song_id stringclasses 150
values | abc_notation stringclasses 150
values | level int32 1 4 | question stringlengths 19 91 | answer stringlengths 1 80 ⌀ |
|---|---|---|---|---|
1._Gnomus_The_Gnome__Promenade_Pictures_at_an_Exhibition__Modest_Mussorgsky | X:1
T:1. Gnomus
T:Pictures at an Exibition 1. Gnomus
T:Modeste Moussorgsky
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=270
M:3/4
I:linebreak $
K:Gb
V:1 bass nm="Piano" snm="Pno."
V:3 bass
V:2 bass
V:4 bass
V:1
"^sempre vivo"!ff! (CE,=D,CB,D,) |[Q:1/4=80] !fermata!G,6- | G,4- G, z | %3
[Q:1/4=230]"^meno vivo"!p! (CE,=D... | 1 | What is the title of the piece? | Gnomus |
1._Gnomus_The_Gnome__Promenade_Pictures_at_an_Exhibition__Modest_Mussorgsky | X:1
T:1. Gnomus
T:Pictures at an Exibition 1. Gnomus
T:Modeste Moussorgsky
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=270
M:3/4
I:linebreak $
K:Gb
V:1 bass nm="Piano" snm="Pno."
V:3 bass
V:2 bass
V:4 bass
V:1
"^sempre vivo"!ff! (CE,=D,CB,D,) |[Q:1/4=80] !fermata!G,6- | G,4- G, z | %3
[Q:1/4=230]"^meno vivo"!p! (CE,=D... | 1 | What is the initial key? | E♭ minor |
1._Gnomus_The_Gnome__Promenade_Pictures_at_an_Exhibition__Modest_Mussorgsky | X:1
T:1. Gnomus
T:Pictures at an Exibition 1. Gnomus
T:Modeste Moussorgsky
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=270
M:3/4
I:linebreak $
K:Gb
V:1 bass nm="Piano" snm="Pno."
V:3 bass
V:2 bass
V:4 bass
V:1
"^sempre vivo"!ff! (CE,=D,CB,D,) |[Q:1/4=80] !fermata!G,6- | G,4- G, z | %3
[Q:1/4=230]"^meno vivo"!p! (CE,=D... | 1 | What instruments are used? | Piano |
1._Gnomus_The_Gnome__Promenade_Pictures_at_an_Exhibition__Modest_Mussorgsky | X:1
T:1. Gnomus
T:Pictures at an Exibition 1. Gnomus
T:Modeste Moussorgsky
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=270
M:3/4
I:linebreak $
K:Gb
V:1 bass nm="Piano" snm="Pno."
V:3 bass
V:2 bass
V:4 bass
V:1
"^sempre vivo"!ff! (CE,=D,CB,D,) |[Q:1/4=80] !fermata!G,6- | G,4- G, z | %3
[Q:1/4=230]"^meno vivo"!p! (CE,=D... | 2 | In measure 60, what is the tempo change marking? | Meno mosso |
1._Gnomus_The_Gnome__Promenade_Pictures_at_an_Exhibition__Modest_Mussorgsky | X:1
T:1. Gnomus
T:Pictures at an Exibition 1. Gnomus
T:Modeste Moussorgsky
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=270
M:3/4
I:linebreak $
K:Gb
V:1 bass nm="Piano" snm="Pno."
V:3 bass
V:2 bass
V:4 bass
V:1
"^sempre vivo"!ff! (CE,=D,CB,D,) |[Q:1/4=80] !fermata!G,6- | G,4- G, z | %3
[Q:1/4=230]"^meno vivo"!p! (CE,=D... | 2 | In measure 3, what is the shortest rest value? | Eighth rest |
1._Gnomus_The_Gnome__Promenade_Pictures_at_an_Exhibition__Modest_Mussorgsky | X:1
T:1. Gnomus
T:Pictures at an Exibition 1. Gnomus
T:Modeste Moussorgsky
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=270
M:3/4
I:linebreak $
K:Gb
V:1 bass nm="Piano" snm="Pno."
V:3 bass
V:2 bass
V:4 bass
V:1
"^sempre vivo"!ff! (CE,=D,CB,D,) |[Q:1/4=80] !fermata!G,6- | G,4- G, z | %3
[Q:1/4=230]"^meno vivo"!p! (CE,=D... | 2 | In measure 100, what is the new clef? | Bass clef |
1._Gnomus_The_Gnome__Promenade_Pictures_at_an_Exhibition__Modest_Mussorgsky | X:1
T:1. Gnomus
T:Pictures at an Exibition 1. Gnomus
T:Modeste Moussorgsky
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=270
M:3/4
I:linebreak $
K:Gb
V:1 bass nm="Piano" snm="Pno."
V:3 bass
V:2 bass
V:4 bass
V:1
"^sempre vivo"!ff! (CE,=D,CB,D,) |[Q:1/4=80] !fermata!G,6- | G,4- G, z | %3
[Q:1/4=230]"^meno vivo"!p! (CE,=D... | 3 | In measure 106, what are the repeated notes in the E♭ major chord? | Root;Third;Fifth |
1._Gnomus_The_Gnome__Promenade_Pictures_at_an_Exhibition__Modest_Mussorgsky | X:1
T:1. Gnomus
T:Pictures at an Exibition 1. Gnomus
T:Modeste Moussorgsky
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=270
M:3/4
I:linebreak $
K:Gb
V:1 bass nm="Piano" snm="Pno."
V:3 bass
V:2 bass
V:4 bass
V:1
"^sempre vivo"!ff! (CE,=D,CB,D,) |[Q:1/4=80] !fermata!G,6- | G,4- G, z | %3
[Q:1/4=230]"^meno vivo"!p! (CE,=D... | 3 | In measure 106, is there an E♭ major chord? | Yes |
1._Gnomus_The_Gnome__Promenade_Pictures_at_an_Exhibition__Modest_Mussorgsky | X:1
T:1. Gnomus
T:Pictures at an Exibition 1. Gnomus
T:Modeste Moussorgsky
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=270
M:3/4
I:linebreak $
K:Gb
V:1 bass nm="Piano" snm="Pno."
V:3 bass
V:2 bass
V:4 bass
V:1
"^sempre vivo"!ff! (CE,=D,CB,D,) |[Q:1/4=80] !fermata!G,6- | G,4- G, z | %3
[Q:1/4=230]"^meno vivo"!p! (CE,=D... | 3 | In measure 106, is there a third-inversion E♭ major chord? | No |
1._Gnomus_The_Gnome__Promenade_Pictures_at_an_Exhibition__Modest_Mussorgsky | X:1
T:1. Gnomus
T:Pictures at an Exibition 1. Gnomus
T:Modeste Moussorgsky
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=270
M:3/4
I:linebreak $
K:Gb
V:1 bass nm="Piano" snm="Pno."
V:3 bass
V:2 bass
V:4 bass
V:1
"^sempre vivo"!ff! (CE,=D,CB,D,) |[Q:1/4=80] !fermata!G,6- | G,4- G, z | %3
[Q:1/4=230]"^meno vivo"!p! (CE,=D... | 4 | What is the most frequently used texture type in the piece? | Harmonic Texture |
1._Gnomus_The_Gnome__Promenade_Pictures_at_an_Exhibition__Modest_Mussorgsky | X:1
T:1. Gnomus
T:Pictures at an Exibition 1. Gnomus
T:Modeste Moussorgsky
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=270
M:3/4
I:linebreak $
K:Gb
V:1 bass nm="Piano" snm="Pno."
V:3 bass
V:2 bass
V:4 bass
V:1
"^sempre vivo"!ff! (CE,=D,CB,D,) |[Q:1/4=80] !fermata!G,6- | G,4- G, z | %3
[Q:1/4=230]"^meno vivo"!p! (CE,=D... | 4 | In which register is the melody in measures 1–2? | Middle–lower register |
1._Gnomus_The_Gnome__Promenade_Pictures_at_an_Exhibition__Modest_Mussorgsky | X:1
T:1. Gnomus
T:Pictures at an Exibition 1. Gnomus
T:Modeste Moussorgsky
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=270
M:3/4
I:linebreak $
K:Gb
V:1 bass nm="Piano" snm="Pno."
V:3 bass
V:2 bass
V:4 bass
V:1
"^sempre vivo"!ff! (CE,=D,CB,D,) |[Q:1/4=80] !fermata!G,6- | G,4- G, z | %3
[Q:1/4=230]"^meno vivo"!p! (CE,=D... | 4 | What are the core structural characteristics of a musical motive? | Pitch Leaps and Irregularity |
Alexander_Scriabin_Piano_Sonata_No.2_in_G-sharp_minor_Op.19 | X:1
T:SONATA
C:Alexander Scriabin
%%score { ( 1 3 ) | ( 2 4 5 6 7 ) }
L:1/8
Q:1/4=60
M:3/4
I:linebreak $
K:B
U:s=!stemless!
V:1 treble nm="鋼琴" snm="Pno."
V:3 treble
V:2 bass
V:4 bass
V:5 bass
V:6 bass
V:7 bass
V:1
"^Andante""^M. M."!p! [D,G,D]/- | %1
(3:2:2([D,G,D]2 [Dd])"_rit."!>(! (3[G,G][G,G][G,G]!>)! !fermat... | 1 | What is the title of the piece? | Sonata No. 2 in G♯ minor, Op. 19 |
Alexander_Scriabin_Piano_Sonata_No.2_in_G-sharp_minor_Op.19 | X:1
T:SONATA
C:Alexander Scriabin
%%score { ( 1 3 ) | ( 2 4 5 6 7 ) }
L:1/8
Q:1/4=60
M:3/4
I:linebreak $
K:B
U:s=!stemless!
V:1 treble nm="鋼琴" snm="Pno."
V:3 treble
V:2 bass
V:4 bass
V:5 bass
V:6 bass
V:7 bass
V:1
"^Andante""^M. M."!p! [D,G,D]/- | %1
(3:2:2([D,G,D]2 [Dd])"_rit."!>(! (3[G,G][G,G][G,G]!>)! !fermat... | 1 | What is the initial tempo marking? | Andante |
Alexander_Scriabin_Piano_Sonata_No.2_in_G-sharp_minor_Op.19 | X:1
T:SONATA
C:Alexander Scriabin
%%score { ( 1 3 ) | ( 2 4 5 6 7 ) }
L:1/8
Q:1/4=60
M:3/4
I:linebreak $
K:B
U:s=!stemless!
V:1 treble nm="鋼琴" snm="Pno."
V:3 treble
V:2 bass
V:4 bass
V:5 bass
V:6 bass
V:7 bass
V:1
"^Andante""^M. M."!p! [D,G,D]/- | %1
(3:2:2([D,G,D]2 [Dd])"_rit."!>(! (3[G,G][G,G][G,G]!>)! !fermat... | 1 | Is there an anacrusis? | Yes |
Alexander_Scriabin_Piano_Sonata_No.2_in_G-sharp_minor_Op.19 | X:1
T:SONATA
C:Alexander Scriabin
%%score { ( 1 3 ) | ( 2 4 5 6 7 ) }
L:1/8
Q:1/4=60
M:3/4
I:linebreak $
K:B
U:s=!stemless!
V:1 treble nm="鋼琴" snm="Pno."
V:3 treble
V:2 bass
V:4 bass
V:5 bass
V:6 bass
V:7 bass
V:1
"^Andante""^M. M."!p! [D,G,D]/- | %1
(3:2:2([D,G,D]2 [Dd])"_rit."!>(! (3[G,G][G,G][G,G]!>)! !fermat... | 2 | In measure 72, what is the articulation marking? | With Slur |
Alexander_Scriabin_Piano_Sonata_No.2_in_G-sharp_minor_Op.19 | X:1
T:SONATA
C:Alexander Scriabin
%%score { ( 1 3 ) | ( 2 4 5 6 7 ) }
L:1/8
Q:1/4=60
M:3/4
I:linebreak $
K:B
U:s=!stemless!
V:1 treble nm="鋼琴" snm="Pno."
V:3 treble
V:2 bass
V:4 bass
V:5 bass
V:6 bass
V:7 bass
V:1
"^Andante""^M. M."!p! [D,G,D]/- | %1
(3:2:2([D,G,D]2 [Dd])"_rit."!>(! (3[G,G][G,G][G,G]!>)! !fermat... | 2 | In measure 20, what is the new clef? | Treble clef |
Alexander_Scriabin_Piano_Sonata_No.2_in_G-sharp_minor_Op.19 | X:1
T:SONATA
C:Alexander Scriabin
%%score { ( 1 3 ) | ( 2 4 5 6 7 ) }
L:1/8
Q:1/4=60
M:3/4
I:linebreak $
K:B
U:s=!stemless!
V:1 treble nm="鋼琴" snm="Pno."
V:3 treble
V:2 bass
V:4 bass
V:5 bass
V:6 bass
V:7 bass
V:1
"^Andante""^M. M."!p! [D,G,D]/- | %1
(3:2:2([D,G,D]2 [Dd])"_rit."!>(! (3[G,G][G,G][G,G]!>)! !fermat... | 2 | In measure 135, what is the articulation marking? | With Staccato |
Alexander_Scriabin_Piano_Sonata_No.2_in_G-sharp_minor_Op.19 | X:1
T:SONATA
C:Alexander Scriabin
%%score { ( 1 3 ) | ( 2 4 5 6 7 ) }
L:1/8
Q:1/4=60
M:3/4
I:linebreak $
K:B
U:s=!stemless!
V:1 treble nm="鋼琴" snm="Pno."
V:3 treble
V:2 bass
V:4 bass
V:5 bass
V:6 bass
V:7 bass
V:1
"^Andante""^M. M."!p! [D,G,D]/- | %1
(3:2:2([D,G,D]2 [Dd])"_rit."!>(! (3[G,G][G,G][G,G]!>)! !fermat... | 3 | In measure 67, is there a suspension or anticipation? | No |
Alexander_Scriabin_Piano_Sonata_No.2_in_G-sharp_minor_Op.19 | X:1
T:SONATA
C:Alexander Scriabin
%%score { ( 1 3 ) | ( 2 4 5 6 7 ) }
L:1/8
Q:1/4=60
M:3/4
I:linebreak $
K:B
U:s=!stemless!
V:1 treble nm="鋼琴" snm="Pno."
V:3 treble
V:2 bass
V:4 bass
V:5 bass
V:6 bass
V:7 bass
V:1
"^Andante""^M. M."!p! [D,G,D]/- | %1
(3:2:2([D,G,D]2 [Dd])"_rit."!>(! (3[G,G][G,G][G,G]!>)! !fermat... | 3 | In measure 86, is there a D♯7 chord? | No |
Alexander_Scriabin_Piano_Sonata_No.2_in_G-sharp_minor_Op.19 | X:1
T:SONATA
C:Alexander Scriabin
%%score { ( 1 3 ) | ( 2 4 5 6 7 ) }
L:1/8
Q:1/4=60
M:3/4
I:linebreak $
K:B
U:s=!stemless!
V:1 treble nm="鋼琴" snm="Pno."
V:3 treble
V:2 bass
V:4 bass
V:5 bass
V:6 bass
V:7 bass
V:1
"^Andante""^M. M."!p! [D,G,D]/- | %1
(3:2:2([D,G,D]2 [Dd])"_rit."!>(! (3[G,G][G,G][G,G]!>)! !fermat... | 3 | In measure 57, is there a third-inversion i7 major chord? | No |
Alexander_Scriabin_Piano_Sonata_No.2_in_G-sharp_minor_Op.19 | X:1
T:SONATA
C:Alexander Scriabin
%%score { ( 1 3 ) | ( 2 4 5 6 7 ) }
L:1/8
Q:1/4=60
M:3/4
I:linebreak $
K:B
U:s=!stemless!
V:1 treble nm="鋼琴" snm="Pno."
V:3 treble
V:2 bass
V:4 bass
V:5 bass
V:6 bass
V:7 bass
V:1
"^Andante""^M. M."!p! [D,G,D]/- | %1
(3:2:2([D,G,D]2 [Dd])"_rit."!>(! (3[G,G][G,G][G,G]!>)! !fermat... | 4 | What are the core structural characteristics of a musical motive? | Combinations and Contrasts of Triplets |
Alexander_Scriabin_Piano_Sonata_No.2_in_G-sharp_minor_Op.19 | X:1
T:SONATA
C:Alexander Scriabin
%%score { ( 1 3 ) | ( 2 4 5 6 7 ) }
L:1/8
Q:1/4=60
M:3/4
I:linebreak $
K:B
U:s=!stemless!
V:1 treble nm="鋼琴" snm="Pno."
V:3 treble
V:2 bass
V:4 bass
V:5 bass
V:6 bass
V:7 bass
V:1
"^Andante""^M. M."!p! [D,G,D]/- | %1
(3:2:2([D,G,D]2 [Dd])"_rit."!>(! (3[G,G][G,G][G,G]!>)! !fermat... | 4 | In which measure does the melodic motif first appear? | Measure 1 |
Alexander_Scriabin_Piano_Sonata_No.2_in_G-sharp_minor_Op.19 | X:1
T:SONATA
C:Alexander Scriabin
%%score { ( 1 3 ) | ( 2 4 5 6 7 ) }
L:1/8
Q:1/4=60
M:3/4
I:linebreak $
K:B
U:s=!stemless!
V:1 treble nm="鋼琴" snm="Pno."
V:3 treble
V:2 bass
V:4 bass
V:5 bass
V:6 bass
V:7 bass
V:1
"^Andante""^M. M."!p! [D,G,D]/- | %1
(3:2:2([D,G,D]2 [Dd])"_rit."!>(! (3[G,G][G,G][G,G]!>)! !fermat... | 4 | What is the rhythm of the motif? | Triplet |
Allegro_Appassionato_Cello__Piano_Saint-Sans | X:1
T:Allegro Appassionato (Cello & Piano)
C:Camille Saint-Saëns
%%score 1 { 2 | ( 3 4 ) }
L:1/8
Q:1/4=80
M:2/4
I:linebreak $
K:D
V:1 bass nm="Violoncello" snm="Vc."
V:2 treble nm="Piano" snm="Pno."
V:3 bass
V:4 bass
V:1
z2 z2 | z4 | z4 | z4 | .D(D D/).C/.B,/.C/ | .D(D D/).C/.B,/.C/ | .D(D D/).C/.B,/.^A,/ | %7
B,2 ... | 1 | What is the initial key? | B minor |
Allegro_Appassionato_Cello__Piano_Saint-Sans | X:1
T:Allegro Appassionato (Cello & Piano)
C:Camille Saint-Saëns
%%score 1 { 2 | ( 3 4 ) }
L:1/8
Q:1/4=80
M:2/4
I:linebreak $
K:D
V:1 bass nm="Violoncello" snm="Vc."
V:2 treble nm="Piano" snm="Pno."
V:3 bass
V:4 bass
V:1
z2 z2 | z4 | z4 | z4 | .D(D D/).C/.B,/.C/ | .D(D D/).C/.B,/.C/ | .D(D D/).C/.B,/.^A,/ | %7
B,2 ... | 1 | Is there an anacrusis? | No |
Allegro_Appassionato_Cello__Piano_Saint-Sans | X:1
T:Allegro Appassionato (Cello & Piano)
C:Camille Saint-Saëns
%%score 1 { 2 | ( 3 4 ) }
L:1/8
Q:1/4=80
M:2/4
I:linebreak $
K:D
V:1 bass nm="Violoncello" snm="Vc."
V:2 treble nm="Piano" snm="Pno."
V:3 bass
V:4 bass
V:1
z2 z2 | z4 | z4 | z4 | .D(D D/).C/.B,/.C/ | .D(D D/).C/.B,/.C/ | .D(D D/).C/.B,/.^A,/ | %7
B,2 ... | 1 | What instruments are used? | Piano and cello |
Allegro_Appassionato_Cello__Piano_Saint-Sans | X:1
T:Allegro Appassionato (Cello & Piano)
C:Camille Saint-Saëns
%%score 1 { 2 | ( 3 4 ) }
L:1/8
Q:1/4=80
M:2/4
I:linebreak $
K:D
V:1 bass nm="Violoncello" snm="Vc."
V:2 treble nm="Piano" snm="Pno."
V:3 bass
V:4 bass
V:1
z2 z2 | z4 | z4 | z4 | .D(D D/).C/.B,/.C/ | .D(D D/).C/.B,/.C/ | .D(D D/).C/.B,/.^A,/ | %7
B,2 ... | 2 | In measure 174, what is the new clef? | Tenor clef |
Allegro_Appassionato_Cello__Piano_Saint-Sans | X:1
T:Allegro Appassionato (Cello & Piano)
C:Camille Saint-Saëns
%%score 1 { 2 | ( 3 4 ) }
L:1/8
Q:1/4=80
M:2/4
I:linebreak $
K:D
V:1 bass nm="Violoncello" snm="Vc."
V:2 treble nm="Piano" snm="Pno."
V:3 bass
V:4 bass
V:1
z2 z2 | z4 | z4 | z4 | .D(D D/).C/.B,/.C/ | .D(D D/).C/.B,/.C/ | .D(D D/).C/.B,/.^A,/ | %7
B,2 ... | 2 | Between measures 1–36, are there repeat signs? | No |
Allegro_Appassionato_Cello__Piano_Saint-Sans | X:1
T:Allegro Appassionato (Cello & Piano)
C:Camille Saint-Saëns
%%score 1 { 2 | ( 3 4 ) }
L:1/8
Q:1/4=80
M:2/4
I:linebreak $
K:D
V:1 bass nm="Violoncello" snm="Vc."
V:2 treble nm="Piano" snm="Pno."
V:3 bass
V:4 bass
V:1
z2 z2 | z4 | z4 | z4 | .D(D D/).C/.B,/.C/ | .D(D D/).C/.B,/.C/ | .D(D D/).C/.B,/.^A,/ | %7
B,2 ... | 2 | In measure 28, what is the highest pitch? | B5 |
Allegro_Appassionato_Cello__Piano_Saint-Sans | X:1
T:Allegro Appassionato (Cello & Piano)
C:Camille Saint-Saëns
%%score 1 { 2 | ( 3 4 ) }
L:1/8
Q:1/4=80
M:2/4
I:linebreak $
K:D
V:1 bass nm="Violoncello" snm="Vc."
V:2 treble nm="Piano" snm="Pno."
V:3 bass
V:4 bass
V:1
z2 z2 | z4 | z4 | z4 | .D(D D/).C/.B,/.C/ | .D(D D/).C/.B,/.C/ | .D(D D/).C/.B,/.^A,/ | %7
B,2 ... | 3 | Between measures 29–31, is there a suspension or anticipation? | No |
Allegro_Appassionato_Cello__Piano_Saint-Sans | X:1
T:Allegro Appassionato (Cello & Piano)
C:Camille Saint-Saëns
%%score 1 { 2 | ( 3 4 ) }
L:1/8
Q:1/4=80
M:2/4
I:linebreak $
K:D
V:1 bass nm="Violoncello" snm="Vc."
V:2 treble nm="Piano" snm="Pno."
V:3 bass
V:4 bass
V:1
z2 z2 | z4 | z4 | z4 | .D(D D/).C/.B,/.C/ | .D(D D/).C/.B,/.C/ | .D(D D/).C/.B,/.^A,/ | %7
B,2 ... | 3 | In measure 12, what degree chord is the first chord (I, II, III, IV, V, VI, VII)? | iv |
Allegro_Appassionato_Cello__Piano_Saint-Sans | X:1
T:Allegro Appassionato (Cello & Piano)
C:Camille Saint-Saëns
%%score 1 { 2 | ( 3 4 ) }
L:1/8
Q:1/4=80
M:2/4
I:linebreak $
K:D
V:1 bass nm="Violoncello" snm="Vc."
V:2 treble nm="Piano" snm="Pno."
V:3 bass
V:4 bass
V:1
z2 z2 | z4 | z4 | z4 | .D(D D/).C/.B,/.C/ | .D(D D/).C/.B,/.C/ | .D(D D/).C/.B,/.^A,/ | %7
B,2 ... | 3 | In measure 185, what is the voicing of the B minor chord? | Close spacing |
Allegro_Appassionato_Cello__Piano_Saint-Sans | X:1
T:Allegro Appassionato (Cello & Piano)
C:Camille Saint-Saëns
%%score 1 { 2 | ( 3 4 ) }
L:1/8
Q:1/4=80
M:2/4
I:linebreak $
K:D
V:1 bass nm="Violoncello" snm="Vc."
V:2 treble nm="Piano" snm="Pno."
V:3 bass
V:4 bass
V:1
z2 z2 | z4 | z4 | z4 | .D(D D/).C/.B,/.C/ | .D(D D/).C/.B,/.C/ | .D(D D/).C/.B,/.^A,/ | %7
B,2 ... | 4 | What is the performance medium of the piece? | Duo |
Allegro_Appassionato_Cello__Piano_Saint-Sans | X:1
T:Allegro Appassionato (Cello & Piano)
C:Camille Saint-Saëns
%%score 1 { 2 | ( 3 4 ) }
L:1/8
Q:1/4=80
M:2/4
I:linebreak $
K:D
V:1 bass nm="Violoncello" snm="Vc."
V:2 treble nm="Piano" snm="Pno."
V:3 bass
V:4 bass
V:1
z2 z2 | z4 | z4 | z4 | .D(D D/).C/.B,/.C/ | .D(D D/).C/.B,/.C/ | .D(D D/).C/.B,/.^A,/ | %7
B,2 ... | 4 | In which instrument does the principal theme first appear? | Cello |
Allegro_Appassionato_Cello__Piano_Saint-Sans | X:1
T:Allegro Appassionato (Cello & Piano)
C:Camille Saint-Saëns
%%score 1 { 2 | ( 3 4 ) }
L:1/8
Q:1/4=80
M:2/4
I:linebreak $
K:D
V:1 bass nm="Violoncello" snm="Vc."
V:2 treble nm="Piano" snm="Pno."
V:3 bass
V:4 bass
V:1
z2 z2 | z4 | z4 | z4 | .D(D D/).C/.B,/.C/ | .D(D D/).C/.B,/.C/ | .D(D D/).C/.B,/.^A,/ | %7
B,2 ... | 4 | What are the main structural features of the motif? | Repeated notes, auxiliary note |
Ave_Maria_6_-_Schubert_Gomez_Lorenc_Vavilov_Caccini_Gounod_Saint-Sans_Recorder | X:1
T:F. Schubert (1797 - 1828)
T:Ave Maria
T:Ave Maria
T:William GOMEZ (1939-2000)
T:Ave Maria
T:Michael Lorenc (1955- )
T:Ave Maria
T:Vladimir VAVILOV (1925-1973) (Giulio Caccini-1545/1618)
T:Ave Maria
T:Charles Gounod (1818 – 1893)
T:Ave Maria
T:Camille SAINT-SAËNS (1835-1921)
%%score 1 { ( 2 5 ) | ( 3 4 ) } { ( 6 ... | 1 | What is the initial time signature? | 4/4 time |
Ave_Maria_6_-_Schubert_Gomez_Lorenc_Vavilov_Caccini_Gounod_Saint-Sans_Recorder | X:1
T:F. Schubert (1797 - 1828)
T:Ave Maria
T:Ave Maria
T:William GOMEZ (1939-2000)
T:Ave Maria
T:Michael Lorenc (1955- )
T:Ave Maria
T:Vladimir VAVILOV (1925-1973) (Giulio Caccini-1545/1618)
T:Ave Maria
T:Charles Gounod (1818 – 1893)
T:Ave Maria
T:Camille SAINT-SAËNS (1835-1921)
%%score 1 { ( 2 5 ) | ( 3 4 ) } { ( 6 ... | 1 | Who is the composer? | F. Schubert |
Ave_Maria_6_-_Schubert_Gomez_Lorenc_Vavilov_Caccini_Gounod_Saint-Sans_Recorder | X:1
T:F. Schubert (1797 - 1828)
T:Ave Maria
T:Ave Maria
T:William GOMEZ (1939-2000)
T:Ave Maria
T:Michael Lorenc (1955- )
T:Ave Maria
T:Vladimir VAVILOV (1925-1973) (Giulio Caccini-1545/1618)
T:Ave Maria
T:Charles Gounod (1818 – 1893)
T:Ave Maria
T:Camille SAINT-SAËNS (1835-1921)
%%score 1 { ( 2 5 ) | ( 3 4 ) } { ( 6 ... | 1 | What is the initial key? | B♭ major |
Ave_Maria_6_-_Schubert_Gomez_Lorenc_Vavilov_Caccini_Gounod_Saint-Sans_Recorder | X:1
T:F. Schubert (1797 - 1828)
T:Ave Maria
T:Ave Maria
T:William GOMEZ (1939-2000)
T:Ave Maria
T:Michael Lorenc (1955- )
T:Ave Maria
T:Vladimir VAVILOV (1925-1973) (Giulio Caccini-1545/1618)
T:Ave Maria
T:Charles Gounod (1818 – 1893)
T:Ave Maria
T:Camille SAINT-SAËNS (1835-1921)
%%score 1 { ( 2 5 ) | ( 3 4 ) } { ( 6 ... | 2 | In measure 1, what is the articulation marking? | With Accent; Slur; Staccato |
Ave_Maria_6_-_Schubert_Gomez_Lorenc_Vavilov_Caccini_Gounod_Saint-Sans_Recorder | X:1
T:F. Schubert (1797 - 1828)
T:Ave Maria
T:Ave Maria
T:William GOMEZ (1939-2000)
T:Ave Maria
T:Michael Lorenc (1955- )
T:Ave Maria
T:Vladimir VAVILOV (1925-1973) (Giulio Caccini-1545/1618)
T:Ave Maria
T:Charles Gounod (1818 – 1893)
T:Ave Maria
T:Camille SAINT-SAËNS (1835-1921)
%%score 1 { ( 2 5 ) | ( 3 4 ) } { ( 6 ... | 2 | In measure 3, what is the highest pitch of the Flauta Alto or Tenor part? | D5 |
Ave_Maria_6_-_Schubert_Gomez_Lorenc_Vavilov_Caccini_Gounod_Saint-Sans_Recorder | X:1
T:F. Schubert (1797 - 1828)
T:Ave Maria
T:Ave Maria
T:William GOMEZ (1939-2000)
T:Ave Maria
T:Michael Lorenc (1955- )
T:Ave Maria
T:Vladimir VAVILOV (1925-1973) (Giulio Caccini-1545/1618)
T:Ave Maria
T:Charles Gounod (1818 – 1893)
T:Ave Maria
T:Camille SAINT-SAËNS (1835-1921)
%%score 1 { ( 2 5 ) | ( 3 4 ) } { ( 6 ... | 2 | In measure 16, what does the clef change to? | Bass clef |
Ave_Maria_6_-_Schubert_Gomez_Lorenc_Vavilov_Caccini_Gounod_Saint-Sans_Recorder | X:1
T:F. Schubert (1797 - 1828)
T:Ave Maria
T:Ave Maria
T:William GOMEZ (1939-2000)
T:Ave Maria
T:Michael Lorenc (1955- )
T:Ave Maria
T:Vladimir VAVILOV (1925-1973) (Giulio Caccini-1545/1618)
T:Ave Maria
T:Charles Gounod (1818 – 1893)
T:Ave Maria
T:Camille SAINT-SAËNS (1835-1921)
%%score 1 { ( 2 5 ) | ( 3 4 ) } { ( 6 ... | 3 | In measures 13–14, is there a perfect cadence? | Yes |
Ave_Maria_6_-_Schubert_Gomez_Lorenc_Vavilov_Caccini_Gounod_Saint-Sans_Recorder | X:1
T:F. Schubert (1797 - 1828)
T:Ave Maria
T:Ave Maria
T:William GOMEZ (1939-2000)
T:Ave Maria
T:Michael Lorenc (1955- )
T:Ave Maria
T:Vladimir VAVILOV (1925-1973) (Giulio Caccini-1545/1618)
T:Ave Maria
T:Charles Gounod (1818 – 1893)
T:Ave Maria
T:Camille SAINT-SAËNS (1835-1921)
%%score 1 { ( 2 5 ) | ( 3 4 ) } { ( 6 ... | 3 | In measure 13, what is the chord progression? (Use I, II, III, IV, V, VI, VII) | I-♯ivø65–K64–V7 |
Ave_Maria_6_-_Schubert_Gomez_Lorenc_Vavilov_Caccini_Gounod_Saint-Sans_Recorder | X:1
T:F. Schubert (1797 - 1828)
T:Ave Maria
T:Ave Maria
T:William GOMEZ (1939-2000)
T:Ave Maria
T:Michael Lorenc (1955- )
T:Ave Maria
T:Vladimir VAVILOV (1925-1973) (Giulio Caccini-1545/1618)
T:Ave Maria
T:Charles Gounod (1818 – 1893)
T:Ave Maria
T:Camille SAINT-SAËNS (1835-1921)
%%score 1 { ( 2 5 ) | ( 3 4 ) } { ( 6 ... | 3 | In measure 9, is there a suspension? | No |
Ave_Maria_6_-_Schubert_Gomez_Lorenc_Vavilov_Caccini_Gounod_Saint-Sans_Recorder | X:1
T:F. Schubert (1797 - 1828)
T:Ave Maria
T:Ave Maria
T:William GOMEZ (1939-2000)
T:Ave Maria
T:Michael Lorenc (1955- )
T:Ave Maria
T:Vladimir VAVILOV (1925-1973) (Giulio Caccini-1545/1618)
T:Ave Maria
T:Charles Gounod (1818 – 1893)
T:Ave Maria
T:Camille SAINT-SAËNS (1835-1921)
%%score 1 { ( 2 5 ) | ( 3 4 ) } { ( 6 ... | 4 | What are the core structural characteristics of the motif? | Stepwise; Arpeggio; Triplet |
Ave_Maria_6_-_Schubert_Gomez_Lorenc_Vavilov_Caccini_Gounod_Saint-Sans_Recorder | X:1
T:F. Schubert (1797 - 1828)
T:Ave Maria
T:Ave Maria
T:William GOMEZ (1939-2000)
T:Ave Maria
T:Michael Lorenc (1955- )
T:Ave Maria
T:Vladimir VAVILOV (1925-1973) (Giulio Caccini-1545/1618)
T:Ave Maria
T:Charles Gounod (1818 – 1893)
T:Ave Maria
T:Camille SAINT-SAËNS (1835-1921)
%%score 1 { ( 2 5 ) | ( 3 4 ) } { ( 6 ... | 4 | What is the performance medium of the piece? | Tenor and piano or Flauta alto and piano |
Ave_Maria_6_-_Schubert_Gomez_Lorenc_Vavilov_Caccini_Gounod_Saint-Sans_Recorder | X:1
T:F. Schubert (1797 - 1828)
T:Ave Maria
T:Ave Maria
T:William GOMEZ (1939-2000)
T:Ave Maria
T:Michael Lorenc (1955- )
T:Ave Maria
T:Vladimir VAVILOV (1925-1973) (Giulio Caccini-1545/1618)
T:Ave Maria
T:Charles Gounod (1818 – 1893)
T:Ave Maria
T:Camille SAINT-SAËNS (1835-1921)
%%score 1 { ( 2 5 ) | ( 3 4 ) } { ( 6 ... | 4 | In which part does the main theme first appear? | Vocal part or Flauta alto part |
Bach_Fugue_in_G_Minor_BWV_542_Piano_solo | X:1
T:Fugue in G Minor
T:From Fastasia and Fugue in G Minor, BWV 542
T:J. S. Bach
T:Arranged for piano by Franz Liszt
%%score { ( 1 3 5 ) | ( 2 4 6 ) }
L:1/8
Q:1/4=92
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
V:3 treble
V:5 treble
V:2 bass
V:4 bass
V:6 bass
V:1
"^Allegro" z2 z!p! .d B/c/A/B/ .G.g | ^f/g/=e/f/... | 1 | Who is the composer? | Composed by J.S. Bach，Arranged for piano by Franz Liszt |
Bach_Fugue_in_G_Minor_BWV_542_Piano_solo | X:1
T:Fugue in G Minor
T:From Fastasia and Fugue in G Minor, BWV 542
T:J. S. Bach
T:Arranged for piano by Franz Liszt
%%score { ( 1 3 5 ) | ( 2 4 6 ) }
L:1/8
Q:1/4=92
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
V:3 treble
V:5 treble
V:2 bass
V:4 bass
V:6 bass
V:1
"^Allegro" z2 z!p! .d B/c/A/B/ .G.g | ^f/g/=e/f/... | 1 | What instruments are used? | Piano |
Bach_Fugue_in_G_Minor_BWV_542_Piano_solo | X:1
T:Fugue in G Minor
T:From Fastasia and Fugue in G Minor, BWV 542
T:J. S. Bach
T:Arranged for piano by Franz Liszt
%%score { ( 1 3 5 ) | ( 2 4 6 ) }
L:1/8
Q:1/4=92
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
V:3 treble
V:5 treble
V:2 bass
V:4 bass
V:6 bass
V:1
"^Allegro" z2 z!p! .d B/c/A/B/ .G.g | ^f/g/=e/f/... | 1 | What is the initial time signature? | 4/4 time |
Bach_Fugue_in_G_Minor_BWV_542_Piano_solo | X:1
T:Fugue in G Minor
T:From Fastasia and Fugue in G Minor, BWV 542
T:J. S. Bach
T:Arranged for piano by Franz Liszt
%%score { ( 1 3 5 ) | ( 2 4 6 ) }
L:1/8
Q:1/4=92
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
V:3 treble
V:5 treble
V:2 bass
V:4 bass
V:6 bass
V:1
"^Allegro" z2 z!p! .d B/c/A/B/ .G.g | ^f/g/=e/f/... | 2 | In measure 30, what is the highest pitch? | E♭5 |
Bach_Fugue_in_G_Minor_BWV_542_Piano_solo | X:1
T:Fugue in G Minor
T:From Fastasia and Fugue in G Minor, BWV 542
T:J. S. Bach
T:Arranged for piano by Franz Liszt
%%score { ( 1 3 5 ) | ( 2 4 6 ) }
L:1/8
Q:1/4=92
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
V:3 treble
V:5 treble
V:2 bass
V:4 bass
V:6 bass
V:1
"^Allegro" z2 z!p! .d B/c/A/B/ .G.g | ^f/g/=e/f/... | 2 | In measure 56, is there an accidental, and what is it? | Yes， E♮4；E♮3；E♮2 |
Bach_Fugue_in_G_Minor_BWV_542_Piano_solo | X:1
T:Fugue in G Minor
T:From Fastasia and Fugue in G Minor, BWV 542
T:J. S. Bach
T:Arranged for piano by Franz Liszt
%%score { ( 1 3 5 ) | ( 2 4 6 ) }
L:1/8
Q:1/4=92
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
V:3 treble
V:5 treble
V:2 bass
V:4 bass
V:6 bass
V:1
"^Allegro" z2 z!p! .d B/c/A/B/ .G.g | ^f/g/=e/f/... | 3 | In measure 54, is there a perfect cadence? | Yes |
Bach_Fugue_in_G_Minor_BWV_542_Piano_solo | X:1
T:Fugue in G Minor
T:From Fastasia and Fugue in G Minor, BWV 542
T:J. S. Bach
T:Arranged for piano by Franz Liszt
%%score { ( 1 3 5 ) | ( 2 4 6 ) }
L:1/8
Q:1/4=92
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
V:3 treble
V:5 treble
V:2 bass
V:4 bass
V:6 bass
V:1
"^Allegro" z2 z!p! .d B/c/A/B/ .G.g | ^f/g/=e/f/... | 3 | In measure 24, is there an A minor 7th chord? | No |
Bach_Fugue_in_G_Minor_BWV_542_Piano_solo | X:1
T:Fugue in G Minor
T:From Fastasia and Fugue in G Minor, BWV 542
T:J. S. Bach
T:Arranged for piano by Franz Liszt
%%score { ( 1 3 5 ) | ( 2 4 6 ) }
L:1/8
Q:1/4=92
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
V:3 treble
V:5 treble
V:2 bass
V:4 bass
V:6 bass
V:1
"^Allegro" z2 z!p! .d B/c/A/B/ .G.g | ^f/g/=e/f/... | 3 | In measure 59, what are the repeated notes in the G minor chord? | Root note |
Bach_Fugue_in_G_Minor_BWV_542_Piano_solo | X:1
T:Fugue in G Minor
T:From Fastasia and Fugue in G Minor, BWV 542
T:J. S. Bach
T:Arranged for piano by Franz Liszt
%%score { ( 1 3 5 ) | ( 2 4 6 ) }
L:1/8
Q:1/4=92
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
V:3 treble
V:5 treble
V:2 bass
V:4 bass
V:6 bass
V:1
"^Allegro" z2 z!p! .d B/c/A/B/ .G.g | ^f/g/=e/f/... | 4 | In which voice does the thematic melody first appear? | Treble voice |
Bach_Fugue_in_G_Minor_BWV_542_Piano_solo | X:1
T:Fugue in G Minor
T:From Fastasia and Fugue in G Minor, BWV 542
T:J. S. Bach
T:Arranged for piano by Franz Liszt
%%score { ( 1 3 5 ) | ( 2 4 6 ) }
L:1/8
Q:1/4=92
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
V:3 treble
V:5 treble
V:2 bass
V:4 bass
V:6 bass
V:1
"^Allegro" z2 z!p! .d B/c/A/B/ .G.g | ^f/g/=e/f/... | 4 | What are the core structural features of the motif? | Third interval; Stepwise motion; Leaps |
Bach_Fugue_in_G_Minor_BWV_542_Piano_solo | X:1
T:Fugue in G Minor
T:From Fastasia and Fugue in G Minor, BWV 542
T:J. S. Bach
T:Arranged for piano by Franz Liszt
%%score { ( 1 3 5 ) | ( 2 4 6 ) }
L:1/8
Q:1/4=92
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
V:3 treble
V:5 treble
V:2 bass
V:4 bass
V:6 bass
V:1
"^Allegro" z2 z!p! .d B/c/A/B/ .G.g | ^f/g/=e/f/... | 2 | In measure 57, what is the dynamic marking? | mf |
Bach_Fugue_in_G_Minor_BWV_542_Piano_solo | X:1
T:Fugue in G Minor
T:From Fastasia and Fugue in G Minor, BWV 542
T:J. S. Bach
T:Arranged for piano by Franz Liszt
%%score { ( 1 3 5 ) | ( 2 4 6 ) }
L:1/8
Q:1/4=92
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
V:3 treble
V:5 treble
V:2 bass
V:4 bass
V:6 bass
V:1
"^Allegro" z2 z!p! .d B/c/A/B/ .G.g | ^f/g/=e/f/... | 4 | What ornamentation techniques are used for the motif? | Staccato |
Bach_Fugue_in_G_Minor_BWV_578_Piano_solo | X:1
T:Fugue in G Minor
T:J. S. Bach
T:Arranged for piano by Isidor Philipp
T:BWV 578
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=92
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
V:3 treble
V:2 bass
V:4 bass
V:1
!p!"^Poco allegro" G2 d2 B3 A | GBAG ^FA D2 | GDAD BA/G/ AD | GD/G/ AD/A/ BA/G/ A/D/d/c/ | %4
B/A/G/B/ A/G... | 1 | What instruments are used? | Piano |
Bach_Fugue_in_G_Minor_BWV_578_Piano_solo | X:1
T:Fugue in G Minor
T:J. S. Bach
T:Arranged for piano by Isidor Philipp
T:BWV 578
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=92
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
V:3 treble
V:2 bass
V:4 bass
V:1
!p!"^Poco allegro" G2 d2 B3 A | GBAG ^FA D2 | GDAD BA/G/ AD | GD/G/ AD/A/ BA/G/ A/D/d/c/ | %4
B/A/G/B/ A/G... | 1 | Is there an anacrusis (upbeat measure)? | No |
Bach_Fugue_in_G_Minor_BWV_578_Piano_solo | X:1
T:Fugue in G Minor
T:J. S. Bach
T:Arranged for piano by Isidor Philipp
T:BWV 578
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=92
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
V:3 treble
V:2 bass
V:4 bass
V:1
!p!"^Poco allegro" G2 d2 B3 A | GBAG ^FA D2 | GDAD BA/G/ AD | GD/G/ AD/A/ BA/G/ A/D/d/c/ | %4
B/A/G/B/ A/G... | 1 | What instruments are used? | Piano |
Bach_Fugue_in_G_Minor_BWV_578_Piano_solo | X:1
T:Fugue in G Minor
T:J. S. Bach
T:Arranged for piano by Isidor Philipp
T:BWV 578
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=92
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
V:3 treble
V:2 bass
V:4 bass
V:1
!p!"^Poco allegro" G2 d2 B3 A | GBAG ^FA D2 | GDAD BA/G/ AD | GD/G/ AD/A/ BA/G/ A/D/d/c/ | %4
B/A/G/B/ A/G... | 2 | In measure 33, what is the dynamic marking? | mf |
Bach_Fugue_in_G_Minor_BWV_578_Piano_solo | X:1
T:Fugue in G Minor
T:J. S. Bach
T:Arranged for piano by Isidor Philipp
T:BWV 578
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=92
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
V:3 treble
V:2 bass
V:4 bass
V:1
!p!"^Poco allegro" G2 d2 B3 A | GBAG ^FA D2 | GDAD BA/G/ AD | GD/G/ AD/A/ BA/G/ A/D/d/c/ | %4
B/A/G/B/ A/G... | 2 | In measure 32, is there an accidental, and what is it? | Yes, E♮4 |
Bach_Fugue_in_G_Minor_BWV_578_Piano_solo | X:1
T:Fugue in G Minor
T:J. S. Bach
T:Arranged for piano by Isidor Philipp
T:BWV 578
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=92
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
V:3 treble
V:2 bass
V:4 bass
V:1
!p!"^Poco allegro" G2 d2 B3 A | GBAG ^FA D2 | GDAD BA/G/ AD | GD/G/ AD/A/ BA/G/ A/D/d/c/ | %4
B/A/G/B/ A/G... | 3 | In measure 35, what is the chord progression? | B♭ major I–V |
Bach_Fugue_in_G_Minor_BWV_578_Piano_solo | X:1
T:Fugue in G Minor
T:J. S. Bach
T:Arranged for piano by Isidor Philipp
T:BWV 578
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=92
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
V:3 treble
V:2 bass
V:4 bass
V:1
!p!"^Poco allegro" G2 d2 B3 A | GBAG ^FA D2 | GDAD BA/G/ AD | GD/G/ AD/A/ BA/G/ A/D/d/c/ | %4
B/A/G/B/ A/G... | 3 | In the final measure, is there a perfect cadence? | No |
Bach_Fugue_in_G_Minor_BWV_578_Piano_solo | X:1
T:Fugue in G Minor
T:J. S. Bach
T:Arranged for piano by Isidor Philipp
T:BWV 578
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=92
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
V:3 treble
V:2 bass
V:4 bass
V:1
!p!"^Poco allegro" G2 d2 B3 A | GBAG ^FA D2 | GDAD BA/G/ AD | GD/G/ AD/A/ BA/G/ A/D/d/c/ | %4
B/A/G/B/ A/G... | 3 | In measure 53, is there a first/second inversion of chord iv? | Yes |
Bach_Fugue_in_G_Minor_BWV_578_Piano_solo | X:1
T:Fugue in G Minor
T:J. S. Bach
T:Arranged for piano by Isidor Philipp
T:BWV 578
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=92
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
V:3 treble
V:2 bass
V:4 bass
V:1
!p!"^Poco allegro" G2 d2 B3 A | GBAG ^FA D2 | GDAD BA/G/ AD | GD/G/ AD/A/ BA/G/ A/D/d/c/ | %4
B/A/G/B/ A/G... | 4 | In which voice does the thematic melody first appear? | Treble voice |
Bach_Fugue_in_G_Minor_BWV_578_Piano_solo | X:1
T:Fugue in G Minor
T:J. S. Bach
T:Arranged for piano by Isidor Philipp
T:BWV 578
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=92
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
V:3 treble
V:2 bass
V:4 bass
V:1
!p!"^Poco allegro" G2 d2 B3 A | GBAG ^FA D2 | GDAD BA/G/ AD | GD/G/ AD/A/ BA/G/ A/D/d/c/ | %4
B/A/G/B/ A/G... | 4 | What are the core structural features of the motif? | Stepwise motion; Leaps |
Bach_Fugue_in_G_Minor_BWV_578_Piano_solo | X:1
T:Fugue in G Minor
T:J. S. Bach
T:Arranged for piano by Isidor Philipp
T:BWV 578
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=92
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
V:3 treble
V:2 bass
V:4 bass
V:1
!p!"^Poco allegro" G2 d2 B3 A | GBAG ^FA D2 | GDAD BA/G/ AD | GD/G/ AD/A/ BA/G/ A/D/d/c/ | %4
B/A/G/B/ A/G... | 2 | In measure 34, is there a performance (articulation) marking, and what is it? | Yes,with Trill |
Bach_Fugue_in_G_Minor_BWV_578_Piano_solo | X:1
T:Fugue in G Minor
T:J. S. Bach
T:Arranged for piano by Isidor Philipp
T:BWV 578
%%score { ( 1 3 ) | ( 2 4 ) }
L:1/8
Q:1/4=92
M:4/4
I:linebreak $
K:Bb
V:1 treble nm="Piano"
V:3 treble
V:2 bass
V:4 bass
V:1
!p!"^Poco allegro" G2 d2 B3 A | GBAG ^FA D2 | GDAD BA/G/ AD | GD/G/ AD/A/ BA/G/ A/D/d/c/ | %4
B/A/G/B/ A/G... | 4 | In which measure does the melodic motif first appear? | Measure 1 |
Ballade_op._118_no_3__Johannes_Brahms_Johannes_Brahms_Ballade_op.118-3 | X:1
T:Ballade, op.118-3
C:Brahms
%%score { ( 1 3 4 ) | ( 2 5 ) }
L:1/8
Q:1/4=144
M:2/2
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
V:3 treble
V:4 treble
V:2 bass
V:5 bass
V:1
"^Allegro energico"!f! .[GB=e].[Ac^f] | !>!g6 .=f._e | d6 .c.d | B3 c A3 B | !>!G4 !>!A4 | %5
!>!D6 .[GB=e].[Ac^f] | !>!g6 .=f.=e | ... | 1 | Who is the composer? | Brahms |
Ballade_op._118_no_3__Johannes_Brahms_Johannes_Brahms_Ballade_op.118-3 | X:1
T:Ballade, op.118-3
C:Brahms
%%score { ( 1 3 4 ) | ( 2 5 ) }
L:1/8
Q:1/4=144
M:2/2
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
V:3 treble
V:4 treble
V:2 bass
V:5 bass
V:1
"^Allegro energico"!f! .[GB=e].[Ac^f] | !>!g6 .=f._e | d6 .c.d | B3 c A3 B | !>!G4 !>!A4 | %5
!>!D6 .[GB=e].[Ac^f] | !>!g6 .=f.=e | ... | 1 | What is the title of the piece? | Ballade, Op. 118 No. 3 |
Ballade_op._118_no_3__Johannes_Brahms_Johannes_Brahms_Ballade_op.118-3 | X:1
T:Ballade, op.118-3
C:Brahms
%%score { ( 1 3 4 ) | ( 2 5 ) }
L:1/8
Q:1/4=144
M:2/2
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
V:3 treble
V:4 treble
V:2 bass
V:5 bass
V:1
"^Allegro energico"!f! .[GB=e].[Ac^f] | !>!g6 .=f._e | d6 .c.d | B3 c A3 B | !>!G4 !>!A4 | %5
!>!D6 .[GB=e].[Ac^f] | !>!g6 .=f.=e | ... | 1 | Is there an anacrusis (upbeat measure)? | Yes |
Ballade_op._118_no_3__Johannes_Brahms_Johannes_Brahms_Ballade_op.118-3 | X:1
T:Ballade, op.118-3
C:Brahms
%%score { ( 1 3 4 ) | ( 2 5 ) }
L:1/8
Q:1/4=144
M:2/2
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
V:3 treble
V:4 treble
V:2 bass
V:5 bass
V:1
"^Allegro energico"!f! .[GB=e].[Ac^f] | !>!g6 .=f._e | d6 .c.d | B3 c A3 B | !>!G4 !>!A4 | %5
!>!D6 .[GB=e].[Ac^f] | !>!g6 .=f.=e | ... | 2 | In measure 10, what is the longest rest value? | Quarter rest |
Ballade_op._118_no_3__Johannes_Brahms_Johannes_Brahms_Ballade_op.118-3 | X:1
T:Ballade, op.118-3
C:Brahms
%%score { ( 1 3 4 ) | ( 2 5 ) }
L:1/8
Q:1/4=144
M:2/2
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
V:3 treble
V:4 treble
V:2 bass
V:5 bass
V:1
"^Allegro energico"!f! .[GB=e].[Ac^f] | !>!g6 .=f._e | d6 .c.d | B3 c A3 B | !>!G4 !>!A4 | %5
!>!D6 .[GB=e].[Ac^f] | !>!g6 .=f.=e | ... | 2 | In measure 8, is there an accidental, and what is it? | No |
Ballade_op._118_no_3__Johannes_Brahms_Johannes_Brahms_Ballade_op.118-3 | X:1
T:Ballade, op.118-3
C:Brahms
%%score { ( 1 3 4 ) | ( 2 5 ) }
L:1/8
Q:1/4=144
M:2/2
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
V:3 treble
V:4 treble
V:2 bass
V:5 bass
V:1
"^Allegro energico"!f! .[GB=e].[Ac^f] | !>!g6 .=f._e | d6 .c.d | B3 c A3 B | !>!G4 !>!A4 | %5
!>!D6 .[GB=e].[Ac^f] | !>!g6 .=f.=e | ... | 3 | In measures 107–108, is there a perfect cadence? | Yes |
Ballade_op._118_no_3__Johannes_Brahms_Johannes_Brahms_Ballade_op.118-3 | X:1
T:Ballade, op.118-3
C:Brahms
%%score { ( 1 3 4 ) | ( 2 5 ) }
L:1/8
Q:1/4=144
M:2/2
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
V:3 treble
V:4 treble
V:2 bass
V:5 bass
V:1
"^Allegro energico"!f! .[GB=e].[Ac^f] | !>!g6 .=f._e | d6 .c.d | B3 c A3 B | !>!G4 !>!A4 | %5
!>!D6 .[GB=e].[Ac^f] | !>!g6 .=f.=e | ... | 3 | In measure 108, is there a chord i? | Yes |
Ballade_op._118_no_3__Johannes_Brahms_Johannes_Brahms_Ballade_op.118-3 | X:1
T:Ballade, op.118-3
C:Brahms
%%score { ( 1 3 4 ) | ( 2 5 ) }
L:1/8
Q:1/4=144
M:2/2
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
V:3 treble
V:4 treble
V:2 bass
V:5 bass
V:1
"^Allegro energico"!f! .[GB=e].[Ac^f] | !>!g6 .=f._e | d6 .c.d | B3 c A3 B | !>!G4 !>!A4 | %5
!>!D6 .[GB=e].[Ac^f] | !>!g6 .=f.=e | ... | 3 | In measures 107–108, what is the chord progression? (use I, II, III, IV, V, VI, VII) | iv–V–i |
Ballade_op._118_no_3__Johannes_Brahms_Johannes_Brahms_Ballade_op.118-3 | X:1
T:Ballade, op.118-3
C:Brahms
%%score { ( 1 3 4 ) | ( 2 5 ) }
L:1/8
Q:1/4=144
M:2/2
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
V:3 treble
V:4 treble
V:2 bass
V:5 bass
V:1
"^Allegro energico"!f! .[GB=e].[Ac^f] | !>!g6 .=f._e | d6 .c.d | B3 c A3 B | !>!G4 !>!A4 | %5
!>!D6 .[GB=e].[Ac^f] | !>!g6 .=f.=e | ... | 4 | What is the most frequently used accompaniment texture? | Homophonic arpeggio texture |
Ballade_op._118_no_3__Johannes_Brahms_Johannes_Brahms_Ballade_op.118-3 | X:1
T:Ballade, op.118-3
C:Brahms
%%score { ( 1 3 4 ) | ( 2 5 ) }
L:1/8
Q:1/4=144
M:2/2
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
V:3 treble
V:4 treble
V:2 bass
V:5 bass
V:1
"^Allegro energico"!f! .[GB=e].[Ac^f] | !>!g6 .=f._e | d6 .c.d | B3 c A3 B | !>!G4 !>!A4 | %5
!>!D6 .[GB=e].[Ac^f] | !>!g6 .=f.=e | ... | 4 | In which measure does the melodic motif first appear? | Measure 1 |
Ballade_op._118_no_3__Johannes_Brahms_Johannes_Brahms_Ballade_op.118-3 | X:1
T:Ballade, op.118-3
C:Brahms
%%score { ( 1 3 4 ) | ( 2 5 ) }
L:1/8
Q:1/4=144
M:2/2
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
V:3 treble
V:4 treble
V:2 bass
V:5 bass
V:1
"^Allegro energico"!f! .[GB=e].[Ac^f] | !>!g6 .=f._e | d6 .c.d | B3 c A3 B | !>!G4 !>!A4 | %5
!>!D6 .[GB=e].[Ac^f] | !>!g6 .=f.=e | ... | 2 | In measure 10, what is the dynamic marking? | p |
Ballade_op._118_no_3__Johannes_Brahms_Johannes_Brahms_Ballade_op.118-3 | X:1
T:Ballade, op.118-3
C:Brahms
%%score { ( 1 3 4 ) | ( 2 5 ) }
L:1/8
Q:1/4=144
M:2/2
I:linebreak $
K:Bb
V:1 treble nm="Piano" snm="Pno."
V:3 treble
V:4 treble
V:2 bass
V:5 bass
V:1
"^Allegro energico"!f! .[GB=e].[Ac^f] | !>!g6 .=f._e | d6 .c.d | B3 c A3 B | !>!G4 !>!A4 | %5
!>!D6 .[GB=e].[Ac^f] | !>!g6 .=f.=e | ... | 4 | What are the core structural features of the motif? | Stepwise; Small leap |
Beethoven_-_Sonata_No._23_Op._57_Appassionata | X:1
T:Sonata No. 23 Op. 57
C:Ludwig Van Beethoven
%%score { ( 1 4 5 ) | ( 2 3 6 7 ) }
L:1/8
Q:1/4=160
M:12/8
I:linebreak $
K:Ab
V:1 treble nm="Piano" snm="Pno."
V:4 treble
V:5 treble
V:2 bass
V:3 bass
V:6 bass
V:7 bass
V:1
"^Allegro assai"!pp! C2- C/A,/ | F,6- F,3 A,2- A,/C/ | F3 A2- A/c/ f3 F3 | %3
c3- c2 =d{/c... | 1 | What is the initial tempo indication? | Allegro |
Beethoven_-_Sonata_No._23_Op._57_Appassionata | X:1
T:Sonata No. 23 Op. 57
C:Ludwig Van Beethoven
%%score { ( 1 4 5 ) | ( 2 3 6 7 ) }
L:1/8
Q:1/4=160
M:12/8
I:linebreak $
K:Ab
V:1 treble nm="Piano" snm="Pno."
V:4 treble
V:5 treble
V:2 bass
V:3 bass
V:6 bass
V:7 bass
V:1
"^Allegro assai"!pp! C2- C/A,/ | F,6- F,3 A,2- A,/C/ | F3 A2- A/c/ f3 F3 | %3
c3- c2 =d{/c... | 1 | Is there an anacrusis (upbeat measure)? | Yes |
Beethoven_-_Sonata_No._23_Op._57_Appassionata | X:1
T:Sonata No. 23 Op. 57
C:Ludwig Van Beethoven
%%score { ( 1 4 5 ) | ( 2 3 6 7 ) }
L:1/8
Q:1/4=160
M:12/8
I:linebreak $
K:Ab
V:1 treble nm="Piano" snm="Pno."
V:4 treble
V:5 treble
V:2 bass
V:3 bass
V:6 bass
V:7 bass
V:1
"^Allegro assai"!pp! C2- C/A,/ | F,6- F,3 A,2- A,/C/ | F3 A2- A/c/ f3 F3 | %3
c3- c2 =d{/c... | 1 | Who is the composer? | Ludwig Van Beethoven |
Beethoven_-_Sonata_No._23_Op._57_Appassionata | X:1
T:Sonata No. 23 Op. 57
C:Ludwig Van Beethoven
%%score { ( 1 4 5 ) | ( 2 3 6 7 ) }
L:1/8
Q:1/4=160
M:12/8
I:linebreak $
K:Ab
V:1 treble nm="Piano" snm="Pno."
V:4 treble
V:5 treble
V:2 bass
V:3 bass
V:6 bass
V:7 bass
V:1
"^Allegro assai"!pp! C2- C/A,/ | F,6- F,3 A,2- A,/C/ | F3 A2- A/c/ f3 F3 | %3
c3- c2 =d{/c... | 2 | In measure 27, what is the highest pitch? | A5 |
Beethoven_-_Sonata_No._23_Op._57_Appassionata | X:1
T:Sonata No. 23 Op. 57
C:Ludwig Van Beethoven
%%score { ( 1 4 5 ) | ( 2 3 6 7 ) }
L:1/8
Q:1/4=160
M:12/8
I:linebreak $
K:Ab
V:1 treble nm="Piano" snm="Pno."
V:4 treble
V:5 treble
V:2 bass
V:3 bass
V:6 bass
V:7 bass
V:1
"^Allegro assai"!pp! C2- C/A,/ | F,6- F,3 A,2- A,/C/ | F3 A2- A/c/ f3 F3 | %3
c3- c2 =d{/c... | 2 | In measure 52, is there an accidental, and what is it? | Yes, A♯5 |
Beethoven_-_Sonata_No._23_Op._57_Appassionata | X:1
T:Sonata No. 23 Op. 57
C:Ludwig Van Beethoven
%%score { ( 1 4 5 ) | ( 2 3 6 7 ) }
L:1/8
Q:1/4=160
M:12/8
I:linebreak $
K:Ab
V:1 treble nm="Piano" snm="Pno."
V:4 treble
V:5 treble
V:2 bass
V:3 bass
V:6 bass
V:7 bass
V:1
"^Allegro assai"!pp! C2- C/A,/ | F,6- F,3 A,2- A,/C/ | F3 A2- A/c/ f3 F3 | %3
c3- c2 =d{/c... | 3 | Is there a half cadence? | No |
Beethoven_-_Sonata_No._23_Op._57_Appassionata | X:1
T:Sonata No. 23 Op. 57
C:Ludwig Van Beethoven
%%score { ( 1 4 5 ) | ( 2 3 6 7 ) }
L:1/8
Q:1/4=160
M:12/8
I:linebreak $
K:Ab
V:1 treble nm="Piano" snm="Pno."
V:4 treble
V:5 treble
V:2 bass
V:3 bass
V:6 bass
V:7 bass
V:1
"^Allegro assai"!pp! C2- C/A,/ | F,6- F,3 A,2- A,/C/ | F3 A2- A/c/ f3 F3 | %3
c3- c2 =d{/c... | 3 | In measure 64, what scale degree is the G minor chord? (use I, II, III, IV, V, VI, VII) | I |
Beethoven_-_Sonata_No._23_Op._57_Appassionata | X:1
T:Sonata No. 23 Op. 57
C:Ludwig Van Beethoven
%%score { ( 1 4 5 ) | ( 2 3 6 7 ) }
L:1/8
Q:1/4=160
M:12/8
I:linebreak $
K:Ab
V:1 treble nm="Piano" snm="Pno."
V:4 treble
V:5 treble
V:2 bass
V:3 bass
V:6 bass
V:7 bass
V:1
"^Allegro assai"!pp! C2- C/A,/ | F,6- F,3 A,2- A,/C/ | F3 A2- A/c/ f3 F3 | %3
c3- c2 =d{/c... | 3 | In measure 69, is there a first inversion of chord F7? | No |
Beethoven_-_Sonata_No._23_Op._57_Appassionata | X:1
T:Sonata No. 23 Op. 57
C:Ludwig Van Beethoven
%%score { ( 1 4 5 ) | ( 2 3 6 7 ) }
L:1/8
Q:1/4=160
M:12/8
I:linebreak $
K:Ab
V:1 treble nm="Piano" snm="Pno."
V:4 treble
V:5 treble
V:2 bass
V:3 bass
V:6 bass
V:7 bass
V:1
"^Allegro assai"!pp! C2- C/A,/ | F,6- F,3 A,2- A,/C/ | F3 A2- A/c/ f3 F3 | %3
c3- c2 =d{/c... | 4 | Where is the start and end of the principal section? | Measures 1–8 |
Beethoven_-_Sonata_No._23_Op._57_Appassionata | X:1
T:Sonata No. 23 Op. 57
C:Ludwig Van Beethoven
%%score { ( 1 4 5 ) | ( 2 3 6 7 ) }
L:1/8
Q:1/4=160
M:12/8
I:linebreak $
K:Ab
V:1 treble nm="Piano" snm="Pno."
V:4 treble
V:5 treble
V:2 bass
V:3 bass
V:6 bass
V:7 bass
V:1
"^Allegro assai"!pp! C2- C/A,/ | F,6- F,3 A,2- A,/C/ | F3 A2- A/c/ f3 F3 | %3
c3- c2 =d{/c... | 4 | Where is the secondary section located? | Starting at measure 26. |
Beethoven_-_Sonata_No._23_Op._57_Appassionata | X:1
T:Sonata No. 23 Op. 57
C:Ludwig Van Beethoven
%%score { ( 1 4 5 ) | ( 2 3 6 7 ) }
L:1/8
Q:1/4=160
M:12/8
I:linebreak $
K:Ab
V:1 treble nm="Piano" snm="Pno."
V:4 treble
V:5 treble
V:2 bass
V:3 bass
V:6 bass
V:7 bass
V:1
"^Allegro assai"!pp! C2- C/A,/ | F,6- F,3 A,2- A,/C/ | F3 A2- A/c/ f3 F3 | %3
c3- c2 =d{/c... | 2 | In measure 67, what is the dynamic marking? | pp |
Beethoven_-_Sonata_No._23_Op._57_Appassionata | X:1
T:Sonata No. 23 Op. 57
C:Ludwig Van Beethoven
%%score { ( 1 4 5 ) | ( 2 3 6 7 ) }
L:1/8
Q:1/4=160
M:12/8
I:linebreak $
K:Ab
V:1 treble nm="Piano" snm="Pno."
V:4 treble
V:5 treble
V:2 bass
V:3 bass
V:6 bass
V:7 bass
V:1
"^Allegro assai"!pp! C2- C/A,/ | F,6- F,3 A,2- A,/C/ | F3 A2- A/c/ f3 F3 | %3
c3- c2 =d{/c... | 4 | Where is the start and end of the transition section? | Measurees 9-25 |
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/... | 1 | What is the initial tempo indication? | allegro assai |
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/... | 1 | What is the initial clef? | Treble clef; Bass clef |
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/... | 1 | What is the title of the piece? | Sonata No. 23 Op. 57 Appassionata |
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 5, is there an accidental, and what is it? | Yes, E♮3 |
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