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.
控制选择：三张原创练习卡
审阅范围。 独立定点审查已通过；本次补明共同音的诊断边界与摘取段落编号。通过范围是文字、符号和所列图像证据，不是课程完成或学习成效证据。
来源小结只说明作者提出的方向。T2表示手册或指定静帧支持归属，不是声音、动作或成效验证；O表示本库原创设计。三课完整ASR文字已读，但无原音听校、连续动作观察或全课视听验收。
原课程手册第3页预设读谱及一定钢琴经验，并非零基础课程。这里另写较小任务：先会找C4及相邻白键、能保持均匀的一拍一数，并能舒服地弹放单音。若还不会，先用纸面路线和零基础入口；不要求先完成原课程。
C4是中央C：标准88键钢琴最左A0算第1键，黑白键都数，C4为第40键。中央附近两黑键左侧紧邻的白键就是C4，其右侧白键依次D4、E4、F4、G4、A4、B4、C5；数字在C处变更。D4为第42键，D5为第54键。音区register是高低范围；同名音跨八度不是同一个实际音高。
下表是原创文字谱，不是原课程乐谱。4/4中每个格子是一拍，四分音符为一拍；“·”表示整拍休止，“—”表示前一音继续持键。拍点写1、2、3、4；JSON的offset从0计数。每次起音都轻松清楚，手指数字不作统一处方。释放是让指定键回升；休止期间不持该声部的键，也不起新音。
原声钢琴即可，不需MIDI、麦克风、录音、唱歌或新设备。所有踏板完全放开。60 BPM指每分钟60个四分音符，只是本库起点，不是原曲速度。可以改为40–72 BPM中舒服的速度；一组对照各版用相同速度并记录。若计数或动作仍难，可暂停，不必靠再提速过关。琴音会自然衰减；持键不等于恒定响度。
每次只做所选短版本，之后双手休息一完整小节再决定继续。疼痛、麻木或加重不适时停止。可以看键、换舒服的手指、请教师协助；本库未验证个人动作适合性，不以静帧推断手部机制。
先写预期再弹；能想象音高就默想，暂时不能也可先写高低走向和起音位置。核对后保留原预测，不把听过后改出的答案当作事前内听。下面所有版本都已公开，是引导练习；不是陌生谱迁移测验，也不测绝对音感。
项目连接：FOPP-59既有摘取的第4、6、9、15、17、19–20段（从1计数；不是PDF印刷规则编号）（PDF实际149–150页，印刷148–149）倡导依目标选择起步、分块、检查和维护；这是Chang的组织建议，不证明普遍效果。Q-031已纠正“由后续需求决定起步”的译意方向。本卡自己的完成标准、隔日复测和退阶属于O；不把全背熟、单手超目标速度或绝对音感列为必经门槛。
任务地图
| 卡 | 保持 | 改变 | 完成证据 |
|---|---|---|---|
| IM01 | 节奏、音量目标 | 音区 | 实际键和释放点 |
| IM02 | 起音节奏 | 边界处可选音集合 | 归属与接缝 |
| IM03 | 右手音高与时点 | 完整左手和弦 | 关系与偏好分开 |
IM01 · 同一节奏，只改变音区
来源的一句话与界限
Wiwi把音区作为单一音名材料仍可变化的一个维度。本卡另用D和固定节奏隔离这个变量，不复制原伴奏或示范。 (IV-004; PDF-IV 实际／印刷页 8; 选定静帧 29,40 秒；近似提取位置，不是连续观看。)
要解决的现象
知道键名，却在移动音区后丢了原来的节奏，或认为换八度等于换成相同实际音高。
可能原因
可能同时处理了新位置、时点和力度；这只是任务分析，不是能力或身体诊断。
先修与独立退阶
先静止找出D4与D5，分别弹放后确认舒适。无需同时跨住八度。先前尚未核过D5位置时可请教师确认。若移动还不稳，直接用纸面路线或L/P；不必先试H/Q。
摆好任务
右手单音，左手全程休息。L与H各2小节；P与Q各1小节。每个音只持1拍，随后休息1拍；用休息时间看键和移位。两版采用同样的轻松音量，不加踏板。
原创版本
L · 2小节：D4 · D4 · | D4 · D4 ·。
H · 2小节：D4 · D5 · | D5 · D4 ·。
P · 独立减量：D4 · D4 ·，只检查同键起音和休止。
Q · 可选1小节移位：D4 · D5 ·。只在分别按键和移动已舒适时尝试。
立即核对
先写H四次音的相对高度：低、高、同高、低。再逐次看实际键、听起音，并用第2和第4拍检查释放。若没有余裕同时观察节奏和音高，分两次只查一项。预计L/H各8拍、60 BPM时8秒；P/Q各4秒。换了位置但时点不稳时，只标“位置完成、时间待查”，不要一次改两项。
延后复测
下一次练琴先遮住高度答案，只看所选文字谱重新预测，再以原速度做一次。记录是否看键、是否提示和哪一项仍未知；这是同任务保留检查，不是迁移证明。
接回真实乐句
在自己的合法谱本找真正跨八度重复的短动机。比较实际音名与节奏后，用原谱前后各一音接回；本卡的休止只用于这里，不得擅自加到作品里。没有这类片段就跳过回曲。
条件与限制
没有验证跳跃动作、闭眼命中、快速八度或原示范音响；单音移位与同时弹八度是不同任务。
IM02 · 先选材料，再检查换段
来源的一句话与界限
Wiwi按段落限制可选音，减少即兴时的选择。本卡另写重叠音集合与短句，检查规则切换；不据此断定调性或和声适合性。 (IV-005; PDF-IV 实际／印刷页 8; 选定静帧 52,65 秒；近似提取位置，不是连续观看。)
要解决的现象
一个短句能弹，换段时却继续沿用前一组材料。
可能原因
可能尚未把段落边界和材料规则分别记清，而非缺少创作天赋。
先修与独立退阶
先找到C4、D4、E4、F4并能分别按放。集合A为C4/D4/E4；集合B为D4/E4/F4。集合就是本任务允许挑的音，不是完整音阶，也不代表所有和弦都适合。
摆好任务
右手弹、左手全程休息、没有伴奏。A在第1小节，B在第2小节；每小节第1、2、3拍各弹1个四分音符，第4拍全部休止。换音时前音在后一音起点释放，不额外重叠；本任务不检查连奏动作。
原创版本
A1 · 引导例：E4 C4 D4 · | F4 D4 E4 ·。
A2 · 另一已公开例：D4 E4 C4 · | E4 F4 D4 ·。
PA · 独立A减量：E4 C4 D4 ·，只有1小节，不评价换段。
PB · 独立B减量：F4 D4 E4 ·，只有1小节，不评价换段。
立即核对
先在纸上给各音圈A/B，确认集合归属；再预测起音为1、2、3、休止。弹后分别记音是否在集合内、换段是否在第2小节第1拍发生、休止是否保留。两集合共享D4/E4：边界弹共同音，不能单凭这个音证明已切换规则。可在边界明确指认当前集合B；没有该提示证据时将切换记为“未知”。若要从实际音判断，选A1在边界的F4。归属和时点仍分开评分。示例已给答案：两整版均6次起音、8拍、60 BPM时8秒。自编时先写两小节，每小节从对应集合选3音（可重复），再核规则；选择正确不等于好听或即兴流畅。
延后复测
隔日用同一集合但重新写音序，先纸面验收再弹。只称“新自编顺序的规则检查”；它不是外部提供的陌生谱测验。若PA/PB分别成功而整版失败，先检查边界，不增加音数。
接回真实乐句
读自己的乐谱时，先圈出相似而不完全相同的两句，逐音核实际变化。把“下一句换什么”写成一个提示，再检查接缝。固定作品照谱弹；本卡的自由音集合不能替换作曲家的音。
条件与限制
A/B只是本库练习标签；不复制来源曲式、伴奏或完整音序。无伴奏任务不能证明旋律对任何和弦的适合性。
IM03 · 音高不变，比较和声语境
来源的一句话与界限
Wiwi让学习者记录旋律音与和弦的个人听感；被标记的音不自动成为禁用音。我们保留“偏好不等于通则”的边界，另设两种固定语境。 (IV-006; PDF-IV 实际／印刷页 10; 选定静帧 24,49,72,85 秒；近似提取位置，不是连续观看。)
要解决的现象
同一个E听起来有变化，于是把它记成永远的“错音”；或只查音名，忽略下面同时响的声音。
可能原因
可能把相对当前和弦的关系和音高身份混为一谈；喜好还可能受音区、音量、持续时间和预期影响。这里不诊断听力。
先修与独立退阶
C3是C4左侧下一个C，F3是C3右侧第3个白键，A3是C3右侧第5个白键；E3/G3分别是第2/4个。左右手分工版要求能舒服地同时按左手3键，并让右手独立起音、释放；每个左手和弦跨度7半音，不保证人人适合。尚不适合可直接选纸面路线：写出音名、圈E是否属于下方三和弦，不先试手部动作。纸面正确不能替代听感比较。
摆好任务
H-C与H-F各1小节。左手第1拍同时弹指定3音，持到小节结束才全放；右手第1拍休息，第2拍弹E4并持2拍，第4拍释放且休息。第4拍左手仍持、右手已休；小节结束后双手额外休息1整小节再换版。两版的右手音高、起止、音量目标和速度相同，只换左手和弦；房间余响不算仍持键。
原创版本
H-C · 左手C3/E3/G3同起持4拍；右手 · E4 — ·。
H-F · 左手F3/A3/C4同起持4拍；右手 · E4 — ·。
立即核对
先分开写两个预期：音高是否相同、当前个人偏好如何。结果可写更安稳、更想继续、难以分辨或无偏好，没有规定偏好答案。乐理纸面答案：E是C大三和弦的三音；对F根音是大七度音级，加入F/A/C后形成含大七度的和声，不是E变成另一个音。实际F3到E4为11半音。只换整个和弦的比较不能确定哪一个单独音导致感受。
延后复测
下一次先反转两版顺序，保留原条件和事前记录；偏好变化也如实记。只说明这次两种语境下的观察，不声称所有曲子或所有人如此。若只做纸面任务，只复测音名与关系，不填写未听到的感觉。
接回真实乐句
在已经核对版本的自有谱中，找同一旋律音遇到不同伴随音的一处；先核实际低音及其他声部，再比较。没有和弦标记时不凭一个低音宣布完整和弦；无法辨认可请教师确认，暂留未知。
条件与限制
可由教师弹完整左手和弦、学习者按右手时点参与；这不证明学习者能独立合手。不要把仅弹根音或先后琶音当成相同和声音响条件。没有可用的完整同时音响就延后听感任务，纸面路线仍可独立完成。
记录一次尝试
| 任务／版本 | 速度＋拍单位 | 发声前预测 | 实际音与时点 | 提示／未知 | 下次检查 |
|---|---|---|---|---|---|
标明纸面、教师协助或独立琴上任务。数值检查只验证写出的例子；不声称学习者试验、源音频验证或普适身体动作处方。
Controlled choices: three original practice cards
Review scope. Independent focused review passed; this release clarifies shared-note diagnostic limits and extraction-paragraph numbering. Acceptance covers text, symbols and the listed image evidence, not course completion or learning efficacy.
Beginner entry · Existing project method · Source coverage
Source summaries identify the author’s approach only. T2 means attribution is supported by handbook content or selected stills, not by sound, movement or efficacy validation; O means an original repository design. All available ASR text for the three lessons was read, with no source-audio audition, continuous-motion observation or full audiovisual acceptance.
The source handbook’s page 3 assumes score reading and some piano experience; the course is not for absolute beginners. These separately authored tasks are smaller: first locate C4 and adjacent white keys, keep an even one-count-per-beat pulse and comfortably press and release a single note. Otherwise use the paper route and beginner entry first; completing the source course is not required.
C4 is middle C: on a standard 88-key piano, count the leftmost A0 as key 1 and include black and white keys; C4 is key 40. It is the white key just left of the two-black-key group near the middle. White keys to its right are D4, E4, F4, G4, A4, B4, C5; the number changes at C. D4 is key 42 and D5 key 54. Register is pitch range; same-name notes an octave apart are not the same actual pitch.
The tables are original text scores, not source-course scores. In 4/4 each cell is one quarter-note beat; “·” is a whole beat of rest and “—” means keep holding the preceding note. Beat labels are 1, 2, 3, 4; JSON offsets start at 0. Use comfortable clear attacks; no universal fingering is prescribed. Release means let the specified key rise; during a voice’s rest, hold no key in that voice and make no new attack.
An acoustic piano is enough; no MIDI, microphone, recording, singing or new equipment is needed. Keep all pedals up. 60 BPM means 60 quarter-note beats per minute; this is our starting value, not a piece’s prescribed tempo. You may choose a comfortable 40–72 BPM, using and recording the same tempo for both sides of a comparison. Pause if counting or movement remains difficult; speeding up is not a pass condition. Piano sound naturally decays; holding a key does not maintain constant loudness.
Do only the chosen short version, then rest both hands for one complete bar before deciding whether to continue. Stop for pain, numbness or worsening discomfort. Looking at keys, choosing a comfortable finger and seeking teacher help are allowed; individual movement suitability is unverified, and stills do not establish hand mechanics.
Write a prediction before playing. Imagine pitches if possible; otherwise first mark contour and attack positions. Keep the original prediction after checking; an answer revised after hearing is not pre-play inner hearing. Every version below is disclosed guided practice, not an unheard-score transfer test or an absolute-pitch test.
Project link: FOPP-59 existing extraction paragraphs 4, 6, 9, 15, 17, 19–20 (1-based; not the PDF’s printed rule numbers) (physical PDF pages 149–150, printed 148–149) advocate goal-informed starts, chunks, checks and maintenance. These are Chang’s organizational recommendations, not proof of universal efficacy. Q-031 already corrects the translation direction: later needs determine the start. Our completion criteria, next-day retest and reductions are O; complete memorization, above-target hands-separate speed and absolute pitch are not prerequisites.
Task map
| Card | Hold fixed | Change | Completion evidence |
|---|---|---|---|
| IM01 | Rhythm, loudness target | Register | Keys and release points |
| IM02 | Attack pattern | Allowed pool at boundary | Membership and join |
| IM03 | RH pitch and timing | Full LH chord | Separate relation from preference |
IM01 · Keep the rhythm; change only register
One source point and its boundary
Wiwi treats register as one variable available even with a single note name. This card instead uses D and fixed rhythm to isolate that variable; it does not reproduce the backing track or demonstration. (IV-004; PDF-IV physical/printed page 8; selected stills at 29,40 s; approximate seek positions, not continuous viewing.)
Symptom
You know the key names but lose the rhythm when moving register, or mistake an octave change for the same actual pitch.
Possible cause
You may be managing new locations, timing and loudness together. This is task analysis, not a diagnosis of ability or movement.
Readiness and independent reduction
First locate D4 and D5 while stopped, and press/release each comfortably. No simultaneous octave span is needed. Ask a teacher to confirm D5 if its location has not been checked. If relocation is not ready, go directly to paper or L/P; H/Q need not be attempted first.
Set up the task
RH single notes; LH rests throughout. L/H last 2 bars each; P/Q last 1 bar each. Hold each note for 1 beat, then rest for 1 beat; use the rest to look and relocate. Use the same comfortable loudness in each version, without pedal.
Original variants
L · 2 bars: D4 · D4 · | D4 · D4 ·.
H · 2 bars: D4 · D5 · | D5 · D4 ·.
P · Independent reduction: D4 · D4 ·; check same-key attacks and rests only.
Q · Optional 1-bar relocation: D4 · D5 ·. Try only when individual keys and movement are comfortable.
Immediate check
First predict H’s four relative heights: low, high, same high, low. Then check actual keys and attacks, and releases on beats 2 and 4. If pitch and time cannot both be observed, inspect one at a time in separate attempts. L/H each last 8 beats, or 8 seconds at 60 BPM; P/Q last 4 seconds. If locations succeed but timing does not, record “locations complete; timing pending” rather than changing two variables at once.
Delayed retest
At the next session, hide the contour answer, predict again from the chosen text score and try once at the previous tempo. Record key-looking, cues and unknowns. This checks retention of the same task, not transfer.
Reintegrate into a real phrase
In your own lawful score, find a motif actually repeated an octave away. Compare the written pitches and rhythm, then reconnect one surrounding note on each side. The rests here belong to this task; do not insert them into the piece. Skip reintegration if no such passage exists.
Conditions and limits
No leap mechanics, eyes-closed accuracy, fast octaves or source-demo sound was validated. Relocating one note and playing a simultaneous octave are different tasks.
IM02 · Choose material; check the section change
One source point and its boundary
Wiwi limits available notes by section to reduce improvisational choices. We use different overlapping pools and short phrases to check rule changes, without inferring key or harmonic fit. (IV-005; PDF-IV physical/printed page 8; selected stills at 52,65 s; approximate seek positions, not continuous viewing.)
Symptom
One short phrase works, but after the section changes you keep using the previous note pool.
Possible cause
The boundary and material rule may not yet be separately clear; this does not establish a lack of creative talent.
Readiness and independent reduction
First locate and comfortably press/release C4, D4, E4 and F4. Pool A is C4/D4/E4; pool B is D4/E4/F4. A pool is the permitted choice list for this task, not a complete scale or a guarantee of fit over every chord.
Set up the task
RH plays; LH rests throughout; there is no accompaniment. A is bar 1 and B bar 2. Each bar has one quarter note on beats 1, 2, 3 and a full rest on beat 4. Release the preceding note at the next attack without added overlap; legato mechanics are not tested.
Original variants
A1 · Guided example: E4 C4 D4 · | F4 D4 E4 ·.
A2 · Another disclosed example: D4 E4 C4 · | E4 F4 D4 ·.
PA · Independent A reduction: E4 C4 D4 ·; only 1 bar, so no section-change judgment.
PB · Independent B reduction: F4 D4 E4 ·; only 1 bar, so no section-change judgment.
Immediate check
First label notes A/B on paper and check pool membership, then predict attacks on 1, 2, 3 followed by a rest. After playing, separately record membership, the change on bar 2 beat 1, and the preserved rest. The pools share D4/E4: playing a shared note at the boundary cannot by itself demonstrate a rule switch. Explicitly identify active pool B at the boundary, or mark the switch “unknown” without that cue evidence. To diagnose it from played notes, use A1’s distinguishing F4 at the boundary. Continue scoring membership and timing separately. Answers are disclosed: both full versions have 6 attacks over 8 beats, or 8 seconds at 60 BPM. For your own variant, first write two bars with 3 notes from each respective pool (repeats allowed), then check the rules. Correct choices do not establish musical appeal or fluent improvisation.
Delayed retest
Next day use the same pools but write a new order, checking it on paper before playing. Call this a rule check of a new self-authored order, not an externally supplied unfamiliar-score test. If PA/PB work separately but the full version does not, inspect the boundary before adding notes.
Reintegrate into a real phrase
In your own score, mark two similar but non-identical phrases and check their actual differences note by note. Write one cue for what changes next, then test the join. Play a fixed composition as written; these free-choice pools must not replace the composer’s notes.
Conditions and limits
A/B are labels in our exercise, not a reproduction of the source form, backing or note sequence. An unaccompanied task cannot establish melodic fit over a chord.
IM03 · Keep the pitch; compare harmonic context
One source point and its boundary
Wiwi asks learners to record personal responses to melody notes against chords; a marked note is not automatically forbidden. We preserve the distinction between preference and a universal rule, using two different fixed contexts. (IV-006; PDF-IV physical/printed page 10; selected stills at 24,49,72,85 s; approximate seek positions, not continuous viewing.)
Symptom
The same E feels different, so you label it a permanently “wrong note”; or you check its name but ignore the simultaneous notes below.
Possible cause
Pitch identity may be confused with a relation to the current chord. Preference may also depend on register, loudness, duration and expectation. Hearing ability is not diagnosed here.
Readiness and independent reduction
C3 is the next C to the left of C4; F3 is the 3rd white key to the right of C3 and A3 the 5th; E3/G3 are the 2nd/4th. The two-hand version requires a comfortable simultaneous 3-note LH chord and independent RH attack/release. Each LH chord spans 7 semitones, which does not guarantee individual suitability. If not ready, go straight to paper: write the note names and circle whether E belongs to the lower triad, without first trying the movement. Paper correctness does not replace the listening comparison.
Set up the task
H-C/H-F each last 1 bar. LH attacks the specified 3 notes together on beat 1 and releases all at bar end. RH rests on beat 1, attacks E4 on beat 2, holds for 2 beats, and releases/rests on beat 4. During beat 4 LH still holds while RH rests. After bar end, rest both hands for 1 extra full bar before switching. Keep the RH pitch, timing, loudness target and tempo the same; change only the LH chord. Room resonance does not count as continued key holding.
Original variants
H-C · LH C3/E3/G3 together for 4 beats; RH · E4 — ·.
H-F · LH F3/A3/C4 together for 4 beats; RH · E4 — ·.
Immediate check
Write two predictions separately: whether the pitch stays the same, and your present preference. Results may be more settled, wanting continuation, hard to distinguish or no preference; no preference answer is prescribed. Paper theory answer: E is the third of a C-major triad; relative to root F it is the major-seventh degree, adding a major seventh to F/A/C, not changing E’s pitch. Actual F3 to E4 is 11 semitones. Changing the whole chord cannot isolate which individual note causes a response.
Delayed retest
Next time reverse the order while retaining the conditions and pre-play record; honestly record changed preferences too. Report only these observations in these two contexts, not a rule for all pieces or people. If using paper only, retest names and relations without filling in unheard sensations.
Reintegrate into a real phrase
In an edition you have verified, find one melody note paired with different accompanying notes. Check the actual bass and other voices before comparing. Without chord symbols, do not infer a complete chord from one bass note; ask a teacher or leave it unknown if you cannot identify it.
Conditions and limits
A teacher may play the full LH chord while the learner supplies the timed RH note; this does not establish independent two-hand performance. Root-only playing or successive arpeggiation is not the same simultaneous sound condition. Defer the listening task if that sound is unavailable; the paper route remains independently usable.
Record one attempt
| Task/version | Tempo + beat unit | Prediction before sound | Actual notes/timing | Cues/unknowns | Next check |
|---|---|---|---|---|---|
Mark whether the attempt was paper, teacher-assisted or independent piano work. Numerical fixture checks validate only the written example; no learner trial, source-audio validation or universal physical prescription is claimed.