song_id stringclasses 150
values | abc_notation stringclasses 150
values | level int32 1 4 | question stringlengths 19 91 | answer stringlengths 1 80 ⌀ |
|---|---|---|---|---|
Beethoven_-_Sonata_in_G_Op.14_No.2_Movement_I | X:1
T:Sonata in G
C:Ludwig van Beethoven (1770-1827)
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=100
M:2/4
I:linebreak $
K:G
V:1 treble nm="Grand Piano" snm="Pno."
V:3 treble
V:2 bass
V:4 bass
V:1
!p!"^Allegro" z/"_legato" (D/d/^A/ | B/F<G) (D/d/^A/ | B/F<G) (E/e/B/ | c/^G<A) (E/e/B/ | %4
c/^G<A) (A/c'/).b/ | (a>g f/... | 2 | In measure 13, what is the tempo change marking? | Poco ritardando |
Beethoven_-_Sonata_in_G_Op.14_No.2_Movement_I | X:1
T:Sonata in G
C:Ludwig van Beethoven (1770-1827)
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=100
M:2/4
I:linebreak $
K:G
V:1 treble nm="Grand Piano" snm="Pno."
V:3 treble
V:2 bass
V:4 bass
V:1
!p!"^Allegro" z/"_legato" (D/d/^A/ | B/F<G) (D/d/^A/ | B/F<G) (E/e/B/ | c/^G<A) (E/e/B/ | %4
c/^G<A) (A/c'/).b/ | (a>g f/... | 3 | In measure 22, does it begin on the tonic chord of the original key? | No |
Beethoven_-_Sonata_in_G_Op.14_No.2_Movement_I | X:1
T:Sonata in G
C:Ludwig van Beethoven (1770-1827)
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=100
M:2/4
I:linebreak $
K:G
V:1 treble nm="Grand Piano" snm="Pno."
V:3 treble
V:2 bass
V:4 bass
V:1
!p!"^Allegro" z/"_legato" (D/d/^A/ | B/F<G) (D/d/^A/ | B/F<G) (E/e/B/ | c/^G<A) (E/e/B/ | %4
c/^G<A) (A/c'/).b/ | (a>g f/... | 3 | In measure 22, what is the spacing/arrangement of the C major chord? | Close spacing |
Beethoven_-_Sonata_in_G_Op.14_No.2_Movement_I | X:1
T:Sonata in G
C:Ludwig van Beethoven (1770-1827)
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=100
M:2/4
I:linebreak $
K:G
V:1 treble nm="Grand Piano" snm="Pno."
V:3 treble
V:2 bass
V:4 bass
V:1
!p!"^Allegro" z/"_legato" (D/d/^A/ | B/F<G) (D/d/^A/ | B/F<G) (E/e/B/ | c/^G<A) (E/e/B/ | %4
c/^G<A) (A/c'/).b/ | (a>g f/... | 3 | In measures 263–264, is there a suspension in the chord? | No |
Beethoven_-_Sonata_in_G_Op.14_No.2_Movement_I | X:1
T:Sonata in G
C:Ludwig van Beethoven (1770-1827)
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=100
M:2/4
I:linebreak $
K:G
V:1 treble nm="Grand Piano" snm="Pno."
V:3 treble
V:2 bass
V:4 bass
V:1
!p!"^Allegro" z/"_legato" (D/d/^A/ | B/F<G) (D/d/^A/ | B/F<G) (E/e/B/ | c/^G<A) (E/e/B/ | %4
c/^G<A) (A/c'/).b/ | (a>g f/... | 4 | Where is the recapitulation located? | Starting at measure 137 |
Beethoven_-_Sonata_in_G_Op.14_No.2_Movement_I | X:1
T:Sonata in G
C:Ludwig van Beethoven (1770-1827)
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=100
M:2/4
I:linebreak $
K:G
V:1 treble nm="Grand Piano" snm="Pno."
V:3 treble
V:2 bass
V:4 bass
V:1
!p!"^Allegro" z/"_legato" (D/d/^A/ | B/F<G) (D/d/^A/ | B/F<G) (E/e/B/ | c/^G<A) (E/e/B/ | %4
c/^G<A) (A/c'/).b/ | (a>g f/... | 4 | Where is the start and end of the principal section? | Measures 1–16 |
Beethoven_-_Sonata_in_G_Op.14_No.2_Movement_I | X:1
T:Sonata in G
C:Ludwig van Beethoven (1770-1827)
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=100
M:2/4
I:linebreak $
K:G
V:1 treble nm="Grand Piano" snm="Pno."
V:3 treble
V:2 bass
V:4 bass
V:1
!p!"^Allegro" z/"_legato" (D/d/^A/ | B/F<G) (D/d/^A/ | B/F<G) (E/e/B/ | c/^G<A) (E/e/B/ | %4
c/^G<A) (A/c'/).b/ | (a>g f/... | 2 | In measure 264, what is the articulation marking? | With Ottava |
Beethoven_-_Sonata_in_G_Op.14_No.2_Movement_I | X:1
T:Sonata in G
C:Ludwig van Beethoven (1770-1827)
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=100
M:2/4
I:linebreak $
K:G
V:1 treble nm="Grand Piano" snm="Pno."
V:3 treble
V:2 bass
V:4 bass
V:1
!p!"^Allegro" z/"_legato" (D/d/^A/ | B/F<G) (D/d/^A/ | B/F<G) (E/e/B/ | c/^G<A) (E/e/B/ | %4
c/^G<A) (A/c'/).b/ | (a>g f/... | 4 | Where is the secondary section located? | Starting at measure 35 |
Beethoven_Piano_Sonata_No._5_in_C-Minor_Op._10_No._1 | X:1
T:Piano Sonata No. 1, Op. 10
C:Ludwig van Beethoven
%%score { ( 1 4 7 ) | ( 2 3 5 6 ) }
L:1/8
Q:1/4=150
M:3/4
I:linebreak $
K:Eb
V:1 treble nm="Piano" snm="Pno."
V:4 treble
V:7 treble
V:2 bass
V:3 bass
V:5 bass
V:6 bass
V:1
|:!f!"^Allegro molto e con brio""^ten." [EGc]3[Q:1/4=180] z/ G<ec/ | g>ec'>g !wedge!e'... | 1 | What is the title of the piece? | Beethoven Piano Sonata No. 5 in C minor, Op. 10 No. 1 |
Beethoven_Piano_Sonata_No._5_in_C-Minor_Op._10_No._1 | X:1
T:Piano Sonata No. 1, Op. 10
C:Ludwig van Beethoven
%%score { ( 1 4 7 ) | ( 2 3 5 6 ) }
L:1/8
Q:1/4=150
M:3/4
I:linebreak $
K:Eb
V:1 treble nm="Piano" snm="Pno."
V:4 treble
V:7 treble
V:2 bass
V:3 bass
V:5 bass
V:6 bass
V:1
|:!f!"^Allegro molto e con brio""^ten." [EGc]3[Q:1/4=180] z/ G<ec/ | g>ec'>g !wedge!e'... | 1 | Who is the composer? | Ludwig van Beethoven |
Beethoven_Piano_Sonata_No._5_in_C-Minor_Op._10_No._1 | X:1
T:Piano Sonata No. 1, Op. 10
C:Ludwig van Beethoven
%%score { ( 1 4 7 ) | ( 2 3 5 6 ) }
L:1/8
Q:1/4=150
M:3/4
I:linebreak $
K:Eb
V:1 treble nm="Piano" snm="Pno."
V:4 treble
V:7 treble
V:2 bass
V:3 bass
V:5 bass
V:6 bass
V:1
|:!f!"^Allegro molto e con brio""^ten." [EGc]3[Q:1/4=180] z/ G<ec/ | g>ec'>g !wedge!e'... | 1 | What is the initial clef? | Treble clef; Bass clef |
Beethoven_Piano_Sonata_No._5_in_C-Minor_Op._10_No._1 | X:1
T:Piano Sonata No. 1, Op. 10
C:Ludwig van Beethoven
%%score { ( 1 4 7 ) | ( 2 3 5 6 ) }
L:1/8
Q:1/4=150
M:3/4
I:linebreak $
K:Eb
V:1 treble nm="Piano" snm="Pno."
V:4 treble
V:7 treble
V:2 bass
V:3 bass
V:5 bass
V:6 bass
V:1
|:!f!"^Allegro molto e con brio""^ten." [EGc]3[Q:1/4=180] z/ G<ec/ | g>ec'>g !wedge!e'... | 2 | In measure 21, what is the dynamic marking? | ff |
Beethoven_Piano_Sonata_No._5_in_C-Minor_Op._10_No._1 | X:1
T:Piano Sonata No. 1, Op. 10
C:Ludwig van Beethoven
%%score { ( 1 4 7 ) | ( 2 3 5 6 ) }
L:1/8
Q:1/4=150
M:3/4
I:linebreak $
K:Eb
V:1 treble nm="Piano" snm="Pno."
V:4 treble
V:7 treble
V:2 bass
V:3 bass
V:5 bass
V:6 bass
V:1
|:!f!"^Allegro molto e con brio""^ten." [EGc]3[Q:1/4=180] z/ G<ec/ | g>ec'>g !wedge!e'... | 2 | In measure 70, what is the dynamic change marking? | Crescendo |
Beethoven_Piano_Sonata_No._5_in_C-Minor_Op._10_No._1 | X:1
T:Piano Sonata No. 1, Op. 10
C:Ludwig van Beethoven
%%score { ( 1 4 7 ) | ( 2 3 5 6 ) }
L:1/8
Q:1/4=150
M:3/4
I:linebreak $
K:Eb
V:1 treble nm="Piano" snm="Pno."
V:4 treble
V:7 treble
V:2 bass
V:3 bass
V:5 bass
V:6 bass
V:1
|:!f!"^Allegro molto e con brio""^ten." [EGc]3[Q:1/4=180] z/ G<ec/ | g>ec'>g !wedge!e'... | 3 | In measure 106, does it begin on the tonic chord of the original key? | No |
Beethoven_Piano_Sonata_No._5_in_C-Minor_Op._10_No._1 | X:1
T:Piano Sonata No. 1, Op. 10
C:Ludwig van Beethoven
%%score { ( 1 4 7 ) | ( 2 3 5 6 ) }
L:1/8
Q:1/4=150
M:3/4
I:linebreak $
K:Eb
V:1 treble nm="Piano" snm="Pno."
V:4 treble
V:7 treble
V:2 bass
V:3 bass
V:5 bass
V:6 bass
V:1
|:!f!"^Allegro molto e con brio""^ten." [EGc]3[Q:1/4=180] z/ G<ec/ | g>ec'>g !wedge!e'... | 3 | In measure 108, what is the repeated note in the C major chord? | Third |
Beethoven_Piano_Sonata_No._5_in_C-Minor_Op._10_No._1 | X:1
T:Piano Sonata No. 1, Op. 10
C:Ludwig van Beethoven
%%score { ( 1 4 7 ) | ( 2 3 5 6 ) }
L:1/8
Q:1/4=150
M:3/4
I:linebreak $
K:Eb
V:1 treble nm="Piano" snm="Pno."
V:4 treble
V:7 treble
V:2 bass
V:3 bass
V:5 bass
V:6 bass
V:1
|:!f!"^Allegro molto e con brio""^ten." [EGc]3[Q:1/4=180] z/ G<ec/ | g>ec'>g !wedge!e'... | 3 | In measures 98–105, is there an imperfect cadence? | No |
Beethoven_Piano_Sonata_No._5_in_C-Minor_Op._10_No._1 | X:1
T:Piano Sonata No. 1, Op. 10
C:Ludwig van Beethoven
%%score { ( 1 4 7 ) | ( 2 3 5 6 ) }
L:1/8
Q:1/4=150
M:3/4
I:linebreak $
K:Eb
V:1 treble nm="Piano" snm="Pno."
V:4 treble
V:7 treble
V:2 bass
V:3 bass
V:5 bass
V:6 bass
V:1
|:!f!"^Allegro molto e con brio""^ten." [EGc]3[Q:1/4=180] z/ G<ec/ | g>ec'>g !wedge!e'... | 4 | Where is the secondary section located? | Starting at measure 56 |
Beethoven_Piano_Sonata_No._5_in_C-Minor_Op._10_No._1 | X:1
T:Piano Sonata No. 1, Op. 10
C:Ludwig van Beethoven
%%score { ( 1 4 7 ) | ( 2 3 5 6 ) }
L:1/8
Q:1/4=150
M:3/4
I:linebreak $
K:Eb
V:1 treble nm="Piano" snm="Pno."
V:4 treble
V:7 treble
V:2 bass
V:3 bass
V:5 bass
V:6 bass
V:1
|:!f!"^Allegro molto e con brio""^ten." [EGc]3[Q:1/4=180] z/ G<ec/ | g>ec'>g !wedge!e'... | 4 | Where is the start and end of the transition section? | Measures 32–55 |
Beethoven_Piano_Sonata_No._5_in_C-Minor_Op._10_No._1 | X:1
T:Piano Sonata No. 1, Op. 10
C:Ludwig van Beethoven
%%score { ( 1 4 7 ) | ( 2 3 5 6 ) }
L:1/8
Q:1/4=150
M:3/4
I:linebreak $
K:Eb
V:1 treble nm="Piano" snm="Pno."
V:4 treble
V:7 treble
V:2 bass
V:3 bass
V:5 bass
V:6 bass
V:1
|:!f!"^Allegro molto e con brio""^ten." [EGc]3[Q:1/4=180] z/ G<ec/ | g>ec'>g !wedge!e'... | 2 | In measures 86–89, what is the articulation marking? | With Staccatissimo |
Beethoven_Piano_Sonata_No._5_in_C-Minor_Op._10_No._1 | X:1
T:Piano Sonata No. 1, Op. 10
C:Ludwig van Beethoven
%%score { ( 1 4 7 ) | ( 2 3 5 6 ) }
L:1/8
Q:1/4=150
M:3/4
I:linebreak $
K:Eb
V:1 treble nm="Piano" snm="Pno."
V:4 treble
V:7 treble
V:2 bass
V:3 bass
V:5 bass
V:6 bass
V:1
|:!f!"^Allegro molto e con brio""^ten." [EGc]3[Q:1/4=180] z/ G<ec/ | g>ec'>g !wedge!e'... | 4 | Where is the recapitulation located? | Starting at measure 106 |
Berlioz__Les_nuits_dt__Lle_inconnue | X:1
T:Berlioz - Les nuits d'été - L'ile inconnue
T:L'ile inconnue
T:Hector Berlioz
T:Théophile Gautier
%%score 1 { ( 2 3 7 ) | ( 4 5 6 ) }
L:1/8
Q:3/8=80
M:6/8
I:linebreak $
K:D
V:1 treble nm="Mezzo-soprano" snm="Mzs."
V:2 treble nm="Piano" snm="Pia."
V:3 treble
V:7 treble
V:4 bass
V:5 bass
V:6 bass
V:1
z6 | z6 |... | 1 | What is the tempo in beats per minute? | 80 BPM |
Berlioz__Les_nuits_dt__Lle_inconnue | X:1
T:Berlioz - Les nuits d'été - L'ile inconnue
T:L'ile inconnue
T:Hector Berlioz
T:Théophile Gautier
%%score 1 { ( 2 3 7 ) | ( 4 5 6 ) }
L:1/8
Q:3/8=80
M:6/8
I:linebreak $
K:D
V:1 treble nm="Mezzo-soprano" snm="Mzs."
V:2 treble nm="Piano" snm="Pia."
V:3 treble
V:7 treble
V:4 bass
V:5 bass
V:6 bass
V:1
z6 | z6 |... | 1 | What instruments are used? | Mezzo-soprano; Piano |
Berlioz__Les_nuits_dt__Lle_inconnue | X:1
T:Berlioz - Les nuits d'été - L'ile inconnue
T:L'ile inconnue
T:Hector Berlioz
T:Théophile Gautier
%%score 1 { ( 2 3 7 ) | ( 4 5 6 ) }
L:1/8
Q:3/8=80
M:6/8
I:linebreak $
K:D
V:1 treble nm="Mezzo-soprano" snm="Mzs."
V:2 treble nm="Piano" snm="Pia."
V:3 treble
V:7 treble
V:4 bass
V:5 bass
V:6 bass
V:1
z6 | z6 |... | 1 | Is there an anacrusis (upbeat measure)? | No |
Berlioz__Les_nuits_dt__Lle_inconnue | X:1
T:Berlioz - Les nuits d'été - L'ile inconnue
T:L'ile inconnue
T:Hector Berlioz
T:Théophile Gautier
%%score 1 { ( 2 3 7 ) | ( 4 5 6 ) }
L:1/8
Q:3/8=80
M:6/8
I:linebreak $
K:D
V:1 treble nm="Mezzo-soprano" snm="Mzs."
V:2 treble nm="Piano" snm="Pia."
V:3 treble
V:7 treble
V:4 bass
V:5 bass
V:6 bass
V:1
z6 | z6 |... | 2 | In measure 8, what is the longest rest value? | Eighth rest |
Berlioz__Les_nuits_dt__Lle_inconnue | X:1
T:Berlioz - Les nuits d'été - L'ile inconnue
T:L'ile inconnue
T:Hector Berlioz
T:Théophile Gautier
%%score 1 { ( 2 3 7 ) | ( 4 5 6 ) }
L:1/8
Q:3/8=80
M:6/8
I:linebreak $
K:D
V:1 treble nm="Mezzo-soprano" snm="Mzs."
V:2 treble nm="Piano" snm="Pia."
V:3 treble
V:7 treble
V:4 bass
V:5 bass
V:6 bass
V:1
z6 | z6 |... | 2 | In measure 8, is there an accidental, and what is it? | No |
Berlioz__Les_nuits_dt__Lle_inconnue | X:1
T:Berlioz - Les nuits d'été - L'ile inconnue
T:L'ile inconnue
T:Hector Berlioz
T:Théophile Gautier
%%score 1 { ( 2 3 7 ) | ( 4 5 6 ) }
L:1/8
Q:3/8=80
M:6/8
I:linebreak $
K:D
V:1 treble nm="Mezzo-soprano" snm="Mzs."
V:2 treble nm="Piano" snm="Pia."
V:3 treble
V:7 treble
V:4 bass
V:5 bass
V:6 bass
V:1
z6 | z6 |... | 3 | In measures 128–129, is there a perfect cadence? | Yes |
Berlioz__Les_nuits_dt__Lle_inconnue | X:1
T:Berlioz - Les nuits d'été - L'ile inconnue
T:L'ile inconnue
T:Hector Berlioz
T:Théophile Gautier
%%score 1 { ( 2 3 7 ) | ( 4 5 6 ) }
L:1/8
Q:3/8=80
M:6/8
I:linebreak $
K:D
V:1 treble nm="Mezzo-soprano" snm="Mzs."
V:2 treble nm="Piano" snm="Pia."
V:3 treble
V:7 treble
V:4 bass
V:5 bass
V:6 bass
V:1
z6 | z6 |... | 3 | In measure 135, is there a chord I? | Yes |
Berlioz__Les_nuits_dt__Lle_inconnue | X:1
T:Berlioz - Les nuits d'été - L'ile inconnue
T:L'ile inconnue
T:Hector Berlioz
T:Théophile Gautier
%%score 1 { ( 2 3 7 ) | ( 4 5 6 ) }
L:1/8
Q:3/8=80
M:6/8
I:linebreak $
K:D
V:1 treble nm="Mezzo-soprano" snm="Mzs."
V:2 treble nm="Piano" snm="Pia."
V:3 treble
V:7 treble
V:4 bass
V:5 bass
V:6 bass
V:1
z6 | z6 |... | 3 | In measure 135, what are the repeated notes in chord I? | Root |
Berlioz__Les_nuits_dt__Lle_inconnue | X:1
T:Berlioz - Les nuits d'été - L'ile inconnue
T:L'ile inconnue
T:Hector Berlioz
T:Théophile Gautier
%%score 1 { ( 2 3 7 ) | ( 4 5 6 ) }
L:1/8
Q:3/8=80
M:6/8
I:linebreak $
K:D
V:1 treble nm="Mezzo-soprano" snm="Mzs."
V:2 treble nm="Piano" snm="Pia."
V:3 treble
V:7 treble
V:4 bass
V:5 bass
V:6 bass
V:1
z6 | z6 |... | 4 | Is there any use of ornamentation in the motif? | No |
Berlioz__Les_nuits_dt__Lle_inconnue | X:1
T:Berlioz - Les nuits d'été - L'ile inconnue
T:L'ile inconnue
T:Hector Berlioz
T:Théophile Gautier
%%score 1 { ( 2 3 7 ) | ( 4 5 6 ) }
L:1/8
Q:3/8=80
M:6/8
I:linebreak $
K:D
V:1 treble nm="Mezzo-soprano" snm="Mzs."
V:2 treble nm="Piano" snm="Pia."
V:3 treble
V:7 treble
V:4 bass
V:5 bass
V:6 bass
V:1
z6 | z6 |... | 4 | What are the core structural features of the motif? | Lyrical stepwise line |
Berlioz__Les_nuits_dt__Lle_inconnue | X:1
T:Berlioz - Les nuits d'été - L'ile inconnue
T:L'ile inconnue
T:Hector Berlioz
T:Théophile Gautier
%%score 1 { ( 2 3 7 ) | ( 4 5 6 ) }
L:1/8
Q:3/8=80
M:6/8
I:linebreak $
K:D
V:1 treble nm="Mezzo-soprano" snm="Mzs."
V:2 treble nm="Piano" snm="Pia."
V:3 treble
V:7 treble
V:4 bass
V:5 bass
V:6 bass
V:1
z6 | z6 |... | 2 | In measure 1, what is the dynamic marking? | mp |
Berlioz__Les_nuits_dt__Lle_inconnue | X:1
T:Berlioz - Les nuits d'été - L'ile inconnue
T:L'ile inconnue
T:Hector Berlioz
T:Théophile Gautier
%%score 1 { ( 2 3 7 ) | ( 4 5 6 ) }
L:1/8
Q:3/8=80
M:6/8
I:linebreak $
K:D
V:1 treble nm="Mezzo-soprano" snm="Mzs."
V:2 treble nm="Piano" snm="Pia."
V:3 treble
V:7 treble
V:4 bass
V:5 bass
V:6 bass
V:1
z6 | z6 |... | 4 | In which measure does the melodic motif first appear? | Measure 5 |
Brahms_-_Hungarian_Dance_No._5 | X:1
T:Hungarian Dance No. 5
C:Vincent
%%score [ 1 2 ( 3 4 ) { 5 6 } 7 ] [ { 8 9 } { 10 11 } { 12 13 } ] 14 15 [ { 16 17 } 18 19 20 ]
L:1/8
Q:1/4=140
M:2/4
I:linebreak $
K:Bb
V:1 treble transpose=12 nm="Piccolo" snm="Picc."
V:2 treble nm="Flute" snm="Fl."
V:3 treble nm="2 Oboes" snm="Obs."
V:4 treble
V:5 treble transpo... | 1 | What is the initial tempo indication? | Allegro |
Brahms_-_Hungarian_Dance_No._5 | X:1
T:Hungarian Dance No. 5
C:Vincent
%%score [ 1 2 ( 3 4 ) { 5 6 } 7 ] [ { 8 9 } { 10 11 } { 12 13 } ] 14 15 [ { 16 17 } 18 19 20 ]
L:1/8
Q:1/4=140
M:2/4
I:linebreak $
K:Bb
V:1 treble transpose=12 nm="Piccolo" snm="Picc."
V:2 treble nm="Flute" snm="Fl."
V:3 treble nm="2 Oboes" snm="Obs."
V:4 treble
V:5 treble transpo... | 1 | Who is the composer? | Johannes Brahms |
Brahms_-_Hungarian_Dance_No._5 | X:1
T:Hungarian Dance No. 5
C:Vincent
%%score [ 1 2 ( 3 4 ) { 5 6 } 7 ] [ { 8 9 } { 10 11 } { 12 13 } ] 14 15 [ { 16 17 } 18 19 20 ]
L:1/8
Q:1/4=140
M:2/4
I:linebreak $
K:Bb
V:1 treble transpose=12 nm="Piccolo" snm="Picc."
V:2 treble nm="Flute" snm="Fl."
V:3 treble nm="2 Oboes" snm="Obs."
V:4 treble
V:5 treble transpo... | 1 | What is the initial key? | G minor |
Brahms_-_Hungarian_Dance_No._5 | X:1
T:Hungarian Dance No. 5
C:Vincent
%%score [ 1 2 ( 3 4 ) { 5 6 } 7 ] [ { 8 9 } { 10 11 } { 12 13 } ] 14 15 [ { 16 17 } 18 19 20 ]
L:1/8
Q:1/4=140
M:2/4
I:linebreak $
K:Bb
V:1 treble transpose=12 nm="Piccolo" snm="Picc."
V:2 treble nm="Flute" snm="Fl."
V:3 treble nm="2 Oboes" snm="Obs."
V:4 treble
V:5 treble transpo... | 2 | In measure 108, is there a repeat sign? | Yes |
Brahms_-_Hungarian_Dance_No._5 | X:1
T:Hungarian Dance No. 5
C:Vincent
%%score [ 1 2 ( 3 4 ) { 5 6 } 7 ] [ { 8 9 } { 10 11 } { 12 13 } ] 14 15 [ { 16 17 } 18 19 20 ]
L:1/8
Q:1/4=140
M:2/4
I:linebreak $
K:Bb
V:1 treble transpose=12 nm="Piccolo" snm="Picc."
V:2 treble nm="Flute" snm="Fl."
V:3 treble nm="2 Oboes" snm="Obs."
V:4 treble
V:5 treble transpo... | 2 | In measure 13, what is the dynamic marking? | p with crescendo |
Brahms_-_Hungarian_Dance_No._5 | X:1
T:Hungarian Dance No. 5
C:Vincent
%%score [ 1 2 ( 3 4 ) { 5 6 } 7 ] [ { 8 9 } { 10 11 } { 12 13 } ] 14 15 [ { 16 17 } 18 19 20 ]
L:1/8
Q:1/4=140
M:2/4
I:linebreak $
K:Bb
V:1 treble transpose=12 nm="Piccolo" snm="Picc."
V:2 treble nm="Flute" snm="Fl."
V:3 treble nm="2 Oboes" snm="Obs."
V:4 treble
V:5 treble transpo... | 3 | In measure 110, is there a suspension or anticipation in the chord? | Yes |
Brahms_-_Hungarian_Dance_No._5 | X:1
T:Hungarian Dance No. 5
C:Vincent
%%score [ 1 2 ( 3 4 ) { 5 6 } 7 ] [ { 8 9 } { 10 11 } { 12 13 } ] 14 15 [ { 16 17 } 18 19 20 ]
L:1/8
Q:1/4=140
M:2/4
I:linebreak $
K:Bb
V:1 treble transpose=12 nm="Piccolo" snm="Picc."
V:2 treble nm="Flute" snm="Fl."
V:3 treble nm="2 Oboes" snm="Obs."
V:4 treble
V:5 treble transpo... | 3 | In measures 109–110, is there a perfect cadence? | Yes |
Brahms_-_Hungarian_Dance_No._5 | X:1
T:Hungarian Dance No. 5
C:Vincent
%%score [ 1 2 ( 3 4 ) { 5 6 } 7 ] [ { 8 9 } { 10 11 } { 12 13 } ] 14 15 [ { 16 17 } 18 19 20 ]
L:1/8
Q:1/4=140
M:2/4
I:linebreak $
K:Bb
V:1 treble transpose=12 nm="Piccolo" snm="Picc."
V:2 treble nm="Flute" snm="Fl."
V:3 treble nm="2 Oboes" snm="Obs."
V:4 treble
V:5 treble transpo... | 3 | In measure 110, what are the repeated notes in chord i? | Root; Third; Fifth |
Brahms_-_Hungarian_Dance_No._5 | X:1
T:Hungarian Dance No. 5
C:Vincent
%%score [ 1 2 ( 3 4 ) { 5 6 } 7 ] [ { 8 9 } { 10 11 } { 12 13 } ] 14 15 [ { 16 17 } 18 19 20 ]
L:1/8
Q:1/4=140
M:2/4
I:linebreak $
K:Bb
V:1 treble transpose=12 nm="Piccolo" snm="Picc."
V:2 treble nm="Flute" snm="Fl."
V:3 treble nm="2 Oboes" snm="Obs."
V:4 treble
V:5 treble transpo... | 4 | What is the most frequently used accompaniment texture? | Chordal homophonic texture |
Brahms_-_Hungarian_Dance_No._5 | X:1
T:Hungarian Dance No. 5
C:Vincent
%%score [ 1 2 ( 3 4 ) { 5 6 } 7 ] [ { 8 9 } { 10 11 } { 12 13 } ] 14 15 [ { 16 17 } 18 19 20 ]
L:1/8
Q:1/4=140
M:2/4
I:linebreak $
K:Bb
V:1 treble transpose=12 nm="Piccolo" snm="Picc."
V:2 treble nm="Flute" snm="Fl."
V:3 treble nm="2 Oboes" snm="Obs."
V:4 treble
V:5 treble transpo... | 4 | In which measure does the melodic motif first appear? | Measure 1 |
Brahms_-_Hungarian_Dance_No._5 | X:1
T:Hungarian Dance No. 5
C:Vincent
%%score [ 1 2 ( 3 4 ) { 5 6 } 7 ] [ { 8 9 } { 10 11 } { 12 13 } ] 14 15 [ { 16 17 } 18 19 20 ]
L:1/8
Q:1/4=140
M:2/4
I:linebreak $
K:Bb
V:1 treble transpose=12 nm="Piccolo" snm="Picc."
V:2 treble nm="Flute" snm="Fl."
V:3 treble nm="2 Oboes" snm="Obs."
V:4 treble
V:5 treble transpo... | 2 | In measure 77, what is the expression marking? | Leidenschaftlich |
Brahms_-_Hungarian_Dance_No._5 | X:1
T:Hungarian Dance No. 5
C:Vincent
%%score [ 1 2 ( 3 4 ) { 5 6 } 7 ] [ { 8 9 } { 10 11 } { 12 13 } ] 14 15 [ { 16 17 } 18 19 20 ]
L:1/8
Q:1/4=140
M:2/4
I:linebreak $
K:Bb
V:1 treble transpose=12 nm="Piccolo" snm="Picc."
V:2 treble nm="Flute" snm="Fl."
V:3 treble nm="2 Oboes" snm="Obs."
V:4 treble
V:5 treble transpo... | 4 | What are the core structural features of the motif? | Dotted rhythm; Leap |
Brahms_-_Intermezzo_in_E-flat_major_Op._117.__1 | X:1
T:Intermezzo
T:Johannes Brahms Op. 117. № 1
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=42
M:6/8
I:linebreak $
K:Eb
V:1 treble nm="PIANO."
V:3 treble
V:2 bass
V:4 bass
V:1
!p!!mf!"^Andante moderato." (B |!p!"_dolce" [Ee]2 [Ee] [Ee]2) ([Ee] | e2 e [Ee]2) ([Ee] | %3
[Ee]2 [Ee] [Ee]2) ([Ee] | e2 d e2) z | [Aa]2 [... | 1 | What is the title of the piece? | Intermezzo in E-flat major, Op.117, No.1 |
Brahms_-_Intermezzo_in_E-flat_major_Op._117.__1 | X:1
T:Intermezzo
T:Johannes Brahms Op. 117. № 1
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=42
M:6/8
I:linebreak $
K:Eb
V:1 treble nm="PIANO."
V:3 treble
V:2 bass
V:4 bass
V:1
!p!!mf!"^Andante moderato." (B |!p!"_dolce" [Ee]2 [Ee] [Ee]2) ([Ee] | e2 e [Ee]2) ([Ee] | %3
[Ee]2 [Ee] [Ee]2) ([Ee] | e2 d e2) z | [Aa]2 [... | 1 | What is the initial tempo indication? | Andante moderato |
Brahms_-_Intermezzo_in_E-flat_major_Op._117.__1 | X:1
T:Intermezzo
T:Johannes Brahms Op. 117. № 1
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=42
M:6/8
I:linebreak $
K:Eb
V:1 treble nm="PIANO."
V:3 treble
V:2 bass
V:4 bass
V:1
!p!!mf!"^Andante moderato." (B |!p!"_dolce" [Ee]2 [Ee] [Ee]2) ([Ee] | e2 e [Ee]2) ([Ee] | %3
[Ee]2 [Ee] [Ee]2) ([Ee] | e2 d e2) z | [Aa]2 [... | 1 | What is the initial expression marking? | Dolce |
Brahms_-_Intermezzo_in_E-flat_major_Op._117.__1 | X:1
T:Intermezzo
T:Johannes Brahms Op. 117. № 1
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=42
M:6/8
I:linebreak $
K:Eb
V:1 treble nm="PIANO."
V:3 treble
V:2 bass
V:4 bass
V:1
!p!!mf!"^Andante moderato." (B |!p!"_dolce" [Ee]2 [Ee] [Ee]2) ([Ee] | e2 e [Ee]2) ([Ee] | %3
[Ee]2 [Ee] [Ee]2) ([Ee] | e2 d e2) z | [Aa]2 [... | 2 | In measure 1, what is the articulation marking? | With Slur |
Brahms_-_Intermezzo_in_E-flat_major_Op._117.__1 | X:1
T:Intermezzo
T:Johannes Brahms Op. 117. № 1
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=42
M:6/8
I:linebreak $
K:Eb
V:1 treble nm="PIANO."
V:3 treble
V:2 bass
V:4 bass
V:1
!p!!mf!"^Andante moderato." (B |!p!"_dolce" [Ee]2 [Ee] [Ee]2) ([Ee] | e2 e [Ee]2) ([Ee] | %3
[Ee]2 [Ee] [Ee]2) ([Ee] | e2 d e2) z | [Aa]2 [... | 2 | In measure 5, what is the lowest pitch? | E♭2 |
Brahms_-_Intermezzo_in_E-flat_major_Op._117.__1 | X:1
T:Intermezzo
T:Johannes Brahms Op. 117. № 1
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=42
M:6/8
I:linebreak $
K:Eb
V:1 treble nm="PIANO."
V:3 treble
V:2 bass
V:4 bass
V:1
!p!!mf!"^Andante moderato." (B |!p!"_dolce" [Ee]2 [Ee] [Ee]2) ([Ee] | e2 e [Ee]2) ([Ee] | %3
[Ee]2 [Ee] [Ee]2) ([Ee] | e2 d e2) z | [Aa]2 [... | 3 | In measures 1–2, what is the chord progression? (use I, II, III, IV, V, VI, VII) | I–VI6–I |
Brahms_-_Intermezzo_in_E-flat_major_Op._117.__1 | X:1
T:Intermezzo
T:Johannes Brahms Op. 117. № 1
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=42
M:6/8
I:linebreak $
K:Eb
V:1 treble nm="PIANO."
V:3 treble
V:2 bass
V:4 bass
V:1
!p!!mf!"^Andante moderato." (B |!p!"_dolce" [Ee]2 [Ee] [Ee]2) ([Ee] | e2 e [Ee]2) ([Ee] | %3
[Ee]2 [Ee] [Ee]2) ([Ee] | e2 d e2) z | [Aa]2 [... | 3 | In measure 1, what are the repeated notes in chord I? | Root; Third |
Brahms_-_Intermezzo_in_E-flat_major_Op._117.__1 | X:1
T:Intermezzo
T:Johannes Brahms Op. 117. № 1
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=42
M:6/8
I:linebreak $
K:Eb
V:1 treble nm="PIANO."
V:3 treble
V:2 bass
V:4 bass
V:1
!p!!mf!"^Andante moderato." (B |!p!"_dolce" [Ee]2 [Ee] [Ee]2) ([Ee] | e2 e [Ee]2) ([Ee] | %3
[Ee]2 [Ee] [Ee]2) ([Ee] | e2 d e2) z | [Aa]2 [... | 3 | In measure 1, is there a first inversion of chord E♭ major? | No |
Brahms_-_Intermezzo_in_E-flat_major_Op._117.__1 | X:1
T:Intermezzo
T:Johannes Brahms Op. 117. № 1
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=42
M:6/8
I:linebreak $
K:Eb
V:1 treble nm="PIANO."
V:3 treble
V:2 bass
V:4 bass
V:1
!p!!mf!"^Andante moderato." (B |!p!"_dolce" [Ee]2 [Ee] [Ee]2) ([Ee] | e2 e [Ee]2) ([Ee] | %3
[Ee]2 [Ee] [Ee]2) ([Ee] | e2 d e2) z | [Aa]2 [... | 4 | In which measure does the melodic motif first appear? | Measure 1 |
Brahms_-_Intermezzo_in_E-flat_major_Op._117.__1 | X:1
T:Intermezzo
T:Johannes Brahms Op. 117. № 1
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=42
M:6/8
I:linebreak $
K:Eb
V:1 treble nm="PIANO."
V:3 treble
V:2 bass
V:4 bass
V:1
!p!!mf!"^Andante moderato." (B |!p!"_dolce" [Ee]2 [Ee] [Ee]2) ([Ee] | e2 e [Ee]2) ([Ee] | %3
[Ee]2 [Ee] [Ee]2) ([Ee] | e2 d e2) z | [Aa]2 [... | 4 | What is the most frequently used accompaniment texture? | Arpeggio texture |
Brahms_-_Intermezzo_in_E-flat_major_Op._117.__1 | X:1
T:Intermezzo
T:Johannes Brahms Op. 117. № 1
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=42
M:6/8
I:linebreak $
K:Eb
V:1 treble nm="PIANO."
V:3 treble
V:2 bass
V:4 bass
V:1
!p!!mf!"^Andante moderato." (B |!p!"_dolce" [Ee]2 [Ee] [Ee]2) ([Ee] | e2 e [Ee]2) ([Ee] | %3
[Ee]2 [Ee] [Ee]2) ([Ee] | e2 d e2) z | [Aa]2 [... | 2 | In measure 28, what is the tempo change marking? | Ritardando |
Brahms_-_Intermezzo_in_E-flat_major_Op._117.__1 | X:1
T:Intermezzo
T:Johannes Brahms Op. 117. № 1
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=42
M:6/8
I:linebreak $
K:Eb
V:1 treble nm="PIANO."
V:3 treble
V:2 bass
V:4 bass
V:1
!p!!mf!"^Andante moderato." (B |!p!"_dolce" [Ee]2 [Ee] [Ee]2) ([Ee] | e2 e [Ee]2) ([Ee] | %3
[Ee]2 [Ee] [Ee]2) ([Ee] | e2 d e2) z | [Aa]2 [... | 4 | What ornamentation techniques are used for the motif? | Suspension ornament |
Brahms_-_Rhapsody_Op._79_No._2 | X:1
T:Rhapsodie No. 2
C:J. Brahms
%%score { ( 1 2 5 ) | ( 3 4 6 ) }
L:1/8
Q:1/4=120
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
V:2 treble
V:5 treble
V:3 bass
V:4 bass
V:6 bass
V:1
!f!"^Molto passionato, ma non troppo allegro" D2 || E2"^L.H." G2 B2 =E2 | F2"^L.H." A2 c2 !>!f2 | %3
=e2 c2!<(! G2 A2 |... | 1 | Is there an anacrusis (upbeat measure)? | Yes |
Brahms_-_Rhapsody_Op._79_No._2 | X:1
T:Rhapsodie No. 2
C:J. Brahms
%%score { ( 1 2 5 ) | ( 3 4 6 ) }
L:1/8
Q:1/4=120
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
V:2 treble
V:5 treble
V:3 bass
V:4 bass
V:6 bass
V:1
!f!"^Molto passionato, ma non troppo allegro" D2 || E2"^L.H." G2 B2 =E2 | F2"^L.H." A2 c2 !>!f2 | %3
=e2 c2!<(! G2 A2 |... | 1 | What is the title of the piece? | Rhapsody Op. 79, No. 2 |
Brahms_-_Rhapsody_Op._79_No._2 | X:1
T:Rhapsodie No. 2
C:J. Brahms
%%score { ( 1 2 5 ) | ( 3 4 6 ) }
L:1/8
Q:1/4=120
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
V:2 treble
V:5 treble
V:3 bass
V:4 bass
V:6 bass
V:1
!f!"^Molto passionato, ma non troppo allegro" D2 || E2"^L.H." G2 B2 =E2 | F2"^L.H." A2 c2 !>!f2 | %3
=e2 c2!<(! G2 A2 |... | 1 | What instruments are used? | Piano |
Brahms_-_Rhapsody_Op._79_No._2 | X:1
T:Rhapsodie No. 2
C:J. Brahms
%%score { ( 1 2 5 ) | ( 3 4 6 ) }
L:1/8
Q:1/4=120
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
V:2 treble
V:5 treble
V:3 bass
V:4 bass
V:6 bass
V:1
!f!"^Molto passionato, ma non troppo allegro" D2 || E2"^L.H." G2 B2 =E2 | F2"^L.H." A2 c2 !>!f2 | %3
=e2 c2!<(! G2 A2 |... | 2 | Between measures 41–60, into what key does it modulate? | D major |
Brahms_-_Rhapsody_Op._79_No._2 | X:1
T:Rhapsodie No. 2
C:J. Brahms
%%score { ( 1 2 5 ) | ( 3 4 6 ) }
L:1/8
Q:1/4=120
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
V:2 treble
V:5 treble
V:3 bass
V:4 bass
V:6 bass
V:1
!f!"^Molto passionato, ma non troppo allegro" D2 || E2"^L.H." G2 B2 =E2 | F2"^L.H." A2 c2 !>!f2 | %3
=e2 c2!<(! G2 A2 |... | 2 | In measure 20, what is the dynamic marking? | f ；diminuendo；p |
Brahms_-_Rhapsody_Op._79_No._2 | X:1
T:Rhapsodie No. 2
C:J. Brahms
%%score { ( 1 2 5 ) | ( 3 4 6 ) }
L:1/8
Q:1/4=120
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
V:2 treble
V:5 treble
V:3 bass
V:4 bass
V:6 bass
V:1
!f!"^Molto passionato, ma non troppo allegro" D2 || E2"^L.H." G2 B2 =E2 | F2"^L.H." A2 c2 !>!f2 | %3
=e2 c2!<(! G2 A2 |... | 3 | In measure 2, what is the chord progression? (use I, II, III, IV, V, VI, VII) | ii6 |
Brahms_-_Rhapsody_Op._79_No._2 | X:1
T:Rhapsodie No. 2
C:J. Brahms
%%score { ( 1 2 5 ) | ( 3 4 6 ) }
L:1/8
Q:1/4=120
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
V:2 treble
V:5 treble
V:3 bass
V:4 bass
V:6 bass
V:1
!f!"^Molto passionato, ma non troppo allegro" D2 || E2"^L.H." G2 B2 =E2 | F2"^L.H." A2 c2 !>!f2 | %3
=e2 c2!<(! G2 A2 |... | 3 | In measure 2, is there a second inversion of chord F major? | No |
Brahms_-_Rhapsody_Op._79_No._2 | X:1
T:Rhapsodie No. 2
C:J. Brahms
%%score { ( 1 2 5 ) | ( 3 4 6 ) }
L:1/8
Q:1/4=120
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
V:2 treble
V:5 treble
V:3 bass
V:4 bass
V:6 bass
V:1
!f!"^Molto passionato, ma non troppo allegro" D2 || E2"^L.H." G2 B2 =E2 | F2"^L.H." A2 c2 !>!f2 | %3
=e2 c2!<(! G2 A2 |... | 3 | In measure 1, what is the omitted note of the D minor chord? | Third |
Brahms_-_Rhapsody_Op._79_No._2 | X:1
T:Rhapsodie No. 2
C:J. Brahms
%%score { ( 1 2 5 ) | ( 3 4 6 ) }
L:1/8
Q:1/4=120
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
V:2 treble
V:5 treble
V:3 bass
V:4 bass
V:6 bass
V:1
!f!"^Molto passionato, ma non troppo allegro" D2 || E2"^L.H." G2 B2 =E2 | F2"^L.H." A2 c2 !>!f2 | %3
=e2 c2!<(! G2 A2 |... | 4 | What are the core structural features of the motif? | Arpeggio; Leaps |
Brahms_-_Rhapsody_Op._79_No._2 | X:1
T:Rhapsodie No. 2
C:J. Brahms
%%score { ( 1 2 5 ) | ( 3 4 6 ) }
L:1/8
Q:1/4=120
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
V:2 treble
V:5 treble
V:3 bass
V:4 bass
V:6 bass
V:1
!f!"^Molto passionato, ma non troppo allegro" D2 || E2"^L.H." G2 B2 =E2 | F2"^L.H." A2 c2 !>!f2 | %3
=e2 c2!<(! G2 A2 |... | 4 | What ornamentation techniques are used for the motif? | Dynamic contrast ornament |
Brahms_-_Rhapsody_Op._79_No._2 | X:1
T:Rhapsodie No. 2
C:J. Brahms
%%score { ( 1 2 5 ) | ( 3 4 6 ) }
L:1/8
Q:1/4=120
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
V:2 treble
V:5 treble
V:3 bass
V:4 bass
V:6 bass
V:1
!f!"^Molto passionato, ma non troppo allegro" D2 || E2"^L.H." G2 B2 =E2 | F2"^L.H." A2 c2 !>!f2 | %3
=e2 c2!<(! G2 A2 |... | 2 | Between measures 23–24, into what clef does it change? | Treble clef |
Brahms_-_Rhapsody_Op._79_No._2 | X:1
T:Rhapsodie No. 2
C:J. Brahms
%%score { ( 1 2 5 ) | ( 3 4 6 ) }
L:1/8
Q:1/4=120
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
V:2 treble
V:5 treble
V:3 bass
V:4 bass
V:6 bass
V:1
!f!"^Molto passionato, ma non troppo allegro" D2 || E2"^L.H." G2 B2 =E2 | F2"^L.H." A2 c2 !>!f2 | %3
=e2 c2!<(! G2 A2 |... | 4 | What is the most frequently used accompaniment texture? | Thick chordal texture |
Brahms_-_Waltz_Op.39_No.3 | X:1
T:Brahms - Waltz Op.39 No.3
C:Johannes Brahms
%%score { ( 1 3 ) | 2 }
L:1/8
Q:1/4=120
M:3/4
I:linebreak $
K:B
V:1 treble nm="Piano" snm="Pno."
V:3 treble
V:2 bass
V:1
"^\n\n"!p!"_dolce" (!5!g3 !2!d)(de) | (d3 G)(Gd) | (g3 c)(cd) | (c3 G)(Gc) | (g3 f)(Bf) | %5
(!5!f3 e)(!2!A!5!e) | (d3 c)(Bb) |1!>(! !5!f4 ^^f2!>)... | 1 | What is the initial time signature? | 3/4 time |
Brahms_-_Waltz_Op.39_No.3 | X:1
T:Brahms - Waltz Op.39 No.3
C:Johannes Brahms
%%score { ( 1 3 ) | 2 }
L:1/8
Q:1/4=120
M:3/4
I:linebreak $
K:B
V:1 treble nm="Piano" snm="Pno."
V:3 treble
V:2 bass
V:1
"^\n\n"!p!"_dolce" (!5!g3 !2!d)(de) | (d3 G)(Gd) | (g3 c)(cd) | (c3 G)(Gc) | (g3 f)(Bf) | %5
(!5!f3 e)(!2!A!5!e) | (d3 c)(Bb) |1!>(! !5!f4 ^^f2!>)... | 1 | What is the initial expression marking? | Dolce |
Brahms_-_Waltz_Op.39_No.3 | X:1
T:Brahms - Waltz Op.39 No.3
C:Johannes Brahms
%%score { ( 1 3 ) | 2 }
L:1/8
Q:1/4=120
M:3/4
I:linebreak $
K:B
V:1 treble nm="Piano" snm="Pno."
V:3 treble
V:2 bass
V:1
"^\n\n"!p!"_dolce" (!5!g3 !2!d)(de) | (d3 G)(Gd) | (g3 c)(cd) | (c3 G)(Gc) | (g3 f)(Bf) | %5
(!5!f3 e)(!2!A!5!e) | (d3 c)(Bb) |1!>(! !5!f4 ^^f2!>)... | 1 | Who is the composer? | Johannes Brahms |
Brahms_-_Waltz_Op.39_No.3 | X:1
T:Brahms - Waltz Op.39 No.3
C:Johannes Brahms
%%score { ( 1 3 ) | 2 }
L:1/8
Q:1/4=120
M:3/4
I:linebreak $
K:B
V:1 treble nm="Piano" snm="Pno."
V:3 treble
V:2 bass
V:1
"^\n\n"!p!"_dolce" (!5!g3 !2!d)(de) | (d3 G)(Gd) | (g3 c)(cd) | (c3 G)(Gc) | (g3 f)(Bf) | %5
(!5!f3 e)(!2!A!5!e) | (d3 c)(Bb) |1!>(! !5!f4 ^^f2!>)... | 2 | In measures 1–5, what are the articulation markings? | With Slur |
Brahms_-_Waltz_Op.39_No.3 | X:1
T:Brahms - Waltz Op.39 No.3
C:Johannes Brahms
%%score { ( 1 3 ) | 2 }
L:1/8
Q:1/4=120
M:3/4
I:linebreak $
K:B
V:1 treble nm="Piano" snm="Pno."
V:3 treble
V:2 bass
V:1
"^\n\n"!p!"_dolce" (!5!g3 !2!d)(de) | (d3 G)(Gd) | (g3 c)(cd) | (c3 G)(Gc) | (g3 f)(Bf) | %5
(!5!f3 e)(!2!A!5!e) | (d3 c)(Bb) |1!>(! !5!f4 ^^f2!>)... | 2 | In measure 1, what is the highest pitch? | G5 |
Brahms_-_Waltz_Op.39_No.3 | X:1
T:Brahms - Waltz Op.39 No.3
C:Johannes Brahms
%%score { ( 1 3 ) | 2 }
L:1/8
Q:1/4=120
M:3/4
I:linebreak $
K:B
V:1 treble nm="Piano" snm="Pno."
V:3 treble
V:2 bass
V:1
"^\n\n"!p!"_dolce" (!5!g3 !2!d)(de) | (d3 G)(Gd) | (g3 c)(cd) | (c3 G)(Gc) | (g3 f)(Bf) | %5
(!5!f3 e)(!2!A!5!e) | (d3 c)(Bb) |1!>(! !5!f4 ^^f2!>)... | 3 | In measure 1, what is the spacing/arrangement of chord i? | Close position |
Brahms_-_Waltz_Op.39_No.3 | X:1
T:Brahms - Waltz Op.39 No.3
C:Johannes Brahms
%%score { ( 1 3 ) | 2 }
L:1/8
Q:1/4=120
M:3/4
I:linebreak $
K:B
V:1 treble nm="Piano" snm="Pno."
V:3 treble
V:2 bass
V:1
"^\n\n"!p!"_dolce" (!5!g3 !2!d)(de) | (d3 G)(Gd) | (g3 c)(cd) | (c3 G)(Gc) | (g3 f)(Bf) | %5
(!5!f3 e)(!2!A!5!e) | (d3 c)(Bb) |1!>(! !5!f4 ^^f2!>)... | 3 | In measures 16–17, is there a perfect cadence? | Yes |
Brahms_-_Waltz_Op.39_No.3 | X:1
T:Brahms - Waltz Op.39 No.3
C:Johannes Brahms
%%score { ( 1 3 ) | 2 }
L:1/8
Q:1/4=120
M:3/4
I:linebreak $
K:B
V:1 treble nm="Piano" snm="Pno."
V:3 treble
V:2 bass
V:1
"^\n\n"!p!"_dolce" (!5!g3 !2!d)(de) | (d3 G)(Gd) | (g3 c)(cd) | (c3 G)(Gc) | (g3 f)(Bf) | %5
(!5!f3 e)(!2!A!5!e) | (d3 c)(Bb) |1!>(! !5!f4 ^^f2!>)... | 3 | In measure 10, what scale degree is the first chord? (use I, II, III, IV, V, VI, VII) | V |
Brahms_-_Waltz_Op.39_No.3 | X:1
T:Brahms - Waltz Op.39 No.3
C:Johannes Brahms
%%score { ( 1 3 ) | 2 }
L:1/8
Q:1/4=120
M:3/4
I:linebreak $
K:B
V:1 treble nm="Piano" snm="Pno."
V:3 treble
V:2 bass
V:1
"^\n\n"!p!"_dolce" (!5!g3 !2!d)(de) | (d3 G)(Gd) | (g3 c)(cd) | (c3 G)(Gc) | (g3 f)(Bf) | %5
(!5!f3 e)(!2!A!5!e) | (d3 c)(Bb) |1!>(! !5!f4 ^^f2!>)... | 4 | What is the most frequently used accompaniment texture? | Triple-meter broken chord texture |
Brahms_-_Waltz_Op.39_No.3 | X:1
T:Brahms - Waltz Op.39 No.3
C:Johannes Brahms
%%score { ( 1 3 ) | 2 }
L:1/8
Q:1/4=120
M:3/4
I:linebreak $
K:B
V:1 treble nm="Piano" snm="Pno."
V:3 treble
V:2 bass
V:1
"^\n\n"!p!"_dolce" (!5!g3 !2!d)(de) | (d3 G)(Gd) | (g3 c)(cd) | (c3 G)(Gc) | (g3 f)(Bf) | %5
(!5!f3 e)(!2!A!5!e) | (d3 c)(Bb) |1!>(! !5!f4 ^^f2!>)... | 4 | In which measure does the melodic motif first appear? | Measure 1 |
Brahms_-_Waltz_Op.39_No.3 | X:1
T:Brahms - Waltz Op.39 No.3
C:Johannes Brahms
%%score { ( 1 3 ) | 2 }
L:1/8
Q:1/4=120
M:3/4
I:linebreak $
K:B
V:1 treble nm="Piano" snm="Pno."
V:3 treble
V:2 bass
V:1
"^\n\n"!p!"_dolce" (!5!g3 !2!d)(de) | (d3 G)(Gd) | (g3 c)(cd) | (c3 G)(Gc) | (g3 f)(Bf) | %5
(!5!f3 e)(!2!A!5!e) | (d3 c)(Bb) |1!>(! !5!f4 ^^f2!>)... | 2 | In measure 1, what is the dynamic marking? | p |
Brahms_-_Waltz_Op.39_No.3 | X:1
T:Brahms - Waltz Op.39 No.3
C:Johannes Brahms
%%score { ( 1 3 ) | 2 }
L:1/8
Q:1/4=120
M:3/4
I:linebreak $
K:B
V:1 treble nm="Piano" snm="Pno."
V:3 treble
V:2 bass
V:1
"^\n\n"!p!"_dolce" (!5!g3 !2!d)(de) | (d3 G)(Gd) | (g3 c)(cd) | (c3 G)(Gc) | (g3 f)(Bf) | %5
(!5!f3 e)(!2!A!5!e) | (d3 c)(Bb) |1!>(! !5!f4 ^^f2!>)... | 4 | What are the core structural features of the motif? | Integrated chromatic ornamentation |
Brahms_B_minor_Rhapsody_1_Op._79 | X:1
T:Zwei Rhapsodien für Klavier
C:Johannes Brahms, op. 79 (Veröffentlicht 1880)
%%score { ( 1 2 6 ) | ( 3 4 5 ) }
L:1/8
Q:1/4=120
M:2/2
I:linebreak $
K:D
V:1 treble nm="Piano" snm="Pno."
V:2 treble
V:6 treble
V:3 bass
V:4 bass
V:5 bass
V:1
"^Agitato\n"!f! (f3 (3c/d/e/ d3 B | ^A3 c F3 ^G | ^A3 F) ([Ece]F[DBd]F) |... | 1 | What is the initial time signature? | 2/2 time |
Brahms_B_minor_Rhapsody_1_Op._79 | X:1
T:Zwei Rhapsodien für Klavier
C:Johannes Brahms, op. 79 (Veröffentlicht 1880)
%%score { ( 1 2 6 ) | ( 3 4 5 ) }
L:1/8
Q:1/4=120
M:2/2
I:linebreak $
K:D
V:1 treble nm="Piano" snm="Pno."
V:2 treble
V:6 treble
V:3 bass
V:4 bass
V:5 bass
V:1
"^Agitato\n"!f! (f3 (3c/d/e/ d3 B | ^A3 c F3 ^G | ^A3 F) ([Ece]F[DBd]F) |... | 1 | Who is the composer? | Johannes Brahms |
Brahms_B_minor_Rhapsody_1_Op._79 | X:1
T:Zwei Rhapsodien für Klavier
C:Johannes Brahms, op. 79 (Veröffentlicht 1880)
%%score { ( 1 2 6 ) | ( 3 4 5 ) }
L:1/8
Q:1/4=120
M:2/2
I:linebreak $
K:D
V:1 treble nm="Piano" snm="Pno."
V:2 treble
V:6 treble
V:3 bass
V:4 bass
V:5 bass
V:1
"^Agitato\n"!f! (f3 (3c/d/e/ d3 B | ^A3 c F3 ^G | ^A3 F) ([Ece]F[DBd]F) |... | 1 | What is the initial expression marking? | Agitato |
Brahms_B_minor_Rhapsody_1_Op._79 | X:1
T:Zwei Rhapsodien für Klavier
C:Johannes Brahms, op. 79 (Veröffentlicht 1880)
%%score { ( 1 2 6 ) | ( 3 4 5 ) }
L:1/8
Q:1/4=120
M:2/2
I:linebreak $
K:D
V:1 treble nm="Piano" snm="Pno."
V:2 treble
V:6 treble
V:3 bass
V:4 bass
V:5 bass
V:1
"^Agitato\n"!f! (f3 (3c/d/e/ d3 B | ^A3 c F3 ^G | ^A3 F) ([Ece]F[DBd]F) |... | 2 | In measures 1–3, what are the articulation markings? | With Slur |
Brahms_B_minor_Rhapsody_1_Op._79 | X:1
T:Zwei Rhapsodien für Klavier
C:Johannes Brahms, op. 79 (Veröffentlicht 1880)
%%score { ( 1 2 6 ) | ( 3 4 5 ) }
L:1/8
Q:1/4=120
M:2/2
I:linebreak $
K:D
V:1 treble nm="Piano" snm="Pno."
V:2 treble
V:6 treble
V:3 bass
V:4 bass
V:5 bass
V:1
"^Agitato\n"!f! (f3 (3c/d/e/ d3 B | ^A3 c F3 ^G | ^A3 F) ([Ece]F[DBd]F) |... | 2 | In measure 1, what is the highest pitch? | F♯5 |
Brahms_B_minor_Rhapsody_1_Op._79 | X:1
T:Zwei Rhapsodien für Klavier
C:Johannes Brahms, op. 79 (Veröffentlicht 1880)
%%score { ( 1 2 6 ) | ( 3 4 5 ) }
L:1/8
Q:1/4=120
M:2/2
I:linebreak $
K:D
V:1 treble nm="Piano" snm="Pno."
V:2 treble
V:6 treble
V:3 bass
V:4 bass
V:5 bass
V:1
"^Agitato\n"!f! (f3 (3c/d/e/ d3 B | ^A3 c F3 ^G | ^A3 F) ([Ece]F[DBd]F) |... | 3 | In measure 19, what scale degree is the first chord? (use I, II, III, IV, V, VI, VII) | IV |
Brahms_B_minor_Rhapsody_1_Op._79 | X:1
T:Zwei Rhapsodien für Klavier
C:Johannes Brahms, op. 79 (Veröffentlicht 1880)
%%score { ( 1 2 6 ) | ( 3 4 5 ) }
L:1/8
Q:1/4=120
M:2/2
I:linebreak $
K:D
V:1 treble nm="Piano" snm="Pno."
V:2 treble
V:6 treble
V:3 bass
V:4 bass
V:5 bass
V:1
"^Agitato\n"!f! (f3 (3c/d/e/ d3 B | ^A3 c F3 ^G | ^A3 F) ([Ece]F[DBd]F) |... | 3 | In measure 22, is there a first inversion of chord D major? | No |
Brahms_B_minor_Rhapsody_1_Op._79 | X:1
T:Zwei Rhapsodien für Klavier
C:Johannes Brahms, op. 79 (Veröffentlicht 1880)
%%score { ( 1 2 6 ) | ( 3 4 5 ) }
L:1/8
Q:1/4=120
M:2/2
I:linebreak $
K:D
V:1 treble nm="Piano" snm="Pno."
V:2 treble
V:6 treble
V:3 bass
V:4 bass
V:5 bass
V:1
"^Agitato\n"!f! (f3 (3c/d/e/ d3 B | ^A3 c F3 ^G | ^A3 F) ([Ece]F[DBd]F) |... | 3 | In measures 235–236, is there a perfect cadence? | Yes |
Brahms_B_minor_Rhapsody_1_Op._79 | X:1
T:Zwei Rhapsodien für Klavier
C:Johannes Brahms, op. 79 (Veröffentlicht 1880)
%%score { ( 1 2 6 ) | ( 3 4 5 ) }
L:1/8
Q:1/4=120
M:2/2
I:linebreak $
K:D
V:1 treble nm="Piano" snm="Pno."
V:2 treble
V:6 treble
V:3 bass
V:4 bass
V:5 bass
V:1
"^Agitato\n"!f! (f3 (3c/d/e/ d3 B | ^A3 c F3 ^G | ^A3 F) ([Ece]F[DBd]F) |... | 4 | What ornamentation techniques are used for the motif? | Arpeggio ornament |
Brahms_B_minor_Rhapsody_1_Op._79 | X:1
T:Zwei Rhapsodien für Klavier
C:Johannes Brahms, op. 79 (Veröffentlicht 1880)
%%score { ( 1 2 6 ) | ( 3 4 5 ) }
L:1/8
Q:1/4=120
M:2/2
I:linebreak $
K:D
V:1 treble nm="Piano" snm="Pno."
V:2 treble
V:6 treble
V:3 bass
V:4 bass
V:5 bass
V:1
"^Agitato\n"!f! (f3 (3c/d/e/ d3 B | ^A3 c F3 ^G | ^A3 F) ([Ece]F[DBd]F) |... | 4 | What are the core structural features of the motif? | Broken chord |
Brahms_B_minor_Rhapsody_1_Op._79 | X:1
T:Zwei Rhapsodien für Klavier
C:Johannes Brahms, op. 79 (Veröffentlicht 1880)
%%score { ( 1 2 6 ) | ( 3 4 5 ) }
L:1/8
Q:1/4=120
M:2/2
I:linebreak $
K:D
V:1 treble nm="Piano" snm="Pno."
V:2 treble
V:6 treble
V:3 bass
V:4 bass
V:5 bass
V:1
"^Agitato\n"!f! (f3 (3c/d/e/ d3 B | ^A3 c F3 ^G | ^A3 F) ([Ece]F[DBd]F) |... | 2 | In measure 1, what is the dynamic marking? | f |
Brahms_B_minor_Rhapsody_1_Op._79 | X:1
T:Zwei Rhapsodien für Klavier
C:Johannes Brahms, op. 79 (Veröffentlicht 1880)
%%score { ( 1 2 6 ) | ( 3 4 5 ) }
L:1/8
Q:1/4=120
M:2/2
I:linebreak $
K:D
V:1 treble nm="Piano" snm="Pno."
V:2 treble
V:6 treble
V:3 bass
V:4 bass
V:5 bass
V:1
"^Agitato\n"!f! (f3 (3c/d/e/ d3 B | ^A3 c F3 ^G | ^A3 F) ([Ece]F[DBd]F) |... | 4 | What is the most frequently used accompaniment texture? | Chordal support texture |
Butterfly_Sommerfugl_Op._43_No._1__Edvard_Grieg_Edward_Grieg | X:1
T:그리그 나비
C:EDVARD GRIEG
%%score { ( 1 3 ) | 2 }
L:1/8
Q:1/4=100
M:4/4
I:linebreak $
K:A
V:1 treble nm="피아노 " snm="Pno."
V:3 treble
V:2 bass
V:1
"^Allegro grazioso"!p! (f>G A/^A/B/^B/ c/d/^d/e/ =a/e/c/=A/) | (^^F>e G>e F>e G>^e) | %2
(f>G A/^A/B/^B/ c/d/^d/e/ =a/e/c/=A/) |"_cresc." (c'>^d e/^e/f/^^f/ g/a/^a/b/ =e... | 1 | What is the title of the work? | Schmetterling |
Butterfly_Sommerfugl_Op._43_No._1__Edvard_Grieg_Edward_Grieg | X:1
T:그리그 나비
C:EDVARD GRIEG
%%score { ( 1 3 ) | 2 }
L:1/8
Q:1/4=100
M:4/4
I:linebreak $
K:A
V:1 treble nm="피아노 " snm="Pno."
V:3 treble
V:2 bass
V:1
"^Allegro grazioso"!p! (f>G A/^A/B/^B/ c/d/^d/e/ =a/e/c/=A/) | (^^F>e G>e F>e G>^e) | %2
(f>G A/^A/B/^B/ c/d/^d/e/ =a/e/c/=A/) |"_cresc." (c'>^d e/^e/f/^^f/ g/a/^a/b/ =e... | 1 | What is the initial key? | A major |
Butterfly_Sommerfugl_Op._43_No._1__Edvard_Grieg_Edward_Grieg | X:1
T:그리그 나비
C:EDVARD GRIEG
%%score { ( 1 3 ) | 2 }
L:1/8
Q:1/4=100
M:4/4
I:linebreak $
K:A
V:1 treble nm="피아노 " snm="Pno."
V:3 treble
V:2 bass
V:1
"^Allegro grazioso"!p! (f>G A/^A/B/^B/ c/d/^d/e/ =a/e/c/=A/) | (^^F>e G>e F>e G>^e) | %2
(f>G A/^A/B/^B/ c/d/^d/e/ =a/e/c/=A/) |"_cresc." (c'>^d e/^e/f/^^f/ g/a/^a/b/ =e... | 1 | Who is the composer? | Edvard Grieg |
Butterfly_Sommerfugl_Op._43_No._1__Edvard_Grieg_Edward_Grieg | X:1
T:그리그 나비
C:EDVARD GRIEG
%%score { ( 1 3 ) | 2 }
L:1/8
Q:1/4=100
M:4/4
I:linebreak $
K:A
V:1 treble nm="피아노 " snm="Pno."
V:3 treble
V:2 bass
V:1
"^Allegro grazioso"!p! (f>G A/^A/B/^B/ c/d/^d/e/ =a/e/c/=A/) | (^^F>e G>e F>e G>^e) | %2
(f>G A/^A/B/^B/ c/d/^d/e/ =a/e/c/=A/) |"_cresc." (c'>^d e/^e/f/^^f/ g/a/^a/b/ =e... | 2 | In measure 7, what is the lowest pitch? | B2 |
Butterfly_Sommerfugl_Op._43_No._1__Edvard_Grieg_Edward_Grieg | X:1
T:그리그 나비
C:EDVARD GRIEG
%%score { ( 1 3 ) | 2 }
L:1/8
Q:1/4=100
M:4/4
I:linebreak $
K:A
V:1 treble nm="피아노 " snm="Pno."
V:3 treble
V:2 bass
V:1
"^Allegro grazioso"!p! (f>G A/^A/B/^B/ c/d/^d/e/ =a/e/c/=A/) | (^^F>e G>e F>e G>^e) | %2
(f>G A/^A/B/^B/ c/d/^d/e/ =a/e/c/=A/) |"_cresc." (c'>^d e/^e/f/^^f/ g/a/^a/b/ =e... | 2 | In measure 7, what is the highest pitch? | G5 |
Butterfly_Sommerfugl_Op._43_No._1__Edvard_Grieg_Edward_Grieg | X:1
T:그리그 나비
C:EDVARD GRIEG
%%score { ( 1 3 ) | 2 }
L:1/8
Q:1/4=100
M:4/4
I:linebreak $
K:A
V:1 treble nm="피아노 " snm="Pno."
V:3 treble
V:2 bass
V:1
"^Allegro grazioso"!p! (f>G A/^A/B/^B/ c/d/^d/e/ =a/e/c/=A/) | (^^F>e G>e F>e G>^e) | %2
(f>G A/^A/B/^B/ c/d/^d/e/ =a/e/c/=A/) |"_cresc." (c'>^d e/^e/f/^^f/ g/a/^a/b/ =e... | 2 | In measure 27, what is the shortest rest value? | Sixteenth rest |
Butterfly_Sommerfugl_Op._43_No._1__Edvard_Grieg_Edward_Grieg | X:1
T:그리그 나비
C:EDVARD GRIEG
%%score { ( 1 3 ) | 2 }
L:1/8
Q:1/4=100
M:4/4
I:linebreak $
K:A
V:1 treble nm="피아노 " snm="Pno."
V:3 treble
V:2 bass
V:1
"^Allegro grazioso"!p! (f>G A/^A/B/^B/ c/d/^d/e/ =a/e/c/=A/) | (^^F>e G>e F>e G>^e) | %2
(f>G A/^A/B/^B/ c/d/^d/e/ =a/e/c/=A/) |"_cresc." (c'>^d e/^e/f/^^f/ g/a/^a/b/ =e... | 3 | In measure 42, does a chord anticipation occur? | No |
Butterfly_Sommerfugl_Op._43_No._1__Edvard_Grieg_Edward_Grieg | X:1
T:그리그 나비
C:EDVARD GRIEG
%%score { ( 1 3 ) | 2 }
L:1/8
Q:1/4=100
M:4/4
I:linebreak $
K:A
V:1 treble nm="피아노 " snm="Pno."
V:3 treble
V:2 bass
V:1
"^Allegro grazioso"!p! (f>G A/^A/B/^B/ c/d/^d/e/ =a/e/c/=A/) | (^^F>e G>e F>e G>^e) | %2
(f>G A/^A/B/^B/ c/d/^d/e/ =a/e/c/=A/) |"_cresc." (c'>^d e/^e/f/^^f/ g/a/^a/b/ =e... | 3 | In measure 1, what are the repeated notes of the A major chord? | Root note; Third note; Fifth note |
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