id stringlengths 2 4 | pieceNumber int64 1 24 | composer stringclasses 13
values | title stringclasses 25
values | modality stringclasses 4
values | fullQuestion stringlengths 23 358 | answerObjectType stringclasses 14
values | answerFormat stringclasses 54
values | answerQuantity stringclasses 4
values | answerExample stringlengths 2 73 | cleanedReorganizedScoreFilename stringclasses 24
values | withoutContextScoreFilename stringclasses 24
values | audioFilename stringclasses 24
values |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
Q101 | 10 | Haydn | Keyboard Sonata 48, movement 2 | S | The main theme is played multiple times with different density and spanning different registers. In which measure does the reprise with the largest keyboard coverage start? | Bar / beat | Bar number written with digits only | Single | ["opening theme", "second subject", "closing theme"] | scores/cleaned_reorganized/piece-10.pdf | scores/without_context/piece-10.pdf | audio/piece-10.mp3 |
Q102 | 11 | Liszt | Ballade No. 2 | S | According to the score, in measure 145, which eighth notes in the right hand are struck together with a note in the left-hand? If the first eighth note of the right hand is played together with a left hand, write '1'. | Integer | Non-negative integer written with digits | List ordered by appearance | ["0, 4, 27"] | scores/cleaned_reorganized/piece-11.pdf | scores/without_context/piece-11.pdf | audio/piece-11.mp3 |
Q103 | 11 | Liszt | Ballade No. 2 | S | In measure 113, on which note does it make most sense for the right hand to change position? | Pitch | Pitch classes with accidentals and no octave numbers | Single | ["A", "G#", "Bb"] | scores/cleaned_reorganized/piece-11.pdf | scores/without_context/piece-11.pdf | audio/piece-11.mp3 |
Q104 | 11 | Liszt | Ballade No. 2 | S | What is the harmonic function of the chord in the beginning of bar 296 compared to the first chord of bar 297? | Category label | Harmonic-function label written in full | Single | ["tonic"] | scores/cleaned_reorganized/piece-11.pdf | scores/without_context/piece-11.pdf | audio/piece-11.mp3 |
Q105 | 11 | Liszt | Ballade No. 2 | S | The pedal note in measure 24-26, how many quarter notes does it last, considering the ties? | Duration / ratio | Count in quarter notes written with digits | Single | ["2", "4.5", "7.25"] | scores/cleaned_reorganized/piece-11.pdf | scores/without_context/piece-11.pdf | audio/piece-11.mp3 |
Q106 | 11 | Liszt | Ballade No. 2 | S | Between the beginning of the Allegretto in bar 143 and a subsequent repeat of the rumble (i.e. the material with which the piece opens), at some point, there is the manifestation of a technique called 'rhythmic augmentation'. In which bar is this technique used? | Bar / beat | Bar number written with digits only | Single | ["4"] | scores/cleaned_reorganized/piece-11.pdf | scores/without_context/piece-11.pdf | audio/piece-11.mp3 |
Q107 | 11 | Liszt | Ballade No. 2 | S | Which is the first chord that needs to be played with only one string? Name that chord. | Chord | Lead-sheet chord symbol in root position | Single | ["Esus2", "D#maj7", "B7b5"] | scores/cleaned_reorganized/piece-11.pdf | scores/without_context/piece-11.pdf | audio/piece-11.mp3 |
Q108 | 11 | Liszt | Ballade No. 2 | S | Identify the first measure in which the notes in measure 59-69 are not the exact transposition of 24-34 if you only consider the content only (notes and rhythm), not the performer instructions (articulation, slurs, dynamics)? Write NA if it's an exact transposition. | Bar / beat | Bar number written with digits only, or NA | Single | ["42", "18", "7"] | scores/cleaned_reorganized/piece-11.pdf | scores/without_context/piece-11.pdf | audio/piece-11.mp3 |
Q109 | 11 | Liszt | Ballade No. 2 | S/P | What is the name of the person the composer dedicated this piece to? | Short text | Short phrase | Single | ["Clair de lune"] | scores/cleaned_reorganized/piece-11.pdf | scores/without_context/piece-11.pdf | audio/piece-11.mp3 |
Q110 | 11 | Liszt | Ballade No. 2 | S | Between bars 181-194, which melodic note breaks the melodic similarity compared to the beginning of the piece? In other words, which note arrives unexpectedly? Name the melodic note. | Pitch | Pitch classes with accidentals and no octave numbers | Single | ["A", "G#", "Bb"] | scores/cleaned_reorganized/piece-11.pdf | scores/without_context/piece-11.pdf | audio/piece-11.mp3 |
Q111 | 12 | Mozart | Piano Sonata 12, movement 1 | S | The slur in measure 46 starts and ends at which notes? | Pitch | Pitch names in scientific pitch notation with required octave numbers | Pair | ["A4, G#3"] | scores/cleaned_reorganized/piece-12.pdf | scores/without_context/piece-12.pdf | audio/piece-12.mp3 |
Q112 | 12 | Mozart | Piano Sonata 12, movement 1 | S | In measure 91, what is the note value (duration) of the note marked sforzando? | Duration / ratio | Notated note value written in full | Single | ["quarter note", "dotted eighth note", "half note"] | scores/cleaned_reorganized/piece-12.pdf | scores/without_context/piece-12.pdf | audio/piece-12.mp3 |
Q113 | 12 | Mozart | Piano Sonata 12, movement 1 | S | What is the harmonic function of the chord in measure 2? | Category label | Harmonic-function label written in full | Single | ["tonic"] | scores/cleaned_reorganized/piece-12.pdf | scores/without_context/piece-12.pdf | audio/piece-12.mp3 |
Q114 | 12 | Mozart | Piano Sonata 12, movement 1 | S | What is the Roman numeral notation for the chord in measure 120? | Chord | Roman-numeral chord symbol | Single | ["V7", "ii6", "V6/5/V"] | scores/cleaned_reorganized/piece-12.pdf | scores/without_context/piece-12.pdf | audio/piece-12.mp3 |
Q115 | 12 | Mozart | Piano Sonata 12, movement 1 | S | Out of the six dyads in measure 67, which ones are major? Name the notes that form the major dyads. | Pitch | Pairs of pitch classes with accidentals and no octave numbers | List ordered by appearance | ["C# Bb, A D, F C"] | scores/cleaned_reorganized/piece-12.pdf | scores/without_context/piece-12.pdf | audio/piece-12.mp3 |
Q116 | 12 | Mozart | Piano Sonata 12, movement 1 | S | From measure 222 until the end, how many trills are there? | Integer | Non-negative integer written with digits | Single | ["4"] | scores/cleaned_reorganized/piece-12.pdf | scores/without_context/piece-12.pdf | audio/piece-12.mp3 |
Q117 | 12 | Mozart | Piano Sonata 12, movement 1 | S | Which is the last measure to be played the same forte as the one written in measure 84? | Bar / beat | Bar number written with digits only | Single | ["mezzo-piano", "crescendo", "fortissimo"] | scores/cleaned_reorganized/piece-12.pdf | scores/without_context/piece-12.pdf | audio/piece-12.mp3 |
Q118 | 12 | Mozart | Piano Sonata 12, movement 1 | S | What sequence of seventh chords is outlined across measures 61, 62, and 63? | Chord | Lead-sheet chord symbol in root position | List ordered by appearance | ["Esus2, D#maj7, B7b5"] | scores/cleaned_reorganized/piece-12.pdf | scores/without_context/piece-12.pdf | audio/piece-12.mp3 |
Q119 | 12 | Mozart | Piano Sonata 12, movement 1 | S | Name the three leading tone chords that drive the modulation between bars 155 and 168. | Pitch | Pitch classes with accidentals and no octave numbers | List ordered by appearance | ["G#, Bb, Fx"] | scores/cleaned_reorganized/piece-12.pdf | scores/without_context/piece-12.pdf | audio/piece-12.mp3 |
Q120 | 12 | Mozart | Piano Sonata 12, movement 1 | S | In bar 17, on what exact fractional rhythmic subdivision does the V chord (with respect to the home key) arrive? For example, if it falls on the second half of the first beat, write 1.5. | Bar / beat | Fractional beat number written with digits | Single | ["1.5", "2.25", "1.25"] | scores/cleaned_reorganized/piece-12.pdf | scores/without_context/piece-12.pdf | audio/piece-12.mp3 |
Q121 | 12 | Mozart | Piano Sonata 12, movement 1 | S | List all the distinct time signatures present in the piece. | Category label | Time signature (N/N) | List ordered by appearance | ["4/4, 6/8, 9/8"] | scores/cleaned_reorganized/piece-12.pdf | scores/without_context/piece-12.pdf | audio/piece-12.mp3 |
Q122 | 12 | Mozart | Piano Sonata 12, movement 1 | S | How many measures does the piece contain? | Integer | Non-negative integer written with digits | Single | ["4"] | scores/cleaned_reorganized/piece-12.pdf | scores/without_context/piece-12.pdf | audio/piece-12.mp3 |
Q123 | 13 | Mozart | Piano Sonata 12, movement 3 | S | According to the score, what should be the tempo of the music? | Short text | Expressive term or phrase as written in the score | Single | ["meno mosso"] | scores/cleaned_reorganized/piece-13.pdf | scores/without_context/piece-13.pdf | audio/piece-13.mp3 |
Q124 | 13 | Mozart | Piano Sonata 12, movement 3 | S | Bar 124 starts a modulating passage that resolves to which tonality? Consider a chord to be the resolution if it is played for at least 2 consecutive bars. | Key / tonality | Tonic and mode in full or lead-sheet shorthand | Single | ["C major", "F#m", "D Dorian"] | scores/cleaned_reorganized/piece-13.pdf | scores/without_context/piece-13.pdf | audio/piece-13.mp3 |
Q125 | 13 | Mozart | Piano Sonata 12, movement 3 | S | In measures 154-155, which notes are passing notes (i.e. not part of the chord)? | Pitch | Pitch classes with accidentals and no octave numbers | List ordered by appearance | ["A, Fx, C"] | scores/cleaned_reorganized/piece-13.pdf | scores/without_context/piece-13.pdf | audio/piece-13.mp3 |
Q126 | 13 | Mozart | Piano Sonata 12, movement 3 | S | The slur starting in bar 100 contains how many notes? | Integer | Non-negative integer written with digits | Single | ["4"] | scores/cleaned_reorganized/piece-13.pdf | scores/without_context/piece-13.pdf | audio/piece-13.mp3 |
Q127 | 13 | Mozart | Piano Sonata 12, movement 3 | S | Measure 15-17 gives the impression of the composer feeling humorous, sad, angry, ecstatic, melancholic, or aching? | Choice | One choice copied exactly from the question | Single | [] | scores/cleaned_reorganized/piece-13.pdf | scores/without_context/piece-13.pdf | audio/piece-13.mp3 |
Q128 | 13 | Mozart | Piano Sonata 12, movement 3 | S | In which measure does the first dolce marking appear? | Bar / beat | Bar number written with digits only | Single | ["4"] | scores/cleaned_reorganized/piece-13.pdf | scores/without_context/piece-13.pdf | audio/piece-13.mp3 |
Q129 | 13 | Mozart | Piano Sonata 12, movement 3 | S | What is the progression in roman numerals in measures 37-39 relative to the key the passage is modulating to? | Chord | Roman-numeral chord symbol | List ordered by appearance | ["V7, ii6, V6/5/V"] | scores/cleaned_reorganized/piece-13.pdf | scores/without_context/piece-13.pdf | audio/piece-13.mp3 |
Q130 | 13 | Mozart | Piano Sonata 12, movement 3 | S | Prior to measure 90, there is a passage characterized by an introspective, melancholic, and contemplative atmosphere, contrasting with previous material. In which bar does it start, and which measure is the last measure of this passage? | Bar / beat | Bar number written with digits only | Pair | ["18, 42"] | scores/cleaned_reorganized/piece-13.pdf | scores/without_context/piece-13.pdf | audio/piece-13.mp3 |
Q131 | 13 | Mozart | Piano Sonata 12, movement 3 | S | Which movement is this within the larger composition? | Integer | Ordinal number written with digits and an ordinal suffix | Single | ["Clair de lune"] | scores/cleaned_reorganized/piece-13.pdf | scores/without_context/piece-13.pdf | audio/piece-13.mp3 |
Q132 | 13 | Mozart | Piano Sonata 12, movement 3 | S | In what measure does the main theme in minor tonality start? | Bar / beat | Bar number written with digits only | Single | ["opening theme", "second subject", "closing theme"] | scores/cleaned_reorganized/piece-13.pdf | scores/without_context/piece-13.pdf | audio/piece-13.mp3 |
Q133 | 13 | Mozart | Piano Sonata 12, movement 3 | S | In which bar does the development section of the piece start? | Bar / beat | Bar number written with digits only | Single | ["4"] | scores/cleaned_reorganized/piece-13.pdf | scores/without_context/piece-13.pdf | audio/piece-13.mp3 |
Q134 | 14 | Rachmaninoff | Prelude Op. 23 No. 4 | S | How many accented right-hand chords occur across measures 51 and 52? | Integer | Non-negative integer written with digits | Single | ["4"] | scores/cleaned_reorganized/piece-14.pdf | scores/without_context/piece-14.pdf | audio/piece-14.mp3 |
Q135 | 14 | Rachmaninoff | Prelude Op. 23 No. 4 | S | What articulation is written on the final F#5 in the piece? | Articulation | Articulation term written in full | Single | ["staccato"] | scores/cleaned_reorganized/piece-14.pdf | scores/without_context/piece-14.pdf | audio/piece-14.mp3 |
Q136 | 14 | Rachmaninoff | Prelude Op. 23 No. 4 | S | How many notes form the arpeggiated chord in measure 61? | Integer | Non-negative integer written with digits | Single | ["4"] | scores/cleaned_reorganized/piece-14.pdf | scores/without_context/piece-14.pdf | audio/piece-14.mp3 |
Q137 | 14 | Rachmaninoff | Prelude Op. 23 No. 4 | S | On which pitch does the left-hand slur, beginning in measure 71, end? | Pitch | Pitch names in scientific pitch notation with required octave numbers | Single | ["A4", "G#3", "Bb2"] | scores/cleaned_reorganized/piece-14.pdf | scores/without_context/piece-14.pdf | audio/piece-14.mp3 |
Q138 | 14 | Rachmaninoff | Prelude Op. 23 No. 4 | S | How many distinct written note values occur in measure 57 when dotted and undotted values are treated as different? | Integer | Non-negative integer written with digits | Single | ["4"] | scores/cleaned_reorganized/piece-14.pdf | scores/without_context/piece-14.pdf | audio/piece-14.mp3 |
Q139 | 14 | Rachmaninoff | Prelude Op. 23 No. 4 | S | Which intervals are formed by the six right-hand eighth-note dyads in measure 40? | Interval | Interval quality and number | List ordered by appearance | ["major third, perfect fifth, minor seventh"] | scores/cleaned_reorganized/piece-14.pdf | scores/without_context/piece-14.pdf | audio/piece-14.mp3 |
Q140 | 14 | Rachmaninoff | Prelude Op. 23 No. 4 | S | In which measure does the second statement of the main theme begin? | Bar / beat | Bar number written with digits only | Single | ["opening theme", "second subject", "closing theme"] | scores/cleaned_reorganized/piece-14.pdf | scores/without_context/piece-14.pdf | audio/piece-14.mp3 |
Q141 | 14 | Rachmaninoff | Prelude Op. 23 No. 4 | S | What are the notes of the main melody up to its first A? | Pitch | Pitch classes with accidentals and no octave numbers | List ordered by appearance | ["Bb, Fx, C"] | scores/cleaned_reorganized/piece-14.pdf | scores/without_context/piece-14.pdf | audio/piece-14.mp3 |
Q142 | 14 | Rachmaninoff | Prelude Op. 23 No. 4 | S | In which measure does the piece reach its climax in terms of loudness, tension, and drama? | Bar / beat | Bar number written with digits only | Single | ["mezzo-piano", "crescendo", "fortissimo"] | scores/cleaned_reorganized/piece-14.pdf | scores/without_context/piece-14.pdf | audio/piece-14.mp3 |
Q143 | 14 | Rachmaninoff | Prelude Op. 23 No. 4 | S | Ignoring accompaniment, rhythm, and articulation differences, which melodic pitch first appears as new material in the second statement of the main theme? In other words, look for the first difference in the melody. | Pitch | Pitch names in scientific pitch notation with required octave numbers | Single | ["A4", "G#3", "Bb2"] | scores/cleaned_reorganized/piece-14.pdf | scores/without_context/piece-14.pdf | audio/piece-14.mp3 |
Q144 | 15 | Schubert | Moment musical No. 3 | S | There is a pattern in the accompaniment that is characteristic of this piece. In what bar is this pattern played the first time, and how long, expressed in quarter notes, does it last? | Composite answer | Two answer components in the formats specified in the question | Single | ["flute, 42"] | scores/cleaned_reorganized/piece-15.pdf | scores/without_context/piece-15.pdf | audio/piece-15.mp3 |
Q145 | 15 | Schubert | Moment musical No. 3 | S | From bar 1 onwards, which is the last measure containing the pedal note F? | Bar / beat | Bar number written with digits only | Single | ["4"] | scores/cleaned_reorganized/piece-15.pdf | scores/without_context/piece-15.pdf | audio/piece-15.mp3 |
Q146 | 15 | Schubert | Moment musical No. 3 | S | What are the intervals between the dyads in the first half of measure 9? | Interval | Interval quality and number | List ordered by appearance | ["perfect fifth, minor seventh, augmented fourth"] | scores/cleaned_reorganized/piece-15.pdf | scores/without_context/piece-15.pdf | audio/piece-15.mp3 |
Q147 | 15 | Schubert | Moment musical No. 3 | S | What is the largest interval in the melody up until bar 10? | Interval | Interval quality and number | Single | ["major third", "perfect fifth", "minor seventh"] | scores/cleaned_reorganized/piece-15.pdf | scores/without_context/piece-15.pdf | audio/piece-15.mp3 |
Q148 | 15 | Schubert | Moment musical No. 3 | S | What is the harmonic progression of the second theme? Do not repeat the chord name if the chord is played for an extended period of time. | Chord | Lead-sheet chord symbol with optional bass | List ordered by appearance | ["Esus2, D#maj7, B7b5"] | scores/cleaned_reorganized/piece-15.pdf | scores/without_context/piece-15.pdf | audio/piece-15.mp3 |
Q149 | 15 | Schubert | Moment musical No. 3 | S | Near the end of the piece, the final chord is affirmed. From which measure onwards is this final chord of the piece the harmony? | Bar / beat | Bar number written with digits only | Single | ["4"] | scores/cleaned_reorganized/piece-15.pdf | scores/without_context/piece-15.pdf | audio/piece-15.mp3 |
Q150 | 15 | Schubert | Moment musical No. 3 | S | Locate the densest moment, i.e. the moment where the most notes sound simultaneously. Name the bar and identify the harmonic function of that chord. | Composite answer | Two answer components in the formats specified in the question | Single | ["flute, 42"] | scores/cleaned_reorganized/piece-15.pdf | scores/without_context/piece-15.pdf | audio/piece-15.mp3 |
Q151 | 16 | Schumann | Arabeske Op. 18 | S | According to the score, how should the opening theme sound? | Short text | Expressive term or phrase | Single | ["dolce"] | scores/cleaned_reorganized/piece-16.pdf | scores/without_context/piece-16.pdf | audio/piece-16.mp3 |
Q152 | 16 | Schumann | Arabeske Op. 18 | S | What is the harmonic progression formed by each beat in measures 83-84? | Chord | Lead-sheet chord symbol with optional bass | List ordered by appearance | ["Esus2, D#maj7, B7b5"] | scores/cleaned_reorganized/piece-16.pdf | scores/without_context/piece-16.pdf | audio/piece-16.mp3 |
Q153 | 16 | Schumann | Arabeske Op. 18 | S | In which two bars between bar 60 and 70 does the bass line play the first three notes in Für Elise by Beethoven? Ignore the octave. | Bar / beat | Bar number written with digits only | Pair | ["Clair de lune, Kinderszenen"] | scores/cleaned_reorganized/piece-16.pdf | scores/without_context/piece-16.pdf | audio/piece-16.mp3 |
Q154 | 16 | Schumann | Arabeske Op. 18 | S | What indications of tempo are written in measure 91? | Short text | Short phrase | Single | ["meno mosso"] | scores/cleaned_reorganized/piece-16.pdf | scores/without_context/piece-16.pdf | audio/piece-16.mp3 |
Q155 | 16 | Schumann | Arabeske Op. 18 | S | The melodic line in bars 59-62 is transposed a few bars later. To what tonality? | Key / tonality | Tonic and mode in full or lead-sheet shorthand | Single | ["C major", "F#m", "Bb major"] | scores/cleaned_reorganized/piece-16.pdf | scores/without_context/piece-16.pdf | audio/piece-16.mp3 |
Q156 | 16 | Schumann | Arabeske Op. 18 | S | At the start of the piece, a bass line moves in pairs. These pairs form a descending major second. Give the name of the first note that breaks this repeated pattern. | Pitch | Pitch-class name in solfège or letter notation | Single | ["Do", "F#", "La"] | scores/cleaned_reorganized/piece-16.pdf | scores/without_context/piece-16.pdf | audio/piece-16.mp3 |
Q157 | 16 | Schumann | Arabeske Op. 18 | S | Throughout bars 43-50, how many voices are playing, generally speaking? | Integer | Non-negative integer written with digits | Single | ["7"] | scores/cleaned_reorganized/piece-16.pdf | scores/without_context/piece-16.pdf | audio/piece-16.mp3 |
Q158 | 16 | Schumann | Arabeske Op. 18 | S | What is the chord progression in bar 91-106? | Chord | Lead-sheet chord symbol with optional bass | List ordered by appearance | ["Esus2, D#maj7, B7b5"] | scores/cleaned_reorganized/piece-16.pdf | scores/without_context/piece-16.pdf | audio/piece-16.mp3 |
Q159 | 16 | Schumann | Arabeske Op. 18 | S | In what year was this piece composed? | Integer | Non-negative integer written with digits | Single | ["0"] | scores/cleaned_reorganized/piece-16.pdf | scores/without_context/piece-16.pdf | audio/piece-16.mp3 |
Q160 | 16 | Schumann | Arabeske Op. 18 | S | Taking into consideration mainly motives and texture, in what form is this piece written? Place A, B, C, D, E in order of (re)appearance. Hint: A spans bars 1-42. | Category label | Controlled category label written in full | List ordered by appearance | ["rondo, ternary form, sonata form"] | scores/cleaned_reorganized/piece-16.pdf | scores/without_context/piece-16.pdf | audio/piece-16.mp3 |
Q161 | 16 | Schumann | Arabeske Op. 18 | S | The melodic material presented in bars 43-44 is developed. During the development of this material, the intensity builds up. In which measure should this peak in intensity take place? | Bar / beat | Bar number written with digits only | Single | ["4"] | scores/cleaned_reorganized/piece-16.pdf | scores/without_context/piece-16.pdf | audio/piece-16.mp3 |
Q162 | 17 | Scriabin | Etude Op. 8 No. 11 | S | What is the name of the chord on the first beat of measure 8? | Chord | Lead-sheet chord symbol in root position | Single | ["Esus2", "D#maj7", "B7b5"] | scores/cleaned_reorganized/piece-17.pdf | scores/without_context/piece-17.pdf | audio/piece-17.mp3 |
Q163 | 17 | Scriabin | Etude Op. 8 No. 11 | S | In which measure does the score first change to E major key signature? | Bar / beat | Bar number written with digits only | Single | ["4"] | scores/cleaned_reorganized/piece-17.pdf | scores/without_context/piece-17.pdf | audio/piece-17.mp3 |
Q164 | 17 | Scriabin | Etude Op. 8 No. 11 | S | Which note in measure 51 adds tension to the dominant seventh? | Pitch | Pitch classes with accidentals and no octave numbers | Single | ["A", "G#", "Bb"] | scores/cleaned_reorganized/piece-17.pdf | scores/without_context/piece-17.pdf | audio/piece-17.mp3 |
Q165 | 17 | Scriabin | Etude Op. 8 No. 11 | S | According to the score, what should be the BPM in measure 37? | Integer | Non-negative integer written with digits | Single | ["meno mosso"] | scores/cleaned_reorganized/piece-17.pdf | scores/without_context/piece-17.pdf | audio/piece-17.mp3 |
Q166 | 17 | Scriabin | Etude Op. 8 No. 11 | S | In which later measure is measure 1 repeated exactly? | Bar / beat | Bar number written with digits only | Single | ["4"] | scores/cleaned_reorganized/piece-17.pdf | scores/without_context/piece-17.pdf | audio/piece-17.mp3 |
Q167 | 17 | Scriabin | Etude Op. 8 No. 11 | S | What time signatures are used in the piece? | Category label | Time signature (N/N) | List ordered by appearance | ["4/4, 6/8, 9/8"] | scores/cleaned_reorganized/piece-17.pdf | scores/without_context/piece-17.pdf | audio/piece-17.mp3 |
Q168 | 17 | Scriabin | Etude Op. 8 No. 11 | S | What are the lowest and highest written pitches in the piece? | Pitch | Pitch names in scientific pitch notation with required octave numbers | Pair | ["A4, G#3"] | scores/cleaned_reorganized/piece-17.pdf | scores/without_context/piece-17.pdf | audio/piece-17.mp3 |
Q169 | 17 | Scriabin | Etude Op. 8 No. 11 | S | According to the score, what are all the dynamics up until bar 18 (included)? | Category label | Dynamic marking or term written in full | List ordered by appearance | ["mezzo-piano, fortissimo"] | scores/cleaned_reorganized/piece-17.pdf | scores/without_context/piece-17.pdf | audio/piece-17.mp3 |
Q170 | 18 | Scriabin | Piano Sonata No. 5 | S | Which marking indicates that the performer should play the piece with eccentricity? | Short text | Expressive term or phrase | Single | ["dolce"] | scores/cleaned_reorganized/piece-18.pdf | scores/without_context/piece-18.pdf | audio/piece-18.mp3 |
Q171 | 18 | Scriabin | Piano Sonata No. 5 | S | In bar 47, what is the duration of a single note in the accompaniment relative to a whole note? Express your answer as an irreducible fraction. | Duration / ratio | Fraction written as N/N | Single | ["1/8", "5/32", "2/3"] | scores/cleaned_reorganized/piece-18.pdf | scores/without_context/piece-18.pdf | audio/piece-18.mp3 |
Q172 | 18 | Scriabin | Piano Sonata No. 5 | S | What does the instruction in bar 222 stand for? | Short text | Short phrase | Single | ["an ascending sequence"] | scores/cleaned_reorganized/piece-18.pdf | scores/without_context/piece-18.pdf | audio/piece-18.mp3 |
Q173 | 18 | Scriabin | Piano Sonata No. 5 | S | What is the musical interval formed between each consecutive pair of grace notes in the right hand during the first half of measure 451? | Interval | Interval quality and number | List ordered by appearance | ["major third, perfect fifth, minor seventh"] | scores/cleaned_reorganized/piece-18.pdf | scores/without_context/piece-18.pdf | audio/piece-18.mp3 |
Q174 | 18 | Scriabin | Piano Sonata No. 5 | S | What are the harmonies formed by both hands in bars 432-433? | Chord | Lead-sheet chord symbol with optional bass | List ordered by appearance | ["G7/B, Db/F, C/E"] | scores/cleaned_reorganized/piece-18.pdf | scores/without_context/piece-18.pdf | audio/piece-18.mp3 |
Q175 | 18 | Scriabin | Piano Sonata No. 5 | S | In which measure does the first Presto marking appear? | Bar / beat | Bar number written with digits only | Single | ["meno mosso", "a tempo", "ritardando"] | scores/cleaned_reorganized/piece-18.pdf | scores/without_context/piece-18.pdf | audio/piece-18.mp3 |
Q176 | 18 | Scriabin | Piano Sonata No. 5 | S | How many distinct sonic layers make up the first four bars of Languido theme? (A layer is defined by a line having its own unique dynamic, texture, or melodic structure, and is therefore is not strictly related to a voice.) | Integer | Non-negative integer written with digits | Single | ["4"] | scores/cleaned_reorganized/piece-18.pdf | scores/without_context/piece-18.pdf | audio/piece-18.mp3 |
Q177 | 18 | Scriabin | Piano Sonata No. 5 | S | What is the poem, in French, that the composer attached to the piece? | Short text | Literal text | Single | ["Sous le ciel nocturne, la mer repose."] | scores/cleaned_reorganized/piece-18.pdf | scores/without_context/piece-18.pdf | audio/piece-18.mp3 |
Q178 | 18 | Scriabin | Piano Sonata No. 5 | S | In the last 6 bars, the piece ends with a musical idea that was introduced earlier. Starting in which bar was this musical idea first introduced? | Bar / beat | Bar number written with digits only | Single | ["4"] | scores/cleaned_reorganized/piece-18.pdf | scores/without_context/piece-18.pdf | audio/piece-18.mp3 |
Q179 | 18 | Scriabin | Piano Sonata No. 5 | S | List every distinct time signature used in the sonata in order of first appearance up until the music reaches 3/8 (inclusive). Write each time signature only once. | Category label | Time signature (N/N) | List ordered by appearance | ["4/4, 9/8, 2/2"] | scores/cleaned_reorganized/piece-18.pdf | scores/without_context/piece-18.pdf | audio/piece-18.mp3 |
Q180 | 18 | Scriabin | Piano Sonata No. 5 | S | Where does the piece have its first perfect cadence? Write NA if there is none. | Bar / beat | Bar number written with digits only, or NA | Single | ["half cadence", "perfect authentic cadence", "deceptive cadence"] | scores/cleaned_reorganized/piece-18.pdf | scores/without_context/piece-18.pdf | audio/piece-18.mp3 |
Q181 | 1 | Bach | Fugue BWV 875 | P | Which voices are brought to the foreground between 00:31 and 00:37? If each voice has a number and the lowest voice has number 1, list them in order. | Integer | Non-negative integer written with digits | List ordered by appearance | ["0, 4, 27"] | scores/cleaned_reorganized/piece-01.pdf | scores/without_context/piece-01.pdf | audio/piece-01.mp3 |
Q182 | 1 | Bach | Fugue BWV 875 | P | Between 0:50 and 0:58, the melodic line 'A, Bb, A, G, Bb, A, G, F' is played three times. Rank those by increasing loudness. If the first time the melody is played, it is played the softest and the third one the loudest, answer: 1, 2, 3. | Integer | Non-negative integer written with digits | List ordered by appearance | ["mezzo-piano, crescendo, fortissimo"] | scores/cleaned_reorganized/piece-01.pdf | scores/without_context/piece-01.pdf | audio/piece-01.mp3 |
Q183 | 1 | Bach | Fugue BWV 875 | P | Between 1:26 and 1:39, the performer plays an unusual rubato. Which note do they emphasize with this rubato? | Integer | Non-negative integer written with digits | Single | ["0"] | scores/cleaned_reorganized/piece-01.pdf | scores/without_context/piece-01.pdf | audio/piece-01.mp3 |
Q184 | 2 | Bach | Prelude BWV 848 | P | Between 00:01 and 00:02, the performer brings out two voices. What is the interval between those two voices (ignore octave difference and major/minor)? | Interval | Diatonic interval number written as a word | Single | ["fifth", "octave", "second"] | scores/cleaned_reorganized/piece-02.pdf | scores/without_context/piece-02.pdf | audio/piece-02.mp3 |
Q185 | 2 | Bach | Prelude BWV 848 | P | How long is this audio? | Duration / ratio | Duration in M:SS or MM:SS | Single | ["0:08", "01:24", "12:05"] | scores/cleaned_reorganized/piece-02.pdf | scores/without_context/piece-02.pdf | audio/piece-02.mp3 |
Q186 | 2 | Bach | Prelude BWV 848 | P | Listen to the performance and feel the pulse given by the slower-moving voice in the opening. Which BPM range best matches the tempo: 50-70, 70-90, 90-110, 110-130, 130-150, 150-170, 170-190? | Choice | One choice copied exactly from the question | Single | [] | scores/cleaned_reorganized/piece-02.pdf | scores/without_context/piece-02.pdf | audio/piece-02.mp3 |
Q187 | 3 | Balakirev | Islamey | P | Starting at 3:37, the performer plays a passage in which they emphasize the second voice in the left hand. When does different musical material take over, marking the end of this lyrical passage? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["02:54"] | scores/cleaned_reorganized/piece-03.pdf | scores/without_context/piece-03.pdf | audio/piece-03.mp3 |
Q188 | 3 | Balakirev | Islamey | P | The passage starting at 0:21 has a distinct pattern and is played in-between the main theme. Until when does this passage last? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["02:54"] | scores/cleaned_reorganized/piece-03.pdf | scores/without_context/piece-03.pdf | audio/piece-03.mp3 |
Q189 | 4 | Beethoven | Piano Sonata 23, movement 1 | P | When the main theme is repeated around 45 seconds in, the tone shifts. What emotion likely best describes the new nuance the performer brings to the theme: despair, anger, serenity, triumph, tenderness, nervousness, or happiness? | Choice | One choice copied exactly from the question | Single | [] | scores/cleaned_reorganized/piece-04.pdf | scores/without_context/piece-04.pdf | audio/piece-04.mp3 |
Q190 | 4 | Beethoven | Piano Sonata 23, movement 1 | P | At what time does the last point of arrival, i.e. the last point the music builds up to, take place? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["02:54"] | scores/cleaned_reorganized/piece-04.pdf | scores/without_context/piece-04.pdf | audio/piece-04.mp3 |
Q191 | 4 | Beethoven | Piano Sonata 23, movement 1 | P | Within the first minute, at what time does the first katabasis (a catastrophic descent) take place? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["02:54"] | scores/cleaned_reorganized/piece-04.pdf | scores/without_context/piece-04.pdf | audio/piece-04.mp3 |
Q192 | 4 | Beethoven | Piano Sonata 23, movement 1 | P | Consider the secondary theme as a theme containing two parts. In this case, the second part starts like the first part but has a different ending, characterized an anacoluthon (a sudden event in a phrase that breaks one's expectation). When does it take place? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["02:54"] | scores/cleaned_reorganized/piece-04.pdf | scores/without_context/piece-04.pdf | audio/piece-04.mp3 |
Q193 | 5 | Beethoven | Piano Sonata No. 21, movement 1 | P | In the opening, the performer builds up with a crescendo. At what time does the first culmination point occur? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["02:54"] | scores/cleaned_reorganized/piece-05.pdf | scores/without_context/piece-05.pdf | audio/piece-05.mp3 |
Q194 | 19 | Beethoven | Symphony No. 2, movement 1 | P | At what time is the dominant first played? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["00:37", "02:14", "11:05"] | scores/cleaned_reorganized/piece-19.pdf | scores/without_context/piece-19.pdf | audio/piece-19.mp3 |
Q195 | 19 | Beethoven | Symphony No. 2, movement 1 | P | At some point, the orchestra plays tutti. From what time? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["00:37", "02:14", "11:05"] | scores/cleaned_reorganized/piece-19.pdf | scores/without_context/piece-19.pdf | audio/piece-19.mp3 |
Q196 | 19 | Beethoven | Symphony No. 2, movement 1 | P | What is the principal melody played by winds during the first 10 seconds? | Pitch | Pitch classes with accidentals and no octave numbers | List ordered by appearance | ["A, G#, Bb"] | scores/cleaned_reorganized/piece-19.pdf | scores/without_context/piece-19.pdf | audio/piece-19.mp3 |
Q197 | 20 | Beethoven | Symphony No. 2, movement 3 | P | The first phrase is a period with an antecedent and a consequent. When does the consequent begin? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["00:37", "02:14", "11:05"] | scores/cleaned_reorganized/piece-20.pdf | scores/without_context/piece-20.pdf | audio/piece-20.mp3 |
Q198 | 20 | Beethoven | Symphony No. 2, movement 3 | P | Which instrument plays the main melody, 0:11 onwards? | Short text | Short phrase | Single | ["right hand"] | scores/cleaned_reorganized/piece-20.pdf | scores/without_context/piece-20.pdf | audio/piece-20.mp3 |
Q199 | 20 | Beethoven | Symphony No. 2, movement 3 | P | Which note is heard last in the recording? | Pitch | Pitch classes with accidentals and no octave numbers | Single | ["A", "G#", "Bb"] | scores/cleaned_reorganized/piece-20.pdf | scores/without_context/piece-20.pdf | audio/piece-20.mp3 |
Q200 | 20 | Beethoven | Symphony No. 2, movement 3 | P | During the first 10 seconds of the piece, what are the notes of the melody formed by the notes that are played forte? Only mention the highest notes. | Pitch | Pitch classes with accidentals and no octave numbers | List ordered by appearance | ["Bb, Fx, C"] | scores/cleaned_reorganized/piece-20.pdf | scores/without_context/piece-20.pdf | audio/piece-20.mp3 |
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