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6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。
PC-015 的每个按键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。 PC-000 是非演奏说明，没有琴键事件或必需节拍。
本组来源：PC-000、PC-015。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。
完整读完两份现有首选 ASR，共 258 段（140＋118）；检查 12 个请求时间点的静帧，12 个不同图像 SHA-256。读完手册实体页3、4、19的全部文字并检查这三页图像；均无谱例。另读了实体页1的标题文字和页2目录文字，仅为文本检查，不计为额外完整正文或页面图像审查。核对两视频、两份 ASR 及手册的 SHA-256。两视频总长 779.497 秒（12:59.497），不是观看或试听时长。
PC-000相对既有记录新增首次完整转写文字阅读1；PC-015复核1。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。
PC-000 可直接只读或完成非演奏规划；不自动转入琴键练习。PC-015 的 P 可直接进入、观察和复测，不必先做 A/B。每次只检查所选版实际包含的音和释放点；P 不检查三音路线，也不证明滑音能力。所有按键任务都以仍舒适和停止条件为前提。计次指自己的练习尝试，不是视频播放次数。
逐音数据 · 来源与覆盖
PC-000 · 课程导入：钢琴技巧是什么？（据 ASR 开头规范化的工作题名）
PC-HANDBOOK · 实体页3,4 / 印刷页2,3.
来源短评与定位
B6-000-S1 · T1 · 149.42–176.38 s · 静帧: 151 s
作者把技巧目标联系到具体乐段的音乐想法与个人舒适，并说不存在唯一绝对答案。关于成功率、效率和避免伤害的解释仍只是来源观点；151 秒静帧仅能核对目标这一题头，不能支持这些效果。
秒数相对视频起点；ASR 分段边界近似。静帧为请求提取时点，不代表连续观察。手册实体页从 PDF 第1页起计，印刷页码为实体页减1。
B6-000-S2 · T2 · 279.18–301.5 s · 静帧: 285 s
作者建议按一天一部视频的节奏学习，看后尝试所讲观念，并思考如何用于在练的曲子；ASR 与 285 秒文字还给出 10–20 分钟的练习建议。手册导言也谈尝试与迁移。这是来源的学习安排，不是本卡对用户规定的剂量或效果承诺。
秒数相对视频起点；ASR 分段边界近似。静帧为请求提取时点，不代表连续观察。手册实体页从 PDF 第1页起计，印刷页码为实体页减1。
B6-000-S3 · T2 · 301.5–346.2 s · 静帧: 309,338 s
作者承认不同身体、需求与问题可能有不同方法，自己的做法并非唯一，也承认视频表达有限。是否采用建议仍以自己尝试后觉得有帮助且舒适为条件。手册末段及所选文字支持这项限定；本次没有测试任何人的身体适合性。
秒数相对视频起点；ASR 分段边界近似。静帧为请求提取时点，不代表连续观察。手册实体页从 PDF 第1页起计，印刷页码为实体页减1。
资料角色
课程导入与练习观念：有方法选择、学习步骤及视频限制说明，也有未经本审查验证的机械／身体断言与历史推广内容。不是一份给出明确琴键音列的技术练习。
来源受众与限制
手册实体页3的导言预设一定弹琴经验和基本五线谱识读，并非主要面向零基础。页3的设备／打印建议和页4的捆绑课程推广只是历史来源背景，不成为本报告要求，也未核验现时商品信息。123.58–149.42 秒的简化琴键／机构解释及 177.18–264.82 秒的身体风险断言不作为本报告的科学结论或动作禁令；346.2–370.68 秒是支持／推广内容，不据此访问、购买或推断用户资格。
原创非演奏规划 O
可直接只读这则说明，不必先看完课程或弹琴。若选择规划提示，只需能指出另一张已读清的卡片，或自己谱面上的一个明确小片段；还不清楚音名、声部或节奏，就先保留问题，不进入按键任务。
练习计划只有“多练”或“慢练”，却没有写出想检查什么。
可能把方法名称当成了目标，或同时想解决多个问题。这只是可检查的规划假设，不是身体或学习能力诊断。
O／可选非演奏任务：从一张已读清的卡片或实际谱段选择一个问题，例如“这个声部原先持住的音应在哪一拍结束？”写出来源 ID／谱段定位、正在检查的声部、应有的起止点以及仍不确定之处。若这些资料缺失，只记“待确认”，不补写音符或手部动作。本步骤不按任何琴键，也不需要先试较难版本。
只检查问题是否具体、声部和结束点是否已知，以及是否把作者建议和自己的观察分开。没有弹琴，就不记录“听来更好”“更舒适”或“技巧已验证”。资料不全仍可完成这张待确认清单。
愿意时，休息片刻后只重读一次所写问题，核对它是否能由所选卡片／谱段回答；若仍未知，保持待确认。本复核不自动转入演奏，也不要求一天一课或固定分钟数。
以后若选择演奏，直接进入该卡片独立可达、仍舒适的版本，并沿用它完整的音名、手、节拍、释放与停止条件；实际曲谱缺少的信息先补查。此处不给未提供的作品编旋律，也不把非演奏规划算作回曲成功。
边界
本条以来源说明与规划提示结束，没有强加滑奏、音阶或身体动作。作者的经验、简化解释与推广语没有变成经验证的科学规则。完整 ASR 阅读也不等于听过或连续看过这段视频。
转写与画面边界
ASR 将开头题名、容错率及网站名称等识错；题名只作规范化工作题名。末段139（375–377秒）疑似片尾署名，读过但不用于教学主张。未校听其机械简化与身体风险列表，也未采纳这些因果说法、风险期限或现时推广信息。
3秒只有课程片头；151秒为技巧目标题头；193秒有手部与风险列表第一项文字，不证明伤害因果；285秒显示学习步调／分钟建议；309秒说明复杂性及方法不唯一；338秒给采用建议的舒适条件。没有观察连续手部动作。
PC-015 · 第15天：滑音到底要怎麼彈？
PC-HANDBOOK · 实体页19 / 印刷页18.
来源短评与定位
B6-015-S1 · T2 · 11.92–41.84 s · 静帧: 29 s
作者说滑音没有公认的单一标准弹法，并把接下来的演示称为自己的方法，鼓励寻找适合自己的方式。手册及 29 秒文字支持个人方法这一归属。该段“不太痛”的措辞不作为本卡可以忍痛继续的标准。
秒数相对视频起点；ASR 分段边界近似。静帧为请求提取时点，不代表连续观察。手册实体页从 PDF 第1页起计，印刷页码为实体页减1。
B6-015-S2 · T2 · 256.12–278.6 s · 静帧: 272 s
作者限制连续练习时间，并要求出现手部不适或皮肤疼痛时停止、调整或休息，不勉强继续。这里只保留停止和不强求的限定，不采用“几分钟就掌握”的时间或效果暗示。
秒数相对视频起点；ASR 分段边界近似。静帧为请求提取时点，不代表连续观察。手册实体页从 PDF 第1页起计，印刷页码为实体页减1。
资料角色
来源是滑音方法与练习限度的技术说明；本卡原创任务仅为分开单音的方向和结束点准备，不是实际滑奏教学或验证。
来源范围
41.84–246.68 秒讨论指甲／指腹接触、方向、深浅与角度等个人做法；278.6–328.92 秒讨论黑键选项；332.92–347.92 秒说黑键滑音不需频繁日练、曲中需要时再用；347.92–385.92 秒谈三度、八度等进阶种类。这里记录范围，不从静帧推出摩擦、力度、连续动作或适合用户的角度，也不把进阶种类设为必修。手册实体页19没有谱例。
本卡目标
先分清方向、起音与结束点，不把分开单音当作滑音
先懂的词
滑音（glissando）是沿一列琴键连续扫过的效果。本卡 A/B 按所选版本的顺序，逐个定位并单独弹奏 C4、D4、E4 中的目标键，在音与音之间留下规定的休止，不沿琴键扫过；P 只有一次 C4。任务因这种逐键定位、有计划休止且没有扫键的安排而不是滑音；不能只凭各键有独立起音或释放来区分，因为钢琴滑音也包含各键的独立起音。这里向右是升高，向左是降低。“持半拍”指从第 n 拍持到 n-&，随后松键，余下半拍休息；不是用更快的拍速。
先修与独立入口
A/B 只在右手分别弹 C4、D4、E4 均舒适且能均匀数半拍时选择；不需同时撑住三个键。可选任何舒适的手指组合，不规定通用指法。P 可直接从一次右手 C4 起音与释放进入，无需先找 D4/E4、尝试移动或数半拍。若单音也不舒适，停止按键，仅读本卡。
可观察问题 O
还没认清起点、方向和终点，就把滑动当成越快越好的动作，或最后一个音没有明确结束。
待验证的可能原因 O
可能同时混合了找键、接触方法和时值三个任务。先用分开的少量单音可检查路线与结束点计划；这不诊断滑音困难，也不证明某种接触方式适合你。
小剂量设置 O
O／可选准备任务：4/4，四分音符一拍，选均匀舒适的慢速，踏板全放，左手全小节不弹也不持键。只选一版试一次，随后双手休息一小节。各键松开后才准备下一键，不扫键、不拖擦皮肤或指甲，不指定触键角度、浅键、力度或固定手形。
声部角色
右手单音线
原创逐拍版本 O
A
右手 C4 第1拍起、1-&松；D4 第2拍起、2-&松；E4 第3拍起、3-&松。右手在1-&至第2拍、2-&至第3拍、3-&至小节结束不持键也不起音；第4拍双手都休息。左手整个小节不持键、不起音。
B
右手 E4 第1拍起、1-&松；D4 第2拍起、2-&松；C4 第3拍起、3-&松。右手在1-&至第2拍、2-&至第3拍、3-&至小节结束不持键也不起音；第4拍双手都休息。左手整个小节不持键、不起音。
P
可直接选的单音版：右手 C4 第1拍起，持一拍，在第2拍松开；第2–4拍双手不持键、不起音。左手全小节休息。没有第二／第三音，不检查移动、方向或滑奏。
听与看 O
A/B：核对选定音列的三个独立起音分别在第1、2、3拍，各键分别在1-&、2-&、3-&回升；下一音前旧键已松，第4拍没有键仍按着。听到三个分开音不算听到滑音。P：只检查 C4 第1拍起、第2拍松，以及第2–4拍保持已松状态，不检查方向或第三音。琴房余响和琴键是否仍按着分开记录；不强求声音瞬间消失。
复测 O
双手休息一小节后，仅重复所选且仍舒适的版本一次。A 的末音 E4、B 的末音 C4 都在3-&松，第4拍休息；P 的 C4 在第2拍松，第2–4拍休息。P 可直接复测，无需转入 A/B。若 A/B 不舒适，可改选仍舒适的 P 或停止；若 P 也不舒适就停止，不要求重试不舒服的动作。
回到曲目 O
在自己确实要练的谱段先确认是否真有滑音，以及实际起止音、方向、黑白键范围和占用时值。没有这些谱面信息就不编一个滑奏。可只做读谱规划或所选单音准备；本卡分开的三音不能自动替代作品的滑音，也不能证明已会滑奏。实际接触方式与身体适合性仍待合适的现场反馈，完成本卡不要求先演奏滑音。
边界
没有试听来源示范或连续观察手的滑行，没有测摩擦、键深、速度或压力。来源的角度、指甲／指腹与进阶跨度不转换为用户处方。原创单音准备的效果、实际滑音能力及回曲迁移都未经测试。
转写与画面边界
历史自动隔离计数为0不代表正确；滑音／琴键等词按手册和明晰字幕规范化。来源“不太痛”的说法不是本卡停止标准，不能据此忍痛。静帧不建立扫键动作、摩擦、角度或深度效果；没有从 ASR 拼出原谱、通用指法或黑键／八度任务。
29秒写方法不唯一及来源的疼痛措辞；75秒为手指近景与深度文字；96秒主要是角度说明；146秒为手部画面及舒适接触说明；272秒要求不适时停止；336秒限制黑键滑音练习频率。均为分离静帧，不证明实际滑动或声音。
PianoClinic group 6: 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 PC-015 keyboard 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. PC-000 is nonplaying context, with no keyboard events or required beat count.
Sources in this group: PC-000, PC-015. English titles are working translations; original materials do not replace the course. PC-000, when present, is orientation rather than a keyboard drill.
All 258 segments (140 + 118) in two existing preferred ASR files were read. Twelve requested-time stills with twelve distinct image SHA-256 hashes were inspected. Full prose and page images were examined on handbook physical pages 3, 4 and 19; none contains a score. Page 1’s title text and page 2’s contents text were also read as text only, not extra substantive prose or page-image review. Two video, two ASR and handbook SHA-256 identities were checked. The videos total 779.497 seconds (12:59.497), not watched or auditioned time.
Relative to existing records, PC-000 adds1 first-complete transcript-text reading and PC-015 is1 rereview. 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.
PC-000 may be read or used for planning directly, without automatically starting a keyboard task. PC-015 P may be entered, observed and retested without A/B. Check only the selected version’s actual notes and endpoints; P checks neither a three-note route nor glissando skill. Every keyboard task remains conditional on comfort and stop rules. Counts refer to your practice attempts, not video playback.
Note data · Provenance and coverage
PC-000 · Course introduction: What is piano technique? (working title normalized from the ASR opening)
PC-HANDBOOK · physical pages3,4 / printed pages2,3.
Bounded source statements and locations
B6-000-S1 · T1 · 149.42–176.38 s · stills: 151 s
The author links technique goals to musical intentions in a particular passage and individual comfort, and rejects a single absolute answer. Success-rate, efficiency and injury-avoidance explanations remain source views; the 151-second still corroborates only the topic heading, not those effects.
Seconds are relative to video start; ASR boundaries are approximate. Stills use requested seek points, not continuous observations. Physical pages count from PDF page 1; printed page numbers are physical minus one.
B6-000-S2 · T2 · 279.18–301.5 s · stills: 285 s
The author suggests one video per day, trying its ideas afterward and considering their use in current repertoire; the ASR and text at 285 seconds also propose 10–20 minutes of practice. The handbook introduction likewise discusses trying ideas and applying them. This is the source’s study schedule, not this note’s required dose or an efficacy promise.
Seconds are relative to video start; ASR boundaries are approximate. Stills use requested seek points, not continuous observations. Physical pages count from PDF page 1; printed page numbers are physical minus one.
B6-000-S3 · T2 · 301.5–346.2 s · stills: 309,338 s
The author acknowledges that different bodies, needs and problems can call for different methods, that his methods are not exclusive and that video explanation has limits. Adoption remains conditional on finding an idea helpful and comfortable after trying it. The handbook’s closing introduction and selected captions support that qualification; no person’s physical suitability was tested.
Seconds are relative to video start; ASR boundaries are approximate. Stills use requested seek points, not continuous observations. Physical pages count from PDF page 1; printed page numbers are physical minus one.
Content role
Course orientation and practice framing: method choices, study steps and video limitations, alongside mechanical/physical assertions not validated here and historical promotion. It is not a technical drill with a specified keyboard sequence.
Source audience and limits
The introduction on physical page 3 assumes some playing experience and basic staff reading rather than primarily addressing absolute beginners. Its equipment/printing suggestions and page 4’s bundle promotion are historical source context, not report requirements; current offers were not verified. Simplified key/action explanations at 123.58–149.42 seconds and physical-risk assertions at 177.18–264.82 seconds are not adopted as scientific conclusions or movement bans. Support/promotion at 346.2–370.68 seconds prompted no visit, purchase or assumption about the user’s eligibility.
Original nonplaying plan O
You may simply read this note without finishing the course or playing. For the optional planning prompt, identify another clearly understood card or a defined short passage in your own score. If pitches, voices or rhythm remain unclear, keep the question open rather than starting a keyboard task.
The plan says only “practise more” or “practise slowly,” without stating what to check.
A method name may have replaced an observable goal, or several problems may have been combined. This is a planning hypothesis, not a diagnosis of the body or learning ability.
O / Optional nonplaying task: choose one question from a clearly understood card or actual score passage, such as “On which beat should this voice’s preceding held note end?” Write the source ID/passage locator, the voice being checked, its intended endpoints and remaining uncertainty. If information is missing, mark it “to confirm” rather than supplying notes or movements. Press no keys in this step; no harder version must be attempted first.
Check only whether the question is specific, whether the voice/endpoints are known and whether source advice is separated from your observations. Without playing, do not record improved sound, greater comfort or verified technique. An uncertainty list is a valid outcome when information is incomplete.
If desired, take a break and reread the written question once to check whether the selected card/passage can answer it; retain unresolved items. This recheck does not automatically start playing and requires neither a lesson per day nor a fixed number of minutes.
If you later choose to play, enter that card’s independently available, still comfortable version and retain its complete pitches, hands, beats, releases and stop conditions. Resolve missing score information first. This note invents no melody for an unspecified work and does not count planning as successful reintegration.
Limits
This entry ends with source context and planning, without imposing a glissando, scale or physical movement. Experience, simplified explanations and promotional language are not converted into validated scientific rules. Full ASR reading is not audition or continuous video viewing.
Transcript and still-image limits
ASR misrecognizes the opening title, tolerance terminology and website name; the title is only a normalized working label. Segment 139 (375–377 s) appears to be a closing credit, read but excluded from teaching claims. Simplified mechanics and the physical-risk list were not audition-verified; their causation, risk deadlines and current promotional information are not adopted.
3 s shows course branding; 151 s a technique-goal heading; 193 s a hand with the first risk-list item, without establishing injury causation; 285 s the study cadence/minutes suggestion; 309 s complexity/nonexclusive methods; 338 s the comfort qualification for adopting advice. No continuous hand movement was observed.
PC-015 · Day 15: How to play glissandi
PC-HANDBOOK · physical pages19 / printed pages18.
Bounded source statements and locations
B6-015-S1 · T2 · 11.92–41.84 s · stills: 29 s
The author describes no single agreed standard glissando method and presents the demonstrations as his own approaches, encouraging an individually suitable choice. The handbook and text at 29 seconds support that attribution. This passage’s “not too painful” wording is not adopted as permission to continue through pain.
Seconds are relative to video start; ASR boundaries are approximate. Stills use requested seek points, not continuous observations. Physical pages count from PDF page 1; printed page numbers are physical minus one.
B6-015-S2 · T2 · 256.12–278.6 s · stills: 272 s
The author limits continuous practice and asks the learner to stop, adjust or rest for hand discomfort or skin pain rather than forcing continuation. This card retains the stop/no-force qualification, not any implication of mastery within minutes.
Seconds are relative to video start; ASR boundaries are approximate. Stills use requested seek points, not continuous observations. Physical pages count from PDF page 1; printed page numbers are physical minus one.
Content role
The source discusses glissando methods and practice limits. This card’s original task prepares direction and endpoints using separated single notes; it does not teach or validate an actual glissando.
Source scope
At 41.84–246.68 seconds the source discusses personal choices of nail/pad contact, direction, depth and angle; 278.6–328.92 seconds covers black-key options; 332.92–347.92 seconds discourages frequent daily black-key glissando practice until a piece needs it; 347.92–385.92 seconds discusses thirds, octaves and other advanced types. These are scope notes, not inferences of friction, force, continuous motion or an angle suitable for this user, nor required advanced stages. Handbook physical page 19 contains no score.
Goal
Distinguish direction, attacks and endpoints without calling separated notes a glissando
Terms
A glissando produces a sweeping succession along a set of keys. In A/B, locate each C4/D4/E4 target individually in the selected version’s order, and leave the specified rests between separately played notes with no sweep along the keys; P contains only one C4. This task is not a glissando because it uses individually located notes, planned rests and no sweep. Separate key attacks or releases alone do not make that distinction, since a piano glissando also has individual key attacks. Here rightward rises and leftward falls. A half-beat hold lasts from beat n to n-and, followed by release and a half-beat rest; the beat itself does not speed up.
Prerequisites and independent entry
Choose A/B only if separate RH C4/D4/E4 notes are comfortable and half-beat counting is even; there is no need to span three keys together. Any comfortable finger choice is allowed; none is universal. P directly starts with one RH C4 attack/release, without first finding D4/E4, trying a move or counting half-beats. If even one note is uncomfortable, stop playing and only read the card.
Observable problem O
Before identifying start, direction and endpoint, a sweep is treated as a movement to make faster, or its final note has no defined ending.
Possible cause to check O
Location, contact method and timing may have become one combined task. A few separated notes can check a route/endpoints plan; this neither diagnoses a glissando difficulty nor establishes a suitable contact method.
Small-dose setup O
O / Optional preparation: 4/4, quarter-note beats, an even comfortable slow tempo, all pedals up, and no LH attack or hold throughout the bar. Choose one version for one attempt, then rest both hands for a full bar. Prepare the next key only after release; do not sweep or drag skin/nails. No contact angle, shallow depression, force or fixed hand shape is prescribed.
Voice roles
RH single-note line
Original beat-by-beat versions O
A
RH C4 attacks on beat 1 and releases at 1-and; D4 attacks on beat 2 and releases at 2-and; E4 attacks on beat 3 and releases at 3-and. RH neither holds nor attacks from 1-and to beat 2, 2-and to beat 3, and 3-and to bar end. Both hands rest for beat 4; LH neither holds nor attacks throughout the bar.
B
RH E4 attacks on beat 1 and releases at 1-and; D4 attacks on beat 2 and releases at 2-and; C4 attacks on beat 3 and releases at 3-and. RH neither holds nor attacks from 1-and to beat 2, 2-and to beat 3, and 3-and to bar end. Both hands rest for beat 4; LH neither holds nor attacks throughout the bar.
P
Directly available single-note version: RH C4 attacks on beat 1, holds for one beat and releases on beat 2. Neither hand holds or attacks during beats 2–4; LH rests throughout. There is no second/third note and no check of travel, direction or glissando.
Listen and observe O
A/B: check three separate attacks on beats 1/2/3 in the chosen sequence, with each key rising at 1-and/2-and/3-and. The old key is released before the next attack and no key remains down during beat 4. Three separated notes do not count as a heard glissando. P checks only C4 on beat 1, release on beat 2 and the released state throughout beats 2–4, not direction or a third note. Record room resonance separately from whether a key remains depressed; do not require instantaneous silence.
Retest O
After a full bar of rest for both hands, repeat only the selected, still comfortable version once. A’s final E4 and B’s final C4 release at 3-and with beat 4 resting; P releases C4 on beat 2 and rests for beats 2–4. P can be retested directly without entering A/B. If A/B is uncomfortable choose P only if it remains comfortable, or stop; if P is uncomfortable, stop without retrying the uncomfortable action.
Return to the piece O
In an actual passage first establish whether a glissando is specified and identify its real start/end notes, direction, white/black-key set and duration. Invent no sweep when that information is missing. Reading/planning or selected single-note preparation is sufficient; these separated notes do not automatically replace the work’s glissando or establish mastery. Actual contact method and physical suitability remain for appropriate in-person feedback; completing this card does not require playing a glissando.
Limits
The source demonstration was not auditioned and its hand sweep was not continuously observed; friction, depth, speed and pressure were not measured. Source angles, nail/pad choices and advanced spans are not turned into prescriptions for this user. Effects of the original single-note preparation, actual glissando skill and repertoire transfer remain untested.
Transcript and still-image limits
An earlier automatic-quarantine count of zero does not establish accuracy. Glissando/key terminology is normalized using the handbook and clear captions. The source’s “not too painful” wording is not this card’s stop threshold or a reason to tolerate pain. Stills establish no sweep, friction or angle/depth effects; ASR was not used to reconstruct a score, universal fingering, black-key or octave task.
29 s states nonexclusive methods and the source’s pain wording; 75 s shows fingers and a depth caption; 96 s mainly an angle explanation; 146 s a hand image and comfortable-contact text; 272 s asks stopping for discomfort; 336 s limits black-key glissando frequency. These separated stills establish neither an actual sweep nor sound.