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.
节奏参数：把更快、更密、更突出分开练
本包通过限定独立来源／双语／符号审阅，基准B的拍速提示经窄范围复核关闭。所有练习音与数值任务为O（本库原创）；T2是来源手册／静帧支持的短归属，G是限定定义。来源账本逐课审阅布尔值保留作者冻结时状态；当前通过范围另列publication_review，不表示原音、动作、全课或学习效果验收。
先做什么
先问“我究竟改了什么”：每分钟的拍数、每拍起几个音、哪个音突出、每个键按多久，是四个不同问题。先选一个问题做，再回到实际谱段；没有必要一次练全。
证据范围
IV-029/031资料总长1105.430秒；已读222段既有ASR文字，隔离30段，检查14个静帧及PDF-IV实际／印刷49–51、57–63页的全部文字和选定谱面结构。没有原音听校、连续动作或全谱／全课视听验收；资料长度不表示观看时间。
基本定义G
G：本包4/4的一拍是四分音符，一小节4拍。拍速tempo用“四分音符=60 BPM”表示每分钟60拍；细分subdivision是把一拍等分。本包采用直分，两个八分单位或四个十六分单位各占一拍，不引入Swing或Shuffle。起音attack是新音开始；相对重音accent在本实验表示比邻近音稍突出，既不添加起音也不改变写出的拍号。
拍与时间
JSON从0计时：第1、2、3、4拍开头分别为offset0、1、2、3，小节终点为4。时间秒数=拍数×60/BPM。持键时段只表示键被按住多久；放开后仍可能有余响。这里的休止要求不再持键或起新音，不保证声音立刻完全消失。图表中的声部各有自己的持键与休止，不能把同时声部的时值相加当总时间。每个琴上版本1小节，之后另休息1完整小节；纸面任务没有必须遵守的完成速度。
准备
原声钢琴或纸笔都可以，不需要MIDI、麦克风、录音、唱歌或新设备。琴上只用右手E4，左手全程休息；C4是中央C，第40键，E4是其右边第二个白键、标准88键的第44键（A0起算1，黑白键都数）。踏板全放开，先静止确认一个舒服的按放动作；不规定统一指法或手腕动作。
可做条件
60/72 BPM及具体持键时值是示例，不是演奏标准或必须升级的目标。能舒服计数、松开并再次按键才选琴上路线；短时值困难就直接做纸面，或把整对示例速度按同一比例放慢并重新算秒数。出现疼痛、麻木或加重不适就停止。不要为了“重音”刻意绷紧或追求大音量；无法舒服地试出相对突出时，保留纸面路线。
先预测
先写预测，后看答案或弹；暂时想象不出音色也可先预测起音数和时点。保留最初预测。所有示例与答案都已公开，只是引导练习与同例复测，不是陌生谱迁移证明、绝对音感训练保证或学习成效试验。
来源的短归属
B33-S01 · IV-029 · T2
Wiwi在相同和弦框架中示范长低音配规律右手起音，再展示触键长短或左手节奏的变化。这里仅取“分别看这些参数”的方向，不采纳一招通用的保证。
PDF-IV实际／印刷49–50页文字与选定起音／断奏标记；IV-029指定静帧42、68、105、130秒。未听校示范或逐音验收原谱。
B33-S02 · IV-031 · T2
作者用细分单位描述重音或起音位置；手册的八格分别出现于一个完整4/4小节和其前两拍，单位长度不同。数字标签须连同所指时间范围阅读。
PDF-IV实际／印刷57页上方说明、58页下方说明；IV-031的85秒画面为整小节八个八分单位，98秒为选定重音示例。58页下方的半小节说明不借用ASR时间戳。
B33-S03 · IV-031 · T2
作者建议理解伴奏的生成规则并尝试应用到其他材料，也给出先预设右手节奏的练习方向。我们的单变量任务和复测门槛另行设计，不是作者效果研究。
IV-031静帧54、580秒；PDF-IV实际／印刷62页上方说明、63页末项学习建议。这里没有读取延伸推荐作品，也不要求购买或长时间不停弹。
B33-O01 · 更快、更密、更突出、持得更久：分开验证
原创O；来源：B33-S01, B33-S03
具体症状
想让一句更有推动力，却同时加速、加音和加重，练完无法说出哪个改变造成了结果。
可能原因
可能缺少固定的比较基准。这是任务组织上的假设，不是节奏感、动机或身体问题的诊断。
先备条件
纸面只需知道一拍可分四等份。琴上还需能在E4上按放并维持均匀计数。若四等份计数不熟，先在纸上为一拍画四格，四格合起来才是一拍；不用先尝试D或T。
怎么做
先选B和另一个版本，写下唯一打算改变的参数。看每行的起音offset、持键拍数、拍速及相对重音。琴上可按“1 e & a，2 e & a，3 e & a，4 e & a”均分计数：B在数字起音、e处放开；D再在&起音、a处放开；H在数字起音、&处放开。T用更快的同一计数结构。慢到可数仍困难，就完整改走纸面路线，不硬凑。
完整版本与时间线
B · 基准（四分音符=60 BPM）：每拍开头起E4一次，持1/4拍后放开，剩3/4拍休止；音量尽量均匀。
| 起音offset／拍 | 释放offset／拍 | 音高 | 相对突出目标 |
|---|---|---|---|
| 0 | 0.25 | E4 | 均匀 |
| 1 | 1.25 | E4 | 均匀 |
| 2 | 2.25 | E4 | 均匀 |
| 3 | 3.25 | E4 | 均匀 |
右手休止offset：0.25–1; 1.25–2; 2.25–3; 3.25–4拍；左手0–4拍全休止。
T · 只改拍速为四分音符=72 BPM；每拍内的起止比例与B相同，绝对秒数会随之缩短。
| 起音offset／拍 | 释放offset／拍 | 音高 | 相对突出目标 |
|---|---|---|---|
| 0 | 0.25 | E4 | 均匀 |
| 1 | 1.25 | E4 | 均匀 |
| 2 | 2.25 | E4 | 均匀 |
| 3 | 3.25 | E4 | 均匀 |
右手休止offset：0.25–1; 1.25–2; 2.25–3; 3.25–4拍；左手0–4拍全休止。
D · 60 BPM；每半拍起E4一次，每音仍持1/4拍、接1/4拍休止；起音更密，拍速不变。
| 起音offset／拍 | 释放offset／拍 | 音高 | 相对突出目标 |
|---|---|---|---|
| 0 | 0.25 | E4 | 均匀 |
| 0.5 | 0.75 | E4 | 均匀 |
| 1 | 1.25 | E4 | 均匀 |
| 1.5 | 1.75 | E4 | 均匀 |
| 2 | 2.25 | E4 | 均匀 |
| 2.5 | 2.75 | E4 | 均匀 |
| 3 | 3.25 | E4 | 均匀 |
| 3.5 | 3.75 | E4 | 均匀 |
右手休止offset：0.25–0.5; 0.75–1; 1.25–1.5; 1.75–2; 2.25–2.5; 2.75–3; 3.25–3.5; 3.75–4拍；左手0–4拍全休止。
A · 同B的所有时点；只让第3拍的E4比其他三音稍突出，不提前、不加音、不延长。
| 起音offset／拍 | 释放offset／拍 | 音高 | 相对突出目标 |
|---|---|---|---|
| 0 | 0.25 | E4 | 均匀 |
| 1 | 1.25 | E4 | 均匀 |
| 2 | 2.25 | E4 | 稍突出 |
| 3 | 3.25 | E4 | 均匀 |
右手休止offset：0.25–1; 1.25–2; 2.25–3; 3.25–4拍；左手0–4拍全休止。
H · 同B的起音与拍速；每音持1/2拍，接1/2拍休止，不加重。
| 起音offset／拍 | 释放offset／拍 | 音高 | 相对突出目标 |
|---|---|---|---|
| 0 | 0.5 | E4 | 均匀 |
| 1 | 1.5 | E4 | 均匀 |
| 2 | 2.5 | E4 | 均匀 |
| 3 | 3.5 | E4 | 均匀 |
右手休止offset：0.5–1; 1.5–2; 2.5–3; 3.5–4拍；左手0–4拍全休止。
检查什么
比较B/T时，拍内比例不变，但持键与休止的秒数也随拍速改变；这是改拍速的结果。B/D只改起音安排，单音持键拍数不变，但每拍休止总量减少。B/A只改相对突出目标；B/H只改释放时点。A的“更突出”需自己听辨，未听清就记未判定；没有音量仪器数值或力度保证。
纸面与减量路线
完整无琴路线：盖住答案，列出各版一小节起音数、总拍数、总秒数，并圈出改变的字段。再画B与H的第1拍四格状态，标出起音、持键、放开后的休止。核对后只记录本次书面差异，不称听觉或演奏通过。
自查答案
答案：五版均4拍；B/D/A/H在60 BPM均4秒，T在72 BPM为10/3秒。起音数依次为B=4、T=4、D=8、A=4、H=4。B的每音持1/4秒，H持1/2秒；T每音持5/24秒。D不是120 BPM，它仍是四分音符60 BPM、每拍2次起音。A第3拍的突出目标不把4/4改写为另一拍号。
反馈与复测
若总时间也跟着多弹的音改变，下一次只比较纸面B/D的四拍边界；若释放失控，只比较B/H，不加重音。立即检查所选一对是否保持约定的不变量；隔日先不看答案重写同一对的差别。次数与隔日安排是O，不是通用学习门槛。
接回实际谱段
在有权使用的实际谱段里，先抄清印刷速度的拍单位、音符／休止与力度／奏法，再区分作曲指示和自己的解释。一次只做一个标明的练习改写，回接前后乐句时恢复原谱要求；不要把本卡的数值当作所有断奏或所有曲子的标准。
边界
这不是力度传感器或动作纠正课，也不证明某参数更好听。触键比例只服务本次可复核实验；没有新的音频、风格或个体动作验证。
B33-O02 · 先读单位，才知道八格有多长
原创O；来源：B33-S02
具体症状
看到八格就默认它是一小节，或把第5格当成第5拍。
可能原因
可能只记住了格子编号，漏看每格长度及整张图的时间范围。
先备条件
这是完整纸面任务，不要求先弹上一张卡，也不要求弹十六分音符。记住一拍有2个八分单位或4个十六分单位；从1编号的格子，其开头offset=(格号−1)×每格拍数。
怎么做
先盖住答案。分别写U/V的每格长度、八格总长、三个起音时点，以及到4拍小节终点还剩多少。再画完整右手时间线；未画格子的后半小节不能凭空消失。左手两版都休息4拍。
完整版本与时间线
U · 仅纸面：8个八分单位覆盖4拍；在第2、5、8格起D4，每音持该单位一半。
| 起音offset／拍 | 释放offset／拍 | 音高 | 相对突出目标 |
|---|---|---|---|
| 0.5 | 0.75 | D4 | 均匀 |
| 2 | 2.25 | D4 | 均匀 |
| 3.5 | 3.75 | D4 | 均匀 |
右手休止offset：0–0.5; 0.75–2; 2.25–3.5; 3.75–4拍；左手0–4拍全休止。
V · 仅纸面：8个十六分单位只覆盖前2拍；在第2、5、8格起D4，每音持该单位一半，第3–4拍全部休止。
| 起音offset／拍 | 释放offset／拍 | 音高 | 相对突出目标 |
|---|---|---|---|
| 0.25 | 0.375 | D4 | 均匀 |
| 1 | 1.125 | D4 | 均匀 |
| 1.75 | 1.875 | D4 | 均匀 |
右手休止offset：0–0.25; 0.375–1; 1.125–1.75; 1.875–4拍；左手0–4拍全休止。
检查什么
U/V都有3个起音与8个编号格，但V的格子只占U一半时长。不能说两版有相同起音节奏，也不能说V改变了拍速：本例两版仍为四分音符60 BPM。U用4拍范围，V用2拍范围后接明确的2拍休止。
纸面与减量路线
可直接从减量任务开始：只算“第5格”在U/V的开头分别是offset2和1，再算第2、8格，最后补全休止。此任务只做纸面，不把短持键数值转成初学者的快速触键要求。
自查答案
答案：U每格1/2拍，八格4拍；起音offset为1/2、2、7/2，每音持1/4拍。V每格1/4拍，八格2拍；起音为1/4、1、7/4，每音持1/8拍。V最后音在15/8拍释放，先休1/8拍到第2拍终点，再连同第3–4拍的2拍休止，成为15/8至4的连续休止。两版完整小节均4拍、4秒。
反馈与复测
立即核查是否写了拍单位、格长与小节范围。漏项时退到第5格的单项任务，而不是重复整段猜。隔日不看答案重新换算同一U/V；这些已公开例子只测同例记忆。
接回实际谱段
在实际教材的节奏网格或谱例旁补写“每格是什么音符、覆盖几拍、起音在哪里”。核对拍号、连结线与休止；不把来源作者的数字标签直接当整首曲子的演奏规则。来源歌曲版本与原示范仍未在本包验收。
边界
本例没有播放或琴上动作；D4只是原创符号标记，不重现来源音列。数值正确不证明已听见切分效果，也不证明已学会某一种音乐风格。
来源限制
ASR文字只作定位线索：IV-031在145秒和175秒的实际画面内容，不可按附近ASR段落直接认作同一示例。来源定位以下表实际静帧／页码为准；未听到的内容仍未核实。
第29课17段可疑尾部文字隔离；第31课2段重复引言和11段可疑片尾隔离。总计30段是未获支持的候选文字，不是已听校确认的30个错误，也不重建缺失示范。
“1–4”或“1–4–7”在来源中是作者的伴奏标签，不是拍号、音级或普遍风格定义。本卡另用2、5、8格，完全是原创纸面计数例。
来源列举的流行、舞曲、Bossa Nova与爵士风格，是本课的示范与意见；本包未听辨其示范、核对歌曲版本、验证风格代表性或延伸课程。四分音符低音本身也不足以证明完整Walking Bass。
断奏staccato不等于更快或更响；其具体长度依音乐语境。本卡给定的持键比例是为了可检查的原创实验，不是断奏、连奏或任何流派的统一比例。
独立审阅核对49对双语值、7个版本、30音符事件、14条手／7条声部时间线和5个另行休息小节；原测试与3项错误注入检查通过。一次窄范围修订在预测前明确B的四分音符60 BPM，复核通过；出版仅改状态说明。没有声学、演奏、身体适合性、学习者或应用测试。
结构化任务 · 来源范围 · 符号检查
Rhythm parameters: practice faster, denser and more prominent separately
This package passed bounded independent source, bilingual and symbolic review; a focused recheck closed baseline B’s tempo-instruction issue. All exercise pitches and numerical tasks are O (original repository designs); T2 marks brief handbook/still-supported attributions and G scoped definitions. Per-lesson review booleans preserve the author-time freeze; publication_review records the current passed scope, not source-audio, motion, whole-course or learning-efficacy acceptance.
Start here
Ask first, “What did I change?” Beats per minute, attacks per beat, which note stands out, and how long a key is held are four different questions. Choose one before returning to a real passage; doing everything at once is unnecessary.
Evidence scope
IV-029/031 assets total 1105.430 seconds. All 222 existing ASR segments were read, 30 quarantined, and 14 stills plus all prose and selected score structure on PDF-IV physical/printed pages 49–51 and 57–63 inspected. No source audition, continuous-motion or complete-score/lesson audiovisual acceptance occurred; asset duration is not watching time.
Basic definitions, G
G: one beat in this package’s 4/4 is a quarter note, and a bar has 4 beats. Tempo “quarter note=60 BPM” means 60 beats per minute; subdivision divides a beat equally. These tasks use straight subdivisions: two eighth units or four sixteenth units per beat, without swing or shuffle. An attack starts a new note. Relative accent here means slightly more prominence than neighboring notes; it adds no attack and does not change the written meter.
Beats and time
JSON starts at 0: beats 1, 2, 3, 4 begin at offsets 0, 1, 2, 3, and the bar ends at 4. Seconds=beats×60/BPM. A hold specifies how long the key is held; resonance may remain after release. A task rest requires no continued key hold or new attack, not guaranteed immediate acoustic silence. Each voice has its own holds/rests; simultaneous voice durations must not be added as elapsed time. Each piano variant lasts 1 bar followed by a separate full bar of rest; paper tasks have no completion-speed requirement.
Setup
Use an acoustic piano or paper; no MIDI, microphone, recording, singing or new equipment is required. Piano variants use only RH E4, with LH resting throughout. C4 is middle C, key 40; E4 is the second white key to its right, key 44 on a standard 88-key piano (count A0 as 1 and include black keys). Keep all pedals up and first check a comfortable single-key press/release while stopped; no universal fingering or wrist motion is prescribed.
Readiness
60/72 BPM and exact hold durations are examples, not performance standards or required upgrades. Choose piano only if counting, releasing and reattacking are comfortable. Use paper directly for difficult short durations, or slow the entire comparison proportionally and recalculate seconds. Stop for pain, numbness or worsening discomfort. Do not deliberately tense or chase large volume for an accent; keep the paper route if comfortable prominence cannot be tried.
Predict first
Predict before opening answers or playing; if tone is hard to imagine, predict attack count and timing first. Preserve that first prediction. All examples and answers are disclosed guided practice and same-example retests, not evidence of unseen-score transfer, guaranteed absolute-pitch training or a learning-efficacy trial.
Brief source attributions
B33-S01 · IV-029 · T2
Within the same chord framework, Wiwi demonstrates a held bass with regular RH attacks, then variants in articulation or LH rhythm. We use only the direction of examining these parameters separately, not a guarantee that one pattern works universally.
PDF-IV physical/printed pages 49–50: prose and selected attack/staccato markings; IV-029 stills at 42, 68, 105, 130 seconds. No demonstration audition or note-by-note source-score acceptance.
B33-S02 · IV-031 · T2
The author describes accents or attacks using subdivision units. The handbook uses eight cells over a complete 4/4 bar and over its first two beats, with different unit lengths. Numerical labels must be read together with their time span.
PDF-IV physical/printed page 57 upper explanation and page 58 lower explanation; the 85-second IV-031 still shows eight eighth-note units over a whole bar, and 98 seconds shows a selected accent example. The half-bar explanation on page 58 is not assigned an ASR-derived timestamp.
B33-S03 · IV-031 · T2
The author recommends understanding accompaniment-generating rules and trying them with other material, and offers a direction of preset RH rhythms. Our controlled tasks and retest criteria are separate designs, not an efficacy study by the author.
IV-031 stills at 54 and 580 seconds; PDF-IV physical/printed page 62 upper explanation and page 63 final learning suggestion. Recommended works were not read here, and no purchase or prolonged uninterrupted playing is required.
B33-O01 · Faster, denser, more prominent, longer held: check separately
Original O; sources: B33-S01, B33-S03
Symptom
You want more drive but speed up, add attacks and emphasize together, then cannot identify which change produced the result.
Possible cause
A fixed comparison baseline may be missing. This is a task-organization hypothesis, not a diagnosis of rhythm sense, motivation or the body.
Prerequisites
Paper requires only knowing that a beat can have four equal parts. Piano additionally requires comfortable E4 press/release and steady counting. If four-way counting is unfamiliar, first draw four cells per beat on paper; the four together make one beat. D or T need not be attempted first.
Procedure
Choose B and one comparison, and write the sole intended parameter change. Check attack offsets, hold beats, tempo and prominence in each row. Optional piano can use equal “1 e & a, 2 e & a, 3 e & a, 4 e & a”: B attacks on the number and releases on e; D also attacks on & and releases on a; H attacks on the number and releases on &. T uses the same counting structure at a faster tempo. If counting remains difficult even slowly, use the complete paper route rather than forcing it.
Complete variants and timelines
B · Baseline (quarter note=60 BPM): attack E4 at each beat start, hold for 1/4 beat, release and rest for 3/4 beat; aim for even loudness.
| Attack offset/beats | Release offset/beats | Pitch | Relative prominence target |
|---|---|---|---|
| 0 | 0.25 | E4 | even |
| 1 | 1.25 | E4 | even |
| 2 | 2.25 | E4 | even |
| 3 | 3.25 | E4 | even |
RH rest offsets: 0.25–1; 1.25–2; 2.25–3; 3.25–4 beats; LH rests throughout 0–4 beats.
T · Change only tempo to quarter note=72 BPM; within-beat attack/release proportions match B, while absolute seconds shorten.
| Attack offset/beats | Release offset/beats | Pitch | Relative prominence target |
|---|---|---|---|
| 0 | 0.25 | E4 | even |
| 1 | 1.25 | E4 | even |
| 2 | 2.25 | E4 | even |
| 3 | 3.25 | E4 | even |
RH rest offsets: 0.25–1; 1.25–2; 2.25–3; 3.25–4 beats; LH rests throughout 0–4 beats.
D · At 60 BPM, attack E4 every half beat; each still holds 1/4 beat followed by 1/4 beat of rest. Attacks are denser but tempo is unchanged.
| Attack offset/beats | Release offset/beats | Pitch | Relative prominence target |
|---|---|---|---|
| 0 | 0.25 | E4 | even |
| 0.5 | 0.75 | E4 | even |
| 1 | 1.25 | E4 | even |
| 1.5 | 1.75 | E4 | even |
| 2 | 2.25 | E4 | even |
| 2.5 | 2.75 | E4 | even |
| 3 | 3.25 | E4 | even |
| 3.5 | 3.75 | E4 | even |
RH rest offsets: 0.25–0.5; 0.75–1; 1.25–1.5; 1.75–2; 2.25–2.5; 2.75–3; 3.25–3.5; 3.75–4 beats; LH rests throughout 0–4 beats.
A · Keep every timing point from B; make only beat 3’s E4 slightly more prominent than the other three, without anticipating, adding or lengthening a note.
| Attack offset/beats | Release offset/beats | Pitch | Relative prominence target |
|---|---|---|---|
| 0 | 0.25 | E4 | even |
| 1 | 1.25 | E4 | even |
| 2 | 2.25 | E4 | slight emphasis |
| 3 | 3.25 | E4 | even |
RH rest offsets: 0.25–1; 1.25–2; 2.25–3; 3.25–4 beats; LH rests throughout 0–4 beats.
H · Keep B’s attacks and tempo; hold each note 1/2 beat and rest 1/2 beat, without extra emphasis.
| Attack offset/beats | Release offset/beats | Pitch | Relative prominence target |
|---|---|---|---|
| 0 | 0.5 | E4 | even |
| 1 | 1.5 | E4 | even |
| 2 | 2.5 | E4 | even |
| 3 | 3.5 | E4 | even |
RH rest offsets: 0.5–1; 1.5–2; 2.5–3; 3.5–4 beats; LH rests throughout 0–4 beats.
What to check
For B/T, within-beat proportions stay fixed but hold/rest seconds also change with tempo; that is a consequence of changing tempo. B/D changes attack scheduling while retaining each note’s hold beats, so total rest per beat decreases. B/A changes only the prominence target; B/H changes only release points. A’s prominence needs your own listening judgment; record undetermined if unclear. No measured loudness value or force guarantee is supplied.
Paper and reduced route
Complete no-piano route: cover the answers, list each variant’s attacks per bar, total beats and seconds, and circle the changed field. Draw the first beat’s four cells for B and H, marking attack, hold and rest after release. After checking, record only written discrepancies, not an auditory or performance pass.
Self-check answer
Answers: all five have 4 beats. B/D/A/H at 60 BPM last 4 seconds; T at 72 BPM lasts 10/3 seconds. Attack counts are B=4, T=4, D=8, A=4, H=4. Each B note holds 1/4 second; H holds 1/2 second; T holds 5/24 second. D is not 120 BPM: it remains quarter note 60 BPM with 2 attacks per beat. A’s beat 3 prominence target does not rewrite 4/4 as a different meter.
Feedback and retest
If total time changes when attacks increase, next compare only B/D’s four-beat boundaries on paper. If release is uncontrolled, compare B/H without prominence changes. Immediately check whether the chosen pair preserved its stated invariants; next day rewrite that same distinction before opening the answer. Counts and next-day scheduling are O, not universal learning thresholds.
Reintegrate into a score passage
In a score passage you may use, first record the printed tempo’s beat unit, notes/rests, dynamics and articulation; separate composer directions from your interpretation. Make one labeled practice adaptation at a time and restore score requirements when joining adjacent phrases. Do not treat these numerical durations as standards for every staccato or piece.
Limits
This is not a force-sensing or movement-correction lesson, and does not prove one parameter sounds better. Hold ratios serve this checkable experiment only; no new audio, style or individual-movement validation occurred.
B33-O02 · Read the unit before deciding how long eight cells last
Original O; sources: B33-S02
Symptom
You assume eight cells always make a bar, or read cell 5 as beat 5.
Possible cause
You may have retained cell numbers while missing each cell’s duration and the grid’s time span.
Prerequisites
This is a complete paper task, requiring neither the preceding piano exercise nor sixteenth-note playing. A beat contains 2 eighth units or 4 sixteenth units. For cells numbered from 1, start offset=(cell number−1)×beats per cell.
Procedure
Cover the answer. For U/V, write each cell’s length, the eight-cell total, the three attack times, and time left to the 4-beat endpoint. Then draw the complete RH timeline: a half bar outside the drawn grid cannot disappear. LH rests for 4 beats in both.
Complete variants and timelines
U · Paper only: 8 eighth-note units cover 4 beats; place D4 attacks in cells 2, 5, 8, holding each for half a unit.
| Attack offset/beats | Release offset/beats | Pitch | Relative prominence target |
|---|---|---|---|
| 0.5 | 0.75 | D4 | even |
| 2 | 2.25 | D4 | even |
| 3.5 | 3.75 | D4 | even |
RH rest offsets: 0–0.5; 0.75–2; 2.25–3.5; 3.75–4 beats; LH rests throughout 0–4 beats.
V · Paper only: 8 sixteenth-note units cover only the first 2 beats; place D4 attacks in cells 2, 5, 8, holding each for half a unit, then rest throughout beats 3–4.
| Attack offset/beats | Release offset/beats | Pitch | Relative prominence target |
|---|---|---|---|
| 0.25 | 0.375 | D4 | even |
| 1 | 1.125 | D4 | even |
| 1.75 | 1.875 | D4 | even |
RH rest offsets: 0–0.25; 0.375–1; 1.125–1.75; 1.875–4 beats; LH rests throughout 0–4 beats.
What to check
U/V each have 3 attacks and 8 numbered cells, but V’s cells last half as long as U’s. They do not have the same attack rhythm, and V does not change tempo: both remain quarter note 60 BPM. U spans 4 beats; V spans 2 beats followed by an explicit 2-beat rest.
Paper and reduced route
A directly available reduction is to calculate only cell 5 first: its U/V starts are offsets 2 and 1. Then calculate cells 2 and 8 and complete the rests. This is paper only; its short hold values are not rapid-touch requirements for a beginner.
Self-check answer
Answers: U has 1/2 beat per cell and 4 beats in eight cells; attacks are at 1/2, 2, 7/2, each held 1/4 beat. V has 1/4 beat per cell and 2 beats in eight cells; attacks are at 1/4, 1, 7/4, each held 1/8 beat. V’s last note releases at 15/8; the 1/8-beat rest to the end of beat 2 joins the 2-beat rest over beats 3–4, forming one continuous rest from 15/8 to 4. Both complete bars last 4 beats, 4 seconds.
Feedback and retest
Immediately check that beat unit, cell length and bar span are all stated. If one is missing, return to the cell 5 reduction rather than guessing the full passage repeatedly. Next day recalculate the same U/V without the answer; these disclosed cases test only same-example retention.
Reintegrate into a score passage
Beside an actual teaching grid or score example, write the note value per cell, beats covered and attack positions. Check meter, ties and rests; do not promote an author’s number label into a whole-piece playing rule. Source song editions and original demonstrations remain unaccepted in this package.
Limits
This example has no playback or piano action. D4 is an original symbolic marker, not a source pitch sequence. Correct numbers do not prove hearing a syncopated effect or mastering a musical style.
Source limitations
ASR text is a locating aid only: the actual IV-031 images at 145 and 175 seconds must not be treated as the nearby ASR paragraph’s example. Source locators use the inspected still/page; unheard content remains unverified.
Seventeen suspect ending segments in lesson 29 are quarantined; in lesson 31, two repeated introductory segments and eleven suspect closing segments are quarantined. These 30 unsupported text candidates are not 30 listening-confirmed errors and do not reconstruct missing demonstrations.
The source’s “1–4” and “1–4–7” are author labels for accompaniment patterns, not meters, scale degrees or universal style definitions. This card instead uses cells 2, 5, 8 as an original paper-counting example.
The source’s pop, dance, Bossa Nova and jazz references are lesson demonstrations and opinions. This package did not audition them, verify song editions, test stylistic representativeness or review linked lessons. Quarter-note bass alone also does not establish a complete walking-bass approach.
Staccato does not mean faster or louder; its specific length depends on musical context. This card’s assigned hold ratios are checkable original experiments, not universal ratios for staccato, legato or any style.
Independent review checked49 bilingual pairs,7 variants,30 note events,14 hand/7 voice timelines and5 separate recovery bars; the supplied test and3 fault injections passed. One narrow revision explicitly assigned B quarter note60 BPM before prediction and passed recheck; publication edits status explanations only. No acoustic, performance, physical-suitability, learner or application test occurred.
Structured tasks · Source scope · Symbolic checks