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5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-017、PC-018、PC-019、PC-021、PC-027、PC-028。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。
完整读完六份现有首选 ASR，共 673 段；看过 36 个指定时间点静帧（36 个不同图像 SHA-256）。读完六页对应手册文字，并检查九页手册页面图像：实体页21、22、23、25、31、35，以及 PC-027 的谱例续页32–34。谱例仅核对相关布局／标注，非全页逐音校订；PC-028 页面是键盘地图。核验六个视频及手册 SHA-256。来源总时长 2816.464 秒（46:56.464），不是已观看／试听时长。
本包没有额外选课文字页计数。实体页32、33的文字提取只返回页码，不能当作读过谱例；之后实际检查了32–34的页面图像，范围仍限布局和相关标注。PC-017 手册文字在第四包选课时已读，本次是再读。
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。
全部 O 段落为原创，所用音列和时点不是缺失原谱的重建。保留来源的条件与个人偏好归属，但不要求固定手形、腕高、强行跨度、手刀、浅键或快速动作。计次指练习尝试，不是视频播放次数。JSON 额外标明声部 ID；同一手可同时承担不同声部。
A/B 与 F/P/Q/R 都依各自先修和舒适条件选择。缩小版可直接进入并直接复测，无需先完成较难版本。只观察所选版的音、持键与释放：PC-021 P 只看左手，Q 只看右手；PC-027 P 只有两拍旋律；不得把未演奏的声部当成已验证。出现不适则停止或选仍舒适的更小任务。
逐音数据 · 来源与覆盖
PC-017 · 第17天：增加你的黑鍵命中率！
PC-HANDBOOK · 实体页21 / 印刷页20.
来源短评与定位
B5-017-S1 · T2 · 64.08–111.12 s · 静帧: 67,89 s
作者提出黑键不必只以指尖接触，并讨论较平接触的容错想法。手册及静帧支持这个建议的归属；命中率、受力和个人适合性没有被本次检查证明。
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。
B5-017-S2 · T2 · 195.9–226.66 s · 静帧: 206,214 s
作者把“不必所有时候都站好手指”放在快速黑键的情境中，并承认选择存在取舍。本卡保留情境限定，不把较平的姿势变成另一条普遍要求。
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
先认清目标黑键，再检查一次起音与释放
先懂的词
C#4（升 C）是 C4 与 D4 之间的黑键；D#4（升 D）是 D4 与 E4 之间的黑键。这是中央 C 右侧两黑键组的左、右两键。# 表示把原音升高半音；半音是键盘上到紧邻下一键的距离，黑白键都计。
先修与独立入口
先用眼睛辨认 C#4、D#4；只有单独弹相关黑键舒适时选 A/B。可用任一舒适右手手指，每次松键后再准备，不强压关节或把手摊平。若黑键不舒适，可直接选 P 的 C4 白键版，不必先试黑键；P 不验证黑键能力。
可观察问题 O
黑键位置看似知道，弹下却落到旁边白键，或找键时节拍停住。
待验证的可能原因 O
目标位置、起音时点和身体形状可能被同时当成任务。先固定一个目标，再增加第二个，能分别记录找键与节奏；不能由一次错误诊断触键角度。
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，再完整休息一小节。可先看目标，不要求闭眼、加速或改变接触角度。
声部角色
右手单线
原创逐拍版本 O
A
右手 C#4 第1拍弹、第2拍松；同一 C#4 第3拍再弹、第4拍松。双手第2、4拍整拍休息。
B
右手 C#4 第1拍弹、第2拍松；D#4 第3拍弹、第4拍松。双手第2、4拍休息，两个黑键不同时按住。
P
独立白键单音版：右手 C4 第1拍弹、第2拍松；双手第2–4拍休息，不弹黑键。
听与看 O
A/B 看实际按下的是指定黑键，听第1、3拍是否各有一次清楚起音，再看第2、4拍松键。错键、漏音、节拍偏移分别记，不补敲纠错。P 只检查 C4 第1拍起音、第2拍释放；不用它评价黑键命中率。
复测 O
休息一小节后直接重复所选、仍舒适的一版一次：A/B 第2、4拍释放并休息；P 第2拍释放后休息至小节末。B 不舒适可直接 A/P 或停止，P 不需先经过 A/B。不用两次试验声称命中率已提高。
回到曲目 O
在自己的谱中选一处实际黑键，先确认音名及调号／临时记号，再慢速把前后各一个音接回。沿用作品真实节奏，不把所有黑键都替换成 C#4/D#4，也不根据本卡决定统一指腹角度。
边界
未试听黑键示范或观察慢动作全过程；不验证手指角度、容错率、力量损失或固定键宽。本卡是定位与时点任务，不是作者触键法的效果实验。
转写与画面边界
既存隔离段26（66.92–70.28秒）把键宽单位误成公里，不采纳数值；段79（228.1–230.1秒）片尾候选不用。170秒手部模糊，不能据此判断速度或失误；没有测量命中率或解释身体因果。
67秒文字反对黑键必须指尖；89秒是较平位置；126秒字幕写容错观点；170秒模糊手部；206/214秒为情境与取舍说明。均不能证明命中结果。
PC-018 · 第18天：輕鬆連續移位的秘訣
PC-HANDBOOK · 实体页22 / 印刷页21.
来源短评与定位
B5-018-S1 · T2 · 161.84–233.46 s · 静帧: 188,220 s
作者用时间线解释减少到达后的等待、调整移位过程，并让到达与新和弦起音相接。文字与图示支持这种时间安排的归属，不证明其节能或身体效果。
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。
B5-018-S2 · T2 · 425.02–456.82 s · 静帧: 450 s
作者把优势主要放在相邻移位时间较短的情况，并允许间隔很久时提前准备。本卡保留这项限定，不把所有预先接触琴键都判为错误。
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
先写清出发音结束与目标音开始
先懂的词
移位是在不同键位之间重新安排手的位置，不等于把两键同时撑住。这里 C4→G4 的目标 G4 是 C4 右侧第四个白键；R 缩为相邻白键 C4→D4。来源“直飞”是作者的方法名称，不是必须模仿的轨迹。
先修与独立入口
只有在释放后能舒适地从 C4 移到 G4 才选 A/B；可用同一舒适手指先后弹，不要求跨住五度。R 可直接选相邻 C4/D4；P 可直接只选 C4。各版均无需先完成较远移位，也不要求固定速度或手腕高度。
可观察问题 O
移位时突然抢跑，到了目标却提前起音；或一直留在前音，到下一拍才匆忙找键。
待验证的可能原因 O
可能只有目标键、没有明确两个音的时间边界。先将目标和拍点分开计划，可检查准时性；并不说明必须改变成某条弧线。
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/R 的第二音都在第3拍，前音在第2拍结束；不按来源示例的秒数追速度。
声部角色
右手单线
原创逐拍版本 O
A
右手 C4 第1拍弹、第2拍松；G4 第3拍弹、第4拍松。双手第2、4拍休息，移位期间 C4 已松开。
B
反向版：右手 G4 第1拍弹、第2拍松；C4 第3拍弹、第4拍松。双手第2、4拍休息，移位期间 G4 已松开。
R
独立缩小版：右手 C4 第1拍弹、第2拍松；D4 第3拍弹、第4拍松。双手第2、4拍休息，不弹 G4。
P
独立单音版：右手 C4 第1拍弹、第2拍松；双手第2–4拍休息，不移位。
听与看 O
A/B/R 只检查所选目标、前音第2拍松、后音第3拍起与第4拍松；第二音早到不能因“键对了”算节奏正确。P 只检查 C4 的一次起音和第2拍结束。允许看键，不追求视觉上流畅或强行延长前音。
复测 O
休息一小节后仅复测选定且仍舒适的一版一次。A/B/R 仍第2、4拍松键；P 仍第2拍松并休息到小节末。可直接 R/P，不自动增加距离或速度；若所选版不舒适则停止或再缩小。
回到曲目 O
从熟悉曲谱选一个实际移位，先记前后音高、原有时值和允许的舒适指法。慢速检查两个端点，再接回上下文。若原距离暂不可行，保留缩小版本；本卡空拍是练习安排，不自动改写原曲。
边界
没有观察连续轨迹或量测速度、疲劳、命中率；不把一秒阈值、抛物线或到键即弹推广到所有音乐。单音移位也不验证原课八度和弦示范。
转写与画面边界
末段126（537.02–539.02秒）片尾候选读过但不用。ASR 的移位／直飞词误按清楚标签规范化；90%学生及长期命中率说法没有独立证据。本卡不复现一秒至0.3秒或八度和弦任务。
43秒起音时间线；188秒加入移动曲线；220秒定义直飞；264秒并列方法；355秒速度／间隔表；450秒明确更长间隔的限定。只读图示，未观察连续移动。
PC-019 · 第19天：碰恰伴奏與「手刀」
PC-HANDBOOK · 实体页23 / 印刷页22.
来源短评与定位
B5-019-S1 · T2 · 127.6–206.8 s · 静帧: 172,201 s
作者建议选能减少反复移动距离的指法，同时明确要求考虑舒适度；省距离不值得以勉强撑开手为代价。本卡保留这项条件，不推广示例指号。
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。
B5-019-S2 · T2 · 237.18–254.66 s · 静帧: 240 s
作者以不同手的可达性说明同一和弦可能需要不同指法，即使因此移动更远也可以。静帧明确呈现这个取舍；本次未验证实际身体适合性。
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。
本卡目标
分清低音与回应双音的交替
先懂的词
“碰恰”在本卡指低音、回应音组交替，角色不同不必同样响。C3 是中央 C 左方下一个 C；E3、G3 分别是 C3 右侧第二、第四个白键。回应只用 E3/G3 两音，是原创缩小安排，不是完整三和弦。
先修与独立入口
A/B 只在左手 C3 与 E3/G3 各自舒适、释放后转换从容时使用，不要求同时跨住 C3/G3。B 还需均匀半拍与四次起音从容。F 可直接由左手弹 C3、右手弹 E3/G3；双音仍不舒适就直接 P。自选舒适的指法，不要求手刀姿势。
可观察问题 O
低音和回应混成一团，或者为了赶到回应组而不松低音。
待验证的可能原因 O
可能没有给两个角色各自的结束点，或一手承担距离与双音暂时过多。分手 F 或单音 P 可以独立使用，把角色时序与移动负担分开；不诊断手的大小。
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，再休息完整一小节。A/B/P 右手全小节休息，F 才使用右手。A/F 有完整空拍；B 密度较高但不要求加快拍速。
声部角色
低音声部
回应双音声部
原创逐拍版本 O
A
左手低音 C3 第1拍弹、第2拍松；第3拍回应 E3+G3 同时弹、第4拍两键都松。低音声部第2–4拍休息；回应声部第1–2及第4拍休息。右手不弹。
B
左手低音 C3 第1拍弹、1-&松；回应 E3+G3 第2拍同时弹、2-&都松；C3 第3拍弹、3-&松；E3+G3 第4拍同时弹、4-&都松。从4-&到小节结束双手休息。每个声部只在自己的音段持键，其余时间不持键、不起音。
F
独立分手版：左手 C3 第1拍弹、第2拍松；右手 E3+G3 第3拍同时弹、第4拍都松。左手第2–4拍休息；右手第1–2及第4拍休息。无需左手先弹过双音。
P
独立低音版：左手 C3 第1拍弹、第2拍松；右手不弹，双手第2–4拍休息。回应声部全小节休息。
听与看 O
A/F 听一次低音与一次双音回应，并检查第2、4拍各自释放；B 听四次交替起音并检查每个 & 的释放。双音回应须两键都松，不能只停新起音。P 只检查低音第1拍起、第2拍松，不评价交替或手刀。
复测 O
休息一小节后仅重复所选、仍舒适的一版一次。A/F 末组第4拍松，B 末组4-&松，P 第2拍松后休息到末尾。F/P 可直接复测；B 不舒适可回 A/F/P 或停止，不为了距离少而强用某指法。
回到曲目 O
在已有曲谱圈出实际低音和回应组，分别标明起止时值，再选择舒适的手与指法。可先分手检查角色，再接回原节奏。原曲和弦及跨度不明时不补写；本卡 C3、E3、G3 不是给任何伴奏通用的替代。
边界
没有复现来源手刀角度、长距离跳跃、皮肤接触或命中率实验；来源中的几厘米、省力和几乎不会失误等说法未验证。F/P 成功不证明单手快速伴奏。
转写与画面边界
末段113（522.1–532.1秒）片尾候选不用。唱名和指法 ASR 不作为原谱重建；172/240秒只核对指法比较与舒适限定。来源嵌入的其他钢琴家片段未单独审查，也没有试玩游戏或验证省力／命中率。
136秒题头，172秒指号比较，201秒明确舒适条件，240秒说明不必用过大跨度；275秒只是手刀标题旁的离键手部，452秒有侧向黑键姿势及作者命中率说明。没有从这些帧验证接触力。
PC-021 · 第21天：彈出綿密的顫音
PC-HANDBOOK · 实体页25 / 印刷页24.
来源短评与定位
B5-021-S1 · T2 · 69.32–138.62 s · 静帧: 92,132 s
作者将指法选择联系到音高、速度、响度、连贯程度和另一手任务，并把 2–4 说成自己的偏好。手册与静帧支持这个多条件选择，不支持全体初学者都用同一组合。
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。
B5-021-S2 · T2 · 400.44–491.08 s · 静帧: 475 s
作者讨论右手颤音干扰左手节奏的情况，并将固定节奏比例视为可尝试的暂时方案。这里的计数练习明确属于有限协调准备，不代表已经做到不依赖固定比例的颤音。
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
右手交替时，保留左手自己的起止拍
先懂的词
颤音通常涉及两个相邻音快速交替；本卡只是四个慢速交替音，不决定作品中颤音应从哪个音开始或弹多少次。C5 是 C4 右方下一个 C；D5 是其右侧相邻白键。两个声部分别是右手交替线与左手脉冲线。
先修与独立入口
A 只需右手 C5/D5 单独舒适并能数半拍，指法可选 2/3 或其他舒适安排。B 还需左手 C4 脉冲和 A 分别从容，且愿意合手。P 只需舒适弹出并释放左手 C4、按整拍计数，可直接只弹左手脉冲；Q 只需舒适弹出并释放右手 C5，可直接只弹一次。无需先做颤音、旋转、拿纸巾或踏板实验。
可观察问题 O
右手一开始交替，左手就提前弹、漏音或把应当结束的键留住。
待验证的可能原因 O
可能只把两手想成同一串起音，遗漏了左手独立的持键和休息。把两条时间线分别写明再合并，能定位哪一项改变；不据此推断大脑或身体机制。
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，再休息一小节。A/B 的右手每音半拍，第3拍全部结束；B/P 左手每音一拍，起于第1、3拍。声音清楚即可，不练浅键或不完全放键。
声部角色
左手脉冲线
右手单线
原创逐拍版本 O
A
右手 C5 第1拍弹，1-&松并弹 D5；第2拍松 D5 并弹 C5；2-&松 C5 并弹 D5；第3拍松最后 D5。右手第3–4拍休息；左手全小节休息。
B
右手完整保留：C5 第1拍起，1-&松并弹 D5；第2拍松 D5 并弹 C5；2-&松 C5 并弹 D5；第3拍松末音，右手第3–4拍休息。左手 C4 第1拍起、第2拍松，第3拍再起、第4拍松；左手第2、4拍休息。第3拍是右手释放、左手新起音，不是两手一起弹。
P
独立左手版：左手 C4 第1拍起、第2拍松；第3拍再起、第4拍松。左手第2、4拍休息，右手全小节休息。
Q
独立右手单音版：右手 C5 第1拍起、第2拍松；双手第2–4拍休息，左手全小节不弹。
听与看 O
A 只检查四个右手起音及第3拍末音释放。B 分开检查右手同样四音和左手第1、3拍起、第2、4拍松；第3拍右手不能跟着再敲一下。P 只检查两次左手脉冲，Q 只检查右手一次起音、第2拍松。没有合手的版本不记为双手协调通过。
复测 O
休息一小节后只重复选定、仍舒适的一版一次。A/B 右手末音第3拍松，B/P 左手末音第4拍松，Q 右手第2拍松。P/Q 可直接复测，不自动加另一手；B 若不舒适可选 A/P/Q 或停止。固定比例成功只记为这一小节成功。
回到曲目 O
回到熟悉作品先确认实际颤音主音、邻音、起止位置与左手节奏；不清楚的装饰音解释先查该版本。可先单独检查左手时间线，再合入一个短音组。不要把本卡四音数量或固定比例当成整首作品的颤音规定。
边界
不采用浅键、不完全释放、平台钢琴特性或用纸巾转动的做法；用户钢琴机构未测试。没有验证颤音质感、长期耐力或完全独立的快颤音。
转写与画面边界
历史自动隔离计数为0不代表准确；历史注记另提网站片段不可靠，未据此访问或猜地址。35段（174.62–193.62秒）音乐标签不作言语证据。颤音／指法等词由手册校正；不把机构示意、深浅键比例、纸巾姿势或字幕等同于实际音响和动作验证。
92/132秒为指法选择与动作解释；258秒为深浅键观点；327秒有平台钢琴限定；475秒标为固定比例的暂时方案；519秒显示拿纸巾的示例姿势。没有实际纸巾练习或琴键机构测试。
PC-027 · 第27天：關於旋律處理
PC-HANDBOOK · 实体页31 / 印刷页30.
来源短评与定位
B5-027-S1 · T2 · 80.28–161.92 s · 静帧: 85,155 s
作者提出主旋律不必在所有情况下最大声，并举出可突出内声部的处理选择。手册及字幕支持这项选择；听众注意力和层次效果仍是未验证的来源解释。
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。
B5-027-S2 · T2 · 390.6–470.64 s · 静帧: 405,455 s
作者提醒不要把同一只手弹出的不同声部混成一条旋律，画面用两种标记区分旋律与混合音列。这里采用“先分清声部”的任务，不从未听校唱名重建原曲。
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
持住旋律时，别把中间伴随音算成旋律新起音
先懂的词
声部是一条有自己起止时值的音乐线，不等于一只手。本卡各版的旋律 E4 都只起音一次，持键两拍。A/B 的伴随声部 C4 只起音一次，持键半拍；P 省略伴随声部。B 由同一右手承担两声部，也仍是两条时间线，不是 E4–C4 的单线旋律。
先修与独立入口
A 用右手 E4、左手 C4，需各自单音舒适并能计半拍；无需先做 B。B 仅在右手可舒适持 E4 同时短弹 C4 时选用，可试 3 指 E4、1 指 C4，但不固定，也不拉大跨度。P 可直接只持旋律 E4，不加 C4，不要求先尝试两声部。
可观察问题 O
伴随音一进入，就把原先的长旋律音提前松掉，或把伴随音误认为旋律的下一音。
待验证的可能原因 O
可能按左右手分组思考，忽略声部归属与不同结束点。用只有两次起音的模型分别追踪持续与短音，可让这个计划错误更清楚；不是对听觉能力的诊断。
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，再休息一小节。旋律 E4 从第1拍持到第3拍；A/B 的 C4 在第2拍起音，持键至2-&再释放；不以余响是否立即消失判断松键。先检查角色与时值，不规定旋律必须压过伴随音。
声部角色
伴随声部
旋律声部
原创逐拍版本 O
A
右手旋律 E4 第1拍起，持续到第3拍才松；左手伴随 C4 第2拍起，在2-&松。2-&时只松 C4，E4 仍持住；第3拍只松 E4。旋律第3–4拍休息；伴随第1拍及2-&至小节末休息。
B
右手承担两声部：旋律 E4 第1拍起，保持到第3拍才松；同一右手 C4 第2拍起、2-&松，期间 E4 不重弹也不跟着松。第3拍只松 E4，C4 保持已松开的状态。左手全小节休息，双手第3–4拍休息。
P
独立旋律版：右手 E4 第1拍起，连续持到第3拍才松；第3–4拍双手休息，左手全小节不弹。不弹 C4，伴随声部整小节休息。
听与看 O
A/B 只听到旋律 E4 一次起音；第2拍 C4 是另一个声部的新起音，不应把 E4 跟着重弹或松掉。看2-&只有 C4 回升、第3拍 E4 回升。P 只检查 E4 的第1拍起与第3拍松，不检查 C4，也不宣称声部平衡通过。
复测 O
休息一小节后直接重复选定且仍舒适的一版一次：A/B 的 C4 仍2-&松，E4 仍第3拍松；P 没有 C4，只有 E4 第3拍松和第3–4拍休息。B 不舒适可直接 A/P 或停止，不把单手两声部设为必经关卡。
回到曲目 O
在自己的谱面先标出实际旋律线，保留它的休止、延音线、连奏线与写定时值，再识别同手其他声部。可以先只弹旋律，再逐个加入已读清的伴随音；没有具体谱例就不补写。是否突出某声部由作品情境决定，不自动把最高音都当旋律。
边界
这里只检查两条时间线，未试听来源的层次、实际听众注意力或全页谱例。手册续页32–34仅看相关声部布局与标注，未逐音校订或复制。练习成功不能证明复杂复调或单手多声部已掌握。
转写与画面边界
既存隔离段75（408.6–412.4秒）、80（434.12–441.12秒）是未听校唱名，不用于精确音高。340秒谱面有叠化；405/455秒的高亮只支持声部分组差别，不能证明实际听觉层次。页32–34为谱例续页，不计额外完整文字篇章。
85秒主旋律不必最大声；155秒内声部高亮；232秒双声部音量可相近；340秒叠化中仍可读选择声部的字幕；405/455秒为同一谱面的不同声部标记。对应续页仅核对这些相关布局。
PC-028 · 第28天：如何不要害怕升降記號
PC-HANDBOOK · 实体页35 / 印刷页34.
来源短评与定位
B5-028-S1 · T2 · 89.56–174.96 s · 静帧: 96,129,165 s
作者用大调前五音的黑白键图及一个降 E 大调例子，帮助辨认键盘分布。本次核对图的用途及所选例子，未把整张图或“几天即可熟悉”的说法视为已验证。
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。
B5-028-S2 · T2 · 264.58–297.98 s · 静帧: 270,293 s
作者的自由组合任务先选定音阶或和弦，再要求弹出的音仍在这个范围。这里采用“先明确允许的音”的原则；本卡固定三音是原创缩小版，不是原课完整练习。
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
用三个明确音名检查移调后的黑白键变化
先懂的词
移调是把每个音移动相同音程，保留音程关系。本卡 A 为 C4–D4–E4，B 为 D4–E4–F#4，每个对应音上移两个半音。F#4 是 F4 与 G4 之间的黑键，也就是中央附近三黑键组最左一键。# 升高半音；不是看到 # 就随意找一个黑键。
先修与独立入口
A 只需舒适找到 C4、D4、E4；B 需分别舒适找到 D4、E4、F#4，并能说明第三音为何不是 F4。右手可选 1-2-3，也可换舒适指法，不要求同时撑住三键。P 的单音 C4 可直接选；白键 A 也不依赖完成 B。
可观察问题 O
换到新起点后仍照搬原来的全白键路线，或一看到升号就停止数拍。
待验证的可能原因 O
可能只记了手形或起点，没有确认每个音的对应关系。三音固定版本允许逐一检查名字、位置与节奏；不把识谱困难说成脑反应慢。
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 三音各持一拍；新音起时旧键松。这里没有自由加音或完整音阶，也不要求打印地图或全十二调。
声部角色
右手单线
原创逐拍版本 O
A
右手 C4 第1拍弹；第2拍松 C4 并弹 D4；第3拍松 D4 并弹 E4；第4拍松 E4。双手第4拍休息。
B
右手 D4 第1拍弹；第2拍松 D4 并弹 E4；第3拍松 E4 并弹 F#4；第4拍松 F#4。双手第4拍休息，不把 F#4 换成 F4。
P
独立单音版：右手 C4 第1拍弹、第2拍松；双手第2–4拍休息。不检查移调或第三音。
听与看 O
A/B 对照自己的三音名单看实际琴键，再听第1、2、3拍三次起音与第4拍末音释放；B 的第三音必须是 F#4。找键正确和节拍稳定分开记录。P 只检查 C4 的一次起音与第2拍松键，不评价升号或移调。
复测 O
休息一小节后只重复选定、仍舒适的一版一次，A/B 保留第4拍末音释放，P 保留第2拍释放和第2–4拍休息。P/A 可直接复测，不要求做 B 或十二调。若键名仍不清，先不按键检查名单；不以加速逼出直觉。
回到曲目 O
在自己的谱面先核对调号与相关临时记号，再写出一个短片段的实际音名及对应键位。只有确定原音列后才另作移调练习，不能因键盘图熟悉就忽略谱面变化。未提供的曲子或小蜜蜂版本不在此补写。
边界
没有验证恐惧改善、几日熟练、每天固定时长或地图所有条目；只核对所选来源说明及原创三音对应关系。字母音名练习成功不等于五线谱视奏或全调性熟练。
转写与画面边界
段77（227.28–229.28秒）虽疑似字幕署名，后面仍有内容；它不代表视频或全文结束。已读其后78–114段。移调地图仅核对用途、C/D 的相关三音对应及所选降 E 示意，不声称全12条逐项验证。几天熟悉、固定5–10分钟及效果保证未采纳。
96秒地图用途；129秒降 E 谱例；165秒黑白键对应；270/293秒列自由组合的范围条件；382秒给原课时间建议。记录作者提出的内容，不证明学习速度、所有图格或练习效果。
PianoClinic group 5: 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-017, PC-018, PC-019, PC-021, PC-027, PC-028. English titles are working translations; original materials do not replace the course. PC-000, when present, is orientation rather than a keyboard drill.
All 673 segments in six existing preferred ASR files were read. Thirty-six selected timestamped stills with 36 distinct image SHA-256 hashes were inspected. Full prose was read on six corresponding handbook pages, and nine page images inspected: physical pages 21, 22, 23, 25, 31, 35 plus PC-027 score continuations 32–34. Score inspection covered relevant layout/annotations, not every note; PC-028 contains a keyboard map. Six video and handbook SHA-256 identities were verified. Source duration totals 2816.464 seconds (46:56.464), not watched or auditioned time.
No additional selection-only prose pages are counted. Text extraction from physical pages 32/33 returned only page numbers and did not establish score inspection; page images 32–34 were subsequently inspected, still limited to layout/relevant annotations. PC-017 handbook prose was already read during batch-4 selection and is a rereading here.
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.
All O sections are original; their notes/timing do not reconstruct missing source scores. Source qualifications and personal preferences remain attributed, without requiring fixed shape, wrist height, forced span, hand-edge posture, shallow keys or rapid movement. Counts refer to practice attempts, not video playback. JSON additionally identifies voices; one hand can carry different voices.
Choose A/B or F/P/Q/R under each version’s own prerequisites and comfort conditions. A reduced version may be entered and retested directly without completing a harder version. Observe only its notes, holds and releases: PC-021 P checks LH only, Q RH only; PC-027 P contains only a two-beat melody. An unplayed voice is not validated. Stop for discomfort or choose a smaller task that remains comfortable.
Note data · Provenance and coverage
PC-017 · Day 17: Improving black-key accuracy
PC-HANDBOOK · physical pages21 / printed pages20.
Bounded source statements and locations
B5-017-S1 · T2 · 64.08–111.12 s · stills: 67,89 s
The author proposes that black-key contact need not use only the fingertip and discusses a flatter contact’s tolerance. Handbook and stills support attribution, not its accuracy rate, forces or individual suitability.
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.
B5-017-S2 · T2 · 195.9–226.66 s · stills: 206,214 s
The author contextualizes not always keeping fingers upright in fast black-key passages and acknowledges tradeoffs. This qualification is retained without turning a flatter position into another universal requirement.
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
Identify the target black key before checking attack and release
Terms
C#4 (C-sharp) is the black key between C4 and D4; D#4 (D-sharp) is between D4 and E4. They are the left and right keys of the two-black-key group to middle C’s right. A sharp raises a note by one semitone: one adjacent-key step, counting black and white keys.
Prerequisites and independent entry
Identify C#4/D#4 visually; choose A/B only if their individual black-key attacks are comfortable. Use any comfortable RH finger and prepare after release, without pressing joints or flattening the hand forcibly. If black keys are uncomfortable, choose P on white-key C4 directly, without first trying black keys; P does not validate black-key skill.
Observable problem O
A black-key target seems known, but a neighboring white key sounds or counting stops while locating it.
Possible cause to check O
Location, timing and physical shape may be treated as simultaneous tasks. Fixing one target before adding a second separates location and rhythm observations; one error cannot diagnose contact angle.
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 full bar. Looking at the target is allowed; no closed eyes, speed increase or contact-angle change is required.
Voice roles
RH line
Original beat-by-beat versions O
A
RH C#4 on beat 1, release on beat 2; the same C#4 again on beat 3, release on beat 4. Both hands rest throughout beats 2/4.
B
RH C#4 on beat 1, release on beat 2; D#4 on beat 3, release on beat 4. Both hands rest for beats 2/4; do not hold both black keys together.
P
Independent white-key single-note version: RH C4 on beat 1, release on beat 2; both hands rest for beats 2–4, with no black-key attack.
Listen and observe O
For A/B check the actual depressed black key, clear attacks on beats 1/3 and releases on beats 2/4. Record wrong keys, missed attacks and timing separately; do not insert corrective attacks. P checks only C4 on beat 1 and release on beat 2, without rating black-key accuracy.
Retest O
After a rest bar directly repeat the chosen, still comfortable version once: A/B release and rest on beats 2/4; P releases on beat 2 and rests to bar end. If B is uncomfortable choose A/P directly or stop; P requires no prior A/B. Two attempts do not establish an improved accuracy rate.
Return to the piece O
Choose an actual black-key note in your score, verify its pitch and key signature/accidental, then reconnect one surrounding note on each side slowly. Keep the piece’s rhythm; do not replace all black keys with C#4/D#4 or infer a universal contact angle.
Limits
The black-key demonstration was not auditioned or watched continuously in slow motion. Contact angle, tolerance, force loss and a fixed key width are unverified. This is a location/timing task, not an efficacy test of the author’s touch method.
Transcript and still-image limits
Existing quarantine 26 (66.92–70.28 s) misrecognizes key-width units as kilometres; no value is adopted. Closing candidate 79 (228.1–230.1 s) is excluded. The blurred hand at 170 s does not establish speed or errors; accuracy and physical causation were not measured.
67 s rejects mandatory fingertip contact on black keys; 89 s shows a flatter position; 126 s captions tolerance claims; 170 s is blurred; 206/214 s state context/tradeoffs. None establishes actual accuracy.
PC-018 · Day 18: A method for successive relocations
PC-HANDBOOK · physical pages22 / printed pages21.
Bounded source statements and locations
B5-018-S1 · T2 · 161.84–233.46 s · stills: 188,220 s
Using a timeline, the author explains reducing waiting after arrival, adjusting travel and coordinating arrival with the next chord’s attack. Text and diagrams support the attributed timing idea, not energy savings or physical 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.
B5-018-S2 · T2 · 425.02–456.82 s · stills: 450 s
The author places the proposed advantage mainly in closely spaced relocations and allows early preparation when intervals are long. This qualification is retained; not all prior key contact is labeled wrong.
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
Specify the departure note’s end and target note’s start
Terms
Relocation repositions the hand between keys rather than spanning them simultaneously. G4 is the fourth white key to C4’s right; reduced R uses neighboring C4→D4. The source’s “direct flight” is the author’s method label, not a required trajectory.
Prerequisites and independent entry
Choose A/B only if moving from C4 to G4 after release is comfortable. The same comfortable finger may play both sequentially, without holding a fifth span. R directly uses adjacent C4/D4; P directly uses C4 alone. No farther relocation, fixed speed or wrist height is a prerequisite for a reduced version.
Observable problem O
A relocation rushes and attacks early, or the previous note is retained until the next attack is already due.
Possible cause to check O
The target may be known without explicit temporal boundaries for both notes. Planning location and beat points separately allows timing checks, without implying that a particular arc is required.
Small-dose setup O
Use 4/4 with quarter-note beats, RH playing, LH resting throughout and all pedals up. Choose one version, practise once slowly, then rest a bar. In two-note versions the second note starts on beat 3 and the first ends on beat 2; do not pursue the source’s demonstration intervals in seconds.
Voice roles
RH line
Original beat-by-beat versions O
A
RH C4 on beat 1, release on beat 2; G4 on beat 3, release on beat 4. Both hands rest for beats 2/4; C4 is already released during relocation.
B
Reverse version: RH G4 on beat 1, release on beat 2; C4 on beat 3, release on beat 4. Both hands rest for beats 2/4; G4 is already released during relocation.
R
Independent reduced version: RH C4 on beat 1, release on beat 2; D4 on beat 3, release on beat 4. Both hands rest for beats 2/4; omit G4.
P
Independent single-note version: RH C4 on beat 1, release on beat 2; both hands rest for beats 2–4, without relocation.
Listen and observe O
A/B/R check only the chosen target, first release on beat 2, second attack on beat 3 and final release on beat 4. A correct key played early is not correct timing. P checks only one C4 attack and beat-2 endpoint. Looking is allowed; seek neither a visually smooth shape nor a forced longer first note.
Retest O
After one rest bar retest only the chosen, still comfortable version once. A/B/R still release on beats 2/4; P still releases on beat 2 and rests to bar end. R/P are directly available without increasing distance or speed; stop or reduce further if uncomfortable.
Return to the piece O
Choose an actual relocation in a familiar score and identify both pitches, written durations and comfortable feasible fingering. Check both endpoints slowly before reconnecting context. Retain a reduced version if the distance is not feasible; this practice rest does not automatically rewrite the piece.
Limits
Continuous trajectories, speed, fatigue and accuracy were not observed or measured. A one-second threshold, parabolic path and attack-at-arrival are not generalized to all music. Single-note relocation does not validate the source’s octave-chord demonstration.
Transcript and still-image limits
Closing candidate 126 (537.02–539.02 s) was read but excluded. Relocation/direct-flight terminology is normalized against clear labels. Claims about 90% of students and long-term accuracy lack independent evidence. This card does not reproduce one-to-0.3-second or octave-chord tasks.
43 s shows an attack timeline; 188 s adds a travel curve; 220 s defines direct flight; 264 s juxtaposes methods; 355 s gives tempo/intervals; 450 s qualifies longer intervals. These diagrams are not continuous movement observations.
PC-019 · Day 19: Oom-pah accompaniment and the hand-edge method
PC-HANDBOOK · physical pages23 / printed pages22.
Bounded source statements and locations
B5-019-S1 · T2 · 127.6–206.8 s · stills: 172,201 s
The author proposes fingering that reduces repeated travel while explicitly retaining comfort as a condition; saving distance should not require a forced span. This qualification is retained without universalizing the example finger numbers.
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.
B5-019-S2 · T2 · 237.18–254.66 s · stills: 240 s
The author uses differing reach to explain why the same chord can require different fingering, even with more travel. The still explicitly shows this tradeoff; actual individual suitability remains untested.
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 bass note from its responding pair
Terms
Here “oom-pah” means alternating a bass note and a responding group, with distinct roles and no requirement of equal loudness. C3 is the next C left of middle C; E3/G3 are the second/fourth white keys to its right. The response uses only E3/G3, an original reduction rather than a full triad.
Prerequisites and independent entry
Use A/B only if LH C3 and E3/G3 are individually comfortable and switching after release is manageable; do not span C3/G3 simultaneously. B additionally requires comfortable half-beats and four attacks. F directly assigns C3 to LH and E3/G3 to RH. If the pair is uncomfortable, choose P directly. Choose your own comfortable fingering; no hand-edge posture is required.
Observable problem O
Bass and response blur together, or the bass is retained while rushing to the response.
Possible cause to check O
The two roles may lack separate endpoints, or travel plus a pair may overburden one hand. Split-hand F and single-note P are independently available to separate role timing from travel, without diagnosing hand size.
Small-dose setup O
Use 4/4, a quarter-note beat and all pedals up. Choose one version, practise once slowly, then rest a full bar. RH rests throughout A/B/P and participates only in F. A/F have whole-beat gaps; B is denser without requiring a faster beat.
Voice roles
Bass voice
Responding-pair voice
Original beat-by-beat versions O
A
LH bass C3 on beat 1, release on beat 2; response E3+G3 together on beat 3, both release on beat 4. Bass rests for beats 2–4; response rests for beats 1–2 and 4. RH does not play.
B
LH bass C3 on beat 1, release at 1-and; response E3+G3 together on beat 2, both release at 2-and; C3 on beat 3, release at 3-and; E3+G3 together on beat 4, both release at 4-and. Both hands rest from 4-and to bar end. Each voice holds keys only during its own note intervals, with no held keys or attacks at other times.
F
Independent split-hand version: LH C3 on beat 1, release on beat 2; RH E3+G3 together on beat 3, both release on beat 4. LH rests for beats 2–4; RH for beats 1–2 and 4. No prior LH pair attempt is required.
P
Independent bass-only version: LH C3 on beat 1, release on beat 2; RH does not play and both hands rest for beats 2–4. The response voice rests throughout.
Listen and observe O
For A/F hear one bass attack and one paired response, checking releases on beats 2/4. For B hear four alternating attacks and releases on each “and.” Both response keys must release; merely avoiding another attack is insufficient. P checks only bass on beat 1 and release on beat 2, not alternation or the hand-edge method.
Retest O
After one rest bar repeat only the chosen, still comfortable version once. A/F release the last pair on beat 4, B at 4-and, and P on beat 2 followed by rest to bar end. F/P may be retested directly; if B is uncomfortable choose A/F/P or stop, without forcing fingering to save distance.
Return to the piece O
Mark actual bass notes and response groups in a known score, including separate endpoints, then choose comfortable hands and fingering. Check roles separately before restoring rhythm. Do not invent unspecified chords or spans; C3/E3/G3 are not universal accompaniment replacements.
Limits
The source’s hand-edge angle, long jumps, skin contact and accuracy experiment were not reproduced. Centimetre savings, reduced exertion and near-zero-error claims remain unverified. F/P success does not establish rapid one-hand accompaniment.
Transcript and still-image limits
Closing candidate 113 (522.1–532.1 s) is excluded. ASR solfege/fingering does not reconstruct the score; 172/240 s only corroborate comparison and comfort qualifications. The embedded other-pianist clip was not separately reviewed; no game or exertion/accuracy claim was tested.
136 s is a heading; 172 s compares finger numbers; 201 s explicitly retains comfort; 240 s discourages an excessive span; 275 s is an off-key hand beside a method label; 452 s shows lateral black-key posture with an accuracy claim. Contact forces are not verified.
PC-021 · Day 21: Playing a closely connected trill
PC-HANDBOOK · physical pages25 / printed pages24.
Bounded source statements and locations
B5-021-S1 · T2 · 69.32–138.62 s · stills: 92,132 s
The author relates fingering to pitch, speed, loudness, connection and the other hand’s task, identifying 2–4 as a personal preference. Handbook and stills support the conditional choice, not one fingering for every beginner.
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.
B5-021-S2 · T2 · 400.44–491.08 s · stills: 475 s
The author discusses RH trills disturbing LH rhythm and treats fixed rhythmic ratios as a possible temporary approach. The counted task here is explicitly limited coordination preparation, not evidence of a trill independent of a fixed ratio.
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 left hand’s own attack and release times during RH alternation
Terms
A trill commonly alternates neighboring notes rapidly; this card uses only four slow alternating notes, without deciding a real ornament’s starting note or count. C5 is the next C to C4’s right; D5 is its next white key. The two voices are an RH alternating line and an LH pulse line.
Prerequisites and independent entry
A requires comfortable RH C5/D5 and half-beat counting, with optional 2/3 or other comfortable fingering. B additionally requires manageable LH C4 pulses and A separately, plus a desire to combine them. P requires only comfortable LH C4 attacks/releases and whole-beat counting and directly uses LH pulses only. Q requires only a comfortable RH C5 attack/release and directly uses one note. No prior trill, rotation, tissue-holding or pedal experiment is required.
Observable problem O
As RH alternation begins, LH attacks early, misses a note or retains a key past its endpoint.
Possible cause to check O
The hands may be treated as one stream of attacks, omitting LH’s independent holds and rests. Writing both timelines before combining them locates which task changes, without inferring brain or body mechanisms.
Small-dose setup O
Use 4/4, a quarter-note beat and all pedals up. Choose one version, practise once slowly, then rest a bar. A/B’s RH notes last half a beat and end on beat 3; B/P’s LH notes last one beat and start on beats 1/3. Seek clear sound, without shallow-key or partial-release experiments.
Voice roles
LH pulse line
RH line
Original beat-by-beat versions O
A
RH C5 on beat 1, release and play D5 at 1-and; on beat 2 release D5 and play C5; at 2-and release C5 and play D5; release the last D5 on beat 3. RH rests for beats 3–4; LH rests throughout.
B
RH retains its full line: C5 on beat 1, release and play D5 at 1-and; on beat 2 release D5 and play C5; at 2-and release C5 and play D5; release the final note on beat 3 and rest RH for beats 3–4. LH C4 attacks on beat 1, releases on beat 2, attacks again on beat 3 and releases on beat 4; LH rests for beats 2/4. Beat 3 is an RH release with an LH new attack, not an attack by both hands.
P
Independent LH version: LH C4 on beat 1, release on beat 2; attack again on beat 3, release on beat 4. LH rests for beats 2/4 and RH rests throughout.
Q
Independent RH single-note version: RH C5 on beat 1, release on beat 2; both hands rest for beats 2–4, with no LH note throughout.
Listen and observe O
A checks only four RH attacks and final release on beat 3. B separately checks those RH notes and LH attacks on beats 1/3 with releases on 2/4; RH must not add another beat-3 attack. P checks only two LH pulses; Q only one RH attack and beat-2 release. A version without combined hands is not a passed two-hand coordination task.
Retest O
After one rest bar repeat only the chosen, still comfortable version once. A/B’s final RH note releases on beat 3, B/P’s final LH note on beat 4, and Q’s RH note on beat 2. P/Q may be retested directly without adding a hand. If B is uncomfortable choose A/P/Q or stop. Success at this fixed ratio applies only to this bar.
Return to the piece O
In a familiar piece identify the actual trill notes, start/end and LH rhythm; consult the edition when ornament realization is unclear. Check LH timing alone before adding a short group. Neither four attacks nor this fixed ratio is a rule for the piece’s complete trill.
Limits
Shallow depression, partial release, grand-action characteristics and tissue rotation are not prescribed; the user’s instrument action is untested. Trill texture, endurance and fully independent fast trills remain unverified.
Transcript and still-image limits
An earlier automatic-quarantine count of zero does not establish accuracy; its note separately flags unreliable website text, without prompting a visit or guessed address. Music-labeled segment 35 (174.62–193.62 s) is not speech evidence. Trill/fingering terminology is normalized via the handbook; mechanism descriptions, key-depth ratios, tissue posture and captions do not establish sound or movement.
92/132 s discuss fingering/movement; 258 s states a key-depth view; 327 s qualifies grand-piano repetition; 475 s labels a fixed-ratio temporary approach; 519 s shows tissue-holding posture. No tissue exercise or piano-action test was performed.
PC-027 · Day 27: Shaping melody
PC-HANDBOOK · physical pages31 / printed pages30.
Bounded source statements and locations
B5-027-S1 · T2 · 80.28–161.92 s · stills: 85,155 s
The author proposes that the main melody need not always be loudest and gives an option to feature an inner voice. Handbook and captions support this choice; claims about listener attention and perceived layers remain unverified source explanations.
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.
B5-027-S2 · T2 · 390.6–470.64 s · stills: 405,455 s
The author warns against merging different voices played by one hand into a single melody, using contrasting markings for the melody and mixed note stream. This card adopts voice identification without reconstructing the source piece from unauditioned solfege.
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
Do not count an intervening accompaniment note as a new melody attack
Terms
A voice is a musical line with its own timing, not a hand. In every version, melody E4 is attacked once and held for two beats. In A/B, accompaniment C4 is attacked once and held for half a beat; P omits the accompaniment. Even when one RH plays both in B, there are two timelines, not a single E4–C4 melody.
Prerequisites and independent entry
A uses RH E4 and LH C4 and requires comfortable separate notes and half-beat counting; no prior B is needed. Choose B only if RH can comfortably hold E4 while briefly playing C4; fingers 3 on E4 and 1 on C4 are optional, without forced span. P directly holds melody E4 alone, omitting C4 without first trying two voices.
Observable problem O
An accompanying note causes premature release of the held melody or is mistaken for the next melody note.
Possible cause to check O
Grouping by hands may obscure voice membership and distinct endpoints. A model with only two attacks separates a sustained note from a short one, clarifying planning without diagnosing hearing ability.
Small-dose setup O
Use 4/4, quarter-note beats and all pedals up. Choose one version, practise once slowly, then rest a bar. Melody E4 holds from beat 1 to beat 3; In A/B, attack C4 on beat 2, hold it until 2-and, then release the key; do not judge release by whether residual sound vanishes immediately. First check roles/durations without requiring the melody to overpower the accompaniment.
Voice roles
Accompanying voice
Melody voice
Original beat-by-beat versions O
A
RH melody E4 attacks on beat 1 and holds until release on beat 3. LH accompaniment C4 attacks on beat 2 and releases at 2-and. At 2-and release only C4 while E4 stays held; on beat 3 release only E4. Melody rests for beats 3–4; accompaniment rests for beat 1 and from 2-and to bar end.
B
RH plays both voices: melody E4 starts on beat 1 and holds until beat 3; the same RH plays C4 on beat 2 and releases it at 2-and, without reattacking or releasing E4 then. On beat 3 release only E4, keeping C4 already released. LH rests throughout; both hands rest for beats 3–4.
P
Independent melody-only version: RH E4 on beat 1, hold continuously until release on beat 3; both hands rest for beats 3–4 and LH never plays. Omit C4; accompaniment rests throughout.
Listen and observe O
A/B contain only one melody E4 attack. C4 on beat 2 belongs to another voice and must not trigger an E4 reattack or release. Observe only C4 rising at 2-and and E4 rising on beat 3. P checks E4 on beat 1 and release on beat 3, without checking C4 or claiming successful voice balance.
Retest O
After a rest bar directly repeat the chosen, still comfortable version once: A/B still release C4 at 2-and and E4 on beat 3; P has no C4 and only E4’s beat-3 release followed by beats-3–4 rest. If B is uncomfortable choose A/P directly or stop; one-hand two-voice playing is not a required stage.
Return to the piece O
In your own score, mark the actual melody, preserving its rests, ties, slurs and written durations, then identify other voices in the same hand. You may play the melody alone and then add clearly identified accompaniment notes one at a time; do not invent notes without a specific score. Context determines emphasis; the highest note is not automatically the melody.
Limits
This checks two timelines only, without auditioning the source’s balance or testing listener attention. Handbook continuation pages 32–34 were inspected for relevant voice layout/annotations, not every note or copied notation. Success does not establish complex polyphony or one-hand multi-voice mastery.
Transcript and still-image limits
Existing quarantines 75 (408.6–412.4 s) and 80 (434.12–441.12 s) are unauditioned solfege and not exact-pitch evidence. The score at 340 s is crossfading; highlighting at 405/455 s supports different voice groupings, not heard layers. Pages 32–34 are score continuations, not extra complete prose sections.
85 s says melody need not be loudest; 155 s highlights an inner voice; 232 s allows similar two-voice loudness; 340 s has a readable voice-choice caption amid a crossfade; 405/455 s mark voices differently on the same score. Continuation pages were checked for related layout only.
PC-028 · Day 28: Becoming more familiar with sharps and flats
PC-HANDBOOK · physical pages35 / printed pages34.
Bounded source statements and locations
B5-028-S1 · T2 · 89.56–174.96 s · stills: 96,129,165 s
The author uses black/white-key maps of the first five major-scale notes and an E-flat-major example to identify keyboard layouts. The map’s purpose and selected example were checked, not every entry or claims of familiarity within days.
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.
B5-028-S2 · T2 · 264.58–297.98 s · stills: 270,293 s
The author’s free-combination task first selects a scale or chord and then requires notes to remain within that set. This card adopts explicit permitted pitches; its fixed three-note sequence is an original reduction, not the complete source exercise.
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
Check a transposed black/white-key pattern with three explicit pitches
Terms
Transposition shifts every note by the same interval, retaining interval relationships. A is C4–D4–E4; B is D4–E4–F#4, each corresponding note two semitones higher. F#4 is the black key between F4/G4, the leftmost key of the three-black-key group near the middle. A sharp raises a note one semitone; it does not mean choose any black key.
Prerequisites and independent entry
A requires comfortable C4/D4/E4. B requires comfortable D4/E4/F#4 and knowing why its third note is not F4. RH 1-2-3 is optional and replaceable; do not span all three keys together. P on C4 alone is directly available, and white-key A does not depend on completing B.
Observable problem O
After changing the starting note, the old all-white-key pattern is retained, or counting stops at a sharp.
Possible cause to check O
Only shape or starting position may have been remembered without checking each corresponding pitch. A fixed three-note version permits separate name, location and timing checks, without labeling reading difficulty as slow brain response.
Small-dose setup O
Use 4/4, quarter-note beats, RH playing, LH resting throughout and all pedals up. Choose one version, practise once slowly, then rest a bar. A/B notes each last one beat, releasing the previous key at the next attack. Add no free notes or complete scale; no printed map or all-twelve-key task is required.
Voice roles
RH line
Original beat-by-beat versions O
A
RH C4 on beat 1; on beat 2 release C4 and play D4; on beat 3 release D4 and play E4; on beat 4 release E4. Both hands rest for beat 4.
B
RH D4 on beat 1; on beat 2 release D4 and play E4; on beat 3 release E4 and play F#4; on beat 4 release F#4. Both hands rest for beat 4; do not substitute F4 for F#4.
P
Independent single-note version: RH C4 on beat 1, release on beat 2; both hands rest for beats 2–4. This does not check transposition or a third note.
Listen and observe O
For A/B compare actual keys with the selected three-note list, then check attacks on beats 1/2/3 and final release on beat 4; B’s third note must be F#4. Record location and timing separately. P checks one C4 attack and beat-2 release, not sharps or transposition.
Retest O
After one rest bar repeat only the chosen, still comfortable version once. A/B retain final release on beat 4; P retains beat-2 release and beats-2–4 rest. P/A may be retested directly without B or all twelve keys. If names remain unclear, review the list without playing; do not force intuition through speed.
Return to the piece O
In your score, first check the key signature and relevant accidentals, then write down a short passage's actual note names and corresponding keys. Make a separate transposition exercise only after establishing the original sequence; a familiar map does not override written changes. No unspecified piece or version of “Little Bee” is reconstructed here.
Limits
Reduced fear, proficiency within days, fixed daily duration and every map entry were not validated. Only selected source explanations and the original three-note correspondence were checked. Success with letter names does not establish staff-reading or all-key proficiency.
Transcript and still-image limits
Segment 77 (227.28–229.28 s) resembles a credit, but content follows; it is not the end of the video/transcript. Segments 78–114 were also read. Map inspection covered its purpose, the relevant C/D three-note correspondence and the selected E-flat diagram, not item-by-item verification of all 12 entries. Familiarity within days, fixed 5–10-minute sessions and efficacy guarantees are not adopted.
96 s shows the map’s purpose; 129 s an E-flat example; 165 s black/white correspondence; 270/293 s state pitch-set conditions; 382 s gives the source’s duration advice. These establish what is proposed, not learning speed, every map entry or efficacy.