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.
练习决策：听见差异，再决定下一步
这些是本库原创小任务，不是来源课程的替代，也不是已经验证有效的训练产品。先读入门、节奏与和弦层次。把每次结果接到项目任务卡：目标→一个改变→即时检查→延后复测→原句连接。这里共5张PD卡，独立于E实验编号和TC诊断卡。
PD01｜拍速和音符密度分开
问题。 加入更多音后，下一拍提前了。可能把细分当成拍速；先会保持4拍。此卡针对已读FOPP57–58的单位问题，具体练法是本库设计，不是该书的贝多芬谱例。
做法。 4/4、四分音符=60：第一小节每拍轻敲一次；第二小节每拍均匀轻敲两次，同时继续数4个大拍。不需琴、录音或发声唱歌。首次先写预测：小节会变成几秒？起音会有几个？
自查答案。 两小节分别都是4秒，分别有4和8次起音；下一小节仍在4秒后开始，不能因音多而抢入。若不稳，先只给第1拍加细分，再接回整小节。下一次先独立数拍重做；回到乐谱时检查写明的拍单位与分组，而不把密度当成必须加速。此题只验证简单二分的理解，未测试任意连音或贝多芬诠释。
PD02｜低音不清楚：先比较配置
【来源】好和弦低音程限制 WEB-bc942de75008提出低音密集配置可能混浊；已审文字，表格图和示范未审。不能据标题全面禁止移调或设固定音高及格线。下列任务改编自父任务的原创教学应用。
前置与预测。 认得C大三和弦；用两手舒适分配，避免单手伸展。写下A=C2 E2 G2、B=C2 G2 E3，每个为4/4全音符，四分音符=60或更舒适速度、mp、无踏板。先预测哪版各音与最高声部更清楚，也允许“不确定”。两版都是C大三和弦，但最高音从G2变成E3。
比较与即时反馈。 按A、B、B、A分别重新起音，下一次前完全放开；比较力度尽量相近。记录听到什么，而非默认B更好。若无法保持相似力度，先缩小到一次配置的力度控制。B同时改变间距与最高音域，不能称为只改一个声学变量的实验。
延后与连接。 下次先看谱预测再比较；需要时把两版都升一八度，另记音域改变。接回自己原有伴奏中一个不清楚的和弦，再带前后和弦核对低音线与声部连接；不复制来源歌曲。
PD03｜同一个旋律音，可以有不同和声方向
【来源】主和弦与属和弦入门 WEB-801eceda5912的文字讨论C大调内限定C与G7的选择。本文的音列、比较顺序与自查是原创应用，不是唯一标准答案；源谱图与音频未审。
前置与谱。 先会C大调音名和四分音符。4/4、四分音符=60或更舒适速度，原创旋律全为四分音符：E4 G4 E4 C4 | D4 F4 D4 G4 | G4 G4 G4 G4 | E4 D4 C4 C4。先不播放目标，给自己C4参考音，再读谱预想；不会唱可在心里预想，仍困难则先读拍与单声部，不强求同时听多声部。
比较。 先预测第三小节用C或G7时句子会怎样继续。试 C | G7 | C | C 与 C | G7 | G7 | C，每小节一个和弦。完整配置可用C：左手C3、右手E4G4；G7：左手G2、右手B3D4F4。旋律此时哼出或在心里预想，不同时要求用右手再弹旋律。只弹C3／G2根音是简化定位任务，不算已经听过完整和弦的比较；不能内听时先分别练旋律与完整和弦，再寻求帮助或逐步结合。
自查与反馈。 第三小节的G是两个和弦的共同音，所以不能只凭这个旋律音唯一决定和弦。最后小节C和弦上的D4可作为E4到C4的下行经过音；不是所有旋律音都必须属于当前和弦。记录预期、实际感觉及不确定处，不能把偏好当成听力分数。下次在目标声音前重新预测；熟悉片段成功仅支持保留，陌生谱迁移另需未听过的材料。接回原句时保留真实和声节奏、力度层次与上下文；这张两和弦卡不是完整和声理论。
PD04｜把“更好听”变成一次可核对的反馈
【来源与用途】FOPP-62实际160／印159要求新曲课包含练法、目标与旧曲回访；FOPP-66实际173–174／印172–173强调说明和记录。公开文字 WEB-20ec3a514116（细节）、WEB-d07bfbc17fe2（纠正错误）、WEB-d275d2ac699d（如何除错）分别提供目标协商与回查假设的观点。下列任务是本库设计，未测试学习成效；它不采用作者“人人每次有效”的保证。
任务与预测。 认识四分、二分音符后，写下原创3/4两小节：C4 D4 E4 | G4(2) C4(1)，括号内为四分音符拍数，第一小节全为四分音符，C4为中央C。右手单音、无踏板，四分音符=60或更舒适速度；先只查第二小节C4能否在第3拍开始。标出G4持续第1、2拍，C4占第3拍。文字音名不是五线谱测验；要测读谱，请先写成并核对五线谱。目标完整声音之前记录方向与持音预测；可给C4参考音，也可写“不确定”。
即时反馈分三栏。 如果C4早到，先记录实听的换音位置，再分别问：纸上能否指出第3拍？能否听出早到与按时的对比？自己能否按预期做出？请教师示范对比时，只改C4换音点。前三栏分别是理解、辨听、执行线索；一个错误不证明懒惰、手指无力或没有内听。只有能区分的差异才用作当前自查目标，听不清先求示范帮助。
小修复与验收。 独练第二小节，数第2拍但不重弹G4；第3拍换C4，并数满这一拍。记“预期拍点／实际拍点／提示／下一步”，不设总分。可先用一句“数满再换”提醒，再撤掉提示重试；这改变了提示条件，须另记。接回第一小节，也从第二小节独立开始。休息后及下次重练此目标前再测，常规舒适热身不受限制；熟悉材料只测保留，陌生迁移另需未见未听的匹配新谱。把结果接到PP10–PP12，未达时缩小问题，不以增加遍数代替反馈。
PD05｜音名、音级与绝对音感分开
同一个音可以有琴键的名字，也可以有在当前调里的位置。音级是从主音数的序号；固定唱名跟随音名，首调唱名跟随调内位置。先看下面的小例子，再分别回答，不必一次掌握所有调。
【来源】WEB-dd11b2ee7326比较固定唱名与首调唱名；WEB-78cc7b6ac2e1提醒判调需要语境，WEB-5a66aeb6e304只是相关短评，题图未审。FOPP-62实际164／印163的近期给音后找音活动，不能单独排除音高记忆或相对推算；本库不据此诊断绝对音感。
原创卡。 明确设定F大调、2/4：A4(1) G4(1) | F4(2)。括号内为四分音符拍数；每小节2拍，全句4拍；F大调调号为B♭，本句没有B音。先给F4主音和A4起音，暂不播放全句。音名是A4–G4–F4；首调唱名是Mi–Re–Do；固定唱名是La–Sol–Fa。先预测连续两次下行、各为大二度，再听核对。不便唱时可写方向与时值，并请教师演奏答案。
自查与延后。 先分别记音名、音级、节奏、声音预测，不能拿命名全对代替听觉结果。再把练习移至G大调：B4(1) A4(1) | G4(2)；首调唱名相同，固定唱名变为Si–La–Sol。此处固定唱名采用Si称B；各系统习惯应事先说明。这张已公开的变体是移调比较，不是盲测新谱。下次原卡复测保留；陌生迁移要另有从未看过、听过或弹过的材料，并同样记录参考音和提示。无需绝对音感作为入门门槛，也不从一张卡判定学习者是否拥有它。
Practice decisions: hear the difference, choose the next step
These are original small tasks, not substitutes for the source courses or proven training products. Prerequisites: starting guide, rhythm and voice balance. Connect each result to the project cards: goal→one change→immediate check→delayed retest→phrase connection. These 5 PD cards are separate from E experiments and TC diagnostic cards.
PD01 | Separate tempo from note density
Problem. Adding notes makes the next beat arrive early. Subdivision may be confused with tempo; first maintain 4 beats. This card addresses unit issues in the reviewed FOPP57–58. Its procedure is our design, not the book's Beethoven example.
Procedure. In 4/4 at quarter note=60, tap once per beat for one bar, then twice evenly per beat in the next while counting 4 larger beats. No piano, recording or singing is needed. Before the first attempt predict each bar's seconds and onset count.
Self-check. Both bars last 4 seconds, with 4 and 8 onsets respectively. The next bar still starts after 4 seconds, without rushing because there are more notes. If unstable, subdivide only beat 1, then reintegrate the bar. Next time count independently before repeating. In a score, check beat unit and grouping instead of treating density as a command to accelerate. This checks simple division into two, not arbitrary tuplets or Beethoven interpretation.
PD02 | Unclear low notes: compare voicings first
[Source] NiceChord's low-interval-limit article, WEB-bc942de75008, suggests close low-register voicings may sound muddy. Text was reviewed; the table image and demonstrations were not. Its title does not justify banning transposition or setting universal pitch cutoffs. This task adapts the parent researcher's original educational application.
Prerequisites and prediction. Identify a C-major triad and distribute notes comfortably across two hands, avoiding a forced one-hand span. Notate A=C2 E2 G2 and B=C2 G2 E3, each a 4/4 whole note at quarter note=60 or a more comfortable tempo, mp, without pedal. Predict which separates pitches and the top voice more clearly; uncertainty is a valid answer. Both are C-major triads, but the top note changes from G2 to E3.
Comparison and immediate feedback. Play A, B, B, A with fresh attacks and complete release before each new attempt; keep dynamics as similar as possible. Record what you hear instead of assuming B is better. If dynamics are inconsistent, first reduce the task to controlling one voicing. B changes spacing and top register together, so this is not a single-variable acoustics experiment.
Retest and connection. Next time predict from notation before comparing. If useful, raise both versions an octave and record the register change separately. Revoice one unclear chord in your own accompaniment, then include its neighbors to check bass line and voice leading; do not copy the source song.
PD03 | One melody note can support different harmonic directions
[Source] The tonic-and-dominant introduction, WEB-801eceda5912, discusses choices restricted to C and G7 in C major. Our notes, comparison order and checks are original applications, not a unique answer key. Source notation images and audio remain unreviewed.
Prerequisites and score. Know C-major note names and quarter notes. In 4/4 at quarter note=60 or a more comfortable tempo, use this original all-quarter-note melody: E4 G4 E4 C4 | D4 F4 D4 G4 | G4 G4 G4 G4 | E4 D4 C4 C4. Before target playback, give yourself a C4 reference and predict from notation. Singing is optional; imagine instead. If that is difficult, begin with beat reading and a single voice rather than demanding simultaneous inner hearing of several voices.
Comparison. Predict how the phrase continues with C or G7 in bar 3. Try C | G7 | C | C and C | G7 | G7 | C, one chord per bar. Full voicings can be C: left C3 plus right E4 G4; G7: left G2 plus right B3 D4 F4. Sing or imagine the melody rather than also requiring the right hand to play it. Playing only roots C3/G2 is a reduced location task, not a comparison of full chords. If inner hearing is unavailable, work on melody and full chords separately before seeking help or combining gradually.
Self-check and feedback. Bar 3's G belongs to both chords, so that melody pitch alone does not uniquely determine harmony. In the final bar, D4 over C can be a descending passing tone between E4 and C4; not every melody note must be a chord tone. Log expectations, actual impressions and uncertainty without turning preference into a hearing score. Next time predict before target sound. Familiar-item success supports retention only; unseen-score transfer needs separate unheard material. Reintegrate the actual harmonic rhythm, dynamic layers and context. This two-chord card is not complete harmony theory.
PD04 | Turn “sound better” into one checkable feedback cycle
[Sources and purpose] FOPP-62, physical 160/printed 159, asks a new-piece lesson to include practice methods, goals and returns to older repertoire. FOPP-66, physical 173–174/printed 172–173, emphasizes explanation and records. Public text WEB-20ec3a514116 (Details), WEB-d07bfbc17fe2 (Correcting Mistakes) and WEB-d275d2ac699d (How to Debug) supplies perspectives on agreed targets and tracing hypotheses. The task below is our design, with no learning-effect trial; it does not adopt the author’s guarantee of success for everyone every time.
Task and prediction. After learning quarter and half notes, write two original 3/4 bars: C4 D4 E4 | G4(2) C4(1). Parentheses give quarter-note beats. Bar 1 contains quarters; C4 is middle C. Use RH single notes, no pedal, quarter note=60 or a more comfortable tempo. Check only whether bar 2’s C4 starts on beat 3. Mark G4 across beats 1–2 and C4 on beat 3. Pitch-name text is not a staff-reading test; first notate and check a staff version for that purpose. Before hearing the complete target, record direction and duration predictions; a C4 reference and an “uncertain” response are allowed.
Immediate feedback in three columns. If C4 arrives early, record the audible change point, then ask separately: can you locate beat 3 on paper, hear the contrast between early and on-time versions, and perform the intended result? For a teacher’s comparison, change only the C4 transition. These columns concern understanding, discrimination and execution; one error does not prove laziness, weak fingers or absent audiation. Use only a distinguishable difference for current self-checking; request a demonstration when the contrast is unclear.
Local repair and acceptance. Practice bar 2 alone, counting beat 2 without restriking G4; change to C4 on beat 3 and complete that beat. Log intended beat, actual beat, prompts and next step without a total score. Try “count fully before changing,” then retry without the cue; record this change in prompting conditions. Reconnect bar 1 and also start directly from bar 2. Retest after a rest and next session before rehearsing this target; ordinary comfortable warm-up remains allowed. Familiar material checks retention only; transfer requires a separate unseen, unheard matched score. Connect results to PP10–PP12. If unsuccessful, narrow the question instead of substituting repetition count for feedback.
PD05 | Separate note names, scale degrees and absolute pitch
A note has a keyboard name and a place in the current key. Scale degrees count from the tonic; fixed-do follows note names, while movable-do follows positions in the key. Use the small example below and answer each separately; you need not master every key at once.
[Sources] WEB-dd11b2ee7326 compares fixed-do and movable-do; WEB-78cc7b6ac2e1 stresses context for key identification. WEB-5a66aeb6e304 is only a related short comment with its question image unreviewed. The recently cued pitch-matching task in FOPP-62, physical 164/printed 163, cannot alone rule out pitch memory or relative inference; we do not use it to diagnose absolute pitch.
Original card. Explicitly set F major, 2/4: A4(1) G4(1) | F4(2). Parentheses give quarter-note beats; each bar has 2 beats and the phrase 4; F major’s signature contains B♭, but this phrase has no B. Supply tonic F4 and starting A4 before playing the full phrase. Note names are A4–G4–F4; movable-do is Mi–Re–Do; fixed-do is La–Sol–Fa. Predict two successive downward major seconds, then hear the check. If singing is unsuitable, write direction and duration and ask a teacher to play the answer.
Self-check and retest. Log names, degrees, rhythm and sound prediction separately; correct naming does not replace an auditory result. Transpose the practice to G major: B4(1) A4(1) | G4(2). Movable-do remains the same; fixed-do becomes Si–La–Sol. Here fixed-do calls B Si; agree conventions beforehand. This disclosed variant is a transposition comparison, not a blind new-score test. Retest the original next session for retention. Transfer requires other material never seen, heard or played, with references and prompts likewise recorded. Absolute pitch is not an entry requirement, nor can this card determine whether a learner has it.