Datasets:
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 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
Q1 | 1 | Bach | Fugue BWV 875 | S | Which accidentals are written in bars 1-2 of this piece, in order of appearance? List them all, but only the accidentals, not the attached notes. | Short text | Accidental written in full | List ordered by appearance | ["double sharp, double 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 subsequent notes in the soprano voice of bars 3-4? | Interval | Interval name written in full | Single | ["perfect fifth", "minor seventh", "octave"] | 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 ornaments are attached to the F4 eighth note in the upper voice in measure 16? | Category label | Ornament name written in full | Pair | ["turn, appoggiatura"] | 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 upmost voice in measure 17? | Pitch | Pitch classes with accidentals and no octave numbers | List ordered by appearance | ["A, G#, Bb"] | 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 names in scientific pitch notation with required octave numbers | List ordered by appearance | ["G#3, Bb2, Fx5"] | scores/cleaned_reorganized/piece-01.pdf | scores/without_context/piece-01.pdf | audio/piece-01.mp3 |
Q6 | 1 | Bach | Fugue BWV 875 | S | Where 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 number written with digits only | Single | ["4"] | 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 | Non-negative integer written with digits | Single | ["0"] | 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 | 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 |
Q9 | 1 | Bach | Fugue BWV 875 | 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-01.pdf | scores/without_context/piece-01.pdf | audio/piece-01.mp3 |
Q10 | 1 | Bach | Fugue BWV 875 | S | How many measures does the piece contain? | Integer | Non-negative integer written with digits | Single | ["4"] | scores/cleaned_reorganized/piece-01.pdf | scores/without_context/piece-01.pdf | audio/piece-01.mp3 |
Q11 | 2 | Bach | Prelude BWV 848 | S | What note-value motive does the left hand play when the right hand introduces the main theme? List them in order. | Duration / ratio | Notated note value written in full | Pair | ["dotted eighth note, half note"] | 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 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 |
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 | Non-negative integer written with digits | List ordered by appearance | ["0, 27, 12"] | scores/cleaned_reorganized/piece-02.pdf | scores/without_context/piece-02.pdf | audio/piece-02.mp3 |
Q14 | 2 | Bach | Prelude BWV 848 | S | What is the interval in semitones between the first and second time the theme is played? Refer to the interval between the sixteenth notes. | Interval | Semitone count | Single | ["3"] | scores/cleaned_reorganized/piece-02.pdf | scores/without_context/piece-02.pdf | audio/piece-02.mp3 |
Q15 | 2 | Bach | Prelude BWV 848 | S | The elongated pedal note on the dominant that goes on until measure 103, in which bar does it start? | Bar / beat | Bar number written with digits only | Single | ["4"] | scores/cleaned_reorganized/piece-02.pdf | scores/without_context/piece-02.pdf | audio/piece-02.mp3 |
Q16 | 2 | Bach | Prelude BWV 848 | S | The right hand in bars 18-21 plays repeating intervals, a distinct one per measure. Name the intervals played in each measure, so four in total. | Interval | Interval quality and number | List ordered by appearance | ["major third, minor seventh, augmented fourth"] | scores/cleaned_reorganized/piece-02.pdf | scores/without_context/piece-02.pdf | audio/piece-02.mp3 |
Q17 | 2 | Bach | Prelude BWV 848 | S | How many sharps are there at the key signature? | Integer | Non-negative integer written with digits | Single | ["4"] | 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 written with digits only | Single | ["4"] | 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 bass line in the left hand, first introduced in measure 1-7 (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 classes with accidentals and no octave numbers | List ordered by appearance | ["A, Bb, Fx"] | 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 and what is its function in the cadence? | Composite answer | Chord symbol followed by harmonic-function label | Single | ["G7/B, dominant"] | 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 | [] | 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? | Key / tonality | Scale or mode name with accidentals | Single | ["C major", "F# minor", "D Dorian"] | scores/cleaned_reorganized/piece-03.pdf | scores/without_context/piece-03.pdf | audio/piece-03.mp3 |
Q23 | 3 | Balakirev | Islamey | S | Oftentimes, a passage or piece is named after its tempo or playing style indication. List all the passages by their tempo or playing style indication as written in the score, up until bar 164. | Short text | Expressive term or phrase | List ordered by appearance | ["dolce, con fuoco, sotto voce"] | 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 intense than the passage the marking is referring to? And which word makes this clear? | Composite answer | Two answer components in the formats specified in the question | Single | [] | 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 toward Db2 and Db1 in Db major using C7 as passing notes.
(2) Lyrical song.
(3) Presto Furioso marking.
Write only the numbers corresponding to the described passages, in order of appearance. | Integer | Non-negative integer written with digits | List ordered by appearance | ["0, 4, 27"] | scores/cleaned_reorganized/piece-03.pdf | scores/without_context/piece-03.pdf | audio/piece-03.mp3 |
Q26 | 3 | Balakirev | Islamey | S | The lyrical theme, first presented starting in bar 92, is transformed into a dance written in 2/4. When does this variation begin? | Bar / beat | Bar number written with digits only | Single | ["opening theme", "second subject", "closing theme"] | 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 written with digits only | Single | ["4"] | 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 258 is a variation of a previous passage. Identify the first bar of that original passage (the first time it is played). | Bar / beat | Bar number written with digits only | Single | ["4"] | 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 this piece: 1,000, 2,000, 4,000, 6,000, 8,000, 10,000, or 20,000. | Integer | Non-negative integer written with digits | Single | [] | 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 | In what year did the composer die? | Integer | Non-negative integer written with digits | Single | ["0"] | 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 | What special chord is played in bar 5? | Category label | Chord-category name written in full | Single | ["diminished-seventh chord", "augmented triad", "dominant seventh chord"] | 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 78 initiates a modulating bridge. Which tonality does it lead to, as evidenced by an dominant to that key spanning more than 10 bars? | Key / tonality | Tonic and mode with accidentals | Single | ["Eb major", "C# minor", "D Dorian"] | 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 is the first occurrence of the lowest note? It is also the lowest note that was typically available on instruments at that time. | 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 |
Q34 | 4 | Beethoven | Piano Sonata 23, movement 1 | S | Starting in which bar is the "fate knocking at the door", or short-short-short-long motif, as seen in the composer's Fifth Symphony, the primary music element for the first time? | 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 |
Q35 | 4 | Beethoven | Piano Sonata 23, movement 1 | S | At two points in the piece, the composer writes a 4-bar almost-chromatic single-note descending line that. Which two bars feature a sudden subito forte outburst of expression following this line? | Bar / beat | Bar number written with digits only | Pair | ["mezzo-piano, crescendo"] | 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 | The second slur of bar 299 ends on which note? | Pitch | Pitch names in scientific pitch notation with required octave numbers | Single | ["A4", "G#3", "Bb2"] | 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 this is formed in bars 250-251? | Category label | Cadence name written in full | Single | ["half 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 subsequent bar, relative to C? | Chord | Roman-numeral chord symbol | List ordered by appearance | ["V7, V6/5/V, iv6"] | 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 | A predominant chord appears in measure 185. What is the name of this specific type of chord? | Category label | Chord-category name written in full | Single | ["diminished-seventh chord", "Neapolitan chord", "augmented triad"] | 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 | What scale do both hands play in 301? Name key and type. | Key / tonality | Scale or mode name with accidentals | Single | ["F# minor", "D Dorian", "Bb Mixolydian"] | 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 is the note value (rhythm) of the soprano note at the start of measure 20? | Duration / ratio | Notated note value written in full | Single | ["quarter note", "dotted eighth note", "half 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? | Duration / ratio | Notated note value written in full | List ordered by appearance | ["dotted eighth note, sixteenth note, dotted half note"] | 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, how many voices playing simultaneously does measure 137 contain at most at a single point in time? | Integer | Non-negative integer written with digits | Single | ["4"] | 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 | Non-negative integer written with digits | Single | ["4"] | 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 | In which bar is the opening pianissimo replaced by another dynamic? | Bar / beat | Bar number written with digits only | Single | ["mezzo-piano", "crescendo", "fortissimo"] | 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 optional bass | List ordered by appearance | ["Esus2, D#maj7, B7b5"] | 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 classes with accidentals and no octave numbers | List ordered by appearance | ["G#, Bb, Fx"] | 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 | Non-negative integer written with digits | Single | ["4"] | 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 written as N-N | Single | ["8-15", "24-31", "68-75"] | 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 | By how many semitones does the theme in bar 249 differ from the opening statement in the beginning of the piece? | Integer | Signed integer written with digits | Single | ["4"] | 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 two instruments aid the violin in bars 35–36 in completing the harmony? | Short text | Short phrase | Pair | ["right hand, left hand"] | scores/cleaned_reorganized/piece-19.pdf | scores/without_context/piece-19.pdf | audio/piece-19.mp3 |
Q52 | 19 | Beethoven | Symphony No. 2, movement 1 | SP | Which instruments first played the slurred sixteenth-note motif heard at 0:18? | Short text | Short phrase | Pair | ["right hand, left hand"] | 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? | Short text | Short phrase | List ordered alphabetically | ["right hand, left hand, both hands"] | 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 bars are written in this score? Count each instrument’s bar separately. | Integer | Non-negative integer written with digits | Single | ["4"] | 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? | Short text | Short phrase | List ordered alphabetically | ["right hand, left hand, both hands"] | 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? | Composite answer | Two answer components in the formats specified in the question | Pair | ["flute, 42; violin, 18"] | 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 in the first bar? | Pitch | Pitch names in scientific pitch notation with required octave numbers | Pair | ["A4, G#3"] | 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 classes with accidentals and no octave numbers | List ordered by appearance | ["A, G#, Bb"] | scores/cleaned_reorganized/piece-24.pdf | scores/without_context/piece-24.pdf | audio/piece-24.mp3 |
Q59 | 6 | Chopin | Ballade No. 1 | S | In bars 85-86, the composer writes a descending middle voice. What notes are these? | Unknown | Unknown | List ordered by appearance | ["A4, G#3, Bb2"] | scores/cleaned_reorganized/piece-06.pdf | scores/without_context/piece-06.pdf | audio/piece-06.mp3 |
Q60 | 6 | Chopin | Ballade No. 1 | S | Into how many subdivisions should the performer divide the first half of bar 170 in order to play that part with mathematical precision? | 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 |
Q61 | 6 | Chopin | Ballade No. 1 | S | Which chord progression begins in measure 89 and continues until the 'a tempo (meno mosso)' marking? | Chord | Lead-sheet chord symbol with optional bass | List ordered by appearance | ["Esus2, D#maj7, B7b5"] | scores/cleaned_reorganized/piece-06.pdf | scores/without_context/piece-06.pdf | audio/piece-06.mp3 |
Q62 | 6 | Chopin | Ballade No. 1 | S | Between measures 130 and 134, the right hand plays a line of rapid eighth notes. Taking the first note of every consecutive two-note pair in this passage, what repeated sequence do they form? | Pitch | Pitch classes with accidentals and no octave numbers | List ordered by appearance | ["A, G#, Fx"] | 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 particular technical challenge for the pianist's right hand: an alternating pattern of single notes with dyads while having to change hand positions across octaves at a rapid pace. Until when is this particular challenge, with all the aforementioned constraints, conceivable? Answer with the number ... | 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 |
Q64 | 6 | Chopin | Ballade No. 1 | S | In which measures does a significant portion of the theme introduced in measure 8 repeat, albeit in a different tonality? | Bar / beat | Bar number written with digits only | List ordered by appearance | ["opening theme, second subject, closing theme"] | scores/cleaned_reorganized/piece-06.pdf | scores/without_context/piece-06.pdf | audio/piece-06.mp3 |
Q65 | 6 | Chopin | Ballade No. 1 | S | Which earlier eight-measure passage is the passage from bars 106 through 113 a variation of? | Bar / beat | Bar range written as N-N | Single | ["8-15", "24-31", "2-9"] | 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 written with digits only | Single | ["trill", "mordent", "turn"] | 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 phrases. Consider the phrases in bars 18 and 22. How many semitones are these two phrases apart? | Interval | Semitone count | Single | ["3"] | 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 annotation in bar 81 stand for? | Short text | Short phrase | Single | ["an ascending sequence"] | 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 in bar 18? | Category label | Cadence name written in full | Single | ["half 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 bars of the dominant chord are there before the recapitulation of the piece starts? | Integer | Non-negative integer written with digits | Single | ["7"] | 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 bars is there a voice that plays the circle of fifths for at least five notes? | Bar / beat | Bar range written as N-N | Single | ["8-15", "24-31", "68-75"] | 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 | There are two melodic motives, each consisting of four sixteenth notes, that are used throughout the piece and are first introduced in the first few bars. In which bars are they last played? | Bar / beat | Bar number written with digits only | Pair | ["18, 42"] | scores/cleaned_reorganized/piece-07.pdf | scores/without_context/piece-07.pdf | audio/piece-07.mp3 |
Q73 | 8 | Debussy | Reflets dans l'eau | S | Which note of the melody in measure 25 is the first to be played pp? | Pitch | Pitch names in scientific pitch notation with required octave numbers | Single | ["A4", "G#3", "Bb2"] | 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 in measure 16? | Interval | Interval quality and number | Single | ["major third", "perfect fifth", "minor seventh"] | 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 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"] | scores/cleaned_reorganized/piece-08.pdf | scores/without_context/piece-08.pdf | audio/piece-08.mp3 |
Q76 | 8 | Debussy | Reflets dans l'eau | S | Which note of the right hand should be played the loudest in bar 57? | Pitch | Pitch names in scientific pitch notation with required octave numbers | Single | ["A4", "G#3", "Bb2"] | 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 melodic line shaped by tenuti in measures 22 and 23? | Pitch | Pitch names in scientific pitch notation with required octave numbers | List ordered by appearance | ["A4, G#3, Bb2"] | 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 classes with accidentals and no octave numbers | List ordered by appearance | ["G#, Fx, C"] | 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? | Integer | Non-negative integer written with digits | Single | ["4"] | scores/cleaned_reorganized/piece-08.pdf | scores/without_context/piece-08.pdf | audio/piece-08.mp3 |
Q80 | 8 | Debussy | Reflets dans l'eau | S | The whole tone scales played in measure 65 end in which note? | Pitch | Pitch classes with accidentals and no octave numbers | Single | ["A", "G#", "Bb"] | 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 top melody in measure 58 is repeated at three different registers. Rank them from low to high. In measure 58, consider the upper voice only. Write: low, mid, high in order of appearance. | 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 |
Q82 | 8 | Debussy | Reflets dans l'eau | S | How many times are the first three sixteenth notes in the right hand played as a group in the first 10 measures in the exact same chord inversions (though not necessarily in the same register)? In other words, count the occurrences of this pattern across bars 1-10. | Integer | Non-negative integer written with digits | Single | ["4"] | 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. In what measure does the composer get back to previous material, thereby concluding the development of that motif? | Bar / beat | Bar number written with digits only | Single | ["4"] | scores/cleaned_reorganized/piece-08.pdf | scores/without_context/piece-08.pdf | audio/piece-08.mp3 |
Q84 | 8 | Debussy | Reflets dans l'eau | S | Near the ending of the music, the composer seems to want the water to return to its tranquil state after a lot of movement and the music to sound from afar. Which measure explicitly marks the beginning of this passage? | Bar / beat | Bar number written with digits only | Single | ["rondo", "ternary form", "sonata form"] | 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 to treat the melodic fragments as if it were a declamation? | Short text | Expressive term or phrase | Single | ["dolce"] | 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 formed in measure 33 when both hands play arpeggios simultaneously? Provide the name of the chord in root position. | Chord | Lead-sheet chord symbol in root position | Single | ["Esus2", "D#maj7", "B7b5"] | 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 by the right hand in measure 40? | Key / tonality | Scale or mode name with accidentals | Single | ["C major", "F# minor", "D Dorian"] | scores/cleaned_reorganized/piece-09.pdf | scores/without_context/piece-09.pdf | audio/piece-09.mp3 |
Q88 | 9 | Glinka | The Lark | S | In the second cadenza, after the fermata, the composer writes an ascending line. What is the chord formed by this line? | Chord | Lead-sheet chord symbol in root position | Single | ["Esus2", "D#maj7", "B7b5"] | scores/cleaned_reorganized/piece-09.pdf | scores/without_context/piece-09.pdf | audio/piece-09.mp3 |
Q89 | 9 | Glinka | The Lark | S | Name the two ornamentations in bars 3 and 4 that give the music its distinct character. | Short text | Short phrase | Pair | ["trill, mordent"] | scores/cleaned_reorganized/piece-09.pdf | scores/without_context/piece-09.pdf | audio/piece-09.mp3 |
Q90 | 9 | Glinka | The Lark | S | After the fragmented introduction in which two musical textures alternate, in which measure does the first complete statement of the sung melody begin? | Bar / beat | Bar number written with digits only | Single | ["opening theme", "second subject", "closing theme"] | 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 second full statement of the main melody begin, though it may be varied? | Bar / beat | Bar number written with digits only | Single | ["opening theme", "second subject", "closing theme"] | scores/cleaned_reorganized/piece-09.pdf | scores/without_context/piece-09.pdf | audio/piece-09.mp3 |
Q92 | 9 | Glinka | The Lark | S | What indication reinforces the 'brilliante, ben marcata' melody? | Articulation | Articulation term written in full | Single | ["staccato"] | 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 bar is to be played the softest? | Bar / beat | Bar number written with digits only | Single | ["mezzo-piano", "crescendo", "fortissimo"] | 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 written with digits only | Single | ["4"] | 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 written as N-N | Single | ["8-15", "24-31", "68-75"] | 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 by the two dotted quarters notes played sforzando in measure 148? | Interval | Interval quality and number | Single | ["perfect fifth", "minor seventh", "augmented fourth"] | 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. In which bar is this cliff? | Bar / beat | Bar number written with digits only | Single | ["4"] | 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 195 through 207, in order of appearance? | Category label | Dynamic marking or term written in full | List ordered by appearance | ["mezzo-piano, crescendo, diminuendo"] | 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 left and right hand play exactly the same pitch classes? | Bar / beat | Bar number written with digits only | List ordered by appearance | ["right hand, left hand, both hands"] | 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 eighth notes? | Integer | Non-negative integer written with digits | Single | ["0"] | scores/cleaned_reorganized/piece-10.pdf | scores/without_context/piece-10.pdf | audio/piece-10.mp3 |
End of preview. Expand in Data Studio
MuSP-Bench
MuSP-Bench is a 456-question benchmark for musical score understanding, performance listening, and combined score-performance reasoning.
Contents
data/questions.csv: all 456 questions and the response contract for each.scores/cleaned_reorganized/: one cleaned and reorganized PDF per piece.scores/without_context/: one context-removed PDF per piece.audio/: one shared MP3 performance per piece.
Each question row points to its two score PDFs and audio file. Media files are reused by every question about the same piece.
Modalities
S: answer from the score.P: answer from the performance recording.SP: answer using both score and performance.S/P: answer from either source.
answerExample contains JSON-encoded formatting examples. Examples illustrate
the requested syntax only and are not answers to the benchmark questions.
Ground-truth answers are intentionally not included in this release.
- Downloads last month
- -