X:1
T:Hummelflug
T:Nikolai Andreyevitch Rimsky-Korsakov
%%score { 1 | ( 2 3 ) }
L:1/8
Q:1/4=144
M:2/4
I:linebreak $
K:C
V:1 treble 
V:2 bass 
V:3 bass 
V:1
"^Vivace" (e'/_e'/d'/^c'/ d'/c'/=c'/b/) | (c'/b/_b/a/ _a/g/^f/=f/) | (e/_e/"_dim."d/^c/ d/c/=c/B/ | %3
 c/B/_B/A/ _A/G/^F/=F/) | (E/_E/D/^C/ D/C/=C/B,/) | (E/_E/D/^C/ D/C/=C/B,/) | %6
!pp!"_sempre legato" E/_E/D/^C/ =C/F/=E/^D/ | E/_E/D/^C/ =C/^C/D/^D/ | E/_E/D/_D/ C/F/=E/^D/ | %9
 E/_E/D/_D/ C/^C/=D/^D/ | E/_E/D/^C/ D/C/=C/B,/ | C/^C/D/^D/ E/F/E/D/ | E/_E/D/^C/ D/C/=C/B,/ | %13
 C/^C/D/^D/ E/^F/G/^G/ | A/_A/G/^F/ =F/_B/=A/^G/ | A/^G/=G/^F/ =F/^F/G/^G/ | %16
 A/^G/=G/^F/ =F/_B/A/^G/ | A/^G/=G/^F/ =F/^F/G/^G/ | A/^G/=G/^F/ G/F/=F/E/ | F/^F/G/^G/ A/_B/A/G/ | %20
 A/_A/G/^F/ G/F/=F/E/ | F/^F/G/^G/ A/_B/A/G/ | A z A2 | !>!!tenuto!_B4 | =A2 A2 | !>!!tenuto!_B4 | %26
 A/_B/A/^G/ A/B/A/G/ | A/_B/!<(!A/^G/ A/B/A/G/!<)! |!mf! A/^A/B/c/ _d/c/B/_B/ | %29
 A/^A/B/!>(!c/ _d/c/B/_B/!>)! |!mp! .A z d2 | !>!!tenuto![_d_e]4 | =d2 d2 | !>!!tenuto![_d_e]4 | %34
 d/_e/d/^c/ d/e/d/c/ | d/_e/!<(!d/^c/ d/e/d/c/!<)! |!mf! d/^d/e/f/ ^f/=f/e/_e/ | %37
 d/^d/!>(!e/f/ ^f/=f/e/_e/!>)! |!pp! d/^c/=c/B/ _B/_e/d/^c/ | d/^c/=c/B/ ^A/B/c/^c/ | %40
 d/^c/=c/B/ c/B/_B/A/ | ^A/B/c/^c/!<(! =c/^c/d/^d/!<)! |!mf! !>!e'/_e'/d'/^c'/ d'/c'/=c'/b/ | %43
 c'/b/!>(!_b/a/ ^g/=g/^f/=f/!>)! | e/f/e/^d/ e/f/e/d/ | e/f/e/^d/ e/f/e/d/ | e/f/e/^d/ e/f/e/d/ | %47
 e/f/e/^d/ e/f/e/d/ | e z z2 |"_m.d." z4 | z2 .e.c | .A.F.A.c | !tenuto!e2 .e.c | .A.F.A.c | %54
 !tenuto!e2 z2 | C/^C/D/^D/ E/F/^F/G/ | ^G/A/^A/B/ c/^c/d/^d/ | e/f/e/^d/ e/f/e/d/ | %58
!pp! e/_e/d/_d/ c/f/=e/^d/ | e/_e/d/_d/ c/^c/=d/^d/ | e/_e/d/_d/ c/f/=e/^d/ | %61
 e/_e/d/_d/ c/^c/=d/^d/ | e/_e/d/^c/ d/_d/=c/B/ | c/^c/d/^d/ e/f/e/_e/ | e/_e/d/^c/ d/c/=c/B/ | %65
 c/^c/d/^d/ e/^f/g/^g/ | a/_a/g/^f/ =f/_b/=a/^g/ | a/_a/g/^f/ =f/^f/g/^g/ | %68
 a/_a/g/^f/ =f/_b/=a/^g/ | a/_a/g/^f/ =f/^f/g/^g/ | a/_a/g/^f/ g/f/=f/e/ | f/^f/g/^g/ a/_b/a/g/ | %72
 a/_a/g/^f/ =f/^f/g/^g/ | a/!<(!b/c'/d'/ e'/f'/e'/^d'/!<)! |!f! e'/_e'/d'/_d'/ c'/f'/=e'/^d'/ | %75
 e'/_e'/d'/_d'/ c'/^c'/=d'/^d'/ | e'/_e'/d'/_d'/ c'/f'/=e'/^d'/ | e'/_e'/d'/_d'/ c'/d'/=d'/^d'/ | %78
 e'^g/a/ ^a/b/c'/^c'/ | d'/_d'/c'/b/ c'/b/_b/a/ | ^g/a/^a/b/ c'/^c'/d'/^d'/ | %81
 e'/f'/e'/^d'/ e'/f'/e'/d'/ | e'^g/a/ ^a/b/c'/^c'/ | d'/_d'/c'/b/ c'/b/_b/a/ | %84
 ^g/a/^a/b/ c'/^c'/d'/^d'/ | e'/f'/!>(!e'/^d'/ e'/^f'/g'/^g'/!>)! | %86
!p! a'/_a'/g'/^f'/ g'/f'/=f'/e'/ | f'/e'/_e'/d'/ _d'/c'/b/_b/ | a/_a/g/^f/ g/f/=f/e/ | %89
 f/e/_e/d/ _d/c/B/_B/ |!<(! A/_B/A/^G/!<)!!>(! B/G/B/G/!>)! | .A.B.c.d | %92
!<(! e/f/e/^d/!<)!!>(! =f/d/f/d/!>)! | .e.[e^f].[eg].[d^g] | .[ca] z!pp! E/F/^F/G/ | %95
 ^G/A/^A/B/ c/^c/d/^d/ | e/f/^f/g/ ^g/a/^a/b/ |!>(! c'/^c'/d'/^d'/ e'/^f'/g'/^g'/!>)! | %98
!pp! .a' z z2 | !arpeggio!.[Acea] z z2 | .A, z z2 |] %101
V:2
 !arpeggio![E,B,^G] z z2 | z4 | !arpeggio![E,,B,,^G,] z z2 | z4 | z4 | z4 | %6
 !arpeggio![A,,E,C] z z2 | .C z .A, z | !arpeggio!.[A,,E,C] z z2 | .C z .A, z | %10
 !arpeggio!.[A,,=E,C] z .[F,A,] z | .[E,A,] z .[D,E,^G,B,] z | .[=C,E,A,] z .[F,A,] z | %13
 .[E,A,] z .[=D,E,^G,B,] z | .[^C,=G,A,] z .[D,^F,A,] z | .[F,=A,D] z .[D,G,B,] z | .[F,A,D] z z2 | %17
 .[F,A,D] z .[D,G,B,] z | .[F,A,D] z .[G,_B,D] z | .[F,A,D] z .[E,G,A,^C] z | %20
 .[F,A,D] z .[D,G,_B,] z | .[D,F,A,] z .[^C,E,G,A,] z | z/ (A,/B,/A,/ B,/A,/B,/A,/) | %23
 (_B,/_A,/B,/A,/ B,/A,/B,/A,/) | z/ (=A,/B,/A,/ B,/A,/B,/)A,/ | _B,/_A,/B,/A,/ B,/A,/B,/A,/ | %26
 =A, z [_A,_B,] z | A,[_A,_B,] [G,=B,][^F,C] | [F,^C]4- | [F,C]4 | z/ (D/E/D/ E/D/E/D/) | %31
 (_E/_D/E/D/ E/D/E/D/) | z/ (=D/=E/D/ E/D/E/D/) | (_E/_D/E/D/ E/D/E/D/) | =D z [_D_E] z | %35
 .D.[_D_E].[C=E].[B,F] | [_B,^F]4- | [B,G]4 | .[_B,DG] z z2 | .[_B,DG] z .[C_EG] z | %40
 .[_B,DG] z .[_G,C_E] z | .[G,_B,D] z .[F,A,D] z | .[E,^G,E] z z2 | z4 | z2 .E.C | .A,.F,.A,.C | %46
 E2 .E.C | A,F, A,C | E/^D/=D/^C/ D/C/=C/B,/ | C/B,/^A,/=A,/ ^G,/=G,/^F,/=F,/ | %50
"_m.g." E,/F,/E,/^D,/ E,/F,/E,/D,/ | E,/F,/E,/^D,/ E,/F,/E,/D,/ | E,/F,/E,/^D,/ E,/F,/E,/D,/ | %53
 E,/F,/E,/^D,/ E,/F,/E,/D,/ | E,/F,/^F,/G,/ ^G,/A,/^A,/B,/ | z4 | z4 | z4[K:treble] | %58
 !arpeggio!.[A,Ec] z z2 | .c z .A z | !arpeggio!.[A,Ec] z z2 | .c z .A z | %62
 !arpeggio!.[A,Ec] z .[FA] z | .[EA] z .[DE^GB] z | .[CEA] z .[FA] z | .[EA] z .[DE^GB] z | %66
 .[^CGA] z .[DFA] z | .[FAd] z .[DGB] z | .[FAd] z z2 | .[FAd] z .[DGB] z | .[FAd] z .[G_Bd] z | %71
 .[FAd] z .[EGA^c] z | .[FAd] z[K:bass] .[F,A,D] z | .[E,A,C] z .[E,^G,B,] z | .[A,,=E,].[E,C] z2 | %75
 .C z .A, z | .[A,,=E,].[E,C] z2 | .[A,C=E] z .[^F,A,=D] z | .[A,CE] z[K:treble]"^dim." .A.F | %79
 .D.B,.D.F | .[CEA] z z2[K:bass] | .[E,^G,DE] z z2 | .[A,CE] z[K:treble] .=A.F | .D.B,.D.F | %84
 .[CEA] z z2[K:bass] | .[E,^G,DE] z z2[K:treble] |[K:treble] !arpeggio!.[A,Ec] z .[A,^CB] z | %87
 .[A,DF] z z2[K:bass] | !arpeggio!.[A,,E,C] z .[A,,^C,G,] z | .[A,,D,F,] z z2 | %90
 .A,, z .[^G,_B,] z | z ^G,=G,F, | z4 | z DDB, | .A, z z2 | z4 | !arpeggio!.[A,,E,C] z z2 | %97
 !arpeggio!.[A,,E,C] z z2 | !arpeggio![A,,E,C] z z2 | !arpeggio!.[A,CE] z z2 | .[A,,,A,,] z z2 |] %101
V:3
 x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | %19
 x4 | x4 | x4 | [D,F,] z z2 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | ^F, z x2 | x4 | x4 | x4 | x4 | %35
 x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | %54
 x4 | x4 | x4 | x4[K:treble] | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | %71
 x4 | x2[K:bass] x2 | x4 | x4 | x4 | x4 | x4 | x2[K:treble] x2 | x4 | x4[K:bass] | x4 | %82
 x2[K:treble] x2 | x4 | x4[K:bass] | x4[K:treble] |[K:treble] x4 | x4[K:bass] | x4 | x4 | x4 | %91
 A,,/A,/ G,/A,/ G,/A,/F,/A,/ | x4 | E,/E/ D/E/D/E/B,/E/ | x4 | x4 | x4 | x4 | x4 | x4 | x4 |] %101


Questions about this score:
Is there an anacrusis?
Who is the composer?
What instruments are used?
In measure 59, what is the new clef?
In measure 1, what is the articulation marking?
In measure 53, is there an accidental? Which note does it affect?
Between measures 95–101, is there an interrupted cadence?
In measure 43, what is the voicing of the E major chord?
In measure 86, what degree chord is the first chord (I, II, III, IV, V, VI, VII)?
In which measure does the melodic motif first appear?
What are the main structural features of the motif?
What is the most commonly used performance technique in the bass voice?

Reference answers (in the same order):
No
Nikolai Andreyevitch Rimsky-Korsakov
Piano
Treble clef
With Arpeggio sign
Yes, D♯3
No
Mixed spacing
V7
Measure 1
Chromatic scale
Staccato