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3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。
“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。
选择 P 时直接按 P 完成，无须先做 A/B。第二／第三音、白黑键转换、换指或响度比较只适用于相应 A/B。P 只检查自身规定的起音和释放；PC-006 P 只记录均匀计数及全小节不触键，不记作弹奏验证。若复测 P，休息一小节后仅重复 P 一次，不自动转入 A/B；所有版本仍以舒适及停止条件为前提。
本组六课：PC-001、PC-002、PC-004、PC-006、PC-007、PC-008。英文课名为工作译名；这些原创卡片不替代付费课程。
读完六份现有首选 ASR 共 960 段；检查 36 个指定时间点静帧（36 个不同图像 SHA-256）和六页对应手册完整文字及页面图像；核验六个视频和手册 SHA-256。来源视频合计 2888.464 秒（48:08.464），是来源时长，不是已观看或已听的时长。仅检查谱例相关标注与布局，未逐音校订整页；PC-006 对应手册页无谱例。
选课时另读手册实体页 7、9、13 的完整文字（PC-003、005、009）；不计入本包六课 ASR、静帧或卡片覆盖。连同六页对应文字，本次实际读手册文字 9 页、看手册页面图像 6 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、力学／身体机制、个人身体适合性、学习效果、长期保持或迁移。
本包保留作者的选题与明确限定，原创练习只检验可数、可听或可见的任务结果；不要求重现腕波、旋转、固定高度、重量、手形或关节变形。没有发声的预备只算计数／计划，不能算身体或演奏验证。
逐音数据 · 来源与覆盖
PC-001 · 在同一琴键上比较两次起音
第1天：音量穩定、每一隻手指都有力的彈法
PC-HANDBOOK · 实体页5／印刷页4。
B3-001-S1 · T2 · 245.52–268.68 s · 静帧: 250 s
作者用手掌、手腕及部分前臂参与按键，并在音后恢复高度，解释“一音一波”。这是作者的教法解释，静帧文字不能验证其力学、健康或音量效果。
时间为视频起点后的秒数，ASR 边界近似；手册页作上下文，所选文字／图示支持相应等级的归属核对。
B3-001-S2 · T2 · 659.06–673.18 s · 静帧: 666 s
作者明确补充：不是完全不动个别手指，而是不只靠个别手指。这个限定避免把该方法误解为固定住手指。
时间为视频起点后的秒数，ASR 边界近似；手册页作上下文，所选文字／图示支持相应等级的归属核对。
先懂的词
起音是一次新发声的开始；持键是让已按下的键保持，释放是让它回升。“一音一波”是作者的动作教学名称，不是本卡要求复制的波形或固定腕高。相近响度指耳朵听到的接近程度，不是手指力量相等。
先修与独立预备
先找到 C4，并能用一根舒适手指单独弹后松键。A 可直接用同一手指；只有 2、3 指都舒适时才选 B。单次预备 P 独立可用，不要求先比较两指。
可观察的困扰 O
重复同一音时忽大忽小，或一换手指就只想着“这个手指不够有力”。
待验证的可能原因 O
可能把响度结果、具体手指和身体用力混成一个问题；先固定琴键与节奏，能让比较对象更清楚，但不能诊断力量差异。
小剂量设置 O
右手 C4，左手整小节休息，踏板全放。4/4，四分音符一拍，选能稳定数拍的慢速。先 A 一次；想比较两指且舒适时，休息一小节再 B 一次。每次都以普通舒适的相近响度为目标。
原创逐拍版本 O
A
右手用同一根舒适手指：C4 第1拍弹、第2拍松；第3拍再弹、第4拍松。第2、4拍整拍双手休息。
B
时点与 A 相同；第1拍可用右手 2 指，第2拍松；在休息的第2拍换到舒适的 3 指，第3拍弹同一个 C4，第4拍松。第2、4拍均无键按住；不要在持键时换指。
P
只弹一次：右手任一舒适手指 C4 第1拍弹、第2拍松；双手第2–4拍休息。它不测试不同手指的比较。
听与看 O
以下发声检查只用于 A/B：先听两次起音是否相近，再检查两次是否都按时松键。响度不一致时记录“第一次较响／第二次较响／不确定”，不据此判定某指无力。不要刻意抬高其他手指、压住手腕或追求重量数值。 P 只检查自身第1拍起音、第2拍释放、第2–4拍休息，不检查多音、换指、方向或响度比较。
复测 O
休息一小节后，直接重复先前选定且仍舒适的 A、B 或 P 一次，不自动升级。A/B 保留原来的两次起音及第2、4拍释放；B 保留相同两指，不同时加速。P 仍只有第1拍 C4 起音、第2拍释放、第2–4拍休息，不比较两指或两次响度。若不舒适，改选舒适的 P 或停止。
回到曲目 O
在熟悉曲谱选两个相邻、没有要求明显强弱差异的音，先指出实际音高、节奏与可用指法。慢速检查起音平衡，再接回短片段；作品要求的重音或渐变优先，不要求所有音一样响。
本卡边界
这是原创响度比较任务，不是作者动作的复现。未核验重量、固定高度、受伤因果或“每指同样灵活”等说法；未试听示范或观察连续动作。
转写与静帧边界
末段 240（703.18–705.18 秒）疑似片尾署名，不作教学证据。多处琴键／曲名等 ASR 词误及长时间段不作精确动作定位。300 秒帧含叠化，660 秒字幕处于淡入；归属核对用清楚的 250、666 秒文字。重量、固定高度和身体效果均未验证。
250秒文字说明作者的方法；300秒叠化；304/308秒仅见不同手部位置；660秒字幕淡入，666秒清楚显示手指仍可动作的限定。
PC-002 · 先读清连续上行与折返的音高路线
第2天：同邊和反邊的概念
PC-HANDBOOK · 实体页6／印刷页5。
B3-002-S1 · T2 · 94.8–121.44 s · 静帧: 116 s
作者将下一音相对前一音的方向与旋转准备联系起来，区分转向另一边和连续同边。本卡采用其“先分清方向”的问题，不把动作解释当成普适规则。
时间为视频起点后的秒数，ASR 边界近似；手册页作上下文，所选文字／图示支持相应等级的归属核对。
B3-002-S2 · T1 · 248.68–263.64 s · 静帧: 254 s
作者补充，即使主要用旋转解释，手指仍有小动作；完全不动手指会使其示范需要更大角度。这一限定主要依赖未听校 ASR，所选字幕只支持较广的旋转主题。
时间为视频起点后的秒数，ASR 边界近似；手册页作上下文，所选文字／图示支持相应等级的归属核对。
先懂的词
上行＝音高升高，在这里向键盘右侧；下行＝音高降低，向左侧。三个音有两个方向关系：C4→D4→E4 是右、右；C4→D4→C4 是右、左。本卡只先辨音高路线，不从它推定某个前臂角度。
先修与独立预备
能分别找到 C4、D4、E4，并舒适地单独弹出。只会 C4 时可直接做 P；能做 A 不代表必须做 B。这里不要求练前臂旋转或撑开手掌。
可观察的困扰 O
音型前两个音熟悉，第三个音转向时却犹豫，或继续向右弹成了错误音。
待验证的可能原因 O
可能记住了“连续弹三个音”，却没有先辨认第二次移动继续还是折返；这是读图和计划假设，不是旋转不足的诊断。
小剂量设置 O
右手，左手整小节休息，踏板全放。4/4，四分音符一拍；先默读路线再弹。A 可试 1–2–3，B 可试 1–2–1，均可换成舒适指法。每版一次，之间休息一小节；数半拍时速度不变。
原创逐拍版本 O
A
C4 第1拍弹、1-& 松；D4 第2拍弹、2-& 松；E4 第3拍弹、3-& 松。每个后半拍及第4拍双手休息。路线是右、右。
B
C4 第1拍弹、1-& 松；D4 第2拍弹、2-& 松；C4 第3拍弹、3-& 松。每个后半拍及第4拍双手休息。路线是右、左；第三音回到原来的 C4。
P
单音预备：右手 C4 第1拍弹、第2拍松；第2–4拍双手休息。这只检查找键与结束，不验证三音方向。
听与看 O
以下发声检查只用于 A/B：看第三音是否到对的键，听三个起音是否仍落在第1、2、3拍。方向对但节奏乱时，把两个结果分开记录；不通过夸张转臂来修正读音错误。 P 只检查自身第1拍起音、第2拍释放、第2–4拍休息，不检查多音、换指、方向或响度比较。
复测 O
休息一小节后，若选 A/B，先说出或默想该版两个方向，再弹一次，保持原来的半拍释放与第4拍休息。若选 P，直接仅弹第1拍 C4、第2拍松、第2–4拍休息一次，无须尝试 A/B，也不检查第三音。方向不清可只看路线而不按键。所有选项仍须舒适，否则停止。
回到曲目 O
从已有曲谱取三个连续音，写清“升／降／同音”两个关系，再用实际音高和节奏慢弹，随后接前后各一小段。先辨路线不能替代作品的指法、连线和声部要求。
本卡边界
这张卡没有验证旋转必然产生某种声音或速度优势，也不把“一、五指没有例外”等来源绝对表述推广到所有人。
转写与静帧边界
末段 105（416.78–418.78 秒）疑似片尾署名，已读但不用作证据；唱名误写不拿来重建来源旋律。“一、五指没有例外”的绝对说法不推广。关于手指仍有小幅动作的限定只达 T1；静帧未证明这些动作实际发生。
104秒俯视旋转主题，116秒文字分同边／反边，192秒标示1、3指交替；254秒标题涉及C–E与E–G；300/306秒字幕说明反向预备。姿势差异不等于动作速度或因果证据。
PC-004 · 在休息拍里先找到下一颗白键或黑键
第4天：避免橫向扭手腕的方法
PC-HANDBOOK · 实体页8／印刷页7。
B3-004-S1 · T2 · 71.64–146.08 s · 静帧: 74, 136 s
作者提醒白键不只外侧能弹，并在练习说明中强调手指落点没有绝对统一位置，应考虑个人舒适度。本报告不据此断言任何钢琴内侧阻力都容易。
时间为视频起点后的秒数，ASR 边界近似；手册页作上下文，所选文字／图示支持相应等级的归属核对。
B3-004-S2 · T2 · 186.16–229.7 s · 静帧: 190, 216 s
在含拇指黑键的片段中，作者建议提前知道接下来要去哪里，并在前面的音中准备位置。本卡另写一个带休息的找键任务，不复制该曲或固定指法。
时间为视频起点后的秒数，ASR 边界近似；手册页作上下文，所选文字／图示支持相应等级的归属核对。
先懂的词
C♯4（JSON 写 C#4）是 C4 与 D4 之间的黑键，也是中央附近两黑键组的左键；♯表示升高半音。键的内侧指靠近琴身的一端，外侧指靠近弹奏者的一端，不是左／右。
先修与独立预备
先辨认 C4 与 C♯4，各自能舒适单独弹。两键不必同时够到。若黑键不舒适或还找不准，直接用白键预备 P；不要求先通过黑键任务。
可观察的困扰 O
直到要发声时才开始找黑键，结果起音迟到、碰到邻键或为了赶上拍子突然扭手。
待验证的可能原因 O
可能没有把“找下一键”安排在起音之前；先留出完整休息拍，可观察准备时间是否足够，不说明某种腕部动作一定有病因。
小剂量设置 O
右手可先用同一根舒适手指（如 2 指）逐次弹，不练拇指撑入；左手全小节休息，踏板全放。4/4，四分音符一拍。先看清两键，A 一次，休息一小节，再按需要做 B 一次。
原创逐拍版本 O
A
C4 第1拍弹、第2拍松；第2拍不按任何键，舒适地准备 C♯4 的位置；C♯4 第3拍弹、第4拍松，第4拍双手休息。
B
C♯4 第1拍弹、第2拍松；第2拍不按任何键，准备 C4；C4 第3拍弹、第4拍松，第4拍双手休息。反向也保留一整拍准备时间。
P
只用白键：右手 C4 第1拍弹、第2拍松，双手第2–4拍休息；不弹黑键，也不要求向键内侧移动。
听与看 O
以下发声检查只用于 A/B：观察第2拍旧键是否已经松开、下一键是否找对，再听第3拍起音是否准时。若准备时间不够，在下一次开始前选更慢的整段拍速，不能在本次临时拉长第2拍却记为节奏正确。不要滑压、刮擦或强行扭腕。 P 只检查自身第1拍起音、第2拍释放、第2–4拍休息，不检查多音、换指、方向或响度比较。
复测 O
休息一小节后，只重复先前选定且仍舒适的版本一次：A/B 保留第2、4拍释放及整拍休息；P 直接做第1拍 C4、第2拍松、第2–4拍休息，无须先做 A/B。分别记录该版的找键、准时与舒适度。黑键不舒适可直接选 P 或停止；P 不能记作白黑键转换成功。
回到曲目 O
在已有曲谱圈出下一颗黑键，核对真实音名与指法是否可行，先在一处合适断点慢速准备，再恢复原曲节奏。练习中添加的休息属于暂时拆解，回曲时不能随意加进原谱。
本卡边界
未采用来源的键盘支点距离、必然健康判断或跨度扩大方法。位置预备练习不测量关节角度，也不能证明动作效率或伤害风险。
转写与静帧边界
109–111 段（356.72–363.72 秒）有既存重复／对齐疑点；末段 155（496.72–498.72 秒）超过视频 497.556 秒且疑似片尾套话，均不用作教学依据。原始 ASR 不改写。来源曲名／指法只在有关标注处核对，不重建整首谱例。
74秒白键内侧文字，108秒手的位置，136秒舒适落点与无统一位置说明；190秒乐谱箭头提醒后续拇指黑键；216秒手部位置；454秒为“灰色地带”的谱面注释，仅核对相关说明。
PC-006 · 用明确声音与时值检查任务，不给手形打外观分
第6天：手指到底要不要「站好」？
PC-HANDBOOK · 实体页10／印刷页9。
B3-006-S1 · T2 · 104.76–141.0 s · 静帧: 108, 126 s
作者明确区分较直的触键角度与主动把手指卷起来。本报告保留这个概念区分，不把随后关于关节和肌肉的解释当作已核验事实。
时间为视频起点后的秒数，ASR 边界近似；手册页作上下文，所选文字／图示支持相应等级的归属核对。
B3-006-S2 · T2 · 272.24–330.52 s · 静帧: 284, 314 s
作者反对所有情境采用同一种角度，并提醒教学还包括音、节奏和音乐内容，不应只评价手形外观。
时间为视频起点后的秒数，ASR 边界近似；手册页作上下文，所选文字／图示支持相应等级的归属核对。
先懂的词
“站好”在本课暂指较靠近指尖的部位触键；不是统一的弯曲角度或要求把指头卷成爪形。时值是这个音从起音到规定结束的拍数。本卡只改时值，不规定关节外形。
先修与独立预备
右手任一舒适手指能弹并松开 C4 即可；不要求改变手形。A 与 B 可分别选择，不需要先通过另一版。若任何发声尝试都不舒适，可直接选择无触键预备 P，或结束本次尝试。
可观察的困扰 O
一直检查手像不像示范，却忘记音何时该结束；为了“看起来正确”反而不能舒适完成一个音。
待验证的可能原因 O
任务可能只有外观要求，缺少一个可听、可数的成功条件。这里先用明确时值来组织注意力，不评判某个关节形状是否正常。
小剂量设置 O
4/4，四分音符一拍；右手 C4，左手整小节休息，踏板全放。可试 2 或 3 指，确定后同一次比较不换指。选 A 或 B 弹一次，休息一小节；只有舒适且想比较时才弹另一版一次。
原创逐拍版本 O
A
C4 第1拍弹，第2拍松；第2–4拍双手休息。目标是一个清楚起音、持键一拍、按时结束，不评外观。
B
C4 第1拍弹，第3拍松；第3–4拍双手休息。持键两拍而不增加响度或故意增加压力；不在第2拍重新弹。
P
无触键预备：两手都不按键，全部踏板放开，均匀默数第1–4拍。默想“第1拍开始，第2拍结束”即可；全小节没有任何持键，不把它记为实际弹奏成功。
听与看 O
以下发声检查只用于 A/B：先听是否只有一次起音；再看所选版是在第2拍还是第3拍松键。自然衰减不是再压一下的信号。若出现不适或不得不强行维持某形状，停止发声尝试；不刻意压塌、过度弯曲或把关节顶直来做实验。 P 只记录均匀计数与全小节双手不触键，不记录起音、释放或演奏验证。
复测 O
休息一小节后，仅重复先前选定且仍舒适的版本一次。A/B 分别记“起音一次／按所选版释放／舒适”，不用外观推断通过。P 只均匀数四拍，全小节双手不触键，不记录起音或演奏通过，也不自动进入 A/B。不适时停止。
回到曲目 O
在熟悉曲谱选一个可舒适完成的单音，明确音名、手别和结束点，再放回前后短句。把注意力轮流放在音与节奏上，不要求每个场景保持一张照片般的手形；身体问题仍需实际观察。
本卡边界
不根据静帧裁定某人关节是否安全，也没有验证第一关节凹陷的风险或肌肉锁定机制。来源 ASR 的“不鼓励故意凹下关节”限定仍保留，不能把本卡读成制造关节变形的许可。
转写与静帧边界
末段 125（344.16–346.16 秒）疑似片尾署名，不用作证据。212.48–217.48 秒 ASR 的“不鼓励故意凹下关节”限定保留；216 秒静帧不是这个限定的完整逐字字幕。未把画面关节外观当成身体诊断。
44秒给暂用定义，108秒区分站好与卷起，126秒展示卷指姿势，216秒给作者的关节观点；284/314秒强调情境和音乐任务。没有从这些图像验证关节机制。
PC-007 · 在下一个起音选择较轻的声音
第7天：要怎麼樣控制力度？
PC-HANDBOOK · 实体页11／印刷页10。
B3-007-S1 · T2 · 47.6–57.4 s · 静帧: 50, 121 s
作者用琴键下行速度解释音量控制，并与按键深度、施压作对比。这是简化教学解释；所选跷跷板图不是完整钢琴机构，也未验证其绝对适用性。
时间为视频起点后的秒数，ASR 边界近似；手册页作上下文，所选文字／图示支持相应等级的归属核对。
B3-007-S2 · T2 · 87.44–100.16 s · 静帧: 90 s
作者反对琴键已经按下后继续向键底施压来改变声音。画面字幕明确支持这个建议归属，但本次没有测量真实琴槌或键底压力。
时间为视频起点后的秒数，ASR 边界近似；手册页作上下文，所选文字／图示支持相应等级的归属核对。
先懂的词
力度在本卡指音乐的强弱／相对响度，不是测量手压了多少力。起音之后的持键时长与起音响度是不同维度。“较轻”只与本次舒适参照音比较，不要求最弱或最大声。
先修与独立预备
能舒适地让 C4 发声并松键。先做参照 A；B 只在普通响度已舒适时尝试。若较轻目标造成漏音或不适，可以直接保留 A 或只做 P，不需要设备读数。
可观察的困扰 O
想弹轻却漏音，或起音不如意后才继续往下压，希望补成更合适的声音。
待验证的可能原因 O
可能把起音时的声音选择和之后的持键混在一起。先固定音高、时值与响度参照，可观察下一次起音的差异；漏音不直接证明技术或钢琴有故障。
小剂量设置 O
右手 C4，用同一根舒适手指（可试 3 指）；左手全小节休息，踏板全放。4/4，四分音符一拍。A 一次，休息一小节，若舒适再 B 一次；全程同一慢速，不设分贝或力度等级分数。
原创逐拍版本 O
A
C4 第1拍以普通舒适响度弹，第2拍松；第3拍以相近响度再弹，第4拍松。第2、4拍双手休息。先建立两次清楚起音的参照。
B
第1拍仍弹参照 C4、第2拍松；第3拍弹同一个 C4，目标比第1拍稍轻但清楚发声，第4拍松。第2、4拍休息；若第3拍漏音，不补压或补弹，按原计划结束本小节。
P
单音预备：C4 第1拍以普通舒适响度弹、第2拍松；双手第2–4拍休息。没有第二音或强弱比较。
听与看 O
A：先确认第1、3拍均有清楚起音，再比较响度是否相近。B：先听第3拍有没有新起音，再判断是否比第1拍轻；漏音与轻音分别记录。A/B 两音各持一拍，第2、4拍松键。P：仅检查第1拍 C4 起音、第2拍松键、第2–4拍休息，不比较响度。所有版本持键时均不追加挤压力，不夸张掉手或敲击键底。
复测 O
休息一小节后，直接复测先前选择且仍舒适的 A 或 P 一次；只有先前确实尝试过 B、仍满足条件、舒适且愿意继续时才复测 B，绝不要求重试不舒适的 B。可直接改选 A/P 或停止。A 检查第1、3拍清楚且响度相近；B 检查第3拍有新起音且较第1拍轻，漏音与轻音分开记录。A/B 仍第2、4拍松键。P 仅第1拍起音、第2拍松、第2–4拍休息，不比较响度。不升级到更极端音量。
回到曲目 O
在熟悉曲谱选一个明确弱奏或声部退后的短片段，先用实际音高确认每个起音，再恢复原节奏与前后文。声部平衡依曲目判断，不能把本卡的“第二音轻”作为所有作品规则。
本卡边界
未采用原课的极端强弱和弦范围、手形／肌肉效率类比或数位钢琴设置。没有测量实际声音、触键速度、机构状态或练习效果。
转写与静帧边界
135–138 段（362.88–370.88 秒）已有重复／文字冲突隔离。364 秒清楚字幕要求不要绷到最紧，与该段 ASR 相反词句不一致；不能据此断言听到的原音。简化机构图、笔和纸的类比以及数位钢琴设置均未验证或转为处方。
50秒是简化跷跷板图；90秒字幕反对按下后的继续施压；100/121秒为触键与力度练习说明；352秒示范字幕；364秒清楚要求不绷到最紧。未量测任何压力、速度或声音。
PC-008 · 把换指前一音的释放列入计划
第8天：彈音階時，轉指怎麼轉才順？
PC-HANDBOOK · 实体页12／印刷页11。
B3-008-S1 · T2 · 183.36–228.06 s · 静帧: 190 s
作者建议在音阶中预先安排手与键盘的方向，并反对只到换指瞬间才突然改角度又回正。本卡不规定角度、座位旋转或肘高。
时间为视频起点后的秒数，ASR 边界近似；手册页作上下文，所选文字／图示支持相应等级的归属核对。
B3-008-S2 · T2 · 390.76–452.6 s · 静帧: 396, 406, 442 s
作者用 E 到 F 的 3→1 换指说明前音未及时松开可能挡住后续动作，并讨论不同速度下释放时点的变化。本卡只在慢速观察释放，不照搬其中提前若干秒的说法。
时间为视频起点后的秒数，ASR 边界近似；手册页作上下文，所选文字／图示支持相应等级的归属核对。
先懂的词
转指在这里是相邻音换到另一根手指；本卡选右手 E4 的 3 指到 F4 的 1 指作可选小任务。E4 是 C4 右边第二个白键，F4 是其右侧相邻白键，中间没有黑键。这个指法只属于本任务，不是所有曲子的规定。
先修与独立预备
先分别舒适地用右手 3 指弹 E4、1 指弹 F4。若任一不舒适，不做 3→1，直接用 P 的任一舒适手指弹 E4，或停止。A 的空拍版独立可用；只有换位与释放都舒适时才选 B，不要求拇指塞进手心或保持两键同时按住。
可观察的困扰 O
换指时前一键一直留住，下一音找不到舒适位置，或为了连起来把两个音挤在一起。
待验证的可能原因 O
可能没有给前音明确的结束点，或者两个动作同时做暂时太难。先分开释放与下一次起音可减少同一时刻的任务数，但效果尚未验证。
小剂量设置 O
4/4，四分音符一拍；右手 E4→F4，左手全小节休息，踏板全放。A 一次，休息一小节；只有舒适时再 B 一次。指法 3→1 是可选测试，不以连续音阶或速度作为门槛。
原创逐拍版本 O
A
3 指 E4 第1拍弹、第2拍松；第2拍整拍不持键，舒适地准备下一指；1 指 F4 第3拍弹、第4拍松，第4拍双手休息。换位时 E4 已经松开。
B
可选交接：3 指 E4 第1拍弹；第2拍松开 E4，同时用 1 指弹 F4；第3拍松 F4，第3–4拍双手休息。B 把 F4 起音从 A 的第3拍提前到第2拍，去掉中间空拍；不追求重叠持键。
P
单音预备：右手任一舒适手指 E4 第1拍弹、第2拍松；F4 不弹，双手第2–4拍休息。这不测试拇指换位。
听与看 O
以下发声检查只用于 A/B：看 E4 是否在第2拍回升；A 的 F4 是否第3拍才弹、B 是否第2拍弹。再听终点：A 的 F4 第4拍结束，B 第3拍结束。旧键不再持住后仍有房间余响是另一件事，不据此延长旧指。 P 只检查自身第1拍起音、第2拍释放、第2–4拍休息，不检查多音、换指、方向或响度比较。
复测 O
休息一小节后，直接重复选定且仍舒适的 A、B 或 P 一次，保留该版全部起音与释放。A/B 不同时提速；B 不舒适可选 A，A 不舒适可直接选 P 或停止。原先选择 P 也可直接复测 P：只弹第1拍 E4、第2拍松、第2–4拍休息，无须先做 A/B，也不能记作换指通过。
回到曲目 O
在已有曲谱先标出实际换指位置及前音结束点。只取舒适可及的两音，使用谱面情境下可行的指法；先慢速确认释放，再接回前后音。不要把所有音阶、所有连奏都改成 E4–F4 或固定提前释放。
本卡边界
没有完成连续音阶、身体跨音域移动、实际肘高或快速动作验证；两个音成功不能代表整条音阶已掌握。来源的改善保证与人体工学绝对断言未采纳。
转写与静帧边界
没有自动隔离段不代表转写准确；前段把椅子／钢琴等词混淆的 ASR 不按字面改成搬动钢琴的步骤。122 秒只显示斜向视角，不能确定连续移动过程。没有采用固定 45 度、跨四八度身体动作或改善保证。
78秒是换指说明但手并不在琴键上；122秒为斜向座位／键盘视角；190秒字幕讲角度；396秒提示及时松开；406/442秒分别说明旧指阻挡与较早释放的观点。均是文字／静态位置证据。
PianoClinic group 3: 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.
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.
If you choose P, follow P directly; you need not first play A or B. Checks involving a second/third note, white/black-key transition, finger change or loudness comparison apply only to the corresponding A/B. For P, check only its own scheduled attack and release; PC-006 P records even counting and no key touch for the entire bar, not playing validation. To retest P, rest one bar and repeat only P once, without automatically moving to A/B. Every version remains conditional on comfort and stop rules.
This group covers six lessons: PC-001, PC-002, PC-004, PC-006, PC-007, PC-008. English lesson titles are working translations; these original cards do not replace the paid course.
All 960 segments in six existing preferred ASR files were read. Thirty-six selected timestamped stills with 36 distinct image SHA-256 hashes and six corresponding handbook pages’ full prose and page images were inspected. SHA-256 identities of six videos and the handbook were verified. Source videos total 2888.464 seconds (48:08.464), which is source duration, not watched or heard duration. Relevant score annotations and layout only were checked, not every note; the PC-006 handbook page has no score example.
Selection also included full handbook prose on physical pages 7, 9 and 13 for PC-003, 005 and 009. These do not count toward the six lessons’ ASR, still or card coverage. In total, handbook prose was read on nine pages and page images inspected on six.
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, mechanical/physical mechanisms, individual suitability, learner efficacy, retention and transfer remain unverified.
The packet retains the author’s questions and explicit qualifications. Original drills examine countable, audible or visible task outcomes without requiring wrist waves, rotation, fixed height, weight, hand shape or joint deformation. Non-playing preparation counts only as counting/planning, not physical or performance validation.
Note events · Provenance and coverage
PC-001 · Compare two attacks on the same key
Day 1: A method for stable volume with each finger
PC-HANDBOOK · physical page5/printed page4.
B3-001-S1 · T2 · 245.52–268.68 s · stills: 250 s
The author explains “one note, one wave” through participation of hand, wrist and part of the forearm, followed by recovering height. This attributes a teaching explanation; still text verifies neither its mechanics, health claims nor loudness effects.
Times are seconds from video start with approximate ASR boundaries. The handbook page provides context; selected text/diagrams support attribution at the specified evidence grade.
B3-001-S2 · T2 · 659.06–673.18 s · stills: 666 s
The author explicitly qualifies the method: individual fingers still move; they are not the sole participants. This prevents interpreting the method as immobilizing the fingers.
Times are seconds from video start with approximate ASR boundaries. The handbook page provides context; selected text/diagrams support attribution at the specified evidence grade.
Terms
An attack begins a new sound; holding retains a depressed key, and release lets it rise. “One note, one wave” is the author’s movement-teaching label, not a waveform or fixed wrist height to reproduce here. Similar loudness means an auditory comparison, not equal finger strength.
Prerequisites and independent preparation
Locate C4 and comfortably play and release it with one finger. A directly uses one finger; choose B only if both fingers 2 and 3 are comfortable. Single-attack preparation P is independently available.
Observable difficulty O
Repeated attacks vary unintentionally in loudness, or a finger change immediately becomes a judgment that the new finger is weak.
Possible cause O
Loudness, finger choice and exertion may be conflated. Fixing key and rhythm clarifies the comparison, without diagnosing strength differences.
Small-dose setup O
RH C4; LH rests for the whole bar and all pedals stay up. Use 4/4 with a quarter-note beat at an evenly countable slow tempo. Play A once; if comparing fingers is comfortable and desired, rest a bar then play B once. Aim for similarly comfortable ordinary loudness.
Original beat-by-beat versions O
A
Use the same comfortable RH finger: C4 on beat 1, release on beat 2; attack again on beat 3, release on beat 4. Both hands rest throughout beats 2 and 4.
B
Keep A’s timing. Optionally use RH finger 2 on beat 1 and release on beat 2. During the beat-2 rest, change comfortably to finger 3; play the same C4 on beat 3 and release on beat 4. No key is held during beats 2 or 4; do not change fingers on a held key.
P
One attack only: any comfortable RH finger plays C4 on beat 1 and releases on beat 2; both hands rest for beats 2–4. This does not compare different fingers.
Listen and observe O
The following sounding checks apply only to A/B: First compare the two attacks, then check their scheduled releases. Record first louder/second louder/uncertain without diagnosing a weak finger. Do not lift unused fingers deliberately, restrain the wrist or pursue a weight value. For P check only its own beat-1 attack, beat-2 release and beats-2–4 rest, without multi-note, finger-change, direction or loudness comparisons.
Retest O
After a rest bar, directly repeat the previously chosen, still comfortable A, B or P once without automatically advancing. A/B retain both attacks and releases on beats 2/4; B keeps the same fingers without increasing tempo. P still has only C4 on beat 1, release on beat 2 and rest for beats 2–4, without comparing fingers or two loudnesses. If uncomfortable, choose a comfortable P or stop.
Return to a piece O
Choose two adjacent notes in a familiar score without a requested loudness contrast, and identify their actual pitches, rhythm and feasible fingering. Check attack balance slowly, then reconnect a short passage. Written accents or dynamic shaping take priority; not all notes need equal loudness.
Limits
This is an original loudness-comparison task, not a reconstruction of the movement method. Weight, fixed heights, injury causation and equal finger agility were not verified; the demonstration was not auditioned or observed continuously.
ASR and still-image boundaries
Segment 240 (703.18–705.18 s), suspected closing credits, is excluded from teaching evidence. ASR terminology/name errors and long segments do not provide exact movement timing. The 300 s still contains a crossfade and 660 s text is fading in; clear text at 250/666 s supports attribution. Weight, fixed-height and bodily-effect claims remain unverified.
250 s states the method; 300 s is a crossfade; 304/308 s show different static hand positions; 660 s text fades in and 666 s clearly states that individual fingers can still move.
PC-002 · Identify continued ascent versus a returning pitch route
Day 2: Same-direction and reversing-direction concepts
PC-HANDBOOK · physical page6/printed page5.
B3-002-S1 · T2 · 94.8–121.44 s · stills: 116 s
The author relates the next note’s direction to rotational preparation, distinguishing reversal from continuing the same way. This card adopts the direction-planning question, not the movement explanation as a universal rule.
Times are seconds from video start with approximate ASR boundaries. The handbook page provides context; selected text/diagrams support attribution at the specified evidence grade.
B3-002-S2 · T1 · 248.68–263.64 s · stills: 254 s
The author adds that fingers still make small movements in the rotation-based explanation; without finger movement the demonstration would need a larger angle. This qualification relies mainly on unauditioned ASR; the selected caption supports only the broader rotation topic.
Times are seconds from video start with approximate ASR boundaries. The handbook page provides context; selected text/diagrams support attribution at the specified evidence grade.
Terms
Ascending means higher pitch, here to the right; descending means lower pitch, to the left. Three notes give two directions: C4→D4→E4 is right, right; C4→D4→C4 is right, left. This card first identifies pitch routes without inferring a forearm angle from them.
Prerequisites and independent preparation
Locate C4, D4 and E4 separately and play each comfortably. If only C4 is ready, use P directly. A does not obligate B. No forearm-rotation practice or hand stretching is required.
Observable difficulty O
The first two notes are familiar, but the third causes hesitation or continues rightward to the wrong pitch.
Possible cause O
The instruction may have been remembered as three notes without planning whether the second move continues or reverses. This is a reading/planning hypothesis, not a diagnosis of insufficient rotation.
Small-dose setup O
RH only, LH resting throughout, all pedals up. Use 4/4 with a quarter-note beat; silently identify the route first. A may use 1–2–3 and B 1–2–1, with comfortable alternatives allowed. Play each once, separated by a rest bar, maintaining tempo when counting half beats.
Original beat-by-beat versions O
A
C4 on beat 1, release on 1-and; D4 on beat 2, release on 2-and; E4 on beat 3, release on 3-and. Both hands rest during each latter half beat and all of beat 4. The route is right, right.
B
C4 on beat 1, release on 1-and; D4 on beat 2, release on 2-and; C4 on beat 3, release on 3-and. Both hands rest during each latter half beat and all of beat 4. The route is right, left; the third note returns to the original C4.
P
Single-note preparation: RH C4 on beat 1, release on beat 2; both hands rest for beats 2–4. This checks key location and ending, not a three-note route.
Listen and observe O
The following sounding checks apply only to A/B: Check the third key and listen for attacks on beats 1, 2 and 3. Record pitch-route and rhythm outcomes separately if one succeeds and the other does not. Do not correct a reading error through exaggerated rotation. For P check only its own beat-1 attack, beat-2 release and beats-2–4 rest, without multi-note, finger-change, direction or loudness comparisons.
Retest O
After a rest bar, if A/B was chosen, name or imagine its two directions, then play it once with its original half-beat releases and beat-4 rest. If P was chosen, directly play only C4 on beat 1, release on beat 2 and rest for beats 2–4 once; no A/B attempt or third-note check is required. An unclear route may be inspected without playing. Every option must remain comfortable; otherwise stop.
Return to a piece O
Take three successive notes from a known score, identify the two rise/fall/repeat relationships, then play its actual pitches and rhythm slowly before reconnecting adjacent material. Route recognition does not replace fingering, articulation or voice requirements.
Limits
This card does not validate a necessary sound or speed benefit from rotation, nor generalize the source’s absolute statements about fingers 1 and 5 to everyone.
ASR and still-image boundaries
Segment 105 (416.78–418.78 s), suspected closing credits, was read but excluded. Misrecognized solfege is not used to reconstruct source melody. Absolute no-exception statements about fingers 1/5 are not generalized. The qualification that fingers still make small movements is T1 only; the stills do not establish that these movements occurred.
104 s shows an overhead rotation topic; 116 s distinguishes same/reverse direction; 192 s labels fingers 1/3 alternating; 254 s concerns C–E and E–G; 300/306 s captions describe reverse preparation. Posture differences are not speed or causation evidence.
PC-004 · Locate the next white or black key during a rest beat
Day 4: Strategies for avoiding sideways wrist twisting
PC-HANDBOOK · physical page8/printed page7.
B3-004-S1 · T2 · 71.64–146.08 s · stills: 74, 136 s
The author notes that white keys can be played beyond their outer ends and says exact contact positions have no single absolute standard, with personal comfort considered. This does not establish that every piano’s inner key areas are easy to depress.
Times are seconds from video start with approximate ASR boundaries. The handbook page provides context; selected text/diagrams support attribution at the specified evidence grade.
B3-004-S2 · T2 · 186.16–229.7 s · stills: 190, 216 s
For a passage with a thumb on a black key, the author recommends anticipating the destination and preparing position beforehand. This card instead supplies an original locating task with rests, without copying the piece or imposing its fingering.
Times are seconds from video start with approximate ASR boundaries. The handbook page provides context; selected text/diagrams support attribution at the specified evidence grade.
Terms
C♯4 (C#4 in JSON) is the black key between C4 and D4, the left key of the nearby two-black-key group. A sharp raises pitch by a semitone. A key’s inner area is toward the piano body and its outer area toward the player, not left versus right.
Prerequisites and independent preparation
Identify C4 and C♯4 and comfortably play each separately. They need not be reached simultaneously. If the black key is uncomfortable or uncertain, use white-key preparation P directly; the black-key task is not a gate.
Observable difficulty O
The black key is sought only when it is time to sound, leading to a late attack, a neighboring key or an abrupt adjustment to catch the beat.
Possible cause O
Finding the next key may not be scheduled before its attack. A full rest beat allows observation of preparation time, without assigning a pathological cause to a wrist movement.
Small-dose setup O
RH may use one comfortable finger, such as 2, for successive attacks; this is not a thumb-stretch task. LH rests throughout and all pedals stay up. Use 4/4 with a quarter-note beat. Locate both keys first, play A once, rest a bar, then optionally B once.
Original beat-by-beat versions O
A
Play C4 on beat 1 and release on beat 2. Hold no key during beat 2 while comfortably preparing C♯4. Play C♯4 on beat 3, release on beat 4, and rest both hands for beat 4.
B
Play C♯4 on beat 1 and release on beat 2. Hold no key during beat 2 while preparing C4. Play C4 on beat 3 and release on beat 4; both hands rest for beat 4. The reverse route retains a full beat of preparation.
P
White key only: RH C4 on beat 1, release on beat 2, both hands resting for beats 2–4. Do not play a black key or require movement toward the key’s inner end.
Listen and observe O
The following sounding checks apply only to A/B: Observe that the old key is released on beat 2 and the next key located, then listen for an on-time beat-3 attack. If preparation time is insufficient, choose a slower tempo before the next attempt; do not stretch beat 2 mid-attempt and count that as correct rhythm. Do not slide with pressure, scrape or force a wrist turn. For P check only its own beat-1 attack, beat-2 release and beats-2–4 rest, without multi-note, finger-change, direction or loudness comparisons.
Retest O
After one rest bar, repeat only the previously chosen, still comfortable version once: A/B retain releases and full-beat rests on beats 2/4; P directly plays C4 on beat 1, releases on beat 2 and rests for beats 2–4, without first doing A/B. Record that version’s location, timing and comfort. If the black key is uncomfortable, choose P directly or stop; P does not establish a white/black transition.
Return to a piece O
Identify the next black key in a known score, check its actual pitch and feasible fingering, and prepare slowly at a suitable break before restoring the score rhythm. The added rest is a temporary breakdown step, not a rest to insert freely into the piece.
Limits
The source’s pivot-distance, categorical health and span-expansion claims are not prescribed. This locating task measures no joint angle and proves neither movement efficiency nor injury risk.
ASR and still-image boundaries
Segments 109–111 (356.72–363.72 s) have existing repetition/alignment concerns. Final segment 155 (496.72–498.72 s) exceeds the 497.556 s video and resembles stock closing text. These are excluded without altering raw ASR. Source names/fingering were checked only at relevant annotations, not used to reconstruct complete examples.
74 s discusses inner white-key areas; 108 s shows a hand position; 136 s discusses comfortable contacts without one standard. A score arrow at 190 s anticipates a thumb black key; 216 s shows a hand position; 454 s annotates the “gray area.” Only relevant explanations were checked.
PC-006 · Check a clear sound and duration target without grading the hand’s appearance
Day 6: Must fingers always stand upright?
PC-HANDBOOK · physical page10/printed page9.
B3-006-S1 · T2 · 104.76–141.0 s · stills: 108, 126 s
The author distinguishes a more upright contact angle from actively curling the fingers. This conceptual distinction is retained without treating the following joint and muscle explanation as verified fact.
Times are seconds from video start with approximate ASR boundaries. The handbook page provides context; selected text/diagrams support attribution at the specified evidence grade.
B3-006-S2 · T2 · 272.24–330.52 s · stills: 284, 314 s
The author rejects one finger angle for every situation and reminds teachers to attend to notes, rhythm and musical content rather than judging only the hand’s appearance.
Times are seconds from video start with approximate ASR boundaries. The handbook page provides context; selected text/diagrams support attribution at the specified evidence grade.
Terms
The lesson provisionally uses “standing upright” for contact nearer the fingertip. It is not one universal curvature or a command to curl into a claw. Duration is the number of beats from attack to its scheduled end. This card changes duration without prescribing joint shape.
Prerequisites and independent preparation
Any comfortable RH finger that can play and release C4 is sufficient; no shape change is required. A and B are independently selectable. If any sounding attempt is uncomfortable, choose non-playing preparation P directly or end the attempt.
Observable difficulty O
Attention stays on whether the hand resembles a demonstration, while the note’s endpoint is forgotten or one note becomes uncomfortable to complete.
Possible cause O
The task may specify appearance without an audible, countable target. A clear duration organizes attention here without judging whether a joint shape is normal.
Small-dose setup O
Use 4/4 with a quarter-note beat; RH C4, LH resting throughout, all pedals up. Finger 2 or 3 may be tried; once chosen, keep it for the comparison. Play A or B once, then rest a bar. Try the other once only if comfortable and desired.
Original beat-by-beat versions O
A
Play C4 on beat 1 and release on beat 2; both hands rest for beats 2–4. The target is one clear attack, a one-beat hold and an on-time ending, without an appearance grade.
B
Play C4 on beat 1 and release on beat 3; both hands rest for beats 3–4. Hold for two beats without seeking greater loudness or deliberately adding pressure. Do not reattack on beat 2.
P
Non-playing preparation: neither hand depresses a key, all pedals remain up, and silently count beats 1–4 evenly. Imagine “start on beat 1, end on beat 2.” Hold no key for the entire bar; do not count this as successful playing.
Listen and observe O
The following sounding checks apply only to A/B: First listen for just one attack, then check release on beat 2 or 3 as selected. Natural decay is not a cue to press again. Stop sounding attempts if discomfort or forced shape-holding appears; do not experiment by collapsing, overcurling or pushing a joint straight. For P record only even counting and no key touch by either hand throughout the bar, not attacks, releases or playing validation.
Retest O
After one rest bar, repeat only the previously chosen, still comfortable version once. For A/B separately record one attack, the selected release and comfort, without inferring success from appearance. For P count four even beats with neither hand touching a key throughout the bar; record no attack or playing success, and do not automatically proceed to A/B. Stop for discomfort.
Return to a piece O
Choose one comfortably manageable note in a familiar score, identify its pitch, hand and endpoint, then restore the surrounding phrase. Attend to notes and rhythm in turn without requiring one photographic hand shape for every context; physical questions still require actual observation.
Limits
No individual joint safety is judged from stills; risks of joint collapse and a muscle-locking mechanism were not verified. The ASR’s warning against deliberately depressing the joint remains a qualification, not permission to create joint deformation.
ASR and still-image boundaries
Final segment 125 (344.16–346.16 s), suspected closing credits, is excluded. The ASR qualification at 212.48–217.48 s against deliberately depressing the joint is retained; the 216 s still is not its full verbatim caption. Joint appearance in an image is not a physical diagnosis.
44 s gives a provisional definition; 108 s distinguishes upright from curled; 126 s shows a curled posture; 216 s states the author’s joint view; 284/314 s emphasize context and musical tasks. These images do not verify joint mechanisms.
PC-007 · Choose a quieter sound at the next attack
Day 7: How to control dynamics
PC-HANDBOOK · physical page11/printed page10.
B3-007-S1 · T2 · 47.6–57.4 s · stills: 50, 121 s
The author explains volume through key-descent speed, contrasting it with depth and pressure. This is a simplified teaching explanation; the selected seesaw diagram is not a complete piano action and its absolute applicability is unverified.
Times are seconds from video start with approximate ASR boundaries. The handbook page provides context; selected text/diagrams support attribution at the specified evidence grade.
B3-007-S2 · T2 · 87.44–100.16 s · stills: 90 s
The author advises against continuing pressure at the key bottom after depression to change the sound. A selected caption supports the attribution; actual hammer behavior and key-bottom pressure were not measured.
Times are seconds from video start with approximate ASR boundaries. The handbook page provides context; selected text/diagrams support attribution at the specified evidence grade.
Terms
Dynamics here means musical loudness, not a measurement of hand force. Holding duration after the attack and attack loudness are different dimensions. “Quieter” is relative to this attempt’s comfortable reference, not an extreme soft or loud target.
Prerequisites and independent preparation
Comfortably sound and release C4. Begin with reference A; try B only when ordinary loudness is comfortable. If the quieter target causes missed notes or discomfort, stay with A or use P directly. No device reading is needed.
Observable difficulty O
A quieter intention produces no note, or extra downward pressure follows an unsatisfactory attack in an attempt to correct the sound.
Possible cause O
Sound choice at attack may be confused with subsequent holding. Fixing pitch, duration and a loudness reference permits comparison at the next attack; a missed note does not directly establish a technique or instrument fault.
Small-dose setup O
RH C4 with the same comfortable finger, optionally 3; LH rests throughout and all pedals remain up. Use 4/4 with a quarter-note beat. Play A once, rest a bar, then B once if comfortable. Keep one slow tempo; assign no decibel or velocity score.
Original beat-by-beat versions O
A
Play C4 at ordinary comfortable loudness on beat 1, release on beat 2; reattack at similar loudness on beat 3, release on beat 4. Both hands rest for beats 2 and 4. Establish two clear reference attacks.
B
Play reference C4 on beat 1 and release on beat 2. On beat 3 play the same C4 slightly quieter but clearly sounded, then release on beat 4. Rest for beats 2 and 4. If beat 3 is silent, do not add pressure or an extra attack; finish the bar as planned.
P
Single-note preparation: C4 at ordinary comfortable loudness on beat 1, release on beat 2; both hands rest for beats 2–4. There is no second note or loudness comparison.
Listen and observe O
A: confirm clear attacks on beats 1 and 3, then compare whether their loudness is similar. B: first check for a new beat-3 attack, then whether it is quieter than beat 1; record a missed note separately from a quiet note. In A/B each note lasts one beat, releasing on beats 2/4. P: check only C4’s beat-1 attack, beat-2 release and beats-2–4 rest, without a loudness comparison. In every version avoid added squeezing pressure while holding, exaggerated hand drops or striking the key bottom.
Retest O
After a rest bar, directly retest the previously chosen, still comfortable A or P once. Retest B only if B was actually attempted, its prerequisites still hold, and it remains comfortable and desired; never require retrying an uncomfortable B. A/P may be chosen directly, or stop. A checks clear attacks of similar loudness on beats 1/3; B checks a new beat-3 attack quieter than beat 1, recording a missed note separately from a quiet note. A/B still release on beats 2/4. P only attacks on beat 1, releases on beat 2 and rests for beats 2–4, without comparing loudness. Do not escalate to more extreme loudness.
Return to a piece O
Choose a familiar passage with a clear softer dynamic or receding voice. Confirm attacks on its actual pitches, then restore its rhythm and context. Balance depends on the piece; the quieter second note is not a universal rule.
Limits
The source’s extreme chord-dynamic range, hand/muscle-efficiency analogies and digital-piano settings are not prescribed. Actual sound, key speed, instrument condition and learner outcomes were not measured.
ASR and still-image boundaries
Segments 135–138 (362.88–370.88 s) were already quarantined for repetition/text conflict. Clear text at 364 s says not to become maximally tense, conflicting with the ASR wording; this does not establish what the original audio says. The simplified action diagram, pen/tissue analogy and digital-piano settings are unvalidated and not prescribed.
50 s is a simplified seesaw diagram; 90 s advises against continued pressure after depression; 100/121 s explain touch and dynamics tasks; 352 s has demonstration text; 364 s clearly advises against maximal tension. No pressure, speed or sound was measured.
PC-008 · Plan the earlier note’s release before a finger change
Day 8: Making finger changes in scales smoother
PC-HANDBOOK · physical page12/printed page11.
B3-008-S1 · T2 · 183.36–228.06 s · stills: 190 s
The author proposes planning the hand’s orientation to the keyboard through a scale and opposes a sudden change and reset only at the finger crossing. No angle, seat rotation or elbow height is prescribed here.
Times are seconds from video start with approximate ASR boundaries. The handbook page provides context; selected text/diagrams support attribution at the specified evidence grade.
B3-008-S2 · T2 · 390.76–452.6 s · stills: 396, 406, 442 s
Using E-to-F with fingers 3→1, the author explains that a retained earlier note may obstruct what follows and discusses release timing at different tempos. This card observes release slowly without adopting a fixed advance in seconds.
Times are seconds from video start with approximate ASR boundaries. The handbook page provides context; selected text/diagrams support attribution at the specified evidence grade.
Terms
A finger change here uses another finger for the next note. This card optionally uses RH finger 3 on E4 followed by thumb 1 on F4. E4 is the second white key to C4’s right; F4 is the next white key, with no black key between. This fingering belongs only to this task, not every piece.
Prerequisites and independent preparation
First comfortably play E4 with RH 3 and F4 with RH 1 separately. If either is uncomfortable, omit 3→1 and use P on E4 with any comfortable finger, or stop. Gapped version A is independently available. Choose B only if repositioning and release are comfortable; do not tuck the thumb forcibly under the palm or hold both keys together.
Observable difficulty O
The earlier key remains down during the finger change, the next note lacks a comfortable position, or the notes are squeezed together to force connection.
Possible cause O
The earlier note may lack a clear endpoint, or simultaneous tasks may be too demanding. Separating release from the next attack reduces concurrent demands; efficacy remains untested.
Small-dose setup O
Use 4/4 with a quarter-note beat: RH E4→F4, LH resting throughout, all pedals up. Play A once and rest a bar; try B once only if comfortable. Fingering 3→1 is an optional test, with no complete-scale or speed threshold.
Original beat-by-beat versions O
A
Finger 3 plays E4 on beat 1 and releases on beat 2. Hold no key during beat 2 while comfortably preparing the next finger. Thumb 1 plays F4 on beat 3 and releases on beat 4; both hands rest for beat 4. E4 is already released during repositioning.
B
Optional exchange: finger 3 plays E4 on beat 1. On beat 2 release E4 as thumb 1 plays F4. Release F4 on beat 3; both hands rest for beats 3–4. B moves F4’s attack from A’s beat 3 to beat 2, removing the intervening rest, without seeking overlapping key holds.
P
Single-note preparation: any comfortable RH finger plays E4 on beat 1 and releases on beat 2. Omit F4; both hands rest for beats 2–4. This does not test thumb repositioning.
Listen and observe O
The following sounding checks apply only to A/B: Observe E4 rising on beat 2, with F4 starting on beat 3 in A or beat 2 in B. Then check the endpoint: F4 ends on beat 4 in A or beat 3 in B. Lingering room resonance after key release is separate and is not a cue to retain the earlier finger. For P check only its own beat-1 attack, beat-2 release and beats-2–4 rest, without multi-note, finger-change, direction or loudness comparisons.
Retest O
After a rest bar, directly repeat the chosen, still comfortable A, B or P once, retaining all its attacks and releases. Do not speed up A/B; if B is uncomfortable choose A, and if A is uncomfortable choose P directly or stop. A previously chosen P can also be retested directly: E4 only on beat 1, release on beat 2, rest for beats 2–4; no prior A/B attempt is required and this does not pass a finger-change task.
Return to a piece O
Mark the actual finger change and earlier note’s endpoint in a known score. Isolate two comfortably reachable notes with fingering feasible in context, check release slowly, then reconnect surrounding notes. Do not turn every scale or legato into E4–F4 or a fixed early-release rule.
Limits
Continuous scales, body travel across registers, elbow height and fast movement were not validated. Success on two notes does not establish a mastered scale. Source guarantees of improvement and categorical ergonomic assertions are not adopted.
ASR and still-image boundaries
No automatic quarantine segments does not establish ASR accuracy. Early ASR confusion around chair/piano words is not turned into literal instructions to move a piano. The 122 s still shows an angled view, not a continuous relocation process. A fixed 45-degree angle, four-octave body movement and improvement guarantee are not prescribed.
At 78 s the caption discusses crossing while the hand is off the keys; 122 s shows an angled seat/keyboard view; 190 s discusses orientation; 396 s prompts timely release; 406/442 s state views about retained fingers and earlier release. All are textual/static-position evidence.