# SPDX-FileCopyrightText: The Plinky Authors

# SPDX-License-Identifier: AGPL-3.0-or-later

- date: 2026-09-13

entries:

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**A chord written for both hands is graded the way you play it.** Where one staff

holds more notes than a hand can span, like the crossing thirds in Mozart's A major

sonata or the tenor and bass of a hymn written on one line, the grade read them as a

single impossible stretch. When your other hand is free to take those notes, the grade

now counts them as shared between your hands. Seventy-five pieces sit a grade or two

easier for it, and no piece's own grade went up. The easier ways into a piece, like

the melody alone, are measured afresh too, so a few pieces now start a grade higher

or lower, and none offers a way in that is no easier than the piece itself.

- |-

**A slide that lands on a chord goes on from it.** Where a slide arrives on one note

of a chord and the next sets off from another note of the same chord, Listen could

drop the second slide and simply strike its notes. Both slides now sound, one

arriving and the next leaving, whichever way round the chord is written.

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**A note written twice in a chord takes one finger.** Where two voices share a note,

as they often do in hymns and part-songs, the suggested fingering counted it as two

keys and could stretch your hand for a key it had already taken: an octave with its

top note doubled came out as 3-1-4. Both copies now share one finger, and the rest of

the chord is fingered the way your hand actually plays it.

- date: 2026-09-12

label: evening

entries:

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**Two slides at once each land on their own note.** Where both hands glide across

the keys together, Listen swept only one of them, and could send it to the other

hand's note instead, the right hand diving into the bass. Each slide now runs from

its own note to the one it is written to reach, both hands together. A slide that

lands on a note and sets straight off again from it, up and back down, now plays

both halves too, where it used to drop one.

- |-

**Listen shakes both hands' tremolos.** Where both hands write a tremolo on the same

beat, as a piano reduction of an orchestra often does, Listen shook the right hand and

struck the left once. Both now shimmer together, each at the speed its own slashes

ask for.

- |-

**Switching a reading aid while a piece plays leaves no stray highlight.** Turning

note colours or finger numbers on or off during Listen, or while a take replayed,

left the note sounding at that moment lit as if it still were, long after the music

had moved on. The highlight now carries on with the music and the trail stays

unbroken.

- |-

**Back after a rest takes back only the rest.** Writing notes one at a time, a

Back pressed after a rest also removed the note before it, and two rests in a row

went with the note too. Back now undoes exactly the last thing you entered, a note,

a chord or a rest, and leaves the cursor where it began.

- |-

**Compose shows the time a loaded piece is really in.** Opening a file with five,

seven or twelve beats to the bar wrote its bars out that way, while the Time menu

read 2/4 — and picking 2/4 from it did nothing. The menu now lists the piece's own

time beside the usual four, and keeps it there after you pick another, so a wrong

pick can be put back.

- |-

**Grades line up with the teaching books.** Each grade is measured against

well-known teaching collections — Anna Magdalena, Burgmüller, the two-part inventions

and more. With chords now fingered by their pitches, every piece was measured again

and the grades were re-cut against those books. About five hundred pieces sit at a new

grade, most of them one step up and some one step down; nothing about how you play

them changes.

- |-

**A missing page speaks your language.** Following a stale or mistyped link, or

landing on a page that stopped working, used to show a page in English whatever

language the rest of the site was in. It now speaks yours, with a way home and the

same way to report the problem.

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**The first link on every page is named in your language.** A screen reader

announced the logo's link home in English on every page, in the middle of a

French or Japanese one. It now reads in the language of the page.

- |-

**A glossary link without a language opens the glossary.** An address like

plinky.fun/glossary/piano/, typed by hand or copied without its language, opened

the free-play keyboard instead of the entry for the piano mark. It now opens the

entry, in your language.

- |-

**Scale names follow your note names everywhere.** Switching how notes are named

in Settings, H or B, do re mi or letters, renamed the scales on the keys and in

Music, while Today, Stats and the review session kept the old names until you

reloaded. They now change with the rest.

- |-

**Slurs in songs land on the right hand again.** In a song for voice and piano, the

singer's line is left off the page, and every slur the piano's music carries was

moving one staff down: the tune under a slur played detached, while a staccato bass

under it was held long, in Listen and in what a run asked of you. Each slur now

stays on the staff it is drawn on, with the singer on the page or off it.

- |-

**A tremolo shakes only its own note.** When a piano's right hand had a tremolo and

the other hand, or a singer, had a note at the same moment, Listen shook that note

too, over and over, even a singer's note that wasn't on the page. Now the other

note sounds once while the tremolo shakes. A glissando also ends where its own part

says, never on a note the singer slides to.

- |-

**The piano follows its own dynamics in a song.** Where the singer was marked

quieter or louder than the piano, or had a crescendo the piano didn't, Listen

played the piano at the singer's level, and a run asked you for it too. The piano

now keeps to the dynamics and pedalling written for it.

- |-

**Stopping a duet stops the other hand.** While Plinky played the other hand for

you, pressing Stop, leaving full screen or starting Listen left the notes it had

lined up still playing, one after another, on a page where nothing was running,

and under Listen they came out of step with it. Stopping now silences the other

hand at once. Play a run to its end and the other hand still finishes the piece.

- |-

**Stop means stop in a play-along too.** Pressing Stop while keeping up with the

beat left the guide notes and the other hand ringing for their whole length, so a

slow chord could carry on over the next count-in. They now fade the moment you stop,

while a run you play to its end still lets its last notes ring.

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**Finishing a piece plays its little flourish again.** The short chime for reaching

the end of a piece waits a moment before it sounds, and leaving full screen at the end

of a run cut it off before it began. It now plays over your grade, and the last

notes of the piece ring out with it.

- |-

**The notes you take longest to find are timed honestly after Keep going.** When

you couldn't find a note and played the next one to move on, that next note was

filed as found in no time at all, so the notes you stumble around most looked like

your quickest. It now counts the whole time you spent getting there.

- |-

**Find your level reads every note.** With Thin the texture set in Settings, the

placement test was thinned too: the melody alone, or just the melody and bass. You

could climb past drills you couldn't yet read as written, and the level it saved came

out too high. The test now always sets each drill in full.

- |-

**Finger numbers sit the right way up on every chord.** Some scores write a chord's

notes from the top down, and on those the suggested fingering came out upside down:

the thumb printed on the top note of a right-hand chord and the little finger on the

bottom, in the score and in the finger-position editor. A chord is now fingered by its

pitches, whichever order they were written in.

- date: 2026-09-12

entries:

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**Ear training answers from your number keys.** On a scale-degree question, typing 3

answers "3" just as clicking it does, and in melodic dictation each number you type

fills the next note. Chord progressions take the number of the chord's degree, so 4

is IV and 5 is V; with a keyboard to press them on, each chord button shows its

number in the corner. A number the

question doesn't offer is left alone. The number pad works too, and so does the

number row on a French keyboard, with or without Shift. With a screen reader, you

hear each note or chord as you fill it in, and which of the slots it went into.

- |-

**Ear training fits a small phone again.** A long melody or a chord progression

drew more listening dots than a narrow screen holds in a row, and five answer boxes

were wider than it too, so the page zoomed out and the undo button was cut off at

the edge. The dots now wrap onto a second row, and the boxes narrow to fit.

- date: 2026-09-11

label: evening

entries:

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**The last few English note names now use your keys' names too.** The notes held

in the MIDI settings, the note the microphone hears and the one its setup asks

for, your hand size, your piano's range, the drill's range and key, the key on the

home page's Arcade button, the fingering editor and the notes you take longest to

find on Stats all still printed English letters. A German player read B4 where the

keys said H, and a French player read A4 beside keys saying la. They now name every

note the way your keys do. Your note names also follow the page's language until

you choose them yourself in Settings: changing the volume no longer fixes them in

place. In Norwegian, B natural is now called H by default, as Norwegian music

books call it; B is one choice away in Settings.

- |-

**Note names on the keys are easier to read.** The names printed on the on-screen

keys were a pale grey that was hard to make out on a white key, and harder still on

one lit green, red or blue. They are darker now, and on a lit key they change with

its colour, so a name stays readable whichever state the key is in, on every

keyboard look, in light and dark mode.

- |-

**A note Keep going passes over no longer counts as perfectly timed.** The share

grid and the note-by-note strip after a run scored a skipped note as played on the

beat and at full speed, so a slow run with a few skips looked greener than it was,

and could even name the wrong hand as the one lagging. Your grade already left skips

out of its timing, and now the grid and the strip do too. A skipped note still counts

as a slip, and on the strip it shows as just its red ring, with no timing dot.

- |-

**With the microphone on, your first notes after stopping Listen are heard.** Plinky

ignores what the microphone hears of its own speaker, and it kept ignoring a note

Listen had played for as long as that note would have rung, even once Stop had

silenced it. Start a piece straight after listening and its opening notes, the ones

Listen had just played, could go unheard for a few seconds. A stopped note now stops

counting as Plinky's own the moment it goes quiet.

- |-

**Every note is called what your keys call it.** The keys could say do re mi, but

the chord under your hands, the ear-training keys, the key mapping, the tools and

theory pages and a scale's name still said C, D and E. In Danish, Polish, Czech and

the other languages that call B natural H, the key above A sharp was still printed

and read out as "B" — which there means B flat. Now whatever your keys say, every

other screen says too: "Gamme de si bémol majeur", "Ré Majeur", H for B natural.

French, Italian, Spanish, Portuguese and the other do-re-mi languages start on do re

mi, and **Settings** lets you choose between B and H if you learned the other.

- |-

**A new take in Compose is named in your language.** Its title started as the

English word "Improvisation" in every language, and that word went on to name the

MIDI and MusicXML files you download and head the score they open as. It now starts

in your own language — "Improvisación", "Improvvisazione", "即興演奏" — and you can

still rename it.

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**A screen reader names the piano's keys in your language.** Every key on the

on-screen keyboard, and the wrong-note announcement, was read out in English

whatever language Plinky was in, so a German page said "Falsche Note: F sharp 4".

Keys are now read out in your language, with the same note names as the rest of

Plinky: "Falsche Note: Fis 4" in German, with H for B natural, and "Mauvaise note :

do dièse 4" in French.

- |-

**In German, the circle of fifths calls B natural H.** German reads the letter B as

B flat, so the Tools page told a German reader that D major's relative minor was

B-Moll, and named the key of five sharps B. The circle, its signatures, the chord

sheet you can save, the scale, chord and interval pickers and the key-signature lesson

in Theory now use the German names: h-Moll, Fis · Cis, H for B natural and B for B flat.

- |-

**Left hand as chords works on songs with a singer.** With Other parts showing, a

song whose singer is written above the piano kept the composer's full left hand when

you chose Left hand as chords, and the run still counted as a practice version. The

piano's left hand now turns into chords under the singer's line, as it does on a

piece for piano alone.

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**Stopping Listen stops the sound.** Press Listen again to stop it, restart it, or

stop a run you are replaying, and the cursor stopped while the notes already played

rang on, a pedalled bass for a bar or more, and under the next pass if you started

again. Playing a sketch back in Compose did the same after Stop. The notes now fade

the moment you stop, and anything you are holding on your own keys keeps sounding. A

piece that plays to its end still lets its last chord ring.

- |-

**Keep up counts a grace note played a hair late.** A beat in Keep up stays open

for a moment after the cursor moves on, so a note played just after it still counts.

A very short beat, such as a grace note or a fast semiquaver, could have that moment

cut short by the beat before it, and a note played inside it was marked as missed.

Every beat now keeps its full moment.

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**With Keep going on, a missed note no longer makes the next one look early.** When

you skipped a note and played the next one right on its beat, the result timed the

skipped note as late and the one you played as early, so a single miss cost you

twice on timing and put a note you got right on the strip as off the beat. The

missed note still counts as missed, and the notes you played are timed as you

played them.

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**A run's video shows the piece's own notation after One hand at a time.** Trying

One hand at a time from Ways to practise can open a tune written on a single staff.

You play it with both hands, but the run was kept as a left-hand run, so its video

could not find those notes in the score and drew your playing out as new notation

instead. The run is now kept as the both-hands run it was, and its video shows the

piece as written.

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**All time on the Stats page shows your practice.** With the period set to All

time, the practice report said there was nothing here yet, however much you had

logged, while the week, the month and the year showed it. It now adds up every

sitting since your first, and its calendar starts on that day.

- |-

**An address without a language opens its page, slash or no slash.** Typing

plinky.fun/music/, or taking the language out of a link you copied, opened the Today

page, while the same address without the final slash opened Music. Both now open the

page they name, in your language.

- |-

**The Due now filter keeps its button when nothing is due.** Filter Music to Due

now, play the piece that was due, come back, and the list was empty with no button

left to turn the filter off. The Due now button now stays while the filter is on,

so one tap brings the whole shelf back.

- |-

**Compose's replace question follows the last file you opened.** Asked whether to

replace your take with one file, you could open another instead; if that one would

not open, the question stayed up, and Replace loaded the first file after all.

Opening a new file now withdraws the question about the earlier one.

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**A damaged MIDI file no longer spoils a Compose link.** A file carrying a note

higher than the top of the keyboard, or louder than MIDI allows, opened in Compose

without complaint, and the link you shared from it opened an empty take for the

person you sent it to. Compose now leaves those damaged notes out when it opens the

file, so everything it shows can be shared.

- date: 2026-09-11

entries:

- |-

**A very fast or very slow MIDI file reads cleanly in Compose.** Opening a file played

faster than 240 or slower than 40 beats a minute set the tempo to the nearest end of

the range while the notes kept their own timing, so a line of plain quarter notes came

out on the staff as dotted and tied fragments. Compose now halves or doubles such a

tempo until it fits, so the notes stay on the beat, written at half or twice their

value, and the take sounds exactly as the file did.

- |-

**A transposed piece stays in a key you can read.** Moving a piece in F♯ major down a

semitone printed E♯ major, with eleven sharps, and a few other moves from a sharp or

flat key went past seven. The transposition now always lands on the nearer name of the

new key, F major there, the way it already did for the moves that had two names to

choose from.

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**Plinky opens without a connection, from its icon too.** With no network, opening

Plinky from its icon on your home screen, or opening a page you had never visited on

that device, showed your browser's own error page in place of Plinky. Both now open

Plinky, and the pages you have visited open as they always did.

- |-

**Notes you are holding stop when you leave the page.** Hold a chord on the Piano

page, in Compose, in the keyboard tour or on the home page's keyboard and follow a

link away, and those notes rang on through their whole fade on the next page, whether

you were holding them on a MIDI piano or on the keys on screen. They now end as you

leave.

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**The microphone hears every note you play, the same one twice included.** With the

microphone listening on the Piano page, in Compose, on the home page's keyboard or in

Keep up, Plinky played each note back over your piano, and a note you repeated soon

after was taken for that echo and never heard, so it went missing from a sketch or a

run. Plinky now leaves a piano it hears through the microphone to make its own sound.

- |-

**Keep up keeps time through grace notes.** In Keep up, a grace note held on for

its whole written length before the note it decorates, and a very quick one a little

longer still, so every ornament pushed the beat later and the notes you were chasing

drifted away from the metronome. Grace notes now take their time from the note they

lean on, the way Listen plays them, and the beat stays where the score puts it.

- |-

**A chord you moved on from reads amber, not green.** With Keep going on, playing

part of a chord and going straight on to the next note painted the notes you did

get the same green as a chord read cleanly, and with hidden notes on it was revealed

as found, even though the grade already counted it as missed. It is now amber, the

colour for a note found after a slip, so the score and the grade tell the same

story.

- |-

**You hear what you play in Compose.** The keys under the sketch, your computer keys

and a MIDI piano without speakers of its own all wrote notes onto the staff in

complete silence, so the only way to hear a take was to stop and play it back. Every

note now sounds as you play it, on the same piano and with the same pedals as the

rest of Plinky.

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**A pedal you are holding keeps working into the next run.** Finish a run with your

foot still on the sustain pedal, press Practice again without lifting it, and the

notes were cut short as your keys came up, while the take saved from that run played

back pedalled. The pedal now carries on from where your foot is, and a pedal you

pressed or lifted on another page is right when you get back to the keys. The same

goes for the soft and sostenuto pedals.

- |-

**The recorded piano comes back after a Listen that started too soon.** Press Listen

while the piece's recordings were still arriving and it plays on the plainer

synthesised piano, so that the whole piece sounds like one instrument. That choice

used to outlast the Listen: every note after it, on every page, stayed on the plainer

piano until you happened to start another run. It now lasts exactly as long as the

run, and the recordings are back as soon as it ends.

- |-

**The Piano page makes a sound.** A key pressed there lit up and that was all:

whatever you played, on the screen, the computer keys or a MIDI piano without

speakers of its own, was silent, and the pedals did nothing. Every note now sounds on

the same piano as the rest of Plinky, for as long as you hold it, and all three pedals

work. The pedals work on the keyboard on the home page now too.

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**A play-along or a sight-read after a finished run starts properly.** Finish a

piece at your own pace, then switch to Keep up or turn on sight-reading and press

Practice, and the full screen used to close again straight away, taking the count-in

or the reading time with it. The finished run now stays finished, and the next one

gets the stage to itself. It could also be counted a second time and wipe the ghost

you race; that has gone too.

- |-

**Taking over from Listen on a repeat carries on where it was playing.** Press

Practice while Listen is on the second time through a repeated passage, and the run

used to send you back to the first time through, so you played bars you had just

heard all over again. It now picks up on the same pass, at the next note, and that

holds for a repeat that starts at the very top of the piece too.

- |-

**Bars that vanish behind a sight-read come back when the music goes round again.**

With bars vanishing on, a repeat sign or a section loop sends you back to bars that

had already disappeared, and they stayed gone, so the second time through had to be

played from memory. They now reappear as the run returns to them, and vanish again

once you have moved on.

- |-

**A loop over part of a repeat keeps the cursor on the bar you are playing.** Loop

a few bars inside a repeated passage, and after the first time through the cursor

box and the scrolling moved on to the bar printed next, while the notes you were

asked for came from the start of the loop again. The cursor now goes back with you.

- |-

**The recorded grand piano you downloaded stays downloaded.** Every time Plinky

updated, the recordings kept on your device were thrown away with the old version, so

a piano fetched for a flight could be gone by take-off, and with no network every note

fell back to the plainer piano. They now stay on your device through updates.

- |-

**Plinky opens in the language you picked.** Choose a language in Settings and then

come back to plinky.fun, or open Plinky from your home screen, and it opened in your

browser's language instead, every time. It now remembers your choice and opens in it,

including a language you picked before today.

- |-

**A repeated note played a touch early counts in Keep up.** Rush the second of two

same notes by a hair, as the C C of Twinkle Twinkle invites, and Keep up took it for

the first C struck again, then marked the second one missed. It now goes to the beat

it was meant for, exactly as a note played a touch late always did.

- |-

**With "Keep going" on, a note you skipped counts as missed.** Moving on to the next

note never stops you, and it still does not. But the note you left behind was scored

as a right one, played cleanly, so a run with half its notes skipped could earn an A,

mark the piece learned and take its star. A skipped note now counts against accuracy

and flow like any other miss, and a run where you play every note grades exactly as

it would with the switch off.

- |-

**Listen keeps time through rolled chords and grace notes.** At a lively tempo every

rolled chord, every grace note and every very quick trill or tremolo held on a hair

longer than written, and the piece fell a little further behind the metronome each

time — nearly two seconds by the end of a piece full of them, in Listen, in videos

you export and in the clips. They now take exactly their written time.

- |-

**Listen plays a transposed piece's tremolos and glissandos in the new key.** Move a

piece up or down and press Listen, and a tremolo still shook between the chords of the

key it was written in, a few notes away from the ones on the page, while a glissando

swept towards the old arrival note. Both now sound in the key you chose, exactly where

the staff shows them.

- |-

**Chord symbols move with the music when you transpose.** A piece whose score prints

its own chord names kept them in the key it was written in, so after moving it up a

tone the staff said D major while the symbols above it still read C, Am and G7. The

names now follow the notes, spelled the way the new key spells them, bass notes

included.

- |-

**Chord names and block chords are spelled the way the music is.** In a minor key with

flats, the chord that leads home borrowed a flat it never has: D minor's A major over

C sharp was labelled A/D♭, and with block chords on, the left hand was written with

D♭ and G♭ where the key signature and the right hand said C♯ and F♯. Pieces in F♯

major or C♯ major had their chords named in flats under a key signature full of

sharps. Every chord is now spelled note by note from its place in the key, so the

symbol, the block chord and the rest of the page agree.

- |-

**Playing a piece again straight away no longer pushes its review months away.** Once

a piece was learned, every good run counted as a review, so playing it six times in

one sitting scheduled the next review half a year out, and the piece went quiet as

though you had kept it for months. A run now moves the review further out only once

the review has come due, or nearly. Playing again before then still keeps your best

score, and a run that goes badly still brings the review back to tomorrow.

- |-

**A star you have earned stays earned.** Put one of the pieces behind a star back on

the shelf, or take the learned tick off it, and the star vanished from your badges on

the Stats page, although badges are meant to be yours for good. Stars now stay once you

have seen them, and so does the badge for learning every ear exercise. A gold star in

any grade now also counts as the bronze and silver you passed on the way.

- |-

**A take you carry over as a MIDI file comes back at the tempo you set.** Download a

take composed at 90 beats a minute, open it in Compose, and the tempo box read

89.9999550000225, a number that then travelled on in every link you shared. It now

reads 90. A file or a shared link with a tempo the box cannot hold, faster than 240 or

slower than 40, opens at the nearest one it can, where it used to drive the

metronome at whatever the file said.

- |-

**A thinned piece prints its rests at the right length.** With Thin the texture set to

Melody alone or Melody and bass, a dotted note taken out of the other hand became a

plain rest without its dot, and a triplet taken out lost its bracket and was drawn as

ordinary quavers, so the bar on the page no longer added up. The rest now prints at

exactly the value the note had, dot and triplet bracket included.

- |-

**A video or sound file of a take finishes even when Plinky updates.** A long video

takes minutes to make, and if a new version of Plinky arrived meanwhile, switching

tabs and coming back could reload the page halfway through, so the file never

arrived and nothing said why. Plinky now waits until the file is saved before it

updates.

- |-

**A score you just added can be backed up straight away.** Add a score on the

Manage tab of Music and the backup section right below it still said you had none,

with its download button greyed out until you left the tab and came back. It now

counts the new score the moment it is added, and one you remove just as quickly.

- |-

**A take saved as MusicXML carries the piece's name.** The file was named after the

piece, but opened in MuseScore or another notation program every take was headed

"Improvisation". It now shows the piece's title, and your computer recognises the

file as sheet music rather than plain XML.

- |-

**A backup of your progress restores on a nearly full device.** Restoring made room

for the backup's recordings only after writing them, so a phone holding plenty of

its own takes could refuse a backup that would have fitted easily once they were

replaced, and say its storage was full. The device's own values now make way

first, and a backup that still cannot fit leaves everything exactly as it was.

- |-

**A theory lesson stops playing when you move to the next one.** Press Hear them on

one lesson, pick another from the list before it finished, and the rest of the first

lesson went on sounding and lighting its keys on the new lesson's keyboard. Each

move between lessons also left an empty space above the example. The old lesson now

falls silent as you leave it, and each lesson draws its example once.

- |-

**A book of studies keeps its name while its page loads.** Opening a collection's

page, such as Czerny's eight-bar exercises, blanked its heading and the name in your

browser tab until the list of books arrived, and left both blank for good if it never

did. The tab keeps the book's name throughout, and the heading shows the page's

address until the name is ready.

- |-

**A screen reader names the colour theme in your language.** The button that

switches between light, dark and your system's theme read its choice out in English,

so a German reader heard "Design: dark" while the button said Dunkel. It now says the

theme's name in the language Plinky speaks to you, and leaves out the picture beside

it.

- |-

**One of something is counted as one.** With a single piece due, the button offered

to "Review 1 pieces"; a month with one day of playing said "1 days", a best day of

one note said "1 notes", and a date set for tomorrow was "1 days away". Each now

reads the way you would say it, in every language Plinky speaks, including those

that use a third or fourth form for a number, as Polish and Russian do. A date that

falls today says "today" rather than "0 days away".

- |-

**A single note is one note in your language too.** In German, French, Spanish,

Polish and most other languages, a day in this week's chart with one note played

showed "1 Noten", "1 notes" or "1 notas", and a Music search with one match counted

one score as several. Both now use the singular, and Polish, Czech, Russian and the

other languages with more than two forms get the right one for every count.

- |-

**Every count in Plinky agrees with its number.** With one learned piece, the home

page said "1 pieces on the stand", your very first note was "1 notes played", a

composer with a single piece in the catalogue had "1 pieces to play", Compose

counted the first note of a take as "1 notes", and a single report pasted in to

collect a class's results read "1 reports", a set of a single piece offered to

"Show the 1 pieces", a month you shared after one day of playing said "1 days", and

a piece one bar long was "1 bars".

Each now reads the way you would say it, in every language Plinky speaks, with the

third and fourth forms Polish, Czech, Russian and their neighbours use for two, five

or twenty-one. In Portuguese, a search with no matches found "0 partitura", as though

nothing were one score; zero now takes the plural there, as it does in Portugal.

- |-

**Seconds are written with your own decimal comma.** The notes you are slowest to

read on the Stats page, and the margin you beat or lost to a ghost by, always used a

full stop: a German reader saw "1.4s" beside figures that elsewhere read "1,4". Both

now follow the language Plinky speaks to you.

- date: 2026-09-09

label: night

entries:

- |-

**The theory course opens on a lesson, and every lesson is a link.** The list down

the side used to jump you around one very long page. Each of the fourteen lessons

now has a page of its own and the list points straight at it, so you can open one in

a new tab, send it to somebody, or find it by searching for the question it answers.

Opening the course lands on the first lesson rather than on all of them at once, the

way the glossary has always opened on the first mark — and the glossary's list is

made of real links now too.

- date: 2026-09-09

label: evening

entries:

- |-

**Two more credits that were never anybody's name.** One score had put a notice to

the singer where the composer goes, so a warning in French had a composer page of

its own. Another carried its whole upload heading as a title — the composer at the

front and the channel that arranged it at the back — so Vivaldi's Summer was filed

under a name that never wrote a note of it. Both now say what they are.

- date: 2026-09-09

entries:

- |-

**A piece page shows its grade once.** It had started saying it twice, a few pixels

apart — once beside the title and once beside the piece's other numbers. The one

that stays is the one that takes you to everything else at that level.

- |-

**One more page that was not a composer, and a piece that was not called what it

said.** An archive's note for an unknown author had become a composer with a page of

its own, and its single piece carried the archive's cataloguing line as its title.

The piece is called "Kupffer Schmitt", which is what its own score calls it.

- date: 2026-09-08

entries:

- |-

**The books of studies have pages of their own.** Bach's two-part inventions,

Czerny's op. 821, the Goldberg variations and twenty more: each is now a page listing

every piece of it the catalogue holds, in the order you would work through them. They

are linked from the foot of the Music page and from every shelf.

- |-

**A piece page says what the piece is.** Under the title you now get its grade, how

many bars it runs to, how it is counted and how fast it goes — and the grade is a

link to everything else at that level, so finding another piece your size is one tap

rather than a trip back through the filters.

- |-

**Each theory lesson has its own address.** "What is an octave" was a paragraph two

thirds of the way down a page of fourteen lessons. Each is now a page you can link

to, and the course still reads top to bottom where it always did.

- |-

**A composer's link shows the composer.** Sharing a composer page used to unfurl as

the site's own picture; each of the four hundred now has a card with their name, who

they were and how much of theirs there is to play.

- |-

**The composer directory stopped listing things that are not composers.** Now that

every credited name has a page of its own, the odd ones in the harvested scores

became visible: a page for "Public Domain", one for "a breeze", one for the choir

that recorded a carol. Those are gone. Credits naming two people at once are two

people again, so Bellini and Chopin each keep their own page; a catalogue number

left on the end of a name no longer makes a second Bartók; and initials that meant

somebody already in the catalogue now lead to them, so Rachmaninoff's pieces are all

in one place.

- |-

**Links without a language in them work again.** An address like `plinky.fun/about`

— the shape a link takes when it is copied out of somewhere that dropped the

language — had quietly stopped working for a dozen pages, including Help, the

glossary and the two legal pages, and answered "page not found" instead of sending

you to your own language. All of them are back.

- |-

**Text stops jumping on Greek, Russian, Ukrainian and Serbian pages.** Every page

fetches the slice of its typeface that covers the script it is written in, and those

four were waiting for the stylesheet to be read before asking for theirs. The page

painted in a stand-in font and then re-laid itself out when the real one arrived,

which on a long page moved everything you were reading. Each language now asks for

its own slice straight away.

- |-

**A shared link lands, whatever shape it is in.** An address without a language in

it — the shape a link takes when it is copied out of somewhere that stripped it —

now finds the page for the shelves, the composers and the glossary marks too, rather

than showing a page that could not be found.

- |-

**Every mark in the glossary has a page of its own.** Tapping a symbol used to change

what was on screen and nothing else, so there was no way to send somebody the answer

— or to come back to it. Each mark now has its own address, and picking one from the

list writes it there: a fermata is at `/glossary/fermata`, with its engraving, its

keyboard and both readings of the phrase, exactly as before.

- |-

**What changed, and when, is now a page on the site.** Plinky has no version numbers

and no release days — everything goes live the moment it is finished — so this list

is the only record there is, and until now reading it meant leaving for a file on a

code-hosting site. It is the "What is new" link at the foot of every page.

- |-

**The catalogue has shelves.** Looking for something at your level, or something

that sounds like a particular century, meant setting filters on the Music page and

remembering what you had set. Every grade now has a page of its own — grade 3 is at

`/music/grade/3` — and so does each of the four periods, from the Baroque to the

modern. Each shelf lists its pieces easiest first, links to all the others, and has

an address you can bookmark or send to somebody.

- |-

**The composer pages say who the composer was.** Four hundred of them carried a name

and a list of pieces and nothing else. Each now opens with a line saying who the

person was and when they lived — Polish composer and pianist, 1810 to 1849 — with a

link to their Wikipedia article in the language you are reading, for the three

hundred and forty-five the catalogue could place. The wording comes from Wikidata,

which publishes it for anyone to use.

- date: 2026-09-07

entries:

- |-

**Every piece has a page that says what it is.** Share a link to any of the three

thousand catalogue pieces and the preview now names the piece and its composer and

shows its opening bar on a card of its own, where every piece used to unfurl as the

site's one picture; a search engine reads the same. And the tab's title names the piece you are playing instead of saying "Play" for

every piece but the two that come built in.

- |-

**The recorded piano no longer changes its colour at a whisper of force.** Each key

of the recorded grand is sixteen separate recordings, one per band of force, and a

note one step over a band's edge played a different recording from the note before

it — the same note, a different piano. Near an edge both recordings now sound

together, each at its share, so the colour moves with the force instead of jumping.

And the recordings fetched for a piece are now the ones Listen will actually play:

the human touch shades each note's force by its place in the phrase, and the fetch

had only asked for the written force, so the notes it shaded quieter were covered

by the built-in voice — which is what made a repeated passage sound muffled the

second time through.

- |-

**plinky.fun opens in your language straight away.** The bare address used to load

an empty page first and only then send you to your language. It is sent on before

anything loads now, in the language your browser asks for, or English — which is

also what a search engine is shown, instead of a blank page.

- |-

**One piano for the whole run.** With the recorded grand piano on, its recordings

arrive a note at a time, and a note whose recording landed mid-piece switched from the

built-in voice to the recording under your hands — a repeated section sounded like a

different instrument the second time through. A run now decides its instrument when

it starts and keeps to it; recordings that arrive during a run play from the next one.

- |-

**A link to a piece that isn't there says so.** An address for a piece or a

composer the catalogue does not have — an old link from before the catalogue's

pieces were renamed, say — used to load an empty page that claimed to be fine.

It answers "not found" now, so a browser, a search engine and a bookmark all learn

the truth, while every piece and composer that exists opens exactly as before.

- |-

**Old links land where the page went.** A link to a page that has since moved —

the old You page, the Library, the separate trainers — or a link from before Plinky

spoke twenty-six languages, with no language in its address, used to answer with

"not found" until the app had loaded and sent you on. It is sent on straight away

now, so a bookmark or a search result still opens the right page.

- |-

**Listen's highlight stays on the note that is sounding.** Opening the play surface

full screen while Listen played sent its cursor back to the top, so from then on the

highlight sat one note behind the music and, at every repeat, the section's last note

stayed blue on the second pass. The highlight now follows the music wherever the

cursor has been put, and the blue trail is laid before a repeat wipes the section.

- |-

**Chords the way pieces use them.** A chord set now has three more dials on its

page. *Sevenths* stacks one more third on every chord of the key, so the four-note

chords a piece is built on get the same practice as the triads. *Open* spreads each

chord to root, fifth and tenth — the shape where a hand's reach grows, and the grade

follows the reach. And *Pattern* plays each chord as a bar of Alberti bass or a

broken chord, one tone to a beat, which is how most left hands actually meet a

chord. Every combination has its own address, so a link opens the same exercise

for anyone.

- |-

**Keep Plinky on this device.** A new switch in Settings fetches every page of the

app on each visit — about a megabyte when a new version ships, and nothing when

it hasn't — so wherever you practise without a connection, every page is there.

Pieces you open are kept as you go, as they always were.

- |-

**The ghost no longer recolours a bar a repeat has cleared.** Racing your own

earlier run, the ghost's marker moves along the staff, and when it left a note you

had already played it painted that note green again — even after a repeat had

sent you back and uncoloured those bars, which is how the last bar before a repeat

kept its colour. The ghost's marker is now an outline of its own around the note,

drawn beside your colours rather than in place of them.

- |-

**Listen picks up on the pass it stopped on.** Stopping Listen inside a repeated

section and starting it again used to play the section from its first time

through, whatever the blue trail said. It carries on from the pass you stopped on.

- |-

**Offline, a page you haven't opened says so.** Every page and piece you have

opened keeps working without a connection. A page you had never opened on that

device used to reload itself over and over and show nothing; now it says the page

isn't on this device yet, and offers to try again or head back.

- date: 2026-09-06

entries:

- |-

**A chord set no longer offers contrary motion.** On a chord set the *Contrary*

button switched the hands to *Both* and changed nothing else, because a block chord

has no mirror form to play. The choice is only offered on the scales, where it

means something.

- |-

**Thirty-six pieces now say which one they are.** A library that publishes a suite

as one file per movement often gives every file the name of the whole suite, and the

catalogue had taken those names at their word: seven Chopin preludes all called

"Prelude", four movements of the *Suite bergamasque* all called "Suite bergamasque",

five of Fauré's *Dolly* all called "1. Berceuse". Every one of those scores prints

its own movement above the first system, so they are named from what they say —

"Prelude Op. 28 No. 7", "Suite bergamasque: III. Clair de lune", "Dolly, Op. 56:

4. Kitty-valse". Czerny's seven studies from *The Art of Finger Dexterity* also

shed a typo they had carried from their source, and now name the technique each one

trains.

- |-

**Fauré's Dolly is a set you can work through.** Its five movements had been filed

as nocturnes, which they are not, and the nocturne collection existed only because

they were. Dolly is its own collection now, and the two genuine nocturnes sit in the

catalogue on their own.

- |-

**A piece's progression, heard and followed.** From a piece's chord panel, *Hear

this progression* now opens the ear drill on that piece's own loop, in that piece's

own key, before the drill's usual questions — and *Pieces built on this progression*

narrows the Music shelf to what shares the loop, so a shape learned in one piece

leads straight to the next piece it is the shape of. The left-hand-as-chords reading

voices seventh chords with their seventh and sits where the composer's hand sat.

- |-

**Learn a piece's harmony before its pattern.** A fourth way of thinning a piece,

*Left hand as chords*, keeps the tune as written and plays the harmony under it as

plain block chords, one per change — the way a teacher hands somebody an Alberti

bass they cannot manage yet. And before a run, a new panel says what the piece is

built on: its chords, commonest first, the loop it keeps coming back to, with a link

to practise the key's chord set and one to hear the progression in the ear drill.

- |-

**The chords, named on the page.** Turn on *Name the chords* and Plinky writes C, Am,

G7 above the staff wherever the notes make a chord clear — read off the notes, since

most scores write no symbols of their own — so a bar reads as the shape it is built

on, and a shape you know from one piece is the same in the next. It stays quiet where

the music is ambiguous rather than name a chord wrongly, and a score that carries its

own symbols keeps them.

- |-

**Chords to practise, in every key.** The Music page has always had scales and

arpeggios to work through; now it has the seven chords of each of the twenty-four

keys as well, played as blocks up the scale and back — root position or an

inversion, one hand or both — graded and remembered like any piece. Most pieces in

a key are built from those seven, so learning the shapes once carries to all of

them. The front page's ways to practise gained a seventh: learn the chords, not the

notes.

- |-

**Both-hands scales and arpeggios ask for both hands.** A generated exercise with

both hands on was read as a piano under another instrument: the run asked for the

left hand's notes alone and played the right hand for you. Both hands are the

player's now, in every scale, arpeggio and chord set.

- |-

**A repeat only uncolours the bars it repeats.** When the score sent the run back

over a repeated section, every coloured note on the page lost its colour — including

the sections before it that were played and passed. Now only the bars being played

again are cleared, in Practice, Keep up and Listen alike.

- |-

**The colour keeps up after a repeat.** On the second time through a repeated

section, the green landed a few notes behind where you were, and once the run had

left the section no note was coloured at all — on a piece opening with three

repeated bars, bar 4 was the last to turn green. Uncolouring the repeated bars left

Plinky's place in the score at the top; it stays where you are now.

- |-

**Two composers are two composers, in any language.** A credit joining two people

with the Spanish *y* — "Lemoine y Carulli" — was read as one composer with an odd

name. The catalogue now reads *y*, *e*, *et*, *und* and *och* the way it already read

*and*, so each person gets their own page and the piece appears on both.

- |-

**The pace you practise at stays chosen.** Keep up, the guide notes under it and the

duet used to reset at every piece; somebody who always practises on the clock had

to say so each time. They are remembered now, like the hand and the reading aids.

- |-

**A held note no longer stretches the bar under it.** Where one hand moves on

inside the other's note — triplets against quavers, a syncopation, a semiquaver

under a dotted semiquaver — Listen and Keep up waited for the longer note to end

before the next one, so the note after it landed late and the bar came out longer

than written. From the F major section of *Für Elise* onward that was every bar, and

two in three pieces in the catalogue have such a place somewhere. Both now move on

at the next written note, the way the graded run already counted it.

- date: 2026-09-05

entries:

- |-

**Keep up gives a beat some room.** A note struck a hair before the beat, or a hair

after it, is what being in time sounds like — and Keep up was counting both as

wrong, since a beat opened and closed on the tick with no room either side. Each

beat now takes a strike up to a tenth of a second early or late, and a beat is only

judged once that moment has passed. The last beat waits for it too, so a final

note played a touch late still counts.

- |-

**A rolled chord records what each key did.** Every key of a chord used to be timed

from the moment the chord completed, and a key lifted before the last one landed

was held open to the end of the run — so a take of a rolled chord replayed with its

first note clipped short or ringing on for minutes. Each key's hold now runs from

its own strike to its own lift.

- |-

**A piano's own notes are timed by the piano.** Notes from a MIDI instrument are now

stamped when the key went down rather than when the browser got round to reading

them, so a busy page repainting a score no longer nudges your timing. And in Keep

up, a digital piano that makes its own sound is no longer echoed by Plinky as well

— the same rule the rest of the app already follows.

- |-

**Settings has an index down the side.** The page had grown to a dozen sections and

a long scroll to find one; the list beside it now names every section under four

headings — your instrument, while you play, learning, this device — and jumps

straight there, the way the theory course and the glossary already do.

- |-

**Listen plays with a human touch.** Every note used to land exactly on the beat at

exactly its weight, which is how a machine plays and not how a pianist does. Now a

phrase eases into its ending, the last bar of the piece broadens, the tune is struck

a hair before the accompaniment under it, and no two notes carry quite the same

weight — all of it slight, and all of it the same every time you press Listen.

Prefer the metronome-exact reading? *Play with a human touch* in Settings turns it

off.

- |-

**Listen plays the page more faithfully.** A grace note took its own written length

and then the note it decorates took its own, so every beat after an ornament arrived

late and a piece full of them drifted; the grace now borrows from the beat, as it is

played. A note under a fermata rang its written length and then stopped, leaving the

pause silent; it holds through the pause now. A trill over the other hand's note was

played plain; it is trilled, with the other hand sounding once beneath it. And a

glissando written on the upper note of a two-hand position sometimes swept the lower

one; the note carrying the mark is the one that slides.

- |-

**A piece that speeds up is graded at the speed it reaches.** The difficulty

model read a piece's pace off its opening tempo alone, so a study that starts

slowly and then flies was graded as slow. It now reads each note at the tempo in

force where it is written, and a few pieces have moved a grade to match.

- |-

**The Stats page counts in one hand.** Its figures — days practised, notes played,

time at the keys — were drawn in three different tile styles depending on which part

of the page held them, and only one of the three wrote a big number the way your

language does. Every figure is the same tile now.

- |-

**A piece opens faster on a phone.** The strip of notation above the keys used to

engrave the whole piece a second time, beside the full score above it; on a long

piece that was seconds of waiting before the first note could be played. It now

draws only the bar you are in and the next, and redraws those two as you go.

- |-

**The fingering strip reads the notes you are playing.** On a transposed piece it

named the notes as written and suggested fingers for that key, while the score and

the keys asked for the shifted ones; and on a song with a singer's line above the

piano, both the strip and the printed fingering worked on the vocal line. Both now

read the piano, in the key being played.

- |-

**A take's video shows the hand you played.** Exporting a left-hand take after

switching the hand control to the right lit the right hand's notes in time with

your left-hand playing. A take now remembers which hand it was, and the video

follows that; takes saved before today still follow the control.

- |-

**Practising the second time through a repeat stays on the second time.** Taking

over from Listen partway through a repeat's second pass put the cursor back on the

first, and from the repeat barline on it drifted away from the notes you were

being asked for. Looping a section inside a repeat also marked the wrong notes on

its second pass — bars outside the loop lit up green and red while the loop's own

stayed blank. Both follow the pass you are on now.

- |-

**The rhythm trainer's clicks stop when you do.** Pressing **Start** again partway

through a run laid a fresh count-in over the rest of the old one, two pulses out of

step, and leaving the page mid-run left the clicks ticking on for the rest of the

pattern. Both now fall silent at once.

- |-

**Listen keeps the other hand in time under a tremolo.** A rocking tremolo in the

left hand with a moving line above it used to take its whole length before the right

hand was allowed on, so the tune arrived late and the bar stretched; and the shake

stopped the moment the tune moved. Every note now sounds where it is written, and the

tremolo carries on beneath them for as long as the page says.

- |-

**Your progress no longer vanishes when the catalogue fails to load once.** If the

list of pieces could not be fetched the moment Plinky opened — a poor connection, a

hiccup right after an update — everything you had learned read as nothing for the

rest of the visit: the grade in the header dropped, the Stats page lost its level, and

reviews and suggestions came up empty until you reloaded. Plinky now asks again on

the next look, so the pieces and your progress on them are back the moment the

connection is.

- |-

**Key lights follow a channel change properly.** With a lighted keyboard, changing

a navigation channel in Settings and pressing **Test the lights** again sent

nothing at all — the app thought the same keys were already lit — and **Lights

off** after a channel change put the lights out on the new channel while the

instrument kept them burning on the old one. Every light now goes out on the

channel that lit it, and the test chord lights again on the channels you just set.

- |-

**The week's bars show the week.** On the Stats page, the tile for **This week** counts

from Monday, but the bars beneath it drew the last seven days — so on a Monday the

tile could say you had played nothing this week while six full bars sat right under

it. The bars now run from Monday to today, the same days the tile counts, and the

heading says so.

- |-

**A tempo can be typed into Compose.** The tempo field settled every keystroke on

the spot, so selecting 120 and typing 96 turned the 9 into 40 before the 6 arrived.

It now waits until what you have typed is a tempo, and tidies anything out of range

when you leave the field.

- |-

**Starting fresh works.** Resetting the device from Settings reported that the wipe

had failed every time, even though everything was gone: forgetting the recorded

piano wrote one preference back a moment after the wipe, and the check read that as

a key that would not go. The order is right now, and a clean reset says so.

- |-

**Leaving Settings no longer switches the microphone off.** If you had pressed

Listen there and moved on without opening the calibration, the microphone stopped

the moment the page closed. It stays on now; only a calibration you leave partway

through is stopped.

- |-

**One piece has left the catalogue.** Alexander Goedicke's *50 Simple Piano Pieces,

No. 46* is not yet in the public domain — he died in 1957, so his music clears the

seventy-year rule on 1 January 2028 — and it should not have been here. The name

that let it in has been taken off the list until then.

- |-

**Passages under an 8va sound, and are graded, in the right octave.** A score

writes down the pitch that sounds; the dotted line above the staff only says where

the notes are drawn. Plinky was reading the line as a correction and moving every

note under it by an octave — Listen played the passage an octave low, and playing it

as printed was marked wrong. Tremolos and glissandos read from the score had a

similar slip and sounded an octave high. All three now sound the pitch the score

says, which is the one under your fingers.

- |-

**A one-hand link on a one-staff piece plays.** Opening a piece written on a single

staff with a link that asked for the left hand — the practice-methods page hands

out exactly that — left Practice doing nothing, with no hand switch on screen to

change it. A single staff is played with both hands whatever the link says.

- |-

**Going from one piece to the next starts the next one clean.** Following the

warm-up scale a piece offers, or the way back, kept the first piece's

transposition, hand, loop and tempo and applied them to the second — so a piece

transposed up a tone offered a warm-up in the right key and then played it a tone

higher still. Each piece now opens with only what its own address asks for.

- |-

**The Piano page's links stay in your language.** The way on to the music and to

Compose left the language prefix behind, so a reader in French landed on an

unlocalised address and was bounced by way of a guess at their language.

- |-

**Keep up honours a tie.** A note tied across the barline was asked for again on the

far side, so holding it as written counted as a missed beat and the guide struck it

twice. Keep up now reads the tie the way Practice and Listen do: the beat still

dwells its length, and there is nothing to catch there.

- |-

**A slur stays with the hand it is drawn over.** A phrase mark over the right hand

was being read as joining the left hand's notes underneath it too, so a staccato

bass under a singing tune was played smooth by Listen and expected smooth in a

graded run. Each hand's slurs are its own now.

- |-

**The recorded piano is ready for the piece as written.** Recordings were fetched

ahead of a piece at one middling loudness, whatever the score said — so a piece

marked soft asked for recordings that had never been fetched, and the synthesised

voice stood in while the panel said the recordings were ready. What is fetched now

follows the dynamics on the page.

- |-

**A composer's page is their own.** When somebody's only piece was written together

with another composer, their page showed the other person. The page now shows the

one whose name is in the address.

- |-

**Out-of-key notes in a drill are written with a natural sign.** In a sharp or flat

key, a note the signature alters was being spelled as its neighbour with an extra

accidental — an F natural in G major came out as E sharp, and D natural in D flat

major as E double flat. They are written the way a reader expects now, and no drill

shows a double accidental.

- |-

**A rolled chord keeps time with the other hand.** Listen spread a rolled chord over

its own note's length even when the other hand had something shorter under it, so

the clock lingered on the chord and everything after it came late. The roll now fits

inside the beat the position actually lasts.

- |-

**Saving the share picture works on Firefox.** The save let go of the picture a

moment too early, and Firefox could drop the download with nothing to show for it.

It goes out the same way every other export does now.

- |-

**The count-in and the recording agree about where the beat is.** In Compose, the

recorder's zero was set from the moment you pressed Count in, while the clicks you

heard started a fraction later and kept their own grid — so a note played exactly

on the click was recorded a little late, for the whole take. The clicks and the

recording now share one grid, laid on the audio clock.

- |-

**A run's clock follows the page past an ornament.** After a note with a grace note

in front of it, the run read the next gap as a jump and stopped following the

printed timing there. The ornament's little note no longer counts as the beat's

length.

- |-

**A tempo change partway through a piece is followed.** The timing behind a piece's

grade read the whole piece at its opening tempo, so a slow coda counted as fast as

the allegro before it. Every tempo mark counts now, and a handful of pieces have

moved a little on the cost scale as a result.

- |-

**The recorded piano plays on a device whose storage is full.** When the browser

refused to keep a copy of a recording, the recording itself was thrown away with the

refusal and the synthesised voice stood in. A recording that arrived is played

whether or not it could be kept.

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**Slowest notes are measured over the readings that could be measured.** A note that

opens a piece has no reading time on its first appearance, and that nothing was

being averaged in — so the notes you meet first looked quicker to find than they

are.

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**A link that lost its language keeps its details.** An address with no language in

front of it is sent to one that has, and on the way it used to lose what came after

the question mark and the hash — the hand a link asked for, the heading a help page

was opened at. Both travel with it now.