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.
先分清谱表、声部和手，再练连接处
本包通过限定独立文字／静态来源、双语教学与符号审阅，未发现实质问题。O是本库原创任务；T2是来源作者观点的短归属；G是限定记谱定义。来源账本的逐项审阅布尔值保留作者冻结时快照，当前通过范围另列publication_review；不表示来源听校、连续动作、完整来源曲例、个体适合性或学习效果验收。
先做什么
先问这次要核对什么：一个音写在哪里、属于哪条音乐线、由哪只手负责，是三个不同问题；一小段能完成，也不等于相邻两段已能连接。两张卡可独立选择，不必先弹完第一张。
证据范围
IV-022资料458.752秒，已读85段既有ASR文字；8段音乐占位／专名／片尾候选不用于归属，未以听校确认错误。检查8个静帧及手册34页文字与选定结构、37页下部文字。FOPP-07重读既有6组英中提取正文并核对原PDF相关页；新增书籍正文条目与纠错数均为0。没有原音听校、连续动作、完整曲例或全课验收。
三个标签
G：谱表staff是写音符的五线框架；谱号clef帮助确定音高，不直接指定左右手。这里声部voice指需要单独跟踪起音、持续与休止的音乐线；一只手可以承担不止一条线。配手hand allocation是具体分工。本包的上下谱表标签是原创事件表中的位置提示，不是完整五线谱；纸面通过不证明已会读真实谱号。
拍与时间
本包全部是4/4，以四分音符为一拍；例示练习速度为四分音符60 BPM。一拍1秒；offset从0起算。每拍均分4格时，0.25／0.5／0.75拍就是1／2／3格；可按“1 e & a，2 e & a……”等分计数，字母不是音名。持键时段记录按住键的目标，放开后可有余响；休止不是保证绝对静音。同时声部时值不能相加为经过时间。每次琴上任务后另休息4拍，不无缝循环。
纸面或原声钢琴
完整纸面路线随时可选，不需要钢琴、唱歌、录音、MIDI或麦克风。琴上只在能舒服找到音、保持与释放时尝试；有疼痛、麻木或加重不适就停止。所有音在C4到B4范围：C4是中央C，D/E/F/G/A/B依次往右找白键。音名数字4是八度标记，不是手指号。
可做条件
60 BPM不是升级门槛，可整项同比放慢并重算秒数。配手卡先选纸面：手的跨度和独立放键未由我们替你验证；不能因为“跨度较小”就认定一定舒适。无统一指法、抬腕或重量处方。两卡的音符、比较和次日复测均为O，不能冒称作者原练习或学习效果证据。
表格标签
表中稳定标签：upper=上谱表，lower=下谱表；melody=旋律声部，inner=内声部，bass=低音声部，line=单旋律；LH=左手，RH=右手。休止区间[a,b]表示从offset a到b；空列表[]表示该声部或整只手在此任务中没有完整休止区间，不表示每个音一直按住。
先预测
先写预测再看答案。自己听不清或没实际弹，就分别记“未判定／未尝试”，不要把算术通过填成演奏通过。全部示例与答案已公开，只作引导练习及同例复测；尚无未见过材料的迁移试验。
来源的短归属
B34-S01 · IV-022 · T2
Wiwi提出可重新考虑部分伴奏音的左右手分工，并展示重新分配记谱的例子。这里取的是检查配手的方向，不保证任意重新分配都更容易或保持演奏效果。
PDF-IV实际／印刷34页上部两项文字；IV-022静帧10、37、56秒。谱面只查相关结构与说明，没有逐音核对整份来源例子。
B34-S02 · IV-022 · T2
作者建议识别已有伴奏的组织方式并尝试应用。我们的事件表、核对清单与小任务另行原创；这条建议不是复制或再发布他人谱面的授权。
PDF-IV实际／印刷37页下方练习文字；IV-022静帧423、444秒。该页上方曲例未逐音审阅，关联作品与延伸课程未新增阅读。
B34-S03 · FOPP-07 · T2
Chang建议短段练习时带上下一段开头，并保留“先练较容易的先备段可帮助难段”的例外。我们将连接处另设任务；其范围和验收方式是本库设计，不把“最高效”当普遍实验证据。
FOPP-07英文／中文提取正文第1–3段；上下文第4–6段也已重读。原PDF物理20–21页、印刷19–20页。段号是提取数组定位，不是PDF印刷规则编号。
B34-O01 · 写在哪一行，不等于必须用哪只手
原创O；关联：B34-S01, B34-S02
具体症状
一看到下谱表就全部交左手；改配手后，又不知不觉把旋律提前放掉或多弹了一次音。
可能原因
可能把谱表位置、声部与配手混在一起，没有先列出必须保留的音符事件。这是核对假设，不是身体或能力诊断。
先备条件
先认C4/E4/G4/A4，并理解“同一时刻可保持两个不同声部”。本例两个上谱表音构成旋律线；C4低音与E4内声部各自跟踪。名称是本例指定角色，不是所有高音都必然是旋律。
怎么做
完整纸面任务：先把L的5个事件抄成“ID、音高、起点、释放点、声部、谱表、手”七列。预测R会改哪两格，再对照。可选琴上任务先慢做L，休息4拍；R只有在能舒服保持旋律并独立按放E4时才尝试，否则保留纸面或L，不硬伸。
完整任务与时间线
L · 原分工：下谱表C4、E4都交左手；上谱表旋律交右手。所有释放时点照表。
局部offset0对应原句offset0；任务共4拍。
| 事件 | 音高 | 起音offset | 释放offset | 声部 | 谱表 | 手 |
|---|---|---|---|---|---|---|
| A1 | C4 | 0 | 4 | bass | lower | LH |
| A2 | G4 | 0 | 2 | melody | upper | RH |
| A3 | E4 | 1 | 1.75 | inner | lower | LH |
| A4 | A4 | 2 | 3.5 | melody | upper | RH |
| A5 | E4 | 3 | 3.75 | inner | lower | LH |
声部休止offset：{"bass": [], "inner": [[0, 1], [1.75, 3], [3.75, 4]], "melody": [[3.5, 4]]} 整只手均无持键／起音的区间：
R · 从本次开始就将两次E4交右手，C4仍左手；不在持音中途换手。谱表标签、声部、音高与起止时点不变。
局部offset0对应原句offset0；任务共4拍。
| 事件 | 音高 | 起音offset | 释放offset | 声部 | 谱表 | 手 |
|---|---|---|---|---|---|---|
| A1 | C4 | 0 | 4 | bass | lower | LH |
| A2 | G4 | 0 | 2 | melody | upper | RH |
| A3 | E4 | 1 | 1.75 | inner | lower | RH |
| A4 | A4 | 2 | 3.5 | melody | upper | RH |
| A5 | E4 | 3 | 3.75 | inner | lower | RH |
声部休止offset：{"bass": [], "inner": [[0, 1], [1.75, 3], [3.75, 4]], "melody": [[3.5, 4]]} 整只手均无持键／起音的区间：
检查什么
R在offset1起E4时，G4应保持到2；在offset3起E4时，A4应保持到3.5，E4另在3.75释放。C4两版都保持0–4。右手此时承担两条声部，手整体“没休息”不代表每条声部都持续发声。踏板全放开；本例不靠踏板补漏掉的持键。
直接可选的减量路线
若七列太多，先只比较A3、A5的“谱表／手”：两者都仍是lower，而手从LH变RH；再加音高与起止时点，最后核全部5行。这是可直接开始的减量核对，不用先完成琴上任务。
自查答案
两版各5个音符事件、4个起音时点（0、1、2、3），时长均4拍／4秒。唯一改变是A3、A5的hand；音高、声部、谱表及起止不变。88键编号（A0=1）为C4=40、E4=44、G4=47、A4=49。相同事件表只证明书面目标相同，不证明真实音量、音色或动作相同。
反馈与复测
若旋律被提前放开，下一次只在纸上圈出E4起音当时仍保持的旋律事件；不以加速修补。立即写“配手变化2项／音乐事件变化0项”是否成立。隔日先不看答案重画L到R的分工，再另记琴上是否尝试。
接回实际谱段
回到自己有权使用的谱段，先核版本、谱号、临时记号、休止与连结线，再把候选配手写成可撤销标注。逐项核有无漏音、多音或截短声部；不要仅凭本例替自己决定复杂跨度、交叉或演奏指法。分开弹各声部也不等于听过组合效果。
边界
不是重新编曲、统一左右手规则或身体技巧处方；纸面一致性与可执行舒适性是分开的检查。我们没有演奏、原音听校或个体适合性验证。
B34-O02 · 把连接处当一个任务，最后回到原句
原创O；关联：B34-S03
具体症状
两小节分别能数对，一接起来却在小节线停顿、重复下一音，或把下一音的持续时间切短。
可能原因
可能只有段内任务，没有覆盖连接点的任务；也可能先备读音／时值仍未确定。先查缺哪一项，不把“难段优先”理解成跳过先备能力。
先备条件
本卡可完全纸面独立开始：认识C4–G4，并能把一拍分成四等份，能把4/4两小节列成8拍。先不弹，只在J5行标出起点4、释放5.5，再标小节线4；一条音的结束不必和下一拍重合。
怎么做
先预测拼接处要保留什么，再看A、B、JOIN、FULL四种任务。A/B独立数清后，JOIN只练前一段尾部到后一段首音的完整保持与休止；最后另做FULL检验回接。琴上所有任务只右手、左手休息、踏板全放开；从纸面转琴上不是必须步骤。
完整任务与时间线
A · 第一段：原句第1小节，4拍。J4后保留1/4拍休止，到小节线再停止。
局部offset0对应原句offset0；任务共4拍。
| 事件 | 音高 | 起音offset | 释放offset | 声部 | 谱表 | 手 |
|---|---|---|---|---|---|---|
| J1 | C4 | 0 | 0.75 | line | upper | RH |
| J2 | D4 | 1 | 1.75 | line | upper | RH |
| J3 | E4 | 2 | 2.75 | line | upper | RH |
| J4 | F4 | 3 | 3.75 | line | upper | RH |
声部休止offset：{"line": [[0.75, 1], [1.75, 2], [2.75, 3], [3.75, 4]]} 整只手均无持键／起音的区间：
B · 第二段：原句第2小节，4拍。先从G4开始，持1.5拍，休0.5拍，再按表继续。
局部offset0对应原句offset4；任务共4拍。
| 事件 | 音高 | 起音offset | 释放offset | 声部 | 谱表 | 手 |
|---|---|---|---|---|---|---|
| J5 | G4 | 0 | 1.5 | line | upper | RH |
| J6 | E4 | 2 | 2.75 | line | upper | RH |
| J7 | D4 | 3 | 3.75 | line | upper | RH |
声部休止offset：{"line": [[1.5, 2], [2.75, 3], [3.75, 4]]} 整只手均无持键／起音的区间：
JOIN · 连接窗：从原句第1小节第3拍到第2小节第2拍结束，共4拍；按原拍位数“3、4｜1、2”，不是把它重写成新小节。
局部offset0对应原句offset2；任务共4拍。
| 事件 | 音高 | 起音offset | 释放offset | 声部 | 谱表 | 手 |
|---|---|---|---|---|---|---|
| J3 | E4 | 0 | 0.75 | line | upper | RH |
| J4 | F4 | 1 | 1.75 | line | upper | RH |
| J5 | G4 | 2 | 3.5 | line | upper | RH |
声部休止offset：{"line": [[0.75, 1], [1.75, 2], [3.5, 4]]} 整只手均无持键／起音的区间：
FULL · 完整句：连续8拍／2小节；连接窗是练习覆盖，不在完整句中额外插入或重复J3–J5。
局部offset0对应原句offset0；任务共8拍。
| 事件 | 音高 | 起音offset | 释放offset | 声部 | 谱表 | 手 |
|---|---|---|---|---|---|---|
| J1 | C4 | 0 | 0.75 | line | upper | RH |
| J2 | D4 | 1 | 1.75 | line | upper | RH |
| J3 | E4 | 2 | 2.75 | line | upper | RH |
| J4 | F4 | 3 | 3.75 | line | upper | RH |
| J5 | G4 | 4 | 5.5 | line | upper | RH |
| J6 | E4 | 6 | 6.75 | line | upper | RH |
| J7 | D4 | 7 | 7.75 | line | upper | RH |
声部休止offset：{"line": [[0.75, 1], [1.75, 2], [2.75, 3], [3.75, 4], [5.5, 6], [6.75, 7], [7.75, 8]]} 整只手均无持键／起音的区间：
检查什么
JOIN的局部offset0对应原句offset2；它的局部2对应原句4（第2小节第1拍），J5持续到局部3.5，再休到4。不要在刚弹到J5时立即停，也不要为了连接消掉原有休止。FULL在原offset4只起G4一次。
直接可选的减量路线
直接减量：只核J4→J5两行，先写原offset3起F4、3.75释放，4起G4、5.5释放，5.5–6休止。正确后再向前加入J3、向后核J6；没有规定重复次数，也不要求最快弹。
自查答案
A有4音、B有3音、JOIN有3音，FULL仍是7音而非10音；同一事件在不同练习中重现，不表示完整句多一次起音。A/B/JOIN各4拍／4秒，FULL8拍／8秒。A与B实际相接时保留F4释放到G4起音的1/4拍间隙；JOIN不是消除所有空隙的“连奏”指令。
反馈与复测
立即分开记录：A/B段内是否数清、JOIN是否保留J5全长、FULL是否在小节线加了停顿；没试就留空或记未尝试。隔日先在纸上从J4的原offset重建连接，再尝试所选路线。已公开的FULL不是陌生谱迁移检验。
接回实际谱段
把自己的实际困难登记成“入口→连接→出口”小任务：注明来源版本、原拍位、先备问题、预期音符与释放、检查结果、下次复测；再把任务接回乐句。难度优先要服从先备依赖和当下舒适条件；一次任务通过不等于整首完成。
边界
Chang的学习效率及必须先完成一首再开下一首等主张保留为作者意见；本卡不规定所有人的选曲政策，也不借书中《致爱丽丝》的小节号或指法分析用户版本。这里没有学习成效或真实演奏验证。
来源限制
IV-022原片60、180、360秒的旧静帧记录不是本轮新增检查。本轮8个指定静帧不代表连续观看458.752秒。第37页上方以及第35–36页的复杂作品没有逐音检查，不从ASR推断精确配器、作曲者姓名或版本小节。
未用于归属的8段ASR为31、32、33、50、58、73、74、84；编号从0开始。它们含可疑专名、音乐占位或片尾文字，隔离并不声称已听证是错误。其余ASR也没有因此获得原音认证。
FOPP-07六组正文是重读，不增加1649正文条目计数或新译文纠错。邻接§6、§8的身体／神经机制未在这里评价。源书与eaStudio译文保持不变；本包不是教材替代译本。
源作者的个人作品评价与练习建议不构成普遍心理、医学或学习效果证据。我们的音符事件与阈值另行原创；没有用户曲目版本、声学测量、动作验证或应用行为测试。
结构化任务 · 来源范围 · 符号检查
Distinguish staff, voice and hand; then practice the join
This package passed bounded independent written/static-source, bilingual-instruction and symbolic review with no material findings. O marks original repository tasks; T2 brief attribution of an author’s view; G scoped notation definitions. Per-item source-ledger review booleans retain their author-time snapshot; publication_review records the current passed scope, not source audition, continuous motion, complete source examples, individual suitability or learning-efficacy acceptance.
Start here
Choose what to check: where a note is written, which musical line it belongs to and which hand plays it are different questions. Completing a short fragment also does not establish a successful join. Choose either card independently; the first need not be played first.
Evidence scope
IV-022 is a 458.752-second asset. All 85 existing ASR segments were read; 8 music-placeholder/name/closing candidates are excluded from attributions, not confirmed erroneous by listening. Eight stills, handbook page 34 prose/selected structure and page 37 lower prose were inspected. FOPP-07’s existing 6 English/Chinese body pairs were reread against relevant original PDF pages; new book-body entries and correction issues are both 0. No original-audio audition, continuous motion, complete score example or full-lesson acceptance occurred.
Three distinct labels
G: a staff is the five-line notation framework; a clef helps specify pitch, not directly which hand must play. Here a voice is a musical line whose attacks, holds and rests are tracked separately; a hand may handle more than one line. Hand allocation assigns that work. Upper/lower staff labels in our original event table indicate location; they are not a complete engraved score, and passing on paper does not prove real-clef reading.
Beats and time
All material uses 4/4 with quarter-note beats; the example practice tempo is quarter note 60 BPM. One beat is 1 second; offsets start at 0. Divide a beat into 4 equal cells:0.25/0.5/0.75 beat equals 1/2/3 cells. Count equal “1 e & a, 2 e & a…” subdivisions; these letters are counting syllables, not pitches. Holds specify intended key-holding time, while resonance may remain after release; a rest does not guarantee acoustic silence. Simultaneous voice durations do not add to elapsed time. Each optional piano task is followed by a separate 4-beat rest, not seamless cycling.
Paper or acoustic piano
A complete paper route is always available, requiring no piano, singing, recording, MIDI or microphone. Try piano only when locating, holding and releasing the notes is comfortable; stop for pain, numbness or worsening discomfort. All pitches are within C4–B4: C4 is middle C, followed by the white keys D/E/F/G/A/B to the right. The numeral 4 marks the octave, not a finger number.
Readiness
60 BPM is not a progression threshold; slow the whole task proportionally and recalculate seconds. Begin the allocation card on paper: hand span and independent release have not been validated for you, and a smaller span does not establish comfort. No universal fingering, wrist or weight prescription is provided. Both cards’ notes, comparisons and next-day retests are O, not the author’s original exercises or evidence of learning efficacy.
Table labels
Stable table labels: upper/lower mean the upper/lower staff; melody, inner and bass name their assigned voices; line is the single melody; LH/RH mean left/right hand. A rest interval [a, b] runs from offset a to b. An empty list [] means no complete rest interval for that voice or whole hand in this task, not that every note is held throughout.
Predict first
Predict before opening the answers. If listening is unclear or playing was not attempted, record “undetermined/not attempted” separately rather than converting arithmetic success into performance success. All examples and answers are disclosed guided practice and same-example retests; there is no unseen-material transfer trial.
Brief source attributions
B34-S01 · IV-022 · T2
Wiwi invites reconsidering which hand plays some accompaniment notes and shows a redistributed notation example. We take the direction of checking hand allocation, not a guarantee that every reassignment is easier or preserves a performance.
PDF-IV physical/printed page 34, the two upper prose prompts; IV-022 stills at 10, 37, 56 seconds. Relevant structure and captions only, without note-by-note verification of the complete source examples.
B34-S02 · IV-022 · T2
The author recommends identifying how existing accompaniments are organized and trying applications. Our event tables, checklist and small tasks are separate original designs; this advice is not permission to copy or republish others’ scores.
PDF-IV physical/printed page 37, lower exercise prose; IV-022 stills at 423, 444 seconds. The upper score excerpt was not read note by note; no additional linked work or course was reviewed.
B34-S03 · FOPP-07 · T2
Chang recommends including the next segment’s opening in short-segment practice, while allowing easier prerequisite work when it helps a difficult section. We make the join a separate task; its bounds and checks are our design, without treating “most efficient” as universal experimental evidence.
FOPP-07 English/Chinese extracted-body paragraphs 1–3; context paragraphs 4–6 also reread. Original PDF physical pages 20–21, printed 19–20. Paragraph numbers locate extracted arrays, not printed PDF rule numbers.
B34-O01 · Where a note is written does not dictate its hand
Original O; links: B34-S01, B34-S02
Symptom
You assign every lower-staff note to LH, then accidentally release the melody early or add an attack while changing hands.
Possible cause
Staff position, voice and hand allocation may have been conflated without listing the events to preserve. This is a checking hypothesis, not a diagnosis of body or ability.
Prerequisites
First identify C4/E4/G4/A4 and understand that two voices may be held simultaneously. Here the two upper-staff notes form the melody; the C4 bass and E4 inner voice are tracked separately. These are assigned roles in this example, not a rule that every high note is melody.
Procedure
Complete paper task: write L’s 5 events in seven columns—ID, pitch, start, release, voice, staff, hand. Predict which two entries R changes, then compare. Optional piano starts slowly with L, followed by 4 rest beats. Try R only if holding the melody while independently pressing/releasing E4 is comfortable; otherwise keep paper or L without stretching to force it.
Complete tasks and timelines
L · Initial allocation: LH takes lower-staff C4/E4 and RH takes the upper-staff melody. Follow every release point in the table.
Local offset 0 corresponds to original offset 0; task length 4 beats.
| Event | Pitch | Attack offset | Release offset | Voice | Staff | Hand |
|---|---|---|---|---|---|---|
| A1 | C4 | 0 | 4 | bass | lower | LH |
| A2 | G4 | 0 | 2 | melody | upper | RH |
| A3 | E4 | 1 | 1.75 | inner | lower | LH |
| A4 | A4 | 2 | 3.5 | melody | upper | RH |
| A5 | E4 | 3 | 3.75 | inner | lower | LH |
Voice rest offsets: {"bass": [], "inner": [[0, 1], [1.75, 3], [3.75, 4]], "melody": [[3.5, 4]]} Intervals with no hold/attack anywhere in each hand:
R · Assign both E4 attacks to RH from this attempt’s start, leaving C4 in LH; do not transfer a held key midway. Staff labels, voices, pitches and timing stay unchanged.
Local offset 0 corresponds to original offset 0; task length 4 beats.
| Event | Pitch | Attack offset | Release offset | Voice | Staff | Hand |
|---|---|---|---|---|---|---|
| A1 | C4 | 0 | 4 | bass | lower | LH |
| A2 | G4 | 0 | 2 | melody | upper | RH |
| A3 | E4 | 1 | 1.75 | inner | lower | RH |
| A4 | A4 | 2 | 3.5 | melody | upper | RH |
| A5 | E4 | 3 | 3.75 | inner | lower | RH |
Voice rest offsets: {"bass": [], "inner": [[0, 1], [1.75, 3], [3.75, 4]], "melody": [[3.5, 4]]} Intervals with no hold/attack anywhere in each hand:
What to check
In R, G4 stays held until 2 while E4 attacks at 1. When E4 attacks at 3, A4 stays held to 3.5 and E4 releases separately at 3.75. C4 lasts 0–4 in both versions. RH now handles two voices: a hand having no overall rest does not mean every voice sustains. All pedals stay up; pedal is not used to cover omitted key holds.
Directly available reduced route
If seven columns are too much, start with A3/A5’s staff/hand fields: both remain lower while LH becomes RH. Then add pitch and timing and finally check all 5 rows. This reduction is directly available without first completing piano work.
Self-check answer
Each version has 5 note events at 4 attack times (0, 1, 2, 3), lasting 4 beats/4 seconds. Only A3/A5’s hand fields change; pitch, voice, staff and timing do not. Standard 88-key numbers (A0=1) are C4=40, E4=44, G4=47, A4=49. Matching event tables establish matching written targets, not identical actual loudness, timbre or movement.
Feedback and retest
If the melody releases early, next circle on paper the melody event still held when E4 attacks; do not repair it by speeding up. Immediately check “2 allocation changes/0 musical-event changes.” Next day redraw L→R before viewing answers, separately recording whether piano was attempted.
Reintegrate into a passage
In a passage you may use, first check edition, clefs, accidentals, rests and ties, then annotate a reversible candidate allocation. Check omitted/extra notes and shortened voices individually. Do not let this example determine complex spans, crossings or fingering for you. Playing voices separately also does not establish hearing their combined texture.
Limits
This is not a rearrangement, universal hand rule or physical-technique prescription. Written consistency and comfortable execution are separate checks. We performed no playing, source audition or individual-suitability validation.
B34-O02 · Treat the join as a task, then restore the phrase
Original O; links: B34-S03
Symptom
Two bars can be counted separately, yet joining causes a barline pause, a repeated next note or a shortened hold.
Possible cause
Practice may cover each fragment without the join, or prerequisite pitch/duration reading may still be unresolved. Check which is missing; “difficult first” does not mean bypassing prerequisites.
Prerequisites
Begin independently on paper: identify C4–G4, divide a beat into four equal parts and list two 4/4 bars as 8 beats. Before playing, mark J5’s start 4 and release 5.5 plus barline 4; a note need not end on the next beat.
Procedure
Predict what the join must preserve, then inspect A, B, JOIN, FULL. After counting A/B separately, JOIN covers the preceding tail and the next opening note’s complete hold and rest. Then use FULL as a separate reintegration check. Optional piano uses RH only, LH resting, all pedals up; moving from paper to piano is not required.
Complete tasks and timelines
A · First fragment: original bar 1, 4 beats. Keep the 1/4-beat rest after J4 and stop at the barline.
Local offset 0 corresponds to original offset 0; task length 4 beats.
| Event | Pitch | Attack offset | Release offset | Voice | Staff | Hand |
|---|---|---|---|---|---|---|
| J1 | C4 | 0 | 0.75 | line | upper | RH |
| J2 | D4 | 1 | 1.75 | line | upper | RH |
| J3 | E4 | 2 | 2.75 | line | upper | RH |
| J4 | F4 | 3 | 3.75 | line | upper | RH |
Voice rest offsets: {"line": [[0.75, 1], [1.75, 2], [2.75, 3], [3.75, 4]]} Intervals with no hold/attack anywhere in each hand:
B · Second fragment: original bar 2, 4 beats. Start on G4, hold 1.5 beats, rest 0.5 beat, then continue as listed.
Local offset 0 corresponds to original offset 4; task length 4 beats.
| Event | Pitch | Attack offset | Release offset | Voice | Staff | Hand |
|---|---|---|---|---|---|---|
| J5 | G4 | 0 | 1.5 | line | upper | RH |
| J6 | E4 | 2 | 2.75 | line | upper | RH |
| J7 | D4 | 3 | 3.75 | line | upper | RH |
Voice rest offsets: {"line": [[1.5, 2], [2.75, 3], [3.75, 4]]} Intervals with no hold/attack anywhere in each hand:
JOIN · Join window: from original bar 1 beat 3 through bar 2 beat 2, 4 beats total. Count original positions “3, 4 | 1, 2”; do not rewrite it as a new bar.
Local offset 0 corresponds to original offset 2; task length 4 beats.
| Event | Pitch | Attack offset | Release offset | Voice | Staff | Hand |
|---|---|---|---|---|---|---|
| J3 | E4 | 0 | 0.75 | line | upper | RH |
| J4 | F4 | 1 | 1.75 | line | upper | RH |
| J5 | G4 | 2 | 3.5 | line | upper | RH |
Voice rest offsets: {"line": [[0.75, 1], [1.75, 2], [3.5, 4]]} Intervals with no hold/attack anywhere in each hand:
FULL · Complete phrase: 8 continuous beats/2 bars. The join window is practice coverage; do not insert or duplicate J3–J5 in the full phrase.
Local offset 0 corresponds to original offset 0; task length 8 beats.
| Event | Pitch | Attack offset | Release offset | Voice | Staff | Hand |
|---|---|---|---|---|---|---|
| J1 | C4 | 0 | 0.75 | line | upper | RH |
| J2 | D4 | 1 | 1.75 | line | upper | RH |
| J3 | E4 | 2 | 2.75 | line | upper | RH |
| J4 | F4 | 3 | 3.75 | line | upper | RH |
| J5 | G4 | 4 | 5.5 | line | upper | RH |
| J6 | E4 | 6 | 6.75 | line | upper | RH |
| J7 | D4 | 7 | 7.75 | line | upper | RH |
Voice rest offsets: {"line": [[0.75, 1], [1.75, 2], [2.75, 3], [3.75, 4], [5.5, 6], [6.75, 7], [7.75, 8]]} Intervals with no hold/attack anywhere in each hand:
What to check
JOIN local offset 0 corresponds to original offset 2; local 2 is original 4 (bar 2 beat 1). J5 holds to local 3.5, then rests to 4. Do not stop immediately on reaching J5 or erase written rests to create continuity. FULL attacks G4 only once at original offset 4.
Directly available reduced route
Direct reduction: check only J4→J5. Write original F4 start 3/release 3.75, G4 start 4/release 5.5 and rest 5.5–6. Then add J3 before and check J6 after. No fixed repetition count or fastest playing is required.
Self-check answer
A has 4 notes, B has 3 and JOIN has 3, yet FULL has 7, not 10. An event appearing in multiple practice tasks does not add an attack to the complete phrase. A/B/JOIN each last 4 beats/4 seconds; FULL lasts 8 beats/8 seconds. Joining A/B retains the 1/4-beat gap from F4 release to G4 attack. JOIN is not a legato instruction to remove every gap.
Feedback and retest
Record separately whether A/B count correctly, JOIN preserves J5’s full duration and FULL adds a barline pause; leave untried items blank or marked not attempted. Next day reconstruct the join on paper from J4’s original offset before trying the chosen route. Disclosed FULL is not an unseen-score transfer test.
Reintegrate into a passage
Record a real difficulty as an entry→join→exit task: edition, original beat positions, prerequisites, expected notes/releases, observed result and next retest. Then reintegrate it into the phrase. Difficulty priority remains subject to prerequisites and current comfort; one task pass does not complete the piece.
Limits
Chang’s efficiency and finish-one-piece-before-another claims remain author opinions. This card sets no universal repertoire policy and does not apply his Für Elise bar numbers or fingering to the user’s edition. No learner-efficacy or actual-performance validation occurred.
Source limitations
Old IV-022 still records at 60, 180, 360 seconds are not new checks in this batch. The 8 selected stills do not represent continuous viewing of 458.752 seconds. Complex works in the upper portion of page 37 and on pages 35–36 were not checked note by note; precise instrumentation, composer names or edition bars are not inferred from ASR.
The 8 ASR segments excluded from attribution are 31, 32, 33, 50, 58, 73, 74, 84, numbered from 0. They contain uncertain names, a music placeholder or closing text; quarantine does not claim listening-confirmed errors. The other ASR text is not thereby audio-verified.
The 6 FOPP-07 body pairs are rereads, adding neither to the 1649 body-entry count nor new translation corrections. Adjacent sections 6/8’s bodily/neural mechanisms are not evaluated here. Original book and eaStudio translation remain unchanged; this package is not a replacement translation.
Personal repertoire judgments and practice advice are not universal psychological, medical or learning-efficacy evidence. Our events and criteria are original; no user-piece edition, acoustic measurement, motion validation or application behavior was tested.
Structured tasks · Source scope · Symbolic checks