MuNo-LM

Rachmaninoff

Prelude in D major, Op. 23 No. 4

Performance Recording

ASAP dataset · WAV · note-level alignment via DTW

Auditory Analysis

The piece begins in near-silence at 00:00.00 with a low D2 that is not struck as a bass accent but released into a slow, blurred arpeggiated field: D2, A3, D4, A4, D4, A3, F\#3, A2, D4 unfold between 00:00.00 and 00:03.73, all sustained into 00:04.22. The touch is extremely soft, but the inner D4 at 00:02.30 is allowed slightly more presence, so the opening does not sound like a neutral accompaniment pattern; it already has a small swell at the center of the turn before settling back toward A2 and D4.

At 00:04.18 the same D-major sonority returns, again beginning from D2, but the second arpeggio is more recessed after the initial bass. The upper notes A3, D4, A4 at 00:04.73–00:05.48 are lighter than before, and the line thins toward A2 at 00:06.92 and D4 at 00:07.35. This creates a long preparatory breath before the melody enters.

The first clear melodic statement arrives at 00:08.18 on F\#4, projected above the still-soft arpeggiated D harmony. The F\#4 is held until 00:11.28, and the following E4 at 00:10.82 slightly releases the pressure. Under it, the accompaniment begins after a small rest: D2 at 00:08.77, then A3, A4, D4, A3, and finally a delicate upper color chord C\#4, G4, A4 at 00:11.18. That chord adds a suspended, non-triadic brightness against the continuing F\#4/E4 line.

At 00:11.99 the melody returns to F\#4, but softer and more withdrawn than its first entrance. The music leans instead into B3 at 00:14.22, which is voiced more forward than the preceding F\#4; the phrase seems to turn inward. The accompaniment answers with D3, A3, A4, D4, A3, then a small D4/A4 chord at 00:14.57 and A3 at 00:14.88, keeping the texture transparent.

The line becomes more speech-like at 00:15.24: C\#4 is held, then D4 at 00:17.40, followed by tenuto C\#4 and D4 at 00:18.31 and 00:18.55. These two short notes are not tossed off; they are pressed into the phrase as a small sighing turn. Beneath them, the accompaniment introduces a mild dissonant color with G4/A4 at 00:16.39 and later B3/A4 at 00:17.73, so the harmony briefly tightens before the next rise.

At 00:18.81 the melody’s E4 is held with a sustained, tenuto weight, and the crescendo begins to register audibly. The arrival on F\#4 at 00:20.70 is much more projected, and the accompaniment becomes more animated: D3, A3, D4, A3 lead into G4/A4 at 00:20.39 and an arpeggiated C4, A4, D5 around 00:20.89–00:21.08. The D5 at the top of that arpeggio gives the first real upward spark.

The first phrase-climax arrives at 00:21.99 with G4 in the melody, strongly voiced and held over an added inner B3 at 00:22.00. The accompaniment now includes D2, B3, D5, D4, with the high D5 at 00:23.29 ringing through the texture. The melodic F\#4 at 00:24.26 relaxes from the G4, and the inner chromatic A\#3 at 00:24.60 creates a small darkening before the next phrase.

At 00:25.48 the repeated G4 is noticeably softened, and the diminuendo is audible in the reduction of weight across the bar. The bass shifts to D3 with B3, D5, D4, then descends through G3 at 00:27.92 and F\#3 at 00:28.20. The melody’s D4 at 00:27.61 feels like a settling point rather than a new assertion.

A new swell begins at 00:28.55 on E4, held with tenuto, followed by F\#4, E4, F\#4 between 00:30.35 and 00:31.14. The inner harmony at 00:28.34–00:28.41 arpeggiates G3/B3, while the bass keeps D2 underneath. The music tightens at 00:30.64 with A3/D4 and C5 at 00:31.02, pushing toward the more urgent color at 00:31.39.

At 00:31.39 the melody reaches G4 with a firm tenuto, then intensifies sharply to G\#4 at 00:33.10. The accompaniment thickens: B3/D4 and D4/E\#4 appear together around 00:32.27, while the lower line climbs through D3, B3, D5, D4, B3. The G\#4 against B\#3 at 00:33.77 and the E\#4 color creates a pronounced leading-tone tension.

The first forte arrival is at 00:34.02–00:34.69. An arpeggiated A3, C\#4, F\#4 chord opens the harmony, the bass answers with A1 at 00:34.32, and the melody enters on A4 at 00:34.69. This is the first broad, openly resonant sonority: A1 below, A3/C\#4/F\#4 in the middle, A4 above. The following G\#4 at 00:37.08 keeps the line from resolving fully, and the chord D4/E\#4 at 00:37.10 preserves the sharpened tension.

At 00:38.47 the A4 is sustained and tied forward, but the marked diminuendo is clear: the melodic continuation G\#4 at 00:42.05 and F\#4 at 00:43.17 are lighter, more withdrawn. The harmony shifts to an arpeggiated A3, C\#4, F\#4 over F\#2/C\#3 at 00:38.41, then darkens with Bb3/D4 at 00:41.16 and low D3, G2 at 00:42.05–00:42.75. The Bb color pulls the phrase away from the earlier brightness.

At 00:43.50 the melody returns to F\#4, but with a much softer attack than the preceding climactic A4. The middle sonority F\#3/D4 supports it, while Bb3/C\#4 at 00:45.86 adds a tense, compressed color under the melodic E4. The accompaniment at 00:46.28 brings Bb4 above G3, a brief sharpened upper bite before the texture relaxes again.

Between 00:47.08 and 00:51.71 the performer shapes a quiet transition. F\#4 is sustained, then E4 and F\#4 at 00:49.46 and 00:50.66 are held with tenuto, while the bass line traces D2, A3, A4, D4, A3, G3, A\#2. The A\#2 at 00:50.01 is a subtle but audible color change: it pulls the bass away from the open D sonority and prepares the next surge.

At 00:51.68 a new phrase begins softly on D4, but the crescendo is dramatic. The melody climbs through F\#4 at 00:54.36, A4 at 00:55.05, and a strongly projected D5 at 00:55.70. The accompaniment also gains weight: B1, F\#3, D4, B3, F\#3, then F\#2, D3, and F\#2/A3 at 00:55.54. The ascent sounds like a gathering wave rather than a sudden accent.

The wave breaks at 00:57.08 with the large tenuto chord C\#4, D4, A4, C\#5, with the top C\#5 made especially prominent. Under it, E1/E2 at 00:57.02 gives a deep foundation. The chord is dissonant through the close C\#4/D4 friction, and the A4/C\#5 top adds brightness. The following chord at 01:00.22, B3, D4, G4, B4, is quieter and warmer, already part of the diminuendo.

At 01:01.54 the music enters a long suspended resonance: E4 is held above tied G3/B3/D4, while the bass begins A1 at 01:02.08 and unfolds E3, B3, D4, F\#4, A4, G4, F\#4. The sound is spacious and sustained, with the upper notes moving inside a held harmonic cloud. At 01:05.02 the held E4 continues, but the harmony shifts to G3/C\#4 at 01:06.28, and the bass descends through E4, D4, B3, A3, F\#3, E3, B2, C\#3, A2 toward the return of quiet motion.

At 01:08.94 the texture resets to pianissimo. An arpeggiated F\#3, D4, F\#4 is spread slowly, with F\#4 sustained as a soft upper resonance. Above it, a filigree line begins at 01:10.46: D5, C\#5, B4, A4, B4, C\#5, B4, C\#5. The middle E4 at 01:12.08 is more present than the surrounding texture, acting as a gentle inner punctuation.

From 01:13.57 the upper line repeats the figure: D5, C\#5, B4, A4, F\#4, G4, F\#4, G4, now slightly more active but still light. The left hand keeps a steady D2, A2, F\#3, D4, F\#3, A2 outline. At 01:16.34 the contour turns lower and more searching: A4, G4, E4, G4, A4, B4, A4, B4, while the inner voice emphasizes G3/C\#4 and then D4, C\#4, D4 at 01:17.76–01:18.69.

The arabesque brightens at 01:19.43 with C\#5, B4, A4, B4, C\#5, and the performer leans into the repeated B4/C\#5 at 01:20.25–01:20.51. Underneath, G3/C\#4/E4 at 01:19.00 contains a notably soft C\#4 inside the chord, so the top and outer resonance dominate. The inner voice then rises to F\#4 and B4 at 01:20.89–01:21.72, strengthening the phrase’s lift.

At 01:22.69 the figuration reaches E5, then descends through D5, B4, C\#5, D5, with a second small turn through D5, C\#5, D5 at 01:24.18–01:24.74. The harmony beneath is B3/D4/G4, and the bass reintroduces D2, D4, B3, A\#3, D3, the A\#3 at 01:24.13 adding chromatic pressure.

The crescendo toward the central build begins around 01:25.54. The upper line E5, D5, B4, G4, A4, A4, B4, B4 is initially restrained, but by 01:28.22 the next figure C5, B4, G4, A4, B4, C5, C\#5, D5 is fuller and more forward. The middle harmony G3/B3/E4 at 01:27.87 is firm and tenuto, and the bass D2 continues to anchor the rising sequence.

At 01:30.39 the texture thickens sharply. The chord B3, D4, G4 is struck with force, and the upper line from 01:30.72—E5, D5, B4, C\#5, D5, D5, E5, E\#5—is intense and close to the surface. Against it, the inner voice stresses G\#4, G4, G\#4 from 01:32.05 to 01:32.86, creating strong chromatic friction with the surrounding G-based harmony.

At 01:33.24–01:35.65 the music arrives at a fuller forte. An arpeggiated F\#3, D4, A4 supports a bright upper line beginning at F\#5 and descending E5, D5, C\#5, D5. The bass D2/A2 and inner A3, F\#4, A4 reinforce the D resonance, but the later C\#4/Bb4 at 01:35.57 introduces a darkened, strained color.

The diminuendo at 01:36.50 is audible in the next repetition. The upper F\#5, E5, D5, C\#5, B4 at 01:37.20–01:38.61 is lighter, and the added G4, F\#4, G4 in the middle voice at 01:39.17–01:40.07 acts like a soft oscillation rather than a climactic push.

At 01:40.67 the harmony moves to F\#3, B3, D4, F\#4 over B1, with the upper line D5, C\#5, B4, A\#4, B4. The A\#4 at 01:42.49 gives a brief sharpened inflection. The phrase immediately dims at 01:44.13: the same B-centered sonority is quieter, and the upper line D5, C\#5, B4, A\#4, B4, C5, B4, C5 recedes into a more veiled color.

A new swell begins from 01:48.43. The low G1/G2 is barely present, while the right hand slowly builds: Bb4, G4, D4, G4, Bb4, D5 from 01:49.49 to 01:52.08. The crescendo is strong: by D5 at 01:52.08 the sound has grown into a clear arrival. Inner notes D4, C4, Bb3, G3, D3, G2 from 01:50.37 onward descend against the rising right hand, widening the register.

At 01:53.10 the chord C4, D4, A4, C5 lands with force, again colored by the close C4/D4 dissonance. A low E1/E2 at 01:53.00 deepens the attack. Above, a quick upper figure D5, F\#5, G5, A5, G5 from 01:53.98 to 01:55.28 flashes brightly, then the texture immediately begins to thin. At 01:55.69 the chord Bb3, G4, Bb4 adds a darker, dominant-colored weight before the next quiet chord.

At 01:57.22 the music drops to a soft, tenuto G3, Bb3, D4, E4, with A1 in the bass. The upper voice moves in a compressed nine-part ripple: D5, Bb4, A4, G4, A4, Bb4, G4, E4 from 01:57.99 to 02:00.36. The E4 is tied into the next harmony, creating a suspended tone over the changing bass.

From 02:00.75 the sustained E4 continues, then resolves toward D4 at 02:04.14. The inner voice outlines D4, E4, D4, then G3/C\#4 at 02:02.06. The bass waits, then enters with A3, F\#3, E3, A2, A1 from 02:02.49 to 02:04.47. The pacing here is noticeably spacious; the rests create audible breathing space between harmonic gestures.

At 02:05.43 the opening material returns in pianissimo. D2, A2, F\#3, A3, B3, C\#4, D4, A3, G3 move softly under the held F\#3/D4 sonority, while the melody begins at F\#4 at 02:06.65 and turns through E4, F\#4, B3. This is a quieter echo of the earlier cantabile entrance.

The music gathers again at 02:09.10. The melody climbs C\#4, D4, F\#4, A4, then opens into D4/B4 and E4/C\#5 at 02:10.68 and 02:11.14. The bass line descends and tightens: F\#3, E3, D3, B2, A2, F\#2, D2, C\#2. The low C\#2 at 02:11.27 gives a grounded pull into the next sonority.

At 02:11.68 the chord D4, B4, D5 is held quietly, but the later chords at 02:13.56–02:13.59—E4/C\#5, C\#4/E4, and F\#4/D5—bring a compact, layered intensity. At 02:14.56–02:16.36 this intensifies into overlapping E4/C\#5, F\#4/D5, D4/F\#4, and finally an arpeggiated D4, G\#4, E5. The G\#4 against D4/E5 is a bright, unstable color that pushes the phrase forward.

The next arrival at 02:16.89 is an arpeggiated C\#4, A4, C\#5, A5 over A1. The top A5 is voiced clearly but not as explosively as later climaxes. The phrase swells again at 02:20.51–02:21.19 through B4/D5, D4/B4, E4/C\#5, C\#5/E5, and B4/D5, while the bass repeats E3, A3, E4, A3, E3, A2, E2. The repeated upper dyads create a rocking, intensifying shimmer.

At 02:22.13 the related chord C4, A4, C5 returns, softer and less brilliant. The top C5 remains the most audible pitch, with E5 appearing as a held upper tone at 02:22.78. By 02:24.65–02:26.78 the music slows and dims: C4/E4, C5, B4/D5, D4/B4, then G4/C5/E5 and A4/C5/F\#5. The ritardando is heard in the stretched spacing before the return to tempo.

At 02:27.35 the tempo resets and the sound drops to pianissimo. An arpeggiated G4, B4, E5, B5 unfolds very softly from 02:27.35 to 02:28.17, while the bass G1/B2 enters at 02:28.06. The delicate B2/E2 at 02:30.37–02:30.38 is extremely quiet, almost a shadow. Then at 02:31.03–02:31.87 the upper chords F\#4/A4, B3/G4, G4/B4, A4/C5, B4/D5 swell rapidly, setting up the next sequence.

At 02:32.77 the chord B3, G4, B4 sounds with a clear top B4, while D5 at 02:33.31 shines above it. The bass G1/D3 and inner arpeggio D3, G3, D4, G3, D3 give a rounded G resonance. At 02:35.27–02:36.58, the right hand answers with denser paired chords—B3/D4, F\#4/A4, G4/B4, A4/C5—more animated and brighter.

At 02:37.54 the music shifts to a more urgent crescendo. The first chord D4, Bb4, D5 is moderate, but by 02:39.10 the same sonority is struck with far greater force, and the octave-like E4/E5 at 02:39.44 pushes the phrase over the edge. The bass G1/G2, D3, G3, D4, G3, D3, G2, D2 rises in intensity in parallel.

The major surge begins at 02:39.91 with F4, Bb4, D5, F5, followed by increasingly brilliant sonorities: F4/F5 at 02:41.01, G4/D5/G5 at 02:41.34, and A4/A5 at 02:41.68. The bass moves to F1/F2 and climbs through D3, F3, D4, F3, D3, F2, D2, each attack gaining weight.

At 02:42.18 the right hand reaches Bb4, D5, G5, Bb5, then F\#4/F\#5, G4/G5, A4/A5, and finally C5/C6 at 02:44.08. This is a clear escalation in register and brightness. The lower harmony E1/E2 at 02:42.09, with D3, G3, Bb3/D4, G3, D3, G2, E2, gives a darker underpinning, making the upper C6 sound more urgent.

The most intense pre-climax climb begins at 02:44.64: C\#5/G5/C\#6, D5/Bb5/D6, Eb5/G5/Eb6, F\#5/C\#6/F\#6, G5/Bb5/G6, and A5/C\#6/A6 rise in rapid succession. The bass at 02:44.55 strikes Eb1/Eb2 with an accented attack, then climbs through Bb2, G3, Bb3, C\#4, G4, Bb4, C\#5, G5. This is one of the densest harmonic regions: the upper chromatic chord sequence and the low accented Eb produce a strongly charged, almost orchestral sonority.

The central fortissimo breaks at 02:48.46 with A\#5, D6, G6, A\#6, accented and extremely high. The following accented chords descend: B5, D6, G6, B6 at 02:49.63; A5, D6, F\#6, A6 at 02:50.35; G5, B5, E6, G6 at 02:50.88; F\#5, B5, D6, F\#6 at 02:51.40; and E5, G5, B5, E6 at 02:51.89. Underneath, E1/E2 at 02:48.37 and the climbing B2, G3, D4, E4, G4, A4, B4, G4 keep the resonance massive.

At 02:52.43 the diminuendo begins, though the chords remain accented: D5, F\#5, B5, D6; B4, D5, G5, B5; A4, D5, F\#5, A5; G4, B4, E5, G5. The sound steps down register by register. By 02:54.85, F\#4, B4, D5, F\#5 is held more lyrically, and E4, C\#5, E5 at 02:55.58 completes the release into a less percussive tone.

At 02:56.69 the music returns to a middle dynamic with F\#4, D5, F\#5, while D6 at 02:57.66 floats above it. The bass outlines D2, A2, F\#3, D4, E4, F\#4, then a darker Bb3/G4 at 02:59.29. The very soft G3 at 02:59.80 is almost swallowed by the surrounding resonance before Bb2 closes the gesture.

From 03:00.54 to 03:03.45 the same material is calmer: F\#4, D5, F\#5 gives way to B3, F\#4, B4, while the upper D6 and G5 are less assertive. At 03:03.43, however, C\#4, G4, A4, C\#5 reintroduces a sharper color, followed by small accented-feeling tenuto figures at 03:05.20–03:05.87 involving D4, B4, D5, C\#5, and again D4, B4, D5. The B4 inside the last chord is extremely subdued compared with its surrounding pitches, making the outer D4/D5 frame more audible.

At 03:06.15 the arpeggiated C\#4, G4, C\#5, E5 brightens the harmony, and the phrase grows into F\#4, D5, F\#5 at 03:08.07. The bass line surges through D2, A2, G3, C\#4/E4, F\#4, G4, then C4/A4, D4, D3. The G4 at 03:07.70 is strongly projected, helping drive the arrival.

At 03:08.94 the chord E4, B4, E5, G5 is arpeggiated, with G5 clearly prominent. Above it, E6 enters at 03:09.69, giving the texture a high, ringing crown. The bass contains a striking arpeggiated D2/G3 at 03:08.83–03:09.16, followed by B3, E4, G4, A4, B4, C5, D\#4, A3. The D\#4 at 03:11.33 darkens the line before the next chord.

At 03:11.87 the similar G4, B4, E5, G5 chord is softer and more restrained. The music briefly relaxes: E6 at 03:12.70 is quieter, and the bass motion B3, E4, D\#4, E4, F\#4, G4, B3, D3 has a more interior color. But the crescendo resumes almost immediately.

At 03:14.94 the harmony shifts to E4, G4, C\#5, E5, then at 03:16.49 the chord F\#4, D5, F\#5 arrives with strong emphasis. The bass pushes through D2, A2, G3, C\#4/E4, F\#4, G4, then C4/A4, D4, D3. At 03:17.26, G4, B4, E5, G5 is much stronger than before, and E6 at 03:17.60 rings out above it. The chromatic inner pitches G\#4, A4, A\#4, E\#4/B4 between 03:17.98 and 03:18.42 generate intense leading-tone pressure.

The next forte region begins at 03:19.49–03:19.93 with an arpeggiated bass chord F\#1, F\#2, C\#3, while the right hand spreads C\#4, F\#4, A4, C\#5, A5 across 03:18.69–03:19.91. The high A5 is dominant in the sound. At 03:20.43, F\#6 appears above the texture, and the bass line accelerates through A3, C\#4, A4, B4, B\#4, C\#5. The chromatic B\#4 at 03:21.23 is a particularly tense passing tone before the arrival on C\#5.

At 03:22.46 the same F\# -centered arpeggiated chord returns, but the marked dimming begins soon after. The top A5 is still present, but less overwhelming; F\#6 at 03:23.50 is still bright, then the phrase releases into G4/D5/G5 at 03:24.94 and a small ornamental figure around F\#5 and G5/A5 at 03:26.08–03:26.48. The bass moves through F\#2/C\#3, A3, C\#4, F\#4, G4, G\#4, A4, then drops into D4/Bb4, Bb3, G2/D3, completing the relaxation.

At 03:26.96 the earlier D-based material returns: F\#4, D5, F\#5 with a high D6 at 03:27.56, then E4, C\#5, E5 with C\#6 at 03:29.40. The bass turns through D2, A2, F\#3, D4, E4, E\#4, F\#4, then Bb3/G4, G3, Bb2. The E\#4 at 03:28.40 provides a quick chromatic lift into F\#4.

From 03:30.01 to 03:34.68 the same idea is softened and stretched. F\#4, D5, F\#5 gives way to E4, C\#5, E5 and then a lightly held F\#5. The accompaniment descends through D2, A2, F\#3, D4, E4, F\#4, then A\#3/G4, G3, A\#2. The repeated A\# color gives the cadence a muted, shadowed quality.

At 03:34.62 a new crescendo starts from a soft D4, F\#4, B4, D5 chord. The music climbs with increasing force: F\#4/F\#5 at 03:37.00, A4/D5/A5 at 03:37.57, and D5/D6 at 03:38.26. The bass simultaneously intensifies: B1, F\#3, B3, D4, C\#4, B3, then rapid low notes F\#2, E3, F\#2/A3, D3. This is a clear preparatory surge into the next harmonic arrival.

At 03:39.53 the chord C\#5, D5, A5, C\#6 lands with the top C\#6 strongly projected and the close C\#5/D5 dissonance audible. A high A6 at 03:40.75 adds a luminous upper point. Underneath, E1/E2 and the arpeggio B2, G3, D4, F\#4, A4, G4, D4, G3 give the chord a deep, resonant base. The following B4, D5, G5, B5 at 03:42.84 is less intense and begins the diminuendo.

At 03:44.79 the sound drops to a sustained D4, G4, B4, E5 chord, with G5 held above from 03:45.94. The bass A1, A2, E3, B3, D4, F\#4, G4, F\#4, E4 moves patiently underneath. At 03:48.74 the tied chord briefly swells, then D4/D5 at 03:49.30 acts as a soft punctuation before the harmony shifts to C\#4, G4, C\#5 at 03:50.15. The subsequent D4/D5 at 03:52.39 is quieter, tapering into the next phrase.

At 03:53.89 the chord D4, B4, D5 is held softly, with a high B5 entering at 03:54.99. The bass B1, B2, E\#3, F\#3, B3, C\#4, D4, F\#3, B2 rises gently beneath it. The E\#3 at 03:55.11 gives a subtle leading-tone edge inside an otherwise quiet texture.

At 03:58.32 the chord C4, D4, A4, C5 returns softly, still carrying the close C/D tension but without earlier force. A high D5 at 03:59.34 floats above it. The bass E1/E2 is muted, and the inner motion D4, A3, G3, D3, E2 fades noticeably. At 04:01.02 the chord Bb3, G4, Bb4 and high G5 at 04:01.68 darken the color before the final descent.

At 04:02.80 the arpeggiated F\#3, D4, A4 is spread slowly and held, while F\#5 enters at 04:04.06. The bass moves through A1, A2, F\#3, A3, B3, D4, C\#4, B3, A3, all sustained into 04:08.40. The pacing is broad and unhurried, with a long resonance rather than active forward motion.

At 04:08.37 the harmony turns to G3, C\#4, G4, with F\#4 at 04:11.81. The bass line A3, F\#3, E3, A2, A1 fades under it. The C\#4 inside the chord and the F\#4 above create a quiet, unresolved tension, softened by the diminuendo.

At 04:13.07 the final return of the opening color appears in pianissimo: F\#3, D4, F\#4 with D5 at 04:14.42. The melody then traces E4 at 04:15.65, F\#4 at 04:16.29, and B3 at 04:16.77, while the bass repeats the familiar D2, A2, F\#3, A3, B3, C\#4, D4, A3, G3. The sound is extremely soft but still shaped, with a slight lift toward the end of the figure.

The last small crescendo begins at 04:17.27: C\#4, D4, F\#4, A4, D5, E5 rise in the upper voice, while the accompaniment climbs F\#3, A3, B3, C\#4, D4, E4, F\#4, A4, C\#5. This is not a full climax; it is a final luminous ascent. At 04:22.29, the suspended chord F\#4, G\#4, D5, F\#5 is held over B3, D4, B4, producing a tense, unresolved sonority with the F\#/G\# upper friction and the B-minor support below.

At 04:26.80 the tied sonority briefly continues, then a real silence opens between 04:27.55 and 04:28.31. After that breath, the music returns very softly with G3, C\#4, E4 over G2 at 04:28.30–04:28.31. The isolated D4 at 04:32.06 is clipped and detached, a small staccato point inside the fading resonance.

The final sonority arrives at 04:34.47–04:34.49: F\#3, D4 above D2, A2, all held under a fermata until 04:41.27. The ending is extremely quiet, with the bass D2/A2 supporting the bare upper F\#3/D4. The performer lets the final chord hang without further motion, so the piece closes not with a cadence gesture but with a sustained, suspended stillness.

Questions 10

Q1	At what moment does the first clearly projected melodic line emerge from the opening texture of the piece?	00:08.18
Q2	During the first melodic statement beginning around 00:08.18, when does a small upper chord with a suspended, non-triadic quality enter against the ongoing melodic line?	00:11.18
Q3	In the first broadly resonant arrival of the piece, which begins around 00:34.02, when does the very deep bass note enter to complete the full sonority?	00:34.32
Q4	A melodic ascent begins softly around 00:51.68 and climbs through several pitches before converging into a broad, dissonant tenuto chord at its peak. When does that tenuto chord arrive?	00:57.08
Q5	After the texture resets to pianissimo at 01:08.94 with a slowly spread arpeggiated chord and a sustained upper resonance, when does a light ornamental line begin in the high register above it?	01:10.46
Q6	Within the extended pianissimo ornamental passage beginning at 01:08.94, when does the texture abruptly thicken as a chord is suddenly struck with considerable force, immediately launching an intense upper line?	01:30.39
Q7	During the ascending escalation beginning around 02:39.91, when does the upper voice first reach its highest pitch in that passage?	02:44.08
Q8	Following the rapid chromatic ascending sequence of dense chords that begins around 02:44.64, when does the central fortissimo climax land?	02:48.46
Q9	Late in the piece, after a small crescendo peaks near 04:22.29, when does an audible silence open between two musical gestures?	04:27.55
Q10	In the final quiet closing gestures following the return of soft music at 04:28.31, when does a single note sound in a clearly clipped, detached manner, standing apart from the surrounding fading resonance?	04:32.06

Score Understanding CMBench50

Q1	Articulation & Notation — In bar 5, which notes have a tenuto? Answer format: ABC notation with octave number (example: C4, Ab3).	C#4, D4.
Q2	Form — The main theme is played a second time starting in which bar? Answer format: number.	19
Q3	Melody & Voice Leading — Name all the notes of the main melody the first time it is played. Start from bar 3 and go on until it reaches the first A. Answer format: pitches only in ABC format (example: D#, B, ...). Don't include the final A in your answer.	F#, E, F#, B, C#, D, C#, D, E, F#, G, F#, G, D, E, F#, E, F#, G, G#
Q4	Performance — At which timestamp is the main theme played for the third (and last) time? Provide the timestamp of the beginning of the first note of the theme. Answer format: MM:SS.ss.	02:56.69
Q5	Performance — At which timestamps do the tenuto notes in the melody in bar 5 occur? Answer format: comma-separated MM:SS.ss.	00:18.31, 00:18.55
Q6	Performance — At which timestamps do the accented chords in the right hand of bars 51 occur? Answer format: comma-separated MM:SS.ss (chronologically).	02:48.46, 02:49.63, 02:50.35, 02:50.88, 02:51.40, 02:51.89
Q7	Performance — At which timestamp does the first melodic note of the piece occur? Answer format: MM:SS.ss.	00:08.18
Q8	Performance — Listen to the main melody of the piece the first time it is played. Describe the contour of the melody in terms of more or less velocity, starting with the first note, until you reach the first A of the melody. Answer format: comma-separated 'more', 'equal', or 'less' (example: more, less, more). The last word should refer to the difference between first A of the melody and the melodic note right before it.	less, less, more, equal, less, less, more, less, more, more, less, less, more, less, more, less, less, more, more, less
Q9	Rhythm & Meter — How many distinct note values (in terms of duration) are written in bar 57? Treat dotted and non-dotted note values as distinct. Answer format: number.	5
Q10	Texture & Counting — After how many notes of accompaniment does the first melodic note appear? Answer format: number.	18

MuNo Files 4 variants

Verbose · Compact · Minimal · Beats — score and perception variants.

Perception · Verbose↓ Perception · Compact↓ Perception · Minimal↓ Perception · Beats↓

Mozart

Piano Sonata in F major, K. 332 — I. Allegro

Performance Recording

ASAP dataset · WAV · note-level alignment via DTW

Auditory Analysis

The performance opens at 00:01.04 with a soft, clearly balanced F-major sonority: the melody sustains F4 while A4 answers inside the same breath, and beneath it the left hand unfolds F3–A3–C4–A3–C4–A3 as a gently rolling broken chord. The upper notes are projected more than the bass, so the ear hears a calm melodic line floating above a quiet Alberti-like texture. The opening is not percussive; the notes overlap enough to give the phrase a connected, lightly pedaled sound.

At 00:02.18, the melody rises to C5 and then returns to A4, now more present than the opening. The accompaniment changes color: the left hand includes Eb4 against F3 and C4, adding a darker dominant-seventh shade. This is the first audible harmonic tension, but the performer keeps it contained rather than dramatic.

The phrase leans further forward at 00:03.30, where Bb4 moves to the high G5. The G5 is played with a stronger, brighter attack, and the accompaniment F3–Bb3–D4–Bb3–D4–Bb3 supports it with a fuller touch. This creates the first real swell of the opening period. At 00:04.42, the upper line turns through F5–E5, then holds E5. The slight shortening of F5 and E5 makes the gesture sound like a decorative turn into a small cadence, while the bass pattern F3–G3–Bb3–G3–Bb3–G3 keeps the motion alive underneath.

At 00:05.57, the music begins a new, more syllabic idea: F5–A4–D5 in the right hand over a compact F3–A3 chord. The accompaniment then drops out at 00:06.72, leaving the right hand’s G4–C5–A4 exposed. This clearing of texture makes the following held F4 at 00:07.91 sound like a point of arrival. Under it, a lower counter-gesture enters at F3–A2–D3, more assertive than the earlier accompaniment, giving the phrase a grounded, almost answering quality.

The tied F4 continues through 00:09.05, then the right hand ornaments E4 with a trill at 00:09.38, resolving through D4 to E4. The simultaneous sustained G4 and bass motion G2–C3–A2 create a layered texture: the upper voice decorates, the middle voice holds tension, and the bass moves stepwise underneath. At 00:10.14, a crescendo is audible as the melody climbs A4–Bb4–D5. The Bb4 and D5 are played with noticeably more bite, and the bass F2–D3–Bb2 gives the line a broader sweep.

At 00:11.27, the right hand releases that energy in a descending six-note run D5–C5–Bb4–A4–G4–F4. The notes remain clear and articulated, with the middle of the run slightly more forceful than the beginning. At 00:12.35, the music is marked by a stronger dynamic: G4–Bb4 leads into the dissonant chord Bb3–E4 at 00:13.14, supported by Bb2 and then C3 in the bass. The E4 against Bb3 gives a tritone-like bite; the chord is short, tense, and cadential in function.

The resolution at 00:13.56 is softer: A3–F4 over F2. The contrast is immediate. But the quiet is interrupted by a brilliant high-register figure at 00:14.34, where C6–Bb5 flashes above accompanying thirds A4–C5 and G4–Bb4. From 00:14.73 through 00:16.67, repeated high A5 and then F5 notes are paired with compact lower chords F4–A4, C4–G4, and A3–F4. The repeated notes are clipped and bright, producing a playful but pointed surface. The performer emphasizes the tops of these figures, so the treble sparkles while the lower chords act like light punctuation.

At 00:17.07, the repeated E5–G5 chords arrive with detached staccato touch over matching C4–G4 support. The third repetition at 00:17.87 is stronger, making the sequence sound like it presses forward. At 00:18.27, the same harmony is briefly connected, E5–G5 moving to F5–A5, before a fast high turn begins at 00:19.11: C6–D6–C6–Bb5. This quick upper flourish is reinforced by lower thirds A4–C5 and G4–Bb4, giving the line a shimmering upper-register color.

The material repeats at 00:19.48 with A5 and then a small figure A5–Bb5–A5–G5, answered at 00:20.69 by repeated F5. The repeated F5 notes at 00:20.69, 00:21.10, and 00:21.51 gradually soften, creating a taper. At 00:21.93, a new phrase begins with G5–Bb5, but the Bb5 is notably lighter, almost withdrawn. The chord Bb4–E5 at 00:22.80 restores tension through the same tritone color heard earlier.

At 00:23.25, the answer A4–F5 is very soft, and the following C6 at 00:24.04 stands out because it enters alone and high. Under it, C4–E4–Bb4 forms a dominant-seventh sonority. The music then steps downward through F5 at 00:24.47, C5 at 00:25.28, and F4 at 00:25.70, preparing the darker turn at 00:26.47: a forceful C#4 above a deep octave C#2–C#3. This is a decisive color shift away from the opening F-major brightness.

At 00:26.85, the music lands in D minor with D4 above D2–D3, immediately energized by a broken left-hand pattern D2/D3–F3–A3–F3–A3–F3. The right hand fills in F4–A4–D5–A4–D5, accelerating the surface. At 00:28.01, the intensity spikes: F5, D5, F5, then a staccato A5. The high F5 and repeated A5 are struck with brilliant force, while the left-hand D3–F3–A3 pattern keeps a turbulent motor underneath.

At 00:29.14, a dramatic accented figure begins with a grace C#5, then E5–G5, resolving onto Bb5 at 00:29.27. The harmony beneath—E2–E3 and then E3–G3–Bb3–C#4—is a sharply dissonant diminished-seventh color. The sound is tense and theatrical: the upper Bb5 hangs over the biting lower chord, then spills downward through A5–G5–F5–E5–D5–C#5. The same gesture returns at 00:30.23, slightly less massive in the bass, but still clearly accented.

The D-minor drive returns at 00:31.39 with D5 and the broken accompaniment F3–A3–D4–A3–D4–A3. At 00:32.55, the right hand again flashes F5–D5–F5–A5, with the staccato A5 at 00:32.93 sharply articulated. The repeated high A5 at 00:33.13 is held longer, letting the tension stretch before the next dissonant strike.

At 00:33.71, a powerful diminished chord B4–D5–F5–Ab5 sounds, with Ab5 strongly voiced at the top. Underneath, the bass answers with D2–D3 and then D3–F3–Ab3–B3. This sonority is one of the most pungent moments so far: stacked minor thirds create a compressed, unstable color. The descending line G5–F5–Eb5–D5–C5–B4 releases it in tight sixteenth notes. At 00:34.85, the same diminished region is sustained through Ab5, again over D2–D3 and D3–F3–Ab3–B3, but the follow-through is slightly more relaxed.

From 00:36.02, the music moves into a sequence of broken minor sonorities. A tied C5 is decorated by G4–C5–G4–Eb5–C5–Eb5–C5, while the bass outlines Eb3–G3–C4–G3–C4–G3. The color is now darker and more chromatic than the opening. At 00:37.13, G5–Eb5–G5–Eb5 leads to a sustained high C6, the bass still rolling through Eb3–G3–C4. The high C6 is firm but not hammered, functioning as a suspended arrival.

At 00:38.30, the harmony shifts to an Ab-colored sonority: C5 with Ab4, Eb5, and C5, while the bass outlines C3–Eb3–Ab3. The performer increases weight at 00:39.43, where Ab5–Eb5–Ab5–Eb5 leads to a bright C6. The bass is also heavier here, especially C3–Eb3–Ab3, so the whole register stack sounds fuller and more resonant.

At 00:40.61, the tied C5 is colored by F#4, creating a striking chromatic bite against the Ab/Eb bass region. The figure C5–F#4–Eb5–C5–Eb5–C5 feels more unstable because of the F-sharp. This instability intensifies at 00:41.75, where F#5–Eb5–F#5–Eb5 leads to C6 and then a strong F#5 at 00:42.52. The upper F#5 is one of the most pointed attacks in this passage, and it heightens the dissonance before the following release.

At 00:42.91, the right hand inserts grace notes G4, then B4–D5, into a forceful G5 at 00:43.08. The bass outlines G2–B2–D3–G3, creating a dominant arrival. The high G5 is held, then falls through F5–Eb5–D5–C5. The same dominant sonority repeats at 00:44.09, with a still-strong G5 and a tightly articulated left-hand arpeggiation. At 00:45.25, the held G5 is even more emphatic over the octave G2–G3, then it unwinds chromatically through Ab5–G5–F5–Eb5–D5–C5.

The tension snaps shut at 00:46.38 with two staccato octave-like gestures: high G5 with G3, then lower G4 with G2. These are clipped and dry, leaving a brief registral gap before the quieter continuation.

At 00:47.91, the dynamic drops. A grace-like chord G4–E5 appears at 00:48.01, lightly detached, over a soft C3–G3–C4 underpinning. The repeated E5 notes at 00:48.44 and 00:48.85 are short and playful. At 00:49.25, the right hand ornaments with B4–G5, then resolves through F5 and D5, while the lower voice places G3–D4 and F4 beneath it. The texture is thinner and more transparent after the preceding storm.

At 00:50.47, a small melodic turn D5–C5 leads to G4–C5, then B4–D5. The left hand answers with isolated C3, E3, and G3, lightly punctuating the harmony. At 00:51.65, the held B4–D5 chord leans into C5–E5, supported by C4 and C3. The performance allows these tones to connect smoothly, making the phrase sound like a small recovery after the earlier chromatic tension.

At 00:52.99, F5 begins a decorated figure. The grace G5 and E5–F5 at 00:53.41–00:53.57 lead into a quick F5–G5–A5, with G5 given extra brightness. The accompaniment A3 and C4–F4 is subdued, keeping the treble ornament in front. At 00:54.12, the melody continues A5–G5–F#5–G5–F5–D5. The F#5 gives a sharpened leading-tone color, and the line peaks through G5 and F5 before descending.

At 00:55.33, the line turns more chromatic: D#5–E5–F5–E5–G5–F5, with F5 and E5 pressed strongly. Underneath, C4, then A3–C4, then F3–D4 create a shifting harmonic base. The descent at 00:56.54 through E5–D5–C5–B4–A4–G4 is softer and more resigned, tapering the phrase.

A new crescendo begins around 00:57.77. The right hand alternates D#5–E5 three times, each pair becoming more insistent, while the accompaniment rolls triplets C4–E4–G4. At 00:58.98, the figure rises to F#5–G5, then repeats with greater force at 00:59.38, and finally turns F5–D5 at 00:59.77. The bass triplets shift to B3–D4–G4, then B3–F4–G4, intensifying the harmonic pressure.

At 01:00.15, the dynamic drops again. The melody answers with short paired sighs D5–C5, D5–C5, then E5–D5, over sparse lower notes C4–E4, E3, G3. The performer keeps the right hand articulate but restrained. At 01:01.38, D5 is sustained, then nudged by D#5 into E5, while B4 and C5 sit beneath it. The chromatic D#5 is soft, more a color change than an accent.

At 01:02.65, F5 begins another decorated ascent, with grace and neighboring tones around G5, E5–F5, then G5–A5. At 01:03.80, the line mirrors the earlier figure: A5–G5–F#5–G5–F5–D5, with the lower voice outlining B3–D4–G4. At 01:04.97, the dynamic turns firm on D#5–E5–G5–F5–D5–B4, but the phrase immediately relaxes at 01:06.16 into quiet repeated G4 figures and light lower chords.

From 01:07.36 to 01:10.71, the music settles into a repeated offbeat pattern. Chords F4–G4, then Eb4–G4, then F4–G4 again are struck briefly with rests between them. The bass answers with D4–B3–G3, then C3–Eb3–C3, then D3–B2–G2. The touch is detached and rhetorical: short chord, space, short chord, space. At 01:10.90, the Eb4–G4 chord and low C2–C3 arrive more forcefully, then the dynamic pulls back almost immediately. This forte–piano contrast repeats through 01:12.05, 01:13.23, 01:14.36, and 01:15.51, each time with a strong bass octave and clipped upper chord.

The harmonic color darkens through this sequence: Eb4–Ab4 over F2–F3 at 01:12.05, D4–Ab4 over Bb1–Bb2 at 01:13.23, D4–G4 over Eb2–Eb3 at 01:14.36, and C4–G4 over Ab1–Ab2 at 01:15.52. The D4–Ab4 sonority at 01:13.23 is especially biting, a tritone in the right hand over a deep bass octave. At 01:16.28, C4–F4 over D2–D3 pushes toward a new dominant area.

At 01:16.84, the upper C4–F4 gives way to repeated B3–F4 chords, while the bass hits G1–G2 at 01:17.04. The B3–F4 tritone is dry and insistent. At 01:17.82, the left hand begins a chromatic descent Ab3–G3–F#3, while the right hand punctuates with C4–Eb4. This creates a grinding, inward tension rather than a broad climax.

From 01:19.19 through 01:22.43, the texture becomes contrapuntal and clustered. The right hand alternates overlapping chords such as D4–F4, B3–D4, Eb4–G4, and C4–Eb4, while the lower voice moves around G3 and F#3. The close spacing makes the harmony sound compressed. At 01:22.67, the crescendo begins: B3–D4, A#3–C#4, B3–D4, C#4–E4, D4–F4, and E4–G4 stack upward in quick succession. The chromatic A#3–C#4 is the spark that turns the sequence toward resolution.

At 01:23.65, the music relaxes into a quiet F-major area: F4–A4, then repeated C4–F4–A4, supported by F3. The chords are short and lightly placed. At 01:24.91, the right hand holds F4–A4 and then moves to E4–G4, with C4, F3, and C3 beneath. The texture has calmed after the chromatic build.

At 01:26.16, repeated F4 notes are answered by grace and chordal figures B3–D4–G4, then B3–D4, over repeated G2. This creates a dominant pedal feel, dry and rhythmic. At 01:27.37, the held B3–D4–F4 chord over G2 has a dominant-seventh color, resolving toward C4–E4 and A2 at 01:28.23.

At 01:28.64, E4–G4 slips to D4–F4, then C4–E4 and B3–D4, the bass moving F2–G2–G2. At 01:29.85, a bright ascending staccato scale begins: C5–D5–E5–F5–G5, each note short and increasingly brilliant. The performer makes E5, F5, and G5 especially sparkling.

At 01:31.12, high A5 is repeated three times over C4–F4 chords. The middle A5 is the strongest, and the third is held longer, stretching the cadence. At 01:32.43, A5 turns through a very soft B5, back to A5, then descends to G5. The B5 is unusually light, almost like a passing flicker. At 01:33.61, F5–G5 grace motion leads to repeated F5, while inner voices sound B4, D4, and G3. The harmony is tense because the upper F5 sits above B4, forming a tritone-like pull.

At 01:34.87, F5 sustains and resolves to E5, while the inner voices B4–C5, D4–C4, and G3–A3 move gently. This is a soft cadence-like relaxation. At 01:36.09, E5–G5 moves to D5–F5, then C5–E5, B4–D5, with bass F3–G3–F3. The motion is clear and lightly voiced.

At 01:37.25, the dynamic turns briefly forceful on E2–E3, with right-hand staccato E5–G5 and lower G#3, A3. This initiates a modulatory burst. At 01:39.66, the texture changes into brilliant broken sixteenth-note figures: the right hand alternates short rests with E5–G5–E5, then D5–F5–D5, then C5–E5–C5, while the bass strikes E2–E3, G#2–G#3, A2–A3. The sound is crisp, motoric, and harmonically pointed.

At 01:40.81, the pattern continues lower: F4–D5–F4, E4–C5–E4, D4–B4–D4, over bass octaves F2–F3, G2–G3, G2–G3. The right hand is agile and clear, with the highest notes in each little cell emerging distinctly.

At 01:41.94, the music arrives on E4–G4–C5, then pauses before a trill on E5 at 01:42.69, resolving through D5–C5. The bass runs continuous sixteenth-note arpeggios C3–E3–G3–C4 repeatedly, creating a steady harmonic bed beneath the ornament. At 01:43.05, G5 is held, followed by a trill-like B5 figure resolving A5–G5. At 01:44.18, C6 takes the same role, then E5 trills down to D5–C5. The repeated arpeggios keep the pulse active while the right hand decorates above.

At 01:45.32, repeated G5 notes intensify, and the bass arpeggios become stronger. At 01:46.45, the music surges into a brilliant accented progression: C6, then E6, then G#5, with the left hand striking C3–E3–G3–C4, then E3–E4, then G#2–G#3. The E6 is especially radiant. At 01:47.71, the pattern continues with A5–C6–E5 over A2–A3, C3–C4, and E3. These accented sonorities sound like a broad, theatrical expansion.

At 01:48.93, a trill on F5 resolves through E5–D5 into a strong G5 at 01:49.27, followed by D5–G5–B5 at 01:49.69. The bass mirrors the motion with F3, E3–D3, G3, and G2–G3. At 01:50.14, the chord E5–G5–C6 arrives strongly, then drops suddenly to a low C4 at 01:50.68. This registral fall creates a decisive punctuation and a brief clearing before the return.

At 01:51.81, the opening material returns, now beginning on G4–C5–E5 over a sustained G4 and low E3–C3. The dynamic is soft, but the upper E5 is clearly voiced. At 01:53.10, C5–E5 sustains, then softens to B4–D5, with G4 and G3 beneath. The same idea repeats at 01:54.43 and 01:55.64, keeping the texture transparent and lightly shaped.

At 01:56.90, the right hand moves A4–D5–F5, supported by F3–A3–D4. At 01:58.11, E5–D5 leads into a long tied A5, which continues through 01:59.35 before resolving to G5 and then B4. The sustained A5 is a clear point of tension, held over G3–D4–F4 in the lower voice. Its release to G5 at 01:59.75 is audible as a loosening of pressure.

At 02:00.58, a flowing descent C5–G4–E4–G4–F4–D4 unfolds over a light C4–E4 chord. This is followed at 02:01.77 by C4–G3–C4–E4, with E3–C3 underneath. The lower register makes the reprise sound more grounded than the opening.

At 02:02.99 and 02:05.44, repeated soft accented chords C4–E4 resolving to B3–D4 over G2–G3 create a gentle dominant tension. The accents are marked, but the performer keeps them restrained. At 02:06.71, the right hand again outlines A3–D4–F4, and at 02:07.94 E4–D4 leads into a tied A4. The phrase mirrors the earlier high A5 suspension, but one octave lower and less brilliant.

At 02:10.37, the music returns to the quiet repeated-note pattern: C4–G4, then repeated G4 fragments over C3–E3, E4, and C4. From 02:11.51 through 02:14.74, the familiar detached chord pattern reappears: F4–G4, Eb4–G4, F4–G4, each separated by rests and answered by bass notes. The touch remains clipped, with a dry rhetorical character.

At 02:14.94, stronger contrasts return: Eb4–G4 over C2–C3, then at 02:16.06 the dissonant chord C4–Eb4–F#4 over A1–A2. The F#4 brightens the dissonance sharply. At 02:17.18, D4–G4 over Bb1–Bb2 pushes onward, and at 02:18.30 a more forceful three-note right-hand sonority D4–A4–C5 sounds over F#1–F#2. This is one of the weightier lower-register impacts in the reprise section.

The sequence continues with D4–G4–Bb4 over G1–G2 at 02:19.42, G4–Bb4–C#5 over E2–E3 at 02:20.55, A4–D5 over F2–F3 at 02:21.66, A4–E5–G5 over C#2–C#3 at 02:22.77, and A4–D5–F5 over D2–D3 at 02:23.88. The repeated forte–piano pattern gives these harmonies a pulsed, hammering character: each chord strikes strongly, then pulls back.

At 02:24.97, D5–G#5 over Bb1–Bb2 forms a severe tritone-dominant color. The top G#5 is intensely voiced, and the bass is heavy. This is one of the most dissonant, high-tension sonorities in the passage. At 02:26.08, C#5–A5 and A2 snap into a new texture, followed by overlapping chords D5–F5, F5–A5, E5–G5, C#5–E5, and D5–F5. The texture becomes tangled and contrapuntal, with G#4 appearing below as a chromatic anchor.

From 02:27.17 to 02:29.42, the right hand alternates C#–E and D–F sonorities in different registers while the lower voice rocks A3–G#3. The passage gradually softens: by 02:29.42, C#4–E4 and A3 are much quieter. At 02:30.60, the same alternating pattern returns in a softer C-natural version: C4–E4 and D4–F4, again over A3–G#3. The chromatic lower motion keeps the sound unsettled even at the lower dynamic.

At 02:32.97, a strong return of tension enters with repeated E4–F4 motion while the inner sustained chord Bb3–C4 and the lower G3–A3 oscillation create a tight dissonant fabric. The repeated semitone-like alternation sounds agitated. At 02:35.39, the same idea is transferred high: Bb5–A5 repeats above a sustained E5 and C4, with lower G4–F#4 motion. The combination of Bb5/A5 against E5 and F#4 produces an unstable, suspended color. The phrase stretches into Bb5 at 02:36.73, where the sound is held longer before clearing.

At 02:38.84, the original opening theme returns almost literally: F4 with A4, over F3–A3–C4–A3–C4–A3. The dynamic is soft again, and the texture regains the opening poise. At 02:40.02, C5–A4 returns with F3–C4–Eb4–C4–Eb4–C4, and at 02:41.15, Bb4–G5 repeats the earlier swell. The performer voices G5 prominently, echoing the opening’s first high point.

At 02:42.30, F5–E5 and the held E5 create the same cadential turn as before, while the bass F3–G3–Bb3–G3–Bb3–G3 maintains motion. At 02:43.44, F5–A4–D5 begins the following phrase, but the performer keeps it a little lighter than the first statement. At 02:45.84, the tied F4 returns over the bass answer F3–A2–D3, and at 02:47.31 the trill on E4 again decorates the line against sustained G4.

At 02:48.06, the melody is redistributed: A4–Bb4–D5 appears in the middle voice while F4 sustains above. This layering makes the phrase sound more contrapuntal than the opening. At 02:49.21, the descending line D5–C5–Bb4–A4–G4–F4 is clearly projected, with C5 and Bb4 carrying the most weight. At 02:50.33, G4–Bb4 and the chord Bb3–E4 repeat the earlier cadential tension, followed by the soft A3–F4 resolution at 02:51.56.

The high ornamental passage returns at 02:52.32 with C6–Bb5, followed by repeated A5 at 02:52.73, 02:53.11, and 02:53.52, then F5 repetitions at 02:53.88, 02:54.27, and 02:54.66. The performer gives the first A5 and first F5 slightly more presence, then lets the repetitions soften. At 02:55.07, staccato E5–G5 chords return, clipped over C4–G4.

At 02:56.27, E5–G5 connects to F5–A5, then the high turn C6–D6–C6–Bb5 at 02:57.07 mirrors the earlier passage. At 02:57.46, A5 returns, followed by A5–Bb5–A5–G5, then repeated F5 at 02:58.63, 02:59.03, and 02:59.43. The line tapers, but the treble remains forward.

At 02:59.84, G5–Bb5 leads to Bb4–E5, again forming the tense tritone color. At 03:01.09, A4–F5 answers softly, followed by C6 over C4–E4–Bb4 at 03:01.91. The phrase descends through F5, C5, and F4, preparing the strong chromatic pivot at 03:04.41: C#4 with C#2–C#3. This repeats the earlier transition into D minor.

At 03:04.83, D4 and D2–D3 restart the D-minor storm. The following right-hand figure F4–A4–D5–A4–D5 gains momentum. At 03:05.99, F5–D5–F5–A5 is sharply projected, with the staccato A5 at 03:06.35 and the sustained A5 at 03:06.54 forming a bright crest. The left hand’s D3–F3–A3 pattern is forceful and continuous.

At 03:07.12, the accented diminished-seventh gesture returns: grace C#5, chord E5–G5, and high Bb5 over E2–E3 and E3–G3–Bb3–C#4. The high Bb5 is especially commanding. The descent A5–G5–F5–E5–D5–C#5 follows with clipped urgency. At 03:08.25, the same Bb5 figure repeats, slightly less powerful in the bass, then yields to the D-minor arpeggiation at 03:09.38.

At 03:10.55, the high F5–D5–F5–A5 pattern returns with exceptional brightness, and the repeated A5 at 03:11.11 is held long enough to heighten suspense. At 03:11.73, the diminished chord B4–D5–F5–Ab5 strikes again over D2–D3 and D3–F3–Ab3–B3. The top Ab5 is strongly emphasized, and the descending line G5–F5–Eb5–D5–C5–B4 releases the dissonance.

At 03:14.07, the music shifts into C-minor color: C5 with Eb4–G4–C5, then at 03:15.23 a brilliant Eb5–C5–Eb5–G5 figure. The staccato G5 at 03:15.58 and sustained G5 at 03:15.78 create a new crest over Eb3–G3–C4. At 03:16.40, a darker diminished sonority A4–C5–Eb5–Gb5 lands forcefully, with the top Gb5 cutting through. The bass Eb2 and Eb3–Gb3–A3–C4 deepen the instability.

At 03:17.56, Gb5 is held over Eb2, then descends through F5–Eb5–Db5–C5–Bb4–A4. The sound is darker than the earlier D-minor diminished passages because of the flat-side spelling and the lower bass color. At 03:18.73, Bb4 is tied and decorated by F4–Bb4–F4–Db5–Bb4–Db5–Bb4, while the bass outlines Db3–F3–Bb3. At 03:20.21, Bb5 arrives and is sustained, a broad, resonant point in the high register.

At 03:21.01, the pattern shifts to A4 with F4–A4–F4–C5–A4–C5–A4, over C3–F3–A3. At 03:22.50, A5 is sustained after flashing F5–C5–F5–C5. At 03:23.28, the same shape turns more chromatic with Ab4, F4, and D5 over B2–F3–Ab3, culminating at 03:24.75 in a strong Ab5 with F5 beneath. This is another high-tension dominant-colored arrival.

At 03:25.55, grace notes C5–E5–G5 launch a bright C6 at 03:25.72, supported by C3–E3–G3–C4. The high C6 then descends Bb5–Ab5–G5–F5. At 03:26.73, the same C6 returns over a staccato-like bass arpeggiation. At 03:27.89, a lower C5 is sustained with C4, then both voices descend through Db–C–Bb–Ab–G–F patterns at 03:28.44–03:28.96. The parallel descent makes the resolution sound broad and coordinated.

At 03:28.96, C5 and C4 strike staccato, followed by a lower C4 with C2–C3 at 03:29.44. This clipped punctuation clears the chromatic episode. At 03:30.48, the music drops to a soft new phrase: grace C4–A4, then repeated A4, over F2–C3–F3. The touch is light and detached. At 03:31.81, grace E4–C5 leads to Bb4 and G4, while a low C3–G3–Bb3 color underpins it.

At 03:33.07, G4–F4 leads to C4–F4, then E4–G4, with bass F2, A2, and C3. At 03:34.26, E4–G4 sustains and moves to F4–A4, supported by F3 and F2. The phrase is quiet and legato, preparing the next decorated line.

At 03:35.64, Bb4 begins a phrase with grace C5 and A4–Bb4, then an energetic Bb4–C5–D5 figure. The bass outlines D3 and F3–Bb3. At 03:36.80, the melody continues D5–C5–B4–C5–Bb4–G4, with B4 providing a chromatic inflection. At 03:37.97, G#4–A4–Bb4–A4–C5–Bb4 raises tension, especially on Bb4, before the descent A4–G4–F4–E4–D4–C4 at 03:39.17 releases it.

At 03:40.36, a crescendo begins with octave-like G#4–G#5 moving to A4–A5, repeated and intensified. The lower voice rolls triplets F3–A3–C4. By 03:41.14, the G#–A pairs are clearly stronger, producing a bright, urgent rising pressure. At 03:41.54, the pattern shifts to B4–B5 and C5–C6, then Bb5–G5 at 03:42.31, with triplet support E3–G3–C4 and E3–Bb3–C4. The crescendo culminates in the high register before a sudden softening at 03:42.71.

At 03:42.71, the right hand answers quietly with G5–F5, G5–F5, then A5–G5, over light lower punctuation F3–A3, A3, and C4. At 03:43.89, G5 is sustained, nudged chromatically by G#5 into A5. The bass F4–C4–F3 keeps the harmony open and light.

At 03:45.21, Bb5 begins another decorated phrase: grace C6, chord A5–Bb5, then Bb5–C6–D6. The bass arpeggiates D4–F4–Bb4. At 03:46.32, the high line descends D6–C6–B5–C6–Bb5–G5, while the accompaniment mirrors with E4–G4–C5–G4–E4–G4. At 03:47.53, the line turns forceful: G#5–A5–C6–Bb5–G5–E5 over F4, Bb3–G4, and C4–Bb4. The G#5 and A5 sharpen the opening of the phrase, but the line falls away quickly to E5.

At 03:48.73, the dynamic softens into repeated C5 fragments after F5–C5, with lower F4 and F4–A4. From 03:49.89 to 03:53.14, detached chords Bb4–C5, Ab4–C5, and Bb4–C5 alternate with rests. The bass answers G4–E4–C4, then F3–Ab3–F3, then G3–E3–C3. The short rests create an articulated, conversational pacing.

At 03:53.33, the forte–piano harmonic sequence returns in the flat-side key area: Ab4–C5 over F2–F3, then Ab4–Db5 over Bb2–Bb3 at 03:54.48, G4–Db5 over Eb2–Eb3 at 03:55.62, and G4–C5 over Ab2–Ab3 at 03:56.74. The G4–Db5 chord at 03:55.62 has a sharp tritone bite. At 03:57.87, F4–C5 over Db2–Db3 leads to F4–Bb4 over G2–G3, pushing the sequence forward.

At 03:59.18, F4–Bb4 gives way to repeated E4–Bb4 over C2–C3. The E4–Bb4 tritone is prominent and percussive. At 04:00.14, a new descending chromatic bass line appears in the middle register: Db4–C4–B3, while the right hand punctuates F4–Ab4. The Db4–C4–B3 line is louder than the upper chords, so it sounds like the primary voice.

From 04:01.53 through 04:04.67, the right hand alternates close chords E4–G4, G4–Bb4, Ab4–C5, and F4–Ab4, while the lower voice continues C4–B3 motion. The harmony is compressed and chromatic. The performer keeps the articulation short but connected enough for the overlapping chords to blur into a dense, agitated texture.

At 04:04.96, a crescendo begins: E4–G4, D#4–F#4, G4–Bb4, F#4–A4, and A4–C5 rise in intensity. The chromatic D#4–F#4 and F#4–A4 add brightness and instability. At 04:05.93, the texture suddenly clears to soft repeated Bb4–D5 chords over Bb3 and occasional F4. The contrast is immediate: after the chromatic compression, the sound becomes transparent and lightly pulsed.

At 04:07.16, Bb4–D5 sustains and resolves to A4–C5, supported by F4, Bb3, and F3. At 04:08.35, a grace Bb4–C5 leads to repeated Bb4, while inner voices E4–G4 and low C3 create a dominant-seventh color. At 04:09.55, E4–G4–Bb4 over C3 sustains before resolving to F4–A4 over D3. The Bb4 gives the chord a dark dominant pull.

At 04:10.77, A4–C5 moves to G4–Bb4, then F4–A4, E4–G4, supported by Bb2, C3, and C3. At 04:11.96, a very soft F4–A4 chord introduces a rising staccato scale F5–G5–A5–Bb5–C6. The notes are short and bright, with Bb5 and C6 the most brilliant.

At 04:13.20, high D6 repeats three times over F4–Bb4. The second and third D6 are stronger and held longer, creating a high-register flourish. At 04:14.47, D6 turns through a soft E6, back to D6, then down to C6, while the lower voices hold Bb4, A4, and F4. The E6 is fleeting and delicate, more ornamental than structural.

At 04:15.62, a grace Bb5–C6 leads to repeated Bb5, while inner voices repeat E5, G4, and C4. This creates a suspended dominant-like sonority with E5 against Bb5. At 04:16.90, Bb5 sustains and resolves to A5, while lower voices move E5–F5, G4–F4, and C#4–D4. The C#4–D4 motion gives the resolution a sharpened pull.

At 04:18.10, A5–C6 falls to G5–Bb5, then F5–A5, then E5–G5, with bass Bb3, C4, and Bb3. At 04:19.34, the forte–piano burst returns briefly: A5–C6, then G5–Bb5 and F5–A5, over bass A2–A3, C#4, and D4. The high chords are clipped and bright, but the lower A2–A3 supplies the weight.

At 04:20.58, offbeat chords Bb4–G5, A4–F5, and G4–E5 answer a bass line Bb3–C4–Bb3. At 04:21.65, a brilliant broken pattern begins: A5–C6–A5, then G5–Bb5–G5, then F5–A5–F5, over bass octaves A2–A3, C#3–C#4, and D3–D4. The right hand is crisp and incisive, with A5 and F5 strongly projected.

At 04:22.79, the same broken-cell pattern continues lower: Bb4–G5–Bb4, A4–F5–A4, G4–E5–G4, while the bass strikes Bb2–Bb3, C3–C4, and C2–C3. The registral spacing gives the passage a sparkling, antiphonal character.

At 04:23.86, the music lands on A4–C5–F5, a strong F-major sonority, over a flowing bass arpeggiation F2–A2–C3–F3. A trill-like A4 at 04:24.59 resolves through G4–F4. At 04:24.94, C5 is held, then a trill on E5 resolves D5–C5, again over continuous F-major arpeggios. At 04:26.07, F5 is held, followed by a trill on A5 resolving G5–F5. The texture is brilliant but stable, a clear return to F-major radiance.

At 04:27.19, repeated C6 notes lead to a trill on E6, resolving D6–C6. The bass arpeggios grow stronger beneath, especially on repeated F2 entries. At 04:28.31, the performance reaches one of its most brilliant climactic points: F6 is struck forcefully over F2–A2–C3–F3, followed by A5 over A2–A3, then C#5 over C#3–C#4. The high F6 is the clearest peak in register and intensity.

At 04:29.56, the accented sequence continues with D5, then F5, then A4, supported by D3–D4, F3–F4, and A3. At 04:30.80, a trill on Bb4 resolves through A4–G4 into C5, followed by the chord G4–C5–E5 at 04:31.56 over C3–C4. This feels like a dominant-to-tonic preparation, bright and clean.

The final visible event at 04:32.01 is a strong F-major arrival: A4–C5–F5, with the bass answering in octaves F3–F4 and F2–F3 around 04:32.31–04:32.32. The right hand then drops to F4 at 04:32.61, softening the register after the climactic treble. The excerpt ends with this clear tonal grounding in F, the energy having moved from the opening’s soft elegance through several chromatic storms and back to a decisive F-major cadence.

Questions 10

Q1	In the opening period of this sonata, the right hand plays a melodic line over a gently rolling left-hand accompaniment. At one point, that accompaniment suddenly drops out entirely, leaving a brief right-hand gesture completely exposed in the texture. At what timestamp does this sudden clearing of the accompaniment occur?	00:06.72
Q2	Around 00:12.35, a brief, incisive chord with a dissonant interval in the right hand appears — short, tense, and cadential in character — over two isolated bass notes below it. At what timestamp does this biting chord arrive?	00:13.14
Q3	After a right-hand descent moving through three stepwise pitch levels around 00:25.70, the music immediately makes an abrupt harmonic shift: a single forceful pitch appears doubled across two deep bass octaves. At what timestamp does this chromatic arrival occur?	00:26.47
Q4	Shortly after turbulent music resumes at 00:31.39, a four-voice chord lands powerfully, with its highest pitch strongly emphasized and deep bass octaves responding below. At what timestamp does this chord arrive?	00:33.71
Q5	Following a passage of chromatic music over a dominant pedal that ends around 00:45.25 with a held high note, the texture shifts into two brief, dry, clipped gestures — the same pitch class stated first in a high register and then in a lower one. At what timestamp do these two staccato punctuations occur?	00:46.38
Q6	Just before a passage at 01:31.12, the right hand plays a short ascending figure of five pitches, each struck staccato. At what timestamp does this ascending staccato figure begin?	01:29.85
Q7	After three repeated high notes around 01:31.12, the melodic line moves through a single ornamental pitch before descending stepwise. At what timestamp does this delicate ornamental pitch appear?	01:32.43
Q8	After a section of continuous left-hand arpeggios supporting right-hand decorative figures from approximately 01:41 to 01:46, the texture suddenly shifts into a burst of individually struck, forceful accented notes in the upper register. At what timestamp does this accented burst begin?	01:46.45
Q9	In the development, after a lower-register decorated figure over a flat-side chromatic bass around 03:18.73, the upper voice rises to a single high pitch that is held broadly and resonantly. At what timestamp does this sustained high arrival occur?	03:20.21
Q10	Near the concluding section of the movement, during a passage featuring continuous bass arpeggios and upper-register trills, the right hand ascends to a pitch struck with forceful intensity as a peak of both register and dynamic weight. At what timestamp does this climactic arrival occur?	04:28.31

Score Understanding CMBench50

Q1	Articulation & Notation — The slur in bar 46 starts and ends at which notes? Answer format: ABC notation with octave number, comma-separated (example: C4, Ab3).	A5, D5.
Q2	Articulation & Notation — From measure 222 until the end, how many trills are there? Answer format: number.	6
Q3	Form — In which bar does the development section of this sonata's first movement start? Answer format: number.	94
Q4	Form — In which bar does the re-exposition start? Answer format: number.	133
Q5	Harmonic Analysis — What secondary dominant chord is played in measure 2? Answer format: ABC notation with inversions (example: Bb, Cm, F#aug, or A7/E).	F7
Q6	Harmonic Analysis — What sequence of seventh chords is outlined across measures 61, 62, and 63? Answer format: ABC notation with inversions (example: Bb, Cm, F#aug, or A7/E).	Fm7, Bb7, Ebmaj7
Q7	Melody & Voice Leading — Out of the six diphthongs in measure 67, how many major intervals are there? Answer format: number.	1
Q8	Performance — At which timestamp does the Recapitulation begin? Answer format: MM:SS.ss.	02:38.84
Q9	Rhythm & Meter — In measures 13 and 17, on what exact fractional rhythmic subdivision does the dominant (V) chord (with respect to the home key) arrive? Answer format: beat number as a decimal.	3.75
Q10	Texture & Counting — How many bars does the piece contain? Answer format: number.	229

MuNo Files 4 variants

Verbose · Compact · Minimal · Beats — score and perception variants.

Perception · Verbose↓ Perception · Compact↓ Perception · Minimal↓ Perception · Beats↓

Beethoven

Piano Sonata No. 21 "Waldstein" — I. Allegro con brio

Performance Recording

ASAP dataset · WAV · note-level alignment via DTW

Auditory Analysis

The piece opens at 00:00.84 with a low, solitary C2, immediately establishing a quiet but active pulse. The right hand does not enter melodically at first; instead, from 00:01.04 onward, the music is built from repeated clipped sonorities: C3–E3 above C2–G2. These are very short, detached attacks, and although the dynamic indication is soft, the initial bass C2 has more presence than the following accompaniment figures. The effect is not a warm sustained opening, but a dry, motoric launch: the harmony is C major, but the sound is percussive and breathless.

From 00:02.32 to 00:03.70, the repeated C3–E3 / C2–G2 pattern begins to swell. The upper E3 becomes increasingly prominent, and by 00:03.46 the harmony pivots to D3–F#3 over C2–A2, introducing a sharper dominant color. This is the first audible increase in tension: the performer leans into the chromatic brightening of F#3, and the bass support thickens at the same moment.

At 00:03.83, the first clear phrase gesture appears: D3–G3 is held as a dotted sonority, followed by B3–A3–G3 at 00:04.42–00:04.62. The phrase is shaped as a small arch: the sustained D3–G3 speaks with weight, the passing notes are lighter, and the final G3 is clipped, ending the thought abruptly. Under it, the left hand continues pulsing B1–G2, keeping the music from relaxing fully.

The first high-register interruption arrives at 00:05.38: a grace-like C#6–D6 snaps into the texture, tied into D6 at 00:05.81, then descends C6–B5–A5–G5 through 00:06.22. The registral jump from the low repeated accompaniment to the brilliant top octave is startling. The C#6 appoggiatura against the prevailing G/B bass creates a pointed dissonance before the line releases down to G5, which is struck short and detached. The performer gives this gesture a sharply articulated, almost thrown-off character.

At 00:07.00, the color shifts to Bb1–F2 with Bb2–D3 above it. This is a sudden flat-side move, and the texture returns to the same quiet repeated-note machinery. The dynamics are soft, but by 00:09.39–00:09.97 the repeated Bb2–D3 grows noticeably, then turns to C3–E3 over Bb1–G2, preparing another phrase. At 00:10.17, C3–F3 sustains into A3–G3–F3, mirroring the earlier D–G figure but now in an F-oriented color. The final F3 at 00:11.00 is again clipped, so the phrase lands without lingering.

The answering high flourish at 00:11.76 begins with B5–C6, then descends C6–Bb5–Ab5–G5–F5 by 00:12.57. The upper line is bright and narrow, while the bass sits on Ab1–F2, creating a dark support under the treble descent. At 00:13.37, another grace figure E6–F6 opens into a long held upper tension; there is a conspicuous stretch before the continuation at 00:14.64, where F6–Eb6–D6–C6 resumes. That delayed continuation gives the line a suspended, held-breath quality.

The first major surge begins at 00:15.03. The right hand launches a rapid sixteenth-note sequence B5–C6–D6–Eb6–F6–Eb6–D6–C6, then repeats and intensifies through 00:16.54. The left hand alternates G1–F2 and Ab1–F2, increasing in mass. The performer pushes the energy strongly here: the right-hand peaks on D6 around 00:16.05, while the bass becomes increasingly forceful, especially at 00:16.25–00:16.45 on Ab1–F2.

At 00:16.65, the texture arrives at a powerful, almost orchestral sonority. The right hand stacks overlapping high tones B5–C6–D6–Eb6, while the left hand strikes G1–F2, then sustains G2–G3 from 00:17.07. The overlapping right-hand notes blur into a compact dissonant cluster before descending. At 00:17.47, a second cluster-like descent begins on B5–Ab5–G5–F5, resolving downward to B4 by 00:18.12. This is the first real climax of the opening section.

The resolution is immediately fragmented at 00:18.21: octave C5/C4 is struck sharply, followed by separated echoes G4 / G2–G3 at 00:18.64, Eb4 / Eb2–Eb3 at 00:19.08, and C4 / C2–C3 at 00:19.54. Each event is separated by silence, and the descending register drains the previous intensity. The diminuendo is audible as the sound moves from a commanding C strike into softer, more hollow lower echoes.

At 00:20.21, the music lands on a long fermata: G3 above G1–G2, held until 00:23.86. This is the first true suspension. The sound is quiet, static, and open; after the driven sixteenth-note activity, the stillness is striking.

At 00:23.05, the music restarts softly with repeated sixteenths E4–C4 in the right hand and C2–C3 / C3–G3 in the left. The texture is no longer the clipped eighth-note motor of the opening; it is a continuous, shimmering alternation. The performer begins gently, but from 00:25.23 onward the repeated E4–C4 grows, and by 00:25.84 the harmony sharpens to F#4–D4 over C3–A3, preparing the next phrase.

At 00:26.23, G4 enters as the melodic head, held above a broken B2–D3–G3 accompaniment. The line G4–B4–A4–G4 tapers strongly: the first G4 is projected, while the final G4 at 00:27.07 is short and much lighter. The high flourish at 00:27.82, again C#6–D6 resolving through C6–B5–A5–G5, recalls the opening gesture but with more motion underneath: the left hand’s broken B2–D3–G3 figures overlap and sustain, making the texture denser than at 00:05.38.

A contrasting soft episode begins at 00:29.45 with repeated F4–D4 figures over D2–D3 / D3–A3. The first low D2–D3 has a strong bite, then the pattern settles into a quieter oscillation. From 00:31.49 through 00:32.61, the performer steadily increases the weight of F4–D4, then introduces G#4–E4, which brightens the harmony and points toward A. At 00:32.72, the melody A4–C5–B4–A4 appears over C3–E3–A3, again shaped with a sustained head and a clipped tail.

At 00:34.37, the high grace D#6–E6 cuts through the texture, followed by E6–D6–C6–B5–A5. The bass keeps churning on C3–E3–A3, and the crescendo makes this passage press forward. At 00:36.03, the same figure returns more forcefully, but now the lower voice includes A#3, and the right hand lands on A#5 at 00:36.86. The clash of A# against the surrounding C–E harmony gives this moment a tense, raised-leading-tone color. The performer sustains the upper A#5 unusually long, making it feel like a held dissonant pressure before the release.

At 00:37.71, the music shifts into a running B-centered passage. The right hand begins on a tied B5, then threads through A5–G5–F#5–G5–F#5–E5–D#5–E5, while the left hand outlines B2–D#3–F#3–B3 and then B2–E3–G3–B3. The texture is more linear and contrapuntal: upper motion is foregrounded, while the left hand arpeggiates harmonic blocks beneath it. By 00:41.90, the right hand emphasizes D#5, then E5–G5–F#5–E5, giving the line a sharper, more insistent profile.

From 00:43.97, the crescendo becomes overt. The right hand stacks broken B-major and E-minor-related shapes: B5–F#5–D#5–B4, then A#4–B4–E5–G5. At 00:45.58, the music reaches a forceful repeated-chord section: B5–F#5–D#5–B4 and B5–G5–E5–B4 alternate in the right hand while the bass mirrors with B2–D#3–F#3–B3 and B2–E3–G3–B3. The accents at 00:45.99, 00:46.40, and 00:46.82 are particularly emphatic, each chord group struck with a hammered, orchestral weight.

The culmination is the long held descent beginning 00:47.30: the right hand arpeggiates downward from B5–F#5–D#5–B4 through lower registers, while the left hand holds a massive B2–D#3–F#3–B3 sonority. Many of these right-hand notes remain sustained until 00:50.57, so the sound accumulates into a dense B-major resonance. At 00:50.16, the bass reinforces with B1–D#2–F#2–B2, deepening the sonority before the texture breaks.

At 00:50.54, the music turns into detached staccato exchanges: low B1, B2, C#2, C#3, then upper B4, B3, C#5, C#4. The sound is dry and pointed, as if the large resonance is being dismantled into separated sparks. The pattern continues at 00:52.22 with D#5/D#4 and low D#2/D#3, then E5/E4 against E2/E3. At 00:53.94, the articulation remains clipped, but the dynamic softens: F#5–F#4, G#5–G#4, A5–A4 are thrown off lightly, answered by lower staccato tones.

A major contrast arrives at 00:58.40, marked by a new legato sound. The soprano sings G#5–F#5–E5, while inner voices hold B4–E5, A4–D#5, G#4–C#5, and the left hand supplies warm harmonic support E4–G#4, then B3–D#4–F#4, then C#4–E4. The touch changes completely: the notes overlap and connect, and the melody is sustained rather than clipped. The performer voices the top line clearly above the inner chords, giving the passage a broad, singing profile.

At 01:02.22, the crescendo lifts the phrase: D#5–E5–F#5 rises in the melody, while the harmony thickens to F#3–A3–B3–D#4, then G#3–B3–E4, then A3–C#4–F#4. The highest point of this legato phrase is 01:04.16, where E5–G#5 sounds above a broad E4–G#4 and sustained B3. The emphasized attack at 01:04.16 has a strong but rounded accent, and the diminuendo after it softens the following D#5–F#5 at 01:05.13.

The same legato idea descends into lower registers at 01:06.16–01:10.02, with chordal shapes B3–E4–G#4, A3–D#4–F#4, G#3–C#4–E4, then F#3–B#3–D#4 resolving toward E3–A3–C#4. The performer lets these sonorities overlap generously, producing a blended, sustained harmonic field rather than sharply separated gestures.

At 01:11.78, the texture becomes flowing triplets. The right hand begins with G#3–E4, then climbs through F#4–G#4–A4–B4–C#5–D5–D#5–E5–E#5–F#5–F##5. The left hand holds E2–E3, so the rising chromatic line feels suspended over a stable bass. The performer keeps the beginning gentle, then adds more shine around 01:12.78–01:13.07 on D#5–E5 before tapering at F##5.

The triplet figuration becomes ornamental and more delicate at 01:13.52 with G#5–F##5–G#5–A5, while inner voices sustain B4, A4, G#4 and the left hand supports with E4–G#4, B3–D#4–F#4, C#4–E4. The melody is no longer a single line but a rippling upper decoration woven through sustained harmonies.

At 01:17.20, the crescendo returns: A4–C##5–D#5–E5–C##5–D#5 intensifies, then the right hand moves through B4–F#5–E5–C#5–G#5–F#5. The inner and left-hand voices grow with it, especially at 01:18.45–01:18.48, where C#5 and A3–C#4–F#4 receive strong emphasis. At 01:18.98, the accented arrival on G#5 above E4–G#4 is forceful but immediately begins to diminish, releasing into descending triplets F#5–E5–D#5–C#5–B4–A4 by 01:20.63.

The following passage, 01:20.85–01:24.47, repeats the same figuration an octave lower and softer: G#4–F##4–G#4–A4, then F#3–B#3–D#4–E4, then E3–A3–C#4–D#4. The performer makes this a shadow of the earlier phrase; the pitches are active, but the volume is restrained and the line lies closer to the middle register.

From 01:24.44, a new crescendo begins in the lower-middle register. The right hand outlines E3–G#3–B3, then grows through repeated F#3–A3–B3–C#4–D#4 over a sustained B1–B2. By 01:26.24, the texture opens into triplet arpeggios around E4–G#4–B3, then F#4–D#4–B3–A4. The left hand sustains E2–E3, then B2, anchoring the rising energy.

At 01:29.51, the soprano strikes G#4–E5, then B4, and at 01:30.81 the tied B4 becomes a long melodic anchor. The left hand continues rapid broken figures E3–B2–G#2–B2–E3–G#3, then F#3–D#3–B2–D#3–F#3–A3. The effect is a sustained melodic note suspended above moving harmony. At 01:31.24–01:33.03, B4 remains strongly present while the lower part churns underneath, giving the passage a held, urgent insistence.

From 01:33.01 through 01:38.07, the right hand repeatedly arcs through E5–B4–G#4–B4–E5–G#5, then F#5–D#5–B4–D#5–F#5–A5, rising to E6 at 01:36.34. The performer peaks at 01:35.50–01:36.34 with bright upper notes A5, D#6, and E6, then begins a diminuendo. By 01:38.02, the repeated pattern is still active but notably lighter, with E6–B5–G#5–B5 softened.

At 01:39.66, the texture tightens into sixteenth notes: E6–B5–G#5–E5–A5–F#5–D#6–B5, repeated. A crescendo carries this into 01:41.28, where the same alternating pattern grows more intense. By 01:42.54–01:42.86, E6–B5–D#6–B5 is forcefully articulated, and the bass G#3–B3–A3–B3 grows with it.

At 01:42.95, the music reaches another strong arrival. The right hand hammers E6, then alternates D6–B5 repeatedly, with the peaks increasing through 01:44.21. The left hand pounds G#2–E3, reinforcing the drive. At 01:44.60, the right hand lands on a powerful D6, then cascades down C#6–B5–A5–G#5–F#5–E5–D5–C#5–B4–A4–G#4–F#4–E4–D4. The descent is long, loud, and tightly paced, functioning as a release of the preceding repeated-note pressure.

At 01:46.24, the marked fortissimo passage begins with a bright A2–C#3–E3 chord in the left hand and right-hand figuration C#4–D#4–E4–D#4–E4–G#4–A4. The harmony soon intensifies: at 01:49.64, the left hand adds A#2 to C#3–E3–F#3, while the right hand dwells on C#6–B#5 and related chromatic neighbors. These B#–C# relationships create a biting leading-tone tension. The strongest version comes around 01:51.38–01:52.25, where the right hand repeatedly attacks C#6 and the left hand strikes dense A#2–C#3–E3–F#3 chords.

At 01:53.12, the texture breaks into sharply accented octave chords: B4–B5, then G#4–G#5, then E5–E6 and E4–E5. These are clipped, emphatic, and separated by small gaps. The same gesture repeats at 01:54.85–01:56.36, maintaining a strong, percussive character. At 01:56.56, a sudden fp effect occurs: the bass hits B3 sharply, then the right hand retreats to quiet repeated G#5–B5 figures. The contrast is immediate—the sound collapses from orchestral force into a thin, high, flickering texture.

From 01:58.26 through 02:03.31, the high repeated figures continue, first B5–G#5, then A5–B5–C6 variants. The dynamic becomes very soft, though individual notes occasionally poke through. The left hand answers with detached staccato tones such as E5, B4, D#5, and B4, creating a pointillistic texture rather than a sustained line.

At 02:03.35, a trill-like suspended passage begins. The right hand alternates C#6–A5–B5–A5, while another voice sustains and ornaments D#5–E5. The held D#5 from 02:03.40 gives the passage a fixed, buzzing center. The crescendo intensifies into 02:05.44–02:06.49, where F#6 repeatedly flashes above A5–B5, while the inner D#5–E5 trill grows more urgent. The tension peaks at 02:06.59 on D#5, just before the release.

At 02:06.84, a broad G#5–B5–E6 chord sounds with strong initial force, while E4 is held below. The upper chord sustains into 02:08.61, then spills into descending sixteenths E6–D6–C6–B5. This is a luminous arrival in E, but the following chromatic descent at 02:08.54–02:10.05—including C6–B5–A5–G#5–A5–B5–C6–D6–E6–F6–E6–D#6—keeps the harmony in motion rather than settled.

At 02:11.00, the music resolves into a lyrical figure: C6 is held, with A5 and F#5 beneath it, over an A3–C4–F#4–A4 support. The line then answers at 02:11.96 with B5–G5–E5, and at 02:12.85 with A5–F#5–D#5. The phrase tapers naturally into the next fp arrival at 02:13.78, where E5 is held over E4 and G#3–B3–D4.

A parallel lower-register sequence follows from 02:15.48 to 02:20.62, echoing the earlier high passage: C5–B4–A4–G#4–A4–B4–C5–D5–E5–F5, then the sustained C5 over A4–F#4, then B4–G4–E4 and A4–F#4–D#4. The performer keeps this more restrained than the previous climax, with a singing but less brilliant color.

From 02:20.63, a new thematic chain begins: E4 is clipped, then E5–D5–C5–A4–F4 rises and falls over a bass line that moves E3–F3–G3–A3. This pattern repeats through 02:31.27, transposed downward and colored by Bb and F harmonies. The performer shapes each unit similarly: a short initiating note, a more legato upper response, then a tapering descent. At 02:28.20, the phrase F5–E5–D5–Bb4–G4 is especially strong; at 02:29.52, the answering C5–A4–F4–Bb4–G4–E4 relaxes back to piano.

At 02:34.75, the opening motor returns, now in F: low F1–F2 and repeated F2–A2, with A2–F3 above. The texture is soft and detached, matching the very beginning but in a new tonal area. By 02:37.19, the repeated F2–A2 grows, then turns to G2–B2 at 02:37.59, preparing the phrase C3–E3–D3–C3 at 02:38.00. The clipped final C3 at 02:38.81 mirrors the earlier opening phrase.

At 02:39.59, a high grace F#5–G5 cuts in, followed by G5–F5–Eb5–D5–C5. The bass underneath is Eb2–G2, giving the passage a darker, flattened color. At 02:41.24, the phrase answers in the middle register with F#3–A3–G3–F#3 over D2–A2, then at 02:42.89 another high grace D6–Eb6 descends through D6–C6–Bb5–A5. The performer emphasizes these high appoggiaturas strongly, making each one a dramatic interruption.

The sequence at 02:44.59–02:49.11 alternates short lower gestures and high answers: Bb3–D4–C4–Bb3, then C6–Bb5–A5–G5–F#5; G4–Bb4–A4–G4, then Eb6–D6–C6–Bb5–A5. The left hand cycles through G2–D3, A2–D3, Bb2–D3, and F#2–D3, giving the surface a restless harmonic underpinning. At 02:49.49, the dynamic surges: D5–C5–Bb4–A4–G4 is forcefully projected, then answered by Ab5–G5–F5–Eb5–D5 over B2–G3, creating a heightened chromatic tension.

At 02:51.15, the texture suddenly drops to piano with Eb4–G4–F4–Eb4, then a high echo F5–Eb5–D5–C5–B4. The left hand’s C3–G3 and D3–G3 figures are light and even. This soft, question-and-answer pattern repeats at 02:52.78 with C4–Eb4–D4–C4 and high Ab5–G5–F5–Eb5–D5, then intensifies at 02:54.41–02:55.63, where B4 is struck more strongly at the end of the descent.

At 02:56.03, the force returns with G5–F5–Eb5–D5–C5, then Db6–C6–Bb5–Ab5–G5, over strong left-hand Eb3–G3 and E3–C4 figures. The contrast at 02:57.74 is immediate: the music drops to pp, with Ab5–C6–Bb5–Ab5 and Db6–F6–Eb6–Db6 floating over soft F3–Ab3–C4–F4 and F3–Bb3–Db4–F4 arpeggios.

From 02:59.43 through 03:06.22, a sequence of lyric, slurred gestures moves through darker flat-side harmonies: Gb4–Bb4–Ab4–Gb4, then Cb5, then F5–A5–G5–F5, then Bb5–Db6–C6–Bb5. The left hand supports with broken sonorities including Gb3–Bb3–Db4, Eb3–Gb3–Cb4–Eb4, F3–A3–C4, and Db3–F3–Bb3–Db4. The performer increases the weight gradually, and by 03:06.17 the phrase C4–E4–D4–C4 and then sustained C5 is much stronger.

A long crescendo-driven sequence follows from 03:07.90 to 03:15.15. The right hand moves through C5–E5–D5–C5, then C6, then repeated triplet arpeggios C5–G4–E4–G4–C5–E5, followed by D5–B4–Ab4–B4–D5–F5. The left hand mirrors with triplet arpeggios in C, then F minor/Ab colors. The energy swells without becoming choppy; the triplets are connected and rolling.

At 03:15.08, a striking sonority forms around E5–Db5–Bb4–Db5–E5–G5, while the lower voices sustain Bb3–C4 and G3–Bb3–C3. The pitches create a dense, suspended dissonance. This tension is held through 03:18.26, with the right hand continuing Db5–Bb4–E5, then E4–C5–Bb4–E4–C5. The performer does not resolve it quickly; the sustained lower cluster keeps the harmony suspended.

At 03:18.27, the music releases into F4–A4–C5, with a strong sustained C5 and left-hand F2–F3–C3–A2 arpeggiation. The same rolling triplet pattern resumes, now centered on F, then Bb, Eb, Gb, F#, B, G, C, and other shifting harmonic regions through 03:47.48. The performer maintains a broad arc: the triplets surge at 03:20.66–03:21.30 on G5–E5–Db5–E5–G5–Bb5, intensify at 03:27.03–03:27.67 on C5–A4–Gb4–A4–C5–Eb5, and then move through increasingly remote colors such as Cb5, Gb5, C#6, E6, B5, D6, and Eb6.

By 03:49.00–03:50.40, the right hand emphasizes Eb5–C5–A4–C5–Eb5–A5, over a left-hand dissonant support involving C4–Eb4–F#4. The sonority is sharp and unstable. At 03:50.55, a forceful interruption begins: lower voices strike around B3–D4–G4, while the right hand reenters with B4–D5–G5, then fragments into softer triplet gestures. This call-and-release pattern repeats at 03:53.80, now lower, with B3–D4–G4 and a strong low B2.

From 03:57.05 onward, the music begins to thin and descend. The right hand outlines broken fragments D4–B3–G3, C4–G3–Eb3, B3–G3–D3, A3–Eb3–C3, while the left hand moves through G3, C3, G2, C2, then lower G1/C2 patterns. At 04:00.34, the chord B2–D3–G3 is held softly while the bass murmurs G1–C2–B1–A1. This is a quiet, suspended transition, not a cadence.

At 04:05.21, the held G3 releases into a rising sixteenth-note line F#3–G3–A3–B3, repeated with growing energy. At 04:06.80, the music begins a staccato, fragmented crescendo: B3, rests, then B3–C4–D4, then D4–E4–F#4, then G4 at 04:08.39. The bass continues its low G1–C2–B1–A1 pattern, giving the passage a restless undercurrent. By 04:12.74, the right hand reaches G5, and by 04:14.78 the upper B5 is clipped with considerable force.

The crescendo climaxes at 04:16.40 on F6, repeated at 04:17.21, then expanded into repeated F6–D6–E6 figures. At 04:19.68, the right hand drives through F6–E6–D6–C6–B5–C6–D6–E6, and at 04:21.26 the fortissimo F6 lands with the strongest attack of this stretch. The following descent E6–D6–C6–B5–A5–G5–F5–E5–D5–C5–B4–A4–G4–F4 releases the accumulated force.

At 04:22.84, a sudden collapse back to soft C-major pulsation occurs. A strong C3 and E4 strike together, then the accompaniment returns to repeated C3–E3 over C2–G2. This is the opening material reborn, but the initial hit is much more forceful than the piece’s first entrance. By 04:24.49–04:25.89, the repeated C3–E3 grows and shifts to D3–F#3, setting up the familiar phrase D3–G3–B3–A3–G3 at 04:26.10 and the high C#6–D6 flourish at 04:27.70.

The opening exposition-like material continues: Bb2–D3 / Bb1–F2 returns at 04:29.36, grows through 04:31.84–04:32.44, and yields to C3–F3–A3–G3–F3 at 04:32.63. At 04:34.27, the high B5–C6 figure descends through Bb5–Ab5–G5–F5. At 04:35.93, E6–F6 again creates a held high tension, followed by the rapid B5–C6–D6–Eb6–F6 surge at 04:37.59.

At 04:39.23, the earlier climax returns: overlapping B5–C6–D6–Eb6 and a sustained bass G2–G3 create the same dense, high-register dissonant field. The release at 04:40.79 again fragments into separated C5/C4, G4/G2–G3, Eb4/Eb2–Eb3, and C4/C2–C3. At 04:42.95, the music settles on a fermata Ab3 over Ab1–Ab2, held until 04:46.43. This is darker than the earlier G fermata, and the sustained flat color feels more remote.

The following quiet exchanges, 04:46.38–04:52.06, descend through Db5–Ab4–F4–Db4, then hold Bb3 / Bb1–Bb2 in another fermata. At 04:52.12, delicate broken figures G4–Bb4–Eb5 appear above staccato bass notes Eb4–Bb3–G3–Eb3. The music has become chamber-like and sparse, with rests between short attacks.

At 04:53.72–04:55.25, the right hand moves through altered fragments F4–Ab4–Eb5, F4–B4–D5, Eb4–F#4–D5, Eb4–A4–C5, while the left hand punctuates F3, Ab3, A3, F#3. These chromatic sonorities sound exploratory and unsettled. At 04:56.84, a sudden forte E4–C5 over C2–C3 snaps the music back into C major, followed immediately by soft repeated E4–C4 and C3–G3 figures.

From 04:58.45 to 05:00.07, the repeated E4–C4 grows again and turns to F#4–D4. The phrase at 05:00.11, G4–B4–A4–G4, is a direct return of the earlier middle-register statement, followed by the high C#6–D6 flourish at 05:01.71. At 05:03.35, the quiet F4–D4 oscillation over D2–D3 / D3–A3 returns, swelling toward G#4–E4 at 05:06.24, then resolving into A4–C5–B4–A4 at 05:06.64.

At 05:08.28, the high D#6–E6 flourish reappears, now followed by a long A5 at 05:09.16. The performer holds this upper note with a little more breadth before the next intensified gesture: at 05:09.99, B5–C6 leads to C6–B5–A5–G#5–A5, over F3–A3–C4 and then D4. At 05:11.60, the same B5–C6 figure is stronger, and the line continues chromatically upward A5–G#5–A5–B5–C6–C#6–D6–D#6 into 05:13.11.

At 05:13.29, the line settles on E6, tied and then released through D6–C6–B5–C6–B5–A5–G#5–A5–C6–B5–A5. The left hand outlines E3–G#3–B3–E4, then E3–A3–C4–E4, giving a clear E/A harmonic alternation. From 05:14.85 to 05:19.52, continuous sixteenths trace chromatic and scalar shapes around G#5–F#5–E5–D#5, then A5–B5–C6–C#6–D6–D#6. The performer keeps this passage mobile rather than heavily accented, reserving the next large surge for 05:21.18.

At 05:21.18, a forceful repeated-chord ascent begins: E6–B5–G#5–E5, then E6–C6–A5–E5, then the same shapes louder at 05:22.00 and 05:22.42. The left hand mirrors with E3–G#3–B3–E4 and E3–A3–C4–E4. At 05:22.89, the right hand descends through sustained arpeggiation from E6 down to E3, while the left hand holds E3–G#3–B3–E4. Like the earlier B-major resonance, the sound accumulates into a broad, sustained E-major field before breaking into staccato fragments at 05:26.09.

The staccato exchange at 05:26.09–05:33.03 parallels the earlier B section, now transposed: low E2/E3, F#2/F#3, G#2/G#3, then upper E5/E4, F#5/F#4, G#5/G#4, A5/A4, and finally B5/B4–C#6/C#5–D6/D5. The articulation remains clipped and dry. At 05:31.16–05:32.96, the right hand keeps striking D6 against shifting lower staccato notes D3/D4, E3/E4, F#3/F#4, G#3/G#4, producing a pointed, almost skeletal texture.

At 05:33.82, the music enters a dolce chordal passage in A: C#5–E5–A5–C#6 above A3–C#4–E4–A4. The top note C#6 is clearly voiced, and the harmony moves through B4–E5–G#5–B5, then A4–C#5–F#5–A5. At 05:37.62, a crescendo begins through G#4–D5–E5–G#5, then A4–E5–A5, then B4–F#5–A5–B5. The phrase reaches an accented high sonority at 05:39.57 with A5–C#6, then diminishes into G#5–B5.

At 05:41.67, the same legato chordal style returns in a softer C/A region: E4–A4–C5, then E4–G4–B4, then C4–F4–A4. At 05:45.43, the melodic line G4–A4–B4 rises over sustained G2, preparing the triplet figure at 05:47.28: C4–E4–C5, then a rapid climb D5–E5–F5–G5–A5–Bb5–B5–C6–C#6–D6–D#6. The performer shapes this as a light but accelerating ascent.

From 05:49.01, the dolce triplet ornamentation returns, now in the high register: E6–D#6–E6–F6–D#6–E6, then B5–E6–D6–A5–D6–C6. The inner voices support with C6, B5, A5, and the left hand colors the harmony with C5–E5, G#4–B4–D5–F5, A4–C5–E5. The passage grows at 05:52.65–05:54.49, where F5–A#5–B5–C6–A#5–B5 leads to G5–D6–C6–A5–E6–D6.

At 05:54.41, an accented E6 initiates a diminuendo. The upper voice peaks on G6 at 05:54.87, then descends F6–E6–D6–C6–B5–A5–G5–F5. Simultaneously, the second voice descends C6–B5–A5–G5–F5–E5–D5, creating parallel falling lines. The texture thins into E5–D#5–E5–F5 at 05:56.30, then drops to lower figures by 05:58.12.

At 05:59.86, the music rebuilds from C4–E4–G4, then repeated D4–F4–G4–A4–B4, over G2. This crescendo leads to 06:01.55, where a forceful triplet arpeggio section begins. The right hand rolls through E4–G3–E3–E4–C5, then D4–B3–G3–B3–D4–F4, while the left hand anchors C2–C3, then G2. At 06:04.94, E4–C5 and then a strong sustained G4 appear over triplet bass motion.

By 06:08.32–06:11.63, the arpeggios intensify: C5–G4–E4–G4–C5–E5, then D5–B4–G4–B4–D5–F5, followed by E5–C5–G4–C5–E5–G5 and F5–D5–B4–B5–G5–D5. The performer drives toward 06:11.59, where C6 appears, then gradually diminishes through repeated C6–G5–E5 and F5–D5–B5 figures until 06:14.72.

At 06:14.85, sixteenth-note figuration returns: C6–G5–E5–C5–F5–D5–B5–G5, then a crescendo into 06:17.91, where B5 becomes very bright and insistent. At 06:18.10, a forceful arrival on C6 shifts the harmony: the right hand alternates Bb5–G5 while the left hand pounds E3–G3 and then E2–C3. The rising tension peaks around 06:19.54 on Bb5, then falls in a long descending scale at 06:19.73–06:21.22, from Bb5 down through A5–G5–F5–E5–D5–C5–Bb4–A4–G4–F4–E4–D4–C4–Bb3.

At 06:21.31, the fortissimo passage in F begins: right hand A3–B3–C4–B3–C4–E4–F4, then F4–G#4–A4–G#4–A4–B4–C5; left hand strikes F2–A2–C3 chords. The following bars 06:22.97–06:28.00 intensify this chromatic F/A material, adding F#2–A2–C3–D3 in the bass and repeated upper A5–G#5–A5–B5–C6 figures. The strongest accents occur at 06:23.84 on A5, 06:26.39 on A5, and 06:27.25 on another high A5 surge.

At 06:28.13, the music snaps into accented octave chords: G4–G5, E4–E5, then C5–C6 and C4–C5. These staccato octave blocks repeat at 06:29.85–06:31.34, with strong attacks and short releases. At 06:31.52, another fp collapse occurs: the bass G3 strikes, then the right hand retreats into quiet high repetitions C6–E6, then G6–E6. The left hand punctuates with staccato C4, G3, E4, C4, G4, E4.

From 06:34.89, the high repeated texture shifts to F6–G6–Ab6 over staccato B5/G5 answers. The performer diminishes at first, then by 06:36.59 quietly maintains Ab6–F6–G6–F6 figures. At 06:38.31, a trill-like sustained B5–C6 underlies the right hand’s A6–F6–G6–F6. The crescendo is clear: by 06:40.81–06:41.45, repeated F6–G6 dyads are struck with increasing intensity while the trill grows stronger.

At 06:41.81, a strong C6 lands and sustains, supported by C5 and C4 below. The following descent C6–Bb5–Ab5–G5 leads into 06:43.58, where Ab5–G5–F5–E5–F5–G5–Ab5–Bb5–C6–Db6 flows over F4–Ab4 and E4–G4–Bb4. At 06:46.06, the line settles into Ab5, then descends through G5–Eb5–C5 and F5–D5–B4, shaping a lyrical release.

At 06:48.81, C5 is held with an fp attack, then released through C5–Bb4–A4–G4. The parallel phrase at 06:50.55–06:52.11 moves through A4–G4–F4–E4–F4–G4–A4–Bb4–C5–D5–C5–B4–C5–Bb4–A4–G4, then resolves into A4–F4–D4 at 06:52.94. The touch is lyrical, with a clear taper at phrase endings.

At 06:55.64, the earlier C/F lyrical chain returns: C4, then C5–B4–A4–F4–D4, with the left hand moving C3–D3–E3–F3. The crescendo makes A4 and F4 at 06:56.54–06:56.99 sound strongly projected. A similar intensification happens at 06:59.66–07:00.75 with F5–E5–D5–Bb4–G4. Each time, the phrase relaxes immediately afterward into piano, such as 07:01.00–07:02.56 on C5–A4–F4–Bb4–G4–E4.

At 07:06.54, a soft Db-centered motor begins: Db3–F3 over Db2–Ab2. The first attack includes a prominent F4 and Db3–F3–Ab3, then the repeated pattern softens. By 07:09.35, the harmony moves to Eb3–G3 over Db2–Bb2, preparing Eb3–Ab3–C4–Bb3–Ab3 at 07:09.76. This phrase is the flat-side counterpart of the opening.

At 07:11.32, a dramatic high grace D6–Eb6 bursts in, followed by Eb6–Db6–C6–Bb5–A5, over a dense left-hand C2–Eb2–F2–A2 chord. This sonority is sharply dissonant: A against Eb/F gives a biting diminished-dominant color. At 07:14.64, an even brighter grace E6–F6 leads to F6–Eb6–D6–C6–B5 over D2–F2–B2, another tense dominant sonority. The performer makes both high gestures forceful and prolonged, stretching the arrival before the descending notes complete the gesture.

At 07:16.35, the music enters a sequence of accented middle/high exchanges: C4–Eb4–D4–C4, then Ab5–G5–F5–Eb5–D5; at 07:17.99, E4–G4–F4–E4, then C6–Bb5–Ab5–G5–F5. The final D5 at 07:17.55 and F5 at 07:19.21 are among the most sharply emphasized notes in this section.

At 07:19.63, fortissimo returns with descending slurred figures Eb6–D6–C6–B5–C6, then lower Eb5–D5–C5–B4–C5. The bass strikes A2–C3–F#3, a dissonant tritone-rich support. At 07:21.29, the same descent occurs in a lower register Eb4–D4–C4–B3–C4, followed by rising chromatic fragments Eb5–D5–C5–B4–C5–D5–Eb5–F#5. The accumulated tension leads to 07:22.92, where G5 is struck forcefully, then immediately the dynamic drops to piano as repeated G4–G5 dyads fade.

At 07:24.58–07:26.06, repeated dissonant chords G4–Bb4–C#5–G5 crescendo from soft to strong. The chord’s Bb–C# and G create a biting dominant color. At 07:26.35, the sound abruptly turns soft on G4–B4–D5–G5, then the right hand descends in octaves G5–G6, F5–F6, E5–E6, D5–D6. This descent continues through C5–C6, B4–B5, A4–A5, G4–G5 at 07:28.40–07:29.66, while the bass repeats B2–D3 and then C#3–E3.

At 07:29.84, the texture splits: the right hand runs upward F4–D4–E4–F4–G4–A4–B4–C#5–D5, while the left hand states F3–A3–G3–F3. At 07:31.36, the left hand sings A4–G4–F4–E4–D4, while the right hand continues rising F5–D5–E5–F5–G5–A5–B5–C#6–D6. This inversion of foreground and accompaniment creates a layered counterpoint: the left hand carries the recognizable phrase while the right hand decorates above it.

From 07:37.93, grace figures in the left hand—C3–E4, then D3–F4, then E3–G4—introduce short, accented descents: E4–D4–C4–B3–A3, F4–E4–D4–C4–B3, and G4–F4–E4–D4–C#4. Above them, the right hand runs rapidly upward and downward through A5–B5–C6, B5–F5–G5–A5, and G5–A5–B5–C6–D6–E6–F6. The passage feels like overlapping waves, each grace-led left-hand figure throwing the right hand upward.

At 07:44.11–07:48.87, a chain of accented grace-note clashes intensifies: F3–A4 leading to upper C#5–D5–E5–F5, then G3–B4, then A3–C5, then B3–D5, then C4–E5, then D4–F5. Each one is a sharp launch point, with the right hand spinning upward in response. The strongest preparations are 07:47.26 on E5 and 07:48.01 on F5, both sounding like spring-loaded accents before the final burst.

At 07:49.04, the coda erupts into brilliant triplet figures: G5–C6–G6, repeated, then G#5–C6–G#6. The left hand answers with E4–C5–E5 patterns. The top G6 at 07:49.56 and G#6 at 07:49.97/07:50.36 are piercing, high-register climactic points. At 07:50.55, the music shifts to a strong F4–C5–F5 chord below while the right hand launches A6 and cascades downward G6–F6–E6–D6–C6–B5–A5–G5–F5–E5–D5–C5–B4–A4.

At 07:52.17, the descent continues into the low register: G#4–A4–G4–F4–E4–D4–C4–B3–A3–G3–F3–E3–D3–C3–B2–A2, while the left hand joins with a rising bass line from F1 through G1–A1–B1–C2–D2–E2–F2. The two directions—right hand falling, bass rising—create a dramatic compression toward the middle.

At 07:53.69, an fp low chord G1–C2–E2 launches a chromatic ascent: G2–C3–B2–D3–C3–E3–D#3–F3–E3–G3–F#3–A3–G3–C4–B3–D4, continuing through 07:56.77 up to F5. The line is fast, slippery, and chromatic, with alternating natural and sharp neighbors giving it a restless, searching quality.

From 07:57.26, staccato G5 punctuations appear amid upper chromatic turns C6–B5–C6, E6–D#6–E6. The left hand mirrors similar figures one octave lower around G4, C5, B4, E5, D#5, E5. The passage grows steadily, and by 07:59.69–07:59.96, repeated C6–B5–C6 and E5–D#5–E5 are held into a tense sustained sonority.

At 08:00.39, the music slams into a long fermata: B5–F6 above G4–D5–F5. This is a stark dominant-seventh-like sonority without its expected immediate resolution. The performer holds it until 08:04.48, while a small descending run enters at 08:02.89: F6–E6–D6–C6–B5–A5–G5–F5–E5–D5–C5–B4. The held dissonance plus the late descending filigree creates a suspended, cadenza-like pause.

At 08:04.32, the same sonority appears lower: B4–F5 over G3–D4–F4, again held with a fermata until 08:09.38. A second descending run begins at 08:06.79, F5–E5–D5–C5–B4–A4–G4–F4, softer and lower than the previous one. The two fermatas form a large dominant suspension before the final return.

At 08:09.25, the music resolves gently into G3–C4–E4 over C2–C3, marked dolce. The phrase moves through F3–B3–D4, then E3–A3–C4, with soft bass shifts G#1–G#2 and A1–A2. The color is calmer, but the chromatic bass keeps it from sounding fully settled. At 08:13.67, a final crescendo lifts B4–C5–D5 over D3–F3–G3–B3, then E3–G3–C4, then F3–A3–C4–D4.

At 08:15.85, an accented E5 opens the last broad phrase. It diminishes into D5, then G5–F5, while the lower voices hold G4–C5, G4–B4, C4–E4, B3–D4, and a sustained G3. The line feels suspended rather than conclusively cadential.

The final slowing begins at 08:34.80, where the score indicates the ritardando: G3 is held over C3–E3, then D3–F3, while the bass sustains G1. The tempo relaxes further at 08:38.71, where A3 moves to B3 above the long-held D3–F3 and G1. The final B3 is held with a fermata until 08:43.13, creating a poised dominant tension.

At 08:43.12, the music snaps back to tempo and returns to the opening C-major repeated texture: C4–E4 and E3–C4 above C3–G3 and C2–C3. The first strike at 08:43.22 is more present than the following repeated chords, then the pattern settles softly. From 08:44.59 to 08:45.86, the same opening swell occurs, moving from C4–E4 to D4–F#4.

At 08:46.04, the final version of the opening phrase arrives in a brighter register: G4–B4–A4–G4, immediately answered at 08:46.78 by C5–E5–D5–C5. The left hand underpins this with increasingly strong chords B2–D3–G3, then Bb2–C3–G3, adding a darker dominant color. At 08:47.55, F5–A5–G5–F5 follows, then at 08:48.31 high repeated F6–E6 figures begin over Ab1–Ab2 bass. This is the last acceleration into the final cadence.

At 08:49.08, the final fortissimo descent begins on F6, falling through E6–D6–C6–B5–A5–G5–F5–E5–D5–C5–B4–A4–G4–F4–E4 while the bass ascends from G1–G2 through A1–B1–C2–D2–E2–F2–G2–A2–B2–C3–D3–E3–F3–G3–A3. The contrary motion gives the ending its final surge of energy.

At 08:50.54, the right hand lands on clipped D4, with the left hand striking F2–F3. At 08:51.00, both hands attack a strong G sonority: right hand G4–B4–D5–G5, left hand G2–B2–D3–G3. After a brief rest, the final cadence unfolds in three massive staccato blocks: C3–E3–G3–C4 with E4–G4–C5–E5 at 08:52.27, then G2–B2–D3–G3 with G4–B4–D5–G5 at 08:53.25, and finally the closing C2–E2–G2–C3 with C5–E5–G5–C6 at 08:54.34. The last chord is broad, emphatic, and held longer than the preceding staccato blocks, giving the performance a decisive C-major conclusion.

Questions 10

Q1	The performance begins with a single isolated note. What pitch sounds at the very first attack?	C2
Q2	Around 00:05.38, a sudden two-note figure enters from the high register, interrupting the low repeated accompaniment. What are the two pitches of this gesture?	C#6–D6
Q3	Around 00:20, the music arrives at its first fermata. What pitches make up the held sonority?	G1, G2, and G3
Q4	At 00:58.40, the musical character shifts. What three pitches does the top voice trace at the very opening of this new section?	G#5–F#5–E5
Q5	At 01:11.78, the right hand begins a rising chromatic triplet line. What sonority does the left hand sustain throughout this entire passage?	E2–E3
Q6	Around 04:42.95, the music settles on a long fermata. What is the top pitch of this held sonority?	Ab3
Q7	At 04:22.84, the opening repeated-note texture resurfaces. How does the force of this return compare to the equivalent opening moment at 00:00.84?	Much more forceful
Q8	Around 07:31.36, the texture splits into two simultaneous lines moving in opposite registral directions. Which hand carries the descending melodic line at this moment?	Left hand
Q9	At 07:50.55, during the coda, the right hand reaches its highest pitch before beginning a long cascading descent. What is the pitch at this apex?	A6
Q10	The performance closes with three staccato chord blocks followed by one sustained final chord. What pitches make up the right-hand part of this last held chord?	C5–E5–G5–C6

Score Understanding CMBench50

Q1	Articulation & Notation — The only slur of bar 298 ends on which note? Answer format: ABC notation with octave number (example: C4, Ab3).	F5
Q2	Dynamics & Expression — From what bar onwards is the music no longer to be played pianissimo? I.e., in what bar is the pianissimo replaced by another dynamic? Answer format: number.	9
Q3	Form — Measures 15 through 17 are structurally identical to which earlier group of measures? Answer format: comma-separated numbers.	2, 4
Q4	Form — Measures 157 through 167 are structurally identical to which measures of the exposition? Answer format: comma-separated numbers.	Measures 2 through 12
Q5	Harmonic Analysis — From measure 196 until the first appearance of an a minor chord: what is the chord progression? Give it in full. Answer format: ABC notation with inversions (example: Bb, Cm, F#aug, or A7/E). Don't include Am.	A, E, F#m, C#7, D, E7/B, A/C#, Bm7/D, A/E, E7
Q6	Harmonic Analysis — In measure 200, the harmony shifts abruptly to C major. What is the precise Roman numeral progression on beats 1, 3, and 4 of this measure? Answer format: comma-separated figured bass (example: I or V42) with respect to C major.	VI, III, IV
Q7	Rhythm & Meter — What is the note value (rhythm) of the soprano note at the start of measure 20? Answer format: the note value in full writing.	dotted quarter
Q8	Rhythm & Meter — In measure 206, what are the durations of the notes in the second highest voice? Answer format: note values (eighth, quarter, half, whole...).	half, quarter, quarter
Q9	Texture & Counting — How many voices playing simultaneously does bar 135 contain at most at a single point in time (according to the score, not the recording)? Answer format: number.	5
Q10	Texture & Counting — How many notes does bar 61 count? Answer format: number.	31

MuNo Files 4 variants

Verbose · Compact · Minimal · Beats — score and perception variants.

Perception · Verbose↓ Perception · Compact↓ Perception · Minimal↓ Perception · Beats↓

Scriabin

Étude in B-flat minor, Op. 8 No. 11

Performance Recording

ASAP dataset · WAV · note-level alignment via DTW

Auditory Analysis

The piece opens in a hushed, slow-moving texture at 00:00.50, with a low Bb2 grace-note leading into a sustained Bb2 at 00:00.91. Above it, the right hand places a clear melodic Db5 at 00:00.99, strongly foregrounded over soft inner repetitions of [Db4, Bb4] and [F3, F4] beginning around 00:01.02. The melody is not merely present; it is projected well above the accompaniment. The repeated dyads underneath immediately taper: the first [Db4, Bb4] and [F3, F4] at 00:01.02 have more body, while the following repetitions at 00:02.34, 00:03.07, and 00:03.82 retreat into a thinner, more veiled sound. This creates the impression of a single sustained breath rather than a series of equal pulses.

At 00:04.82–00:06.76, the melody rises through F5, returns to Db5, then slips through the triplet-like figure F5–Eb5–Bb4. The bass reinforces the phrase with another low Bb2 gesture at 00:04.32–00:04.74, more assertive than the opening grace-note, so the second half of the phrase has a firmer floor. The harmony colors from [Db4, Bb4] / [F3, F4] into [Eb4, Bb4] / [Gb3, Gb4], heard around 00:04.84–00:06.14, giving the phrase a darker, more suspended quality before it releases into Bb4 at 00:07.55.

From 00:07.55, the melody traces Bb4–B4–C5–Eb5–Db5, with the chromatic B4 at 00:08.78 acting as a small tightening of tension inside the otherwise soft texture. The accompaniment remains subdued: [Db4, Bb4] and [F3, F4] continue as repeated background sonorities from 00:07.68 through 00:11.95, but they are played with a lighter touch than the opening. The long Bb2 underneath at 00:06.92–00:09.74 keeps the phrase grounded while the upper voice floats. By 00:11.19–00:12.91, the sustained Db5 in the melody feels like a gentle arrival rather than a cadence, because the accompaniment keeps pulsing quietly beneath it.

A first clear change of energy arrives at 00:12.90, where the music moves to a more projected middle dynamic. The sonority at 00:12.91 combines Bb4, [Eb4, Eb5], [Gb3, Gb4], and bass Bb2. The upper doubled Eb4/Eb5 is especially prominent, and the harmony has a sharper edge than the opening. From 00:13.81 to 00:14.97, the repeated [D4, D5] intensifies, with the upper D5 strongly voiced; this creates a dissonant pressure against the surrounding Bb/Gb framework. The line then slides downward through [Db4, Db5] at 00:15.65–00:16.67 and [C4, C5] at 00:17.31–00:17.96, the sound gradually narrowing and cooling.

At 00:18.52, the melody settles onto Cb5, while the accompaniment shifts to [Gb3, Eb4] and [Cb4, Gb4]. The upper Cb5 is sustained broadly from 00:18.52 to 00:24.94, and the surrounding repeated Cb/Gb figures are much softer, producing a static, suspended color. The bass remains on Bb2 at 00:18.55, so the harmony feels unresolved: Bb2 below Cb5/Gb4/Eb4 creates a compressed, dark sonority. The phrase does not push forward; it lingers.

At 00:23.20, the music pivots to A4 over [A3, Eb4], [Bb2, Gb3], and a moving inner line Db4–Cb4–Bb3. This is one of the first places where the inner voice becomes melodically audible: Db4 at 00:23.21, Cb4 at 00:24.81, and Bb3 at 00:26.23 descend under the upper A4–Bb4 line. The texture thins slightly at 00:27.78, where Eb4–F4–Gb4 rises in the melody while the bass outlines Gb3–F3–Eb3. This contrary motion gives the phrase a measured, sighing shape.

The passage from 00:32.71 begins a more mobile harmonic sequence. The melody centers on Db4, then C4, while the inner doubled line moves through [Gb3, Gb4], [F3, F4], [Ab3, Ab4], [Gb3, Gb4], and [F3, F4]. At 00:34.67, the [Ab3, Ab4] entry brightens the texture; by 00:36.33, the drop to [F3, F4] and then [E3, E4] at 00:36.98 introduces a more chromatic, uneasy pull. The bass supports this with Bb2, then Eb2, then Gb2, from 00:32.71 through 00:36.23, giving the sequence a slow harmonic descent.

At 00:38.36–00:43.84, the music compresses around F2, F4, C4, and repeated [F3, F4]. The notable event is the gradual increase in the low-middle accompaniment from 00:40.46 through 00:43.22: [F3, A3], then repeated [F3, F4], each entrance gaining weight. This prepares the return of the opening material.

The opening idea returns at 00:43.78, but with greater presence. The low Bb2 grace-note and sustained bass at 00:43.78–00:44.16 are far more forceful than at the beginning, and the melodic Db5 at 00:44.21 is more commanding. The accompaniment [Db4, Bb4] and [F3, F4] also has more body. The phrase shape is similar to the start, but the sound is fuller and more urgent. At 00:49.70–00:50.70, the melodic turn F5–Eb5–Bb4 again closes the gesture, but it now leads into a marked crescendo beginning at 00:50.48.

From 00:51.01, the right hand’s [Db4, Bb4] accompaniment and Bb4–B4–C5–Db5 melodic motion are softer than expected after the crescendo marking, creating a brief inward pull. The bass Eb3 at 00:53.61 is marked with a pointed attack, but its actual sound is restrained rather than explosive. This produces a kind of contained tension: the harmony wants to expand, yet the performer keeps the dynamic surface controlled.

A new chromatic section begins at 00:57.29. The music moves through biting combinations: [E3, Bb3, Gb4] with [Db4, Db5] at 00:57.28–00:57.29, then [C4, C5], [Bb3, Bb4], and [A3, A4]. The bass and inner voices at 00:58.65–01:01.50 include Db3, E2, F3, and F2, giving the texture a darker, more unstable foundation. The melodic foreground is not a single singing line here; it is a layered chromatic descent where the upper doubled notes carry the intensity.

At 01:02.30, E4 emerges in the upper-middle register, paired with [Db4, Db5] and then [C4, C5]. The repeated chromatic figures at 01:02.95–01:07.40—especially [Bb3, Bb4], [A3, A4], and [C4, C5]—sound like small tightening coils. The clipped touch on [A3, A4] at 01:06.53 makes that chromatic note flash briefly rather than sing.

From 01:07.99, the bass becomes more active and more exposed. The left hand outlines F3–Ab2–Ab1, then repeats the pattern, while a sustained Fb3 sits above it. The upper voices move through [Bb3, Bb4], [Bbb3, Bbb4], [Ab3, Ab4], and [G3, G4]. The enharmonic color is striking: Bbb against Fb and Ab gives the harmony a flattened, shadowed quality. At 01:11.19, the bass Fb3 is struck with unusual weight, making the low-middle register suddenly prominent.

The energy rises at 01:12.70–01:18.13. The bass begins on Eb3–Ab2–Ab1, and the inner voice sustains Ab3, while the upper doubled line moves G/G4, Gb/Gb4, F/F4, E/E4, and finally Ab3. The held Ab3 from 01:14.43 through 01:19.14 acts as a tense pedal inside the texture. By 01:16.99–01:18.13, the [E3, E4] and upper Ab3 create a sharper, more acidic sonority, preparing the more animated surge at 01:19.13.

At 01:19.13, the texture thickens around [Db2, Ab2], Ab3, and F4. The line F4–Gb4–E4–F4–Ab4–Ab3 from 01:19.14 to 01:23.99 is shaped as a clear rise and turn, with the Ab4 at 01:23.21 standing out as the local peak. In the bass, the rapid figure C3–Bb2–Ab2 at 01:20.41–01:21.38 gives the phrase a sudden surge of momentum.

At 01:24.73, the music drops dramatically into a dimmed, very soft color. The left hand holds [Db2, Ab2], while the upper line spins a quiet six-note figure Db4–Eb4–Db4–C#4–Db4–Eb4 from 01:24.78 to 01:26.39. Then, at 01:26.89, the harmony changes abruptly to [A1, A2] with [G3, C#4, E4], followed by high, clipped notes A5–G5–F#5–F#5–E5 between 01:27.79 and 01:29.98. These staccato high notes sound like distant sparks above a very low, muted harmonic base. The contrast is stark: a soft surface, but harmonically strange and tense.

The same idea returns at 01:32.30, stronger. F4 is sustained broadly, the bass begins on [Ab1, Ab2], and the inner Ab3 is held from 01:33.08 to 01:38.63. The melodic rise to Ab4 at 01:36.91 is more intense than the previous version. Then at 01:38.59, the music again sinks into a very soft sonority: [Db2, Ab2] below the same quick figure Db4–Eb4–Db4–C#4–Db4–Eb4, followed by the high staccato line B5–G5–F#5–F#5–E5. The B5 at 01:42.11 gives this second version a brighter, more piercing top.

At 01:47.85, the key color shifts sharply. The music enters an E-major area, with F#4 sustained above bass D3, then C3, then B2. The melodic turn G4–E#4–F#4–B4–B3 at 01:50.45–01:52.29 has a more luminous, sharpened profile than the earlier flat-side harmonies. The crescendo from 01:47.85 into 01:57.68 is built not by constant loudness, but by increasing harmonic brightness and forward-moving bass.

At 01:53.10, the six-note figure E#4–F#4–E#4–D#4–E#4–F#4 pushes into a sustained G#4 at 01:55.04. Beneath it, the bass moves E3–D3–G#3–D3–C#3, growing more urgent through 01:56.95. This prepares the return to Db major at 01:57.68, where the sound opens into a pronounced crescendo.

The climax of this middle surge begins at 01:57.72 with a strong Bb4 tied forward, while the accompaniment presents [Db4, Gb4], [Db4, Ab4], and [Db4, G4]. The melodic decorations Cb5–A4–Bb4–Eb5 from 02:00.05 to 02:01.06 are forceful and bright. At 02:02.67, the dynamic arrives at a full, ringing level: the upper voice runs Ab4–Bb4–Ab4–G4–Ab4–Bb4, landing on a sustained C5 at 02:04.86. Underneath, Ab3, then G3, then Gb3, and finally [Gb2, C3] pull the harmony downward. The chord [C4, E4, Bb4] at 02:04.87 is especially tense: the E4 and Bb4 form a tritone above C4, and the performer lets this sonority speak clearly before the diminuendo releases it.

At 02:09.16, the music suddenly drops to a very soft register. The sonority [F2, C3] supports [A3, F4] and a sustained C5 at 02:10.25. The melody then turns through D5–B4–C5–F5–D5–C5–F4–A3 from 02:12.85 to 02:16.09, a delicate descent after the large climax. The repeated return of C4 in the inner voice from 02:10.55 to 02:14.24 holds the harmony together like a quiet thread.

The next passage, 02:16.28–02:21.93, introduces a more fragmented, staccato color. The bass outlines F2–C3–Gb3–E4–Bb4, while the upper voice touches C5, then clipped C5–Db5–C5 at 02:19.47–02:20.95. The rests at 02:18.55–02:19.22 and 02:19.47–02:20.14 create audible gaps, making the texture feel broken rather than flowing.

A similar phrase returns at 02:21.77, but with more force in the melodic turn. The C5 sustained from 02:22.73 leads to D5–B4–C5, and the F5–D5–C5–F4–A3 descent at 02:27.29–02:28.98 is more assertive than the earlier version. The bass figure F3–D3–C3 at 02:23.72–02:24.93 is also more present, giving the phrase a stronger undercurrent.

At 02:29.16, a crescendo leads into sharply articulated sonorities: [E4, Bb4, C5] at 02:32.05, then [E4, Bb4, Db5] at 02:32.77, then [E4, Bb4, C5] at 02:33.54. The tritone E4–Bb4 is exposed inside each chord, and the detached touch makes the dissonance bite. A softer echo follows at 02:34.32–02:40.51, with Eb4 replacing E4, so the harmony loses some of its acid edge and becomes darker.

The next buildup at 02:40.39 is one of the most striking color changes. The accented chord [Eb4, A4, Gb5] places a hard dissonant top over the middle register. It is followed by rising, brightened chords [F4, A4, Eb5], [Gb4, Bb4, E5], [Gb4, Bb4, Eb5], [Gb4, Bb4, Db5], and [Gb4, Bb4, C5] through 02:44.29. Beneath this, the bass line F3–C4–Db4–Eb4–E4 grows more insistent, with Db4, Eb4, and E4 given a held, weighted touch. This passage acts as a ramp into the large return.

At 02:45.34, the opening theme returns in its most expansive form. The melody Db5 is strong, the accompanying [Db4, Bb4] dyads are full, and the left hand now supplies sweeping arpeggiated shapes: F4–Bb3–F3–Bb2, then Ab4–Bb3–F3–Bb2, then Gb4–Bb3–Eb3–Bb2 between 02:45.35 and 02:50.99. This changes the character of the theme: what was initially still and veiled now has a rolling, orchestral foundation. The melodic turn F5–Eb5–Bb4 at 02:50.40–02:51.22 is projected clearly.

At 02:51.67, the phrase intensifies further. The upper Bb4–B4–C5–Eb5–Db5 line is played with strong focus, and the accompaniment is denser, including low Bb1/Bb2, F2, Bb2, F3, and F4 entries through 02:56.30. The chromatic B4 and C5 at 02:52.72–02:53.12 are no longer passing shadows; they cut through the texture.

The highest intensity of the return occurs around 02:56.72–03:01.27. The doubled upper voices [Eb4, Eb5], [D4, D5], [Db4, Db5], and [C4, C5] are struck with considerable brilliance. The peak is especially clear at 03:00.62, where [C4, C5] lands with maximum bite against the dense bass arpeggiation. The left hand spans Gb4, Bb3, Gb3, Bb2, Eb3, Eb2, and Bb1, producing a broad, turbulent bass field beneath the descending chromatic upper line.

At 03:01.11, the harmony shifts to Cb5 over [Cb4, Eb4] and a low Bb/Gb/Eb-colored bass. The sound remains large, but the tension changes from driving motion to a suspended plateau. The melodic Cb5–Gb4–Cb5–Bb4 from 03:01.11 to 03:04.60 recalls the earlier 00:18.52 passage, now much more illuminated. The left hand’s wide arpeggiation from 03:01.02 through 03:04.02 keeps the sound resonant rather than static.

The following descent at 03:05.24–03:10.82 revisits the A4–Bb4 idea, now with firm bass arpeggios Db4–Eb3–Gb2–Bb1, then Cb4–Eb3–Gb2–Bb1, then Bb3–Eb3–Gb2–Bb1. The melody A4 at 03:05.24, repeated at 03:06.30, then Bb4 at 03:07.88, is clear and singing. At 03:09.17, Eb4–F4–Gb4 rises again, but the underlying bass motion is more animated than before.

From 03:13.63, the sequence beginning on Db4 returns with more weight. The doubled inner lines [Gb3, Gb4], [F3, F4], [Ab3, Ab4], [Gb3, Gb4], [F3, F4], and [E3, E4] are assertive, and the bass triplets Bb3–Bb2–Bb1, then Bb3–Bb2–Eb2, then Bb3–C3–Gb2 create a broad, rolling foundation. The phrase culminates not in a loud chord but in a long held F4 at 03:18.87, while the left hand begins an expressive chromatic ascent: Bb3–C3–F2–C3–A3–F3–B3–C4–Eb4–C4–Db4–E4 through 03:24.26. The tenuto touches on C4, Db4, and E4 near 03:23.06–03:24.26 make this ascent feel deliberately weighted and searching.

At 03:25.22, marked by the return to tempo, the main theme comes back in a greatly softened form. The dyads [Db4, Bb4] at 03:25.24 are almost ghostly, and the melodic Db5 at 03:25.22 is much lighter than in previous returns. The left-hand arpeggios F4–Bb3–F3–Bb2, Ab4–Bb3–F3–Bb2, and Gb4–Bb3–Eb3–Bb2 are present but subdued. The phrase sounds like a memory of the earlier climax rather than a renewed statement.

By 03:38.61, the chromatic continuation returns quietly: [Db4, Db5], [C4, C5], [Bb3, Bb4], [A3, A4], and [Bb3, Bb4] move through the upper voices. The melody and accompaniment are more evenly balanced now; no single line dominates as strongly as before. At 03:43.96, the upper E4 and the doubled [Db4, Db5] / [C4, C5] sonorities briefly sharpen the color. The [A3, A4] at 03:48.18 is especially pointed, then the line relaxes into [C4, C5] and [Bb3, Bb4].

The passage at 03:50.09–03:54.64 gathers modest momentum around repeated Bb4 in the upper voice and [Bb3, Db4], then [Bb3, F4] below. The bass becomes more active with F2–Db3–Gb3–F3–C3–Db3–Db4–Db3–F3–C4–Db4–C4, gradually thickening the sonority. The final Bb4 at 03:53.18 has more presence, but the music does not break into a climax.

At 03:54.54, the phrase turns toward quiet closure. Bb4–C5–Db5 is heard in the upper voice, supported by Db4, F4, and a long F3 bass. The repeated [Db4, Bb4] and F4 figures from 03:56.16 to 03:58.25 diminish step by step, thinning until the texture is almost transparent. The bass F3 sustains through 03:59.53, holding the resonance under the fading upper dyads.

The section from 03:59.38 darkens the color. The upper voice holds repeated Gb4, while the lower line repeats Bb3 and the bass moves through Fb2, Db3, Gb3, C3, Fb3, and C4. The use of Fb against Gb4 and Bb3 gives the harmony a subdued, flattened quality. At 04:03.73, the upper line rises Gb4–Ab4–Bb4, supported by repeated Db4 and a sustained Fb3, producing a soft but luminous lift.

At 04:08.41, the music reaches a very quiet, suspended high point: Cb5–Db5–Eb5 unfolds slowly above [Cb4, Gb4] and low Eb/Cb/Gb colors. The sound is extremely delicate. After Eb5 at 04:11.21, there is a significant thinning: rests appear from 04:13.73 onward, and the music breathes in near-silence through the empty space around 04:14.50–04:17.12.

The coda begins at 04:17.14 with repeated soft chords [F3, A3, Eb4] under a quiet F4, supported by low F2, then [C2, F2], then [Cb2, F2]. The harmony is unsettled: A3 and Eb4 form a tritone within the chord, but the very soft touch makes it sound distant rather than aggressive. At 04:21.58, the chord changes to [F3, Bb3, D4], a warmer sonority, while the bass [Bb1, F2] enters. The accented F3 at 04:23.07 and the stronger sustained F3 at 04:23.27 briefly bring the bass into the foreground.

At 04:26.14, the [F3, A3, Eb4] sonority returns, again over [Cb2, F2]. The repeated low Cb2/F2 at 04:26.15, 04:27.56, and 04:29.03 gives the ending a tolling, grounded quality. At 04:30.90, [F3, Bb3, D4] returns, but the texture immediately begins to break apart: rests appear at 04:32.86–04:33.52, while an accented F3 at 04:32.71 and a sustained F3 from 04:32.96 act as the final low anchor.

The last large resonance arrives at 04:36.53: a high chord [F5, A5, F6] is paired with a middle chord [Cb4, Eb4, F4, A4] and the continuing low F3. The spacing is wide, with a bright high register floating above a dark inner sonority. After the chord, rests open around 04:37.73–04:40.28, leaving the bass F3 to continue.

At 04:41.58, a final high [F5, Bb5, F6] answers the previous sonority, now paired with [Bb3, D4, F4, Bb4] and the sustained low F3. This is gentler and more consonant than the previous Cb/Eb/F/A color. The bass then alone gives [Bb1, F2] at 04:44.78, followed by a long silence-like gap, and one last extremely faint [Bb1, F2] at 04:47.64. The ending does not close with a grand cadence; it fades into low-register residue, the final sound reduced to a barely voiced fifth.

Questions 10

Q1	At the very opening of the piece, a single melodic pitch is placed in the right hand above the accompaniment. What is that pitch?	Db5
Q2	In the passage around 00:04.82–00:06.76, the melody rises, then returns, then closes with a short three-note figure. What are the three pitches of that closing figure, in order?	F5, Eb5, Bb4
Q3	Around 00:18.52 to 00:24.94, a single melodic pitch is held broadly in the upper voice above a bass. What is that sustained melodic pitch?	Cb5
Q4	In the inner voice between approximately 00:23.21 and 00:26.23, a three-note figure becomes melodically audible beneath the upper line. What are those three pitches in order?	Db4, Cb4, Bb3
Q5	At around 00:34.67, a particular dyad entry in the inner doubled line briefly changes the texture. What is that dyad?	Ab3 and Ab4
Q6	At the large return of the opening theme around 02:45.34, how does the left hand character differ from the opening?	Sweeping arpeggiated shapes
Q7	At around 01:24.73, the music drops into a very soft color and a quiet six-note melodic figure is played in the upper-middle register. What are the six pitches of that figure in order?	Db4, Eb4, Db4, C#4, Db4, Eb4
Q8	In the coda passage beginning at 04:17.14, the repeated soft chords contain a tritone interval. Which two pitches form that tritone within the chord?	A3 and Eb4
Q9	At 04:36.53, a wide-spaced chord appears in the high register paired with a middle chord and a low bass. What are the three pitches of the high chord?	F5, A5, F6
Q10	The very last audible sound in the piece consists of a low two-note sonority. What are those two pitches?	Bb1 and F2

MuNo Files 4 variants

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Bach

Prelude in F♯ minor, BWV 857 (WTC I)

Performance Recording

ASAP dataset · WAV · note-level alignment via DTW

Auditory Analysis

The piece opens at 00:01.07 with a soft upper-register figure beginning on F4, immediately surrounded by a sustained harmonic bed: F4 is also held in the middle voice from 00:01.09, Ab3 enters underneath at 00:01.10, and a very quiet low F3 begins at 00:01.11, continuing as a long pedal. The sound is not a bare single line; it is already layered, with the right hand’s moving notes—F4, Ab4, C5, F5—glinting above a more stable F-minor sonority. The performer keeps the opening restrained, but the moving upper notes gain presence through G4, F5, E5, G5 between 00:02.87 and 00:04.15, so the phrase feels as if it is leaning forward rather than simply unfolding evenly.

At 00:04.03–00:05.22, the upper line reaches Ab4, C5, F5, E5, F5, with the F5 at 00:05.22 held longer, giving the first phrase a clear arrival. Under it, the middle voice descends through F5, C5, Bb4, Ab4 from 00:05.19 to 00:06.39, so the sound thins and releases downward while the top F5 sustains. This creates the first audible taper: the energy collected around 00:04.60 relaxes into the sustained F5 and the lower Ab3.

At 00:06.38, the music changes color: the soprano lands on Db5, tied and held into 00:07.84, while the lower voices move through Bb3, G3, and the continuing low F3. The Db5 above F3/G3/Bb3 gives a more suspended, less settled sonority than the opening. The performer lets this point breathe by sustaining the Db5 and then gently releasing into Db5, C5, Bb4, Ab4 from 00:07.84 to 00:08.80. The line then ornaments Bb4 at 00:09.99–00:10.80, with rapid neighboring motion around C5/Bb4 underneath. The mordent-like flutter at 00:09.99–00:10.80 is distinctly more active: the repeated C5–Bb4 alternations are quick and bright, while the bass intensifies through G3 and the right-hand upper Ab4–Bb4 snaps into focus.

The first stronger accent of the performance arrives at 00:11.09, where C5 is struck above Ab3 and Ab3/C3 support. This is more projected than the opening, and the harmony sharpens as the line moves toward Db5, G4, Bb4, E4 between 00:12.52 and 00:13.50. The E4 at 00:13.50 is especially pointed because it sits against lower C3/E3/G3/C4, giving the ear a dominant-function pull. The following ornament around F4/G4 at 00:14.79–00:15.60 is lighter but rhythmically dense; it sounds like a quick decorative settling before the next push.

At 00:15.91, the music becomes more assertive. The soprano climbs G4, C5, Bb4, Db5, then continues through Db5, C5, Bb4 by 00:18.35. The performer gives this passage a firmer surface than the earlier ornaments: C5 at 00:16.20 and Bb4/Db5 around 00:16.51–00:17.09 project strongly. Underneath, the bass moves through E3, G3, C4, then drops to F2 at 00:18.33, changing the weight of the texture. The arrival on A4 at 00:18.31, over F2/A2/C3/F3, produces a clear F-major color, but it is immediately destabilized by Gb2 at 00:19.59 and the upper Bb4 mordent at 00:19.59–00:20.48. That chromatic Gb2 under the ornament darkens the sound noticeably.

At 00:20.80, the soprano holds C5 for a long span, while the inner voice begins a chromatic line F4, Eb4, Gb4, F4, Eb4, Db4 from 00:21.12 to 00:23.13. The held C5 acts like a ceiling over this sliding inner motion. The performer keeps the long C5 initially restrained, then suddenly gives more force to the renewed C5 at 00:23.42, followed by Bb4, Db5, G4 through 00:24.26. This is one of the first places where the phrase surges from a held tone into a brighter, more urgent figure. The bass reinforces the push with Bb2 at 00:23.18, then a more pronounced Bb2 at 00:24.57, followed by C3 and Db3.

The line broadens again at 00:25.51 on a long Bb4, sustained nearly three seconds. Beneath it, the inner voice moves through Db4, C4, Db4, F4, Eb4, Db4, while the bass outlines G2, Bb2, G3, then drops through Eb3 and Eb2. The temporary rest in the lower part around 00:27.39–00:27.64 gives the texture a small breath before Ab2/C3/Eb3/Ab3 enters at 00:28.03–00:29.05. The soprano’s Ab4, C5, Bb4, Db5 from 00:28.45 to 00:29.91 is played more quietly than the preceding held Bb4, so this passage feels like a reset rather than a climax.

A more decisive climb begins at 00:30.48. The soprano moves Db5, C5, Eb5, Db5, F5, Eb5, Db5, C5, Bb4, G4, Ab4, Db5 between 00:30.48 and 00:34.60, while the bass rises sequentially through C3, Db3, Eb3, and F3. This is one of the clearest cumulative passages: the bass gains weight, and the upper line grows in brightness, especially around 00:32.15–00:34.34, where F5, Eb5, Db5, C5, Bb4, G4 are articulated with steady pressure. The low F3 at 00:33.79 under the upper descent gives the passage a grounded, directional pull into the next sonority.

At 00:34.92–00:35.32, the ornamented C5/Bb4 figure creates a quick shimmer, then the soprano shifts to Bb4 and releases into Eb4, F4, G4, Ab4, G4, Ab4 from 00:36.02 to 00:37.77. The G4 at 00:36.88 is notably projected, making this small ascent pop out from the texture. The lower voices at the same time move G3, Ab3, G3, F3, Db3, Eb3, with C4 sustained from 00:36.01 to 00:38.27. Around 00:38.43–00:39.14, the texture briefly breaks apart: F5 and Eb5 in the soprano are followed by a delayed Db5 at 00:39.58, while lower C4/Bb3 ornaments and Eb3 sustain. This creates a slight suspension in pacing before the next section begins.

At 00:40.16, a new gesture starts quietly on C5, Ab4, C5, then expands upward through E5, F5, G5, E5, F5. The crescendo of energy is audible even without a marked dynamic because the high notes become increasingly forceful, culminating in the long G5 from 00:42.66. Beneath it, the bass changes from the soft Ab2/Ab3 support to a sharper sonority: E3, G3, Bb3, Db4 from 00:42.66 to 00:43.83, then C3, F3, E3, G3. The E3–G3–Bb3–Db4 collection under the held G5 gives a strong diminished/dominant tension, and the performer sustains the high G5 long enough for that tension to register.

At 00:45.03, the tied G5 releases into a bright figure: C5, F5, Ab5, then D5, F5, B4, C5. The B4 against the lower F3/Eb3/D3/G3 motion around 00:46.81–00:47.43 gives a pointed leading-tone bite. The ornament around B4/C5 at 00:47.43–00:49.54 is delayed and then rapidly activated; the performer leaves small pockets of space before the quick alternations, so the trill-like motion feels like a prepared accent rather than a casual decoration.

The first major high-register climax arrives at 00:49.59. The soprano strikes D5, then immediately expands to G5, F5, Ab5, with the Ab5 tied and rearticulated through 00:51.37. This is one of the most forceful regions of the performance. The inner voice supports it with D5 and B4, and the bass supplies B3, D4, G4, then a sustained C4. The harmony is tense: B3/B4 and D5/G5/Ab5 create a sharp dominant pull, and the high Ab5 has a biting, dissonant edge before it resolves downward to G5/F5. At 00:52.21, the soprano jumps to C6, the highest pitch so far, then touches B5 and returns to C6 at 00:53.13. The performer gives this top C6 a clear but slightly less aggressive release than the preceding Ab5, so it feels like a crown after the struggle rather than the peak of attack.

From 00:54.29, the music relaxes into Eb5, then C5, D5, C5. The texture below shifts through Eb5, B4, C5, F#4, G4, while the bass sustains G3 and then C3. The F#4 at 00:55.15 is a noticeable color change inside the line, adding a sharpened leading quality before the phrase descends. The long C5 from 00:56.77 to 00:59.80 is calmer and more settled than the climactic high C6, functioning as a broad release. The lower voices thin to C3/G3/F3/E3/G3, and the sound loses the earlier brilliance.

A new, darker color enters at 00:59.74 with F4, A4, C5, Eb5. The Eb5 is held and then followed by a sudden bright Gb5 at 01:01.34, over a bass centered on A2/F2. The intervallic color here is striking: F–A–C–Eb–Gb suggests a dominant/minor-seventh sonority with a chromatic upper extension. The performer emphasizes the Gb5 sharply, making it a point of tension before the line falls to C5, Eb5, Db5. At 01:02.21, the bass begins a more grounded Bb2, Db3, F3, Bb3 pattern while the soprano sustains Db5, then reaches C5 at 01:03.87, preparing the next arrival.

At 01:04.43, the tied C5 releases into a descending, more urgent line: Bb4, G4, E4, C4, then turns upward through E4, F4, B4, C5 by 01:06.68. The G4 at 01:04.96 and E4 at 01:05.23 are played with clear emphasis, while the bass outlines D3, E3, F3. The presence of B4 at 01:06.37 against F4/F3/C3 gives a sharp leading-tone color before the C5 arrival at 01:06.68. From 01:07.86, the soprano’s Bb4, Db5, C5, Bb4 sounds like a small sighing figure, but the held inner E4 from 01:07.29 through 01:09.11 keeps the harmony tense underneath.

At 01:09.09, the music re-energizes with A4, F4, A4, C5, F5. The F5 at 01:10.28 is a clear local peak, then the line turns through Eb5 to a sustained Db5 at 01:11.50. The bass and inner voices are more active here: Eb3, Eb4, Db4, C4, Bb3, G3 and F3/Bb3/F3/Db3/Bb2 create a dense middle-register web. The phrase presses forward into C5 at 01:12.95 and Bb4 at 01:13.49, both played with firm accentuation, while the bass climbs Bb2, C3, Db3, Bb2. This gives the passage a strong cadential pressure.

The continuation at 01:13.78 is one of the most powerful sustained stretches. The soprano carries Bb4, Db5, C5, Ab4, while the inner voice simultaneously holds and pushes E4, F4, E4, F4, G4. The bass places C3 prominently, then moves to Db3 at 01:16.21. The clash of E4 against the surrounding C/F/Ab colors at 01:13.78–01:14.36 gives the harmony a bright, biting dominant quality. The performer keeps this section full and intense, especially on Db5 at 01:14.05, Ab4 at 01:14.91, and the inner G4 at 01:17.40.

At 01:18.54, the soprano begins to settle with Ab4, C5, F5, E5, then lands on a sustained F5 at 01:19.62. The accompanying voice starts strongly on Ab4 at 01:18.52, giving the beginning of this gesture unusual inner-voice prominence. The line then moves to a long Db5 from 01:20.71, while the bass remains anchored on the long low C3 that began at 01:18.55. This long C3 pedal is crucial: it holds the harmonic floor steady while the upper voices circle through F5, C5, Bb4, Ab4, Db5, Ab4, G4, Bb4, E4. The E4 at 01:21.82 against the sustained C3 and upper Db5/C5/Bb4 is a particularly tense color, pointing into the next intensification.

At 01:22.94, the soprano holds Ab4, then the music accelerates into Ab4, G4, F4, E4 from 01:24.28 to 01:25.16. These notes are played with pronounced weight, and the descending chromatic pressure into E4 feels like a tightening of the harmonic screw. The inner voice answers with F4, Eb4, D4, F4, then B3, before a forceful chromatic figure C4, Bb3, Db4, G3, Db4, C4, Bb3 from 01:25.44 to 01:27.33. The bass, still tied to C3, thickens the tension. This passage sounds like a compressed preparation: the top line descends and holds E4, while the inner voice writhes chromatically underneath.

After a tiny rest at 01:27.47–01:27.59, the final surge begins. The soprano enters at 01:27.76 with C5, Bb4, Db5, E4, Db5, C5, Bb4, Ab4, then suddenly leaps to the brilliant upper figure G5, F5, Ab5, B4, Ab5, G5, F5 from 01:30.04 to 01:31.81. This is among the most intense passages in the whole performance: the high Ab5 tones at 01:30.64 and 01:31.24 are projected with maximum brilliance, and the intervening B4 is held long enough to create a biting dissonant suspension under the high register. The lower chordal sonorities at 01:28.61–01:29.81—including Ab3/C4, G3/Bb3, and F3/Ab3—sound compact and heavy beneath the soprano’s restless line.

At 01:32.11, the upper line continues without letting the tension fully release: E5, F5, G5, E5, Bb5, Db5, C5, Bb4, Ab4, Bb4, C5. The F5 at 01:32.41 and the leap to Bb5 at 01:33.34 keep the register bright, but the line then deliberately descends toward F4, D5, Ab4, G4, F4 by 01:36.73. The bass still sustains the long C3, with lower harmonies including G3/Bb3, E3/G3, C4, B3, and F3. The descent after Bb5 is not a collapse; it is a controlled unwinding of accumulated energy.

At 01:37.07, the texture changes drastically. The soprano drops to E4, then holds F4 from 01:38.34 all the way into 01:42.84. This long F4 acts like a final suspended line above fragmented inner motion: C4, G3, Bb3, then later D4, B3, C4, with a held Bb3 beginning at 01:41.70. The bass first finishes the long C3, then shifts to F3, B2, D3, and finally a deep C2 at 01:39.79. The B2 and D3 against the continuing F4/C4 create one last dominant tension before the final resolution. The pacing here broadens noticeably: notes are more widely spaced, and the music feels suspended rather than driven.

The final sonority arrives at 01:43.86–01:43.93. The upper chord is A3, C4, F4, while the bass gives F2 and F3. The result is a full F-major chord spread from low F2 to F4, held with a fermata until about 01:49.98. After the chromatic pressure and high-register intensity of the preceding minute, this final F2/F3/A3/C4/F4 sonority sounds deliberately grounded and still. The performer allows the chord to remain suspended for over six seconds, so the ending is not clipped; it settles as a sustained, resonant release of the long C-pedal tension that dominated the final section.

Questions 10

Q1	At the very start of this prelude, around 00:01.07, the right hand launches a melodic gesture in the upper register. What is the first pitch sounded in that opening melodic gesture?	F4
Q2	The opening phrase comes to its first clear resting point near 00:05.22, where a note is held noticeably longer than the preceding tones. What pitch does the right-hand line arrive on at that moment?	F5
Q3	At 00:06.38, the soprano voice pivots to a new pitch that it holds through 00:07.84. What is that sustained soprano pitch?	Db5
Q4	As the soprano settles onto a new pitch at 00:18.31, with the lower voices providing chordal support beneath it, what is the tonal quality of the resulting harmony?	Major
Q5	The soprano phrase from 00:28.45 to 00:29.91 contrasts with what immediately preceded it. What is the structural function of this passage relative to the preceding section?	A reset
Q6	An ornamental figure appears from 00:47.43 to 00:49.54. How does the performer approach the rapid alternations within this ornament?	Delayed onset — the performer leaves noticeable spaces before launching the rapid alternations
Q7	At the climactic passage beginning at 00:49.59, what is the harmonic function of the combined sonority in the voices?	Dominant-function
Q8	At 00:52.21, the soprano makes an upward leap. What is that pitch?	C6
Q9	In the closing section of this prelude, the bass settles into a sustained low C that anchors the harmonic floor while the soprano moves above it. At what timestamp does this long C pedal begin?	01:18.55
Q10	The prelude ends with a fermata chord beginning at 01:43.86. Approximately how long does the performer hold this final chord?	Over six seconds

MuNo Files 4 variants

Verbose · Compact · Minimal · Beats — score and perception variants.

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Schubert

Piano Sonata in G major, D. 894 — II. Andante

Performance Recording

ASAP dataset · WAV · note-level alignment via DTW

Auditory Analysis

The movement opens at 00:01.03 with a quiet, rising three-note upbeat: A4, B4, C\#5 in the upper voice, doubled more softly by A3, B3, C\#4 below. The line is shaped as a small swell: the first A4 is light, B4 gains presence, and C\#5 is the most projected note of the figure. That makes the arrival at 00:02.05 on D5 sound like the first true point of rest. The D5 is accented and held broadly over a low D-major support, D3–F\#3–D4, which enters just after it at 00:02.12. The sound is not abrupt; the bass chord is quieter and lets the soprano D5 remain in front.

At 00:03.70–00:03.84, the upper voice releases the held D5 through C\#5 and B4, a small falling turn that softens the cadence into the next phrase. At 00:04.02, A4 begins a calmer answering gesture over C\#3–E3–A3. The melodic weight is moderate, and the accompaniment is kept behind it, giving the phrase a transparent, two-layered sound.

A more animated ascent begins at 00:06.29. The melody starts on F\#4, ornamented by a turn through G4 and then A4, while the inner and lower voices trace parallel motion: F\#3–G3–A3 and D3–E3–F\#3. The performer lets the line gather force toward 00:07.60–00:07.88, where B4 and then C\#5 are played with clearly increasing intensity. The harmony underneath thickens at 00:07.64 with E3–G3, adding a mild dominant color under the rising soprano.

The first local high point arrives between 00:08.35 and 00:10.83. The soprano C\#5 at 00:08.35 moves to D5, then the figure is repeated and expanded at 00:09.60–00:10.21 as D5–F\#5–A5. The upper A5 at 00:10.21 is the brightest note so far, while the left hand fills in D4–F\#4–A4 underneath, making the passage sound like an opening-out of the initial D-major sonority. The bass D3 is sustained from 00:08.42, so the ascent feels anchored rather than rushing forward.

At 00:10.67, the music leans strongly into F\#5, marked by an accented attack and a longer held value. Underneath, F\#4 mirrors it and G3–A3 holds as a soft harmonic cushion. The phrase then relaxes through E5, B4, and C\#5 by 00:12.43. A second accented peak follows at 00:12.83 on E5, but this one is less brilliant than the previous F\#5; it drops quickly to D5 and then to the ornamental F\#4–G4 figure at 00:14.26–00:14.71. The energy is released into clipped, detached chords at 00:14.90, 00:15.57, and 00:16.27: A4, G4, E4 in the top voice, supported by staccato left-hand sonorities A2–F\#3–A3, then A2–E3–G3, then A2–C\#3–E3. The touch here changes sharply: instead of connected lyricism, the sound is dry, separated, and cadential.

A quiet closing sonority appears at 00:17.30, with F\#3–D4 above D2–D3. It is held and allowed to settle. After this, the data shows a large temporal discontinuity: the next sustained musical continuation begins at 01:07.56, where a new rising figure F\#4–G4–A4 appears, again doubled at F\#3–G3–A3. Heard in sequence, this feels like a reprise or continuation after a long break in the captured timeline.

At 01:08.99, the music begins to grow. B4 is accented and held, then falls to E4; underneath, G2–D3 supplies a darker bass color while E3 and E3–B3 sit in the middle. The marked swell is audible through the move into 01:11.29, where D5 is struck with much more presence over G\#2–E3. This D5 against the G\# bass gives the harmony a sharper, more unstable edge than the opening D-major material. The following E4 and repeated E4 at 01:12.32–01:12.52 keep the tension suspended rather than resolving immediately.

At 01:13.29, the texture becomes more contrapuntal. The top voice runs D5–C\#5–D5–E5–C\#5, while an inner line moves E4–F\#4–G4–E4 and the lower line traces G3–F\#3–E3–A3 over A2. The upper C\#5 at 01:14.77 is especially pointed, giving the phrase a tight, expressive turn before the music opens into D5–F\#5–A4 at 01:15.17–01:16.47. The marked soft dynamic at this point is contradicted by a still-present melodic projection: the soprano remains clearly foregrounded, but the accompaniment retreats, making the color thinner and more suspended.

A similar sequence returns at 01:21.01, again with D5–C\#5–D5–E5–C\#5 in the upper voice and the same inner counterline E4–F\#4–G4–E4. The performer shapes it with a controlled swell toward the final C\#5 at 01:22.41, then lets the phrase bloom into D5 and F\#5 at 01:22.82–01:23.47. The following passage at 01:24.95–01:26.50 introduces chromatic tension: the soprano passes through A4, G\#4, A4, C\#5, B4, while the inner voice gives D4, D\#4, E4, G\#4. The D\# and G\# color the harmony away from the opening D-major stability, and the performer keeps the line moderately voiced rather than making it a climax.

The opening theme returns clearly at 01:26.88, with A4 then A4–B4–C\#5, followed by the accented D5 at 01:29.09. This is a restatement of the beginning, but the timing is broader: the D5 is sustained until 01:31.20, and the fall through C\#5 and B4 is delayed, giving the arrival more breadth. The accompaniment at 01:29.79 places D3–F\#3 underneath with a firmer accent, so the restatement has more grounded weight than the opening.

From 01:33.39 through 01:37.77, the earlier ascending passage returns: F\#4–G4–A4–B4–C\#5, then C\#5–D5–D5–F\#5–A5. The A5 at 01:37.15 again forms a bright peak, almost identical in function to the first high point around 00:10.21. The following accented F\#5 at 01:37.57 and E5 at 01:39.72 repeat the earlier pattern but with slightly more compression: the ascent feels more urgent, and the detached cadential chords at 01:41.80, 01:42.43, and 01:43.13 cut the phrase off cleanly.

A dramatic contrast begins at 01:44.00. The chordal gesture on D5, C\#5, D5, B4 is marked by a forceful opening then an immediate withdrawal. The left hand places F\#3–D4, E3–C\#4, F\#3–D4, and G3–B3 underneath, creating a compressed harmonic descent. At 01:45.95, the clipped A4–G4–E4 figure returns, but now more sharply articulated. At 01:48.25, the music strikes a much more intense octave-like sonority, F\#4–F\#5, with a strong upper F\#5 and a nearly ghosted lower F\#4. The harmony underneath—D3–A3–D4, then F\#3–A\#3–E4, then G3–B3–D4, then G\#3–D4—slides chromatically, increasing tension before the sudden quiet at 01:50.76.

At 01:50.78–01:52.55, the music becomes very soft and brittle: staccato dyads F\#4–A4, E4–G4, C\#4–E4 are answered by similarly detached left-hand shapes. The texture thins into the low D sonority at 01:53.25, D4 over D3–F\#3, which prepares the first major eruption.

The first fortissimo outbreak begins at 01:55.46 with a clipped F\#5 above F\#2–F\#3. At 01:55.90, a large staccato B-minor/D-related sonority appears: B4–D5–F\#5–B5 above low B1–B2 and B2–D3–F\#3–B3. The attacks are short and percussive. At 01:58.00, the harmony shifts to a sharper, more dissonant C\#5–G5–B5–C\#6 over E2–E3 and E3–G3–B3–C\#4. The presence of C\# against G and B makes the chord bite; it does not sound like a relaxed dominant, but like a hard, suspended sonority.

The height of this first turbulent section arrives at 02:00.17–02:02.03. Three forceful repeated bursts sound in succession: A\#4–E5–G5 over F\#1–F\#2, then B4–D5–F\#5 over G\#1–G\#2, then F\#4–C\#5–E5 over A\#1–A\#2. The sonorities are struck with a heavy, hammered touch, and the rapid repeated 32nd-note reiterations give them a trembling, agitated surface.

At 02:02.07, the bass lands on B1–B2, with F\#4 held in the middle, while the upper voices flicker through compressed dyads C\#5–E5, A\#4–C\#5, and B4–D5. The texture then launches into fast descending broken figures at 02:03.89: D6, G\#5, B5, E\#5, G\#5, D5, E\#5, B4, then D5, G\#4, B4, E\#4. The left hand punctuates with B1–B2 and E\#3–G\#3–B3–D4, the latter containing a prominent D4 that sharpens the dominant tension. The following passage at 02:05.77–02:07.47 answers with a descending F-sharp pattern: C\#6, F\#5, A5, C\#5, then F\#5, A4, C\#5, F\#4, and further down to A3. The sound is brilliant but less jagged than the preceding diminished-color figure.

The descent continues at 02:07.50–02:08.99, with alternating pitches around F\#, B, D, and G\# in both hands. At 02:09.11, the left and right hands strike trilled A3 and A2, then pass through B3/B2 to a clipped C\#4/C\#3. The chord at 02:10.21, E\#4–G\#4–C\#5–E\#5 over C\#2–C\#3, snaps shut the passage with a bright, hard-edged C-sharp sonority. At 02:10.82, the music suddenly drops in color: F\#4 and F\#4–A4–C\#5–F\#5 are still strong in attack, but the marked softening prepares the long, veiled section that follows.

From 02:13.76 onward, the music floats over murmuring broken bass patterns. At 02:13.76, D5–D6 is held and accented, then G4–G5 follows at 02:14.56. Beneath this, the left hand quietly rotates B2, D3, G3, D3 in small 32nd-note pulses, all sustained into 02:16.06. The effect is layered: a distant high octave over a low, repeating harmonic bed. At 02:16.77, F\#4–F\#5 answers, supported by an A2–C\#3–F\#3 arpeggiated pattern. The dynamic remains restrained; the bass motion is active but not foregrounded.

At 02:17.97–02:20.18, repeated C\#5–C\#6 octaves form a soft, pulsing focal point. They grow slightly through 02:18.67–02:18.97, then recede by 02:19.68. Underneath, G\#2, B2, and E\#3 circulate, giving the harmony a suspended dominant quality. The phrase then moves at 02:20.16–02:22.16 through C\#5–C\#6, B5, D5–D6, C\#5–C\#6, and B4–B5, with the left hand shifting from A2–C\#3–F\#3 to B2–D3–G3. This produces a clear harmonic turn from F-sharp color toward G-related tension.

At 02:22.14, the melody lands on A4–A5, then slips to G\#4–G\#5 at 02:23.37. The accompaniment moves from C\#3–F\#3–A3 to C\#3–E\#3–G\#3, making the G\# feel like a softened leading-tone shadow rather than a full cadence. The next span, 02:24.25–02:28.85, extends the same suspended color: C\#5–C\#6 rises through B\#4–B\#5, D\#5–D\#6, E\#5–E\#6, and F\#6, then falls through A\#4–A\#5, B4–B5, C\#5–C\#6, B4–B5, A\#4–A\#5, G\#4–G\#5. The chromatic spell is quiet but harmonically charged.

At 02:28.84, the texture collapses into a very soft repeated pattern around F\#5 and C\#5, with F\#4 or E\#4 underneath. The left hand mirrors with F\#3–A\#3, C\#3–A\#3, C\#3–B3, and related dyads. This is one of the most hushed stretches: the attacks are small, the repeated notes are close together, and the sound feels deliberately contained. At 02:31.38–02:33.57, C\#5 repeats while the inner voice holds F\#4 and then decorates through E\#4, G\#4. The accent on D\#5–F\#5 at 02:32.24 briefly lifts the phrase, but it remains inward.

A new force builds at 02:33.61–02:35.73, where repeated staccato C\#5 notes are interrupted by a grace-like A\#4–C\#5 flick. Despite the fortissimo marking nearby, the immediate right-hand repetitions are not as explosive as the later outbursts; the left hand, however, strikes F\#3–A\#3 and then low F\#2–F\#3 with much more weight, preparing the next storm.

At 02:36.47, the texture erupts again with F\#4–A4–C\#5–F\#5 over a heavy E bass region. The following chords—G4–A4–C\#5–G5 at 02:36.95, A\#3–C\#4–G4 at 02:37.49, then A\#4–D5–G5–A\#5 at 02:38.35—sound like a sequence of sharp, displaced harmonic blocks. By 02:40.11, the chord C\#5–C\#6 and then the full sonority C5–D5–F\#5–A5–D6 at 02:40.53 drive the music to a dense, bright D-centered climax. The low D2–D3 and D3–D4 in the left hand make the bass extremely solid.

At 02:42.25–02:43.59, G-based chords take over: B4–D5–G5, then B4–D5–G5–B5, and then a high D6 sustained into the next cascading figure. At 02:43.90, G6 begins a brilliant descending diminished-color run: G6, C\#6, E6, A\#5, C\#6, G5, A\#5, E5, then G5, C\#5, E5, A\#4. The left hand answers with clustered E-based sonorities including E3–G\#3–A3–C\#4 and A3–C\#4–E4–G4. The mixture of G, G\#, A\#, and C\# creates a biting, unstable color.

At 02:45.61, the descending figuration shifts to a B/F-sharp frame: F\#6, B5, D6, F\#5, then B5, D5, F\#5, B4, and lower. The left hand reinforces with D and B-minor shapes. By 02:47.26–02:48.78, both hands descend through B, E, G, C\# patterns, becoming more fragmented. At 02:48.84, the bass trills on D2 and D3, then snaps to F\#2 and F\#3 at 02:49.33, followed by a clipped A\#4–C\#5–F\#5–A\#5 chord at 02:49.95. This trill-to-chord gesture acts like a hinge into the next section.

A strong B-major/minor-colored sonority follows at 02:50.63, where B4 and B4–D5–F\#5–B5 are struck staccato over low B octaves. Then, after a short silence, a softer high F\#5–F\#6 begins at 02:52.63, leading into a long lyrical transition. At 02:53.13–02:55.44, octave pairs G5–G6, F\#4–F\#5, G4–G5, C4–C5, and again G5–G6 unfold over a murmuring E3–G3–C4 bass pattern. The accented G4–G5 at 02:53.98 and C4–C5 at 02:54.63 stand out as structural pillars.

At 02:55.85–02:57.15, the music answers with F\#4–F\#5, B3–B4, and repeated B3–B4 over a D3–F\#3–B3 pattern. Then 02:57.53–02:59.12 pushes upward into A\#4–A\#5, B4–B5, and repeated F\#5–F\#6 octaves. The performer lets the repeated F\# brighten noticeably around 02:58.48, then slightly withdraws by 02:58.75.

From 02:59.10 to 03:03.43, the line descends in broad octaves: F\#5–F\#6, then E5–E6, G5–G6, then D5–D6 at 03:01.01, and C\#5–C\#6 at 03:02.26. The left hand continues its rolling 32nd-note arpeggiation, so the upper line feels suspended over continuous motion. At 03:03.42, the soprano returns to single-note F\#5, then climbs chromatically through E\#5, F\#5, G\#5, A\#5, B5 by 03:05.44. The harmony underneath—D\#3, F\#3, B3, then E3–G\#3–B3—keeps the sound in a veiled B/F-sharp world.

At 03:05.72, D\#5 begins a softer answering phrase, moving through E5, F\#5, then down E5, D\#5, C\#5 by 03:07.65. The inner voices hold F\#4–B4 and then F\#4–A\#4, while the left hand rotates F\#3–B3–D\#4. At 03:08.23, the texture thins to very soft dyads: B4–F\#5, F\#4–B4, B4–G\#5, B4–F\#5, and finally A\#4–F\#5. The dynamic is extremely restrained, but the upper note remains the focus.

At 03:10.47–03:12.69, repeated F\#5 notes are supported by B4 in the inner voice and B3–D\#4 / F\#3–D\#4 in the left. The accented G\#5–B5 at 03:11.36 briefly tightens the harmony. At 03:12.73, the repeated F\#5 becomes clipped and staccato, with B4, A\#4, and C\#5 in the inner voice. The repetition fades into a long pause-like opening before 03:15.44, where B4 re-enters and leads to a chromatic, wandering phrase.

The passage from 03:16.19 to 03:31.55 is a quiet, labyrinthine sequence over arpeggiated bass. At 03:16.19, D5 moves to G\#4 and back to D5, with the bass outlining B2–D3–E\#3. At 03:18.82, C\#5 falls to F\#4 and returns to C\#5 over A2–C\#3–F\#3. At 03:21.08, repeated staccato C\#5 notes build from very light to stronger attacks, then decorate with B\#4, C\#5, D5, and back to C\#5. The left hand’s G\#2–B2–E\#3 pattern gives this an unresolved dominant glow.

At 03:23.17–03:29.61, the same architecture repeats with slightly different bass colors: C\#5–F\#4 over A2–C\#3–F\#3, then D5–E\#4 over B2–D3–G\#3, then C\#5–F\#4 over A\#2–C\#3–F\#3. At 03:29.58–03:31.55, repeated C\#5 intensifies again, ending with D\#5 and C\#5. The repetitions are short and pointed, but the overall dynamic remains contained.

At 03:31.55, a long C\#5 begins, with F\#4 beneath it and the bass arpeggiating F\#2–A\#2–F\#3. The C\#5 is held into 03:33.93, then repeated staccato at 03:33.22. At 03:34.37–03:36.55, C\#5 repeats several times while the bass shifts to E2–A2–G3–A2. The attacks get softer across the span, preparing the marked diminuendo at 03:36.24.

The line at 03:36.42–03:41.91 is a clear unwinding: C\#5, G5, F\#5, E5, D5, C\#5 over a sustained E2–A2–G3 sonority. The pacing stretches markedly, especially the D5 from 03:38.65 and the C\#5 from 03:40.14, making this one of the most spacious dissolutions in the performance. After a long breath, the opening material returns at 03:43.91.

At 03:43.91, A4–B4–C\#5 reappears quietly, doubled by A3–B3–C\#4. The accented D5 at 03:44.95 now includes an embellished continuation: after the held D5, the line flickers through C\#5, D5, F\#5, D5, C\#5, B4 between 03:46.17 and 03:46.77. The opening theme has become more ornamented, as if the earlier quiet simplicity is now remembered through decoration.

At 03:47.00, A4 is similarly embellished with chromatic notes G\#4, A4, A\#4, C\#5, B4, G4. The left hand mirrors this at A3, G\#3, A3, A\#3, C\#4, B3, G3, while C\#3–E3 sustains below. This produces a subtle, sliding color around A and C-sharp rather than a plain diatonic answer. At 03:48.85, the F\#4 turn returns, leading through G4, A4, B4, C\#5; the supporting voices move D3–E3–F\#3 and E3–G3 as before.

The high ascent at 03:50.95–03:52.64 is more ornamented than its first appearance: C\#5 moves to D5, then D5–F\#5–F\#5–A5–G5–F\#5. The middle voice mirrors with C\#4, D4, F\#4, A4, G4, F\#4. At 03:52.96, F\#5 is accented, then falls through E5, B4, C\#5, D5, C\#5, B4, A4 by 03:54.72. The line is active, but the performer keeps the articulation smooth rather than percussive.

At 03:55.01, E5 receives another accent, then the music breaks into short, brilliant figures: A4–D5, D5–F\#5, F\#5–A5. The following staccato octave-like ascent at 03:56.79–03:58.41—A5, B4–B5, C\#5–C\#6—is noticeably sharper and brighter. It leads into a forceful octave D5–D6 at 03:58.77, with the top D6 strongly projected. The left hand answers with low D2 and F\#3–D4, giving the arrival a grounded, orchestral weight.

At 04:01.72, B4 is sustained over a darker G2–D3–E3 harmony, then falls through A4, G4, F\#4, E4. At 04:03.98, D5 begins a descending line through C\#5, B4, A4, G\#4, F\#4, and E4, while the left hand mirrors D4, C\#4, B3, A3, G\#3, F\#3, E3. The parallel descent, intensified by the G\#, creates a strong pull toward the next full-texture phrase.

At 04:06.10, the contrapuntal phrase from earlier returns: D5–C\#5–D5–E5–C\#5, with inner E4–F\#4–G4–E4 and lower G3–F\#3–E3–A3. The final C\#5 at 04:07.52 is again the expressive pinch of the phrase. At 04:07.88, the octave-expanded D5–F\#5–A5 answer is played softly but with the top voice still clearly dominant. The same design repeats at 04:14.03–04:18.53, with another peak on C\#5 at 04:15.51, then D5–F\#5–A5 at 04:15.89–04:17.30.

The chromatic turn at 04:18.33–04:20.61 is especially vivid in the high register: A5, G\#5, A5, G\#5, A5, C\#6, B5, while the inner voice moves D5, D\#5, E5, G\#5. The D\# and G\# give the phrase a sharpened, searching quality. After that, the opening upbeat returns up an octave at 04:22.14–04:22.77: A5–B5–C\#6, lightly answered below by A4–B4–C\#5.

The high-register restatement at 04:23.32 places D6 as the main melodic arrival, then decorates it with C\#6, D6, F\#6, D6, C\#6, B5. At 04:25.30, A5 is similarly decorated through G\#5, A5, A\#5, C\#6, B5, G5. At 04:27.12, the turn on F\#5 leads up through G5, A5, B5, C\#6, and the subsequent flourish at 04:29.19–04:31.39 climbs to a brilliant A6 before turning back through G6 and F\#6. This is the same thematic material as the opening, but expanded into a glittering upper register.

At 04:31.18, F\#6 receives a strong accent-like presence and then falls through E6, B5, C\#6, D6, C\#6, B5, A5. At 04:33.14, E6 answers, then breaks into another ornamental figure ending with A5 at 04:34.88. The staccato octave ascent at 04:35.07–04:36.57—A5, B4–B5, C\#5–C\#6—leads into a forceful D5–D6 at 04:36.95, marked with a striking bass accent on D2–D3. This is one of the clearest returns of the movement’s opening gesture in a more dramatic register.

At 04:39.16–04:40.59, the clipped cadential pattern returns as A4–A5, G4–G5, E4–E5, all staccato. At 04:41.32, an even stronger F\#5–F\#6 gesture begins, descending through E5–E6, D5–D6, B4–B5. The left hand places a biting chromatic support: D2–D3, then A3–F\#4, then F\#3–A\#3–E4, G3–B3–D4, and G\#3–D4–F4. The line lands into a sudden soft, ornamental high passage at 04:43.98.

At 04:43.98–04:45.98, B5 falls to A5, then a grace-like A5–A6 leads to G6, followed by a mordent-like turn around G6, F\#6, G6, and E6. The left hand punctuates with short staccato fragments A3, F\#4–A4, G4–B4, and E4–C\#5. The effect is delicate but highly ornamented, a brief suspended flourish before a sudden tonal and dynamic shock.

At 04:45.94, the key color changes and D6 is held over a low D3 and F\#4–D5. At 04:48.28, a hard staccato A4–A5 launches a fortissimo F-major-region episode. At 04:48.75, the chord D5–F5–A5–D6 attacks sharply, supported by low D2–D3 and a full D3–F3–A3–D4 chord. At 04:50.80, the harmony darkens to E5–B\flat5–D6–E6 over G1–G2 and G3–B\flat3–D4–E4. The B\flat against E creates a strong tritone bite, and the staccato touch makes the dissonance percussive.

At 04:52.97–04:55.03, the music hammers three forceful sonorities: C\#5–G5–B\flat5 over A1–A2, then D5–F5–A5 over B1–B2, then A4–E5–G5 over C\#2–C\#3. These are among the most aggressive harmonies in the piece: the C\#–G–B\flat sonority at 04:52.97 is especially biting. The repeated attacks within each harmony make the tension feel hammered into place.

At 04:55.20, quick upper dyads E5–G5, C\#5–E5, D5–F5 swirl around a held A4, then the passage snaps to C\#5–E5 at 04:55.66. A staccato E6 at 04:56.56 launches another descending run. From 04:56.91 through 04:58.72, the right hand cascades through F6, B5, D6, G\#5, B5, F5, G\#5, D5, F5, B4, D5, G\#4, while the left hand supplies dense D/G-sharp/B/F sonorities. This passage is fast, bright, and harmonically sharp.

At 04:58.77–05:00.37, the run shifts to A/C/E material: E6, A5, C6, E5, A5, C5, then E5, A4, C5, E4, A4, C4. The left hand reinforces C2–C3 and C3–E3–A3, then A3–C4–E4. The color is less jagged than the preceding diminished passage, but still forceful.

At 05:00.43–05:01.93, both hands descend through A, D, F, B shapes, producing a compact, gritty diminished/dominant descent. The bass then trills on C2 and C3 at 05:02.00, rises to E2 and E3 at 05:02.48, and the right hand punctuates with G\#4–B4–E5–G\#5 at 05:03.06. This prepares the softened A-major arrival at 05:03.68, where A4–C5–E5–A5 is struck, followed by a sustained A4.

The following section, 05:07.13–05:23.40, is a long soft transition in F/A-related colors. At 05:07.13, E5–E6 begins a suspended high sonority. At 05:08.29, B\flat4–B\flat5 and F5–F6 appear over a quietly rotating D3–F3–B\flat3 bass. At 05:10.77, A4–A5 and E5–E6 answer over C3–E3–A3. At 05:12.68, E4–E5, G\#4–G\#5, and E5–E6 push the sound upward as the left hand outlines B2–D3–G\#3. The crescendo is audible in the increased brightness of the upper octaves.

At 05:14.65, E5–E6 begins a diminuendo phrase, decorated by D5–D6, E5–E6, F5–F6, and then E5–E6, D5–D6. At 05:16.70, C5–C6 is held and then falls to B4–B5 at 05:17.90. The left hand keeps moving in small arpeggiated cells, so the upper descent feels suspended over a quietly turning harmonic mechanism.

At 05:18.75, E5–E6 returns, then climbs through D\#5–D\#6, E5–E6, F\#5–F\#6, G\#5–G\#6, A5–A6. At 05:21.08, C\#5–C\#6 answers, then falls through D5–D6, E5–E6, D5–D6, C\#5–C\#6, B4–B5. The phrase dissolves into a very soft repeated-note texture beginning at 05:23.46, centered on A5, E5, F\#5, and G\#4–E5 over A3–C\#4 and E3–C\#4 patterns.

At 05:25.74–05:27.76, repeated E5 notes are supported by A4 and left-hand A3–C\#4 / E3–C\#4 dyads. The accent-like F\#5–A5 at 05:26.54 gives the phrase a small lift, but it remains contained. At 05:27.82, the repeated E5 becomes staccato, with a grace C\#5 at 05:28.74. The bass then strikes low A1–A2 at 05:29.94, setting off another fortissimo outburst.

At 05:30.69, A4–A5 is struck hard, followed by the dissonant B\flat4–C\#5–E5–B\flat5 at 05:31.14 and C4–E4–B\flat4 at 05:31.61. The B\flat and C\# combination gives the sonority a severe, biting edge. At 05:32.72, C\#5–E5–B\flat5–C\#6 continues the same harsh color, then D5–F5–B\flat5–D6 at 05:33.07 opens it toward a more D/B-flat-centered resonance.

At 05:34.55, E5–E6 is attacked with exceptional force, followed immediately by the dense chord F5–A5–C6–E\flat6–F6 at 05:34.96. This is one of the loudest, most saturated sonorities in the performance: the upper chord spans a wide register and includes the dark E\flat against F and A. At 05:36.65–05:38.14, B-flat/D/F chords drive to a high F6, then at 05:38.56 a brilliant descending diminished run begins from B\flat6, passing through E6, G6, C\#6, E6, B\flat5, C\#6, G5, B\flat5, E5, G5, C\#5. The left hand’s G2–G3 and G3–B\flat3–C\#4–E4 reinforce the same sharp diminished color.

At 05:40.41, the run is answered by an A/D/F descent: A6, D6, F6, A5, D6, F5, A5, D5, F5, A4, D5, F4. This sounds broader and more diatonic than the preceding diminished cascade. At 05:41.98–05:43.47, both hands descend through D, G, B\flat, E shapes, producing another compact diminished descent. The bass trills on F2 and F3 at 05:43.52, resolves to A2 and A3 at 05:44.00, and the right hand punctuates with C\#5–E5–A5–C\#6 at 05:44.54.

At 05:45.18, the music suddenly softens again: D5–F5–A5–D6 is struck staccato, followed by a sustained D5. At 05:47.23, A5–A6 begins a delicate high octave that leads into a softer transition. At 05:48.47, B\flat5–B\flat6 and E\flat5–E\flat6 sound over G3–B\flat3–E\flat4 arpeggiation; at 05:50.60, D5–D6 and A5–A6 answer over F3–A3–D4. The sound is floating and distant compared with the violent outburst just before.

At 05:52.53, A4–A5 and C\#5–C\#6 begin a crescendo toward A5–A6 at 05:53.44, then the line diminishes from 05:54.05 through A5–A6, G5–G6, A5–A6, B\flat5–B\flat6, A5–A6, G5–G6. At 05:55.98, F5–F6 is held and then falls to E5–E6 at 05:57.12, the left hand maintaining a soft D-minor/A-related arpeggio.

At 05:58.04, the melody rises again: A5, G\#5, A5, B5, C\#6, D6, supported by D5 in the inner voice. At 06:00.46, it turns downward through F\#5, G5, A5, G5, F\#5, E5. The accompaniment shifts from D-major-like A3–D4–F\#4 to a more tense A3–E4–F\#4–G4 shape. At 06:02.63, the music returns to a very soft repeated pattern around D5 and A5, with D4–F\#4 and A3–F\#4 underneath.

From 06:05.06 to 06:10.44, repeated A5 figures dominate. The accent on B5–D6 at 06:06.07 gives a small but pointed peak, then the repetitions become clipped and soft at 06:07.62–06:09.30, including a grace F\#5 at 06:08.56. The texture then opens into a new quiet phrase at 06:10.86, with D5 leading to F5 and B4 at 06:11.58–06:12.64. The left hand outlines D3–F3–G\#3, giving the line a darker, more chromatic underpinning.

At 06:14.21, E5 falls to A4, then a staccato E5 at 06:15.95 leads into repeated E5 at 06:16.67–06:17.27. The following chromatic turn D\#5–E5–F5–E5 at 06:17.55–06:18.08 sits over B2–D3–G\#3, again creating a dominant tension. This pattern repeats: E5–A4 at 06:18.37–06:19.07, F5–G\#4 at 06:20.39–06:21.12, then E5–A4 at 06:22.63–06:23.37.

At 06:24.61, the repeated E5 grows stronger through several staccato attacks and then decorates with D\#5, E5, F\#5, E5 between 06:25.95 and 06:26.58. The left hand’s B2–D3–G\#3 pattern also gains weight, so the crescendo is audible in both layers. At 06:26.97, the repeated E5 begins to diminish: attacks at 06:27.61, 06:28.07, 06:28.45, 06:28.80, and 06:29.19 steadily lose force, while the bass shifts to B\flat2–D3–G3. The harmony darkens as the energy drains.

The long dissolution begins at 06:29.73. The soprano moves E5–F\#5–G5–F\#5–E5–D5, while the bass holds A2, C\#3, and G3, with D3 entering at 06:32.19. At 06:32.93, the line fragments into D5, C\#5, E5, D5, then a very soft C\#5 from 06:35.06 to 06:37.36. This is a major breath point: the texture thins almost to stillness before the return to D major.

At 06:39.72, the opening upbeat returns once more: A4–B4–C\#5, doubled by A3–B3–C\#4, now very soft. The accented D5 at 06:40.78 is less forceful than at the beginning, held broadly over D3–F\#3–D4. At 06:42.99, A4 answers over C\#3–E3–A3, and at 06:45.38 the familiar F\#4 turn returns, leading through G4, A4, B4, C\#5. The reprise is recognizable but quieter, with more space around the notes.

At 06:47.53–06:50.76, the ascent C\#5–D5–D5–F\#5–A5 returns, but the left-hand support includes a strikingly strong low D3 at 06:48.43, briefly poking through the otherwise restrained texture. At 06:50.43, B5 is held over C4–D4, then falls through A5, E5, F\#5. The diminuendo makes the high notes feel like they are receding rather than building.

At 06:52.86, A5 drops to G5, then the music pauses before a small turned figure around G4–A4 at 06:55.07–06:55.35. At 06:55.58, a new detached cadential pattern appears: B4, A4, F\#4 over B2–G3–B3, then B2–F\#3–A3, then B2–D\#3–F\#3. The staccato touch and the D\# make this cadence sound more shadowed than the earlier A–G–E cadences.

At 06:57.92, G4 begins a soft phrase that grows into B4–B5, F\#4–F\#5, and G4–G5 by 07:00.12. The left hand supports with E3–G3, then G3–B3, E3–G3, D3–F\#3. At 07:00.48–07:02.64, the clipped A4–A5, G4–G5, E4–E5 pattern returns, now as a quiet but rhythmically clear closing gesture.

The final dramatic echo begins at 07:03.05 with D5–D6, followed by C\#5–C\#6, D5–D6, and B4–B5. The left hand places F\#3–D4, E3–C\#4, F\#3–D4, G3–B3 over D3, recalling the earlier forceful chordal passages but at a reduced intensity. At 07:05.34–07:07.54, the staccato A4–A5, G4–G5, E4–E5 cadence is repeated, this time with a noticeable lift toward the final E chord.

At 07:07.87, the last strong gesture arrives: F\#5–F\#6 is struck with a bright, accented presence, then falls through E5–E6, D5–D6, B4–B5. The left hand supports with D3–A3–F\#4, then chromatic chords F\#3–A\#3–E4, G3–B3–D4, and G\#3–D4–F4. This is the last compressed surge of tension. It immediately gives way at 07:10.70 to a soft staccato descent: A4–A5, then A4–E5–G5, then G4–C\#5–E5. The sound becomes dry, small, and withdrawn.

At 07:13.23, the music settles onto F\#4–D5 over D3–F\#3–D4, then quietly rises through D5, E5, F\#5 at 07:15.09–07:15.90. At 07:16.34, C\#5 and G5 create a final swell over A\#3–E4–G4, a tense augmented/diminished color. The next response at 07:18.42—F\#5, E5, D5, then triplet-like C\#5–D5–B4—releases that tension into a soft staccato A4–B4–C\#5 at 07:20.49–07:21.85.

The closing page is very sparse. At 07:22.78, D5 is held over D3–F\#3–D4, then the melody drops an octave to D4–E4–F\#4 at 07:24.75–07:25.56. At 07:26.14, C\#4–G4–C\#4 forms a final quiet swell over A\#2–E3–G3, then 07:28.65–07:32.26 unwinds through D4, B4, A4, G4, F\#4, E4 while the bass moves D3, B2, E3, C\#3, and G3–B\flat3. The B\flat at 07:31.36 darkens the color just before the final cadence.

At 07:32.14, the last melodic fragment begins on F\#4, then touches A4 and G4, then F\#4 and E4 by 07:35.16. The inner voices answer softly with B3–E4 and G3–C\#4, while the bass gives clipped G2 and A2. The final sonority at 07:36.29 is F\#3–D4 over D2–D3, held until 07:39.36. It is extremely quiet and unforced: the piece ends not with a final emphatic cadence, but with a low D foundation and a faint D4–F\#3 color allowed to fade into silence.

Questions 10

Q1	The three-note ascending upbeat in the soprano that opens the movement at 00:01.03 leads to the first true point of melodic rest. What pitch does the soprano voice arrive on at that moment of rest?	D5
Q2	A more animated ascending figure begins at 00:06.29, with the melody moving through an ornamental turn before continuing upward. What is the opening pitch of this ascending line?	F#4
Q3	Between 00:08.35 and 00:10.83 the upper voice rises through a broad passage. What is the highest pitch reached in the soprano during this passage?	A5
Q4	At 01:11.29, what pitches sound in the bass region beneath the soprano?	G#2 and E3
Q5	At 02:00.17–02:02.03, three forceful burst chords are hammered in rapid succession, each supported by a pair of bass octaves. What are the three lowest bass pitches — the bottom note of each bass octave pair — in the order they appear?	F#1, G#1, A#1
Q6	At 02:10.21 an arrival chord closes a turbulent passage over a low C#2–C#3 bass. What are the four pitches that form the upper-voice portion of this chord?	E#4, G#4, C#5, E#5
Q7	The turbulent central section begins at 01:55.46 with a single clipped note in the upper register above a low octave in the bass. What is that opening upper-register pitch?	F#5
Q8	A softly pulsing passage beginning at 02:17.97 features a single repeated octave pair as its primary melodic focal point. What are the two pitches that form this repeated octave?	C#5 and C#6
Q9	A high-register flourish at 04:29.19–04:31.39 ascends through brilliant figuration to a peak before turning back downward. What is the highest pitch reached within this flourish?	A6
Q10	The movement concludes with a final sustained sonority held from 07:36.29 until 07:39.36, allowed to fade into silence. What are the two lowest-sounding pitches in this final chord?	D2 and D3

MuNo Files 4 variants

Verbose · Compact · Minimal · Beats — score and perception variants.

Perception · Verbose↓ Perception · Compact↓ Perception · Minimal↓ Perception · Beats↓

Q1	The very opening of the performance surges upward through multiple octaves, with a clearly articulated accent in the treble at approximately 00:01.80. What pitch does the treble reach at that moment?	Eb6
Q2	At approximately 00:02.40, the first upward wave of the opening gesture closes on a note. How would you describe the performer's treatment of that closing note in terms of weight or emphasis?	Extremely light
Q3	Beginning around 00:10.89, a distinct melodic voice separates itself from the rolling figuration and begins a stepwise descent. What is the first pitch of that descending melody?	C5
Q4	In the passage around 00:12.93, one pitch in the moving melodic line receives prominent emphasis before the line resolves downward. What is that pitch?	B3
Q5	A powerful ascending gesture begins at 00:23.52 and climbs through many octaves into the extreme treble. At what timestamp does the ascending line arrive at E7?	00:24.76
Q6	In the section beginning at 00:31.03, a dramatic ascent pushes the treble line all the way to D7. At what exact timestamp is that D7 reached?	00:32.34
Q7	When a forceful return of material occurs at 00:38.53, what specific pitch anchors the new bass entry?	Ab1
Q8	At 01:42.05, both hands combine to produce a four-note vertical impact. What are the four specific pitches of that sonority?	Db2, G2, F3, Bb3
Q9	At 02:30.02, the closing section of the performance opens with a pair of pitches forming a low octave struck together. What is the lowest of those two pitches?	C1
Q10	What is the harmonic quality of the final chord that enters at 02:32.14 and is held until 02:36.36?	Major (C major)

Overview

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MuNo-LM

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Examples

Prelude in D major, Op. 23 No. 4

Performance Recording

Auditory Analysis

Questions 10

Score Understanding CMBench50

MuNo Files 4 variants

Piano Sonata in F major, K. 332 — I. Allegro

Performance Recording

Auditory Analysis

Questions 10

Score Understanding CMBench50

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Piano Sonata No. 21 "Waldstein" — I. Allegro con brio

Performance Recording

Auditory Analysis

Questions 10

Score Understanding CMBench50

MuNo Files 4 variants

Étude in B-flat minor, Op. 8 No. 11

Performance Recording

Auditory Analysis

Questions 10

MuNo Files 4 variants

Prelude in F♯ minor, BWV 857 (WTC I)

Performance Recording

Auditory Analysis

Questions 10

MuNo Files 4 variants

Piano Sonata in G major, D. 894 — II. Andante

Performance Recording

Auditory Analysis

Questions 10

MuNo Files 4 variants

Étude in C minor, Op. 25 No. 12 "Ocean"

Performance Recording

Auditory Analysis

Questions 10

MuNo Files 4 variants