This task involves creating questions from a given passage that involve some kind of complex reasoning (including numerical reasoning). 
The generated questions must require looking at more than one part of the passage to answer. Try to use a variety of reasoning types in your questions (some of the sample reasoning types are illustrated in the 'positive examples' field) and also have a variety of answer types (spans, numbers, dates). A span is a continuous phrase taken directly from the passage or question. In such questions, the answer spans are recommended to be five words. Questions with answer type "number", are expected to start with "How many". For instance, "How long did an event last?" can be phrased as "How many years did an event last?". To increase diversity, try to create more questions for which the answer will be multiple spans. Please create questions that require AT LEAST 2 arithmetic operations as illustrated in the 'positive examples' field. You are encouraged to try DIFFERENT COMBINATIONS of operations and not just limit to the combinations shown in those examples. The more challenging questions you create, the better it is.

Passage: After their success in the Morea, the Ottomans moved against the Venetian-held Ionian Islands. They occupied the island of Lefkada , which the Venetians had taken in 1684, and the fort of Butrinto opposite the city of Corfu. On 8 July 1716, an Ottoman army of 33,000 men landed on Corfu, the most important of the Ionian islands. Despite an indecisive naval battle on the same day, the Ottoman land army continued its disembarkment and advanced towards the city of Corfu. On 19 July, after capturing the outlying forts of Mantouki, Garitsa, Avrami and of the Saviour, the siege began. The defence was led by Count Johann Matthias von der Schulenburg, who had roughly 8,000 men at his command. The extensive fortifications and the determination of the defenders withstood several assaults. After a great storm on 9 August—which the defenders attributed to the intervention of Corfu's patron saint, Saint Spyridon—caused significant casualties among the besiegers, the siege was broken off on 11 August and the last Ottoman forces withdrew on 20 August.
How many days after a great storm was the siege broken off?

Passage: On 26 August 1643, during the minority of the former chief, "the Estates of the Kingdom passed an Act for the Committees of War in the shires of Scotland", and among the Commissioners for the Sheriffdom of Sutherland and a par of Inverness-shire, occurs the name of "Sir Robert Munro, tutour of Foulles"; and again on 24 July 1644, in a commission for a similar purpose and for the same Sheriffdom is found the name of "Sir Robert Monro, Tutor of Foullis". In 1649, the Scottish Parliament separated from the Sherriffdom of Inverness-shire the "lands eastward of Altnalait, Knockravock and the Royal Burgh of Tain", erected the Sherriffdom of Ross, and appointed the Marquiss of Argyll the Sherriff-Principal. Afterwards the commission was granted to Sir Robert Munro, who had been elected Member of Parliament for Inverness-shire in 1649 and for his own County of Ross after it was separated from the County of Inverness, 1649-50, to be Sheriff-Principal of the County of Ross. In 1651 Robert succeeded to the head of his house, upon the death of his cousin Sir Hector Munro, 2nd Baronet of Foulis who died at just 17 years of age, as already mentioned. Robert took up his residence in Foulis Castle.
How many days apart did the name "Sir Robert Munro, tutour of Foulles" occur in a commission?

Passage: Beginning from the early 1920s composers of both contemporary and popular music wrote for the musical saw. Probably the first was Dmitri Shostakovich.  He included the musical saw, e.g., in the film music for The New Babylon (1929), in The Nose (opera) (1928), and in Lady Macbeth of the Mtsensk District (opera) (1934). Shostakovich and other composers of his time used the term "Flexaton" to mark the musical saw. "Flexaton" just means "to flex a tone"—the saw is flexed to change the pitch. Unfortunately, there exists another instrument called Flexatone, so there has been confusion for a long time. Aram Khachaturian, who knew Shostakovichs music included the musical saw in his Piano Concerto (Khachaturian) (1936) in the second movement. Another composer was the Swiss Arthur Honegger, who included the saw in his opera Antigone (Honegger) in 1924 . The Romanian composer George Enescu used the musical saw at the end of the second act of his opera Œdipe (opera) (1931) to show in an extensive glissando—which begins with the mezzo-soprano and is continued by the saw—the death and ascension of the sphinx killed by Oedipus. The Italian composer Giacinto Scelsi wrote a part for the saw in his quarter-tone piece Quattro pezzi per orchestra (1959). German composer Hans Werner Henze took the saw to characterize the mean hero of his tragical opera Elegy for young lovers (1961). Other composers were Krysztof Penderecki with Fluorescences (1961), De natura sonoris Nr. 2 (1971) and the opera Ubu Rex (1990), Bernd Alois Zimmermann with Stille und Umkehr (1970), George Crumb with Ancient voices of children (1970), John Corigliano with The Mannheim Rocket (2001). Chaya Czernowin used the saw in her opera "PNIMA...Ins Innere" (2000) to represent the character of the grandfather, who is traumatized by the Holocaust. There are Further Leif Segerstam, Hans Zender (orchestration of "5 préludes" by Claude Debussy), Franz Schreker (opera Christophorus) and Oscar Strasnoy (opera Le bal). Russian composer Lera Auerbach wrote for the saw in her ballet The Little Mermaid (2005), in her symphonic poem Dreams and Whispers of Poseidon (2005), in her oratorio "Requiem Dresden – Ode to Peace" (2012), in her Piano Concerto No.1 (2015), in her comic oratorio The Infant Minstrel and His Peculiar Menagerie (2016) and in her violin concerto Nr.4 "NyX – Fractured dreams" (2017).

How many films did Dmitri Shostakovich include the musical saw in?