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Below is an alphabetized list of sample
musical problems;
links lead to pertinent descriptions in the
Humdrum User Guide.
A shorter list
of sample problem is also available.
- Above G4 do higher pitches tend to be louder?
- Add explicit breath marks after each phrase.
- Add key velocities to some MIDI data that reflect accent levels arising from the meter.
- Align and display all of the bass lines for all of the variations concurrently.
- Alphabetize a list of titles.
- Amalgamate arpeggios into chords and display as notation.
- Annotate a score identifying possible cadential 6-4 chords.
- Are dynamic swells (crescendo-diminuendos) more common than dips (diminuendos-crescendos)?
- Are lower pitches likely to be shorter and higher pitches likely to be longer?
- Assemble individual parts into a full scores.
- Assemble syllables into words for some vocal text.
- Calculate all the permuted harmonic intervals in a chord.
- Calculate changes of listeners' heart-rate from physiological data.
- Calculate harmonic intervals between concurrent parts.
- Calculate harmonic intervals ignoring unisons.
- Calculate harmonic intervals in semitones.
- Calculate implied harmonic intervals between parts.
- Calculate melodic intervals not including intervals between the last note of one phrase and the first note of the next phrase.
- Calculate pitch-class sets for melodic passages segmented by rests.
- Calculate pitch-class sets for melodic passages segmented by slurs/phrases.
- Calculate the difference in duration between the recapitulation and the exposition.
- Calculate the interval vector for some set.
- Calculate the normal form for some set.
- Calculate the prime form for some set.
- Calculate the proportion of sonorities where both the oboe and bassoon are active.
- Change all pizzicato marks to spiccato marks.
- Change all up-stems in measures 34 through 38 to down-stems.
- Classify cadences as either authentic, plagal or deceptive.
- Classify flute fingering transitions as either easy, moderate, or difficult.
- Classify phonemes in a vocal text as fricatives, nasals, plosives, etc.
- Classify vocal vowels as front or back, higher or low.
- Compare Beethoven's use of dynamic marking with Brahms's.
- Compare orchestration patterns between the exposition and the development.
- Compare pitch-class sets used at the beginnings of slurs/phrases versus those used at the ends of slurs/phrases.
- Compare the average overall dynamic level between the exposition and development sections.
- Compare the estimated keys for the 2nd theme in the exposition versus the 2nd theme in the recapitulation.
- Compare the first phrase of the Exposition with the first phrase of the Recapitulation.
- Compare the number of syllables in the first and second verses.
- Contrast the sonorities that occur on the first versus the third beats in a waltz repertory.
- Count how many measures contain at least one trill.
- Count the number of ascending major sixth intervals that occur in phrases that end on the dominant.
- Count the number of barlines in a work.
- Count the number of closed-position chords.
- Count the number of harmonic functions in each phrase.
- Count the number of notes in a work that belong to the same whole-tone set.
- Count the number of notes in measures 8 to 16.
- Count the number of notes in the exposition.
- Count the number of phrases in a score.
- Count the number of phrases in each work containing `Liebe' in the title.
- Count the number of phrases in the development.
- Count the number of phrases that begin on the subdominant pitch.
- Count the number of phrases that end on the subdominant pitch.
- Count the number of sonorities where the oboe and bassoon sound concurrently.
- Count the number of subdominant pitches in the soprano voice that are approached by rising thirds or sixths and that coincide with a dominant seventh chord.
- Count the number of tonic pitches that are approached by a weak-to-strong context versus the number of tonic pitches approached by a strong-to-weak context.
- Count the number of works by various composers.
- Count the proportion of phrase endings in music by Alban Berg where the phrase ends on either a major or minor chord.
- Create an inventory of three-note long/short duration patterns.
- Determine fret-board patterns that are similar to some specified finger combination.
- Determine how frequently ascending melodic leaps are followed by descending steps.
- Determine how much longer a passage is when all the repeats are played.
- Determine how often a pitch is followed immediately by the same pitch.
- Determine how often both the oboe and bassoon are inactive.
- Determine the average semitone distance separating the cantus and altus voices in Lassus.
- Determine the complement for some pitch-class set.
- Determine the frequency of light-related words in the monastic offices for Thomas of Canterbury.
- Determine the highest note in the trumpet part in measure 29.
- Determine the longest duration of a note that is marked staccato.
- Determine the most common rhythmic pattern spanning a measure.
- Determine the most frequently used dynamic marking in Beethoven.
- Determine the predominant vowel height in a vocal text.
- Determine the rhyme scheme for some vocal text.
- Determine the total amount of time the trumpet plays.
- Determine the total duration of a work for a given metronome marking.
- Determine the total nominal duration of Gould's performance of a work.
- Determine what transposition of a clarinet melody minimizes the number of tones in the throat register.
- Determine whether 90 percent of the notes in a work by Bach use just two durations (such as eighths and sixteenths).
- Determine whether a composer uses B-A-C-H more often than would be expected by chance.
- Determine whether a work tends to begin quietly and end loudly, or vice versa.
- Determine whether any arpeggios form an augmented sixth chord.
- Determine whether Bach tends to avoid or prefer augmented eleventh harmonic intervals.
- Determine whether Bartók's articulation marks changed over his career.
- Determine whether Beethoven tends to link activity in the chalemeau register of the clarinet with low register activity in the strings.
- Determine whether descending melodic seconds are more common than ascending seconds.
- Determine whether descending minor seconds are more likely to be fah-mi or doh-ti.
- Determine whether flats are more common than sharps in Monteverdi.
- Determine whether German drinking songs are more likely to be in triple meter.
- Determine whether Haydn tends to avoid V-IV progressions.
- Determine whether high pitches tend to have longer durations than low pitches.
- Determine whether Liszt uses a greater variety of harmonies than does Chopin.
- Determine whether Monteverdi used roughly equivalent numbers of sharps and flats.
- Determine whether notes at the ends of phrases tend to be longer than notes at the beginnings of phrases.
- Determine whether Schoenberg tended to use simultaneities that have more semitone relations and fewer tritone relations.
- Determine whether secondary dominants are more likely to occur on the third beat of triple meter works.
- Determine whether semitone trills tend to be longer or shorter than whole-tone trills.
- Determine whether submediant chords are more likely to be approached in a strong-to-weak or weak-to-strong rhythmic context.
- Determine whether the first pitch in a phrase is lower than the last pitch in the phrase.
- Determine whether the initial phrase in a work tends to be shorter than the final phrase.
- Determine whether the subdominant pitch is used less often in pop melodies than in French chanson.
- Determine whether the words `high,' `hoch,' or `haut' tend to coincide with higher pitches in a vocal work.
- Determine whether there are any notes in the bassoon part.
- Determine whether tonic pitches tend to be followed by a greater variety of melodic intervals than precedes it.
- Determine whether two works have similar vocabularies for their vocal texts.
- Determine which English translation of a Schubert text best preserves the vowel coloration.
- Determine which of two MIDI performances exhibits more dynamic range.
- Display lyrics with new lines indicated by punctuation.
- Display the MIDI data while performing.
- Do lower pitches tend to be quieter and higher pitches tend to be louder?
- Eliminate all data apart from beaming information.
- Eliminate all measure numbers.
- Estimate the amount of difference between two vocal texts.
- Estimate the degree of concrete/abstract language use for some vocal text.
- Estimate the degree of emotionality for some vocal text.
- Estimate the sensory dissonance evoked by some frequency spectrum.
- Expand all the verses for a strophic song.
- Expand repeats to a `through-composed' version of the score.
- Extract anacrusis material and the final measure from two scores.
- Extract and transpose the trumpet part to concert pitch.
- Extract any transposing instruments.
- Extract measure 27.
- Extract measures 10 to 20 in both of two scores.
- Extract measures 114 to 183 from a score.
- Extract the 'cello, oboe and flauto dolce parts.
- Extract the anacrusis material before the first barline.
- Extract the bass and soprano parts.
- Extract the bassoon part.
- Extract the coda section from a score.
- Extract the Erk edition.
- Extract the figured bass for the third recitative.
- Extract the first 20 sonorities of the last 30 sonorities.
- Extract the first and last notes of all phrases.
- Extract the first and third sonority following some marker.
- Extract the first four and last four phrases from a score.
- Extract the first four measures from the Trio section.
- Extract the first four phrases from a score.
- Extract the German text only from a score.
- Extract the lyrics for the third verse.
- Extract the material from Rehearsal Markings 5 to 7.
- Extract the MIDI data.
- Extract the recapitulation from a score.
- Extract the ripieno parts.
- Extract the second instance of the first theme.
- Extract the second theme from a score.
- Extract the second theme from the recapitulation.
- Extract the second-last phrase from a score.
- Extract the shamisen and shakuhachi parts.
- Extract the string parts and the oboe part.
- Extract the tenor part from a score.
- Extract the Trio section from a score.
- Extract the upper-most part.
- Extract the vocal parts.
- Extract the vocal text from a score.
- Extract the woodwind parts from a score.
- Find all 18th century works that include French horns and oboes.
- Find all Corelli works that contain a change of meter.
- Find all heterophonic works.
- Find all jazz works designated `bebop' in style.
- Find all Rondo movements.
- Find all scores composed by Cesar Franck.
- Find all scores containing one or more brass instruments.
- Find all scores containing passages in 7/8 meter.
- Find all scores containing passages in any minor key.
- Find all scores containing passages in C major.
- Find all scores containing pitch-class data.
- Find all scores written in compound meters.
- Find all woodwind quintets in compound meters that contain a change of key.
- Find all works composed between 1805 and 1809.
- Find all works that contain a change of key and a change of meter.
- Find all works that contain a change of key.
- Find other works that have the same instrumentation as a given work.
- For some flute work, compare fingering transitions for pre-Boehm and modern instruments.
- Generate a concordance of lyrics for some vocal corpus.
- Generate a list of all composers for some group of scores.
- Generate a list of instrumentations for some group of scores.
- Generate a list of titles for some group of scores.
- Generate a list of words used in some song.
- Generate a prime transposition for some tone-row.
- Generate a set matrix for a given tone row.
- Generate a standard MIDI file.
- Generate an inventory of pitch-class sets for melodic passages segmented into groups of three pitches.
- Generate an inventory of the patterns of stressed/unstressed syllables for some work.
- Generate an inversion for some tone-row.
- Group notes together by their beaming.
- Identify all D major triads in a work.
- Identify all encoded 17th century organ works in 6/8 meter.
- Identify all encoded 17th century organ works that do not contain passages in 6/8 meter.
- Identify all encoded works that were written in the 17th century, or were written for organ, or were written in 6/8 meter.
- Identify all meter signatures in a score.
- Identify all scores containing a tuba but not a trumpet.
- Identify all works not in the keys of C major, G major, B-flat major or D minor.
- Identify all works that are in compound meters, but not quadruple compound.
- Identify all works that end with a `tierce de picardie'.
- Identify alliterations in a vocal text.
- Identify any augmented sixth chords.
- Identify any augmented sixth intervals in Bach's two-part inventions.
- Identify any compound melodic intervals.
- Identify any cross-relations.
- Identify any differences between two vocal texts.
- Identify any diminished octave intervals in Beethoven's piano sonatas.
- Identify any eighth-notes that contain at least one flat and whose pitch lies within an octave of middle C.
- Identify any French sixth chords.
- Identify any German sixth chords.
- Identify any Italian sixth chords.
- Identify any Landini cadences.
- Identify any major or minor ninths melodic intervals.
- Identify any melody that contains both an ascending and descending major sixth interval.
- Identify any Neapolitan sixth chord that is missing the fifth of the chord.
- Identify any Neapolitan sixth chords spelled enharmonically on the raised tonic.
- Identify any Neapolitan sixth chords.
- Identify any subdominant chords between measures 80 and 86.
- Identify any tritone intervals that are not spelled as augmented fourths or diminished fifths.
- Identify any works that are classified as `Ballads'.
- Identify any works that are in irregular meters.
- Identify any works that are in simple triple meters.
- Identify any works that are not composed by Schumann.
- Identify any works that bear a dedication.
- Identify any works that contain passages in 9/8 meter.
- Identify any works that contain passages in either 3/8 or 9/8 meter.
- Identify any works that contain the word `Amour' in the title.
- Identify any works that contain the words `Drei' and `Koenige'.
- Identify any works that contain the words `Liebe' and `Tod' in the title.
- Identify any works that don't contain any double barlines.
- Identify any works whose instrumentation includes a cornet but not a trumpet.
- Identify any works whose instrumentation includes a trumpet and a cornet.
- Identify any works whose instrumentation includes a trumpet.
- Identify consecutive fifths or octaves.
- Identify doubled leading tones.
- Identify exposed octave.
- Identify crossing of parts.
- Identify overlapping of parts.
- Identify how frequently the dominant pitch occurs in the horn parts.
- Identify how often a high subdominant note in a long-short-long rhythm is followed by a low submediant in a long-long-short context.
- Identify how often the flute is resting when the trumpet is active.
- Identify how the melodic intervals in measures 8 to 32.
- Identify melodic intervals (avoiding intervals spanning rests).
- Identify overlapped parts.
- Identify parts that are out of range.
- Identify parts that are separated by more than an octave.
- Identify parts that move by augmented or diminished intervals.
- Identify possible recapitulation passages.
- Identify possible sonata-allegro movements.
- Identify progressions that are similar to II-IV-V-I.
- Identify similes using `like' or `as' in some vocal text.
- Identify the available versions of a score.
- Identify the average overall dynamic level for a work.
- Identify the crossing of parts.
- Identify the duration of the longest note marked staccato.
- Identify the highest note in a score.
- Identify the key signatures for all African works written in 3/4 meter.
- Identify the longest note in a score.
- Identify the longest run of ascending intervals in some melody.
- Identify the lowest note in a score.
- Identify the maximum number of voices in a score.
- Identify the most common harmonic interval arrangement in some score.
- Identify the most common harmonic progression apart from the V-I progression.
- Identify the most common sequence of five melodic intervals.
- Identify the most common word following `gloria' in Gregorian chants.
- Identify the number of notes per syllable for some score.
- Identify the number of notes per word for some score.
- Identify the number of syllables per phrase for some work.
- Identify the pitch-class sets used for vertical sonorities.
- Identify the proportion of intervals formed by the oboe and flute notes that are doubled.
- Identify the proportion of intervals formed by the oboe and flute notes that are doubled.
- Identify the shortest note in a score.
- Identify the stressed/unstressed pattern of syllables for some work.
- Identify those measures containing a ii-IV progression that were preceded by a iii-V progression in the previous measure.
- Identify those measures containing a iii-V progression.
- Identify those notes that begin a phrase, but are not rests.
- Identify two or more consecutive ascending major thirds in some melody.
- Identify unison doublings.
- Identify what harmonic intervals precede the interval of an octave.
- Identify what scale degree most commonly precedes the dominant pitch.
- Identify whether a score contains an `Andante' section.
- Identify whether a score contains any double sharps.
- Identify whether any score contains an `Andante' section.
- Identify whether drinking songs are more apt to be in triple meter.
- Identify whether dynamics are gradual or terraced.
- Identify whether large leaps involving chromatically-altered tones tend to have longer durations on the altered tone.
- Identify whether the dominant is more commonly approached from above or from below.
- Identify whether the subdominant occurs more frequently in one repertory than another.
- Identify whether there are any tritone melodic intervals in the vocal parts.
- Identify whether titles containing the word `death' or more likely to be in minor keys.
- Identify whether two songs have identical lyrics.
- Identify whether two works are identical apart from transposition.
- Identify whether two works have identical harmonies.
- Identify whether two works have identical rhythmic structures.
- Identify whether two works have the same instrumentation.
- Identify whether two works have the same key transitions.
- Identify which Bach chorale harmonizations have the same titles.
- Identify which composer has the most works.
- Identify which instrument is least likely to be playing when the woodwinds are active.
- Identify which works differ in instrumentation from other works.
- Identify which works have essentially the same vocal texts.
- Isolate all sonorities played on off-beats by the horns.
- Isolate all sonorities that occur on the fourth beat.
- Join three isolated measures into a single passage.
- Join three movements into a single score.
- Locate all instances of consecutive fifths.
- Locate all tritones in a score.
- Locate and identify all tone-row variants in a 12-tone work.
- Locate any beams that cross over phrase boundaries.
- Locate any double sharps in a score.
- Locate any doubled seventh scale degrees.
- Locate any parallel fifths between the bass and alto voices.
- Locate instances of the pitch sequence D-S-C-H in Shostakovich's music.
- Locate occurences of the word `Liebe' in some lyrics.
- Locate submediant pitches that are approached by an ascending major third followed by a descending major second.
- Locate the most emotionally charged words in some vocal text.
- Mark all instances of deceptive cadences.
- Measure the similarity of pitch motion between two parts.
- Modify a score so the durations are in diminution.
- Perform the first three measures from the second section of a binary form work.
- Play a melody but eliminate all tonic pitches.
- Play a melody but replace all tonic pitches by rests.
- Play just the rhythm of a work.
- Play some MIDI data from the `second theme'.
- Play some MIDI data.
- Play the clarinet part for the 4th and 8th phrases.
- Play the first and last measures from the Coda section at half tempo.
- Play the MIDI data at half tempo.
- Play the MIDI data from the next diminished octave.
- Play the MIDI data from the next G#.
- Play the MIDI data from the next pause.
- Play the thema and first variation at the same time.
- Play the `Trio' section.
- Print a transposed version of the accompaniment parts.
- Rearrange a score so the measures are in reverse order.
- Renumber all measures in a score.
- Scan a melody for passages that are similar in rhythm and pitch-contour to a given theme.
- Scan a melody for pitch motions that are similar to a given theme.
- Search for text phrases in the lyrics to some song.
- Select the Landowska version of a score.
- Shift the serial order of some series of dynamics, durations or articulation marks.
- Shift the serial order of some series of pitches.
- Transform a spectrum to take into account the effects of masking.
- Translate a Humdrum score to Csound for digital sound synthesis.
- Translate a pitch representation to standardized enharmonic pitch spelling.
- Translate a work to pitch-class representation.
- Translate to cents representation.
- Translate to French solfège representation.
- Translate to frequency representation.
- Translate to German pitch representation.
- Translate to International Standards Association pitch representation.
- Translate to MIDI representation.
- Translate to scale degree representation.
- Translate to semitone representation.
- Transpose down an augmented unison.
- Transpose enharmonically from F-sharp to G-flat.
- Transpose from one key to another.
- Transpose to Dorian mode.
- Transpose up a minor third.
This document is available at http://dactyl.som.ohio-state.edu/Humdrum/problems.html