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 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
Q201 | 21 | Beethoven | Symphony No. 4, movement 2 | P | At what time do the violins begin playing notes at twice their previous rate? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["00:37", "02:14", "11:05"] | scores/cleaned_reorganized/piece-21.pdf | scores/without_context/piece-21.pdf | audio/piece-21.mp3 |
Q202 | 21 | Beethoven | Symphony No. 4, movement 2 | P | At what time does the descending line beginning at 0:11 end? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["00:37", "02:14", "11:05"] | scores/cleaned_reorganized/piece-21.pdf | scores/without_context/piece-21.pdf | audio/piece-21.mp3 |
Q203 | 22 | Beethoven | Symphony No. 5, movement 1 | P | From what time onward do the participating instruments cease playing in unison? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["00:37", "02:14", "11:05"] | scores/cleaned_reorganized/piece-22.pdf | scores/without_context/piece-22.pdf | audio/piece-22.mp3 |
Q204 | 22 | Beethoven | Symphony No. 5, movement 1 | P | What chord is played at 0:21? | Chord | Lead-sheet chord symbol in root position | Single | ["Esus2", "D#maj7", "B7b5"] | scores/cleaned_reorganized/piece-22.pdf | scores/without_context/piece-22.pdf | audio/piece-22.mp3 |
Q205 | 22 | Beethoven | Symphony No. 5, movement 1 | P | At what time does the music first reach the loudness level at which the final chord is played (approximately)? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["00:37", "02:14", "11:05"] | scores/cleaned_reorganized/piece-22.pdf | scores/without_context/piece-22.pdf | audio/piece-22.mp3 |
Q206 | 22 | Beethoven | Symphony No. 5, movement 1 | P | Which instruments hold the final chord the longest? | Short text | Short phrase | Single | ["right hand"] | scores/cleaned_reorganized/piece-22.pdf | scores/without_context/piece-22.pdf | audio/piece-22.mp3 |
Q207 | 23 | Beethoven | Symphony No. 8, movement 2 | P | To which note does the string line beginning at 0:05 build? | Pitch | Pitch classes with accidentals and no octave numbers | Single | ["A", "G#", "Bb"] | scores/cleaned_reorganized/piece-23.pdf | scores/without_context/piece-23.pdf | audio/piece-23.mp3 |
Q208 | 23 | Beethoven | Symphony No. 8, movement 2 | P | There is a clear question-and-answer dialogue between two groups of instruments. At what times does it begin and end? | Timestamp | Timestamp in M:SS or MM:SS | Pair | ["00:37, 02:14"] | scores/cleaned_reorganized/piece-23.pdf | scores/without_context/piece-23.pdf | audio/piece-23.mp3 |
Q209 | 23 | Beethoven | Symphony No. 8, movement 2 | P | What tonality is stated at 0:04? | Key / tonality | Tonic and mode with accidentals | Single | ["Eb major", "C# minor", "D Dorian"] | scores/cleaned_reorganized/piece-23.pdf | scores/without_context/piece-23.pdf | audio/piece-23.mp3 |
Q210 | 23 | Beethoven | Symphony No. 8, movement 2 | P | Toward which note does the wind line at the beginning build? | Pitch | Pitch classes with accidentals and no octave numbers | Single | ["A", "G#", "Bb"] | scores/cleaned_reorganized/piece-23.pdf | scores/without_context/piece-23.pdf | audio/piece-23.mp3 |
Q211 | 23 | Beethoven | Symphony No. 8, movement 2 | P | At what time does the second crescendo begin? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["00:37", "02:14", "11:05"] | scores/cleaned_reorganized/piece-23.pdf | scores/without_context/piece-23.pdf | audio/piece-23.mp3 |
Q212 | 23 | Beethoven | Symphony No. 8, movement 2 | P | How long is the recording? | Duration / ratio | Duration in MM:SS | Single | ["00:08", "01:24", "12:05"] | scores/cleaned_reorganized/piece-23.pdf | scores/without_context/piece-23.pdf | audio/piece-23.mp3 |
Q213 | 24 | Beethoven | Symphony No. 9, movement 1 | P | Which instrument class carries the main melodic material from 0:02 to 0:10? | Short text | Short phrase | Single | ["right hand"] | scores/cleaned_reorganized/piece-24.pdf | scores/without_context/piece-24.pdf | audio/piece-24.mp3 |
Q214 | 6 | Chopin | Ballade No. 1 | P | What are the notes of the bass line audible between 01:57 and 02:06? Consider only the ones in the lowest register. | Pitch | Pitch classes with accidentals and no octave numbers | List ordered by appearance | ["A, G#, Bb"] | scores/cleaned_reorganized/piece-06.pdf | scores/without_context/piece-06.pdf | audio/piece-06.mp3 |
Q215 | 6 | Chopin | Ballade No. 1 | P | At what timestamp does the final outburst begin, characterized by chromaticism? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["02:54"] | scores/cleaned_reorganized/piece-06.pdf | scores/without_context/piece-06.pdf | audio/piece-06.mp3 |
Q216 | 6 | Chopin | Ballade No. 1 | S/P | The performer uses an extensive rubato during the melody starting at 5:46. At what time does the performance return to the original tempo? Consider this passage only (i.e. before 6:12). | Integer | Non-negative integer written with digits | Single | ["Clair de lune"] | scores/cleaned_reorganized/piece-06.pdf | scores/without_context/piece-06.pdf | audio/piece-06.mp3 |
Q217 | 6 | Chopin | Ballade No. 1 | SP | The performer is playing con forza at 6:14. When exactly, after this moment, does the music change color most significantly? Consider the music up until 6:40. | Timestamp | Timestamp in M:SS or MM:SS | Single | ["02:54"] | scores/cleaned_reorganized/piece-06.pdf | scores/without_context/piece-06.pdf | audio/piece-06.mp3 |
Q218 | 7 | Chopin | Etude Op. 10 No. 4 | P | What is the upper voice playing starting at 1:31 until the immediately following cadence? Provide all the notes up until the arrival point of the cadence. | Pitch | Pitch classes with accidentals and no octave numbers | List ordered by appearance | ["Bb, Fx, C"] | scores/cleaned_reorganized/piece-07.pdf | scores/without_context/piece-07.pdf | audio/piece-07.mp3 |
Q219 | 7 | Chopin | Etude Op. 10 No. 4 | P | At some point there is a E melodic descending scale spanning an octave clearly audible. When does it start and when does it end? | Timestamp | Timestamp in M:SS or MM:SS | Pair | ["0:37, 02:14"] | scores/cleaned_reorganized/piece-07.pdf | scores/without_context/piece-07.pdf | audio/piece-07.mp3 |
Q220 | 7 | Chopin | Etude Op. 10 No. 4 | P | What is the approximate BPM, considering the pulse given by the performer across the whole piece? Indicate the matching range: 75-95, 95-115, 115-135, 135-155, 155-175, 175-195, 195-215, 215-235? | Choice | One choice copied exactly from the question | Single | [] | scores/cleaned_reorganized/piece-07.pdf | scores/without_context/piece-07.pdf | audio/piece-07.mp3 |
Q221 | 7 | Chopin | Etude Op. 10 No. 4 | P | At which times is the main theme played? Provide the start times of the tonic. | Timestamp | Timestamp in M:SS or MM:SS | List ordered by appearance | ["opening theme, second subject, closing theme"] | scores/cleaned_reorganized/piece-07.pdf | scores/without_context/piece-07.pdf | audio/piece-07.mp3 |
Q222 | 8 | Debussy | Reflets dans l'eau | P | In the first 26 seconds of the piece, a short melodic line may be interpreted as an object's reflection on gently flowing water. What notes are these? | Pitch | Pitch classes with accidentals and no octave numbers | List ordered by appearance | ["A, G#, Bb"] | scores/cleaned_reorganized/piece-08.pdf | scores/without_context/piece-08.pdf | audio/piece-08.mp3 |
Q223 | 8 | Debussy | Reflets dans l'eau | P | In the passage that is played almost like a cadenza (1:11-1:52), from what time onwards does the music become noticeably darker for the first time, an effect created by a sudden widening of the register? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["serene", "turbulent", "mysterious"] | scores/cleaned_reorganized/piece-08.pdf | scores/without_context/piece-08.pdf | audio/piece-08.mp3 |
Q224 | 9 | Glinka | The Lark | P | In the cadenza that starts at 2:22, with which note is the sole, forceful F1 lifted? In other words, on which note does the performer release the pedal that contains this F1? | Pitch | Pitch classes with accidentals and no octave numbers | Single | ["A", "G#", "Bb"] | scores/cleaned_reorganized/piece-09.pdf | scores/without_context/piece-09.pdf | audio/piece-09.mp3 |
Q225 | 10 | Haydn | Keyboard Sonata 48, movement 2 | P | The phrase that start in bar 22 builds up toward which soprano note? | Pitch | Pitch names in scientific pitch notation with required octave numbers | Single | ["A4", "G#3", "Bb2"] | scores/cleaned_reorganized/piece-10.pdf | scores/without_context/piece-10.pdf | audio/piece-10.mp3 |
Q226 | 10 | Haydn | Keyboard Sonata 48, movement 2 | P | At what time between 1:37 and 2:42 does the music become noticeably darker, more daunting? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["serene", "turbulent", "mysterious"] | scores/cleaned_reorganized/piece-10.pdf | scores/without_context/piece-10.pdf | audio/piece-10.mp3 |
Q227 | 10 | Haydn | Keyboard Sonata 48, movement 2 | P | At what point in the passage between 3:36 and 3:47 does the performer suddenly start playing more softly? | Short text | Short phrase | Single | ["Clara Schumann"] | scores/cleaned_reorganized/piece-10.pdf | scores/without_context/piece-10.pdf | audio/piece-10.mp3 |
Q228 | 11 | Liszt | Ballade No. 2 | P | Following the opening rumble and its buildup of tension, at what timestamp within the first minute does the first true moment of resolution or rest (reasonably) occur? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["serene", "turbulent", "mysterious"] | scores/cleaned_reorganized/piece-11.pdf | scores/without_context/piece-11.pdf | audio/piece-11.mp3 |
Q229 | 11 | Liszt | Ballade No. 2 | P | What is the melody heard above the rumble during its initial occurrence, up to and including the final B before a solitary melodic line ascends out of the chaos (within the first minute)? | Pitch | Pitch classes with accidentals and no octave numbers | List ordered by appearance | ["G#, Bb, Fx"] | scores/cleaned_reorganized/piece-11.pdf | scores/without_context/piece-11.pdf | audio/piece-11.mp3 |
Q230 | 11 | Liszt | Ballade No. 2 | S/P | How many semitones higher or lower is the second occurrence of lento assai compared to the first? | Integer | Signed integer written with digits | Single | ["4"] | scores/cleaned_reorganized/piece-11.pdf | scores/without_context/piece-11.pdf | audio/piece-11.mp3 |
Q231 | 11 | Liszt | Ballade No. 2 | P | From what time onwards is there a passage with a distinct decisive character (for the first time)? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["02:54"] | scores/cleaned_reorganized/piece-11.pdf | scores/without_context/piece-11.pdf | audio/piece-11.mp3 |
Q232 | 12 | Mozart | Piano Sonata 12, movement 1 | P | When does the music become dramatic for the first time? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["02:54"] | scores/cleaned_reorganized/piece-12.pdf | scores/without_context/piece-12.pdf | audio/piece-12.mp3 |
Q233 | 13 | Mozart | Piano Sonata 12, movement 3 | P | Between 2:00 and 2:15, at some point, the performer loses the flow resulting in some notes not coming out as well or in a timely manner. At what time does this happen? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["02:54"] | scores/cleaned_reorganized/piece-13.pdf | scores/without_context/piece-13.pdf | audio/piece-13.mp3 |
Q234 | 14 | Rachmaninoff | Prelude Op. 23 No. 4 | P | At what timestamp does the first melodic note of the third main-theme statement begin? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["02:54"] | scores/cleaned_reorganized/piece-14.pdf | scores/without_context/piece-14.pdf | audio/piece-14.mp3 |
Q235 | 14 | Rachmaninoff | Prelude Op. 23 No. 4 | P | How many seconds does the last chord last? | 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 |
Q236 | 14 | Rachmaninoff | Prelude Op. 23 No. 4 | P | The beginning of the piece is peaceful and played with a singing tone. Within the first statement of the theme, at which point does the music reach its first dramatic moment? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["02:54"] | scores/cleaned_reorganized/piece-14.pdf | scores/without_context/piece-14.pdf | audio/piece-14.mp3 |
Q237 | 14 | Rachmaninoff | Prelude Op. 23 No. 4 | P | At what point does the music reaches the silent climax of the piece, marked by rising line going softer and softer and intense rubato? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["02:54"] | scores/cleaned_reorganized/piece-14.pdf | scores/without_context/piece-14.pdf | audio/piece-14.mp3 |
Q238 | 15 | Schubert | Moment musical No. 3 | P | There is a repeating background noise. What is the source of this noise? | Short text | Short phrase | Single | ["an ascending sequence"] | scores/cleaned_reorganized/piece-15.pdf | scores/without_context/piece-15.pdf | audio/piece-15.mp3 |
Q239 | 15 | Schubert | Moment musical No. 3 | P | Starting at 01:00, the performer puts a middle voice in the forefront. Which note is the last clearly discernible note of this second voice? | Pitch | Pitch names in scientific pitch notation with required octave numbers | Single | ["A4", "G#3", "Bb2"] | scores/cleaned_reorganized/piece-15.pdf | scores/without_context/piece-15.pdf | audio/piece-15.mp3 |
Q240 | 15 | Schubert | Moment musical No. 3 | P | The second time the theme is played, the performer emphasizes some notes from the bass. Which bass notes are clearly discernible in this reprise of the theme? | Pitch | Pitch classes with accidentals and no octave numbers | List ordered by appearance | ["A, G#, Fx"] | scores/cleaned_reorganized/piece-15.pdf | scores/without_context/piece-15.pdf | audio/piece-15.mp3 |
Q241 | 15 | Schubert | Moment musical No. 3 | P | What articulation creates the distinct character of the piece? | Articulation | Articulation term written in full | Single | ["legato"] | scores/cleaned_reorganized/piece-15.pdf | scores/without_context/piece-15.pdf | audio/piece-15.mp3 |
Q242 | 15 | Schubert | Moment musical No. 3 | P | At what times is each of the three themes played for the first time? | Timestamp | Timestamp in M:SS or MM:SS | List ordered by appearance | ["opening theme, second subject, closing theme"] | scores/cleaned_reorganized/piece-15.pdf | scores/without_context/piece-15.pdf | audio/piece-15.mp3 |
Q243 | 15 | Schubert | Moment musical No. 3 | S/P | Compare the use of pedal between the first and third theme. Overall, does the second use more, less, or as much pedal as the first, and when does this theme start for the first time? | Composite answer | Two answer components in the formats specified in the question | Single | [] | scores/cleaned_reorganized/piece-15.pdf | scores/without_context/piece-15.pdf | audio/piece-15.mp3 |
Q244 | 15 | Schubert | Moment musical No. 3 | P | At what time is the main theme played for the last time? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["opening theme", "second subject", "closing theme"] | scores/cleaned_reorganized/piece-15.pdf | scores/without_context/piece-15.pdf | audio/piece-15.mp3 |
Q245 | 16 | Schumann | Arabeske Op. 18 | P | In the first ten seconds of the piece, the performer directs the phrasing to two points. At these two points, tension releases, seemingly creating the feeling of appeasement. Which two soprano notes does the phasing build up to? | Pitch | Pitch classes with accidentals and no octave numbers | Pair | ["A, G#"] | scores/cleaned_reorganized/piece-16.pdf | scores/without_context/piece-16.pdf | audio/piece-16.mp3 |
Q246 | 16 | Schumann | Arabeske Op. 18 | P | Between 5:18-5:46, a specific pitch in the soprano is played as the repeated resting point within small melodic movements. Which one? | Pitch | Pitch names in scientific pitch notation with required octave numbers | Single | ["A4", "G#3", "Bb2"] | scores/cleaned_reorganized/piece-16.pdf | scores/without_context/piece-16.pdf | audio/piece-16.mp3 |
Q247 | 16 | Schumann | Arabeske Op. 18 | P | The last G is struck at which second? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["02:54"] | scores/cleaned_reorganized/piece-16.pdf | scores/without_context/piece-16.pdf | audio/piece-16.mp3 |
Q248 | 16 | Schumann | Arabeske Op. 18 | P | How long is the performance of the piece in total? | Duration / ratio | Duration in M:SS or MM:SS | Single | ["0:08", "01:24", "12:05"] | scores/cleaned_reorganized/piece-16.pdf | scores/without_context/piece-16.pdf | audio/piece-16.mp3 |
Q249 | 17 | Scriabin | Etude Op. 8 No. 11 | P | In the beginning, the slowly moving voices give the piece its distinct character. Eventually, a rather unexpected, dominant chord creates a moment of light or alleviation. At what time does this first occur? Refer to the time the chord is struck. Hint: it occurs before the 2nd minute. | Timestamp | Timestamp in M:SS or MM:SS | Single | ["melancholic", "joyful", "agitated"] | scores/cleaned_reorganized/piece-17.pdf | scores/without_context/piece-17.pdf | audio/piece-17.mp3 |
Q250 | 17 | Scriabin | Etude Op. 8 No. 11 | P | Between 03:25 and 3:37, the performer emphasizes a second voice. What is this melodic line? | Pitch | Pitch classes with accidentals and no octave numbers | List ordered by appearance | ["G#, Bb, Fx"] | scores/cleaned_reorganized/piece-17.pdf | scores/without_context/piece-17.pdf | audio/piece-17.mp3 |
Q251 | 18 | Scriabin | Piano Sonata No. 5 | P | At what time does the performer play the last note of the piece? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["02:54"] | scores/cleaned_reorganized/piece-18.pdf | scores/without_context/piece-18.pdf | audio/piece-18.mp3 |
Q252 | 18 | Scriabin | Piano Sonata No. 5 | P | Between 8:43 and 8:46, which note sounds most prominently? | Pitch | Pitch classes with accidentals and no octave numbers | Single | ["Clair de lune", "Kinderszenen", "The Well-Tempered Clavier"] | scores/cleaned_reorganized/piece-18.pdf | scores/without_context/piece-18.pdf | audio/piece-18.mp3 |
Q253 | 1 | Bach | Fugue BWV 875 | SP | At what timestamp does measure 25 begin in the performance? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["02:54"] | scores/cleaned_reorganized/piece-01.pdf | scores/without_context/piece-01.pdf | audio/piece-01.mp3 |
Q254 | 1 | Bach | Fugue BWV 875 | SP | The performer plays bars 1-2 with different articulation: sometimes legato, sometimes staccato. Which eighth notes are played staccato? | Pitch | Pitch names in scientific pitch notation with required octave numbers | List ordered by appearance | ["staccato, legato, tenuto"] | scores/cleaned_reorganized/piece-01.pdf | scores/without_context/piece-01.pdf | audio/piece-01.mp3 |
Q255 | 2 | Bach | Prelude BWV 848 | SP | In bars 35-36, and again in bars 37-38, the performer consistently emphasizes a note in the left hand. On which beat does this note fall within the bar? | Bar / beat | Beat number written with digits only | Single | ["1", "4", "2"] | scores/cleaned_reorganized/piece-02.pdf | scores/without_context/piece-02.pdf | audio/piece-02.mp3 |
Q256 | 2 | Bach | Prelude BWV 848 | SP | In measure 77, the performer elongates a note in the right hand beyond the written duration, creating a special effect. Which note is it? | Pitch | Pitch names in scientific pitch notation with required octave numbers | Single | ["A4", "G#3", "Bb2"] | scores/cleaned_reorganized/piece-02.pdf | scores/without_context/piece-02.pdf | audio/piece-02.mp3 |
Q257 | 2 | Bach | Prelude BWV 848 | SP | Starting in bar 87, the music builds up tension in anticipation of the cadence. Following the melodic line put forward by the performer, which note would be the most logical continuation of the melody in bar 97? | Pitch | Pitch names in scientific pitch notation with required octave numbers | Single | ["A4", "G#3", "Bb2"] | scores/cleaned_reorganized/piece-02.pdf | scores/without_context/piece-02.pdf | audio/piece-02.mp3 |
Q258 | 2 | Bach | Prelude BWV 848 | SP | Which note in the first bar is played the softest? | Pitch | Pitch names in scientific pitch notation with required octave numbers | Single | ["Clair de lune", "Kinderszenen", "The Well-Tempered Clavier"] | scores/cleaned_reorganized/piece-02.pdf | scores/without_context/piece-02.pdf | audio/piece-02.mp3 |
Q259 | 2 | Bach | Prelude BWV 848 | SP | From which measure onwards does the performer significantly slow down the tempo compared to the beginning? | Bar / beat | Bar number written with digits only | Single | ["meno mosso", "a tempo", "ritardando"] | scores/cleaned_reorganized/piece-02.pdf | scores/without_context/piece-02.pdf | audio/piece-02.mp3 |
Q260 | 2 | Bach | Prelude BWV 848 | SP | Which note is accentuated the most in the trait of bars 97-98? | Short text | Short phrase | Single | ["Clair de lune"] | scores/cleaned_reorganized/piece-02.pdf | scores/without_context/piece-02.pdf | audio/piece-02.mp3 |
Q261 | 3 | Balakirev | Islamey | SP | The phrasing in bars 143-144 is built up toward which note? In other words, where is the center of gravity within that phrase? | Pitch | Pitch classes with accidentals and no octave numbers | Single | ["A", "G#", "Bb"] | scores/cleaned_reorganized/piece-03.pdf | scores/without_context/piece-03.pdf | audio/piece-03.mp3 |
Q262 | 3 | Balakirev | Islamey | SP | The low D in measure 95 is suspended for some time. With which harmony is the note lifted? | Chord | Lead-sheet chord symbol in root position | Single | ["Esus2", "D#maj7", "B7b5"] | scores/cleaned_reorganized/piece-03.pdf | scores/without_context/piece-03.pdf | audio/piece-03.mp3 |
Q263 | 3 | Balakirev | Islamey | SP | The first part of the piece concludes at 1:59 with a fermata chord. Up until there, the first two bars of the piece were varied many times. How many times in total were these two bars evoked? Consider it evoked when the variation spans the full two bar passage and the melody remains largely the same. | Integer | Non-negative integer written with digits | Single | ["4"] | scores/cleaned_reorganized/piece-03.pdf | scores/without_context/piece-03.pdf | audio/piece-03.mp3 |
Q264 | 3 | Balakirev | Islamey | SP | Which three notes in bars 100-105 are played staccato? | Composite answer | Two answer components in the formats specified in the question | List ordered by appearance | ["Clair de lune; Kinderszenen; The Well-Tempered Clavier"] | scores/cleaned_reorganized/piece-03.pdf | scores/without_context/piece-03.pdf | audio/piece-03.mp3 |
Q265 | 4 | Beethoven | Piano Sonata 23, movement 1 | SP | At what time does the development, the moment where the main theme is played in E major, start? | 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 |
Q266 | 4 | Beethoven | Piano Sonata 23, movement 1 | SP | When does the re-exposition start? | 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 |
Q267 | 4 | Beethoven | Piano Sonata 23, movement 1 | SP | In which measure of the coda does the performer start playing arpeggiated chords, cadenza-style? | Bar / beat | Bar number written with digits only | Single | ["4"] | scores/cleaned_reorganized/piece-04.pdf | scores/without_context/piece-04.pdf | audio/piece-04.mp3 |
Q268 | 4 | Beethoven | Piano Sonata 23, movement 1 | SP | Between 09:07 and 09:11, the music plays the same melody across three different octaves. If you were to summarize this melody in three notes such that the contour remains the same, what would it be? | Pitch | Pitch classes with accidentals and no octave numbers | List ordered by appearance | ["A, G#, Bb"] | scores/cleaned_reorganized/piece-04.pdf | scores/without_context/piece-04.pdf | audio/piece-04.mp3 |
Q269 | 20 | Beethoven | Symphony No. 2, movement 3 | S | Which two notes do the violins emphasize in bars 23 and 24? | Pitch | Pitch names in scientific pitch notation with required octave numbers | Pair | ["G#3, Bb2"] | scores/cleaned_reorganized/piece-20.pdf | scores/without_context/piece-20.pdf | audio/piece-20.mp3 |
Q270 | 21 | Beethoven | Symphony No. 4, movement 2 | SP | At what time do both horn parts begin playing? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["00:37", "02:14", "11:05"] | scores/cleaned_reorganized/piece-21.pdf | scores/without_context/piece-21.pdf | audio/piece-21.mp3 |
Q271 | 21 | Beethoven | Symphony No. 4, movement 2 | SP | Which instrument accelerates most significantly, and in which bar does this occur? | Composite answer | Two answer components in the formats specified in the question | Pair | ["meno mosso; a tempo"] | scores/cleaned_reorganized/piece-21.pdf | scores/without_context/piece-21.pdf | audio/piece-21.mp3 |
Q272 | 21 | Beethoven | Symphony No. 4, movement 2 | SP | The performance does not follow the indicated BPM. Which note value should accompany the BPM number to make the indication accurate, or at least more accurate? | Duration / ratio | Notated note value written in full | Single | ["meno mosso", "a tempo", "ritardando"] | scores/cleaned_reorganized/piece-21.pdf | scores/without_context/piece-21.pdf | audio/piece-21.mp3 |
Q273 | 24 | Beethoven | Symphony No. 9, movement 1 | SP | Starting at 0:14 (bar 382), the strings and winds exchange melodic material. What are the notes of the melody heard in the foreground? | Pitch | Pitch classes with accidentals and no octave numbers | List ordered by appearance | ["Fx"] | scores/cleaned_reorganized/piece-24.pdf | scores/without_context/piece-24.pdf | audio/piece-24.mp3 |
Q274 | 6 | Chopin | Ballade No. 1 | SP | Which pitch is played with the most rubato in bar 73? | Pitch | Pitch names in scientific pitch notation with required octave numbers | Single | ["A4", "G#3", "Bb2"] | scores/cleaned_reorganized/piece-06.pdf | scores/without_context/piece-06.pdf | audio/piece-06.mp3 |
Q275 | 6 | Chopin | Ballade No. 1 | SP | The performer plays the first three bars with a lot of rubato. How many times does the performer significantly speed up the tempo (without slowing down)? | Integer | Non-negative integer written with digits | Single | ["4"] | scores/cleaned_reorganized/piece-06.pdf | scores/without_context/piece-06.pdf | audio/piece-06.mp3 |
Q276 | 6 | Chopin | Ballade No. 1 | SP | Consider the theme starting at 251. In which bar does the performer reach the subverted, silent climax of this theme, characterized by a significant slow-down in tempo and loudness? | Bar / beat | Bar number written with digits only | Single | ["4"] | scores/cleaned_reorganized/piece-06.pdf | scores/without_context/piece-06.pdf | audio/piece-06.mp3 |
Q277 | 6 | Chopin | Ballade No. 1 | SP | When the piano plays the melody 'F, G, G, Eb, Eb, D, C, D, D, Bb' for the first time a little after the third minute, the piece is modulating. To which tonality is the music modulating next (after Bb)? | Key / tonality | Tonic and mode with accidentals | Single | ["C# minor", "D Dorian", "Bb Mixolydian"] | scores/cleaned_reorganized/piece-06.pdf | scores/without_context/piece-06.pdf | audio/piece-06.mp3 |
Q278 | 7 | Chopin | Etude Op. 10 No. 4 | SP | In measures 71-72 and again in measures 73-74, the performer emphasizes a specific note/chord. Which one clearly stands out? Provide the pitch value of that note/chord. | Pitch | Pitch names in scientific pitch notation with required octave numbers | Pair | ["A4, G#3"] | scores/cleaned_reorganized/piece-07.pdf | scores/without_context/piece-07.pdf | audio/piece-07.mp3 |
Q279 | 7 | Chopin | Etude Op. 10 No. 4 | S/P | In bar 62, on which beat is the pedal that contains the first D natural lifted? | Bar / beat | Beat number written with digits only | Single | ["1", "4", "2"] | scores/cleaned_reorganized/piece-07.pdf | scores/without_context/piece-07.pdf | audio/piece-07.mp3 |
Q280 | 7 | Chopin | Etude Op. 10 No. 4 | SP | In bar 81, the performer deviates from the score in terms of how the notes are played. What articulation is most strikingly different from what is written? | Articulation | Articulation term written in full | Single | ["staccato"] | scores/cleaned_reorganized/piece-07.pdf | scores/without_context/piece-07.pdf | audio/piece-07.mp3 |
Q281 | 7 | Chopin | Etude Op. 10 No. 4 | P | The performer takes freedom with respect to the tempo at the end of the piece. From which note onwards is this very obvious? Answer with the pitch of the highest sounding voice at that time. | Pitch | Pitch names in scientific pitch notation with required octave numbers | Single | ["A4", "G#3", "Bb2"] | scores/cleaned_reorganized/piece-07.pdf | scores/without_context/piece-07.pdf | audio/piece-07.mp3 |
Q282 | 7 | Chopin | Etude Op. 10 No. 4 | SP | The performer uses the sostenuto pedal sparingly. Starting in bar 1, up until the first beat of bar 4 (inclusive), on which beats in which bars does the performer use the pedal to broaden the sound? Consider the bars to contain 4 beats each. | Bar / beat | Bar number and integer beat number | List ordered by appearance | ["bar 18, beat 3; bar 24, beat 2"] | scores/cleaned_reorganized/piece-07.pdf | scores/without_context/piece-07.pdf | audio/piece-07.mp3 |
Q283 | 7 | Chopin | Etude Op. 10 No. 4 | SP | In bars 41-44, the performer emphasizes a few notes, creating a melodic line amidst the rapid sixteenth notes. Which are these notes? Hint: the line contains 5 notes. | Pitch | Pitch classes with accidentals and no octave numbers | List ordered by appearance | ["A, G#, Bb"] | scores/cleaned_reorganized/piece-07.pdf | scores/without_context/piece-07.pdf | audio/piece-07.mp3 |
Q284 | 8 | Debussy | Reflets dans l'eau | SP | In bars 82 and 83, the composer writes three, unison chords that consist one a single pitch class each (Ab, F, Eb), in a descending line. In what order are the low, middle, and high notes played in the performance? If the notes are played from low to high, write 'low, middle, high' | Category label | Controlled category label written in full | List ordered by appearance | ["exposition, development, recapitulation"] | scores/cleaned_reorganized/piece-08.pdf | scores/without_context/piece-08.pdf | audio/piece-08.mp3 |
Q285 | 8 | Debussy | Reflets dans l'eau | SP | Which two consecutive bars in the piece are played most heroically? | Bar / beat | Bar number written with digits only | Pair | ["18, 42"] | scores/cleaned_reorganized/piece-08.pdf | scores/without_context/piece-08.pdf | audio/piece-08.mp3 |
Q286 | 9 | Glinka | The Lark | SP | In measure 57, the performer adds an ornamentation to the first note. What is the name of this ornamentation, and which note does the performer add? | Composite answer | Bar number followed by yes-or-no label | Single | ["mordent"] | scores/cleaned_reorganized/piece-09.pdf | scores/without_context/piece-09.pdf | audio/piece-09.mp3 |
Q287 | 9 | Glinka | The Lark | SP | The phrase in bars 57-60 builds up to which note? | Pitch | Pitch names in scientific pitch notation with required octave numbers | Single | ["A4", "G#3", "Bb2"] | scores/cleaned_reorganized/piece-09.pdf | scores/without_context/piece-09.pdf | audio/piece-09.mp3 |
Q288 | 9 | Glinka | The Lark | SP | In bar 50, the left hand makes eight upward jumps. Usually, the upper voices within each chord it plays form a tiny two-note melody. However, sometimes, the second note does not come out as clearly. Which of those second notes within each pair is played the softest? Answer with the name of that softest-played upper not... | Pitch | Pitch names in scientific pitch notation with required octave numbers | Single | ["Clara Schumann", "Claude Debussy", "Joseph Haydn"] | scores/cleaned_reorganized/piece-09.pdf | scores/without_context/piece-09.pdf | audio/piece-09.mp3 |
Q289 | 9 | Glinka | The Lark | SP | The composer concludes the piece with material from the opening. At what time was this material first played? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["opening theme", "second subject", "closing theme"] | scores/cleaned_reorganized/piece-09.pdf | scores/without_context/piece-09.pdf | audio/piece-09.mp3 |
Q290 | 10 | Haydn | Keyboard Sonata 48, movement 2 | SP | How many beats approximately (expressed in quarter notes) is the last note last played for? | Duration / ratio | Count in quarter notes written with digits | Single | ["4.5", "7.25", "3"] | scores/cleaned_reorganized/piece-10.pdf | scores/without_context/piece-10.pdf | audio/piece-10.mp3 |
Q291 | 10 | Haydn | Keyboard Sonata 48, movement 2 | SP | Purely rhythmically speaking, the motif in the right hand in bar 38 is equivalent to which set of note values? Express your answer in note values. | Duration / ratio | Count followed by notated note value | Single | ["4 quarter notes", "6 eighth notes", "3 half notes"] | scores/cleaned_reorganized/piece-10.pdf | scores/without_context/piece-10.pdf | audio/piece-10.mp3 |
Q292 | 10 | Haydn | Keyboard Sonata 48, movement 2 | SP | The repeat sign in measure 33, to what measure does it go back to, and does the performer actually go back? | Composite answer | Bar number followed by yes-or-no label | Single | ["42, no"] | scores/cleaned_reorganized/piece-10.pdf | scores/without_context/piece-10.pdf | audio/piece-10.mp3 |
Q293 | 10 | Haydn | Keyboard Sonata 48, movement 2 | SP | In measure 226 - 228, the performer plays four notes staccato: which ones? | Pitch | Pitch names in scientific pitch notation with required octave numbers | List ordered by appearance | ["A4, G#3, Bb2"] | scores/cleaned_reorganized/piece-10.pdf | scores/without_context/piece-10.pdf | audio/piece-10.mp3 |
Q294 | 10 | Haydn | Keyboard Sonata 48, movement 2 | SP | Before the final reprise of the main theme, the composer creates suspense with an ascending line of thirds. At what time is the last third played? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["02:54"] | scores/cleaned_reorganized/piece-10.pdf | scores/without_context/piece-10.pdf | audio/piece-10.mp3 |
Q295 | 11 | Liszt | Ballade No. 2 | SP | Between bar 70 and 75, the pianist does not play all chords as cleanly. On which beats does the performer play wrong notes? | Bar / beat | Bar number and integer beat number | List ordered by appearance | ["staccato, legato, tenuto"] | scores/cleaned_reorganized/piece-11.pdf | scores/without_context/piece-11.pdf | audio/piece-11.mp3 |
Q296 | 11 | Liszt | Ballade No. 2 | SP | What is the main difference in the way the two phrases in the 'lento assai' passages are played? Answer with the term suggesting that change. | Short text | Literal text | Single | ["senza pedale"] | scores/cleaned_reorganized/piece-11.pdf | scores/without_context/piece-11.pdf | audio/piece-11.mp3 |
Q297 | 12 | Mozart | Piano Sonata 12, movement 1 | SP | Which of the three C6 in bars 32, 34, and 36 is accentuated most in the performance? Name the left-hand note played together with the most accentuated C6. | Pitch | Pitch classes with accidentals and no octave numbers | Single | ["A", "G#", "Bb"] | scores/cleaned_reorganized/piece-12.pdf | scores/without_context/piece-12.pdf | audio/piece-12.mp3 |
Q298 | 12 | Mozart | Piano Sonata 12, movement 1 | SP | At what time does the development section of this sonata's first movement start? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["02:54"] | scores/cleaned_reorganized/piece-12.pdf | scores/without_context/piece-12.pdf | audio/piece-12.mp3 |
Q299 | 12 | Mozart | Piano Sonata 12, movement 1 | SP | At what time does the re-exposition start? | Timestamp | Timestamp in M:SS or MM:SS | Single | ["rondo", "ternary form", "sonata form"] | scores/cleaned_reorganized/piece-12.pdf | scores/without_context/piece-12.pdf | audio/piece-12.mp3 |
Q300 | 12 | Mozart | Piano Sonata 12, movement 1 | S/P | Which note is played the loudest in bar 212? | Pitch | Pitch names in scientific pitch notation with required octave numbers | Single | ["Clara Schumann", "Claude Debussy", "Joseph Haydn"] | scores/cleaned_reorganized/piece-12.pdf | scores/without_context/piece-12.pdf | audio/piece-12.mp3 |
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