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.
PianoClinic 第2组：六张原创微练习卡
本组衍生教学卡已完成独立审阅及去重整合；本次仅核对卡片含义、来源身份与数值，未重新阅读全部转写或观察原媒体。身体适合性、实际声音、长期保持、迁移与学习效果仍未验证。
T2＝ASR 意图得到手册或所选静帧明确文字/图示的支持；只较有把握地说明作者提出了什么。T1＝主要依赖未听校 ASR，手册只支持较广主题。两者均不证明方法正确、普适或有效。O＝本报告原创练习与判断流程，尚未验证。
一次只选一张卡，先确认先修条件。所有“可能原因”、微练习、观察、复测和回曲流程均为 O，不是 Wiwi 原话。按舒适、可控的小剂量尝试；指法数字是可换的试用方案。出现疼痛、麻木或加重不适时停止，不靠用力或拉伸过关。
C4＝中央 C（Do）；在标准 88 键钢琴上，从最左端 A0 算第 1 键、黑白键都计数，C4 是第 40 键。它是中央附近一组两黑键左侧紧邻的白键，不是键盘几何中心。D4＝C4 右侧相邻白键（Re），之后 E4/Mi、F4/Fa、G4/Sol。这里是固定唱名，不代表调内级数。八度数字随 C 改变。RH/右手，LH/左手；1 拇指、2 食指、3 中指、4 无名指、5 小指。数“1-&”时把一拍等分为两份；数“1-e-&-a”时把一拍等分为四份，e、&、a 是计数标签，不是音名，也不是越数越快。“释放某键”＝让该键回升，不等于把整只手甩开。文中秒数为视频起点后的秒数，ASR 边界近似。
适用于原声钢琴上的自我观察，不需要 MIDI、麦克风、录音、唱歌或另购设备。可默数拍；若已有节拍器可选择使用。没有乐谱的具体段落不编造原曲音列或版本信息。
来源条目只概述所选要点；其中“不推广、不证明、不采纳”等限制是本报告的审阅判断，不应当作作者逐字说法。后续练习步骤全部为原创。
本组六课：PC-010、PC-011、PC-013、PC-016、PC-022、PC-024。英文课名为工作译名；这些原创卡片不替代付费课程。
逐段读完六份现有首选 ASR 共 591 段；核对 36 个指定时间点静帧（36 个不同图像 SHA-256）及六页手册的全部文字与页面图像；核验六个视频及手册的 SHA-256。来源视频总长 2269.989 秒（37:49.989），是来源时长，不是已观看或已听的时长。谱例只核对有关标注与布局，没有逐音校订整页。
六课此前都有完整 ASR 文字阅读与所选静帧记录，本组是独立复核，新增首次完整转写阅读为0。手册页未在旧记录逐列出现，不代表以前从未阅读。
实际音频试听 0；连续动作观察 0；完整视听课审查 0。未验证 ASR 逐字准确性、示范声音、动作机制、身体适合性、练习效果、长期保持或陌生材料迁移。
“某声部休息”包括把它先前持住的音在该音的规定结束点松开，并在休息段内不再起音或持键；不是只禁止新起音。其他声部可按自己的时值继续。房间或踏板余响不是手指仍持键的证明；本卡练习均不用踏板。
每个版本均为四拍一小节，四分音符一拍；先选能平稳计数的舒适慢速，不规定每分钟拍数。所有间隔都按同一拍长计。JSON 使用从小节起点计的拍偏移：0＝第1拍，1＝第2拍，2＝第3拍，3＝第4拍，4＝小节结束；持键区间含起点、不含松键点。完整休息小节就是双手四拍不持键、不起音。
逐音数据 · 来源与覆盖
PC-010 · 连接与第二音收尾分开检查
第10天：正確地執行「連跳」音型
PC-HANDBOOK · 实体页14／印刷页13。
B2-010-S1 · T2 · 13.3–59.0 s · 静帧: 52 s
作者说明两音连线、第二音短的音型，并通常让第一音较突出、第二音较轻；这不是所有乐句的重音规则。
时间为视频起点后的秒数；ASR 边界近似。手册页用于主题上下文，所选字幕／图示用于归属核对。
B2-010-S2 · T2 · 221.2–241.62 s · 静帧: 222, 232, 238 s
作者要求在抬起过程中发出第二音，并反对靠向键底再蹬一下离键。所选字幕支持这个教法归属，不能证明动作轨迹或声音结果。
时间为视频起点后的秒数；ASR 边界近似。手册页用于主题上下文，所选字幕／图示用于归属核对。
先懂的词
连线表示音组或连接要求；本卡的“两音连跳”是第一音接到第二音、第二音较短。轻＝相对较弱的响度，短＝较早结束持键，二者不是同一件事。
先修与独立预备
先能舒适地单独弹 C4、D4，并让键回升。两音不便时可直接用预备版 P；不必完成双音任务才获准练单音。
可观察的困扰 O
第二音突然变重，或者为了缩短第二音而先把两音间连接切断。
待验证的可能原因 O
可能没有分别计划“换到第二音”和“结束第二音”；这只是待检验的任务解释，不是身体诊断。
小剂量设置 O
右手 C4→D4，可试 1→2 或其他舒适指法。左手全小节休息，全部踏板不踩。每版一个 4/4 小节，四分音符为一拍，速度以能平稳数“1-&-2-&-3-&-4-&”为准。先 A 一次，再 B 一次，每次之间休息一整小节；这是实际弹奏次数。
原创逐拍版本 O
A
第1拍弹 C4，持到第2拍弹 D4 时松开 C4；D4 持到第2拍的 & 松开。余下第2拍后半及第3–4拍均不持键。两音先以相近的舒适响度为目标。
B
音高、起音和松键时点与 A 完全相同，只尝试让 D4 比 C4 轻一点；不要靠把 C4 弹得更重制造对比。
P
单音预备：右手 C4 第1拍弹，第2拍松，双手第2–4拍休息。它只检查松键，不能代替两音连接测试。
听与看 O
听两音之间是否出现明显空隙，D4 是否意外突出；看 C4 是否在 D4 起音时回升、D4 是否在 2-& 回升。房间余响可能延续，不能只凭“还有声音”判断手指仍按键。不要为模仿画面而规定腕高或甩手。
复测 O
休息一小节后再弹 B 一次，保持同样计数与松键点；比较第二音响度和连接，不加速。若无法兼顾，下一次只做 A；若仍不舒适，只做 P 一次。
回到曲目 O
在已知曲谱中选一组确有相应连线、断奏标记的两音；先确认实际音高、手别和时值，再单独处理它。保留原曲时值与乐句要求，不把本卡 C4–D4 或“第二音较轻”套到所有地方。最后接回前后各一个短片段。
本卡边界
原创小练习不是视频谱例重现，也不验证作者的腕部方法。尚未听校原示范或观察连续动作。
转写与静帧边界
已读末段 86（327.82–329.82 秒），但其结束超出视频 327.914 秒；疑似片尾套话，不用作教学证据。原始 ASR 未改写。
52秒是连线与末音断奏标注；110/118秒是不同姿势；222/232/238秒的字幕支持第二音收尾与反例说明。静帧不建立声音或动作轨迹。
PC-011 · 先决定音群最后一个音何时结束
第11天：輕鬆又平均地彈奏快速音符
PC-HANDBOOK · 实体页15／印刷页14。
B2-011-S1 · T2 · 95.0–114.0 s · 静帧: 96, 100, 110 s
作者区分短末音离键与长末音留键的收尾；所选画面字幕明确显示两种终点。
时间为视频起点后的秒数；ASR 边界近似。手册页用于主题上下文，所选字幕／图示用于归属核对。
B2-011-S2 · T2 · 231.0–264.5 s · 静帧: 254 s
作者把音群中的滚动动作与前一手指释放联系起来。文字能支持作者的解释，不能建立动力学机制或实际均匀度。
时间为视频起点后的秒数；ASR 边界近似。手册页用于主题上下文，所选字幕／图示用于归属核对。
先懂的词
音群＝这里连着弹的三个音。末音“长/短”只改变最后一键的持键时长；起音间距保持不变。本练习慢速识别终点，并不证明快速弹奏能力。
先修与独立预备
能舒适弹 C4、D4、E4，保持半拍计数。若三音太多，可直接做末音预备 P-A 或 P-B；不要求先完成音群。
可观察的困扰 O
三音顺序能弹对，但末音有时突然断掉、有时无意拖长；换音时旧键也可能一直留下。
待验证的可能原因 O
注意力可能只跟随起音，尚未分配给前一键释放和最终收尾。
小剂量设置 O
右手 C4–D4–E4，可试 1–2–3；左手整小节休息，踏板全放开。4/4，四分音符一拍。A、B 各弹一小节一次，中间休息一小节。两版使用相同慢速和舒适响度，不尝试提速。
原创逐拍版本 O
A
C4 第1拍弹，1-& 松；同时在 1-& 弹 D4，第2拍松；同时第2拍弹 E4，2-& 松。自 2-& 到小节结束双手休息。
B
C4、D4 的起音与释放同 A；E4 仍在第2拍弹，改为第3拍松。第3–4拍双手休息。长末音不用额外向下加压。
P-A
只弹右手 E4：第1拍休息，第2拍弹，2-& 松，之后休息到第4拍结束；左手全小节休息。
P-B
只弹右手 E4：第1拍休息，第2拍弹，第3拍松，第3–4拍休息；左手全小节休息。
听与看 O
观察 C4、D4 是否各自在下一音开始时回升，末音是否按预定点结束。听末音时值差异，同时检查 B 的起音间距有没有被拉慢。声响自然衰减不等于已经松键。
复测 O
先默选“短”或“长”，休息一小节后只弹所选版一次，并用其原定松键点检查。若失败，下一次只做对应 P-A/P-B 一次，不把末音练习冒充整组成功。
回到曲目 O
从已有曲谱选一个短音群，指出末音究竟应接到下一音还是结束。本卡短、长两个终点只作比较工具；回曲时照实际时值，连回下一拍或休止，并保留慢速。
本卡边界
没有把作者的滚动动作变成固定幅度要求。170 秒静帧有叠化残影，不能拿来判断手的数量或运动路线；本卡不声称改善速度已验证。
转写与静帧边界
末段 94（386.36–388.36 秒）疑似字幕署名套话，已读但不作教学证据。170 秒所选帧含叠化残影。
96/100与110秒字幕区分短、长末音；170秒有叠化；254秒字幕涉及前指释放；284秒是桌面手部静态位置。
PC-013 · 断奏长度可比较，不以最短为目标
第13天：穩定又輕鬆的跳音秘訣
PC-HANDBOOK · 实体页17／印刷页16。
B2-013-S1 · T2 · 204.88–239.72 s · 静帧: 218, 226 s
作者说明基础断奏无需追求最短，时值应按音乐需要调整。所选字幕与手册文字支持这个要点。
时间为视频起点后的秒数；ASR 边界近似。手册页用于主题上下文，所选字幕／图示用于归属核对。
B2-013-S2 · T2 · 240.44–278.2 s · 静帧: 250, 256 s
作者区分主动抬起与向键底推后反弹的做法。本报告只记录该区分，不采纳其中未经验证的受伤因果解释。
时间为视频起点后的秒数；ASR 边界近似。手册页用于主题上下文，所选字幕／图示用于归属核对。
先懂的词
断奏/跳音指音与音之间有分离感，并不是“越短越正确”。本卡固定起音时点，只改变持键时长。1-a 是第1拍四等分中的最后一个分点，距第1拍起点四分之三拍。
先修与独立预备
可舒适弹右手 C4，能均匀分半拍。B 另需能把一拍等分为四份；不会四等分时只做 A 或 P，A 不依赖 B。
可观察的困扰 O
为了弹得更短，出现抢拍、每音意外加重，或不能说清键何时松开。
待验证的可能原因 O
“短”可能被当成一个动作口号，没有可数的时值目标；起音和释放也可能互相牵动。
小剂量设置 O
右手只用 C4，可试 3 指；左手休息，踏板全放。4/4，四分音符一拍，在能平稳计数的慢速弹 A 一次；四等分容易时，再在休息一小节后弹 B 一次。两版响度意图相同。
原创逐拍版本 O
A
C4 第1拍弹、1-& 松；第3拍再弹、3-& 松。每次松键后到下一次起音都休息，第2拍与第4拍全拍不持键。
B
C4 仍在第1、3拍起音，改为 1-a、3-a 松键，各持四分之三拍。其他时段均不持键，第2、4拍仍全拍休息；不把较长误弹成较响。
P
单次预备：C4 第1拍弹、1-& 松；从 1-& 到小节结束双手休息。无需做第3拍的重复音。
听与看 O
听第1、3拍起音是否仍稳定，A、B 的分离长度是否可辨；看键是否在指定细分点回升。不用抬高手臂、增加冲击或快速甩手来“证明”断奏。
复测 O
休息一小节后再做所选版一次；若数拍不稳，降为 P 一次，只核对 1-& 松键。记录“可辨/不可辨/不确定”和舒适度；不把更短当成通过标准。
回到曲目 O
在已知曲谱选两个断奏音，先保留谱上的起音节奏，再比较两种舒适的结束长度。回到原段落听其乐句效果；不强行把半拍或四分之三拍的练习比例套到作品。
本卡边界
没有采用来源中的固定离键高度或触底力度建议。静帧无法证明主动抬起、反弹、稳定度或触键深度的实际过程。
转写与静帧边界
开头第0段 0–5 秒的音乐标签不作作者言论。没有自动隔离项不代表转写准确。210 秒帧中文字处于模糊过渡，不作该句的强证据。
38秒为单个断奏示范画面；210秒过渡模糊；218/226秒字幕说明长度不求最短；250/256秒字幕区分抬起与推后反弹。
PC-016 · 在两个同时起音的音中选择前景
第16天：彈出好聽和弦的祕密
PC-HANDBOOK · 实体页20／印刷页19。
B2-016-S1 · T2 · 51.88–74.78 s · 静帧: 53, 59 s
作者比较各音相近与顶音突出的和弦版本，并说明两者各有用途。顶音作为旋律是示范的情境，不是所有和弦的固定规则。
时间为视频起点后的秒数；ASR 边界近似。手册页用于主题上下文，所选字幕／图示用于归属核对。
B2-016-S2 · T2 · 114.28–196.86 s · 静帧: 120, 155 s
作者先用右手两个音练习突出其中一个，再发展更多音；其具体手指高度安排属于作者的提议，本卡不规定高度。
时间为视频起点后的秒数；ASR 边界近似。手册页用于主题上下文，所选字幕／图示用于归属核对。
先懂的词
和弦是在这里同时弹的多个音；声部平衡是各音相对的突出程度。旋律声部不一定永远是最高音。“同时”在本卡是起音意图与可听检查，不是毫秒级测量。
先修与独立预备
先能单独舒适弹 C4、E4。只有两键同时按下与释放都舒适时才做 A/B；可试右手 1、3 指，但无固定指法或必须达到的手跨度。若不舒适，直接做单旋律 P，且明确它不测试和弦声部平衡。
可观察的困扰 O
两个音一起弹时听不清所选旋律音，或一想突出它就把和弦弹成先后两个音。
待验证的可能原因 O
可能尚未把“相对响度”与“起音时点”分成两个目标，或者同时任务超出当下舒适范围。
小剂量设置 O
4/4，四分音符为一拍；右手 C4 与 E4，左手全小节休息，踏板全放。A 一次、B 一次，中间休息一小节。全程舒适响度，不以更大力量换取旋律突出。
原创逐拍版本 O
A
第1拍同时弹 C4、E4，目标是两音相近的突出程度；两键都在第2拍松，第2–4拍双手休息。
B
音高、起音和松键与 A 相同；先把 E4 想作前景，尝试减轻 C4，使 E4 比较清楚，而非强压 E4。两键仍第2拍一起松，第2–4拍休息。
P
单旋律预备：只用右手弹 E4，第1拍起音，第2拍松；C4 不弹，左手全程休息，两手第2–4拍休息。
听与看 O
先听是否能辨 E4 较突出，再听是否出现可听的先后起音；一次只评价一个目标。用眼确认两键都在第2拍回升。听不清就记“不确定”，不靠夸张抬指、扭腕或拉开手掌来补偿。
复测 O
休息一小节后，舒适可及者再弹 B 一次，仍第2拍松两键、第2–4拍休息。若不舒适或任务太多，只弹 P 一次，并把结果记为旋律预备而不是和弦通过。
回到曲目 O
在已有曲谱先确认真正的旋律音，可能在上、中或下声部。只选一个舒适可及的和弦，先听其旋律单音，再恢复和弦与前后片段。保留原指法选择空间，不要求所有最高音都最响。
本卡边界
来源末段关于很小的起音差异不易被察觉的说法未验证；不采用通用 50 毫秒阈值。本卡未测量同步、声部响度或身体适合性。
转写与静帧边界
14–17 段（40.84–51.88 秒）已有重复／破碎文字隔离；第95段（364.52–382.58 秒）的破折号不作言论证据。430.74–455.48 秒涉及的感知阈值未验证。未把 0.5–1 厘米手指高度改成身体处方。
53与59秒图示分别突出全和弦与顶声部；86秒是先接触的文字说明；120秒双音阶段；155秒有手形高度标注；450秒涉及小起音差异。
PC-022 · 明确前一键相对后一音何时松开
第22天：隨心所欲地控制圓滑程度
PC-HANDBOOK · 实体页26／印刷页25。
B2-022-S1 · T2 · 81.44–144.22 s · 静帧: 88, 117, 130 s
作者用自己定义的“圆滑指数”——一段时间内按住键数量的平均值——说明间隔与重叠。画面数值只属于该示范，不是本卡或用户钢琴的测量值。
时间为视频起点后的秒数；ASR 边界近似。手册页用于主题上下文，所选字幕／图示用于归属核对。
B2-022-S2 · T2 · 273.26–374.58 s · 静帧: 286, 331, 365 s
作者分辨在下一音之前、同时、之后松开前音的连接程度。所选字幕与手册支持分类；单帧读数不能验证一整段的指数或听感。
时间为视频起点后的秒数；ASR 边界近似。手册页用于主题上下文，所选字幕／图示用于归属核对。
先懂的词
空隙＝前键已松、后音尚未弹；交接＝前键在后音起音时松；重叠＝后音起音后前键仍短暂持住。这里说的是持键关系，不等同于房间里所有声音是否已停止。
先修与独立预备
右手能舒适弹 C4、D4 并数到四拍。A/B 可独立练；只有两键短暂并持舒适时才选 C。若两音任务不便，直接做单音 P；无需软件或指数测量才能开始。
可观察的困扰 O
想连起来时音堆在一起，想分开时却把下一音也弹晚；不清楚问题在起音还是松键。
待验证的可能原因 O
前音的结束可能没有独立于后一音起点来计划。先固定起音位置，可以使比较目标更明确，但效果未验证。
小剂量设置 O
右手可试 C4 用 1 指、D4 用 2 指；左手全小节休息，踏板全放。4/4，四分音符一拍。先选 A、B 各一次，之间休息一小节；C 是可选的第三次比较，不是必须完成的等级。
原创逐拍版本 O
A
C4 第1拍弹，第2拍松；第2拍整拍无键按住。D4 固定第3拍弹，第4拍松；第4拍双手休息。
B
C4 第1拍弹，持到第3拍 D4 起音时松开 C4；D4 第4拍松，第4拍双手休息。D4 的起音不可因前键松开而延迟。
C
可选重叠：C4 第1拍弹；D4 仍第3拍弹；C4 到 3-& 才松，两键只在第3拍前半并持。D4 第4拍松，第4拍双手休息。
P
单音预备：C4 第1拍弹，第2拍松，第2–4拍双手休息；不弹 D4。这只练明确结束，不测试连接程度。
听与看 O
先看 C4 在第2拍、第3拍或 3-& 的释放是否符合所选版，D4 是否始终第3拍弹、第4拍松。再听空隙或重叠的差异。原声余响与持键不同，不能用听感反推精确指数。
复测 O
休息一小节后再弹 A 或 B 一次，沿用该版的全部释放时点，确认第4拍没有任何键仍按住。若 C 不舒适，直接省略，不以增加跨度或固定姿势换取重叠。
回到曲目 O
在已有曲谱只挑一处相邻两音，先读清连线、断奏、声部和时值，再决定适合的释放关系。使用原曲音高和节奏；本卡夸大的空隙、半拍重叠只是比较材料，不是演奏所有曲目的比例。
本卡边界
本卡未复刻作者六档练习，也未检验指数软件或画面传感精度。286 秒画面上的瞬时数字不能代表整个示范的平均值。
转写与静帧边界
第47段（172.22–176.82 秒）与100段（398.58–403.08 秒）的域名转写错误已隔离，不访问或传播这些地址。286 秒单帧读数不是整段平均值；未验证软件、传感精度或听感。
88秒定义指数；117/130秒显示数值；286/331/365秒的字幕与读数涉及不同连接。数值是画面内容，不能当作用户原声钢琴实测值或连续平均的验证。
PC-024 · 同时开始，分别结束
第24天：兩隻手的協調練習
PC-HANDBOOK · 实体页28／印刷页27。
B2-024-S1 · T2 · 162.18–213.18 s · 静帧: 174, 177 s
作者的桌面练习要求两手一起落下，再让一手离开、另一手留下，并交换角色。静帧支持任务说明，不能证明协调过程。
时间为视频起点后的秒数；ASR 边界近似。手册页用于主题上下文，所选字幕／图示用于归属核对。
B2-024-S2 · T2 · 224.18–277.62 s · 静帧: 264, 274 s
作者把两手不同连接或断开方式延伸到键盘上的组合。本卡选取其中“不同结束时点”的问题，另写简单音高与节奏，不重建来源练习。
时间为视频起点后的秒数；ASR 边界近似。手册页用于主题上下文，所选字幕／图示用于归属核对。
先懂的词
这里每只手各构成一个声部。独立释放指一只手的键回升时，另一只手的原音按计划继续持住；不是把另一手按得更重，也不是整条旋律已具备独立性。
先修与独立预备
先能各手单独舒适弹一个键；C3 是 C4 左边低一个八度的 C，不要求同一只手跨八度。座位、手臂摆放需自然可及。可直接用单手 P-L/P-R；不要求先能双手协调。
可观察的困扰 O
两手能一起开始，但一只手该结束时另一只手也跟着松开，或本应结束的一手一直拖住。
待验证的可能原因 O
两手可能共享了同一个结束提示，尚未分别关联到第2拍和第3拍。
小剂量设置 O
左手 C3、右手 C4，各可试 3 指或其他舒适手指；踏板全放。4/4，四分音符一拍。A 一次，休息一小节后 B 一次；维持普通舒适响度，不额外增加强弱对比任务。
原创逐拍版本 O
A
第1拍两手同时起音；第2拍只松左手 C3，右手 C4 继续持到第3拍才松。第3–4拍双手休息；左手第2–4拍都不再弹或持键。
B
第1拍两手同时起音；第2拍只松右手 C4，左手 C3 持到第3拍才松。第3–4拍双手休息；右手第2–4拍都不再弹或持键。
P-L
左手单独：C3 第1拍弹、第2拍松，第2–4拍休息；右手整小节休息。这只预备 A 的左手短声部。
P-R
右手单独：C4 第1拍弹、第3拍松，第3–4拍休息；左手整小节休息。这只预备 A 的右手长声部。
听与看 O
第2拍看短声部的键确实回升，长声部的键继续留住；第3拍只让长声部的键回升；短声部的键保持松开，此时两键都已回升。听短声部结束后是否仍有长声部，但把房间余响与仍持键分开判断。不要用压住或僵住整条手臂来留长音。
复测 O
先默选 A 或 B，休息一小节再做所选版一次：短声部第2拍松，长声部第3拍松，第3–4拍双手休息。若手间互相带动，下一次只做 P-L 与 P-R 各一次，中间休息一小节，结果只记作单手预备。
回到曲目 O
在已知曲谱找一处一声部结束、另一声部持续的地方，先逐声部标出真实松键时点，再合两手，最后接前后片段。遵守曲谱声部与踏板要求；本卡不要求把所有乐段都做成一手长一手短。
本卡边界
单手预备成功不代表双手独立性已建立；短练习成功也不证明整段曲目或长期迁移。本卡没有听校两手音色或连续观察协调动作。
转写与静帧边界
第43段（144.18–162.18 秒）的乐器标签已有隔离；第82段（340.58–342.58 秒）疑似署名套话也不用作证据。未听校，故不把这些候选误差称为已证实幻觉。
30/34秒文字涉及一手有声一手无声的桌面任务；174/177秒一手离开另一手留住；264/274秒两手不同连接。只核对任务说明，未观察连续协调。
PianoClinic group 2: six original micro-practice cards
These derived teaching cards have independent review and deduplicated integration. Integration checked card meanings, source identities and numbers without rereading every transcript or observing original media. Physical suitability, actual sound, retention, transfer and learner efficacy remain unverified.
T2 = the ASR intention is supported by explicit handbook content or selected-frame text/diagrams; this supports attribution to the author only. T1 = mainly unverified ASR, with the handbook supporting only a broader topic. Neither proves correctness, universality or efficacy. O = original drills and decision procedures in this report, unvalidated.
Choose one card at a time and check prerequisites first. All possible causes, microdrills, observations, retests and reintegration procedures are O, not Wiwi quotations. Try small, comfortable, controlled doses; proposed finger numbers are replaceable options. Stop for pain, numbness or worsening discomfort; do not pass a task through force or stretching.
C4 is middle C (Do). On a standard 88-key piano, count the leftmost A0 as key 1 and include both black and white keys: C4 is key 40. It is the white key immediately to the left of the two-black-key group near the middle, not the keyboard’s geometric center. D4 is the next white key to C4’s right (Re), followed by E4/Mi, F4/Fa and G4/Sol. These are fixed-do syllables, not scale degrees. Octave numbers change at C. RH means right hand; LH means left hand; 1 thumb, 2 index, 3 middle, 4 ring, 5 little finger. Counting “1-and” divides one beat into two equal parts; “1-e-and-a” divides it into four equal parts. The e, &, and a are counting labels, not note names or instructions to accelerate. “Release a key” means let that key rise, not fling the whole hand away. Seconds are relative to video start; ASR boundaries are approximate.
For self-observation at an acoustic piano; no MIDI, microphone, recording, singing or new equipment is required. Count silently; an existing metronome is optional. Pitches or edition details for an unspecified piece are not invented.
Source entries paraphrase selected points; qualifications such as “not generalized,” “not established,” and “not prescribed” are this review’s judgments, not verbatim statements by the author. All following exercise procedures are original.
This group covers six lessons: PC-010, PC-011, PC-013, PC-016, PC-022, PC-024. English lesson titles are working translations; these original cards do not replace the paid course.
All 591 segments in six existing preferred ASR files were read. Thirty-six timestamped stills with 36 distinct image SHA-256 hashes and the full prose and page images of six handbook pages were checked. SHA-256 identities of the six videos and handbook were verified. Source videos total 2269.989 seconds (37:49.989), which is source duration, not watched or heard duration. Relevant score annotations and layout were inspected, not every note on the pages.
All six lessons already had full-ASR-text reading and selected-still records. This group is an independent rereview, adding0 first-complete transcript readings. A handbook page absent from an older itemized record does not establish that it was never read.
Actual audio auditions: 0; continuous-movement observations: 0; full audiovisual lesson reviews: 0. Word-for-word ASR accuracy, demonstrated sound, movement mechanisms, physical suitability, learner outcomes, retention and transfer remain unverified.
A rest for a voice requires releasing its preceding held note at that note’s scheduled endpoint, then making no attack or holding any key in that voice during the rest. It is not merely a ban on new attacks. Other voices may continue for their own durations. Room or pedal resonance does not prove continued finger holding; all drills here use no pedal.
Every version is a four-beat bar with a quarter-note beat. Choose a comfortable slow tempo that allows even counting; no BPM is prescribed. All intervals use that same beat duration. JSON uses offsets from the bar’s start: 0 = beat 1, 1 = beat 2, 2 = beat 3, 3 = beat 4, 4 = bar end. Held intervals include attack and exclude release. A full rest bar means neither hand holds or attacks a key for all four beats.
Note events · Provenance and coverage
PC-010 · Check connection separately from the second note’s ending
Day 10: Executing a slurred pair with a detached ending
PC-HANDBOOK · physical page14/printed page13.
B2-010-S1 · T2 · 13.3–59.0 s · stills: 52 s
The author describes a two-note slur with a short second note, usually giving more prominence to the first and less to the second. This is not a universal accent rule.
Times are seconds from video start; ASR boundaries are approximate. The handbook page provides topic context; selected captions/diagrams support attribution.
B2-010-S2 · T2 · 221.2–241.62 s · stills: 222, 232, 238 s
The author places the second attack during the upward action and warns against a further push at the key bottom to leave the keys. Selected captions support this attribution, not the movement trajectory or sound result.
Times are seconds from video start; ASR boundaries are approximate. The handbook page provides topic context; selected captions/diagrams support attribution.
Terms
A slur marks grouping or connection. Here a two-note slurred pair connects the first note to a shorter second note. Lighter means relatively quieter; shorter means an earlier end to holding the key. These are separate dimensions.
Prerequisites and independent preparation
First be able to play C4 and D4 separately and let each key rise comfortably. If the pair is awkward, use preparation P directly; the pair is not a gate to single-note practice.
Observable difficulty O
The second note becomes an unintended accent, or shortening it also breaks the connection before it.
Possible cause O
The transition to the second note and its release may not have separate plans. This is a task hypothesis, not a physical diagnosis.
Small-dose setup O
RH C4→D4, optionally fingers 1→2 or another comfortable choice. LH rests for the entire bar; all pedals remain up. Each version is one bar of 4/4 with a quarter-note beat, slow enough to count evenly in half beats. Play A once, then B once, with a full bar of rest between attempts; these are practice repetitions.
Original beat-by-beat versions O
A
Play C4 on beat 1; release it as D4 begins on beat 2. Release D4 on 2-and. Hold no key for the remainder of beat 2 or beats 3–4. Initially aim for similarly comfortable loudness.
B
Keep A’s pitches, attacks and releases exactly; try D4 slightly quieter than C4 without making C4 forcefully louder.
P
Single-note preparation: RH C4 on beat 1, release on beat 2, and rest both hands for beats 2–4. This checks release only, not two-note connection.
Listen and observe O
Listen for an unintended gap or an accented D4. Observe whether C4 rises as D4 begins and D4 rises on 2-and. Room resonance can continue after release, so lingering sound alone does not show a held key. Do not prescribe wrist height or fling the hand to match an image.
Retest O
After one bar of rest, play B once with the same count and releases. Compare the second note’s loudness and the connection without speeding up. If attention is overloaded, use A next; if still uncomfortable, use P once.
Return to a piece O
Choose a known score’s pair with the relevant slur and detached ending. Identify its actual pitches, hand and durations before isolating it. Preserve the score and phrase requirements; do not impose C4–D4 or a lighter second note everywhere. Then reconnect a short passage on each side.
Limits
The original drill does not reconstruct the source example or validate its wrist method. The demonstration has not been auditioned or observed in continuous motion.
ASR and still-image boundaries
Segment 86 (327.82–329.82 s) was read, but its end exceeds the 327.914 s media duration. Suspected stock closing text is excluded as teaching evidence; raw ASR was not changed.
52 s shows the slur and detached ending; 110/118 s show postures; captions at 222/232/238 s support the second-note ending and counterexample explanation. Stills establish neither sound nor movement trajectories.
PC-011 · Decide the final note’s endpoint before playing the group
Day 11: Playing rapid notes comfortably and evenly
PC-HANDBOOK · physical page15/printed page14.
B2-011-S1 · T2 · 95.0–114.0 s · stills: 96, 100, 110 s
The author distinguishes leaving the key for a short final note from retaining it for a long one; selected captions explicitly show the two endings.
Times are seconds from video start; ASR boundaries are approximate. The handbook page provides topic context; selected captions/diagrams support attribution.
B2-011-S2 · T2 · 231.0–264.5 s · stills: 254 s
The author connects a rolling action through the group with release of the preceding finger. Text supports the explanation’s attribution, not a mechanical mechanism or actual evenness.
Times are seconds from video start; ASR boundaries are approximate. The handbook page provides topic context; selected captions/diagrams support attribution.
Terms
A group here contains three successive notes. A long or short ending changes only the final key’s holding duration, not the attack spacing. This slow endpoint task does not establish rapid-playing ability.
Prerequisites and independent preparation
Be comfortable with C4, D4 and E4 and an even half-beat count. If three notes are too much, use final-note preparation P-A or P-B directly; completing the group is not required first.
Observable difficulty O
The three pitches are correct, but the final note is unpredictably cut short or prolonged, and earlier keys may remain held.
Possible cause O
Attention may follow attacks without separately tracking release of preceding keys and the final endpoint.
Small-dose setup O
RH C4–D4–E4, optionally 1–2–3; LH rests throughout and all pedals are up. Use 4/4 with a quarter-note beat. Play one bar of A and one of B once each, separated by a bar of rest, at the same slow tempo and comfortable loudness.
Original beat-by-beat versions O
A
C4 begins on beat 1 and releases on 1-and as D4 begins. Release D4 on beat 2 as E4 begins. Release E4 on 2-and; both hands rest from 2-and through the bar’s end.
B
C4 and D4 retain A’s attacks and releases. E4 still begins on beat 2 but releases on beat 3. Both hands rest for beats 3–4. A longer ending does not require extra downward pressure.
P-A
Only RH E4: rest on beat 1, play on beat 2, release on 2-and, then rest through beat 4; LH rests throughout.
P-B
Only RH E4: rest on beat 1, play on beat 2, release on beat 3, and rest for beats 3–4; LH rests throughout.
Listen and observe O
Observe whether C4 and D4 rise at the following attacks and whether E4 ends at the chosen point. Listen for the ending-duration difference while checking that B’s attack spacing has not slowed. Natural sound decay does not mean the key has been released.
Retest O
Silently choose short or long, rest a bar, then play that version once and check its specified releases. If unsuccessful, try the corresponding P-A or P-B once next; success on the final note alone is not success on the group.
Return to a piece O
Choose a short group in a known score and identify whether its final note continues into the next note or ends. This card’s two endpoints are comparison tools; use the actual score durations when reconnecting the following beat or rest, still slowly.
Limits
No fixed rolling amplitude is prescribed. The still at 170 seconds contains a crossfade ghost image and cannot establish hand count or motion. No speed improvement is claimed.
ASR and still-image boundaries
Segment 94 (386.36–388.36 s), suspected stock subtitle-credit text, was read but excluded as teaching evidence. The selected 170 s still contains a crossfade ghost image.
Captions at 96/100 versus 110 s distinguish short and long endings; 170 s contains a crossfade; 254 s mentions earlier-finger release; 284 s shows a static tabletop hand position.
PC-013 · Compare detached durations without aiming for the shortest possible note
Day 13: A method for steady, comfortable staccato
PC-HANDBOOK · physical page17/printed page16.
B2-013-S1 · T2 · 204.88–239.72 s · stills: 218, 226 s
The author says basic staccato need not be as short as possible and should vary with musical needs. Selected captions and handbook text support this point.
Times are seconds from video start; ASR boundaries are approximate. The handbook page provides topic context; selected captions/diagrams support attribution.
B2-013-S2 · T2 · 240.44–278.2 s · stills: 250, 256 s
The author distinguishes actively lifting from pushing into the key bottom and rebounding. This report records the distinction without adopting unverified injury-causation claims.
Times are seconds from video start; ASR boundaries are approximate. The handbook page provides topic context; selected captions/diagrams support attribution.
Terms
Staccato/detached playing separates notes; shorter is not automatically more correct. This card fixes attack times and changes key-holding duration. 1-a is the last of four equal subdivisions of beat 1, three quarters of a beat after its start.
Prerequisites and independent preparation
Comfortably play RH C4 and divide a beat into two equal parts. B additionally requires four equal subdivisions; if these are unfamiliar, use A or P alone. A does not depend on B.
Observable difficulty O
Trying to play shorter leads to rushed attacks, unintended accents, or an unclear release point.
Possible cause O
“Short” may be an action slogan without a countable duration target, and attacks and releases may be coupled unintentionally.
Small-dose setup O
RH uses only C4, optionally finger 3; LH rests and all pedals stay up. In 4/4 with a quarter-note beat, play A once at an evenly countable slow tempo. If quarter-beat subdivisions are easy, rest one bar and play B once. Keep the same intended loudness.
Original beat-by-beat versions O
A
Play C4 on beat 1, release on 1-and; play it again on beat 3, release on 3-and. Rest after each release until the next attack; hold no key throughout beats 2 and 4.
B
C4 still begins on beats 1 and 3 but releases on 1-a and 3-a, each held for three quarters of a beat. No keys are held otherwise; beats 2 and 4 remain full rests. Do not make longer mean louder.
P
Single-attack preparation: C4 on beat 1, release on 1-and; both hands rest from 1-and through the bar’s end. Omit the beat-3 repetition.
Listen and observe O
Listen for steady attacks on beats 1 and 3 and a distinguishable duration difference between A and B. Observe key rise at the specified subdivision. Do not use greater arm height, impact or a quick hand fling to prove staccato.
Retest O
After one bar of rest, repeat the chosen version once. If counting is unstable, use P once and check only the release on 1-and. Note distinguishable/indistinguishable/uncertain and comfort; shorter is not the pass criterion.
Return to a piece O
Choose two detached notes in a known score, preserve their written attack rhythm, then compare two comfortable ending lengths. Return to the passage and listen to the phrase; do not impose this drill’s half-beat or three-quarter-beat proportions on the piece.
Limits
The source’s fixed height or key-bottom force suggestions are not prescribed. Stills do not establish the actual process of lifting, rebounding, stability or key travel.
ASR and still-image boundaries
The opening music label in segment 0 (0–5 s) is not author speech. Zero automatic quarantine items do not establish accuracy. Text in the 210 s still is in a blurred transition and is not strong evidence for that sentence.
38 s shows an isolated staccato demonstration frame; 210 s is transition-blurred; captions at 218/226 s discuss not minimizing length; 250/256 s distinguish lifting from push-and-rebound.
PC-016 · Choose a foreground within two notes that begin together
Day 16: Shaping the balance of a chord
PC-HANDBOOK · physical page20/printed page19.
B2-016-S1 · T2 · 51.88–74.78 s · stills: 53, 59 s
The author compares a chord with similarly prominent notes against one emphasizing its top note, with uses for both. A top-note melody is the demonstration’s context, not a rule for every chord.
Times are seconds from video start; ASR boundaries are approximate. The handbook page provides topic context; selected captions/diagrams support attribution.
B2-016-S2 · T2 · 114.28–196.86 s · stills: 120, 155 s
The author starts with two RH notes, selecting one to emphasize before adding more notes. The finger-height arrangement is the author’s proposed method; this card prescribes no height.
Times are seconds from video start; ASR boundaries are approximate. The handbook page provides topic context; selected captions/diagrams support attribution.
Terms
A chord here contains notes played together; voicing/balance means their relative prominence. The melody is not always the highest note. “Together” is an intended attack and a listening check here, not a millisecond measurement.
Prerequisites and independent preparation
First play C4 and E4 separately with comfort. Use A/B only if depressing and releasing both together is comfortable. RH fingers 1 and 3 are options, not a fixed fingering or required span. Otherwise use melody-only P directly; it does not test chord balance.
Observable difficulty O
The chosen melody note is unclear in the pair, or trying to emphasize it turns the pair into successive attacks.
Possible cause O
Relative loudness and attack timing may not yet be separate targets, or the simultaneous task may exceed the current comfortable range.
Small-dose setup O
Use 4/4 with a quarter-note beat; RH C4 and E4, LH resting throughout, all pedals up. Play A once and B once, with one bar of rest between. Keep comfortable loudness throughout; do not obtain prominence through greater force.
Original beat-by-beat versions O
A
Play C4 and E4 together on beat 1, aiming for similar prominence. Release both on beat 2; both hands rest for beats 2–4.
B
Keep A’s pitches, attacks and releases. Imagine E4 in the foreground and try making C4 quieter so E4 is clearer, rather than pressing E4 forcefully. Release both together on beat 2; rest for beats 2–4.
P
Melody-only preparation: RH E4 alone on beat 1, release on beat 2. Do not play C4; LH rests throughout and both hands rest for beats 2–4.
Listen and observe O
First listen for a clearer E4, then for an audible split between attacks; judge one target per attempt. Check visually that both keys rise on beat 2. Record uncertainty when unclear, without compensating through exaggerated finger lifting, wrist twisting or hand stretching.
Retest O
After one bar of rest, repeat B once only if comfortable: release both on beat 2 and rest for beats 2–4. If uncomfortable or overloaded, play P once and record melody preparation, not a passed chord test.
Return to a piece O
Identify the actual melody in a known score; it may be in an upper, middle or lower voice. Select one comfortably reachable chord, hear its melody note alone, then restore the chord and surrounding passage. Leave fingering flexible and do not require every top note to be loudest.
Limits
The source’s late claim about small attack differences being hard to perceive is unverified; no universal 50-millisecond threshold is adopted. Synchrony, voice loudness and physical suitability have not been measured.
ASR and still-image boundaries
Segments 14–17 (40.84–51.88 s) were already quarantined for repeated/broken text. Segment 95 (364.52–382.58 s), a dash, is not speech evidence. The perceptual-threshold claim around 430.74–455.48 s is unverified. A 0.5–1 cm finger-height suggestion is not made into a physical prescription.
Diagrams at 53 and 59 s emphasize the whole chord and top voice respectively; 86 s describes earlier contact; 120 s shows the two-note stage; 155 s annotates hand/finger height; 450 s discusses small attack differences.
PC-022 · Locate the earlier key’s release relative to the next attack
Day 22: Controlling degrees of connection
PC-HANDBOOK · physical page26/printed page25.
B2-022-S1 · T2 · 81.44–144.22 s · stills: 88, 117, 130 s
The author introduces a “legato index,” the time-average number of depressed keys, to illustrate gaps and overlaps. Displayed numbers belong to that demonstration, not measurements of this card or the user’s piano.
Times are seconds from video start; ASR boundaries are approximate. The handbook page provides topic context; selected captions/diagrams support attribution.
B2-022-S2 · T2 · 273.26–374.58 s · stills: 286, 331, 365 s
The author distinguishes releasing the earlier note before, at, or after the next attack. Selected captions and the handbook support the categories; a single-frame readout cannot verify a passage-wide index or its sound.
Times are seconds from video start; ASR boundaries are approximate. The handbook page provides topic context; selected captions/diagrams support attribution.
Terms
Gap: the earlier key is released before the next attack. Exchange: it releases at the next attack. Overlap: it remains briefly held after the next attack. These describe key holding, not whether every sound in the room has stopped.
Prerequisites and independent preparation
Comfortably play RH C4 and D4 and count four beats. A/B are independently available; choose C only if brief simultaneous holding is comfortable. If the pair is awkward, use P directly. No software or index measurement is needed.
Observable difficulty O
Attempted connection accumulates notes, while attempted separation delays the next attack; it is unclear whether attacks or releases changed.
Possible cause O
The earlier note’s endpoint may not be planned independently of the later attack. Fixing attacks can clarify the comparison target, but efficacy is untested.
Small-dose setup O
Optionally use RH 1 for C4 and 2 for D4; LH rests throughout and all pedals remain up. Use 4/4 with a quarter-note beat. Try A and B once each with one bar of rest between. C is an optional third comparison, not a required level.
Original beat-by-beat versions O
A
Play C4 on beat 1 and release on beat 2, leaving all of beat 2 with no held key. D4 begins on beat 3 and releases on beat 4; both hands rest for beat 4.
B
Play C4 on beat 1 and hold until D4 begins on beat 3, releasing C4 at that attack. Release D4 on beat 4; both hands rest for beat 4. Do not delay D4 to accommodate the release.
C
Optional overlap: C4 on beat 1; D4 still on beat 3; release C4 on 3-and, so both keys are held only during the first half of beat 3. Release D4 on beat 4; both hands rest for beat 4.
P
Single-note preparation: C4 on beat 1, release on beat 2, and rest both hands for beats 2–4. Omit D4. This practices an explicit endpoint, not degree of connection.
Listen and observe O
First check C4’s release on beat 2, beat 3 or 3-and for the chosen version, with D4 always starting on beat 3 and releasing on beat 4. Then listen for differences in gap or overlap. Acoustic resonance differs from key holding; listening cannot recover an exact index.
Retest O
After a bar of rest, repeat A or B once with all its original release points, and confirm that no key is held during beat 4. Omit C if uncomfortable; do not increase span or impose a fixed posture to obtain overlap.
Return to a piece O
Choose one adjacent-note transition in a known score. Read the slur, articulation, voice and durations before choosing a release relationship. Use the piece’s actual pitches and rhythm; this card’s conspicuous gap and half-beat overlap are comparison material, not universal performance ratios.
Limits
This card does not reproduce the author’s six-level exercise or validate its software or sensing accuracy. The instantaneous number at 286 seconds does not represent the whole demonstration’s average.
ASR and still-image boundaries
Incorrect domain transcriptions in segments 47 (172.22–176.82 s) and 100 (398.58–403.08 s) were quarantined; those addresses are neither followed nor propagated. The 286 s readout is not a passage average; software, sensor accuracy and sound remain unverified.
88 s defines the index; 117/130 s display values; captions and readouts at 286/331/365 s concern different connections. Numbers are screen content, not measurements of the user’s acoustic piano or validation of a continuous average.
PC-024 · Begin together and end separately
Day 24: Coordination exercises for both hands
PC-HANDBOOK · physical page28/printed page27.
B2-024-S1 · T2 · 162.18–213.18 s · stills: 174, 177 s
The author’s tabletop task has both hands land together, then one leave while the other remains, with roles reversed. Stills support the task description, not the coordination process.
Times are seconds from video start; ASR boundaries are approximate. The handbook page provides topic context; selected captions/diagrams support attribution.
B2-024-S2 · T2 · 224.18–277.62 s · stills: 264, 274 s
The author extends contrasting connection/detachment between hands to keyboard combinations. This card isolates different endpoints and supplies original simple pitches and rhythm rather than reconstructing the source exercise.
Times are seconds from video start; ASR boundaries are approximate. The handbook page provides topic context; selected captions/diagrams support attribution.
Terms
Each hand forms one voice here. Independent release means that one hand’s key rises while the other’s original note remains held as planned. It does not mean pressing the other hand harder or establishing independence across a whole melody.
Prerequisites and independent preparation
First play one key comfortably with each hand separately. C3 is the C one octave below C4 to its left; no single hand spans the octave. Both keys must be comfortably reachable from the seat. Use single-hand P-L/P-R directly if needed; two-hand coordination is not a prerequisite for them.
Observable difficulty O
Both hands begin together, but one hand’s scheduled release pulls the other off too, or the shorter voice remains held.
Possible cause O
The hands may share one ending cue rather than separate cues on beats 2 and 3.
Small-dose setup O
LH C3 and RH C4, each optionally using finger 3 or another comfortable finger; all pedals up. Use 4/4 with a quarter-note beat. Play A once, rest one bar, then B once. Keep ordinary comfortable loudness without adding a loudness-contrast task.
Original beat-by-beat versions O
A
Begin both notes together on beat 1. Release only LH C3 on beat 2; hold RH C4 until its release on beat 3. Both hands rest for beats 3–4; LH neither attacks nor holds a key during beats 2–4.
B
Begin both notes together on beat 1. Release only RH C4 on beat 2; hold LH C3 until its release on beat 3. Both hands rest for beats 3–4; RH neither attacks nor holds a key during beats 2–4.
P-L
LH alone: C3 on beat 1, release on beat 2, rest for beats 2–4; RH rests throughout. This prepares only A’s shorter LH voice.
P-R
RH alone: C4 on beat 1, release on beat 3, rest for beats 3–4; LH rests throughout. This prepares only A’s longer RH voice.
Listen and observe O
On beat 2 observe the shorter voice’s key rise while the longer voice’s key remains down. On beat 3 release only the longer voice’s key; keep the shorter voice’s key released, so both keys are now up. Listen for the continuing voice after the shorter one ends, distinguishing resonance from continued holding. Do not immobilize or press down through the whole arm to retain the longer note.
Retest O
Silently choose A or B, rest a bar, then play that version once: shorter voice releases on beat 2, longer voice on beat 3, both rest on beats 3–4. If the hands pull each other along, next use P-L and P-R once each with a bar of rest between, recording only single-hand preparation.
Return to a piece O
Find one place in a known score where one voice ends while another continues. Mark the actual releases voice by voice, combine hands, then reconnect surrounding material. Respect the score’s voices and pedal requirements; not every passage needs one long hand and one short hand.
Limits
Success in preparation does not establish two-hand independence, and success in the short drill does not prove passage-level or long-term transfer. Neither two-hand sound nor continuous coordination movement was inspected.
ASR and still-image boundaries
The instrument label in segment 43 (144.18–162.18 s) was already quarantined. Segment 82 (340.58–342.58 s), suspected stock credits, is also excluded. Without audition, these candidates are not called confirmed hallucinations.
Text at 30/34 s concerns audible versus silent tabletop hands; 174/177 s concerns one leaving while the other remains; 264/274 s contrasts hand connections. Task descriptions were checked, not continuous coordination.