X:1
T:"Die Forelle"
C:Franz Schubert
%%score 1 { ( 2 4 ) | 3 }
L:1/8
Q:1/4=82
M:2/4
I:linebreak $
K:Db
V:1 treble nm="Singstimme."
V:2 treble nm="Pianoforte."
V:4 treble 
V:3 bass 
V:1
"^Etwas lebhaft" A |: d d f f | d2 A z/ A/ | A3/2 A/ e/d/ c/B/ | A2 z A | d3/2 d/ f f | d2 A d | %7
w: In|ei- nem Bäch- lein|hel- le da|schoss in fro- * her *|Eil' die|lau- ni- sche Fo-|rel- le vor-|
w: |Fi- scher mit der|Ru- the wohl|an dem U- * fer *|stand, und|sah's mit kal- tem|Blu- te, wie|
 c B/c/ d =G | A2 z A | c c d/c/ B/c/ | d2 A d | c c c/g/ e/c/ | d3 d | B B B d | d2 A A | %15
w: ü- ber _ wie ein|Pfeil. Ich|stand an dem * Ge- *|sta- de und|sah in sü- * sser *|Ruh' des|mun- tern Fisch- leins|Ba- de im|
w: sich das _ Fish- lien|wand. So|lang dem Was- * ser *|Hel- le, so|dacht ich, nicht * ge- *|bricht, so|fängt er die Fo-|rel- le mit|
 A3/2 A/ e c | d3 d | c/B/ B B/d/ c/e/ | d2 A A | A3/2 A/ e c | d2 z2 | z4 | z4 | z4 |1 z2 z A :|2 %25
w: kla- ren Bäch- lien|zu, des|mun- * tern Fisch- * liens *|Ba- de im|kla- ren Bäch- lien|zu.||||Ein|
w: sei- ner An- gel|nicht, so|fängt * er die * Fo- *|rel- le mit|sei- ner An- gel|nicht.|||||
 z2 z F || F F c c | d2 B2 | z F F3/2 c/ | d2 z2 | z d d d | d d d d | d2 B z/ B/ | %33
w: Doch|end- lich ward dem|Die- be|die Ziet zu|lang,|er macht das|Bäch- lien tü- ckisch|trü- be, und|
w: ||||||||
 e2- e/ B/ =G/ E/ | c2 z A | d3/2 d/ c3/2 c/ | f B z B | e2 e =e | f d c e | d2 z d | B B B d | %41
w: eh' _ ich es ge-|dacht, so|zuck- te sei- ne|Ru- the, das|Fisch- lien, das|Fisch- lien zap- pelt|d'ran, und|ich mit re- gem|
w: ||||||||
 d2 A A | A3/2 A/ e c | d3 d | c/B/ B B/d/ c/e/ | d2 A A | A3/2 A/ e c | d2 z2 | z4 | z4 | z4 | %51
w: Blu- te sah|die Be- trog'- ne|an, und|ich _ mit re- * gem *|Blu- te sah|die Be- trog'- ne|an.||||
w: ||||||||||
 z4 | !fermata!z4 |] %53
w: ||
w: ||
V:2
 z |:!p! (6:4:6z/ (A,/F/D/A/F/ !>!dA) | (6:4:6z/ (A,/F/D/A/F/ !>!dA) | %3
 (6:4:6z/ (A,/G/E/A/G/ !>!eA) | (6:4:6z/ (A,/G/E/A/G/ !>!eA) | (6:4:6z/ (A,/F/D/A/F/ !>!dA) | %6
 (6:4:6z/ (A,/F/D/A/F/ !>!dA) | (6:4:6z/ (C/A/E/c/A/ !>!e=G) | (6:4:6z/ (C/A/E/c/A/ !>!eA) | %9
 (6:4:6z/ (C/E/G/=G/A/ !>!BA) | (6:4:6z/ (D/F/G/=G/A/ !>!fd) | (6:4:6z/ (C/E/G/=G/A/ !>!BA) | %12
 (6:4:6z/ (D/F/G/=G/A/ !>!fd) | (6:4:6z/ (D/G/B/_c/=c/ !>!ed) | (6:4:6z/ (D/F/G/=G/A/ !>!fd) | %15
 (6:4:6z/ (E/G/=G/A/c/ !>!_ge) | (6:4:6z/ (D/F/G/=G/A/ !>!fd) | (6:4:6z/ (D/G/B/_c/=c/ !>!ed) | %18
 (6:4:6z/ (D/F/G/=G/A/ !>!fd) | (6:4:6z/ (E/G/=G/A/c/ !>!_ge) | (6:4:6z/ (D/F/G/=G/A/ !>!fd) | %21
!p! z (d2 f) | z (d2 f) | z (D2 F) |1 z (D2 F) :|2 z (D2 F) || %26
 (6:4:6z/ (C/F/E/G/F/) (6:4:6z/ (C/F/E/G/F/) | (6:4:6z/ (B,/F/D/G/F/) (6:4:6z/ (B,/F/D/G/F/) | %28
 (6:4:6z/"_cresc." (C/F/E/G/F/) (6:4:6z/ (C/F/E/G/F/) | %29
 (6:4:6z/ (B,/F/D/G/F/) (6:4:6z/ (B,/F/D/G/F/) | %30
!p! (6:4:6(B,/E/D/B,/_F/D/) (6:4:6(B,/E/D/B,/F/D/) | %31
 (6:4:6(B,/E/D/B,/"_cresc."_F/D/) (6:4:6(B,/E/D/B,/F/D/) | %32
 (6:4:6(B,/E/D/B,/_F/D/) (6:4:6(B,/E/D/B,/F/D/) |!p! z/ (.[B,DE]/.[B,DE]/.[B,DE]/) .[B,DE]/ z/ z | %34
 z/ (.[A,CE]/.[A,CE]/.[A,CE]/) .[A,CE]/ z/ z | z/ .[A,D]/.[A,D]/ z/ z/ .[A,C]/.[A,C]/ z/ | %36
[K:bass] z/ [F,A,B,]/[F,A,B,]/ z/ z/ [E,=G,B,]/[E,G,B,]/ z/ | %37
!<(! [E,A,E]/[E,A,E]/[E,A,E]/[E,A,E]/ [E,A,E]/[E,A,E]/[G,_A,=E]/[G,A,E]/!<)! | %38
!mf!!>(! [F,A,F]/[F,A,F]/[F,A,D]/[F,A,D]/ [E,A,C]/[E,A,C]/[G,A,E]/[G,A,E]/!>)! | %39
[K:treble]!p! (6:4:6z/ (D/F/G/=G/A/ !>!fd) | (6:4:6z/ (D/G/B/_c/=c/ !>!ed) | %41
 (6:4:6z/ (D/F/G/=G/A/ !>!fd) | (6:4:6z/ (E/G/=G/A/c/ !>!_ge) | (6:4:6z/ (D/F/G/=G/A/ !>!fd) | %44
 (6:4:6z/ (D/G/B/_c/=c/ !>!ed) | (6:4:6z/ (D/F/G/=G/A/ !>!fd) | (6:4:6z/ (E/G/=G/A/c/ !>!_ge) | %47
 (6:4:6z/ (D/F/G/=G/A/ !>!fd) | z (d2 f) | z (d2 f) | z (D2 F) | z (D2 F) | %52
 !arpeggio!!fermata![F,A,D]4 |] %53
V:3
 z |: .D,.[F,A,] .D,.[F,A,D] | .D,.[F,A,] .D,.[F,A,D] | A,,[G,A,C] A,,[G,A,C] | %4
 A,,[G,A,C] A,,[G,A,C] | D,[F,A,] D,[F,A,D] | D,[F,A,] D,[F,A,D] | E,,[E,A,C] E,,[E,B,D] | %8
 E,,[E,A,C] E,,[E,A,C] | A,,[G,A,C] A,,[G,A,C] | D,[F,A,D] D,[F,A,D] | A,,[G,A,C] A,,[G,A,C] | %12
 D,[F,A,D] D,[F,A,D] | G,,[G,B,D] G,,[G,B,D] | D,[F,A,D] D,[F,A,D] | A,,[G,A,C] A,,[G,A,C] | %16
 D,[F,A,D] D,[F,A,D] | G,,[G,B,D] G,,[G,B,D] | D,[F,A,D] D,[F,A,D] | A,,[G,A,C] A,,[G,A,C] | %20
 D,[F,A,D] D,[F,A,D] | (6:4:6z/ (D,/F,/G,/=G,/A,/ !>!DA,) | (6:4:6z/ (D,/F,/G,/=G,/A,/ !>!DA,) | %23
!pp! (6:4:6z/ (D,,/F,,/G,,/=G,,/A,,/ !>!D,A,,) |1 (6:4:6z/ (D,,/F,,/G,,/=G,,/A,,/ !>!D,A,,) :|2 %25
 (6:4:6z/ (D,,/F,,/G,,/=G,,/A,,/ !>!D,A,,) || .=A,,.[C,E,F,] .A,,.[C,E,F,] | %27
 .B,,.[D,F,] .B,,.[D,F,] | .=A,,.[C,E,F,] .A,,.[C,E,F,] | .B,,.[D,F,] .B,,.[D,F,] | %30
 .[=G,,D,E,].[A,,D,_F,] .[G,,D,E,].[A,,D,F,] | .[=G,,D,E,].[A,,D,_F,] .[G,,D,E,].[A,,D,F,] | %32
 .[=G,,D,E,].[A,,D,_F,] .[G,,D,E,].[A,,D,F,] | z/ (.[=G,,E,]/.[G,,E,]/.[G,,E,]/) .[G,,E,]/ z/ z | %34
 z/ (.[_G,,E,]/.[G,,E,]/.[G,,E,]/) .[G,,E,]/ z/ z | [F,,F,]z/.F,/ .E,z/.E,/ | %36
 .=D,z/.D,/ ._D,z/.D,/ | C,/C,/C,/C,/ C,/C,/C,/C,/ | D,/D,/F,,/F,,/ A,,/A,,/A,,,/A,,,/ | %39
 D,[F,A,D] D,[F,A,D] | G,,[G,B,D] G,,[G,B,D] | D,[F,A,D] D,[F,A,D] | A,,[G,A,C] A,,[G,A,C] | %43
 D,[F,A,D] D,[F,A,D] | G,,[G,B,D] G,,[G,B,D] | D,[F,A,D] D,[F,A,D] | A,,[G,A,C] A,,[G,A,C] | %47
 D,[F,A,D] D,[F,A,D] | (6:4:6z/ (D,/F,/G,/=G,/A,/ !>!DA,) | (6:4:6z/ (D,/F,/G,/=G,/A,/ !>!DA,) | %50
!pp! (6:4:6z/ (D,,/F,,/G,,/=G,,/A,,/ !>!D,A,,) | (6:4:6z/ (D,,/F,,/G,,/=G,,/A,,/ !>!D,A,,) | %52
 !arpeggio!!fermata![D,,A,,D,]4 |] %53
V:4
 x |: x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | %19
 x4 | x4 | [FA]2 [FA]2 | [FA]2 [FA]2 | [F,A,]2 [F,A,]2 |1 [F,A,]2 [F,A,]2 :|2 [F,A,]2 [F,A,]2 || %26
 x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 | x4 |[K:bass] x4 | x4 | x4 |[K:treble] x4 | x4 | x4 | %42
 x4 | x4 | x4 | x4 | x4 | x4 | [FA]2 [FA]2 | [FA]2 [FA]2 | [F,A,]2 [F,A,]2 | [F,A,]2 [F,A,]2 | %52
 x4 |] %53


Questions about this score:
Is it an anacrusis (upbeat measure)?
What is the initial key signature?
What is the initial expression term?
In measure 1, what is the articulation marking?
In measures 1–52, is there a repeat sign?
In measure 28, what is the dynamic marking?
In measure 45, is there a D7 chord?
In measures 40–43, what is the chord progression? (Use I, II, III, IV, V, VI, VII)
In measure 34, what scale degree is the chord? (Use I, II, III, IV, V, VI, VII)
What is the most frequently used texture in the piece?
What is the most frequently used type of accompaniment in the piece?
In which part does the main theme first appear?

Reference answers (in the same order):
Yes
D♭ major
Etwas lebhaft
With Accent; Staccato；Slur
Yes
Crescendo
No
IV–I–V7–I
V2
Homophonic texture
Broken chord
Vocal part