3 |
| Version | Bar | Group | Global q interval | Length q | At group start |
|---|---|---|---|---|---|
| A | 1 | 1 | [0,3) | 3 | D4 |
| A | 1 | 2 | [3,5) | 2 | rest |
| A | 2 | 1 | [5,8) | 3 | D4 |
| A | 2 | 2 | [8,10) | 2 | rest |
| B | 1 | 1 | [0,2) | 2 | D4 |
| B | 1 | 2 | [2,5) | 3 | F#4 |
| B | 2 | 1 | [5,7) | 2 | D4 |
| B | 2 | 2 | [7,10) | 3 | F#4 |
Keys and seconds
C4 means middle C; counting every black and white key from A0 as key 1 gives C4 as key 40. D4 is one white key to its right and E4 the next; F#4 is the black key to the right of F4, and A4 is the white key to the right of G4. The 4 is an octave number, not fingering.
The key map lists eight consecutive keys from D4 to A4: four targets and four location references. Do not insert reference keys into the melody; the example uses successive single notes and does not require stretching across them simultaneously.
At an illustrative quarter note=60 BPM, 1q is one second, a bar five seconds and the passage ten seconds; at quarter note=48, 1q is 1.25 seconds, a bar 6.25 seconds and the passage 12.5 seconds. A/B share the clock at a given chosen tempo; 3+2 does not compress the 3q group into the length of the 2q group.
These tempi are arithmetic examples, not source prescriptions, practice thresholds or real measurements. Paper work needs no tempo; for optional piano work choose a comfortable tempo with its unit stated, leaving out accompaniment, pedal and dynamics for now.
| Pitch | Key88 | Use |
|---|---|---|
| D4 | 42 | target |
| D#4 | 43 | reference |
| E4 | 44 | target |
| F4 | 45 | reference |
| F#4 | 46 | target |
| G4 | 47 | reference |
| G#4 | 48 | reference |
| A4 | 49 | target |
| Quarter BPM | Seconds per q | Seconds per bar | Whole seconds | Window seconds |
|---|---|---|---|---|
| 60 | 1 | 5 | 10 | 4 |
| 48 | 1.25 | 6.25 | 12.5 | 5 |
One question, one window, then the whole phrase
Choose just one target: can you preserve the rest while locating the second-group start in the selected version? Check bar 1 on paper, then connect bar 2; if keys are difficult, locate D4, E4, F#4 and A4 individually before timing anything.
If the rest after F#4 keeps disappearing, use bar-1 beats 2–5, the window [1,5): E4, F#4, rest, A4, each 1q. Local time starts at 0 only to simplify the table; add 1 to recover global time. The window still starts on the original bar’s beat 2, rather than a new beat 1.
Within the window A counts 2,3,1,2 and its second group starts at local 2/global 3; B counts 2,1,2,3 and starts its second group at local 1/global 2. Predict with the answers covered, then check the local table; shortening a passage does not reset all within-group counts to 1.
Optional piano route: choose A or B, one comfortable tempo and a convenient hand; locate individual notes first, then follow the window timeline. Plan to release the preceding key at the rest’s start, add no note during the rest and leave its full 1q; acoustic resonance may continue. This release is a practice intention, not an action actually measured here. The lesson prescribes no fingering and has not checked actual durations through recording.
For immediate checking, ask only about the selected target. If a note still fills the rest, the next action can return to pointing through paper slots; if clock stability is uncertain, record “uncertain” rather than inferring correct playing from grouping labels. After checking the window, restore bar 1 and then the original two-bar 10q passage, rather than repeating four slots indefinitely.
When switching A to B, change only the grouping annotations, leaving tempo, notes, durations, hand and loudness requirements unchanged for now. The reverse is the same; record any additional change as a separate attempt. Stop wherever checking is needed, without presenting stopped work as evidence of continuous performance.
Copy the blank record below, enter a prediction and then do the task; leave unobserved fields “unknown.” Record grouping version, window origin/range, tempo with unit or paper-only, cues, prediction, observation channel, actual result/uncertainty, one next action, whole-phrase restoration result, and planned and actual retest delay.
At the next session try before uncovering the grouping answers, recording the actual interval and cues used. This checks retention of familiar material; transfer requires separately prepared material not previously seen, heard or practiced, which this lesson has neither supplied nor validated.
| Local q onset | Global q onset | Original bar beat | Content | A count | B count |
|---|---|---|---|---|---|
| 0 | 1 | 2 | E4 | 2 | 2 |
| 1 | 2 | 3 | F#4 | 3 | 1 |
| 2 | 3 | 4 | rest | 1 | 2 |
| 3 | 4 | 5 | A4 | 2 | 3 |
{
"grouping_version": null,
"parent_range_q": null,
"local_origin_q": null,
"tempo_quarter_bpm_or_paper": null,
"cues_used": null,
"prediction_before_check": null,
"observation_channel": null,
"actual_result_or_uncertain": null,
"one_next_action": null,
"whole_phrase_restoration_result": null,
"planned_retest_delay": null,
"actual_retest_delay": null
}Source boundaries and original material
All 121 existing NC-078 ASR segments were read and six existing selected stills inspected, without source audition. The six file hashes differ, but there are only two principal score layouts and several frames have similar contents; reinspection adds no unique frames.
The stills support only the visible 5/4 signature, not heard 3+2 or 2+3 grouping. Unaudited transcript IDs 77–80 and 84 contain candidate statements about these groupings and another example without clearly fixed grouping; these remain transcript candidates, with timing unverified against source audio or score changes. IDs are raw zero-based values.
The two-bar D4 material, shared timeline, A/B groupings, local window, key map and practice record are original and do not reproduce source repertoire. 5=3+2=2+3 is arithmetic for this stipulated problem; it establishes no unique grouping for every 5/4 work and turns neither prime numbers, cultural habits nor “normal/abnormal” labels into universal perceptual rules.
Inventory duration 642.880 seconds and container duration 642.858 seconds differ by 0.022 seconds for an unverified reason; neither is actual listening or viewing time. Five segments support candidate attribution; the remaining 116 are unused for attribution, not 116 errors or an error rate. The original ASR is unchanged.
This draft awaits independent review and is unpublished. Published limited text/selected-still scope remains 88/399; only independent acceptance, applicable publication authorization and verified publication could allow NC-078 to bring it to 89/399. New practice cards, public-article reviews, book entries and corrections are zero; no complete audiovisual, source-score, physical-suitability or learning-outcome acceptance is claimed.
Related reading: Rhythm, pitch names and intervals, beat units and attacks, practice project, source scope, original data, fixed-fixture checks.