MAESTROCaps

MAESTROCaps contains 148 analyzed piano piece-recordings. Dataset package IDs are consecutive from 001 through 148, ordered alphabetically by piece_key (composer, then composition). Each metadata.json retains the prior ID as source_catalog_id, and id-map.json records the complete mapping. Each directory under data/ contains the existing artifacts available for that record:

• original, annotated, and cleaned score XML files, plus existing score PDFs;
• existing all-assessed and accepted score-change reports;
• MuNo-S and MuNo-SP representations;
• the MuNo structural segmentation; and
• the segmentation-aware long-form auditory analysis.

The reusable generation prompts are provided under prompts/ for structural segmentation, long-form auditory analysis, and question-answer generation. Bracketed placeholders mark the record-specific inputs supplied to each prompt.

Example QA for Mozart’s Piano Sonata in F major, K. 332, I

Melody

Q: In the development's first lyrical developmental statement, what ordered three-note model opens the principal line?

A: The principal line opens with G4–C5–E5.

Harmony, color, and tension

Q: In the primary theme's crescendo continuation, when A3+F4 over F2 follows C3+Bb3+E4, what cadence type is heard?

A: The passage forms an authentic V7–I arrival in F major.

Texture

Q: In the exposition's primary theme, crescendo continuation, how are the melodic gesture, inner part, and bass organized?

A: The rising melody sounds over a sustained inner tone and a supporting bass.

Dynamics and phrase shaping

Q: In the exposition's primary theme, how does the lyrical response's broad three-note gesture compare expressively with the compact statement immediately before it?

A: The lyrical response is more songful than the preceding compact statement.

Function

Q: In the exposition's C-major secondary theme, what formal role does the G4–E5–E5–E5 gesture over C3–G3–C4 serve?

A: The gesture functions as the opening statement of the secondary theme.

Rhythm and time

Q: In the exposition's closing group, when the F4+G4 repetitions answer the bass melody D4–B3–G3, how are those foreground attacks placed against the bass?

A: The foreground attacks are offbeat.

Particular performance decisions

Q: At 00:04.46–00:05.37 in the opening tonic statement, what sounding-duration treatment distinguishes the first E5 from the following E5?

A: The first E5 is clipped relative to the following E5.

Example QA for Rachmaninoff’s Prelude in D major, Op. 23, No. 4

Melody

Q: During the expanded cadence of the second presentation (01:45.96–01:47.63), what five-note counterline enters to drive toward the high-point brilliance?

A: D5–F#5–G5–A5–G5

Harmony, color, and tension

Q: In the cadential expansion of the first thematic presentation, what specific suspended pitch creates friction within the E-dominant sonority over E1+E2 at 00:52.36?

A: D4

Texture

Q: How is the placement of the principal melody texturally altered between the first presentation (00:07.50) and the ornamented second presentation (01:02.90–01:09.24)?

A: The principal theme is transferred to an inner sustained voice beneath a newly added upper counterline.

Dynamics and phrase shaping

Q: Across the entire piece, between what timestamps is the work's principal dynamic climax located?

A: 02:42.36–02:45.84

Function

Q: What is the structural role of the quiet passage spanning 01:56.77–02:01.55 connecting the opening thematic section to the developmental sequence?

A: Transitional scalar link.

Rhythm and time

Q: During the sequential build-up leading to the climax (02:31.34–02:34.06), how does the temporal spacing between the paired chordal attacks change?

A: Each paired attack arrives closer together.

Particular performance decisions

Q: During the cadence of the first thematic presentation (00:44.15–00:47.26), what performance decisions regarding dynamics and spacing cause the closing gesture to recede?

A: Diminuendo plus widened final spacing.

Example auditory analysis for Mozart’s Piano Sonata in F major, K. 332, I

Notation note: Chords and other simultaneous sonorities use + between pitches; successive pitches in a sequence use -.

Exposition — establishes the principal material in F major, moves through a forceful transition, presents the secondary group in C major, and closes in the dominant

Primary Theme — first presentation of the primary theme in F major

Opening tonic statement — antecedent-like opening statement of the primary theme

At 00:01–00:02, the principal line F4–A4 sounds clearly above the gently oscillating F3–A3–C4–A3–C4–A3 accompaniment, establishing F major with an even, lightly resonant delivery. At 00:02–00:03, C5–A4 is colored by F3–C4–Eb4–C4–Eb4–C4, the Eb4 introducing a dominant-seventh inflection that adds tension without displacing the tonic bass. At 00:03–00:04, Bb4–G5 rises over F3–Bb3–D4–Bb3–D4–Bb3, expanding the register and making the subdominant sonority the phrase’s brightest point. At 00:04–00:05, F5–E5–E5 closes over F3–G3–Bb3–G3–Bb3–G3; the clipped first E5 and subsequent relaxation leave the dominant-colored C7 sonority open instead of fully resolving.

Lyrical response — contrasting continuation of the primary theme

At 00:05–00:07, the connected melody F5–A4–D5–G4–C5–A4 unfolds in broad three-note gestures, its upward fourths sounding more songful than the preceding compact statement. At 00:07–00:09, F4 is sustained while the bass F3–A2–D3–G2 moves through D-minor and G-minor-related colors, creating quiet harmonic motion beneath the held tone. At 00:09–00:09, a secondary sustained G4 lies above G2–C3 while the foreground F4–E4–D4–E4 ornaments the approach to C major, with E4 briefly unsettled by its lower neighbor. At 00:09–00:10, renewed resonance joins E4 to C3 and A2, and the slight delay before A2 preserves dominant tension at the phrase boundary.

Crescendo continuation — expansion toward the first strong cadence

At 00:10–00:11, the melody A4–Bb4–D5 rises over F2–D3–Bb2 and a sustained F4 inner tone, intensifying through registral ascent and growing attack weight. At 00:11–00:12, D5–C5–Bb4–A4–G4–F4 descends rapidly above A2 and D3, converting the earlier broad motion into a more urgent linear release. At 00:12–00:13, G4–Bb4–E4 is strongly projected over Bb2 then C3, and the E4 against Bb3+C3 sharpens the dominant-seventh pull toward F major. At 00:13–00:15, A3+F4 over F2 gives an authentic V7–I arrival in F major from C3+Bb3+E4 at 00:13 to F2+A3+F4 at 00:13, followed by a quiet pickup C6–Bb5 at 00:14–00:15.

Repeated cadential figure — first closing phrase of the primary-theme complex

At 00:15–00:16, the foreground A5–A5–A5–G5 repeats insistently above F4+A4, the short chord attacks giving the tonic sonority a sharply articulated profile. At 00:16–00:17, F5–F5–F5 answers over A3+F4, settling the melodic register while retaining the repeated rhythmic pattern. At 00:17–00:18, the chordal line E5+G5 returns three times above C4+G4, each attack increasingly projected and forming a sustained C7 dominant field. At 00:18–00:19, E5+G5–F5+A5–C6–D6–C6–Bb5 moves from C7 to F major, then immediately reopens the phrase through the high ornamental turn and Bb5’s dominant-seventh color.

Varied repetition and turn — varied restatement of the preceding closing phrase

At 00:20–00:21, the repeated A5 incipit returns with the added turn A5–Bb5–A5–G5, making the tonic figure more animated above F4+A4 and C4+G4. At 00:21–00:22, F5–F5–F5 restates the answer over A3+F4 with firm, evenly spaced attacks. At 00:22–00:23, G5–Bb5–E5 rises then drops over sustained C4+G4, the Bb5 intensifying C7 before E5 begins the resolution. At 00:23–00:24, F5 over F4 completes an authentic V7–I arrival in F major from C4+G4+Bb4+E5 at 00:23 to F4+A4+F5 at 00:23, after which C6 over C4+E4+Bb4 quietly restores dominant tension.

Tonic echo and transition pickup — closes the primary theme while preparing the transition

At 00:24–00:25, F5 over F4+A4 gives a brief tonic echo, followed by C5 over C3+E3+Bb3, whose C7 sonority reopens the harmony in a softer register. At 00:26–00:27, F4 over F3+A3 briefly resolves to F major, then the forceful unison C#2+C#3+C#4 introduces a chromatic leading tone and abruptly breaks the previous calm.

From 00:01 to 00:10, the theme transforms the opening F4–A4 incipit into broader lyrical fourths, while 00:15–00:24 compresses it into repeated chordal and ornamental closing figures. Harmonically, 00:01–00:13 moves from tonic through subdominant and C7 tension to an authentic F-major arrival, after which 00:14–00:27 repeatedly reopens the dominant and finally pivots through C#4.

Note: Timestamps in this example are shown at MM:SS precision; centiseconds have been omitted.

Example auditory analysis for Rachmaninoff’s Prelude in D major, Op. 23, No. 4

Notation note: Chords and other simultaneous sonorities use + between pitches; successive pitches in a sequence use -.

Opening A section: double presentation of the primary theme — introduction followed by the initial and ornamented presentations of the primary cantabile theme

Arpeggiated introduction — establishes the tempo, quiet character, tonic field, and flowing accompaniment

At 00:00–00:03, the quiet triplet-patterned arpeggio D2+A3+D4+A4+D4+A3+F#3+A2+D4 unfolds evenly through several registers, establishing a resonant D-major field without a separate melodic foreground. At 00:03–00:06, the same complete pattern returns over D2, and the spacious pacing, subdued attacks, and sustained D4+A4+F#3+A2 resonance make the repeated tonic sonority sound settled but still in motion.

Primary cantabile theme — first presentation of the principal theme

Primary-theme opening statement — initial thematic proposition

At 00:07–00:11, the principal line F#4–E4–F#4 sings above the established D-major arpeggiation, with the slight broadening into the returning F#4 at 00:11 rounding off the first gesture. At 00:10, C#4+G4+A4 beneath E4 forms an A7 color, and its dominant tension releases when F#4 returns over D3 and the D-major accompaniment at 00:11–00:12. From 00:13, the melody continues B3–C#4–D4–C#4–D4–E4–F#4, with the closely spaced C#4 and D4 attacks at 00:16–00:17 giving the ascent a momentarily articulated impulse before the longer E4 at 00:17. At 00:19–00:20, F#4 is projected strongly against the rising C4+A4+D5 arpeggiation, whose C4 and D5 add dominant-seventh pressure over the persistent D-centered bass and leave the phrase energized.

Primary-theme sequential continuation — continues and intensifies the opening proposition

At 00:20–00:26, the principal line G4–F#4–G4–D4 repeats its opening rise in a higher harmonic context, while B3 and D5 recur within the accompaniment as a distinct registral frame. At 00:23, A#3 directs the B-centered sonority toward B minor, but the descent through G3–F#3 at 00:26–00:26 softens that pull and briefly reduces intensity. From 00:27, the melody E4–F#4–E4–F#4–G4–G#4 resumes over G3+B3 and a D2 pedal region, with the repeated E4–F#4 figure at 00:29–00:29 sounding more urgent as C5 enters above it at 00:29. At 00:32–00:32, G#4 is reinforced by D4+E#4 and the chromatic bass motion B3–B#3, creating an augmented, leading-tone-rich sonority whose increased attack weight leaves the phrase at a local tension peak.

Primary-theme climactic consequent — reaches the first thematic apex and begins the descent

At 00:33–00:35, the principal melody A4–G#4 reaches its first forte apex above F#1 and the arpeggiated F#-minor sonority A3+C#4+F#4, with the broad initial A4 strongly sustained. At 00:35–00:40, the continuation A4–G4–F#4 moves through a renewed F#-minor field before Bb3+D4 over G2 at 00:39–00:40 introduces a G-minor inflection that destabilizes the descent. At 00:40–00:43, the line F#4–E4 returns to a quieter D-centered sonority, although Bb3+C#4 beneath E4 at 00:43 preserves a diminished, dominant-like tension. From 00:44, F#4–E4–F#4 closes the melodic path while G3–A#2 and C#4 at 00:46–00:47 color the bass with chromatic unrest, and the diminuendo plus widened final spacing make the ending recede.

Primary-theme cadential expansion — closes the first presentation through a surge and dissolution

At 00:48–00:51, the principal path D4–F#4–A4–D5 rises forcefully from a quiet B-minor sonority, and the acceleration of registral ascent turns the initially restrained continuation into a surge. At 00:52, E1+E2 beneath C#4+D4+A4+C#5 forms an E-dominant sonority with the suspended D4, whose unresolved friction is followed by the softer G-major complex B3+D4+G4+B4 at 00:54. From 00:55, the sustained melodic E4 remains above an A2 bass and G3+B3+D4, while the secondary arpeggiated line B3–D4–F#4–A4–G4–F#4–E4–D4–B3–A3–F#3–E3–B2–C#3–A2 descends continuously through 01:02. At 01:00–01:02, G3+C#4 over A2 produces an A7-directed close whose dominant function remains deliberately suspended, and the decreasing intensity dissolves the presentation without a fully attacked tonic arrival.

At 00:07–01:02, the theme’s initial F#4–E4–F#4 idea is sequentially raised, expanded to the A4 apex, and converted into an extended descending afterphrase. Across 00:10–01:02, D-major stability repeatedly yields to A7, B-minor, F#-minor, G-minor, and E-dominant colors, with the strongest tension at 00:33 and 00:52 subsiding into an unresolved A-dominant residue.

Note: Timestamps in this example are shown at MM:SS precision; centiseconds have been omitted.

Source copyrights and licenses remain with their respective datasets and score editions; no blanket license is asserted here.