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4组：细节、条件与反馈
已接受的独立衍生内容审阅已整合。这里只复核身份、保存内容、选定条件与数值；没有重新阅读全部转写或观察原媒体。实际动作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。 静帧秒数是提取请求的定位点；未另行核验编码帧的实际显示时间，也不表示连续观察。
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。
本组来源：PC-003、PC-005、PC-009、PC-012、PC-014、PC-020。英文课名为工作译名；原创材料不替代课程。PC-000如在本组则为导入说明，不是按键练习。
读完六份现有首选 ASR 共 505 段；检查 36 个指定时间点静帧（36 个不同图像 SHA-256），以及六页对应手册完整文字及页面图像；核验六个视频及手册 SHA-256。六个来源视频总长 2061.327 秒（34:21.327），这是来源时长，不是已观看或听过的时长。谱例只检查相关标注及布局，未逐音校订整页。
选课与标题复核另读手册实体页 8、19、21 的完整文字（PC-004、015、017），没有为这些课新增本包卡片或 ASR／静帧检查。本次共读 9 页手册文字、看 6 页页面图像。实体页 7、9、13 的文字已在第三包选课时读过，本次属再读，不记首次。
六课均为复核，新增首次完整转写文字阅读0。这些分类不表示此前从无人阅读，也不等于听过原课。
来源原音试听、连续动作、完整视听均未完成；ASR逐字正确性、声音、身体适合性、保留、迁移与学习效果未验证。
O 段落是本报告原创，不是从作者示范抄出的练习。只检验可数、可听或可见的任务结果；不要求特定腕轨迹、手掌跨度、落差、重量或快速动作。重复次数指实际练习，不指播放视频；所有结果仍是自我观察，未测试个人身体适合性。
每卡的 F/P 都可在其自身条件满足且舒适时直接选择，无须先尝试 A/B。只做所选版规定的音、起音、释放和观察：单音 P 不判断双音或移动；PC-005 P 是两音单线，PC-020 P 是三音慢速版，须按各自明确端点完成。复测也可直接重复所选 F/P 一次，不自动升级。所有版本均遵守舒适及停止条件。
逐音数据 · 来源与覆盖
PC-003 · 第3天：輕鬆彈出和弦與把手張開的方式
PC-HANDBOOK · 实体页7 / 印刷页6.
来源短评与定位
B4-003-S1 · T2 · 39–112 s · 静帧: 48,74 s
作者反对临近琴键突然绷紧和以手腕为固定轴心的和弦做法。这里仅确认他提出的对比，不据静帧判断受力、损伤原因或适合所有人的动作。
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。
B4-003-S2 · T2 · 112–212.58 s · 静帧: 121,199 s
作者介绍先准备和弦形状与先接触琴键再准备两种起点，并将后一种用于较难从空中找到的形状。静帧文字支持这个选择；本卡不复制固定高度、下落重量或扩张手掌方法。
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。
本卡目标
先协调两个舒适可及的起音与结束
先懂的词
和弦是几个音同时发声；本卡只用两个音作为协调缩小版，不代表完整和声。C4 与 E4 中间隔着 D4。同时起音是两键约在同一拍点开始；同时松键是两键在规定拍点都回升，不等于用力把手拉走。
先修与独立入口
A/B 只在右手 C4、E4 同时可舒适触达时使用；指法可选 1、3，但不固定。不能舒适同时触达就直接选 F（左手 C4、右手 E4）或 P（右手 E4），不必先尝试 A/B。F 也须双手各自舒适；否则选 P 或停止。不拉开手指或借琴键摩擦撑大跨度。
可观察问题 O
两个音本来想一起弹，却先后响；或结束时一个键还留着。
待验证的可能原因 O
可能只计划了按下，没有给两音相同结束点；也可能单手距离暂时不舒适。先缩小音数、明写结束点，并允许分手或单音，可区分任务混乱与可达性问题；不是身体诊断。
小剂量设置 O
4/4，四分音符一拍，踏板全放。选 A、B、F 或 P 一版，慢速练一次，再休息完整一小节。A/B/P 中左手全小节休息；F 双手只弹各自一个音。这里的“一次”是练习次数，不是播放次数。
原创逐拍版本 O
A
右手 C4、E4 第1拍同时弹，第2拍两键同时松；双手第2–4拍休息。
B
右手 C4、E4 第1拍同时弹、第2拍都松；第3拍两音再同时弹、第4拍都松。双手第2、4拍整拍休息。
F
独立分手选项：左手 C4、右手 E4 第1拍同时弹，第2拍各自松开该键；第2–4拍双手休息。不要再加右手 C4。
P
独立单音选项：右手 E4 第1拍弹、第2拍松，左手不弹；双手第2–4拍休息。不检查两音同时性。
听与看 O
A/B/F：听是否两个音都发声、有没有不想要的先后顺序，再看两键是否在共同终点回升；B 两次各自判断，不必第二次更响。P 只听 E4 起音、看第2拍松键。不要把房间余响误判成仍持键，也不凭音响诊断某手指力量。
复测 O
休息一小节后，只重复所选且仍舒适的一版一次：A/F/P 第2拍结束并休息到小节末；B 第2、4拍结束两组。可直接换更舒适的 F/P 或停止，不要求升级到单手两音。分别记录起音、结束和舒适度；P 成功不记为和弦通过。
回到曲目 O
在熟悉曲谱找到一个可舒适弹的和弦，先确认实际音高、双手分配及结束时值。只检查这一处起音和结束，再接回前后各一点音乐。若原和弦不可舒适触达，保留缩小练习或寻求适合该谱的改编，不把本卡 C4/E4 当作原曲替代音。
边界
不采用原课扩张手掌、另一手拉开或琴键摩擦维持跨度的办法；也不验证重量、固定落差或腕部被动性的机理。双音成功不证明大和弦或快速和弦能力。
转写与画面边界
既存视频记录有 1 段人工隔离，但未在该记录注明段号，不猜测是哪段。第29段（172–187.4秒）是音乐标签，不作言语证据；ASR 内重复或破碎的数量表达不转成练习数值。未采纳以另一手拉开或键面摩擦撑大跨度的步骤，也未验证受伤或重量机制。
48/74秒是作者标为不理想的方法；121秒标示先准备形状，148秒只见注意标题，199秒标示先接触琴键的另一选项，238秒说明腕被动跟随。可核对文字归属，不能证明力度或实际动作。
PC-005 · 第5天：輕鬆彈奏連續三度音
PC-HANDBOOK · 实体页9 / 印刷页8.
来源短评与定位
B4-005-S1 · T2 · 60–99.3 s · 静帧: 76 s
作者区分手指高度差与刻意抬起未弹的手指，提醒不必主动把不用的指抬高。手册也明确提出避免不必要张力；这只是来源建议，未验证身体机制。
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。
B4-005-S2 · T2 · 128.16–157.6 s · 静帧: 132 s
在连续三度示例中，作者强调准备接下来要弹的一组，不刻意抬起刚用过的手指。本卡把“准备下一组”缩小成有空拍的两组任务，不声称复制原示范动作。
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。
本卡目标
在两组双音之间完整释放，再换下一组
先懂的词
三度按字母音名连头尾数三格：C–D–E、D–E–F；C4/E4 和 D4/F4 都是三度。音程的度数不是手指张开幅度的量度，也不以实际手掌跨度定义大小音程。双音是一只手或双手同时弹两个音。未用的手指不发声，与“上一组音仍持住”是两件事。
先修与独立入口
A/B 只在右手两组双音都舒适时使用，可试 C4/E4 的 1/3 与 D4/F4 的 2/4，但可换指法，不要求固定手形。F 可直接把低音交左手、高音交右手；P 可直接只弹 C4→D4。无需先做单手双音，不靠撑开或压住手腕达成。
可观察问题 O
换下一组三度时旧音还粘住，或为了腾出手指而把未用指抬得很紧。
待验证的可能原因 O
可能把“松旧键”和“抬高所有旧手指”混为一谈，或两组准备同时做过多。给释放一整拍，先检查旧键回升，再找到新键，是本卡待验证的简化设计。
小剂量设置 O
4/4，四分音符一拍，踏板全放。选一版慢速练一次，之后完整休息一小节。A/B/P 左手整小节休息，F 使用双手。只求清楚两组与释放空拍，不要求连奏或更快。
原创逐拍版本 O
A
右手 C4+E4 第1拍同时弹、第2拍两键都松；第3拍 D4+F4 同时弹、第4拍两键都松。双手第2、4拍休息。
B
顺序反过来：右手 D4+F4 第1拍同时弹、第2拍都松；C4+E4 第3拍同时弹、第4拍都松。双手第2、4拍休息。
F
独立分手版：第1拍左手 C4 与右手 E4 同时弹，第2拍各松自己的键；第3拍左手 D4 与右手 F4 同时弹，第4拍各松自己的键。双手第2、4拍休息。
P
独立单线版：右手任意舒适指法 C4 第1拍弹、第2拍松；D4 第3拍弹、第4拍松。左手全小节休息，双手第2、4拍休息；不加 E4/F4。
听与看 O
A/B/F 检查每组两个音都响、旧组两个键是否第2拍都回升，再听第3拍新组是否准时；第4拍新组也都松开。P 只检查自己两单音及相同释放拍，不评价双音同时性。手指可自然休息，但休息拍不能继续压住旧键；不追求抬指高度。
复测 O
休息一小节后只重复选定、仍舒适的一版一次，保留第2、4拍完整休息。可直接复测 F 或 P，无须试 A/B。记录“旧键及时松／新音找对／准时／舒适”，不把单线成功记为连续三度已掌握。
回到曲目 O
从自己的谱面选两组舒适可及的双音，先确认实际音高与时值。可先加练习用空拍检查释放，再恢复谱面原有节奏；空拍是练习改写，不自动成为正式演奏版本。不舒适时保留单线或分手安排。
边界
未验证作者关于相邻指牵连、腕部每次下放或自然放指不会误触的解释；不要求每音固定方向的腕动作。两组慢速任务不是整串三度或速度能力测试。
转写与画面边界
历史无隔离段不代表准确。ASR 把指号／唱名部分误写；不据此重建原谱或宣布通用指法。76秒文字支持“不刻意抬未用指”，但不证明每次腕部位移、张力大小或没有误触。
76秒区分高度差和故意抬指；120/132秒有准备及下一组的说明；188秒是作者每次下放的主张；222/250秒分别说明未用指自然休息及刻意抬起的反例。静帧不验证具体张力。
PC-009 · 第9天：為什麼我的琶音彈不快？
PC-HANDBOOK · 实体页13 / 印刷页12.
来源短评与定位
B4-009-S1 · T2 · 81.7–137.7 s · 静帧: 130 s
作者把转指前音的释放时点与速度、移动连贯性联系起来；也限定慢速下较晚释放并非一律错误。本卡保留这种情境差异，不制定所有琶音必须提前多少的规则。
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。
B4-009-S2 · T2 · 244.7–278.74 s · 静帧: 260,274 s
作者同时提醒不要用蹬键离开、不要把转指前音缩得过短，也不要让移位后的首音成为无意重音。静帧文字核对的是这些提醒，没有听到示范效果。
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。
本卡目标
下一音时点不变，只比较前音的结束点
先懂的词
琶音把和弦音依次弹出。本卡只取 G4→C5 两音作释放计划，不是一条完整琶音。G4 是 C4 右侧第四个白键；C5 是 C4 右方下一个 C，高一八度。两音先后弹，不要求同时跨住。第2拍的 & 在第2拍正中。
先修与独立入口
A/B 需先分别舒适找到 G4、C5，且能在松开前键后从容移到后键。3→1 可作右手试用指法，但也可在释放后用同一根舒适手指，不要求拇指钻入掌下。P 只需能舒适弹出并释放 G4，可直接选择，无须先找到 C5 或尝试移位。
可观察问题 O
移动到下一音时节奏挤住；或者为了早松，把前音剪得很短、下一音砸得很响。
待验证的可能原因 O
可能只定了下一音何时开始，没有独立决定前音何时结束。固定下一音、只改变释放可让比较更明确；本任务不判断实际转指机制。
小剂量设置 O
4/4，四分音符一拍，踏板全放，左手全小节休息。选 A、B 或 P 慢速练一次，休息一小节。若有意比较 A/B，保持同一拍速和 C5 的第3拍起音，不能同时加速或改变音量目标。
原创逐拍版本 O
A
右手 G4 第1拍弹、第2拍松；第2拍整拍不持键；C5 第3拍弹、第4拍松，第4拍双手休息。
B
右手 G4 第1拍弹，持到第2拍的 & 才松；从第2拍 & 到第3拍前不持键；C5 仍第3拍弹、第4拍松，第4拍双手休息。与 A 相比只延后 G4 释放半拍。
P
独立单音版：右手 G4 第1拍弹、第2拍松；不弹 C5，双手第2–4拍休息。不检查跨键移动。
听与看 O
A/B 看 G4 是否按各自终点回升，听 C5 是否仍在第3拍有清楚起音、没有无意突强；最后看第4拍 C5 松开。A 的空隙一拍，B 半拍，不要求听起来相同。P 只检查 G4 第1拍起音与第2拍释放。声音自然消退和实际松键分开记录。
复测 O
休息一小节后直接重复所选舒适版一次。A 的 G4 仍第2拍松，B 仍第2拍 & 松，两版 C5 都第4拍松；P 只有 G4 第2拍松并休息到小节末。若移动不舒适，直接 P 或停止，不缩短空隙追求过关。
回到曲目 O
在熟悉谱面找一个实际琶音换位，标出前音、后音及各自节奏。先在舒适慢速检查前音结束与后音落点，再放回短句。作品连奏、踏板与速度会改变判断；不要把本卡一拍／半拍空隙复制到所有琶音。
边界
没有验证快速琶音、完整拇指转移或双手声部平衡。本卡两音与时间安排是原创，不把 ASR 唱名误写重建为原课音列；早松并非越早越好。
转写与画面边界
第55段（308.74–310.74秒）既存片尾套话候选，读过但不用作教学证据。ASR 唱名错误不重建精确示范音高。130、161、190秒只是不同释放标签下的静态位置；不证明连续释放次序或听觉连贯。
86秒只有标题；130秒标为转指后才松前键；161/190秒标为前指提前释放的慢动作示例，但本次只看各一帧；260/274秒清楚列出不剪短前音与不重击落点的提醒。
PC-012 · 第12天：順暢地彈奏往返循環音型
PC-HANDBOOK · 实体页16 / 印刷页15.
来源短评与定位
B4-012-S1 · T2 · 23.06–96.04 s · 静帧: 44,82 s
作者以圆形和钟面图解释右手往返音型的腕部路线，并说明钟面是参照，不是精确位置。本卡只借用往返选题，不要求描出相同圆圈或角度。
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。
B4-012-S2 · T2 · 168.12–206.12 s · 静帧: 180,204 s
作者谈到不同情境可能用别的路线，并把往返概念延伸到分解和弦。这个限定反对把一张方向图变成每段音乐都必须执行的轨迹。
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。
本卡目标
转折音只弹一次，再回到起点
先懂的词
往返音型先朝一个方向，再折回。C4–D4–E4–D4–C4 共五个起音，E4 是唯一转折音，不在转向时多加一个 E4。半拍是四分音符一拍的一半；这里数 1-&-2-&-3-&-4-&，各份等长。
先修与独立入口
能分别舒适找到 C4、D4、E4，并把一拍平分为两份，才选 A/B。右手指法可选 A 的 1-2-3-2-1、B 的 3-2-1-2-3，均可替换。直接选 P 的单音版本不需要半拍或往返先修；不强画圆圈。
可观察问题 O
折返处多弹一次顶端音，或回程挤快，最后音没有明确结束。
待验证的可能原因 O
可能只记了上行和下行两串，却把共同转折音算了两次；把它写成五个起音可明确交界。这个计划假设不说明腕路线有什么问题。
小剂量设置 O
4/4，四分音符一拍；右手弹，左手全小节休息，踏板全放。选一版慢速练一次，再休息一小节。A/B 每个音只持半拍；音与音交接时先前键的释放点与新键起音点相同，不要求重叠。
原创逐拍版本 O
A
右手 C4 第1拍弹，在1-&松并弹 D4；第2拍松 D4 并弹 E4；2-&松 E4 并弹 D4；第3拍松 D4 并弹 C4；3-&松最后 C4。双手从3-&起至小节结束休息，第4拍无键按住。
B
右手 E4 第1拍弹，在1-&松并弹 D4；第2拍松 D4 并弹 C4；2-&松 C4 并弹 D4；第3拍松 D4 并弹 E4；3-&松最后 E4。双手从3-&起至小节结束休息，第4拍无键按住。
P
独立单音版：右手 E4 第1拍弹、第2拍松；双手第2–4拍休息。不加入 D4/C4，也不检查折返。
听与看 O
A/B 数五个起音，确认第2拍转折音仅一次、回程仍等分半拍，最后键在3-&回升；不要用身体画圆的外观替代节奏检查。P 只检查 E4 第1拍起音与第2拍松键；它不证明往返能力。
复测 O
休息一小节后只重复所选、仍舒适的一版一次。A/B 保留五次起音与3-&末音释放；P 保留第2拍释放和第2–4拍休息。不增加速度、音域或强画路线；可直接选 P 或停止。
回到曲目 O
在熟悉谱面圈出一处实际转折，数清共有音是否只出现一次，并确认谱面要不要重复它。先读实际音列和节奏，慢速接回短句。本卡五音模式不是原谱模板，也不规定所有转折的手腕路径。
边界
没有观察连续圆周动作、左右手镜像运动或实际肘部配合，也不验证其效率。来源图示的方向标签只支持作者这样讲解；本卡不教固定轨迹。
转写与画面边界
第63段（228.36–230.36秒）片尾套话候选不作证据；135.52–143.28秒附近重复左手说法有对齐疑点，不据此推定精确动作时点。钟面只按来源的示意理解，静态图不验证腕、前臂或肘的连续配合。
44秒右手逆时针示意；82秒钟面图与手的位置；118秒字幕说前臂与肘参与；145秒左手顺时针图；180秒其他路线图；204秒延伸至分解和弦。全部是静图与说明，不是连续观察。
PC-014 · 第14天：同音重複怎麼彈？
PC-HANDBOOK · 实体页18 / 印刷页17.
来源短评与定位
B4-014-S1 · T2 · 24–34.1 s · 静帧: 24 s
作者在慢速重复音中允许同一手指，并表达自己的选择偏好；手册也按速度讨论是否换指。这不是所有速度都要换指的规定。
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。
B4-014-S2 · T2 · 108–158.48 s · 静帧: 132 s
作者以三音组 321、四音组 4321 举例，并明确把接下来两种方法作为个人方案而非唯一答案。手册支持这些分组例子；132秒静帧只显示主题标题。
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。
本卡目标
把三次同音听成三次独立起音
先懂的词
同音重复是在同一琴键重新起音，不是一直持住同一键。这里的“换指”发生在旧指已经松键的空隙，不是持键换指。3-2-1 是中指、食指、拇指的可选顺序；拍点数字 1、2、3 与指法数字用途不同。
先修与独立入口
先能用一根舒适手指弹并释放 C4。A 可独立使用；B 只在右手 3、2、1 各自舒适、且能在松键间隙换指时选用，不必先追求快。P 也独立可用，只做一次起音。不要求从键边滑走、指间固定距离或手形收拢。
可观察问题 O
数了三拍却只响两次，或者换指时加了一次意外起音。
待验证的可能原因 O
可能把再次起音和持续持键混淆，或换指任务挤占了释放空隙。先同指、后可选换指、节奏不变，可分开比较；不凭漏音诊断钢琴机构或手指能力。
小剂量设置 O
4/4，四分音符一拍；右手 C4，左手全小节休息，踏板全放。选一版慢速练一次，再休息一小节。A/B 每音持半拍、留半拍空隙；保持普通舒适音量，不拿更响来补漏音。
原创逐拍版本 O
A
右手同一根舒适手指：C4 第1拍弹、1-&松；第2拍弹、2-&松；第3拍弹、3-&松。每个 & 到下一拍前都不持键；从3-&至小节结束休息，第4拍不弹。
B
右手可选 3→2→1：3指第1拍弹 C4、1-&松；2指第2拍弹 C4、2-&松；1指第3拍弹 C4、3-&松。只在旧键松开的半拍间隙换指；从3-&至小节结束休息。
P
独立单音版：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。不重复或换指。
听与看 O
A/B 先听第1、2、3拍是否各有一次新起音，再检查每次 & 松键；漏音时不补一个来凑数，按计划结束后记录。B 还看换指是否落在空隙中。P 只检查一次 C4 起音、第2拍释放，不比较重复成功率。
复测 O
休息一小节后仅重复所选、仍舒适的一版一次，不自动从 A/P 升到 B。A/B 仍三次半拍音、3-&最后释放；P 仍第2拍释放并休息到末尾。若 B 不舒适，直接 A 或 P，或停止；不加速度。
回到曲目 O
在熟悉谱面选一小组重复音，先数实际起音次数、节奏和结束点，再用可行指法慢速检查。接回前后文时恢复谱面时值；本卡半拍空隙与 321 都不是原曲一律适用的规则。
边界
未试听快速重复效果或观察两种方法的连续动作；不采用键边滑指、固定毫米距离、个人成功百分比或加速保证。这里三次慢速起音不能代表快速重复技巧已掌握。
转写与画面边界
既存隔离段4、5（17–24秒）有重复破碎文字；段84（304.78–307.58秒）有单位错误，均不作依据。132秒只有标题，没有指法列表；分组例子由手册支持。作者个人成功百分比、固定距离与滑出键缘动作不作学习要求。
24/132秒主要是标题；166/204秒显示第一种方案的准备／位置；309秒是第二方案准备姿势；416秒有两种方法并列字幕。没有据姿势差异推定声音、速度或成功率。
PC-020 · 第20天：彈出漂亮的巴洛克風格裝飾音
PC-HANDBOOK · 实体页24 / 印刷页23.
来源短评与定位
B4-020-S1 · T2 · 32.36–69.08 s · 静帧: 65 s
作者给出两类装饰音的示例音序，同时说明还有其他解释不在本课讨论。65秒图示核对了该课的具体例子；本卡不把它推广成所有巴洛克作品的唯一规则。
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。
B4-020-S2 · T2 · 115.36–169.46 s · 静帧: 155,165 s
作者希望音组开头较突出、后续减弱，并分别讨论末音短收与长持。手册支持轻重主题，所选字幕支持两种终点；尚未试听其音响或验证腕高与音量的因果。
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。
本卡目标
把短装饰音组的起音、轻重与结束分开
先懂的词
装饰音是在主要旋律旁加入短小音组；具体符号怎样实现要看作品与版本。本卡 E4–F4–E4 是原创相邻音练习，不是某个符号的标准解读。E4 与 F4 是相邻白键。1-e-&-a 把第一拍平分四份，不是四个新拍，也不是音名。
先修与独立入口
A/B 需要右手分别舒适弹 E4、F4，并能均匀数一拍四份；指法可选 2-3-2，也可换舒适安排。B 还要求 A 的时点与起音能从容处理，且想比较轻重。P 的慢速三音版独立可选，无需先做四分细分；若连相邻音也不舒适，停止，不强行摆腕。
可观察问题 O
装饰音听成几次分散敲击，最后一下意外突出，或数不清最后音何时结束。
待验证的可能原因 O
可能同时忙着音序、细分拍和轻重，导致结束点被遗漏。本卡先用同一音序固定时间，再只加可选轻重比较；这不证明历史风格或表演效果。
小剂量设置 O
4/4，四分音符一拍；右手弹，左手全小节休息，踏板全放。选一版慢速练一次，再休息一小节。A/B 前两音各四分之一拍、末音半拍；P 三音各一拍。可以默数，不必唱出或模仿拟声词，不安排百次重复。
原创逐拍版本 O
A
右手 E4 第1拍弹；1-e 松 E4 并弹 F4；1-&松 F4 并弹 E4；末音跨过1-a，至第2拍松。双手第2–4拍休息。先求三次清楚起音，不要求渐弱。
B
时点完整保留：E4 第1拍弹、1-e 松并弹 F4；1-&松 F4 并弹 E4；第2拍松末音，第2–4拍休息。只添加轻重目标：第一音普通舒适响度，后两次起音试着稍轻且仍发声，不靠把第一音砸响制造差别。
P
独立慢速版：右手 E4 第1拍弹；第2拍松 E4 并弹 F4；第3拍松 F4 并弹 E4；第4拍松末音，第4拍双手休息。普通舒适音量，无渐弱目标，不增加细分。
听与看 O
A/B 检查三个起音落在1、1-e、1-&，最后 E4 第2拍才松；B 另听后两次起音是否清楚且较轻，不能把漏音当轻音，也不能用末音自然衰减代替起音比较。A 不要求轻重变化。P 只检查第1、2、3拍三次起音及第2、3、4拍对应释放，不评价快速装饰音感或渐弱。
复测 O
休息一小节后只重复所选、仍舒适的一版一次。A/B 末音仍第2拍松、第2–4拍休息；P 末音仍第4拍松、第4拍休息。P 可直接复测，不必先做 A/B；B 只有先修条件仍满足且愿意时才保留，可直接回 A/P 或停止，不加速。
回到曲目 O
回到实际作品时，先查手中版本对该装饰音的解释、真实主音和邻音、起拍及末音长度。只在这些信息明确后取一组慢练，再接回前后节拍。未确认的符号不套用 E4–F4–E4，也不依据此卡补写缺失旋律。
边界
没有核验历史装饰音规则、作者发声效果、腕部高度机制或成功率。本卡只做邻音序列、起音比较及结束计划；慢速三音不能证明快速装饰音或风格已掌握。
转写与画面边界
既存隔离段7、8（24–32.36秒）术语不稳，改由图示／手册核对主题；段30（85.36–115.36秒）的长串拟声不当作音符数或谱例，也不能断言是幻觉；段97（352.7–354.7秒）片尾候选不用。155秒手部模糊，不能据模糊推断动作速度。没有把作者的特定装饰音解读扩成历史通则。
30/65秒为符号及音序图；116秒只有拟声主题标题；155秒字幕写短末音结束、手部模糊；165秒写长末音持住；296秒是作者腕高与持键的解释。核对标签不等于听见轻重或验证动作因果。
PianoClinic group 4: detail, conditions and feedback
Accepted independent derived-content review is integrated. This pass checks identity, retained content, selected conditions and numbers without rereading all transcripts or observing original media. Actual movement and learning 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. Still-image seconds are requested extraction seek positions; the encoded frame's actual presentation time was not separately verified, and these positions do not represent continuous observation.
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.
Sources in this group: PC-003, PC-005, PC-009, PC-012, PC-014, PC-020. English titles are working translations; original materials do not replace the course. PC-000, when present, is orientation rather than a keyboard drill.
All 505 segments in six existing preferred ASR files were read, together with 36 selected timestamped stills (36 distinct image SHA-256 hashes), and six corresponding handbook pages’ full prose and page images. SHA-256 identities of all six videos and the handbook were verified. Source videos total 2061.327 seconds (34:21.327), which is source duration, not watched or heard time. Score inspection covered relevant annotations and layout, not every note.
Selection and title verification also read full handbook prose on physical pages 8, 19 and 21 (PC-004, 015, 017), without adding cards or ASR/still review for them to this packet. In total, nine prose pages were read and six page images inspected. Prose on physical pages 7, 9 and 13 was already read during batch-3 selection and is a rereading, not a first reading.
All six lessons are rereviews, adding0 first-complete transcript-text readings. These categories do not assert that nobody previously read them or that original lessons were heard.
Original-audio audition, continuous motion and full audiovisual review remain incomplete. Word-for-word ASR, sound, physical suitability, retention, transfer and learner efficacy remain unverified.
Sections marked O are original designs, not copied demonstrations. They examine countable, audible or visible task outcomes without prescribing wrist trajectories, span, drop distance, weight or rapid movement. Repetition counts mean practice attempts, not video playbacks. Outcomes remain self-observations; individual physical suitability has not been tested.
Each card’s F/P may be selected directly when its own prerequisites are met and it is comfortable, without first trying A/B. Perform only the chosen version’s notes, attacks, releases and checks: single-note P does not assess pairs or relocation; PC-005 P is a two-note single line and PC-020 P a slow three-note version, each with explicit endpoints. Retesting may directly repeat the chosen F/P once without automatic progression. Comfort and stop rules apply throughout.
Note data · Provenance and coverage
PC-003 · Day 3: Playing chords and opening the hand
PC-HANDBOOK · physical pages7 / printed pages6.
Bounded source statements and locations
B4-003-S1 · T2 · 39–112 s · stills: 48,74 s
The author contrasts his chord approach with sudden tensing near the keys and treating the wrist as a fixed pivot. This establishes the stated contrast, not forces, injury causation or a movement suitable for everyone.
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.
B4-003-S2 · T2 · 112–212.58 s · stills: 121,199 s
The author presents two starting options: prepare a chord shape before contact, or contact the keys before preparing, using the latter for shapes harder to locate from the air. Still text supports this choice; fixed heights, dropping weight and hand-opening methods are not reproduced 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.
Goal
Coordinate two comfortably reachable attacks and releases
Terms
A chord sounds several notes together; this card uses just two as a reduced coordination task, not a complete harmony. D4 lies between C4 and E4. A joint attack starts both keys at the same beat point; a joint release lets both rise at the scheduled point, without pulling the hand away forcibly.
Prerequisites and independent entry
Use A/B only if RH C4/E4 are comfortably reachable together; fingers 1/3 are optional. Otherwise choose F directly (LH C4, RH E4) or P (RH E4), with no prior A/B attempt. F also requires comfortable placement of each hand; otherwise choose P or stop. Do not stretch fingers or use key friction to enlarge the span.
Observable problem O
Two intended simultaneous notes sound separately, or one key remains held at the end.
Possible cause to check O
The attacks may be planned without a common endpoint, or the one-hand reach may be uncomfortable. Reducing note count, specifying endpoints and allowing split hands or one note helps separate task confusion from reach difficulty; this is not a physical diagnosis.
Small-dose setup O
Use 4/4, a quarter-note beat and all pedals up. Choose A, B, F or P, practise it once slowly, then rest a full bar. LH rests throughout A/B/P; in F each hand plays only its assigned note. “Once” counts a practice attempt, not a playback.
Original beat-by-beat versions O
A
RH C4/E4 attack together on beat 1 and both release on beat 2; both hands rest for beats 2–4.
B
RH C4/E4 attack together on beat 1 and both release on beat 2; both attack again on beat 3 and release on beat 4. Both hands rest throughout beats 2 and 4.
F
Independent split-hand option: LH C4 and RH E4 attack together on beat 1; each hand releases its key on beat 2. Both hands rest for beats 2–4. Do not also add RH C4.
P
Independent single-note option: RH E4 on beat 1, release on beat 2, with no LH note; both hands rest for beats 2–4. This does not test two-note simultaneity.
Listen and observe O
A/B/F: listen for both pitches and an unintended stagger, then check both keys rising at the common endpoint. Judge B’s two attempts separately; the second need not be louder. P checks only E4’s attack and beat-2 release. Do not confuse room resonance with a held key or infer finger strength from sound.
Retest O
After one rest bar, repeat only the chosen, still comfortable version once: A/F/P end on beat 2 and rest to bar end; B ends its groups on beats 2/4. Choose a more comfortable F/P directly or stop; do not require advancing to a one-hand pair. Record attacks, endings and comfort separately; P does not pass a chord task.
Return to the piece O
In a familiar score identify a comfortably playable chord, its actual pitches, hand allocation and duration. Check its attack and end, then reconnect a little surrounding music. If it is not comfortably reachable, retain the reduced task or seek a score-specific adaptation; C4/E4 are not substitute pitches for the piece.
Limits
The source’s hand-opening, other-hand stretching and friction-based span retention are not prescribed, nor are weight, fixed drop distance or passive-wrist mechanisms validated. Success on two notes does not establish large-chord or rapid-chord ability.
Transcript and still-image limits
The earlier video record lists one manually quarantined segment without identifying it; its identity is not guessed. Segment 29 (172–187.4 s) is a music label, not speech evidence. Repeated or broken quantitative expressions are not turned into drill values. Other-hand stretching, friction-based span enlargement, injury claims and weight mechanisms are not adopted or validated.
48/74 s label approaches the author considers undesirable; 121 s labels shape preparation, 148 s only shows a caution heading, 199 s labels key contact as another option, and 238 s states passive wrist following. These verify attribution, not forces or actual movement.
PC-005 · Day 5: Playing successive thirds
PC-HANDBOOK · physical pages9 / printed pages8.
Bounded source statements and locations
B4-005-S1 · T2 · 60–99.3 s · stills: 76 s
The author distinguishes differences in finger height from deliberately raising unused fingers and advises against actively lifting them. The handbook also discusses avoiding unnecessary tension; this is source advice, not verified physiology.
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.
B4-005-S2 · T2 · 128.16–157.6 s · stills: 132 s
In the successive-thirds example, the author emphasizes preparing the next pair without deliberately lifting the fingers just used. This card reduces next-pair preparation to two groups with a rest, without claiming to reproduce the demonstrated movement.
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.
Goal
Release one pair completely before changing to the next
Terms
Count a third inclusively through three letter names: C–D–E or D–E–F; C4/E4 and D4/F4 are both thirds. The interval number is not a measure of finger spread, and physical hand span does not define major or minor interval quality. A pair sounds two notes together in one or two hands. An unused finger not sounding is distinct from retaining the preceding pair.
Prerequisites and independent entry
Use A/B only if both RH pairs are comfortable. Fingers 1/3 on C4/E4 and 2/4 on D4/F4 are optional and replaceable, with no fixed hand shape. F directly splits lower notes to LH and upper notes to RH; P directly uses only C4→D4. No prior one-hand-pair attempt, stretching or restrained wrist is required.
Observable problem O
The old pair remains held during the change, or unused fingers are raised tensely to clear the next pair.
Possible cause to check O
Releasing old keys may be confused with raising all old fingers, or too many preparations may coincide. Giving release a full beat and locating the new keys after the old ones rise is this card’s unvalidated simplification.
Small-dose setup O
Use 4/4, quarter-note beats and all pedals up. Choose one version, practise once slowly, then rest a full bar. LH rests throughout A/B/P; F uses both hands. Seek clear groups and release gaps, without requiring legato or greater speed.
Original beat-by-beat versions O
A
RH C4+E4 together on beat 1, both release on beat 2; D4+F4 together on beat 3, both release on beat 4. Both hands rest for beats 2 and 4.
B
Reverse order: RH D4+F4 together on beat 1, both release on beat 2; C4+E4 together on beat 3, both release on beat 4. Both hands rest for beats 2 and 4.
F
Independent split-hand version: LH C4 and RH E4 together on beat 1; each releases its key on beat 2. LH D4 and RH F4 together on beat 3; each releases its key on beat 4. Both hands rest for beats 2 and 4.
P
Independent single-line version: comfortable RH fingering, C4 on beat 1, release on beat 2; D4 on beat 3, release on beat 4. LH rests throughout and both hands rest for beats 2/4; omit E4/F4.
Listen and observe O
For A/B/F check that both notes sound, both old keys rise on beat 2, and the new pair starts on beat 3; both new keys release on beat 4. P checks only its two single notes and the same release beats, not pair simultaneity. Fingers may rest naturally, but no old key remains depressed during rests; no lift height is pursued.
Retest O
After one rest bar repeat only the chosen, still comfortable version once, retaining complete rests on beats 2/4. F or P may be retested directly without A/B. Record old-key release, new-note location, timing and comfort; a single-line success does not establish successive-thirds mastery.
Return to the piece O
Choose two comfortably reachable pairs from your score and identify actual pitches and durations. A temporary practice rest can isolate release before restoring the written rhythm; that rest is a practice alteration, not automatically the performance version. Retain a single line or split hands when needed.
Limits
The author’s explanations of adjacent-finger coupling, wrist descent on each attack and natural finger rest avoiding errors remain unverified. No fixed wrist direction per note is required. Two slow groups do not test a full series of thirds or speed.
Transcript and still-image limits
No earlier quarantines does not imply accuracy. ASR contains finger-number/solfege errors, which are not used to reconstruct the score or prescribe universal fingering. Text at 76 s supports not deliberately lifting unused fingers, but does not prove per-attack wrist motion, tension levels or absence of accidental notes.
76 s distinguishes height difference from deliberate lifting; 120/132 s explain preparation and the next pair; 188 s states the author’s per-attack descent view; 222/250 s discuss natural rest and a deliberately raised counterexample. Stills do not validate tension.
PC-009 · Day 9: Why can’t I play arpeggios quickly?
PC-HANDBOOK · physical pages13 / printed pages12.
Bounded source statements and locations
B4-009-S1 · T2 · 81.7–137.7 s · stills: 130 s
The author relates release before a finger change to tempo and continuity of movement, while allowing that a later release at slow tempo is not always wrong. This contextual qualification is retained without prescribing one advance for every arpeggio.
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.
B4-009-S2 · T2 · 244.7–278.74 s · stills: 260,274 s
The author also cautions against pushing off the keys, excessively shortening the note before a change, or unintentionally accenting the first note after relocation. Still text corroborates these cautions; the demonstrated sound was not auditioned.
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.
Goal
Keep the next attack fixed while comparing the earlier release
Terms
An arpeggio sounds chord tones in sequence. This card uses only G4→C5 for release planning, not a complete arpeggio. G4 is the fourth white key to C4’s right; C5 is the next C to the right, one octave above C4. Play sequentially without spanning both at once. Beat 2-and is halfway through beat 2.
Prerequisites and independent entry
For A/B, first locate G4 and C5 comfortably one at a time and be able to reposition comfortably after releasing the earlier key. RH 3→1 is optional; the same comfortable finger may be used after release, without tucking the thumb under the palm. P requires only a comfortable G4 attack and release and may be chosen directly without first locating C5 or attempting the move.
Observable problem O
A move to the next note crowds the rhythm, or early release clips the earlier note and overaccents the next.
Possible cause to check O
The next attack may be scheduled without an independent endpoint for the previous note. Fixing the next attack while changing only release clarifies the comparison; this task does not diagnose the actual finger-change mechanism.
Small-dose setup O
Use 4/4, a quarter-note beat, all pedals up and LH resting throughout. Choose A, B or P, practise once slowly, then rest a bar. If intentionally comparing A/B, keep tempo and C5’s beat-3 attack fixed without also accelerating or changing the loudness target.
Original beat-by-beat versions O
A
RH G4 on beat 1, release on beat 2; no key is held throughout beat 2. C5 on beat 3, release on beat 4; both hands rest for beat 4.
B
RH G4 on beat 1, hold until releasing on beat 2-and; hold no key from 2-and to beat 3. C5 still attacks on beat 3 and releases on beat 4; both hands rest for beat 4. Compared with A, only G4’s release is delayed by half a beat.
P
Independent single-note version: RH G4 on beat 1, release on beat 2; omit C5 and rest both hands for beats 2–4. This does not check relocation.
Listen and observe O
For A/B observe G4 rising at its assigned endpoint, listen for a clear C5 on beat 3 without an unintended accent, then check C5’s beat-4 release. A has a one-beat gap and B a half-beat gap; they need not sound identical. P checks only G4’s beat-1 attack and beat-2 release. Record natural decay separately from key release.
Retest O
After one rest bar directly repeat the chosen comfortable version once. A still releases G4 on beat 2, B on 2-and, and both release C5 on beat 4; P only releases G4 on beat 2 and rests to bar end. If relocating is uncomfortable, choose P directly or stop, without shortening the gap to force a pass.
Return to the piece O
Find an actual arpeggio relocation in a familiar score and mark the two notes and their rhythms. At a comfortable slow tempo check the earlier endpoint and next arrival, then reconnect the phrase. Legato, pedal and tempo affect decisions; do not copy this card’s one- or half-beat gap into every arpeggio.
Limits
Fast arpeggios, a complete thumb transfer and two-hand balance were not validated. This two-note sequence and timing are original, not a reconstruction from misrecognized solfege; earlier release is not inherently better.
Transcript and still-image limits
Segment 55 (308.74–310.74 s), an earlier closing-stock-text candidate, was read but excluded. Solfege errors are not used to reconstruct exact demonstration pitches. Stills at 130/161/190 s show positions under different release labels, not continuous release order or auditory continuity.
86 s has only a title; 130 s labels release after a change; 161/190 s label earlier-release slow-motion examples, but only one frame from each was inspected. 260/274 s clearly state cautions about clipping the earlier note and accenting the arrival.
PC-012 · Day 12: Playing back-and-forth patterns smoothly
PC-HANDBOOK · physical pages16 / printed pages15.
Bounded source statements and locations
B4-012-S1 · T2 · 23.06–96.04 s · stills: 44,82 s
The author uses circular and clock-face diagrams to explain a RH wrist route in returning patterns, qualifying the clock as a reference rather than precise positions. This card takes the returning-pattern topic without requiring the same circle or angle.
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.
B4-012-S2 · T2 · 168.12–206.12 s · stills: 180,204 s
The author discusses other routes in different contexts and extends the returning-pattern concept to broken chords. This qualification prevents treating one diagram as a mandatory trajectory for every passage.
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.
Goal
Play the turning note once, then return to the start
Terms
A back-and-forth pattern changes direction before returning. C4–D4–E4–D4–C4 has five attacks, with E4 as the single turning note; do not add another E4 at the turn. A half-beat is half a quarter-note beat. Count 1-and-2-and-3-and-4-and in equal subdivisions.
Prerequisites and independent entry
Choose A/B only if C4, D4 and E4 can be located comfortably and a beat divided evenly in two. Optional RH fingering is 1-2-3-2-1 for A or 3-2-1-2-3 for B, both replaceable. P is directly available without half-beat or returning-pattern prerequisites; do not force a circular movement.
Observable problem O
The turning note is repeated accidentally, the return rushes, or the final note lacks a clear endpoint.
Possible cause to check O
Two remembered ascending/descending groups may each include the shared turning note. Writing five attacks clarifies their boundary. This planning hypothesis does not identify a problem with the wrist route.
Small-dose setup O
Use 4/4 with a quarter-note beat, RH playing, LH resting throughout and all pedals up. Choose one version, practise once slowly, then rest a bar. Each A/B note lasts half a beat; the previous key’s release coincides with the next attack, without requiring overlap.
Original beat-by-beat versions O
A
RH C4 on beat 1; at 1-and release it and play D4. On beat 2 release D4 and play E4; at 2-and release E4 and play D4. On beat 3 release D4 and play C4; release the final C4 at 3-and. Both hands rest from 3-and to bar end, with no key held during beat 4.
B
RH E4 on beat 1; at 1-and release it and play D4. On beat 2 release D4 and play C4; at 2-and release C4 and play D4. On beat 3 release D4 and play E4; release the final E4 at 3-and. Both hands rest from 3-and to bar end, with no key held during beat 4.
P
Independent single-note version: RH E4 on beat 1, release on beat 2; both hands rest for beats 2–4. Omit D4/C4 and do not check a turn.
Listen and observe O
For A/B count five attacks, with just one turning-note attack on beat 2, equal half-beats on the return and final release at 3-and. A visible circular shape does not replace a rhythm check. P checks only E4 on beat 1 and release on beat 2, without establishing returning-pattern ability.
Retest O
After one rest bar repeat only the chosen, still comfortable version once. A/B retain five attacks and final release at 3-and; P retains beat-2 release and beats-2–4 rest. Add neither speed nor range, and force no trajectory; choose P directly or stop.
Return to the piece O
Mark an actual turn in a familiar score, counting whether a shared note appears once or is intentionally repeated. Identify actual pitches and rhythm, then reconnect a short phrase slowly. This five-note pattern is not a template for the score or a prescribed wrist path for every turn.
Limits
Continuous circular movement, mirrored hands and elbow participation were not observed, and their efficiency is unverified. Direction labels support the author’s explanation only; this card does not teach a fixed trajectory.
Transcript and still-image limits
Segment 63 (228.36–230.36 s), a closing-stock-text candidate, is excluded. Repeated left-hand wording around 135.52–143.28 s has alignment concerns and does not establish exact movement timing. The clock is treated as the source’s schematic, not verification of continuous wrist, forearm or elbow coordination.
44 s shows a RH counterclockwise diagram; 82 s a clock and hand position; 118 s a caption about forearm/elbow participation; 145 s a LH clockwise diagram; 180 s alternative routes; 204 s an extension to broken chords. All are stills/explanations, not continuous observations.
PC-014 · Day 14: How to play repeated notes
PC-HANDBOOK · physical pages18 / printed pages17.
Bounded source statements and locations
B4-014-S1 · T2 · 24–34.1 s · stills: 24 s
The author allows one finger for slow repetitions and states his own preference; the handbook also discusses finger choice in relation to tempo. This does not impose finger changes at every speed.
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.
B4-014-S2 · T2 · 108–158.48 s · stills: 132 s
The author gives 321 for three-note groups and 4321 for four-note groups, explicitly presenting the following two methods as personal options rather than the only answers. The handbook supports these group examples; the 132 s still shows only the topic heading.
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.
Goal
Hear three repeated notes as three distinct attacks
Terms
Repeated notes reattack the same key rather than holding it continuously. Here a finger change happens in the gap after release, not while the key is held. Optional fingering 3-2-1 means middle, index, thumb; finger numbers and beat numbers have different roles.
Prerequisites and independent entry
First play and release C4 comfortably with one finger. A is independently available. Choose B only if RH 3/2/1 are individually comfortable and can change during the release gaps; no speed target is required. P independently uses one attack. No sliding off a key edge, fixed finger spacing or gathered hand shape is required.
Observable problem O
Three beats are counted but only two attacks sound, or a finger change adds an unintended attack.
Possible cause to check O
A new attack may be confused with continued holding, or the finger change may crowd the release gap. Keeping rhythm fixed between same-finger and optional alternating-finger versions separates tasks, without diagnosing the action or a finger from a missed note.
Small-dose setup O
Use 4/4 with a quarter-note beat: RH C4, LH resting throughout, all pedals up. Choose one version, practise once slowly, then rest a bar. Each A/B note lasts half a beat with a half-beat gap. Keep ordinary comfortable loudness rather than compensating for missed notes by playing louder.
Original beat-by-beat versions O
A
With the same comfortable RH finger, play C4 on beat 1 and release at 1-and; play on beat 2 and release at 2-and; play on beat 3 and release at 3-and. Hold no key from each “and” to the next beat; rest from 3-and to bar end, with no beat-4 attack.
B
Optional RH 3→2→1: finger 3 plays C4 on beat 1 and releases at 1-and; finger 2 on beat 2 releases at 2-and; thumb 1 on beat 3 releases at 3-and. Change fingers only in the half-beat gaps after release; rest from 3-and to bar end.
P
Independent single-note version: any comfortable RH finger plays C4 on beat 1 and releases on beat 2; both hands rest for beats 2–4. Do not repeat or change fingers.
Listen and observe O
For A/B first listen for one new attack on each of beats 1/2/3, then check releases on each “and.” Do not add an attack to make up a missed note; finish as planned and record it. B also checks that finger changes occur in gaps. P checks one C4 attack and beat-2 release, without measuring repetition success.
Retest O
After a rest bar repeat only the chosen, still comfortable version once, without automatically advancing A/P to B. A/B still have three half-beat notes and final release at 3-and; P still releases on beat 2 and rests to bar end. If B is uncomfortable choose A or P directly, or stop; do not accelerate.
Return to the piece O
Choose a small repeated-note group in a familiar score and identify its actual attack count, rhythm and endpoint. Check it slowly with feasible fingering, then restore written durations in context. Neither these half-beat gaps nor 321 are universal rules for the piece.
Limits
Fast repetitions were not auditioned and the two methods were not observed continuously. Key-edge sliding, fixed millimetre spacing, personal success percentages and speed guarantees are not prescribed. Three slow attacks do not establish mastery of rapid repetition.
Transcript and still-image limits
Existing quarantines 4/5 (17–24 s) contain broken repetition, and segment 84 (304.78–307.58 s) has a unit error; none are used as support. The 132 s still has only a heading, not a fingering list; grouping examples are supported by the handbook. Personal success percentages, fixed distances and sliding off key edges are not learner requirements.
24/132 s mainly show headings; 166/204 s show preparation/positions for the first option; 309 s preparation for the second; 416 s juxtaposes labeled methods. Position differences are not used to infer sound, speed or success rates.
PC-020 · Day 20: Playing Baroque-style ornaments
PC-HANDBOOK · physical pages24 / printed pages23.
Bounded source statements and locations
B4-020-S1 · T2 · 32.36–69.08 s · stills: 65 s
The author gives example orders for two ornament types and acknowledges other interpretations outside this lesson. The 65 s diagram corroborates the specific examples, without making them the sole rule for all Baroque works.
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.
B4-020-S2 · T2 · 115.36–169.46 s · stills: 155,165 s
The author seeks a more prominent first note followed by quieter notes and distinguishes a short ending from a held final note. The handbook supports the balance topic and selected captions support the two endpoints; the sound and causal wrist-height/loudness explanation remain 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.
Goal
Separate a short ornamental group’s attacks, balance and ending
Terms
An ornament adds a short group around a melodic note; its realization depends on the work and edition. This card’s E4–F4–E4 is an original neighboring-note exercise, not a standard realization of a symbol. E4/F4 are adjacent white keys. 1-e-and-a divides beat 1 into four equal parts, not four new beats or pitch names.
Prerequisites and independent entry
A/B require comfortable RH E4/F4 and even four-part beat subdivision; 2-3-2 is optional and replaceable. B additionally requires comfortable handling of A’s timing and attacks, plus a desire to compare balance. P’s slow three-note version is independently available without prior four-part subdivision. If even the neighboring notes are uncomfortable, stop without forcing a wrist position.
Observable problem O
A short group feels like scattered attacks, the last one is unintentionally prominent, or its endpoint is unclear.
Possible cause to check O
Pitch order, subdivision and balance may compete, leaving the endpoint unplanned. This card fixes the sequence and timing before optionally comparing balance, without establishing historical style or performance quality.
Small-dose setup O
Use 4/4, a quarter-note beat, RH playing, LH resting throughout and all pedals up. Choose one version, practise once slowly, then rest a bar. A/B’s first two notes each last a quarter beat and the last a half-beat; P’s three notes each last a full beat. Count silently if desired; no singing, sound imitation or hundred-repetition target is required.
Original beat-by-beat versions O
A
RH E4 on beat 1; at 1-e release E4 and play F4; at 1-and release F4 and play E4. The final note continues through 1-a and releases on beat 2. Both hands rest for beats 2–4. Seek three clear attacks without requiring a diminuendo.
B
Keep the full timing: E4 on beat 1, release and play F4 at 1-e; release F4 and play E4 at 1-and; release the final note on beat 2 and rest for beats 2–4. Add only a balance goal: an ordinary comfortable first attack, with the next two slightly quieter but sounded, without hammering the first to create contrast.
P
Independent slow version: RH E4 on beat 1; on beat 2 release E4 and play F4; on beat 3 release F4 and play E4; release the final note on beat 4, resting both hands for beat 4. Use ordinary comfortable loudness without a diminuendo goal or extra subdivisions.
Listen and observe O
A/B check attacks at 1, 1-e and 1-and, with final E4 releasing on beat 2. B additionally checks whether the later attacks are clear and quieter; a missed note is not a quiet note, and final-note decay is not an attack comparison. A requires no dynamic change. P checks only its beat-1/2/3 attacks and beat-2/3/4 releases, not rapid ornament character or diminuendo.
Retest O
After one rest bar repeat only the chosen, still comfortable version once. A/B still release the final note on beat 2 and rest for beats 2–4; P releases on beat 4 and rests for beat 4. P may be retested directly without A/B. Retain B only while its prerequisites hold and it is desired; use A/P directly or stop without accelerating.
Return to the piece O
For a real piece, first consult the edition’s explanation, actual main and neighbor notes, starting beat and final duration. Once these are explicit, practise one group slowly and reconnect the surrounding beats. Do not apply E4–F4–E4 to an unresolved symbol or invent a missing melody from this card.
Limits
Historical ornament rules, the author’s sound, wrist-height mechanism and success rates were not verified. This card addresses a neighbor sequence, attack comparison and endpoint planning only; three slow notes do not establish rapid ornament or stylistic mastery.
Transcript and still-image limits
Existing quarantines 7/8 (24–32.36 s) have unstable terminology; diagrams/handbook support the topic instead. The long imitative string in segment 30 (85.36–115.36 s) is neither a note count nor a score, and is not declared a hallucination. Closing candidate 97 (352.7–354.7 s) is excluded. The hand is blurred at 155 s, which does not establish movement speed. The author’s particular ornament interpretations are not generalized into historical rules.
30/65 s show symbol/order diagrams; 116 s only a sound-imitation heading; 155 s captions a short ending with a blurred hand; 165 s a held ending; 296 s explains the author’s wrist-height/holding view. Verifying labels is not hearing balance or validating movement causation.