审阅范围 · Review scope
指定内容与证据核对。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。
Specified content and evidence checks. Keep the evidence and limitations stated in the text in view. This is not final corpus acceptance or validation of performance or learning outcomes.
先判断问题，再选一个小任务
18项原创任务／反思连接18篇公开正文；另有7个指定技术文字范围支持术语。所有完整步骤、先备说明和时间表见双语任务数据，按下表稳定ID查找。媒体和工具没有执行；这些是可尝试的设计，不是已验证的训练效果。
初学者先会找键与数音程、数拍与休止。旋律组先做“和弦还是摆法”，再做“同一G”，上层结构属于后续选修。Wiwi的教学工作量、艺术观与偏好只作背景，不是健康定额、心理规律或能力评分。
一个问题：同一个键，角色会变吗？
先在纸上指认，不发声：完整C大三和弦是C–E–G，完整E♭大三和弦是E♭–G–B♭。两者都有G，所以同一个G4不必换键，却可从前一和弦的五度变成后一和弦的三度。根音是和弦命名参照，不是任何最高音；这两组音也不足以确定整曲主调。
先写预想，再看答案或听一次完整示范。若已经看过本段答案，就标“有提示”；不能称首次无提示预测。完整四小节与每手事件在WEB-752c0e5db3e0卡内：没有另需寻找的旋律。可以先指右手，教师弹两手；逐声部核对不能冒称已听过完整和声。
录音问题要另开一栏
音量更大、文件更大或后制更悦耳，不能证明音符和节拍更正确。音频组先用纸面数据算负载，再分清包络中的时间和电平，最后检查EQ前后证据。无需录音、上传、购置设备或订阅服务。提到的反馈系统只是一项提案，尚未实现。
每次记录：未见／已见、第一次预测、实际键位与拍数、一次修正、下次未预练复测、接回目标短句。公开变体不算陌生材料迁移；没有另外保留的新题就记“未测”。
按来源ID选择
英文来源标题为编辑译名，原始来源媒体未审阅。
| 来源ID | 公开文字来源 | 原创任务入口 |
|---|---|---|
| WEB-c57b6ceb8049 | 聲音檔案裡面是什麼？ | 四種匯出，不猜品質 |
| WEB-295df072a1ae | 合成器（Synthesizer）到底是什麼？ | 黑箱變項偵探 |
| WEB-620fa14aa8c9 | 如何用合成器，做出頭腦中想像的任何聲音？ | 包絡時間帳本 |
| WEB-f88f2dc66454 | 母帶後製（mastering）是什麼？跟混音（mixing）有什麼不一樣？ | 版本用途而非勝負 |
| WEB-8ac95c5dad6e | 收音機上的 AM / FM 到底是什麼？FM 也可以當作合成器？ | 兩個軸，兩種改變 |
| WEB-14d741153872 | 好和弦的混音幼幼班 - 等化器（EQ）篇 | 最大峰陷阱 |
| WEB-752c0e5db3e0 | 在隨機的和弦進行上面寫旋律！ | 同一 G，換一個角色 |
| WEB-ec46054f31c4 | 旋律是什麼音的時候可以配上 C7 和弦？（提示：比你想像中還多） | 目的音相同，九度不同 |
| WEB-491f3c6dcfa9 | 如何把一個主旋律，編成任何你想要的樂器編制？ | 刪旋律，不等於換音集合 |
| WEB-e7512af546a0 | 「又怎樣」和弦，用了又會怎麼樣？ | 同一音集合，不同間隔指紋 |
| WEB-934db6af45bc | Upper Structure：讓你的屬七和弦瞬間升級！ | 上層只改一鍵，根音真的不在 |
| WEB-71f30bc40d3a | 我最喜歡的和弦！ | 我喜歡的是和弦，還是這個擺法？ |
| WEB-ec5e29bcaa5d | 每天該排幾堂課？ | 选读背景与反思 |
| WEB-0ac8276c53a4 | 如果你需要問 | 选读背景与反思 |
| WEB-a9879ef19fbd | 看起來不專業 | 选读背景与反思 |
| WEB-2f6724c49d27 | 升記號 | 选读背景与反思 |
| WEB-165c5532c28d | 那油膩的 C♯ ✦BBP2✦ | 选读背景与反思 |
| WEB-cc2f9458d319 | 他還小聽不懂啦 | 选读背景与反思 |
课程技巧另见六张PianoClinic实践卡。它们带有具体时间定位、手册页码和症状→小练习→立即检查→延后复测→回接乐句；转录与静帧不能证明手指动作或实际声音。
Identify the question, then choose one small task
Eighteen original tasks/reflections connect18 public article bodies;7 bounded technical text scopes separately support definitions. Full steps, prerequisites and event grids are in the bilingual task data, located by the stable IDs below. Media and tools were not executed; these are designs to try, not demonstrated training effects.
Beginners first learn key finding and interval counting and beats and rests. In the melody group, start with chord versus layout, then the same-G task; upper structures are a later option. Wiwi’s workload, artistic views and preferences provide context, not health quotas, psychological laws or ability scores.
One question: can one key change role?
First point on paper without sounding: a complete C-major triad is C–E–G; a complete E♭-major triad is E♭–G–B♭. Both include G, so the same G4 need not change key while moving from the first chord’s fifth to the second’s third. Root anchors chord naming and is not automatically the highest tone; these collections do not determine the whole piece’s key.
Write a prediction before feedback or one complete demonstration. Having read the answer here means the attempt is prompted, not a first unprompted prediction. Card WEB-752c0e5db3e0 supplies four complete bars and each hand’s events; no extra melody must be found. Point through RH while a teacher plays both hands if needed; checking voices successively is not hearing complete harmony.
Keep recording questions in a separate field
Louder output, larger files or preferred processing cannot establish more accurate notes or beats. Begin the audio group with paper payload calculations, distinguish envelope duration from level, then examine pre/post-EQ evidence. No recording, upload, equipment purchase or subscription is needed. The suggested feedback system remains an unimplemented proposal.
Log exposure, first prediction, actual keys and beats, one correction, next-session unrehearsed retest and reintegration into a target phrase. Disclosed variants are not unfamiliar-material transfer; without a separately withheld new item, mark transfer untested.
Choose by source ID
English source titles are editorial translations; original source media remain unreviewed.
| Source ID | Public text source | Original task entry |
|---|---|---|
| WEB-c57b6ceb8049 | What is inside an audio file? | Four exports without guessing quality |
| WEB-295df072a1ae | What is a synthesizer? | Black-box variable detective |
| WEB-620fa14aa8c9 | Designing imagined sounds with a synthesizer | Envelope timeline ledger |
| WEB-f88f2dc66454 | Mastering versus mixing | Version purpose, not a contest |
| WEB-8ac95c5dad6e | AM/FM radio and FM synthesis | Two axes, two changes |
| WEB-14d741153872 | Mixing basics: equalization | The largest-peak trap |
| WEB-752c0e5db3e0 | Writing melodies over random chords | Same G, a different role |
| WEB-ec46054f31c4 | Which melody notes can take C7? More than expected | Same destination, different ninth |
| WEB-491f3c6dcfa9 | Arranging one melody for different ensembles | Removing melody need not change pitch classes |
| WEB-e7512af546a0 | What does a So What voicing do? | Same pitch classes, different spacing fingerprint |
| WEB-934db6af45bc | Upper structures for dominant sevenths | One upper key changes; the root really is absent |
| WEB-71f30bc40d3a | My favorite chords | Do I prefer the chord or this layout? |
| WEB-ec5e29bcaa5d | How Many Lessons Should I Schedule Each Day? | Optional context and reflection |
| WEB-0ac8276c53a4 | If You Need to Ask | Optional context and reflection |
| WEB-a9879ef19fbd | Looking Unprofessional | Optional context and reflection |
| WEB-2f6724c49d27 | The Sharp Sign | Optional context and reflection |
| WEB-165c5532c28d | That Greasy C♯ ✦BBP2✦ | Optional context and reflection |
| WEB-cc2f9458d319 | They Are Too Young to Understand | Optional context and reflection |
For technique, see the six PianoClinic practice cards. They link timestamps and handbook pages to symptom → tiny drill → immediate check → delayed retest → phrase reintegration. Transcripts and stills do not establish finger movement or actual sound.