钢琴课课堂小结 — 2026-06-14
全课由两段视频组成，按时间顺序衔接为同一节课：
| 段 | 视频 | 时长 | 主要内容 |
|---|---|---|---|
| 1 | VID_20260614_080527_00_078 | 30:00 | 拇指 & 左手专项 · 节奏变奏 · 哈农 · 慢练高抬指 |
| 2 | VID_20260614_083508_00_079 | 10:06 | 单音点名 · "强调的强调"（dynamic 层级）· 不要放弃保持音 |
总时长约 40 分钟。
💡 每个要点旁边的 ▶ 按钮可以直接跳到视频对应位置。
⚠️ 本节课转写比较碎：原老师这周回来上课，授课方式互动密集——大量是单字提示、节奏喊拍（"E A B"、"4b 4b 4b"、"再来一次"）、当场点名错音、师生短促对话。所以下面的小结里很多教学内容藏在演奏本身而不在口头表述里。建议结合视频回放使用。
一、本节课主线
老师回归后的第一节课，节奏明显变化——比起前几周代课老师"系统讲解 + 分组分析"的风格，老师本人更倾向于互动式诊断：当场指出问题、当场示范、马上再来一次。
两条主线：
- 拇指 & 左手的灵活性问题 —— 学生右手反复用同一根手指（拇指）的问题，老师让学生自己设计节奏变奏来练。
- 保持音 / dynamic 层级 —— 不要"放弃" E、D、G 等保持音；从底部 / 从顶部 各自有不同的力度感，"强调强调的强调"（dynamic 的层次嵌套）。
外加：哈农、读谱诊断（"四肢做拾..."、"换圈"——可能是换指法或换记号）、几次警示性的反复指令（"我已经说了很多次了"）。
二、技术要点（按主题汇总）
1. 慢练 + 高抬指 + 快下键（开场立规矩）
- 开课第一句："慢练的时候你得高抬指，你快下键" —— 目的是把这个地方练开。
- 这是上几周一直在讲的内容，老师上来再强调一遍作为本课的基调。
2. 节奏变奏练习
- 老师让学生 "试一下变个节奏"。
- 学生自己设计一个变的——把节奏型主动改变。
- 这是经典的"通过节奏变奏迫使每个音都被注意到"的练习方法。
3. 拇指的灵活性（重点问题）
- 老师指出问题："他反复地用你的拇指" —— 暗示某段右手过度依赖拇指。
- "你拇指可不可以多动一点" → 学生反应 "不行了是吧"（已经累了/动不开）。
- 这是个需要刻意练习的薄弱点——下周可以专门挑出来抠。
4. 左手起音
- "左手上来的时候…" 老师指出问题。
- 具体内容未被转写到（演奏占主导），但是左手进入的位置是个关注点。
5. 弹得不要"那么高"
- "这几个不用弹那么高" —— 某些音的力度/动作幅度过大。
6. 听不出差别？
- 老师弹完后问 "你感觉到不一样吗" → 学生答 "不知道"。
- 这是 ear training 的提示——听辨能力还需要练，听不出对错就练不出对错。
7. 节奏与"撕"（Czerny / Hanon 系列？）
- "把这些不同的语言、变音、弹剧（练习曲）…" —— 老师交代要把不同的练习内容都过一遍。
- "那边 chase 到 D 上" —— 某段要追到 D 音。
- "再去双手" —— 单手过完再合手。
8. "Good question" + 听过这首曲子吗？
- 学生提了个问题 → 老师 "good question"。
- 老师追问 "听过这个曲子没" → "听了一下" → "听几遍" → "两遍" → 老师评 "太少了，研究啊"。
- 建议：新曲子要多听（不止两遍）+ 研究——把听变成有目的的分析。
9. 暑假安排（题外话）
- 简短聊到学生暑假是否能走 —— 7 月 22 号离开。
10. 读谱诊断 - "这边有错误"
- "在这边想想，切把弯曲，这边有错误，这边有错误" —— 老师指出谱面两处需要注意的地方。
11. "四肢做拾..." & 谱面记号
- "你做四肢做拾 Horus 的时候，不像那一样" —— Whisper 转得很模糊，可能是某种四指/三指 + 拾音/装饰音的搭配。
- 老师反复说 "你别这么画，你别硬着画了，我已经说了很多次了"。
- 可能是关于：在谱上手写指法标记的方法（不要硬画 / 不要画错位）。
12. "四季笛曲" + 为什么这个更好
- "四季笛曲，为什么这个要好啊？" —— 老师在比较两种方案/指法。
- "你刚才都拉了雷笛" —— 这里 "雷笛" 可能是 Whisper 误转写（疑似 "ray d" / "re d" / 某种音名/术语）。
13. 单手练 → 合手
- 老师要求 "一个手试试" / "一个手"。
14. 学生表达困难
- "诶 哥哥，我怎么办？" "诶 我怎么办？" —— 学生在练习时遇到具体的卡点反复求助。
- 老师 "一个手诶" —— 仍然让学生先单手解决。
15. 起音与结束音的明确意识
- "那你只要确定了 which one start, which one ending, and make sure you want" —— 老师要求学生主动确认每个乐句的起点和终点。
- 这是一个很关键的认知层提示：弹之前先在脑子里圈出 phrase。
16. Sharp D
- "sharp d" —— 提到一个具体音 D♯。
17. 音的"唱"
- "唱一下，唱一下" —— 老师让学生把旋律唱出来（不只是弹），这是另一种 ear-training。
18. "早点开天" 等待
- "等一下 早点开天呗" —— 老师让学生等一下/不要急着开始。
- "手别抢了你，我们抢了你" —— 别让某只手抢拍。
19. 持续音名点名（B、A、E、C 等）
- 全段反复出现：B、A、Nibs（可能是 mistransliteration）、C、B。
- 老师在逐音验证学生对音名/位置的反应——典型的初级到中级阶段的诊断方式。
20. "啊啊啊…" + "弹起"（指针对单音的反复）
- 长段 "啊啊啊" + "弹起弹起弹起" —— 老师让学生反复弹同一个动作。
21. 中段插曲（家庭闲聊）
- "还有葡萄"、"怎么葡萄成这样了呢"、"不是弟弟给你画的吧？" —— 中间有一段闲聊学生带来的画/课后项目。
- 老师问 "他给你讲什么了？你给我讲一下" —— 学生回应 "有这个项目" —— 老师 "哦 很好，你学了东西啊"。
- 然后回到正题 "就把这个听一下，听一下，让我听一下"。
22. 手不会动 / 速度问题
- "你怎么一到弹琴的时候，你这个手就不会动了" —— 老师指出演奏时手部僵硬。
- "你弹哈喽（Hanon）不弹挺好的，到这块全是都直了你" —— 哈农里手指会动，到曲子里就僵了。
23. "为什么换圈儿" + Body / Quarter Note
- 老师反复追问 "为什么换圈儿啊？说清楚" —— 学生说不清楚原因。
- 然后老师解释："这叫 body，这是一个 quarter note，two beats" —— 在讲音符时值。
- 这表明学生对音符时值/记号本身还有概念不清的地方，需要补。
24. "根本就不是弹琴 / 你给松啊 / 这么虚吗"
- 课程末段老师非常严厉："根本就不是弹琴"、"你给松啊"、"这么虚吗，听不见"。
二（续）、Part 2：单音点名 + dynamic 层级
25. 持续单音点名（开场 5 分钟）
- "E 的后卒" → "Mine" → "Good"。
- "A 呢？A 呢？" —— 老师反复让学生找 A 音。
- "刚刚没有这个音" —— 漏弹了。
- "Right Hand / Hold / Natural" —— 右手 / 保持 / 还原。
26. "4b 4b 4b" + "再来一次"
- 长达 30 秒重复念 "4b"（可能是 4 拍 / 4 beat / B♭ 4 指等）。
- 紧接着多次 "再来一次" —— 老师让学生反复练同一段。
27. You can't jump
- "Yeah yeah yeah yeah / You can't jump / You can't" —— 老师阻止学生跳过某段。
28. 演奏鼓励
- 学生勇敢尝试某段后：老师评 "这么大，好有勇气，很精明"。
29. "二十四指" / 慢慢
- "往前" → "二十四指"（可能是某种指法编号/术语）。
- "你似乎要往前二十四指" → 反复 "慢慢、慢慢、慢慢地"，"不要停下"。
- 处方：慢，但不断——即使慢也要保持连贯，不要中途停。
30. 不要"放弃" E、D、G（核心！）
- "不不不 不要放弃 E，右手不要放弃 E" —— 不要让保持音消失。
- "不要放弃那种 D" → "后 D，你后 G，后 D" —— 后段的 D 和 G 要保持住。
- 这是这节课最清晰的技术指令：保持音真的要保持，不要松手。
31. "强调强调的强调" —— dynamic 的嵌套层级
- "然后再来强调的放弃音" —— 在大的强调里还有要放掉的音。
- "放弃强调的强调" → "就是强调强调的强调" —— dynamic 不是二元的（重 / 轻），而是有多层嵌套。
- 这与上周新曲子的 "dynamic 对比要做大" 一脉相承，但更深一层：在 forte 里也有 piano，在 piano 里也有 emphasis。
32. 从底部 / 从顶部
- "从底部 / 从顶部 / 从底部，稍微低一点"。
- 这里在讨论触键的角度/起点——从手腕底部上来 vs 从手指顶部下去，效果不同。
33. 课程结束（带玩笑）
- "上一天就到这" / "就到这"。
- 老师玩笑："这个比数学还数学，你比数算数学题还得小心" —— 钢琴的精确度比数学还高。
- "会开错了哥，你要在这让我回中国了，我不教你了" —— 玩笑式威胁。
- "这个就是数学题。下期节目我再给你加编剧" —— 玩笑收尾。
三、老师反馈轨迹
| 段 / 时间 | 反馈 |
|---|
| P1 @ 08:42 | "Good question" — 学生主动提问值得鼓励 |
| P1 @ 08:56 | "听两遍太少了，研究啊" — 新曲子要多听 + 研究 |
| P1 @ 09:01 | "Good"（某段弹对了） |
| P1 @ 10:42 | "我已经说了很多次了" — 某个习惯还没改过来（疑似谱面标记方式） |
| P1 @ 27:32 | "你弹哈农不弹挺好的，到这块全是都直了你" — 一到曲子手就僵 |
| P1 @ 29:24 | "根本就不是弹琴 / 你给松啊 / 这么虚吗" — 严厉提醒手腕放松 + 力度要实 |
| P2 @ 05:10 | "好有勇气，很精明" |
| P2 @ 06:29 | "不要放弃 E" — 核心保持音指令 |
| P2 @ 07:52 | "强调强调的强调" — dynamic 嵌套层级 |
整体感受：老师回来上课，直接、密集、要求高。比起代课的"理论分析"，他更倾向于当场诊断 + 当场改 + 反复验证。学生表现有起伏——单手还可以、合手会僵；哈农动手指、曲子里就直；保持音容易丢、dynamic 层次不够。
四、下周练习任务（汇总）
⚠️ 由于转写碎片化严重，下面任务很多需要结合视频回放确认具体段落。建议把视频里老师点名的几个片段抠出来。
A. 基本功
- 慢练 + 高抬指 + 快下键（开场重申的基本要求）。
- 节奏变奏：在练习曲里自己设计节奏型变化，迫使每个音都被处理。
- 拇指灵活性专项练习 —— 老师明确指出的薄弱点，需要单独抠。
- 哈农继续（手指能动的状态要带到曲子里）。
B. 曲子（新曲）
- 多听 + 研究：两遍不够，要变成有目的的分析。
- 弹之前明确每个 phrase 的 start / ending。
- 单手先练熟，再合手。
- 慢练 → 不要中途停（即使慢也要连贯）。
C. 演奏质量
- 不要"放弃"保持音（E, D, G）—— 右手保持住别松。
- "强调强调的强调" —— dynamic 不是二元，要有嵌套层次。
- 手腕放松，力度要实，不要 "虚"。
- 触键的底部 / 顶部有意识。
D. 听辨 & 自我意识
- 唱出旋律（不只是弹）。
- 注意 "你感觉到不一样吗"——能听出差别，才能弹出差别。
E. 谱面 & 理论
- 复习音符时值（quarter note, half note, "body"）和记号 —— 老师 P1 末段专门讲了。
- 谱上指法标记别硬画/别乱画（具体方法回视频对照）。
五、术语速查
| 术语 | 含义 / 本课用法 |
|---|
| 高抬指 + 快下键 | 慢练时的基本手型动作 |
| 节奏变奏 | 自己改节奏型来强迫每个音都被处理 |
| 拇指 | 学生右手过度依赖拇指——薄弱点 |
| 不要放弃 E / D / G | 保持音要真的保持，别让它消失 |
| 强调强调的强调 | dynamic 不是 forte/piano 二元，里面还有更细的层次 |
| 从底部 / 从顶部 | 触键的角度起点 |
| body / quarter note / two beats | 音符的时值基础概念 |
| good question | 学生提问值得鼓励的反馈 |
| 听两遍太少了 | 新曲子要多听 + 研究 |
| 吴老师 | 学生的前任老师；前几周由代课老师上课，本周原老师回来 |
六、备注
- 老师回归的第一节课，节奏明显更密集、互动、严厉。代课老师那种"系统化讲解"的风格暂时告一段落。
- 与前几周（5/24 - 6/7）的衔接：
- 代课时期重点在 音阶推进（G→F#→E + C#）+ Czerny 跑动系统化 + 巴赫音乐性
- 本周原老师回来: 重新把要求拉回到 基本功（拇指、手腕放松、慢练高抬指）+ 听辨能力 + 谱面意识
- 风格转变明显，学生需要时间重新适应老师的节奏
- 本节课视频里实际演奏占绝大部分，文字转写无法捕捉。建议在每一次老师说话的时间点附近，回看视频 30 秒前后 才能理解完整的教学语境。
- 下节课老师很可能继续盯：① 拇指灵活性、② 哈农手感能不能带到曲子、③ 保持音是否真的保持。
Piano Class Summary — 2026-06-14
The class consists of two consecutive video segments:
| Part | File | Duration | Focus |
|---|---|---|---|
| 1 | VID_20260614_080527_00_078 | 30:00 | Thumb & left hand · rhythm variations · Hanon · slow practice with high finger lift |
| 2 | VID_20260614_083508_00_079 | 10:06 | Note-by-note drills · "emphasis-of-emphasis" (dynamic layering) · don't drop held notes |
Total: ~40 minutes.
💡 The ▶ button next to each point jumps the video to that moment.
⚠️ The transcripts here are very fragmented: the regular teacher is back this week, and his teaching style is densely interactive — lots of single-syllable corrections, note-name calls ("E A B", "4b 4b 4b"), live diagnostics, and very short back-and-forth exchanges. So a lot of what's pedagogically valuable lives inside the playing, not in the verbal transcript. Best used alongside the video.
1. Overall Theme
The regular teacher is back after several weeks of substitute coverage, and the style is noticeably different: less "systematic explanation + grouping analysis" and more live diagnosis → fix on the spot → repeat-and-verify.
Two threads:
- Thumb and left-hand flexibility — student over-relies on the thumb; teacher asks her to design her own rhythm variations to break the pattern.
- Held notes / dynamic layering — don't "give up" on the held E, D, G; "from the bottom" vs "from the top" of the key gives different sounds; dynamics aren't binary — there's "emphasis of emphasis of emphasis" — multiple nested layers.
Plus: Hanon work, score-reading diagnostics (the teacher's mention of fingering markings: "I've already told you many times"), and several stern reminders about wrist relaxation and weighted touch.
2. Technical Points (by topic)
1. Slow Practice + High Finger Lift + Quick Key Strike (opening reset)
- Very first line: "when you practice slowly, you must lift fingers high and strike quickly" — the point is to open up that passage.
- This is what's been hammered for weeks — the teacher re-states it as the lesson's baseline.
2. Rhythm Variations
- Teacher: "try a rhythm variation".
- Student should design her own variations — actively re-rhythmizing forces every note to register.
3. Thumb Flexibility (a real weakness)
- Teacher: "you keep using your thumb repeatedly" — RH over-relies on a single finger.
- "Can your thumb move a bit more?" → student: "It can't anymore right?" (tired / locked).
- A weak spot that needs deliberate practice — worth isolating next week.
4. Left Hand Entry
- "When the left hand comes in..." — teacher flags a specific moment.
- The verbal context is sparse (the playing carries the meaning), but the LH entry point is a focus.
5. Don't Play "So High"
- "These notes don't need to be played that high" — some motions / dynamics are overblown.
6. Can You Hear the Difference?
- Teacher plays, asks "can you feel the difference?" → student: "don't know".
- Ear training cue: if you can't hear right from wrong, you can't play right from wrong.
7. Multiple Études & Variations
- "Get these different variations / accidentals / études through" — teacher's verbal shorthand for going through several pieces.
- "Chase to D over there" — one passage needs to land on D.
- "Then do both hands" — single-hand first, then together.
8. "Good Question" + Have You Listened?
- Student asks something → teacher: "good question".
- "Have you listened to this piece?" → "Once or twice" → "how many times?" → "twice" → teacher: "too few. Study it."
- Takeaway: new pieces need lots of listening + analytical study, not just two passive plays.
9. Summer Break (aside)
- Brief mention: student is leaving July 22. Teacher: "not that long away".
10. Score-reading Diagnostics
- "Think about it here, the curve here, there's a mistake here, there's a mistake here" — teacher flags two score spots.
- Mention of "fingering markings — stop writing it like that, I've already told you many times".
- The student's handwritten score annotations are an ongoing issue.
11. Single Hand → Both Hands
- Repeated requests: "try one hand", "one hand".
- Reinforces the drill one hand first, then combine principle.
12. Student Stuck — "I don't know what to do"
- Student: "brother, what do I do?" repeated.
- Teacher: "one hand" — sticks with the prescription.
13. Conscious Phrase Boundaries
- "You just need to decide: which one is the start, which one is the ending, and make sure you want it".
- Important meta-cue: before playing, identify each phrase's start and end mentally.
14. Sing the Melody
- "Sing it, sing it".
- Another ear-training prescription — singing locks the melody in the inner ear.
15. Don't Rush
- "Wait, open up later" / "don't let your hand rush ahead".
16. Note-name Calling (B / A / E / C)
- Lots of single-note callouts as the student plays.
- Teacher is verifying note recognition + position reflexes — typical for working through a passage with errors.
17. Brief Family Aside
- Mid-class chat about a painting/drawing the student brought.
- "He told you something — tell me about it" → "there's this project" → "oh, good, you learned something".
- Then back to "listen to this, listen to this, let me listen".
18. Hand "Doesn't Move" in the Piece
- "Why is it that when you play piano, your hand stops moving?"
- "You play Hanon fine, but here your fingers all go stiff".
- Hanon mobilizes the fingers; the piece freezes them. Fix: slow down.
19. "What's a Quarter Note?" — Score Theory Refresher
- "Why a circle here? Explain it!" — student can't articulate the reason.
- Teacher explains: "This is called a 'body', this is a quarter note, two beats".
- Reveals gaps in basic notation knowledge — needs review.
20. "This Isn't Even Playing the Piano"
- End of P1, teacher is stern: "this isn't even playing", "relax", "so weak — I can't hear it".
- Translates to: wrist tension + insufficient weight — a key fix for next week.
2 (continued). Part 2: Note Drills + Dynamic Layering
21. Sustained Note Drills (opening 5 min)
- Lots of single-note callouts: E, A, D, G.
- "Right Hand / Hold / Natural" — natural sign / hold gestures.
22. "4b 4b 4b" + "Again"
- ~30 seconds of repeating "4b" (likely a 4-beat hold or B♭ + finger 4).
- Then several "again" rounds.
23. You Can't Jump
- "You can't jump / You can't" — student keeps trying to skip a passage; teacher blocks it.
24. Encouragement
- After a brave attempt: "so big! good courage! very clever".
25. "Slow, Slow, Don't Stop"
- "Forward" → repeated "slowly, slowly, don't stop".
- Slow ≠ start-and-stop: keep continuity even at slow tempo.
26. Don't "Give Up" E, D, G (core instruction)
- "No no no, don't give up on E, RH don't give up E".
- "Don't give up that D" → "the back D, your back G, back D" — the held D and G in the back half.
- The clearest single technical instruction of the class: held notes must really be held; don't release them.
27. "Emphasis of Emphasis of Emphasis" — Nested Dynamics
- "Then emphasize a 'released' note" — within a big emphasis there are notes to release.
- "Release the emphasis of the emphasis — it's the emphasis of emphasis of emphasis".
- Deepening last week's "dynamic contrast" idea: dynamics aren't binary; forte has piano inside it, piano has emphasis inside it. Nested layers.
28. From the Bottom / From the Top
- "From the bottom / from the top / from the bottom, slightly lower".
- Discussing the angle / starting point of the key strike — wrist-up vs finger-down feel different.
29. End of Class (with jokes)
- "Today ends here".
- Joking: "this is more math than math itself; you need to be more careful than doing a math problem".
- "If you mess up, you'll make me go back to China and stop teaching you" — playful warning.
- Wrap-up joke: "this is just a math problem. Next episode I'll give you a screenwriter".
3. Teacher's Feedback Timeline
| Part / Time | Feedback |
|---|
| P1 @ 08:42 | "Good question" — encouraging proactive questions |
| P1 @ 08:56 | "Two listens is too few — study it" |
| P1 @ 09:01 | "Good" (a passage landed correctly) |
| P1 @ 10:42 | "I've already told you many times" — habit hasn't shifted (re: fingering markings) |
| P1 @ 27:32 | "You play Hanon fine; in this piece your fingers freeze" |
| P1 @ 29:24 | "This isn't even playing / relax / so weak — I can't hear it" — stern reminder |
| P2 @ 05:10 | "Good courage, very clever" |
| P2 @ 06:29 | "Don't give up E" — core held-note instruction |
| P2 @ 07:52 | "Emphasis of emphasis of emphasis" — nested dynamics |
Overall vibe: the regular teacher is back, direct, dense, demanding. Less theory-talk, more diagnose-fix-verify loops. Student's performance was uneven — single-hand OK but tense in combinations; Hanon mobile but pieces stiff; held notes lost; dynamics flat.
4. Practice Assignments for Next Week
⚠️ Many of these need video review to confirm which passages are meant. Recommend bookmarking the specific moments the teacher flagged.
A. Fundamentals
- Slow practice + high finger lift + quick strike (the opening reset).
- Rhythm variations — design your own in the étude to force every note.
- Thumb flexibility drill — the explicit weak spot, isolate it.
- Continue Hanon — bring that mobility into the pieces.
B. New Piece
- Listen more + study — two passive listens isn't enough.
- Before playing, mentally mark each phrase's start and end.
- One hand first, then both — drill until single-hand is solid.
- Slow → don't stop — keep continuity even at slow tempo.
C. Performance Quality
- Don't "give up" held notes (E, D, G) — RH must hold.
- "Emphasis of emphasis" — dynamics in nested layers, not just two levels.
- Wrist relaxation + weighted touch — no "hollow" sound.
- Be aware of bottom-of-key vs top-of-key strike.
D. Ear Training & Self-awareness
- Sing the melody, not just play.
- "Can you feel the difference?" — if you can't hear it, you can't play it.
E. Score Reading & Theory
- Review note values (quarter note, half note, "body") and markings — teacher had to explain this at end of P1.
- Don't scribble fingering markings the wrong way — check the video for the right approach.
5. Glossary (Chinese ↔ English)
| Term | Meaning / how it's used |
|---|
| high finger lift + quick strike (高抬指 + 快下键) | The default slow-practice motion |
| rhythm variation (节奏变奏) | Re-rhythmize the étude to force attention on every note |
| thumb (拇指) | The student's RH overuses it — a specific weakness |
| don't give up E / D / G | Held notes must actually be held |
| emphasis of emphasis of emphasis (强调强调的强调) | Dynamics in nested layers, not just forte/piano |
| from the bottom / from the top | The angle / starting point of the key strike |
| body / quarter note / two beats | Basic note-value vocabulary the student needs to review |
| Hanon | Finger exercises; mentioned as the comparison where fingers DO move |
| Teacher Wu (吴老师) | The student's previous teacher; recent weeks were a substitute; this week the regular teacher is back |
6. Notes
- This is the regular teacher's first class back. The pace is noticeably denser, more interactive, more demanding than the substitute weeks (5/24 - 6/7).
- Continuity with previous weeks:
- Substitute period emphasized scale progression (G → F# → E + C#) + Czerny tuplet systematization + Bach musicality
- This week the regular teacher pulled focus back to fundamentals (thumb, wrist relaxation, slow practice + high lift) + ear training + score literacy
- Clear style shift; student needs time to re-adapt to his rhythm
- Most of the actual teaching happens inside the playing, which the transcript can't capture. For each timestamp below, watching ~30 seconds of video around it is the only way to get the full context.
- Next week the teacher will likely keep checking: ① thumb flexibility, ② whether Hanon mobility carries into the pieces, ③ whether held notes are truly held.