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持续修订 · 增量检查。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。

Ongoing revision · incremental 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.

中文 | English

没有音乐背景，从这里开始 ​

先从一个能听到、能做出来的小动作开始。每次只检查一件事，不需要先背完所有名词。

先把时间走稳 ​

均匀地轻拍桌面四下，在心里数“一、二、三、四”。再重复一次，但第三下不拍，心里的数数继续。你刚刚把“时间继续走”和“发不发声”分开了。

音乐里常把这种均匀参照叫作拍（beat）。两次拍点之间还可以分成更小的单位，叫细分（subdivision）。先试节奏笔记和实验 E01；不必同时处理音高。

再认识键盘上的位置 ​

钢琴黑键有两个一组、三个一组的排列。找到一组两个黑键，它们左边紧邻的白键是 C。再向右数白键，是 D、E、F、G、A、B，然后又回到下一个 C。

相邻两个琴键之间的距离叫半音；这里同时数黑键和白键。比如从 C 向右一步到 C♯，再一步到 D，共走了两个半音。♯叫升号；♭叫降号，各表示相对该字母音名升高或降低一个半音。

本库用 C4 表示中央 C，这是常见的科学音高标记；数字用于区分不同高低的同名音。没有乐器或现有发声工具时，可先完成节奏与记录任务，音高实验留到能实际发声核对时再做。

一个声音、两个声音、多个声音 ​

先弹一个 C，再弹高一些的 E。描述这两个音相距多远，要用到音程（interval）。如果把 C、E、G 一起弹，这是一种常见的和弦（chord）。不要急着判断好不好听，先确认自己实际弹了哪些音。

接着读音程与拼写。熟悉音名和间距后，再读和弦与配置。

建议阅读顺序 ​

  1. 节奏：时间什么时候继续、什么时候起音或留白。
  2. 音程：两音间距怎样描述。
  3. 读谱：把书写坐标连接到声音和动作。
  4. 和声、音阶与即兴：理解多个音和有限材料的组织。
  5. 听觉分析、内听与记忆：先留下自己的判断，再核对。
  6. 技巧、踏板：有基本键盘经验后，把明确的声音目标放回动作和乐器条件。

每篇中的“作者观点”说明某个来源怎样看问题；“通用乐理”是定义或基础关系；“本库综合/推导”是我们新增的组织、解释和实验。遇到不同说法，可沿出处查回证据，不必把每句话都当成所有情况下必须遵守的规则。

这条入门路线仍在试校。整库的最终准确性、译文与零基础阅读验收尚未完成，进度见质量检查表。

读这些练习前，再约定四件事 ​

  • 本库的普通文本用 # 表示升号、b 表示降号；## 是重升，升高2个半音。例如Fb是F降低1个半音，不是某一种固定黑键。
  • 八度编号在C处增加：B3 C4 D4 从低到高；B4 C5 跨到下一个编号。
  • 四分音符与八分音符表示相对时值：1个四分音符等长于2个八分音符。只有当本练习指定四分音符为一拍时，八分音符才是半拍。速度决定实际秒数。
  • 音名列表中的 C4 指单音；和弦代号里的 C 通常指C大三和弦，m 表小三和弦，maj7 表大七和弦。先逐个找音，再同时按；暂时不熟悉的和弦练习可以先做纸上部分。

Begin here with no musical background ​

Start with something small you can hear and do. Check one thing at a time; there is no need to memorize every term first.

Keep time first ​

Tap a table evenly four times while counting one, two, three, four. Repeat, omitting the third tap while continuing to count. You have separated continuing time from making a sound.

A regular reference is called a beat. Dividing the space between beat points into smaller units is subdivision. Try rhythm and E01 before adding pitch.

Find positions on a keyboard ​

Black keys appear in groups of two and three. Find a pair; the white key immediately to its left is C. White keys to the right are D, E, F, G, A, B, then the next C.

The distance between adjacent keys, counting both black and white, is a semitone. C to C♯ is one step; C♯ to D is another, for two semitones in total. ♯ is a sharp and ♭ a flat: each raises or lowers its letter-named pitch by one semitone.

We use C4 for middle C, a common scientific-pitch convention; numbers distinguish higher and lower notes with the same letter. Without an instrument or existing sound tool, begin with timing and written observations, saving pitch checks until sound is available.

One sound, two sounds, several sounds ​

Play C, then a higher E. The relationship between two pitches is an interval. Playing C, E and G together gives a familiar chord. Before judging beauty, establish which notes you actually played.

Continue to interval spelling. Once names and distances are familiar, read harmony and voicing.

Suggested route ​

  1. Rhythm: time continues through onsets and silence.
  2. Intervals: describe two-note distances.
  3. Reading: connect notation to sound and movement.
  4. Harmony and scales/improvisation: organize several notes and limited materials.
  5. Ear analysis and inner hearing/memory: record a judgment before checking.
  6. Technique and pedals: after basic keyboard experience, place sound goals in movement and instrument conditions.

“Author's view” attributes a source's position; “general theory” gives definitions or basic relationships; “our synthesis/derivation” identifies our organization, explanation or experiment. Follow evidence when accounts differ instead of treating every sentence as an unconditional rule.

This route is still being checked. Final corpus-wide accuracy, translation and beginner-accessibility review is unfinished; see the quality checklist.

Four conventions before the exercises ​

  • Plain text uses # for sharp and b for flat; ## is double sharp, raising a pitch by 2 semitones. Fb means F lowered by 1 semitone, not a particular category of black key.
  • Octave numbers change at C: B3 C4 D4 ascend, and B4 C5 crosses to the next number.
  • A quarter note lasts as long as 2 eighth notes. An eighth is half a beat only when the exercise makes the quarter note the beat. Tempo determines actual seconds.
  • In a pitch list, C4 is one note. In chord symbols, C usually means a C-major triad, m a minor triad, and maj7 a major-seventh chord. Locate notes separately before combining them; begin unfamiliar chord tasks on paper.