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values | answerExample stringlengths 2 92 | answers stringlengths 5 356 | cleanedReorganizedScoreFilename stringclasses 24
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Q1 | 1 | Bach | Fugue BWV 875 | S | If the piece were notated with the key signature of its tonality, which accidentals would be necessary in bars 1-2 to play the written notes correctly? List them in the order in which their associated pitches occur in the music. | Short text | Accidental written in full | List ordered by appearance | ["flat, flat, natural, double sharp, double flat"] | ["sharp, natural, natural, flat"] | scores/cleaned_reorganized/piece-01.pdf | scores/without_context/piece-01.pdf | audio/piece-01.mp3 |
Q2 | 1 | Bach | Fugue BWV 875 | S | What is the largest interval between two consecutive notes in the soprano voice of bars 3-4? | Interval | Interval quality and size | Single | ["perfect fifth", "minor seventh", "perfect octave"] | ["perfect fourth"] | scores/cleaned_reorganized/piece-01.pdf | scores/without_context/piece-01.pdf | audio/piece-01.mp3 |
Q3 | 1 | Bach | Fugue BWV 875 | S | Which two performance instructions are written above the last note in the upper voice in measure 16? | Category label | Performance instruction label | Pair | ["glissando, m.g."] | ["mordent, trill", "trill, mordent", "mordent and trill", "trill and mordent", "upper mordent, trill"] | scores/cleaned_reorganized/piece-01.pdf | scores/without_context/piece-01.pdf | audio/piece-01.mp3 |
Q4 | 1 | Bach | Fugue BWV 875 | S | What are the notes of the soprano voice in measure 17? | Pitch | Pitch class without octave number | List ordered by appearance | ["A, G#, Bb"] | ["E, D, E, F, E, D"] | scores/cleaned_reorganized/piece-01.pdf | scores/without_context/piece-01.pdf | audio/piece-01.mp3 |
Q5 | 1 | Bach | Fugue BWV 875 | S | What are the first twelve pitches of the second highest voice in measure 14? | Pitch | Pitch with octave number | List ordered by appearance | ["G#3, Bb2, Fx5"] | ["D4, E4, F4, G4, F4, E4, F4, G4, A4, Bb4, A4, G4"] | scores/cleaned_reorganized/piece-01.pdf | scores/without_context/piece-01.pdf | audio/piece-01.mp3 |
Q6 | 1 | Bach | Fugue BWV 875 | S | Starting in which bar and on which beat is the theme played in reverse for at least 1 measure (i.e. an ascending interval becomes a descending one)? Ignore minor deviations. | Bar / beat | Bar and beat | Single | ["bar 18 beat 3", "bar 42 beat 1", "bar 7 beat 4"] | ["bar 17 beat 1", "bar 17 beat 2"] | scores/cleaned_reorganized/piece-01.pdf | scores/without_context/piece-01.pdf | audio/piece-01.mp3 |
Q7 | 1 | Bach | Fugue BWV 875 | S | How much rest (expressed in terms of quarter rests) does the upper voice have before its last re-entry? | Integer | Positive integer | Single | ["4"] | ["5"] | scores/cleaned_reorganized/piece-01.pdf | scores/without_context/piece-01.pdf | audio/piece-01.mp3 |
Q8 | 1 | Bach | Fugue BWV 875 | S | Numbering the voices sequentially from lowest (bass = 1) to highest (soprano), in what order do they enter? | Integer | Positive integer | List ordered by appearance | ["1, 2, 3"] | ["2, 3, 1"] | scores/cleaned_reorganized/piece-01.pdf | scores/without_context/piece-01.pdf | audio/piece-01.mp3 |
Q9 | 1 | Bach | Fugue BWV 875 | S | What are the lowest and highest written pitches in the piece? | Pitch | Pitch with octave number | Pair | ["A4, G#3"] | ["C#2, Bb5"] | scores/cleaned_reorganized/piece-01.pdf | scores/without_context/piece-01.pdf | audio/piece-01.mp3 |
Q10 | 1 | Bach | Fugue BWV 875 | S | At which bars and beats does the full first bar of the theme appear, including transposed and inverted forms? Disregard minor deviations. List each starting location in chronological order. | Bar / beat | Bar and beat | List ordered by appearance | ["bar 4 beat 2, bar 8 beat 1"] | ["bar 1 beat 1, bar 3 beat 1, bar 6 beat 1, bar 10 beat 4, bar 14 beat 1, bar 14 beat 2, bar 17 beat 1, bar 17 beat 2, bar 25 beat 3"] | scores/cleaned_reorganized/piece-01.pdf | scores/without_context/piece-01.pdf | audio/piece-01.mp3 |
Q11 | 2 | Bach | Prelude BWV 848 | S | What rhythmical motif does the left hand introduce at the very beginning? List the note values of the motif. | Duration / ratio | Note value written in full | Pair | ["dotted eighth note, half note"] | ["quarter note, eighth note", "crotchet, quaver"] | scores/cleaned_reorganized/piece-02.pdf | scores/without_context/piece-02.pdf | audio/piece-02.mp3 |
Q12 | 2 | Bach | Prelude BWV 848 | S | In measure 97, which note is not part of the scale of the tonality? | Pitch | Pitch with octave number | Single | ["A4", "G#3", "Bb2"] | ["A3"] | scores/cleaned_reorganized/piece-02.pdf | scores/without_context/piece-02.pdf | audio/piece-02.mp3 |
Q13 | 2 | Bach | Prelude BWV 848 | S | If the pianist had only three fingers in the right hand (nr. 1, 2, 4), which fingers should they press to play measure 55, assuming they cannot move the hand and they want to play comfortably? | Integer | Positive integer | List ordered by appearance | ["1, 2, 4"] | ["4, 2, 1, 2, 4, 2"] | scores/cleaned_reorganized/piece-02.pdf | scores/without_context/piece-02.pdf | audio/piece-02.mp3 |
Q14 | 2 | Bach | Prelude BWV 848 | S | Starting in which bars is the main theme played, regardless of transposition or voice? Count every occurrence of the theme, and consider the theme in its shortest self-contained form. | Bar / beat | Bar number (digits) | List ordered by appearance | ["4, 33"] | ["1, 9, 17, 25, 47, 55"] | scores/cleaned_reorganized/piece-02.pdf | scores/without_context/piece-02.pdf | audio/piece-02.mp3 |
Q15 | 2 | Bach | Prelude BWV 848 | S | In which bar does the prolonged dominant tension or pedal begin and then continue uninterrupted through the penultimate bar, without passing through another harmony or releasing its dominant function, before finally resolving? | Bar / beat | Bar number (digits) | Single | ["4"] | ["87"] | scores/cleaned_reorganized/piece-02.pdf | scores/without_context/piece-02.pdf | audio/piece-02.mp3 |
Q16 | 2 | Bach | Prelude BWV 848 | S | The main theme features repeating intervals between sixteenth notes. Consider only the bars within the main theme's 8-bar presentation in which every pair of consecutive sixteenth notes is separated by the same interval throughout the entire bar. What intervals are formed between the sixteenth notes for each such measu... | Interval | Interval quality and size | List ordered by appearance | ["major third, minor seventh, augmented fourth, minor second"] | ["perfect fourth, perfect fifth, major sixth, perfect fifth"] | scores/cleaned_reorganized/piece-02.pdf | scores/without_context/piece-02.pdf | audio/piece-02.mp3 |
Q17 | 2 | Bach | Prelude BWV 848 | S | Identify the longest continuous range of bars that follows the same rhythmic pattern and division between the left and right hands as bar 87. What is the longest bar range containing this motif? | Bar / beat | Bar range (N-N) | Single | ["1-10"] | ["63-75 "] | scores/cleaned_reorganized/piece-02.pdf | scores/without_context/piece-02.pdf | audio/piece-02.mp3 |
Q18 | 2 | Bach | Prelude BWV 848 | S | Which measure is the first to contain 3 eighth notes in either hand? Ignore ties. | Bar / beat | Bar number (digits) | Single | ["4"] | ["32"] | scores/cleaned_reorganized/piece-02.pdf | scores/without_context/piece-02.pdf | audio/piece-02.mp3 |
Q19 | 2 | Bach | Prelude BWV 848 | S | The melodic line that is first introduced in measure 1-7 as C#, D#, E#, F#, E#, D#, C#, is transposed a couple of times. List the first notes of this melodic line whenever it is played, starting with the C# (as in bar 1). | Pitch | Pitch class without octave number | List ordered by appearance | ["C#, A, Bb, Fx"] | ["C#, G#, D#, A#, F#, C#"] | scores/cleaned_reorganized/piece-02.pdf | scores/without_context/piece-02.pdf | audio/piece-02.mp3 |
Q20 | 3 | Balakirev | Islamey | S | What is the non-arpeggiated chord in measure 107? | Chord | Lead-sheet chord symbol with bass whenever needed | Single | ["Esus2", "D#maj7", "B7b5/D#"] | ["Em7b5/Bb"] | scores/cleaned_reorganized/piece-03.pdf | scores/without_context/piece-03.pdf | audio/piece-03.mp3 |
Q21 | 3 | Balakirev | Islamey | S | Which of the following is not present in measure 140: soprano melody, triplet figuration, chordal support, bass octaves, leading tone, doubled melody, dotted eighth? | Choice | One choice copied exactly from the question | Single | [] | ["leading tone"] | scores/cleaned_reorganized/piece-03.pdf | scores/without_context/piece-03.pdf | audio/piece-03.mp3 |
Q22 | 3 | Balakirev | Islamey | S | Which scale is played in bar 148? Be specific about the key, form, and mode. | Key / tonality | Scale (pitch class and mode) | Single | ["C major", "F# melodic minor", "D Dorian"] | ["B harmonic minor"] | scores/cleaned_reorganized/piece-03.pdf | scores/without_context/piece-03.pdf | audio/piece-03.mp3 |
Q23 | 3 | Balakirev | Islamey | S | Up to and including bar 164, identify the four distinct passages introduced by tempo or character indications. Give each complete indication exactly as written in the score and in order of appearance. Separate the indications with semicolons. | Short text | Expressive term or phrase | List ordered by appearance | ["dolce, con fuoco"] | ["allegro agitato; tranquillo; andantino espressivo; poco più mosso, energico"] | scores/cleaned_reorganized/piece-03.pdf | scores/without_context/piece-03.pdf | audio/piece-03.mp3 |
Q24 | 3 | Balakirev | Islamey | S | Measure 198 returns to an earlier tempo. Is it less, equally, or more agitated than when the earlier tempo was first played? And which word in the score makes this clear? | Composite answer | Two answer components in the formats specified in the question | Single | ["equal, idem"] | ["less, tranquillo"] | scores/cleaned_reorganized/piece-03.pdf | scores/without_context/piece-03.pdf | audio/piece-03.mp3 |
Q25 | 3 | Balakirev | Islamey | S | Order by appearance:
(1) Grand descent in and toward Db major using notes from the dominant-seventh chord C7 and octaves as approach notes.
(2) Lyrical song.
(3) the last Presto Furioso marking.
Write only the numbers corresponding to the described passages, in order of appearance. | Integer | Positive integer | List ordered by appearance | ["1, 2, 3"] | ["2, 3, 1"] | scores/cleaned_reorganized/piece-03.pdf | scores/without_context/piece-03.pdf | audio/piece-03.mp3 |
Q26 | 3 | Balakirev | Islamey | S | The lyrical theme is first presented in bar 92. In which bar does its first variation in simple duple meter begin? | Bar / beat | Bar number (digits) | Single | ["10"] | ["242"] | scores/cleaned_reorganized/piece-03.pdf | scores/without_context/piece-03.pdf | audio/piece-03.mp3 |
Q27 | 3 | Balakirev | Islamey | S | Which bar in the second half of the piece contains a glissando? | Bar / beat | Bar number (digits) | Single | ["4"] | ["257"] | scores/cleaned_reorganized/piece-03.pdf | scores/without_context/piece-03.pdf | audio/piece-03.mp3 |
Q28 | 3 | Balakirev | Islamey | S | The material starting in bar 242 is a variation of an earlier section. Identify the first bar of the most original passage, the very first time it is played. | Bar / beat | Bar number (digits) | Single | ["4"] | ["92"] | scores/cleaned_reorganized/piece-03.pdf | scores/without_context/piece-03.pdf | audio/piece-03.mp3 |
Q29 | 3 | Balakirev | Islamey | S | Estimate the lowest correct upper bound for the number of notes in the first 16 bars of this piece: 100, 150, 200, 250, 300, 350, 400, 450, 500, 550, or 600. | Integer | Positive integer | Single | ["4"] | ["300"] | scores/cleaned_reorganized/piece-03.pdf | scores/without_context/piece-03.pdf | audio/piece-03.mp3 |
Q30 | 5 | Beethoven | Piano Sonata 21, movement 1 | S | How many keys in total need to be struck from bar 292 until the return of the theme (exclusive)? I.e., how many attacks does the pianist have to make? If a particular key needs to be played twice, count that key twice. | Integer | Positive integer | Single | ["4"] | ["36"] | scores/cleaned_reorganized/piece-05.pdf | scores/without_context/piece-05.pdf | audio/piece-05.mp3 |
Q31 | 4 | Beethoven | Piano Sonata 23, movement 1 | S | Relative to the piece's tonality, identify all harmonic functions/special chords established in the first nine bars, in order. Choose from the following labels; labels may be used more than once: tonic, dominant, predominant, mediant, submediant, secondary dominant, double dominant, Neapolitan, augmented-sixth chord. | Category label | Harmonic-function label written in full | List ordered by appearance | ["Tonic, predominant, tonic, Neapolitan, dominant, tonic"] | ["Tonic, dominant, double dominant, dominant, Neapolitan, predominant, secondary dominant, predominant, dominant, double dominant", "Tonic, dominant, double dominant, dominant, Neapolitan, submediant, secondary dominant, submediant, dominant, double dominant"] | scores/cleaned_reorganized/piece-04.pdf | scores/without_context/piece-04.pdf | audio/piece-04.mp3 |
Q32 | 4 | Beethoven | Piano Sonata 23, movement 1 | S | Bar 79 initiates a modulating bridge. Which key does it modulate to, as evidenced by the arrival of a significantly long statement of the second theme in that key? | Key / tonality | Key (pitch class and mode) | Single | ["Eb major", "C# minor", "D Dorian"] | ["Db major", "Ab major"] | scores/cleaned_reorganized/piece-04.pdf | scores/without_context/piece-04.pdf | audio/piece-04.mp3 |
Q33 | 4 | Beethoven | Piano Sonata 23, movement 1 | S | In which bar does the right hand first play a syncopated rhythm in alternation with the left hand?
| Bar / beat | Bar number (digits) | Single | ["4"] | ["17"] | scores/cleaned_reorganized/piece-04.pdf | scores/without_context/piece-04.pdf | audio/piece-04.mp3 |
Q34 | 4 | Beethoven | Piano Sonata 23, movement 1 | S | Starting in which bar is the complete short-short-short-long rhythmic figure, associated with the composer’s Fifth Symphony, repeated, with transposition allowed, for at least six consecutive bars? | Bar / beat | Bar number (digits) | Single | ["4"] | ["130"] | scores/cleaned_reorganized/piece-04.pdf | scores/without_context/piece-04.pdf | audio/piece-04.mp3 |
Q35 | 4 | Beethoven | Piano Sonata 23, movement 1 | S | At two points in the piece, a soft, wandering solo line descends before giving way to a sudden expressive outburst. In which two bars do these outbursts occur? | Bar / beat | Bar number (digits) | Pair | ["10,24"] | ["51, 190"] | scores/cleaned_reorganized/piece-04.pdf | scores/without_context/piece-04.pdf | audio/piece-04.mp3 |
Q36 | 5 | Beethoven | Piano Sonata No. 21, movement 1 | S | Which bass note is the last note the slur that starts in bar 286 with a C2 connects to? | Pitch | Pitch with octave number | Single | ["A4", "G#3", "Bb2"] | ["G3"] | scores/cleaned_reorganized/piece-05.pdf | scores/without_context/piece-05.pdf | audio/piece-05.mp3 |
Q37 | 5 | Beethoven | Piano Sonata No. 21, movement 1 | S | What type of cadence is played in bars 250-251? | Category label | Cadence name written in full | Single | ["half cadence"] | ["deceptive cadence", "interrupted cadence", "false cadence", "half cadence", "open cadence"] | scores/cleaned_reorganized/piece-05.pdf | scores/without_context/piece-05.pdf | audio/piece-05.mp3 |
Q38 | 5 | Beethoven | Piano Sonata No. 21, movement 1 | S | In measure 202, the harmony shifts abruptly to C major. What is the precise Roman numeral progression in this and the next two bars, relative to C? Ignore retardations. | Chord | Roman-numeral chord symbol | List ordered by appearance | ["V7, ii6, V65"] | ["vi, iii, IV, I, ii, I64, V7", "vi, iii, IV, I, ii, cad64, V7", "vi, iii, IV, I, ii, cadential 64, V7", "vi, iii, IV, I, ii, I6/4, V7", ""] | scores/cleaned_reorganized/piece-05.pdf | scores/without_context/piece-05.pdf | audio/piece-05.mp3 |
Q39 | 5 | Beethoven | Piano Sonata No. 21, movement 1 | S | What are the chords in Roman numeral notation starting in bar 251 until the first augmented chord (inclusive) with respect to the key/chord of bar 251? Don't add notes to the chords that are not explicitly written. | Chord | Roman-numeral chord symbol | List ordered by appearance | ["V7, ii6, V6/5/V"] | ["I, V2/V, V6, V43/vi, vi6, #viº6, II+", "I, V4/2/V, V6, V4/3/vi, vi6, #viº6, II+", "I, V4/2/V, V6, V4/3/vi, vi6, vii°6/VII, II+"] | scores/cleaned_reorganized/piece-05.pdf | scores/without_context/piece-05.pdf | audio/piece-05.mp3 |
Q40 | 5 | Beethoven | Piano Sonata No. 21, movement 1 | S | From bar 284 until the end of the movement, what is the final note of each uninterrupted ascending or descending C-major scalar run? Include a run only when it consists of at least eight consecutive C-major scale tones in one direction, with each successive tone moving by one diatonic scale step. Each reported final no... | Pitch | Pitch with octave number | List ordered by appearance | ["A4, G#3, Bb2"] | ["B4, E4, A3, D4"] | scores/cleaned_reorganized/piece-05.pdf | scores/without_context/piece-05.pdf | audio/piece-05.mp3 |
Q41 | 5 | Beethoven | Piano Sonata No. 21, movement 1 | S | What are the note values played by the right hand in measure 20? | Duration / ratio | Note value written in full | List ordered by appearance | ["half note, whole note"] | ["dotted quarter note, sixteenth note, sixteenth note, eighth note"] | scores/cleaned_reorganized/piece-05.pdf | scores/without_context/piece-05.pdf | audio/piece-05.mp3 |
Q42 | 5 | Beethoven | Piano Sonata No. 21, movement 1 | S | What are the note values in the second-highest voice of measure 208 and 209? | Duration / ratio | Note value written in full | List ordered by appearance | ["dotted eighth note, sixteenth note, dotted half note"] | ["half note, quarter note, quarter note, half note, triplet eighth note, triplet eighth note, triplet eighth note, triplet eighth note, triplet eighth note, triplet eighth note", "half note, quarter note, quarter note, half note, eighth-note triplet, eighth-note triplet, eighth-note triplet, eighth-note triplet, eighth... | scores/cleaned_reorganized/piece-05.pdf | scores/without_context/piece-05.pdf | audio/piece-05.mp3 |
Q43 | 5 | Beethoven | Piano Sonata No. 21, movement 1 | S | According to the score, what is the maximum number of distinct pitches sounding simultaneously at any point in bar 137? List the pitches forming this densest sonority from lowest to highest. | Pitch | Pitch with octave number | List | ["G#3, Bb4, Fx5"] | ["F#3, C4, Eb4, F#4, Eb5", "F#3, C4, Eb4, F#4, C5", "F#3, C4, Eb4, F#4, A4", "F#3, C4, Eb4, F#4, A5"] | scores/cleaned_reorganized/piece-05.pdf | scores/without_context/piece-05.pdf | audio/piece-05.mp3 |
Q44 | 5 | Beethoven | Piano Sonata No. 21, movement 1 | S | How many notes does measure 61 count? | Integer | Positive integer | Single | ["4"] | ["31"] | scores/cleaned_reorganized/piece-05.pdf | scores/without_context/piece-05.pdf | audio/piece-05.mp3 |
Q45 | 5 | Beethoven | Piano Sonata No. 21, movement 1 | S | Describe the dynamic contour of the first 30 bars by listing all notated dynamic instructions in order. Exclude sforzando markings. If a marking is repeated, name it twice. | Category label | Dynamic marking or term written in full | List ordered by appearance | ["mezzo-piano, fortissimo, mezzo-forte"] | ["pianissimo, pianissimo, crescendo, forte, diminuendo, piano, pianissimo, pianissimo, crescendo, piano, crescendo, forte"] | scores/cleaned_reorganized/piece-05.pdf | scores/without_context/piece-05.pdf | audio/piece-05.mp3 |
Q46 | 5 | Beethoven | Piano Sonata No. 21, movement 1 | S | What is the complete chord progression from bar 198 until, but not including, the first A-minor chord? | Chord | Lead-sheet chord symbol with bass whenever needed | List ordered by appearance | ["Esus2, Dbmaj7, B7b5/D#"] | ["A, E, F#m, C#7, D, E7/B, A/C#, Bm7/D, A/E, E7", "A, E, F#m, C#7, D, E7/B, A/C#, Bm7/D, A/E, E, E7", "A, E, F#m, C#7, D, E7/B, A/C#, Bm7/D, A/E, E"] | scores/cleaned_reorganized/piece-05.pdf | scores/without_context/piece-05.pdf | audio/piece-05.mp3 |
Q47 | 5 | Beethoven | Piano Sonata No. 21, movement 1 | S | A modulating passage starts in measure 114 through a series of dominant chords. Name the leading tones of these dominant chords fueling this modulation, up until the music reaches the chord of B minor. | Pitch | Pitch class without octave number | List ordered by appearance | ["G#, Bb, Fx"] | ["B, E, A, D, A#", "E, A, D, A#"] | scores/cleaned_reorganized/piece-05.pdf | scores/without_context/piece-05.pdf | audio/piece-05.mp3 |
Q48 | 5 | Beethoven | Piano Sonata No. 21, movement 1 | S | Between measure 190 and 193, how many times does the right hand play a 4-note monotonically descending pattern in which all four notes are part of the E major chord? | Integer | Positive integer | Single | ["4"] | ["11"] | scores/cleaned_reorganized/piece-05.pdf | scores/without_context/piece-05.pdf | audio/piece-05.mp3 |
Q49 | 5 | Beethoven | Piano Sonata No. 21, movement 1 | S | Bars 159 through 169 are structurally identical to which measures of the exposition? | Bar / beat | Bar range (N-N) | Single | ["8-15", "24-31", "68-75"] | ["2-12"] | scores/cleaned_reorganized/piece-05.pdf | scores/without_context/piece-05.pdf | audio/piece-05.mp3 |
Q50 | 5 | Beethoven | Piano Sonata No. 21, movement 1 | S | How many semitones lower or higher is bar 267 compared to 263? | Integer | Signed integer | Single | ["-1", "+4"] | ["-2"] | scores/cleaned_reorganized/piece-05.pdf | scores/without_context/piece-05.pdf | audio/piece-05.mp3 |
Q51 | 19 | Beethoven | Symphony No. 2, movement 1 | S | Which instruments play sixteenth notes in bars 47-48?
Mention the instruments in the same wording as in the score. | Short text | Instrument name | List ordered alphabetically | ["Flute, piano"] | ["Bassoon, cello, double bass, timpani, viola, violin", "Bassoon, cello, double bass, kettledrums, viola, violin", "Bassoon, double bass, timpani, viola, violin, violoncello", "Bassoon, double bass, kettledrums, viola, violin, violoncello"] | scores/cleaned_reorganized/piece-19.pdf | scores/without_context/piece-19.pdf | audio/piece-19.mp3 |
Q52 | 19 | Beethoven | Symphony No. 2, movement 1 | S | Which instruments were the first to play the slurred sixteenth-note motif played in bars 47 and 48, earlier in the piece?
Mention the instruments in the same wording as in the score. | Short text | Instrument name | List ordered alphabetically | ["Bassoon, piano"] | ["Viola, cello", "Viola, violoncello"] | scores/cleaned_reorganized/piece-19.pdf | scores/without_context/piece-19.pdf | audio/piece-19.mp3 |
Q53 | 20 | Beethoven | Symphony No. 2, movement 3 | S | Which instruments play in this fragment? Mention each instrument only once.
Mention the instruments in the same wording as in the score. | Short text | Instrument name | List ordered alphabetically | ["Piano, violin"] | ["Bassoon, cello, clarinet, double bass, flute, horn, oboe, trumpet, viola, violin"] | scores/cleaned_reorganized/piece-20.pdf | scores/without_context/piece-20.pdf | audio/piece-20.mp3 |
Q54 | 21 | Beethoven | Symphony No. 4, movement 2 | S | How many staff-bars are notated in the score in total? Count each five-line staff separately, including multiple staves assigned to the same instrument. For example, if two clarinet staves and one violin staff each contain two bars, count this as six staff-bars. | Integer | Positive integer | Single | ["6"] | ["68"] | scores/cleaned_reorganized/piece-21.pdf | scores/without_context/piece-21.pdf | audio/piece-21.mp3 |
Q55 | 22 | Beethoven | Symphony No. 5, movement 1 | S | Which wind instruments enter last?
Mention the instruments in the same wording as in the score. | Short text | Instrument name | List ordered alphabetically | ["Flute, bassoon"] | ["Flute, horn, oboe, trumpet", "Flutes, horns, oboes, trumpets"] | scores/cleaned_reorganized/piece-22.pdf | scores/without_context/piece-22.pdf | audio/piece-22.mp3 |
Q56 | 24 | Beethoven | Symphony No. 9, movement 1 | S | Which instrument plays pizzicato, and from which bar onward?
Mention the instruments in the same wording as in the score. | Composite answer | Two answer components in the formats specified in the question | Single | ["flute, 42"] | ["Contrabass, 378"] | scores/cleaned_reorganized/piece-24.pdf | scores/without_context/piece-24.pdf | audio/piece-24.mp3 |
Q57 | 24 | Beethoven | Symphony No. 9, movement 1 | S | What are the highest and lowest pitches of the first written bar? | Pitch | Pitch with octave number | Pair | ["A4, G#3"] | ["Eb6, D2"] | scores/cleaned_reorganized/piece-24.pdf | scores/without_context/piece-24.pdf | audio/piece-24.mp3 |
Q58 | 24 | Beethoven | Symphony No. 9, movement 1 | S | Which notes does the viola play in the final bar? | Pitch | Pitch class without octave number | List ordered by appearance | ["A, G#, Bb"] | ["F, E, C#, D, F, D, E, G"] | scores/cleaned_reorganized/piece-24.pdf | scores/without_context/piece-24.pdf | audio/piece-24.mp3 |
Q59 | 6 | Chopin | Ballade No. 1 | S | Which specific notes form the short middle voice highlighted by the composer in between bars 82 and 87? | Pitch | Pitch with octave number | List ordered by appearance | ["A4, G#3, Bb2"] | ["Db4, Cb4, Bb3"] | scores/cleaned_reorganized/piece-06.pdf | scores/without_context/piece-06.pdf | audio/piece-06.mp3 |
Q60 | 6 | Chopin | Ballade No. 1 | S | Into at least how many subdivisions should the performer divide the first half of bar 170 in order to play that part in both hands with mathematical precision? | Integer | Positive integer | Single | ["4"] | ["30"] | scores/cleaned_reorganized/piece-06.pdf | scores/without_context/piece-06.pdf | audio/piece-06.mp3 |
Q61 | 6 | Chopin | Ballade No. 1 | S | What is the chord progression starting in measure 89, until the 'a tempo (meno mosso)' marking (exclusive)? | Chord | Lead-sheet chord symbol with bass whenever needed | List ordered by appearance | ["Esus2, Dbmaj7, B7b5/D#"] | ["Eb7, Abm/Eb, Eb, Gm, Bb, Dm", "Eb, Abm/Eb, Eb, Gm, Bb, Dm"] | scores/cleaned_reorganized/piece-06.pdf | scores/without_context/piece-06.pdf | audio/piece-06.mp3 |
Q62 | 6 | Chopin | Ballade No. 1 | S | Between bars 130 and 134, the right hand plays a rapid eighth-note passage. If the notes are grouped into consecutive pairs, what repeated sequence is formed by taking the first note of each pair? Give only the notes from one occurrence of that sequence. | Pitch | Pitch class without octave number | List ordered by appearance | ["A, G#, Fx"] | ["Bb, Cb, C#, D, E, F, G, Ab"] | scores/cleaned_reorganized/piece-06.pdf | scores/without_context/piece-06.pdf | audio/piece-06.mp3 |
Q63 | 6 | Chopin | Ballade No. 1 | S | Bar 216 introduces a right-hand technical challenge in which single notes alternate with dyads at a rapid pace while the hand shifts across octaves. Given the speed, to play as comfortably as possible, the hand-position change itself occurs between two consecutive attacks of the same note—for example, the same C4 is pl... | Bar / beat | Bar number (digits) | Single | ["217"] | ["233"] | scores/cleaned_reorganized/piece-06.pdf | scores/without_context/piece-06.pdf | audio/piece-06.mp3 |
Q64 | 6 | Chopin | Ballade No. 1 | S | At which two places does a significant portion (at least 8 bars) of the thematic material introduced in bar 8, albeit in a different tonality and therefore potentially slightly altered? List the first bar of each reprise. | Bar / beat | Bar number (digits) | Pair | ["55, 190"] | ["94, 194"] | scores/cleaned_reorganized/piece-06.pdf | scores/without_context/piece-06.pdf | audio/piece-06.mp3 |
Q65 | 6 | Chopin | Ballade No. 1 | S | The longest continuous, fully chromatic scale (i.e. playing every note of the piano) in the piece is played in which bar range? | Bar / beat | Bar range (N-N) | Single | ["8-15", "24-31", "2-9"] | ["242-245"] | scores/cleaned_reorganized/piece-06.pdf | scores/without_context/piece-06.pdf | audio/piece-06.mp3 |
Q66 | 7 | Chopin | Etude Op. 10 No. 4 | S | Which beat in measure 11 is not played with an arpeggio? | Bar / beat | Beat number (digits) | Single | ["8"] | ["4"] | scores/cleaned_reorganized/piece-07.pdf | scores/without_context/piece-07.pdf | audio/piece-07.mp3 |
Q67 | 7 | Chopin | Etude Op. 10 No. 4 | S | The piece contains a lot of repeated, but transposed, phrases. Consider the phrases in bars 18 and 22. What is the interval between them? | Interval | Interval quality and size | Single | ["major third", "augmented fourth", "minor seventh"] | ["diminished third", "major second"] | scores/cleaned_reorganized/piece-07.pdf | scores/without_context/piece-07.pdf | audio/piece-07.mp3 |
Q68 | 7 | Chopin | Etude Op. 10 No. 4 | S | What does the instruction in bar 81 stand for in the original language? | Short text | Short phrase | Single | ["con fuoco"] | ["main gauche"] | scores/cleaned_reorganized/piece-07.pdf | scores/without_context/piece-07.pdf | audio/piece-07.mp3 |
Q69 | 7 | Chopin | Etude Op. 10 No. 4 | S | What type of cadence is occurring within bar 18? Consider all voices. | Category label | Cadence name written in full | Single | ["half cadence"] | ["Deceptive", "deceptive cadence", "interrupted cadence"] | scores/cleaned_reorganized/piece-07.pdf | scores/without_context/piece-07.pdf | audio/piece-07.mp3 |
Q70 | 7 | Chopin | Etude Op. 10 No. 4 | S | How many beats of the dominant harmony/feel occur right before the recapitulation begins? | Integer | Positive integer | Single | ["4"] | ["15", "16"] | scores/cleaned_reorganized/piece-07.pdf | scores/without_context/piece-07.pdf | audio/piece-07.mp3 |
Q71 | 7 | Chopin | Etude Op. 10 No. 4 | S | In which consecutive bars does one voice play at least six consecutive notes whose pitch classes proceed by the circle of fifths in either direction? Do not combine notes from different voices or infer the sequence from chord roots. | Bar / beat | Bar range (N-N) | Single | ["8-15", "24-31", "68-75"] | ["29-30", "29-31"] | scores/cleaned_reorganized/piece-07.pdf | scores/without_context/piece-07.pdf | audio/piece-07.mp3 |
Q72 | 7 | Chopin | Etude Op. 10 No. 4 | S | Two distinct four-sixteenth-note motifs are introduced in the main theme: motif A four times in bar 1 and motif B four times in bar 2. Search the entire score for later occurrences of each motif independently. An occurrence must preserve the original rhythm exactly, although the melody may be transposed and therefore s... | Composite answer | Two answer components in the formats specified in the question | Pair | ["18, 42"] | ["68, 78", "78, 68"] | scores/cleaned_reorganized/piece-07.pdf | scores/without_context/piece-07.pdf | audio/piece-07.mp3 |
Q73 | 8 | Debussy | Reflets dans l'eau | S | Starting from bar 25 onward, which right-hand note is the first to be played as part of a new crescendo? | Pitch | Pitch with octave number | Single | ["A4", "G#3", "Bb2"] | ["Gb5"] | scores/cleaned_reorganized/piece-08.pdf | scores/without_context/piece-08.pdf | audio/piece-08.mp3 |
Q74 | 8 | Debussy | Reflets dans l'eau | S | What is the interval between the top two notes within the seventh chord of measure 16? | Interval | Interval quality and size | Single | ["major third", "perfect fifth", "minor seventh"] | ["Perfect fourth"] | scores/cleaned_reorganized/piece-08.pdf | scores/without_context/piece-08.pdf | audio/piece-08.mp3 |
Q75 | 8 | Debussy | Reflets dans l'eau | S | An eighth note represents 1/8 of a whole note. How much does one right-hand note in bar 28 represent of a whole note? Answer with an irreducible fraction. | Duration / ratio | Fraction written as N/N | Single | ["1/8", "3/16", "5/32"] | ["1/56"] | scores/cleaned_reorganized/piece-08.pdf | scores/without_context/piece-08.pdf | audio/piece-08.mp3 |
Q76 | 8 | Debussy | Reflets dans l'eau | S | Considering the notes in either hand and only the explicitly written dynamics, which note should be played the loudest in bar 58? | Pitch | Pitch with octave number | Single | ["A4", "G#3", "Bb2"] | ["Eb2"] | scores/cleaned_reorganized/piece-08.pdf | scores/without_context/piece-08.pdf | audio/piece-08.mp3 |
Q77 | 8 | Debussy | Reflets dans l'eau | S | Which notes form the melody in measures 22 and 23? | Pitch | Pitch with octave number | List ordered by appearance | ["A4, G#3, Bb2"] | ["F5, Fb5, Eb5, D5"] | scores/cleaned_reorganized/piece-08.pdf | scores/without_context/piece-08.pdf | audio/piece-08.mp3 |
Q78 | 8 | Debussy | Reflets dans l'eau | S | In the second half of measure 31, there are four fully chromatic descending lines, of which exactly one is doubled. Name all the notes of that line. | Pitch | Pitch class without octave number | List ordered by appearance | ["G#, Fx, C"] | ["Bb, A, Ab, G"] | scores/cleaned_reorganized/piece-08.pdf | scores/without_context/piece-08.pdf | audio/piece-08.mp3 |
Q79 | 8 | Debussy | Reflets dans l'eau | S | How many notes does measure 25 contain across both hands? | Integer | Positive integer | Single | ["4"] | ["30"] | scores/cleaned_reorganized/piece-08.pdf | scores/without_context/piece-08.pdf | audio/piece-08.mp3 |
Q80 | 8 | Debussy | Reflets dans l'eau | S | What distinct pitches are missing to complete the most likely scales in measure 65, such that all notes of those particular scales between the first and last written note are played? | Pitch | Pitch class without octave number | List | ["A, G#, Bb"] | ["Eb"] | scores/cleaned_reorganized/piece-08.pdf | scores/without_context/piece-08.pdf | audio/piece-08.mp3 |
Q81 | 8 | Debussy | Reflets dans l'eau | S | The melody played in measure 58 is played at three different registers within the span of five bars. Rank the occurrences of this melody from lowest register to highest register. For example, if the first time it is played, it is played the lowest, and the third time, the highest, write '1, 2, 3'. If the melody is doub... | Category label | Given label written in full | List | ["1, 2, 3"] | ["2, 3, 1"] | scores/cleaned_reorganized/piece-08.pdf | scores/without_context/piece-08.pdf | audio/piece-08.mp3 |
Q82 | 8 | Debussy | Reflets dans l'eau | S | Consider the first three sixteenth-note chord groups of the piece. How many times does this three-chord pattern occur within bars 1–10, regardless of the register in which it is played? | Integer | Positive integer | Single | ["4"] | ["6"] | scores/cleaned_reorganized/piece-08.pdf | scores/without_context/piece-08.pdf | audio/piece-08.mp3 |
Q83 | 8 | Debussy | Reflets dans l'eau | S | In measure 31, the composer introduces a melodic-rhythmic motif consisting of four notes: C, Db, Bb, C. That motif is developed. Which bass note marks the beginning of a new passage, concluding the development of the motif? | Pitch | Pitch with octave number | Single | ["A4", "G#3", "Bb2"] | ["Ab2"] | scores/cleaned_reorganized/piece-08.pdf | scores/without_context/piece-08.pdf | audio/piece-08.mp3 |
Q84 | 8 | Debussy | Reflets dans l'eau | S | Toward the end of the piece, the composer seems to want the water to return to a tranquil state and the music to sound from afar. Which measure explicitly marks the beginning of this passage? | Bar / beat | Bar number (digits) | Single | ["55"] | ["82"] | scores/cleaned_reorganized/piece-08.pdf | scores/without_context/piece-08.pdf | audio/piece-08.mp3 |
Q85 | 9 | Glinka | The Lark | S | Which instruction tells the pianist how to play the melodic fragments in the opening? | Short text | Expressive term or phrase | Single | ["dolce"] | ["Andante quasi recitativo", "quasi recitativo"] | scores/cleaned_reorganized/piece-09.pdf | scores/without_context/piece-09.pdf | audio/piece-09.mp3 |
Q86 | 9 | Glinka | The Lark | S | Which chord is outlined by the simultaneous arpeggios in both hands in bar 33, starting after the fermata? Give the chord in root position, arranging its notes as a stack of thirds. | Chord | Lead-sheet chord symbol in root position | Single | ["Esus2", "D#maj7", "B7b5"] | ["Ab9"] | scores/cleaned_reorganized/piece-09.pdf | scores/without_context/piece-09.pdf | audio/piece-09.mp3 |
Q87 | 9 | Glinka | The Lark | S | What scale is played in measure 40? | Key / tonality | Scale (pitch class and mode) | Single | ["C major", "F# minor", "D Dorian"] | ["Db major"] | scores/cleaned_reorganized/piece-09.pdf | scores/without_context/piece-09.pdf | audio/piece-09.mp3 |
Q88 | 9 | Glinka | The Lark | S | At the beginning of the second cadenza-like passage, a series of ascending arpeggios emerges from a low note marked with a fermata. Taken together, what specific chord do the notes of this ascending arpeggiated passage form? | Chord | Lead-sheet chord symbol in root position | Single | ["Esus2", "D#maj7", "B7b5"] | ["F11b9"] | scores/cleaned_reorganized/piece-09.pdf | scores/without_context/piece-09.pdf | audio/piece-09.mp3 |
Q89 | 9 | Glinka | The Lark | S | Name the five distinct, explicitly written performance instructions (beyond pitch and note values) or ornamentations in bars 3 and 4. | Short text | Short phrase written in full | List ordered alphabetically | ["trill, glissando, turn"] | ["Arpeggio, fermata, grace notes, pianissimo, slur", "Arpeggio, fermata, grace note, pianissimo, slur"] | scores/cleaned_reorganized/piece-09.pdf | scores/without_context/piece-09.pdf | audio/piece-09.mp3 |
Q90 | 9 | Glinka | The Lark | S | After the introduction in which two characters alternate, in which measure does the first complete statement of the sung melody begin? | Bar / beat | Bar number (digits) | Single | ["5"] | ["14", "13"] | scores/cleaned_reorganized/piece-09.pdf | scores/without_context/piece-09.pdf | audio/piece-09.mp3 |
Q91 | 9 | Glinka | The Lark | S | In which measure does the first complete variation of the main melody begin? | Bar / beat | Bar number (digits) | Single | ["55"] | ["34"] | scores/cleaned_reorganized/piece-09.pdf | scores/without_context/piece-09.pdf | audio/piece-09.mp3 |
Q92 | 9 | Glinka | The Lark | S | What written performance indication tells the pianist how to play the first variation of the main melody? Give the complete indication exactly as written in the score. | Category label | Musical term written in full | List ordered by appearance | ["staccato, legato, marcato"] | ["brillante, la melodia ben marcata"] | scores/cleaned_reorganized/piece-09.pdf | scores/without_context/piece-09.pdf | audio/piece-09.mp3 |
Q93 | 9 | Glinka | The Lark | S | According to the score, which entire bar is to be played the softest? | Bar / beat | Bar number (digits) | Single | ["22"] | ["70"] | scores/cleaned_reorganized/piece-09.pdf | scores/without_context/piece-09.pdf | audio/piece-09.mp3 |
Q94 | 9 | Glinka | The Lark | S | For a long time, the piece is mainly in a minor tonality. From which bar onwards has the tonality definitely shifted to major? | Bar / beat | Bar number (digits) | Single | ["4"] | ["65"] | scores/cleaned_reorganized/piece-09.pdf | scores/without_context/piece-09.pdf | audio/piece-09.mp3 |
Q95 | 10 | Haydn | Keyboard Sonata 48, movement 2 | S | Which earlier four-measure passage is repeated note for note in measures 152 through 155? | Bar / beat | Bar range (N-N) | Single | ["8-15", "24-31", "68-75"] | ["146-149"] | scores/cleaned_reorganized/piece-10.pdf | scores/without_context/piece-10.pdf | audio/piece-10.mp3 |
Q96 | 10 | Haydn | Keyboard Sonata 48, movement 2 | S | What harmonic interval is formed between the dotted quarter notes in measure 148? | Interval | Interval quality and size | Single | ["perfect fifth", "minor seventh", "augmented fourth"] | ["major third"] | scores/cleaned_reorganized/piece-10.pdf | scores/without_context/piece-10.pdf | audio/piece-10.mp3 |
Q97 | 10 | Haydn | Keyboard Sonata 48, movement 2 | S | Between bars 165 and 181, the composer creates like a cliffhanger through a considerably long suspension on unresolved tension. In which bar is the very end of this cliffhanger (i.e. the place right before the suspension is resolved) located? | Bar / beat | Bar number (digits) | Single | ["4"] | ["175", "176"] | scores/cleaned_reorganized/piece-10.pdf | scores/without_context/piece-10.pdf | audio/piece-10.mp3 |
Q98 | 10 | Haydn | Keyboard Sonata 48, movement 2 | S | Which written dynamics appear from measures 196 through 257, in order of appearance? | Category label | Dynamic marking or term written in full | List ordered by appearance | ["mezzo-piano, crescendo, diminuendo"] | ["fortissimo, piano, forte, piano, forte, forte"] | scores/cleaned_reorganized/piece-10.pdf | scores/without_context/piece-10.pdf | audio/piece-10.mp3 |
Q99 | 10 | Haydn | Keyboard Sonata 48, movement 2 | S | Between 224 and 240, in which bars do the two playing voices play exactly the same pitch classes? | Bar / beat | Bar number (digits) | List ordered by appearance | ["224,225"] | ["234, 235, 236, 237, 238, 239"] | scores/cleaned_reorganized/piece-10.pdf | scores/without_context/piece-10.pdf | audio/piece-10.mp3 |
Q100 | 10 | Haydn | Keyboard Sonata 48, movement 2 | S | From bar 140 until the end, what is the longest duration of a chain of tied notes, expressed in the number of eighth note durations? | Integer | Positive integer | Single | ["4"] | ["14"] | scores/cleaned_reorganized/piece-10.pdf | scores/without_context/piece-10.pdf | audio/piece-10.mp3 |
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