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.
伴奏决策：起音、持音、休止与和弦身份
本包已通过限定的独立来源／双语／符号审阅。以下音列、表格、完成条件与复测方法为本库原创；来源只支持列明的三条简短归属。来源账本逐课的独立审阅布尔值及coverage_summary内的审阅计数保留作者冻结时快照，当前通过范围另见publication_review；不表示完成原音、动作、全课或学习效果验收。
先做什么
先把三个动作分开：起一个新音、继续按住原键、放开键后让该声部休息。然后再问：改变和弦的排列，是否也改变了它的组成？第一张卡可用原声钢琴或纸笔；第二张卡完整地用纸笔做，不要求拉开大跨度。
证据边界
已读IV-017/018/019全部279段可用ASR文字，其中70段隔离；检查24个指定静帧和PDF-IV实际／印刷21–27页的文字及选定谱面结构。音视频总长1530.902秒是资料长度，不是观看或试听时间。没有原音听校、连续动作、全谱或全课视听验收。隔离重复文字不等于证实70个听写错误。
归属标签
T2表示手册或指定静帧支持作者归属，不表示科学共识、声音或动作已验证。G表示这里明确限定的通用记谱／和弦定义；O表示本库原创练习设计。下文的任务诊断是可能原因，不是对学习者能力、动机或身体的判断。
键盘定位
C4是中央C。标准88键钢琴从最左A0数第1键，黑白键都计数：E3=第32键，G3=35，B3=39，C4=40，G4=47。C4左边紧邻的白键是B3，向左再数A3、G3、F3、E3；C4右边依次D4、E4、F4、G4。数字在C处更换。同名音跨八度音级相同、实际音高不同。
拍与时间线
第一张卡用4/4：一小节4个四分音符拍，口数“1和2和3和4和”。每个字占半拍；JSON从0计时，对应0、0.5、1、1.5、2、2.5、3、3.5。所有练习版恰好1小节；第4拍的“和”之后，到下一小节第1拍边界（offset=4）释放仍按着的键。之后另休息完整1小节再决定是否重做。
符号含义
文字谱的音名表示在格子开头起音；“—”表示继续持前一音、不再起音；“·”表示该声部不按任何键、也不起新音。除“—”延长外，音在下一格开头释放。休止约束的是指定声部；其他声部或琴弦残响仍可能有声音。踏板全放开，持键也不会使钢琴音保持恒定响度。
准备
不需MIDI、麦克风、录音、唱歌或购买设备。四分音符=60 BPM是本库示例起点，不是来源规定速度；可自行选一个能舒服计数的较慢速度并记录。对照两版保持相同拍单位和速度。手指可逐键选舒服的方式，不预先拉住E3到B3，也不规定统一指法。若动作尚不熟，直接选减量或纸面路线；出现疼痛、麻木或加重不适就停止。
先预测
在看答案或弹琴前，先圈出预期起音、持音、休止以及改变的和弦音。能默想声音就默想，不能也可预测事件和高低。保留最初答案，再用书面答案核对；琴上试听只核自己的这次尝试。全部例子已经公开，是引导练习，不是陌生谱迁移测验或绝对音感测验。
练习工单
把任务写成一张小工单：今天只查一个区别；记录所选版本、拍单位／速度或纸面路线、原预测、一个具体偏差、下一次修改。明日先不看答案重做同例，再接回自己的短乐句。次数和隔日安排是O，不是来源规定的过关量或效果保证。
来源的三条短归属
B32-S01 · T2 · IV-017, IV-018
作者以同一组和弦材料展示不同起音组织，并包含较少新起音的写法。
PDF-IV实际／印刷22页的下方例、25页上下方例；IV-017静帧205秒、IV-018静帧250秒。只核选定起音／持音对比，非全谱验收。
B32-S02 · T2 · IV-018
作者演示重新安排和弦音的音区，仍区分原位与指定低音的和弦。
IV-018静帧66、82、100、132秒；手册25页仅补充配置实例。没有采纳统一低音阈值或跨距动作处方。
B32-S03 · T2 · IV-019
作者提醒检查伴奏实际和弦组成，并区分相同低音上的不同和弦可能。
IV-019静帧271秒的和弦身份提示；348秒及手册27页的练习要求仅作范围说明。
B32-O01 · 少起音，可以持住，也可以休止
原创任务O；来源归属：B32-S01.
具体症状
看到“少弹一些”就把后面所有音放掉，或少起了音，却不知自己该持键还是释放。
可能原因
可能把“有没有新起音”和“上一音何时结束”当成同一件事。我们先分开检查这两个决定；不能据此推断懒惰、听力或手部问题。
先备条件
琴上先静止找出E3、G3、B3，分别舒服地弹放，并能数半拍。不会三键移动时直接用R-H/R-R；只需找B3。不熟悉按键或不方便弹琴时，完整纸面路线不依赖先做琴上版本。
准备
E、G、B是这里指定的E小三和弦材料，不代表已经建立整首曲子的E小调。先选L-H/L-R或减量R-H/R-R；不必先过L-F。谱表中的手只弹自己的声部，其他手按休止栏休息。J-H/J-R只有在左右手单独各自能做时才选择；可永远停留在单手／纸面任务。
怎么做
先圈出第3拍边界。L-F/L-H/L-R前4个起音的音高和时点相同；到第3拍才分别继续起音、持住B3、释放B3后休止。先写三版后半段会不会有新起音、左手会不会仍持键，再任选一对做一遍并休息。L-H/L-R的控制变量是最后B3的释放时点；与L-F相比同时改变了后半段的起音数及音高内容，不是只改一个变量。
原创文字谱O
L-F · 左手完整细分：8次起音；右手休息。
| 声部 | 1 | 和 | 2 | 和 | 3 | 和 | 4 | 和 |
|---|---|---|---|---|---|---|---|---|
| 左手 | E3 | B3 | G3 | B3 | E3 | B3 | G3 | B3 |
| 右手 | · | · | · | · | · | · | · | · |
L-H · 左手前4次起音后，B3从第2拍的“和”持续到小节终点；右手休息。
| 声部 | 1 | 和 | 2 | 和 | 3 | 和 | 4 | 和 |
|---|---|---|---|---|---|---|---|---|
| 左手 | E3 | B3 | G3 | B3 | — | — | — | — |
| 右手 | · | · | · | · | · | · | · | · |
L-R · 左手前4次起音后，在第3拍开头释放B3，余下2拍休止；右手休息。
| 声部 | 1 | 和 | 2 | 和 | 3 | 和 | 4 | 和 |
|---|---|---|---|---|---|---|---|---|
| 左手 | E3 | B3 | G3 | B3 | · | · | · | · |
| 右手 | · | · | · | · | · | · | · | · |
R-H · 直接可选：左手只起一次B3，持4拍；右手休息。
| 声部 | 1 | 和 | 2 | 和 | 3 | 和 | 4 | 和 |
|---|---|---|---|---|---|---|---|---|
| 左手 | B3 | — | — | — | — | — | — | — |
| 右手 | · | · | · | · | · | · | · | · |
R-R · 直接可选：左手只起一次B3，持2拍，接2拍休止；右手休息。
| 声部 | 1 | 和 | 2 | 和 | 3 | 和 | 4 | 和 |
|---|---|---|---|---|---|---|---|---|
| 左手 | B3 | — | — | — | · | · | · | · |
| 右手 | · | · | · | · | · | · | · | · |
J-H · 可选双手版：左手照L-H；右手第1拍起G4，持至小节终点。
| 声部 | 1 | 和 | 2 | 和 | 3 | 和 | 4 | 和 |
|---|---|---|---|---|---|---|---|---|
| 左手 | E3 | B3 | G3 | B3 | — | — | — | — |
| 右手 | G4 | — | — | — | — | — | — | — |
J-R · 可选双手版：左手照L-R；右手第1拍起G4，持至小节终点。
| 声部 | 1 | 和 | 2 | 和 | 3 | 和 | 4 | 和 |
|---|---|---|---|---|---|---|---|---|
| 左手 | E3 | B3 | G3 | B3 | · | · | · | · |
| 右手 | G4 | — | — | — | — | — | — | — |
检查什么
先看指定键是否在正确边界回升，再听有没有意外新起音。L-H与L-R都是4次左手起音，却分别没有左手休止和有2拍左手休止。J-R的第3–4拍左手休止，右手仍持G4；不能把“整段还有声音”判成左手没休止。琴音自然衰减和房间残响也不是按键时值的可靠替代。若听不清，记录“音响未判定”，用事件／按键观察的结论，不编造听觉成功。
无琴完整路线
纸面完整任务P：不弹琴。先盖住答案；逐格把L-H和L-R抄成起音、持音、休止三种符号，标出B3的起止拍点并数左手起音。再给J-R分别画左、右手时间线，回答第3拍哪只手仍持键。用下方答案自查并记录一个错处或“本次无差异”。P完成的是符号区分，不能写成琴上或听觉通过。
自查答案
答案：L-F为8次左手起音、0拍左手休止；L-H为4次、0拍；L-R为4次、2拍。L-H最后B3在offset=1.5起、4释放，长2.5拍；L-R在1.5起、2释放，长0.5拍。R-H/R-R各1次起音，分别持4/2拍；J-H/J-R各5个音符起音事件，其中1个是右手G4，两只手第1拍同时起音只占一个时点。J-R第3拍仅右手仍持键。
反馈与复测
立即核对只看本次目标：能否标对或执行选定的起音／释放／休止。若第3拍混淆，下一次只做R-H/R-R；若是找键困难，用纸面P，先不要加右手。隔日先从记忆写选定版本的第3拍状态，再打开原表自查；这是同例保留检查，不是真正陌生材料迁移。
接回实际乐句
在自己有权使用的乐谱中选一个很短的伴奏片段，先确认其实际音符、休止与踏板要求。标出新起音数和各声部结束点，连同前后接缝检查。可以另写减量练习，但必须标为“练习改写”；不要把本卡的E小三和弦、停点或不踏板条件硬套成原曲要求。
适用边界
这张卡检验明确的动作／状态指令及符号，不验证哪种伴奏更好听、某手型更科学或能预防伤害。完整八次起音版不是必达速度或高级等级。自己的试听也不能补足来源视频未试听、未观察连续动作的缺口。
B32-O02 · 先查和弦身份，再改配置
原创任务O；来源归属：B32-S02, B32-S03.
具体症状
把最低音直接当根音，或把一个音移高八度就认为已经转调；也可能只顾伴奏顺序，漏看其中一个和弦音已改变。
可能原因
可能混合了三个层面：和弦由哪些音级组成、这些音实际放在哪个音区、它们按什么顺序起音。本卡将三层拆开；不据此判断听觉或音乐天分。
先备条件
只需纸笔和音名字母A–G。先读下面的词义；可边看答案边熟悉第一行，再盖住答案做其余行。不会弹三和弦也能独立完成整卡；不要求先读完原课程。
准备
五行都是本库原创、指定为三音同时组成的纸面和弦，不是原课谱例。所有音按实际低到高列出。只做纸面，不要试图一手伸到B或E行的15半音跨度。跨度是两端音高相差的半音数，不是手掌尺寸、难度评分或适合性的保证。
需要的词义G
半音semitone是相邻黑白键之间的一步。纸面可用循环刻度C–C♯–D–D♯–E–F–F♯–G–G♯–A–A♯–B–C：相邻项差1半音，E到F、B到C也是1。以候选根音为0，向上绕到下一八度内数其他音级，例如E→G为3、E→B为7；不要直接数白键个数。
音级pitch class：忽略八度的音名类别；这里的E3和E4同属E。音区register记录实际高低，不能省略数字。
根音root：按给定和弦种类组织音时的基础音级，不一定是最低音。低音bass：此处指定同时三音中实际最低的音。本表是完整大／小三和弦的限定情况，不自动解决省略音、持续低音或复杂和声的根音。
小三和弦minor triad从根音算为0、3、7半音：Em是E–G–B，Am是A–C–E；小写m表示小三和弦。大三和弦major triad为0、4、7：F是F–A–C。根音最低叫原位；其他和弦音最低叫转位。F/A在本表指F大三和弦、A作低音；斜线前后不是两个和弦。
例如C行A3–C4–F4：试A作根，向上音级距离为0、3、8，不合这里两种三和弦模板；试F作根，F–A–C为0、4、7，所以根音是F，但实际最低音仍是A3。计算音级时跨八度回绕，不把原排列第一项自动当根音。
配置voicing在这里指和弦音的实际排列／音区。把G3改成G4而保留E、G、B三种音级，是改配置；本例没有把所有音按同一距离移调，更不能单凭此变化宣布曲子换调。
怎么做
纸面工单：①先只看五行的实际音，暂时盖住和弦名称／根音／低音／音级答案。②每行圈最低实际音，删去八度数字后列出不同音级。③用0–3–7或0–4–7三和弦模板核根音，写和弦名称。④比较A/B、C/E、C/D，逐项说出保留与改变之处。⑤最后才看下方起音顺序任务；顺序不是低到高排列的同义词。
原创纸面和弦O
| 行 | 实际音（低→高） | 和弦 | 根音 | 低音 | 音级 | 跨度／半音 |
|---|---|---|---|---|---|---|
| A | E3 G3 B3 | Em | E | E3 | E/G/B | 7 |
| B | E3 B3 G4 | Em | E | E3 | E/G/B | 15 |
| C | A3 C4 F4 | F/A | F | A3 | C/F/A | 8 |
| D | A3 C4 E4 | Am | A | A3 | C/E/A | 7 |
| E | A3 F4 C5 | F/A | F | A3 | C/F/A | 15 |
另查起音顺序
另一个纸面问题：把A行的三个实际音写成顺序Oa=E3→G3→B3，Ob=G3→B3→E3。两个列表是待比较的先后标签，没有规定时值、重叠、踏板或演奏方式；不要直接拿来弹。它们使用同一实际音集合，但第一项不同。Ob第一个是G3，不能因此把A行原先的同时和弦改标为G和弦；反过来，若将来逐音弹且前音先释放，也不能说E3一直是正在响的低音。
检查什么
本次只观察纸面答案，不要求听辨。A/B及C/E是同一和弦身份、同一指定低音、不同配置；C/D虽有同一低音A3，却由F4改成E4，音级集合及根音随给定完整三和弦模板改变。若以后试听完整配置，要另写明确的同时起音／释放方案并确认可行；单独弹根音或逐音依次弹不等于本表的同时和声音响。
自查答案
答案：A/B均Em，根音E、低音E3、音级E/G/B；跨度分别7/15半音。C/E均F/A，根音F、低音A3、音级C/F/A；跨度8/15。D为Am，根音A、低音A3、音级C/E/A，跨度7。C/E只改变配置；C/D保留A3和C4，F4→E4改变和弦身份。Oa/Ob集合相同，起始音分别E3/G3；这不构成听辨或完整和声分析。
反馈与复测
立即检查哪个字段错了：低音错就先重排实际音高；根音错就回到三和弦模板；只有顺序错就只重做Oa/Ob。先做A/B两行也算完整减量任务，再决定是否做其余行。隔日盖住答案重做C/D，分别写根音与低音；这是已知例保留，不是未见和弦迁移。不要把背出和弦名等同于已经能在真实乐曲中听见其功能。
接回实际乐句
回到自己有权使用的短谱段，先查该时刻实际同时发声的音、持续音与休止，再对照印刷和弦标记。可能有省略音、非和弦音或持续低音；超出完整三和弦范围就记“待核”，请教师或有依据的分析帮助，不强配本表。另写伴奏时，把“和弦身份／指定低音／配置／起音与释放”分成四栏，并标明自己的改编。
适用边界
纸面正确不证明听觉喜好、演奏舒适或配置适合某首曲子。来源的低音音区阈值、三音比例或省略五音建议没有被本卡提升成普遍规律。本卡不需要硬套“理查克莱德曼”风格名称，也没有验证该名称起源。
来源限定与复核
IV-017原ASR把“音程”写成其他词，并把和弦代号延伸阅读读作第3集；手册21页写第2集。按手册记录导航差异，不据ASR访问或验证另一集。
IV-018以个人称呼命名一种配置；本包不验证该名称的起源、某演奏家的全部谱本习惯或唯一正确的流行风格。
低音音区阈值、七和弦省五音和三音比例上限均保留为本课语境中的作者规则或建议；不得转成跨乐器、音区、音量、延音及风格的保证。
IV-019对初学者习惯的动机评价不作为本库诊断。低音、和弦根音、三音音级、同时配置的音数、随时间重复的起音次数必须分开。
“不填满”可指不再起新音，后面仍可能持音；源谱有长时值，不能统一改成休止。候选原创任务须逐声部写明起音、释放与持音，不用踏板模糊它们。
谱页只作选定结构检查，不能根据静帧给出可靠演奏指法、手腕轨迹、舒适度或原声评价；重复文本隔离不等于恢复原音。
独立定点审阅核对54对双语值、7个版本、28个音符事件、14条手部／9条声部时间线及5组纸面和弦；提供的符号检查与3项错误注入检查通过。出版时仅调整状态说明，不改来源归属、练习事件或答案；没有声音、动作、学习成效或应用测试。
配套：结构化练习 · 来源范围 · 符号检查。
Accompaniment decisions: attacks, holds, rests and chord identity
This package passed bounded independent source,bilingual and symbolic review. Its pitches,tables,completion criteria and retests are original repository designs; source evidence supports only the three brief attributions identified here. Per-lesson independent-review booleans and review counts in coverage_summary preserve the author-time frozen snapshot; publication_review records the current passed scope,not source-audio,motion,whole-course or learning-efficacy acceptance.
Where to start
First separate three actions: start a new note, keep holding its key, and release it for a rest in that voice. Then ask whether rearranging a chord also changes its membership. Card one works with an acoustic piano or paper; card two is a complete paper task and requires no wide stretch.
Evidence boundaries
All 279 available ASR segments for IV-017/018/019 were read, with 70 quarantined; 24 selected stills and prose plus selected score structure on PDF-IV physical/printed pages 21–27 were inspected. The 1530.902 seconds describe source-asset length, not watching or listening time. There was no source-audio audition, continuous-motion review, complete-score or complete-lesson audiovisual acceptance. Quarantined repetition does not establish 70 confirmed transcription errors.
Attribution labels
T2 means handbook content or selected stills support attribution to the author, not scientific consensus or verified sound or motion. G denotes the explicitly scoped general notation/chord definitions here; O denotes an original repository exercise. A task diagnosis gives a possible cause, not a judgment about a learner’s ability, motives or body.
Keyboard locations
C4 is middle C. On a standard 88-key piano, count leftmost A0 as key 1, including black keys: E3=key 32, G3=35, B3=39, C4=40, G4=47. The white key immediately left of C4 is B3; continue left through A3, G3, F3, E3. To the right of C4 are D4, E4, F4, G4. The number changes at C. Same-name notes in different octaves share a pitch class but have different actual pitches.
Beats and timelines
Card one uses 4/4: four quarter-note beats per bar, counted “1 and 2 and 3 and 4 and.” Each word lasts half a beat. Zero-based JSON offsets are 0, 0.5, 1, 1.5, 2, 2.5, 3, 3.5. Every playing variant lasts exactly one bar; after the “and” of beat 4, release any held keys at the next bar’s beat-1 boundary (offset=4). Then rest for a separate complete bar before deciding whether to repeat.
Symbol meanings
A pitch name in the text score starts a note at that cell’s beginning; “—” continues the previous hold without a new attack; “·” means no key is held or newly attacked in that voice. Unless extended by “—”, release at the next cell’s beginning. A rest applies to the specified voice; other voices or residual resonance may still sound. Keep all pedals up; holding a key does not maintain constant piano loudness.
Setup
No MIDI, microphone, recording, singing or purchase is needed. Quarter note=60 BPM is our illustrative starting point, not a source-prescribed tempo; choose and record a slower tempo if needed for comfortable counting. Keep the beat unit and tempo identical across a comparison. Choose comfortable fingers note by note; do not pre-stretch from E3 to B3, and no universal fingering is required. Use the reduced or paper route directly if movement is not ready; stop for pain, numbness or worsening discomfort.
Predict first
Before reading the answers or playing, mark the predicted attacks, holds, rests and changed chord tones. Imagine sound if possible; otherwise predict events and contour. Keep the first answer and compare it with the written answer; listening at the piano checks only your own attempt. Every example is disclosed guided practice, not an unheard-score transfer or absolute-pitch test.
Practice work ticket
Use a small work ticket: check one distinction today; record the variant, beat unit/tempo or paper route, initial prediction, one specific discrepancy and the next change. Tomorrow repeat the same example before opening the answer, then reconnect it to your own short phrase. Counts and the next-day schedule are O, not source-mandated pass thresholds or efficacy guarantees.
Three short source attributions
B32-S01 · T2 · IV-017, IV-018
The author demonstrates different attack organizations using chord material, including patterns with fewer new attacks.
PDF-IV physical/printed page 22 lower example and page 25 upper/lower examples; IV-017 still at 205 seconds and IV-018 at 250 seconds. Only selected attack/holding contrasts were checked, not the full scores.
B32-S02 · T2 · IV-018
The author demonstrates changing chord-tone registers while retaining distinctions between root position and chords with a specified bass.
IV-018 stills at 66, 82, 100 and 132 seconds; handbook page 25 supplies arrangement examples only. No universal bass threshold or span-motion prescription is adopted.
B32-S03 · T2 · IV-019
The author asks learners to check actual accompaniment chord tones and distinguish different possible chords over the same bass.
The chord-identity prompt in IV-019 at 271 seconds; the 348-second frame and handbook page 27 establish exercise scope only.
B32-O01 · Fewer attacks can leave a hold or a rest
Original task O; source attributions: B32-S01.
Concrete symptom
You see “play less” and release everything afterward, or make fewer attacks without knowing whether to hold or release.
Possible cause
You may be treating “is there a new attack?” and “when does the previous note end?” as the same decision. We check them separately, without inferring laziness, hearing or a hand problem.
Prerequisites
At the piano, first locate E3, G3 and B3 while stopped, press/release each comfortably and count half beats. Use R-H/R-R directly if three-key movement is not ready; only B3 is needed. The complete paper route does not depend on doing any piano version first.
Setup
E, G and B are the specified E-minor-triad material here; they do not establish E minor as a whole piece’s key. Choose L-H/L-R or reduced R-H/R-R first; passing L-F is unnecessary. Each hand plays only its own voice and otherwise follows its rest row. Choose J-H/J-R only when each part is manageable separately; staying with one hand or paper is a complete option.
Procedure
First mark the beat-3 boundary. L-F/L-H/L-R share the first four attack pitches and times; at beat 3 they respectively continue attacks, hold B3, or release B3 into a rest. Predict new attacks and LH key holding in the second half, then try any one pair once and rest. L-H versus L-R changes only the final B3 release time; comparison with L-F also changes later attack count and pitch content, so it is not a single-variable comparison.
Original text scores, O
L-F · LH full subdivision: 8 attacks; RH rests.
| Voice | 1 | and | 2 | and | 3 | and | 4 | and |
|---|---|---|---|---|---|---|---|---|
| LH | E3 | B3 | G3 | B3 | E3 | B3 | G3 | B3 |
| RH | · | · | · | · | · | · | · | · |
L-H · After the first 4 LH attacks, hold B3 from the “and” of beat 2 to the bar endpoint; RH rests.
| Voice | 1 | and | 2 | and | 3 | and | 4 | and |
|---|---|---|---|---|---|---|---|---|
| LH | E3 | B3 | G3 | B3 | — | — | — | — |
| RH | · | · | · | · | · | · | · | · |
L-R · After the first 4 LH attacks, release B3 at the start of beat 3 and rest for the remaining 2 beats; RH rests.
| Voice | 1 | and | 2 | and | 3 | and | 4 | and |
|---|---|---|---|---|---|---|---|---|
| LH | E3 | B3 | G3 | B3 | · | · | · | · |
| RH | · | · | · | · | · | · | · | · |
R-H · Directly available reduction: LH attacks B3 once and holds for 4 beats; RH rests.
| Voice | 1 | and | 2 | and | 3 | and | 4 | and |
|---|---|---|---|---|---|---|---|---|
| LH | B3 | — | — | — | — | — | — | — |
| RH | · | · | · | · | · | · | · | · |
R-R · Directly available reduction: LH attacks B3 once, holds for 2 beats and rests for 2; RH rests.
| Voice | 1 | and | 2 | and | 3 | and | 4 | and |
|---|---|---|---|---|---|---|---|---|
| LH | B3 | — | — | — | · | · | · | · |
| RH | · | · | · | · | · | · | · | · |
J-H · Optional two-hand version: LH follows L-H; RH attacks G4 on beat 1 and holds to the bar endpoint.
| Voice | 1 | and | 2 | and | 3 | and | 4 | and |
|---|---|---|---|---|---|---|---|---|
| LH | E3 | B3 | G3 | B3 | — | — | — | — |
| RH | G4 | — | — | — | — | — | — | — |
J-R · Optional two-hand version: LH follows L-R; RH attacks G4 on beat 1 and holds to the bar endpoint.
| Voice | 1 | and | 2 | and | 3 | and | 4 | and |
|---|---|---|---|---|---|---|---|---|
| LH | E3 | B3 | G3 | B3 | · | · | · | · |
| RH | G4 | — | — | — | — | — | — | — |
What to check
First observe whether the specified key rises at the correct boundary, then listen for unintended new attacks. L-H and L-R both have 4 LH attacks, but respectively no LH rest and a 2-beat LH rest. In J-R, LH rests on beats 3–4 while RH still holds G4; continuing overall sound does not prove that LH failed to rest. Natural decay and room resonance are also unreliable substitutes for key-duration observation. If the sound is unclear, record “sound undetermined” and keep only event/key observations; do not invent auditory success.
Complete no-piano route
Complete paper task P: do not play. Cover the answers; classify every cell in L-H and L-R as attack, hold or rest, mark B3’s start/end and count LH attacks. Then draw separate LH/RH timelines for J-R and say which hand still holds a key on beat 3. Check the answers below and record one discrepancy or “none in this attempt.” P completes symbol discrimination, not a piano or auditory pass.
Self-check answer
Answers: L-F has 8 LH attacks and 0 beats of LH rest; L-H has 4 and 0; L-R has 4 and 2. L-H’s last B3 starts at offset 1.5 and releases at 4, lasting 2.5 beats; L-R’s starts at 1.5 and releases at 2, lasting 0.5 beat. R-H/R-R each have 1 attack and hold for 4/2 beats respectively. J-H/J-R each have 5 note-attack events, including 1 RH G4; the two simultaneous hand attacks on beat 1 occupy one time point. In J-R only RH still holds a key on beat 3.
Feedback and retest
For the immediate check, assess only this attempt’s goal: correctly mark or execute the selected attacks/releases/rests. If beat 3 is confused, next use only R-H/R-R; if finding keys is difficult, use paper P and do not add RH yet. The next day write the chosen variant’s beat-3 state from memory before opening the table. This is same-example retention, not transfer to genuinely unfamiliar material.
Reintegration into a phrase
Choose a very short accompaniment passage from a score you may use and first verify its actual notes, rests and pedal directions. Mark attacks and each voice’s endpoints, including joins to adjacent material. You may author a reduced drill, labeled “practice adaptation”; do not impose this card’s E-minor triad, stopping point or pedal-up condition as the piece’s requirements.
Limits
This card checks explicit action/state instructions and symbols, not which accompaniment sounds better, which hand shape is more scientific or whether injury is prevented. The eight-attack version is not a required speed or advanced level. Listening to your own attempt does not fill the missing audition or continuous-motion review of the source video.
B32-O02 · Check chord identity before changing voicing
Original task O; source attributions: B32-S02, B32-S03.
Concrete symptom
You equate the lowest note with the root, treat an octave relocation as a key change, or focus on accompaniment order and miss a changed chord tone.
Possible cause
You may be mixing three layers: which pitch classes form the chord, where the actual pitches are placed, and the order of attacks. This card separates the layers without judging hearing or musical talent.
Prerequisites
Only paper, a pencil and note letters A–G are needed. Read the definitions below; learn the first row with the answer visible, then cover the answers for the remaining rows. You can complete the entire card without playing triads or finishing the source course.
Setup
All five rows are original paper chords specified as three simultaneous pitches, not source-course examples. Pitches are listed from actual low to high. Stay on paper; do not attempt a one-hand stretch across the 15-semitone span in row B or E. Span is the pitch difference in semitones, not hand size, a difficulty rating or a suitability guarantee.
Definitions needed, G
A semitone is one step between adjacent piano keys, including black keys. For paper work use the repeating scale C–C♯–D–D♯–E–F–F♯–G–G♯–A–A♯–B–C: adjacent entries are 1 semitone apart, including E–F and B–C. Set a candidate root to 0 and count upward within the next octave to the other pitch classes: E→G is 3 and E→B is 7. Do not count only white keys.
Pitch class groups a note name across octaves: E3 and E4 here both belong to E. Register records actual height, so octave numbers cannot be discarded.
Root is the foundational pitch class for the specified chord type and need not be the lowest note. Bass here is the lowest actual pitch of the specified simultaneous three-note chord. This table covers complete major/minor triads only; it does not automatically solve roots of incomplete chords, pedal points or complex harmony.
A minor triad has intervals 0, 3, 7 semitones from its root: Em is E–G–B and Am is A–C–E; lowercase m denotes a minor triad. A major triad has 0, 4, 7: F is F–A–C. Root in the bass is root position; another chord tone in the bass is an inversion. F/A here means an F-major triad with A in the bass, not two chords separated by a slash.
For example, row C is A3–C4–F4. Trying A as root gives upward pitch-class distances 0, 3, 8, matching neither triad template here. Trying F gives F–A–C at 0, 4, 7, so the root is F while the actual lowest note remains A3. Wrap pitch classes across the octave; do not automatically take the first item in the original arrangement as root.
Voicing here means the actual arrangement/register of chord tones. Replacing G3 with G4 while retaining E, G, B changes the voicing; it does not transpose all notes by one interval, and that change alone cannot establish a change of key.
Procedure
Paper work ticket: (1) Look only at the five actual-pitch rows; cover chord labels/root/bass/pitch-class answers. (2) Circle the lowest actual pitch and list distinct pitch classes after removing octave numbers. (3) Check the root with the 0–3–7 or 0–4–7 triad template and label the chord. (4) Compare A/B, C/E and C/D, stating what stays and what changes. (5) Only then do the attack-order task below; attack order is not synonymous with low-to-high arrangement.
Original paper chords, O
| Row | Actual pitches (low→high) | Chord | Root | Bass | Pitch classes | Span/semitones |
|---|---|---|---|---|---|---|
| A | E3 G3 B3 | Em | E | E3 | E/G/B | 7 |
| B | E3 B3 G4 | Em | E | E3 | E/G/B | 15 |
| C | A3 C4 F4 | F/A | F | A3 | C/F/A | 8 |
| D | A3 C4 E4 | Am | A | A3 | C/E/A | 7 |
| E | A3 F4 C5 | F/A | F | A3 | C/F/A | 15 |
Check attack order separately
Separate paper question: order row A’s actual pitches as Oa=E3→G3→B3 and Ob=G3→B3→E3. These are order labels to compare, with no duration, overlap, pedal or playing method specified; do not perform them directly. They use the same actual-pitch set but start differently. Ob starting on G3 does not relabel row A’s original simultaneous chord as a G chord. Conversely, a later realization with each note released before the next would not keep E3 sounding continuously as a bass.
What to check
Observe written answers only; no listening discrimination is required. A/B and C/E preserve chord identity and specified bass while changing voicing. C/D share A3 in the bass, but replacing F4 with E4 changes the pitch-class set and root under the given complete-triad templates. A later full-voicing listening task needs a separately specified feasible simultaneous attack/release plan; playing only a root or separate successive notes is not the table’s simultaneous harmonic sound.
Self-check answer
Answers: A/B are Em, root E, bass E3, pitch classes E/G/B, spans 7/15 semitones. C/E are F/A, root F, bass A3, pitch classes C/F/A, spans 8/15. D is Am, root A, bass A3, pitch classes C/E/A, span 7. C/E change only voicing; C/D retain A3 and C4 while F4→E4 changes chord identity. Oa/Ob have the same set and start on E3/G3 respectively; this is not listening discrimination or a complete harmonic analysis.
Feedback and retest
Check which field failed: reorder actual pitches for a bass error, revisit the triad template for a root error, or redo only Oa/Ob for an order error. A/B alone is a complete reduced task before choosing the remaining rows. The next day cover the answers and redo C/D, writing root and bass separately. This is retention of known examples, not unseen-chord transfer. Recalling chord names is not already hearing their function in a real piece.
Reintegration into a phrase
Return to a short score passage you may use: first check notes actually sounding together, sustained notes and rests, then compare any printed chord symbol. Incomplete chords, non-chord tones or a pedal point may occur; mark cases beyond complete triads “needs checking” and seek a teacher or supported analysis rather than forcing this table onto them. For an accompaniment adaptation, keep four fields: chord identity, specified bass, voicing, and attacks/releases, and label it as your adaptation.
Limits
Correct paper answers do not establish aural preference, playing comfort or suitability for a particular piece. The source’s bass-register cutoffs, third proportions or fifth-omission advice are not elevated to universal laws here. The card requires no fixed “Richard Clayderman” style label and does not validate that name’s origin.
Source limitations and checking
IV-017 ASR corrupts the interval term and labels the chord-symbol reference episode 3; handbook page 21 says episode 2. Record this navigation discrepancy from the handbook; do not treat the ASR as reading or verification of another episode.
IV-018 gives a personal name to an arrangement; this package does not verify the name’s origin, a performer’s complete score habits or a uniquely correct popular style.
Bass-register cutoffs, seventh-chord fifth omissions and limits on thirds remain author rules or advice in this lesson’s context, not guarantees across instruments, registers, loudness, sustain or styles.
IV-019’s judgments about beginners’ motives are not repository diagnoses. Bass, chord root, third degree, number of notes in a simultaneous voicing and number of attacks over time must stay distinct.
“Not filling” can mean no further attacks while a note is still held; source examples include longer durations, so they must not all be converted to rests. Candidate original tasks must specify attacks, releases and holds for each voice, without using pedal to blur them.
Score pages received selected structural inspection only. Stills do not establish reliable performance fingering, wrist trajectories, comfort or source-sound judgments; quarantining repetitive text does not recover the audio.
Independent focused review checked54 bilingual pairs,7 variants,28 note events,14 hand/9 voice timelines and5 paper voicings; the supplied symbolic check and3 fault injections passed. Publication changes status explanations only,not source attributions,exercise events or answers; sound,motion,learning efficacy and application behavior were not tested.
Companions: structured tasks · source scope · symbolic checks.