evaluation_qa.csv

,feedback_file,audio_file,original_feedback,Q,A,split
0,N/A,n31-sch-knd007-s-p02.wav,N/A,What kind of performance might this be? ,"This is a student performance, but in advanced level.",train
1,N/A,n31-sch-knd007-s-p02.wav,N/A,"How would you rate the difficulty level of the piece, in a scale of 9? ",5,train
2,N/A,n31-sch-knd007-s-p02.wav,N/A,Who might be the composer?,Schumann,train
3,N/A,n01-chp-etd003-s-p01.wav,N/A,What kind of performance might this be? ,"This is a student performance, but in advanced level.",train
4,N/A,n01-chp-etd003-s-p01.wav,N/A,"How would you rate the difficulty level of the piece, in a scale of 9? ",6,train
5,N/A,n01-chp-etd003-s-p01.wav,N/A,Who might be the composer?,Chopin,train
6,N/A,n32-moz-snt331-1-h-p12.wav,N/A,What kind of performance might this be? ,"This is a student performance, but in advanced level.",train
7,N/A,n32-moz-snt331-1-h-p12.wav,N/A,"How would you rate the difficulty level of the piece, in a scale of 9? ",6,train
8,N/A,n32-moz-snt331-1-h-p12.wav,N/A,Who might be the composer?,Mozart,train
9,N/A,n26-bet-snt008-2-s-p02.wav,N/A,What kind of performance might this be? ,"This is a student performance, but in advanced level.",train
10,N/A,n26-bet-snt008-2-s-p02.wav,N/A,"How would you rate the difficulty level of the piece, in a scale of 9? ",6,train
11,N/A,n26-bet-snt008-2-s-p02.wav,N/A,Who might be the composer?,Beethoven,train
12,N/A,n32-moz-snt331-1-h-p02.wav,N/A,What kind of performance might this be? ,"This is a student performance, but in advanced level.",train
13,N/A,n32-moz-snt331-1-h-p02.wav,N/A,"How would you rate the difficulty level of the piece, in a scale of 9? ",6,train
14,N/A,n32-moz-snt331-1-h-p02.wav,N/A,Who might be the composer?,Mozart,train
15,N/A,n26-bet-snt008-2-s-p01.wav,N/A,What kind of performance might this be? ,"This is a student performance, but in advanced level.",train
16,N/A,n26-bet-snt008-2-s-p01.wav,N/A,"How would you rate the difficulty level of the piece, in a scale of 9? ",6,train
17,N/A,n26-bet-snt008-2-s-p01.wav,N/A,Who might be the composer?,Beethoven,train
18,N/A,n32-moz-snt331-1-h-p01.wav,N/A,What kind of performance might this be? ,"This is a student performance, but in advanced level.",test
19,N/A,n32-moz-snt331-1-h-p01.wav,N/A,"How would you rate the difficulty level of the piece, in a scale of 9? ",6,test
20,N/A,n32-moz-snt331-1-h-p01.wav,N/A,Who might be the composer?,Mozart,test
21,N/A,n31-sch-knd007-s-p01.wav,N/A,What kind of performance might this be? ,"This is a student performance, but in advanced level.",train
22,N/A,n31-sch-knd007-s-p01.wav,N/A,"How would you rate the difficulty level of the piece, in a scale of 9? ",5,train
23,N/A,n31-sch-knd007-s-p01.wav,N/A,Who might be the composer?,Schumann,train
24,N/A,n48-deb-rev068-s-p01.wav,N/A,What kind of performance might this be? ,"This is a student performance, but in advanced level.",train
25,N/A,n48-deb-rev068-s-p01.wav,N/A,"How would you rate the difficulty level of the piece, in a scale of 9? ",5,train
26,N/A,n48-deb-rev068-s-p01.wav,N/A,Who might be the composer?,Debussy,train
27,N/A,n08-chp-pld007-s-p03.wav,N/A,What kind of performance might this be? ,"This is a student performance, but in advanced level.",test
28,N/A,n08-chp-pld007-s-p03.wav,N/A,"How would you rate the difficulty level of the piece, in a scale of 9? ",4,test
29,N/A,n08-chp-pld007-s-p03.wav,N/A,Who might be the composer?,Chopin,test
30,N/A,n01-chp-etd003-s-p02.wav,N/A,What kind of performance might this be? ,"This is a student performance, but in advanced level.",test
31,N/A,n01-chp-etd003-s-p02.wav,N/A,"How would you rate the difficulty level of the piece, in a scale of 9? ",6,test
32,N/A,n01-chp-etd003-s-p02.wav,N/A,Who might be the composer?,Chopin,test
33,N/A,n08-chp-pld007-s-p01.wav,N/A,What kind of performance might this be? ,"This is a student performance, but in advanced level.",train
34,N/A,n08-chp-pld007-s-p01.wav,N/A,"How would you rate the difficulty level of the piece, in a scale of 9? ",4,train
35,N/A,n08-chp-pld007-s-p01.wav,N/A,Who might be the composer?,Chopin,train
36,N/A,n31-sch-knd007-s-p12.wav,N/A,What kind of performance might this be? ,"This is a student performance, but in advanced level.",train
37,N/A,n31-sch-knd007-s-p12.wav,N/A,"How would you rate the difficulty level of the piece, in a scale of 9? ",5,train
38,N/A,n31-sch-knd007-s-p12.wav,N/A,Who might be the composer?,Schumann,train
39,N/A,n28-bet-snt008-3-s-p01.wav,N/A,What kind of performance might this be? ,"This is a student performance, but in advanced level.",train
40,N/A,n28-bet-snt008-3-s-p01.wav,N/A,"How would you rate the difficulty level of the piece, in a scale of 9? ",6,train
41,N/A,n28-bet-snt008-3-s-p01.wav,N/A,Who might be the composer?,Beethoven,train
42,N/A,n17-bac-inv001-s-p01.wav,N/A,What kind of performance might this be? ,"This is a student performance, but in advanced level.",train
43,N/A,n17-bac-inv001-s-p01.wav,N/A,"How would you rate the difficulty level of the piece, in a scale of 9? ",3,train
44,N/A,n17-bac-inv001-s-p01.wav,N/A,Who might be the composer?,Bach,train
45,N/A,n17-bac-inv001-s-p02.wav,N/A,What kind of performance might this be? ,"This is a student performance, but in advanced level.",train
46,N/A,n17-bac-inv001-s-p02.wav,N/A,"How would you rate the difficulty level of the piece, in a scale of 9? ",3,train
47,N/A,n17-bac-inv001-s-p02.wav,N/A,Who might be the composer?,Bach,train
48,N/A,n22-bac-inv015-s-p01.wav,N/A,What kind of performance might this be? ,"This is a student performance, but in advanced level.",test
49,N/A,n22-bac-inv015-s-p01.wav,N/A,"How would you rate the difficulty level of the piece, in a scale of 9? ",4,test
50,N/A,n22-bac-inv015-s-p01.wav,N/A,Who might be the composer?,Bach,test
51,N/A,n28-bet-snt008-3-s-p02.wav,N/A,What kind of performance might this be? ,"This is a student performance, but in advanced level.",test
52,N/A,n28-bet-snt008-3-s-p02.wav,N/A,"How would you rate the difficulty level of the piece, in a scale of 9? ",6,test
53,N/A,n28-bet-snt008-3-s-p02.wav,N/A,Who might be the composer?,Beethoven,test
54,N/A,n01-chp-etd003-s-p03.wav,N/A,What kind of performance might this be? ,"This is a student performance, but in advanced level.",train
55,N/A,n01-chp-etd003-s-p03.wav,N/A,"How would you rate the difficulty level of the piece, in a scale of 9? ",6,train
56,N/A,n01-chp-etd003-s-p03.wav,N/A,Who might be the composer?,Chopin,train
57,N/A,n01-chp-etd003-s-p12.wav,N/A,What kind of performance might this be? ,"This is a student performance, but in advanced level.",train
58,N/A,n01-chp-etd003-s-p12.wav,N/A,"How would you rate the difficulty level of the piece, in a scale of 9? ",6,train
59,N/A,n01-chp-etd003-s-p12.wav,N/A,Who might be the composer?,Chopin,train
60,N/A,n46-deb-pld108-s-p01.wav,N/A,What kind of performance might this be? ,"This is a student performance, but in advanced level.",train
61,N/A,n46-deb-pld108-s-p01.wav,N/A,"How would you rate the difficulty level of the piece, in a scale of 9? ",5,train
62,N/A,n46-deb-pld108-s-p01.wav,N/A,Who might be the composer?,Debussy,train
63,N/A,n22-bac-inv015-s-p02.wav,N/A,What kind of performance might this be? ,"This is a student performance, but in advanced level.",train
64,N/A,n22-bac-inv015-s-p02.wav,N/A,"How would you rate the difficulty level of the piece, in a scale of 9? ",4,train
65,N/A,n22-bac-inv015-s-p02.wav,N/A,Who might be the composer?,Bach,train
66,n31-sch-knd007-s-p12_c13.txt,n31-sch-knd007-s-p12.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"I was very impressed with the well-thought-out performance in terms of the intensity, rubato, and the build-up of phrases.

The pedal work was also clear.

It was a performance that made me want to listen to it more and more.",train
67,n01-chp-etd003-s-p12_c05.txt,n01-chp-etd003-s-p12.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Pedal timing is slow and the first beat tends to be muddy.
The overall sound is muddy, so it is better to use the pedal more frequently and thinly.
In bar 8, the left hand is strong on the second beat.
The ff is weak, and the p at the beginning is strong.
It was good that the atmosphere changed in the 19th bar.
The final fit is also good. The tempo of the modifier note matched the tempo of the preceding part.",train
68,n08-chp-pld007-s-p03_c06.txt,n08-chp-pld007-s-p03.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Each phrase is short, so use inflection to give the song a richer impression.
Don't always keep the same amount of bisyllabic notes, but slow and strong in addition to rit.
Chords in both the left and right hands are very beautiful with a uniform grain.
The beginning of the piece should be sweet and lovely sounding with ""dolce"" in mind.
Try to imagine compact music, as if you are playing for a few people in a salon rather than in a concert hall.",test
69,n08-chp-pld007-s-p01_c13.txt,n08-chp-pld007-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The performance was faithful to the score and had no rough edges.
I also liked the soft and delicate sound.

I think that if you challenge yourself to play patterns with a little more individuality, you will be able to further expand your range of expression.",train
70,n31-sch-knd007-s-p12_c13.txt,n31-sch-knd007-s-p12.wav,"I was very impressed with the well-thought-out performance in terms of the intensity, rubato, and the build-up of phrases.

The pedal work was also clear.

It was a performance that made me want to listen to it more and more.", How would you describe the emotional intent of the performance? ," Well-thought-out performance in terms of the intensity, rubato, and the build-up of phrases.",train
71,n31-sch-knd007-s-p12_c13.txt,n31-sch-knd007-s-p12.wav,"I was very impressed with the well-thought-out performance in terms of the intensity, rubato, and the build-up of phrases.

The pedal work was also clear.

It was a performance that made me want to listen to it more and more.", Is the pedal change clean? , The pedal work was clear.,train
72,n31-sch-knd007-s-p12_c13.txt,n31-sch-knd007-s-p12.wav,"I was very impressed with the well-thought-out performance in terms of the intensity, rubato, and the build-up of phrases.

The pedal work was also clear.

It was a performance that made me want to listen to it more and more.", In which skill level would you say the performer is in? , Very impressive.,train
73,n01-chp-etd003-s-p12_c05.txt,n01-chp-etd003-s-p12.wav,"Pedal timing is slow and the first beat tends to be muddy.
The overall sound is muddy, so it is better to use the pedal more frequently and thinly.
In bar 8, the left hand is strong on the second beat.
The ff is weak, and the p at the beginning is strong.
It was good that the atmosphere changed in the 19th bar.
The final fit is also good. The tempo of the modifier note matched the tempo of the preceding part.", Is the pedal change clean? , Pedal timing is slow and the first beat tends to be muddy.,train
74,n01-chp-etd003-s-p12_c05.txt,n01-chp-etd003-s-p12.wav,"Pedal timing is slow and the first beat tends to be muddy.
The overall sound is muddy, so it is better to use the pedal more frequently and thinly.
In bar 8, the left hand is strong on the second beat.
The ff is weak, and the p at the beginning is strong.
It was good that the atmosphere changed in the 19th bar.
The final fit is also good. The tempo of the modifier note matched the tempo of the preceding part.", Is the performed tempo stable? , The tempo of the modifier note matched the tempo of the preceding part.,train
75,n01-chp-etd003-s-p12_c05.txt,n01-chp-etd003-s-p12.wav,"Pedal timing is slow and the first beat tends to be muddy.
The overall sound is muddy, so it is better to use the pedal more frequently and thinly.
In bar 8, the left hand is strong on the second beat.
The ff is weak, and the p at the beginning is strong.
It was good that the atmosphere changed in the 19th bar.
The final fit is also good. The tempo of the modifier note matched the tempo of the preceding part.", Is there reasonable dynamics contrast? ," The ff is weak, and the p at the beginning is strong.",train
76,n08-chp-pld007-s-p03_c06.txt,n08-chp-pld007-s-p03.wav,"Each phrase is short, so use inflection to give the song a richer impression.
Don't always keep the same amount of bisyllabic notes, but slow and strong in addition to rit.
Chords in both the left and right hands are very beautiful with a uniform grain.
The beginning of the piece should be sweet and lovely sounding with ""dolce"" in mind.
Try to imagine compact music, as if you are playing for a few people in a salon rather than in a concert hall.", Is the phrasing or melodic shaping clear? , Each phrase is short. ,test
77,n08-chp-pld007-s-p03_c06.txt,n08-chp-pld007-s-p03.wav,"Each phrase is short, so use inflection to give the song a richer impression.
Don't always keep the same amount of bisyllabic notes, but slow and strong in addition to rit.
Chords in both the left and right hands are very beautiful with a uniform grain.
The beginning of the piece should be sweet and lovely sounding with ""dolce"" in mind.
Try to imagine compact music, as if you are playing for a few people in a salon rather than in a concert hall.", How would you describe the emotional intent of the performance? ," The piece should invoke a sweet and lovely sounding with ""dolce"" in mind.",test
78,n08-chp-pld007-s-p03_c06.txt,n08-chp-pld007-s-p03.wav,"Each phrase is short, so use inflection to give the song a richer impression.
Don't always keep the same amount of bisyllabic notes, but slow and strong in addition to rit.
Chords in both the left and right hands are very beautiful with a uniform grain.
The beginning of the piece should be sweet and lovely sounding with ""dolce"" in mind.
Try to imagine compact music, as if you are playing for a few people in a salon rather than in a concert hall.", Is interpretation appropriate to the style of the composition? , The performer should envision playing for a few people in a salon rather than in a concert hall.,test
79,n08-chp-pld007-s-p01_c13.txt,n08-chp-pld007-s-p01.wav,"The performance was faithful to the score and had no rough edges.
I also liked the soft and delicate sound.

I think that if you challenge yourself to play patterns with a little more individuality, you will be able to further expand your range of expression.", Is the performance following score instructions? , The performance was faithful to the score.,train
80,n08-chp-pld007-s-p01_c13.txt,n08-chp-pld007-s-p01.wav,"The performance was faithful to the score and had no rough edges.
I also liked the soft and delicate sound.

I think that if you challenge yourself to play patterns with a little more individuality, you will be able to further expand your range of expression.", How would you rate the tone production of this performance? , Soft and delicate sound.,train
81,n08-chp-pld007-s-p01_c13.txt,n08-chp-pld007-s-p01.wav,"The performance was faithful to the score and had no rough edges.
I also liked the soft and delicate sound.

I think that if you challenge yourself to play patterns with a little more individuality, you will be able to further expand your range of expression.", What does the student needs to work on? , Playing patterns with a little more individuality.,train
82,n31-sch-knd007-s-p01_c09.txt,n31-sch-knd007-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"It may be the personality of the performer, but I felt the beginning part was too sticky. The melody, the way the bass is handled, and the way the phrasing is captured are very beautiful. I also like the melancholy of the modulation in the middle part.
However, I would have liked a little more fermata and crescendo in the last part. This may also be my taste, but I think the ending could be a little more intonation.
Overall, however, I thought the performance created Schumann's world with a beautiful sound.",train
83,n01-chp-etd003-s-p02_c22.txt,n01-chp-etd003-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The performance was beautiful, each note had a sheen, and the music was careful and heartfelt.
  The harmony was beautiful.

Chopin said, ""I have never written such a beautiful melody.
　Chopin said, ""I have never written such a beautiful melody.
　If you play with an awareness of the melody part of the right hand, the rest of the melody will naturally become more restrained and sound more balanced.
　By doing so, I think that the part of the rhythm in the left hand, which is swinging a bit too much due to the desire to express emotion, will be more like a natural sway.
　I think that this will make the part where the left hand is trying to express emotion in a cagey way sound more like a natural sway (the sway of the rhythm, especially the part that is tame, not too tame, but natural).

By playing a little more slowly, the atmosphere at the beginning of the piece will be softer,
　I think that by playing a little more slowly, the atmosphere at the beginning of the piece will be softer, and you will have more time to carefully express the climax of the piece from the 14th bar.


The piano score is in two steps,
　If you imagine playing 4 parts with 2 hands, I think you will get more depth of expression,
　I think it will give more depth to the expression.
　1. melody
　2. viola accompaniment
　3. cello
　4. double bass",test
84,n32-moz-snt331-1-h-p01_c03.txt,n32-moz-snt331-1-h-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"It is played with great care and is beautifully put together.
In the time of Mozart, the composer of this piece, the piano as we know it today was not yet available, and the piece was played on harpsichord and fortepiano instruments. These instruments had several characteristics that differ from today's pianos.
One of the first is ""intensity. The instruments of the time were relatively low in volume, and were not good at producing fine changes in volume, such as crescendos and diminuendos, which were gradually increased or decreased in volume. Therefore, basically, a clear method of expression, such as ""strong"" or ""weak,"" was used.
In this piece, the main strength/weakness symbol is p (piano), which contrasts with sf (sforzando) that appears occasionally, and I think that is what makes this piece interesting.
I didn't hear much emphasis on that part in your performance, so I think you should try to emphasize this difference in strength and weakness.
First of all, let's try once how you would play it if this symbol was not there.
Don't just play it without the intensity, but try to play it with the beat in mind.
The six-eighths of the beat of this piece is a two-beat system, and the first and fourth beats (of eighth notes) are the strong beats. If you play it with that in mind, you will get a very natural and beautiful phrase.
Now let's play it with sf there. Then you will notice that the phrase sounds a little spicier than just a pretty phrase. This is Mozart's humor.



Another difference between the instruments of that time and today is the ""pedal.
Instruments back then did not have the ability to hold a note for a long time, or if they did, it was by pulling a lever with the hand, not by stepping on it with the foot like today's pedals. Therefore, excessive use of pedals should be avoided. It sounded like there was a little too much pedaling in your performance, so please pay attention to that.

Now, when playing Mozart, the most important thing to keep in mind is how to play the same notes in succession and how to play the notes at the end of a phrase.
In Mozart playing, you should always play these notes separately (apart).
For example, in the m-mi section in the second half of the first bar, there is a slight break before the m-mi that appears later. The end of the phrase in bars 4 and 12 should always be preceded by a small comma before the next bar, and bar 16 should appear to be the end of the phrase, but is actually the end of the phrase. In these cases, too, if you connect the notes at the end of the bar, it will sound too normal and the next forte will not be as effective. Experiment to find the most effective forte by experimenting with how far apart and how much of the phrase you can fit.

As for the forte at the end of the piece, there are many ways to interpret it. In your performance, both times you returned to the piano at the last bar, but it is also possible to play the forte all the way through. For example, you could play the first time and the second time after the repeat in different ways.
Also, in your performance, you played a ritardando at the end of the second time, but this also depends on the interpretation, but I think it would be fine to play it without making too big a rit, just to end it easily. Because if you look at the score, there is an eighth rest at the end. It makes sense to write the rests there. Compare this with the case where there is no rest and a dotted quarter note. If you play the rest as if it were to disappear, you will probably get the meaning of the rest.
Given that, if you do a leit in front of it, its effect may be lost.

There are many possible interpretations when creating detailed nuances like this, so please experiment with each of them and find the interpretation that you think is right.",test
85,n01-chp-etd003-s-p02_c12.txt,n01-chp-etd003-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"　I think you are conscious of the sense of phrasing and sing the melody very carefully.
I think that if you study the expression of the harmony, the expression will become even deeper and the melody will come alive.
For example, it would be good to listen carefully to the change of harmony when returning to the melody of a after the doppeldorfer dominant in the 8th bar, and play it with taste.
The overall excitement and sense of moving forward are expressed very well, so I think the performance will become more mature if the melody coming down from the 17th bar is given more color.
　I am concerned that the way the melody is sung after the climax is a little monotonous.
　Overall, I can tell that you have been practicing carefully.
　Please try to play it at the same length as the original.",test
86,n31-sch-knd007-s-p01_c09.txt,n31-sch-knd007-s-p01.wav,"It may be the personality of the performer, but I felt the beginning part was too sticky. The melody, the way the bass is handled, and the way the phrasing is captured are very beautiful. I also like the melancholy of the modulation in the middle part.
However, I would have liked a little more fermata and crescendo in the last part. This may also be my taste, but I think the ending could be a little more intonation.
Overall, however, I thought the performance created Schumann's world with a beautiful sound.", How would you describe the emotional intent of the performance? ," The beginning part felt too sticky, almost melancholy, but the middle part captured a beautiful, melancholic modulation.",train
87,n31-sch-knd007-s-p01_c09.txt,n31-sch-knd007-s-p01.wav,"It may be the personality of the performer, but I felt the beginning part was too sticky. The melody, the way the bass is handled, and the way the phrasing is captured are very beautiful. I also like the melancholy of the modulation in the middle part.
However, I would have liked a little more fermata and crescendo in the last part. This may also be my taste, but I think the ending could be a little more intonation.
Overall, however, I thought the performance created Schumann's world with a beautiful sound.", How is the tone production? ," The melody, the way the bass is handled, and the phrasing are very beautiful.",train
88,n31-sch-knd007-s-p01_c09.txt,n31-sch-knd007-s-p01.wav,"It may be the personality of the performer, but I felt the beginning part was too sticky. The melody, the way the bass is handled, and the way the phrasing is captured are very beautiful. I also like the melancholy of the modulation in the middle part.
However, I would have liked a little more fermata and crescendo in the last part. This may also be my taste, but I think the ending could be a little more intonation.
Overall, however, I thought the performance created Schumann's world with a beautiful sound.", What does the student needs to work on? ," Needs to work on fermata and crescendo in the last part, and needs to improve intonation at the ending.",train
89,n01-chp-etd003-s-p02_c22.txt,n01-chp-etd003-s-p02.wav,"The performance was beautiful, each note had a sheen, and the music was careful and heartfelt.
  The harmony was beautiful.

Chopin said, ""I have never written such a beautiful melody.
　Chopin said, ""I have never written such a beautiful melody.
　If you play with an awareness of the melody part of the right hand, the rest of the melody will naturally become more restrained and sound more balanced.
　By doing so, I think that the part of the rhythm in the left hand, which is swinging a bit too much due to the desire to express emotion, will be more like a natural sway.
　I think that this will make the part where the left hand is trying to express emotion in a cagey way sound more like a natural sway (the sway of the rhythm, especially the part that is tame, not too tame, but natural).

By playing a little more slowly, the atmosphere at the beginning of the piece will be softer,
　I think that by playing a little more slowly, the atmosphere at the beginning of the piece will be softer, and you will have more time to carefully express the climax of the piece from the 14th bar.


The piano score is in two steps,
　If you imagine playing 4 parts with 2 hands, I think you will get more depth of expression,
　I think it will give more depth to the expression.
　1. melody
　2. viola accompaniment
　3. cello
　4. double bass", How would you describe the emotional intent of the performance? ," It was beautiful, each note had a sheen, and the music was careful and heartfelt.",test
90,n01-chp-etd003-s-p02_c22.txt,n01-chp-etd003-s-p02.wav,"The performance was beautiful, each note had a sheen, and the music was careful and heartfelt.
  The harmony was beautiful.

Chopin said, ""I have never written such a beautiful melody.
　Chopin said, ""I have never written such a beautiful melody.
　If you play with an awareness of the melody part of the right hand, the rest of the melody will naturally become more restrained and sound more balanced.
　By doing so, I think that the part of the rhythm in the left hand, which is swinging a bit too much due to the desire to express emotion, will be more like a natural sway.
　I think that this will make the part where the left hand is trying to express emotion in a cagey way sound more like a natural sway (the sway of the rhythm, especially the part that is tame, not too tame, but natural).

By playing a little more slowly, the atmosphere at the beginning of the piece will be softer,
　I think that by playing a little more slowly, the atmosphere at the beginning of the piece will be softer, and you will have more time to carefully express the climax of the piece from the 14th bar.


The piano score is in two steps,
　If you imagine playing 4 parts with 2 hands, I think you will get more depth of expression,
　I think it will give more depth to the expression.
　1. melody
　2. viola accompaniment
　3. cello
　4. double bass", Is there reasonable balance between hands? , Need to be aware of the melody part in the right hand to balance the rest of the melody.,test
91,n01-chp-etd003-s-p02_c22.txt,n01-chp-etd003-s-p02.wav,"The performance was beautiful, each note had a sheen, and the music was careful and heartfelt.
  The harmony was beautiful.

Chopin said, ""I have never written such a beautiful melody.
　Chopin said, ""I have never written such a beautiful melody.
　If you play with an awareness of the melody part of the right hand, the rest of the melody will naturally become more restrained and sound more balanced.
　By doing so, I think that the part of the rhythm in the left hand, which is swinging a bit too much due to the desire to express emotion, will be more like a natural sway.
　I think that this will make the part where the left hand is trying to express emotion in a cagey way sound more like a natural sway (the sway of the rhythm, especially the part that is tame, not too tame, but natural).

By playing a little more slowly, the atmosphere at the beginning of the piece will be softer,
　I think that by playing a little more slowly, the atmosphere at the beginning of the piece will be softer, and you will have more time to carefully express the climax of the piece from the 14th bar.


The piano score is in two steps,
　If you imagine playing 4 parts with 2 hands, I think you will get more depth of expression,
　I think it will give more depth to the expression.
　1. melody
　2. viola accompaniment
　3. cello
　4. double bass", What does the student needs to work on? ," Needs to work on the rhythm part in the left hand to make it sound like a natural sway, and balance the beginning of the piece by playing a little slower.",test
92,n32-moz-snt331-1-h-p01_c03.txt,n32-moz-snt331-1-h-p01.wav,"It is played with great care and is beautifully put together.
In the time of Mozart, the composer of this piece, the piano as we know it today was not yet available, and the piece was played on harpsichord and fortepiano instruments. These instruments had several characteristics that differ from today's pianos.
One of the first is ""intensity. The instruments of the time were relatively low in volume, and were not good at producing fine changes in volume, such as crescendos and diminuendos, which were gradually increased or decreased in volume. Therefore, basically, a clear method of expression, such as ""strong"" or ""weak,"" was used.
In this piece, the main strength/weakness symbol is p (piano), which contrasts with sf (sforzando) that appears occasionally, and I think that is what makes this piece interesting.
I didn't hear much emphasis on that part in your performance, so I think you should try to emphasize this difference in strength and weakness.
First of all, let's try once how you would play it if this symbol was not there.
Don't just play it without the intensity, but try to play it with the beat in mind.
The six-eighths of the beat of this piece is a two-beat system, and the first and fourth beats (of eighth notes) are the strong beats. If you play it with that in mind, you will get a very natural and beautiful phrase.
Now let's play it with sf there. Then you will notice that the phrase sounds a little spicier than just a pretty phrase. This is Mozart's humor.



Another difference between the instruments of that time and today is the ""pedal.
Instruments back then did not have the ability to hold a note for a long time, or if they did, it was by pulling a lever with the hand, not by stepping on it with the foot like today's pedals. Therefore, excessive use of pedals should be avoided. It sounded like there was a little too much pedaling in your performance, so please pay attention to that.

Now, when playing Mozart, the most important thing to keep in mind is how to play the same notes in succession and how to play the notes at the end of a phrase.
In Mozart playing, you should always play these notes separately (apart).
For example, in the m-mi section in the second half of the first bar, there is a slight break before the m-mi that appears later. The end of the phrase in bars 4 and 12 should always be preceded by a small comma before the next bar, and bar 16 should appear to be the end of the phrase, but is actually the end of the phrase. In these cases, too, if you connect the notes at the end of the bar, it will sound too normal and the next forte will not be as effective. Experiment to find the most effective forte by experimenting with how far apart and how much of the phrase you can fit.

As for the forte at the end of the piece, there are many ways to interpret it. In your performance, both times you returned to the piano at the last bar, but it is also possible to play the forte all the way through. For example, you could play the first time and the second time after the repeat in different ways.
Also, in your performance, you played a ritardando at the end of the second time, but this also depends on the interpretation, but I think it would be fine to play it without making too big a rit, just to end it easily. Because if you look at the score, there is an eighth rest at the end. It makes sense to write the rests there. Compare this with the case where there is no rest and a dotted quarter note. If you play the rest as if it were to disappear, you will probably get the meaning of the rest.
Given that, if you do a leit in front of it, its effect may be lost.

There are many possible interpretations when creating detailed nuances like this, so please experiment with each of them and find the interpretation that you think is right.", Is there reasonalbe dynamics contrast? ," Need to emphasize the difference in strength and weakness, reflect the sf (sforzando) better.",test
93,n32-moz-snt331-1-h-p01_c03.txt,n32-moz-snt331-1-h-p01.wav,"It is played with great care and is beautifully put together.
In the time of Mozart, the composer of this piece, the piano as we know it today was not yet available, and the piece was played on harpsichord and fortepiano instruments. These instruments had several characteristics that differ from today's pianos.
One of the first is ""intensity. The instruments of the time were relatively low in volume, and were not good at producing fine changes in volume, such as crescendos and diminuendos, which were gradually increased or decreased in volume. Therefore, basically, a clear method of expression, such as ""strong"" or ""weak,"" was used.
In this piece, the main strength/weakness symbol is p (piano), which contrasts with sf (sforzando) that appears occasionally, and I think that is what makes this piece interesting.
I didn't hear much emphasis on that part in your performance, so I think you should try to emphasize this difference in strength and weakness.
First of all, let's try once how you would play it if this symbol was not there.
Don't just play it without the intensity, but try to play it with the beat in mind.
The six-eighths of the beat of this piece is a two-beat system, and the first and fourth beats (of eighth notes) are the strong beats. If you play it with that in mind, you will get a very natural and beautiful phrase.
Now let's play it with sf there. Then you will notice that the phrase sounds a little spicier than just a pretty phrase. This is Mozart's humor.



Another difference between the instruments of that time and today is the ""pedal.
Instruments back then did not have the ability to hold a note for a long time, or if they did, it was by pulling a lever with the hand, not by stepping on it with the foot like today's pedals. Therefore, excessive use of pedals should be avoided. It sounded like there was a little too much pedaling in your performance, so please pay attention to that.

Now, when playing Mozart, the most important thing to keep in mind is how to play the same notes in succession and how to play the notes at the end of a phrase.
In Mozart playing, you should always play these notes separately (apart).
For example, in the m-mi section in the second half of the first bar, there is a slight break before the m-mi that appears later. The end of the phrase in bars 4 and 12 should always be preceded by a small comma before the next bar, and bar 16 should appear to be the end of the phrase, but is actually the end of the phrase. In these cases, too, if you connect the notes at the end of the bar, it will sound too normal and the next forte will not be as effective. Experiment to find the most effective forte by experimenting with how far apart and how much of the phrase you can fit.

As for the forte at the end of the piece, there are many ways to interpret it. In your performance, both times you returned to the piano at the last bar, but it is also possible to play the forte all the way through. For example, you could play the first time and the second time after the repeat in different ways.
Also, in your performance, you played a ritardando at the end of the second time, but this also depends on the interpretation, but I think it would be fine to play it without making too big a rit, just to end it easily. Because if you look at the score, there is an eighth rest at the end. It makes sense to write the rests there. Compare this with the case where there is no rest and a dotted quarter note. If you play the rest as if it were to disappear, you will probably get the meaning of the rest.
Given that, if you do a leit in front of it, its effect may be lost.

There are many possible interpretations when creating detailed nuances like this, so please experiment with each of them and find the interpretation that you think is right.", Is the pedal usage appropriate? , Sounded like there was a little too much pedaling.,test
94,n32-moz-snt331-1-h-p01_c03.txt,n32-moz-snt331-1-h-p01.wav,"It is played with great care and is beautifully put together.
In the time of Mozart, the composer of this piece, the piano as we know it today was not yet available, and the piece was played on harpsichord and fortepiano instruments. These instruments had several characteristics that differ from today's pianos.
One of the first is ""intensity. The instruments of the time were relatively low in volume, and were not good at producing fine changes in volume, such as crescendos and diminuendos, which were gradually increased or decreased in volume. Therefore, basically, a clear method of expression, such as ""strong"" or ""weak,"" was used.
In this piece, the main strength/weakness symbol is p (piano), which contrasts with sf (sforzando) that appears occasionally, and I think that is what makes this piece interesting.
I didn't hear much emphasis on that part in your performance, so I think you should try to emphasize this difference in strength and weakness.
First of all, let's try once how you would play it if this symbol was not there.
Don't just play it without the intensity, but try to play it with the beat in mind.
The six-eighths of the beat of this piece is a two-beat system, and the first and fourth beats (of eighth notes) are the strong beats. If you play it with that in mind, you will get a very natural and beautiful phrase.
Now let's play it with sf there. Then you will notice that the phrase sounds a little spicier than just a pretty phrase. This is Mozart's humor.



Another difference between the instruments of that time and today is the ""pedal.
Instruments back then did not have the ability to hold a note for a long time, or if they did, it was by pulling a lever with the hand, not by stepping on it with the foot like today's pedals. Therefore, excessive use of pedals should be avoided. It sounded like there was a little too much pedaling in your performance, so please pay attention to that.

Now, when playing Mozart, the most important thing to keep in mind is how to play the same notes in succession and how to play the notes at the end of a phrase.
In Mozart playing, you should always play these notes separately (apart).
For example, in the m-mi section in the second half of the first bar, there is a slight break before the m-mi that appears later. The end of the phrase in bars 4 and 12 should always be preceded by a small comma before the next bar, and bar 16 should appear to be the end of the phrase, but is actually the end of the phrase. In these cases, too, if you connect the notes at the end of the bar, it will sound too normal and the next forte will not be as effective. Experiment to find the most effective forte by experimenting with how far apart and how much of the phrase you can fit.

As for the forte at the end of the piece, there are many ways to interpret it. In your performance, both times you returned to the piano at the last bar, but it is also possible to play the forte all the way through. For example, you could play the first time and the second time after the repeat in different ways.
Also, in your performance, you played a ritardando at the end of the second time, but this also depends on the interpretation, but I think it would be fine to play it without making too big a rit, just to end it easily. Because if you look at the score, there is an eighth rest at the end. It makes sense to write the rests there. Compare this with the case where there is no rest and a dotted quarter note. If you play the rest as if it were to disappear, you will probably get the meaning of the rest.
Given that, if you do a leit in front of it, its effect may be lost.

There are many possible interpretations when creating detailed nuances like this, so please experiment with each of them and find the interpretation that you think is right.", What does the student needs to work on? , Need to work on how to play the same notes in succession and how to play the notes at the end of a phrase to avoid sounding too normal.,test
95,n01-chp-etd003-s-p02_c12.txt,n01-chp-etd003-s-p02.wav,"　I think you are conscious of the sense of phrasing and sing the melody very carefully.
I think that if you study the expression of the harmony, the expression will become even deeper and the melody will come alive.
For example, it would be good to listen carefully to the change of harmony when returning to the melody of a after the doppeldorfer dominant in the 8th bar, and play it with taste.
The overall excitement and sense of moving forward are expressed very well, so I think the performance will become more mature if the melody coming down from the 17th bar is given more color.
　I am concerned that the way the melody is sung after the climax is a little monotonous.
　Overall, I can tell that you have been practicing carefully.
　Please try to play it at the same length as the original.", How is the phrasing or melodic shaping clear? , Student is conscious of phrasing and carefully sings the melody.,test
96,n01-chp-etd003-s-p02_c12.txt,n01-chp-etd003-s-p02.wav,"　I think you are conscious of the sense of phrasing and sing the melody very carefully.
I think that if you study the expression of the harmony, the expression will become even deeper and the melody will come alive.
For example, it would be good to listen carefully to the change of harmony when returning to the melody of a after the doppeldorfer dominant in the 8th bar, and play it with taste.
The overall excitement and sense of moving forward are expressed very well, so I think the performance will become more mature if the melody coming down from the 17th bar is given more color.
　I am concerned that the way the melody is sung after the climax is a little monotonous.
　Overall, I can tell that you have been practicing carefully.
　Please try to play it at the same length as the original.", What does the student needs to work on? , Needs to study the expression of the harmony and give more color to the melody coming down from the 17th bar.,test
97,n01-chp-etd003-s-p02_c12.txt,n01-chp-etd003-s-p02.wav,"　I think you are conscious of the sense of phrasing and sing the melody very carefully.
I think that if you study the expression of the harmony, the expression will become even deeper and the melody will come alive.
For example, it would be good to listen carefully to the change of harmony when returning to the melody of a after the doppeldorfer dominant in the 8th bar, and play it with taste.
The overall excitement and sense of moving forward are expressed very well, so I think the performance will become more mature if the melody coming down from the 17th bar is given more color.
　I am concerned that the way the melody is sung after the climax is a little monotonous.
　Overall, I can tell that you have been practicing carefully.
　Please try to play it at the same length as the original.", Is the performance following score instructions? , Need to try to play it at the same length as the original.,test
98,n31-sch-knd007-s-p02_c07.txt,n31-sch-knd007-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"I think it is a very nice and cohesive performance. I like the way you sing, as if you are expressing your own world.

If I have any advice, it would be
I would like to give some advice to the singers.
It would be good if you don't neglect even a single note.

Also, the mifaladofa at the beginning seems to accelerate too much. I think it would be better to play it more slowly and carefully since the acceleration is done at the same level each time.

I think it is nice to feel the movement in the middle part, but by speeding up the tempo, it has become somewhat coarse, so it would be better if you proceed at an undisturbed tempo, without shaking the tempo to that extent.

The end of the piece was also nice, ending on a beautiful note.",train
99,n32-moz-snt331-1-h-p12_c02.txt,n32-moz-snt331-1-h-p12.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The overall impression is heavy.
To remedy this, it would be better to use the pedal a little shallower and in smaller increments.
In the first bar of the left hand, there are ramie, shi, and ramie, but when the shi is played, the previous note remains, giving a muddy impression. The same kind of sound is used many times in the following bars, so be careful as well.
The first note of the right hand (do#-red do#), which is the theme, is played with the same volume and weight, so it is best to play it as if the weight were placed on the first do# and then removed.
The ""Do#-Re"" (Do#) and the final ""Do#"" (Do#) sound strong in some parts, and it is not beautiful if they sound strong when they should be played on the weak beats. It is the same as not making the end of a word strong when you speak a sentence, so play the phrase as if you were speaking.",train
100,n17-bac-inv001-s-p01_c08.txt,n17-bac-inv001-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"What is your intention in playing the eighth note cut off?
What impression do you think it gives the listeners when they hear it?
(In some cases, you may try playing it legato.)
(In some cases, you may want to play legato.) I feel that by playing the notes cut off, you lose some of the excitement of the piece that you get from the sequential progression.

The dinner mikku is not written in the score, but how do you think it would be better to add a dinner mikku in a modern piano performance?
The performance was rather flat, but it might be good to try a performance with a little bit of dinner mixing to compare.",train
101,n01-chp-etd003-s-p02_c13.txt,n01-chp-etd003-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"I liked the free, careful, and sensitive performance.
The natural slowing of the tempo was pleasant.

Overall, I thought it would have been better if the accompaniment chords were a bit more restrained while the melody line was slightly emphasized and echoed.",test
102,n31-sch-knd007-s-p02_c07.txt,n31-sch-knd007-s-p02.wav,"I think it is a very nice and cohesive performance. I like the way you sing, as if you are expressing your own world.

If I have any advice, it would be
I would like to give some advice to the singers.
It would be good if you don't neglect even a single note.

Also, the mifaladofa at the beginning seems to accelerate too much. I think it would be better to play it more slowly and carefully since the acceleration is done at the same level each time.

I think it is nice to feel the movement in the middle part, but by speeding up the tempo, it has become somewhat coarse, so it would be better if you proceed at an undisturbed tempo, without shaking the tempo to that extent.

The end of the piece was also nice, ending on a beautiful note.", How would you describe the emotional intent of the performance? ," The performance felt very nice and cohesive, as if the singer is expressing their own world.",train
103,n31-sch-knd007-s-p02_c07.txt,n31-sch-knd007-s-p02.wav,"I think it is a very nice and cohesive performance. I like the way you sing, as if you are expressing your own world.

If I have any advice, it would be
I would like to give some advice to the singers.
It would be good if you don't neglect even a single note.

Also, the mifaladofa at the beginning seems to accelerate too much. I think it would be better to play it more slowly and carefully since the acceleration is done at the same level each time.

I think it is nice to feel the movement in the middle part, but by speeding up the tempo, it has become somewhat coarse, so it would be better if you proceed at an undisturbed tempo, without shaking the tempo to that extent.

The end of the piece was also nice, ending on a beautiful note.", How is the overall tempo? ," The tempo tends to accelerate too much at the beginning, it would be best to keep it more controlled.",train
104,n31-sch-knd007-s-p02_c07.txt,n31-sch-knd007-s-p02.wav,"I think it is a very nice and cohesive performance. I like the way you sing, as if you are expressing your own world.

If I have any advice, it would be
I would like to give some advice to the singers.
It would be good if you don't neglect even a single note.

Also, the mifaladofa at the beginning seems to accelerate too much. I think it would be better to play it more slowly and carefully since the acceleration is done at the same level each time.

I think it is nice to feel the movement in the middle part, but by speeding up the tempo, it has become somewhat coarse, so it would be better if you proceed at an undisturbed tempo, without shaking the tempo to that extent.

The end of the piece was also nice, ending on a beautiful note.", What does the student needs to work on?, The student needs to pay attention to every single note and manage the tempo through the middle and beginning part of the piece. It would be best if they proceed at an undisturbed tempo and gave a feeling of movement without making the piece coarse.,train
105,n32-moz-snt331-1-h-p12_c02.txt,n32-moz-snt331-1-h-p12.wav,"The overall impression is heavy.
To remedy this, it would be better to use the pedal a little shallower and in smaller increments.
In the first bar of the left hand, there are ramie, shi, and ramie, but when the shi is played, the previous note remains, giving a muddy impression. The same kind of sound is used many times in the following bars, so be careful as well.
The first note of the right hand (do#-red do#), which is the theme, is played with the same volume and weight, so it is best to play it as if the weight were placed on the first do# and then removed.
The ""Do#-Re"" (Do#) and the final ""Do#"" (Do#) sound strong in some parts, and it is not beautiful if they sound strong when they should be played on the weak beats. It is the same as not making the end of a word strong when you speak a sentence, so play the phrase as if you were speaking.", How would you rate the difficulty level of this piece? , It seems challenging due to the need for careful pedaling and attention to dynamics.,train
106,n32-moz-snt331-1-h-p12_c02.txt,n32-moz-snt331-1-h-p12.wav,"The overall impression is heavy.
To remedy this, it would be better to use the pedal a little shallower and in smaller increments.
In the first bar of the left hand, there are ramie, shi, and ramie, but when the shi is played, the previous note remains, giving a muddy impression. The same kind of sound is used many times in the following bars, so be careful as well.
The first note of the right hand (do#-red do#), which is the theme, is played with the same volume and weight, so it is best to play it as if the weight were placed on the first do# and then removed.
The ""Do#-Re"" (Do#) and the final ""Do#"" (Do#) sound strong in some parts, and it is not beautiful if they sound strong when they should be played on the weak beats. It is the same as not making the end of a word strong when you speak a sentence, so play the phrase as if you were speaking.", Is the pedal usage appropriate? ," No, the pedal should be used a little shallower and in smaller increments.",train
107,n32-moz-snt331-1-h-p12_c02.txt,n32-moz-snt331-1-h-p12.wav,"The overall impression is heavy.
To remedy this, it would be better to use the pedal a little shallower and in smaller increments.
In the first bar of the left hand, there are ramie, shi, and ramie, but when the shi is played, the previous note remains, giving a muddy impression. The same kind of sound is used many times in the following bars, so be careful as well.
The first note of the right hand (do#-red do#), which is the theme, is played with the same volume and weight, so it is best to play it as if the weight were placed on the first do# and then removed.
The ""Do#-Re"" (Do#) and the final ""Do#"" (Do#) sound strong in some parts, and it is not beautiful if they sound strong when they should be played on the weak beats. It is the same as not making the end of a word strong when you speak a sentence, so play the phrase as if you were speaking.", What does the student needs to work on? ," The student needs to watch the overlap of previous notes, giving a muddy impression. They need to work on dynamics, placing and then removing weight from the first do#. They also need to avoid strong sounds on weak beats.",train
108,n17-bac-inv001-s-p01_c08.txt,n17-bac-inv001-s-p01.wav,"What is your intention in playing the eighth note cut off?
What impression do you think it gives the listeners when they hear it?
(In some cases, you may try playing it legato.)
(In some cases, you may want to play legato.) I feel that by playing the notes cut off, you lose some of the excitement of the piece that you get from the sequential progression.

The dinner mikku is not written in the score, but how do you think it would be better to add a dinner mikku in a modern piano performance?
The performance was rather flat, but it might be good to try a performance with a little bit of dinner mixing to compare.", What does the student needs to work on? ," They need to think about the impression they give when they cut off eighth notes, it loses some of the excitement of the sequential progression.",train
109,n17-bac-inv001-s-p01_c08.txt,n17-bac-inv001-s-p01.wav,"What is your intention in playing the eighth note cut off?
What impression do you think it gives the listeners when they hear it?
(In some cases, you may try playing it legato.)
(In some cases, you may want to play legato.) I feel that by playing the notes cut off, you lose some of the excitement of the piece that you get from the sequential progression.

The dinner mikku is not written in the score, but how do you think it would be better to add a dinner mikku in a modern piano performance?
The performance was rather flat, but it might be good to try a performance with a little bit of dinner mixing to compare.", Is the interpretation appropriate to the style of the composition? ," It might be improved by adding a dinner mikku in a modern piano performance, as the performance was rather flat.",train
110,n17-bac-inv001-s-p01_c08.txt,n17-bac-inv001-s-p01.wav,"What is your intention in playing the eighth note cut off?
What impression do you think it gives the listeners when they hear it?
(In some cases, you may try playing it legato.)
(In some cases, you may want to play legato.) I feel that by playing the notes cut off, you lose some of the excitement of the piece that you get from the sequential progression.

The dinner mikku is not written in the score, but how do you think it would be better to add a dinner mikku in a modern piano performance?
The performance was rather flat, but it might be good to try a performance with a little bit of dinner mixing to compare.", Is the articulation appropriate?, The articulation might benefit from trying out a legato rendition of certain eighth notes to retain the excitement of the piece.,train
111,n01-chp-etd003-s-p02_c13.txt,n01-chp-etd003-s-p02.wav,"I liked the free, careful, and sensitive performance.
The natural slowing of the tempo was pleasant.

Overall, I thought it would have been better if the accompaniment chords were a bit more restrained while the melody line was slightly emphasized and echoed.", How would you describe the emotional intent of the performance? ," The performance was free, careful, and sensitive.",test
112,n01-chp-etd003-s-p02_c13.txt,n01-chp-etd003-s-p02.wav,"I liked the free, careful, and sensitive performance.
The natural slowing of the tempo was pleasant.

Overall, I thought it would have been better if the accompaniment chords were a bit more restrained while the melody line was slightly emphasized and echoed.", In which skill level would you say the performer is in? ," They demonstrated an ability to control tempo, slowing down naturally was pleasant.",test
113,n01-chp-etd003-s-p02_c13.txt,n01-chp-etd003-s-p02.wav,"I liked the free, careful, and sensitive performance.
The natural slowing of the tempo was pleasant.

Overall, I thought it would have been better if the accompaniment chords were a bit more restrained while the melody line was slightly emphasized and echoed.", What does the student needs to work on? , It would have been better if the accompaniment chords were a bit more restrained while the melody line was slightly emphasized and echoed.,test
114,n32-moz-snt331-1-h-p01_c04.txt,n32-moz-snt331-1-h-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"It is a lovely performance with a very gentle touch, but I think it could have a little weight to it to give it a core. You might want to be aware of the length of the piano strings and use your body.
I feel a fine swing in tempo, so a classical piece like Mozart would benefit from a little more contouring of the vertical lines.
It would be even better if you make a clear difference between sforzando and piano, and close the last two bars toward the end, maintaining forte until the last bar.",test
115,n08-chp-pld007-s-p03_c12.txt,n08-chp-pld007-s-p03.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"　　I think the balance of melody and harmony is very nicely performed.
　　The length of the half notes in bars 2, 4, and 6 sound a little short, so it would be good to feel the length of the notes (rhythm). When the melody is moving, there is no problem, but when the notes are stretched out, you cannot wait and tend to speed up unconsciously, so always be aware of a constant speed (rhythm).
　　Good pedal shifting. The harmonies are clean and beautiful.
　　The bass sound is a bit buried in some parts, so it would be good to bring out more of the bass sound.",test
116,n01-chp-etd003-s-p03_c20.txt,n01-chp-etd003-s-p03.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"It is good to hear the melody line well.
The slur on the second beat of the third measure is a breather until the Fis on the second beat of the fourth measure.


The cresc. in the 15th bar is toward the first beat of the 17th bar.
The first beat of the 17th measure seems to go too smoothly, so it would be better to play with a sense of openness and joy after the E chord is resolved.
In the 18th bar, please reduce the size of the chord at once.",train
117,n01-chp-etd003-s-p01_c06.txt,n01-chp-etd003-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The melody is beautifully cohesive.
The left hand could be music of thickness if the bass line resonates a bit more.
Although this is a quiet part, you may want to expand the phrase with crescendos and decrescendos.
It would be good to be aware of the ebb and flow of small waves so that the whole piece does not become monotonous.",train
118,n32-moz-snt331-1-h-p01_c04.txt,n32-moz-snt331-1-h-p01.wav,"It is a lovely performance with a very gentle touch, but I think it could have a little weight to it to give it a core. You might want to be aware of the length of the piano strings and use your body.
I feel a fine swing in tempo, so a classical piece like Mozart would benefit from a little more contouring of the vertical lines.
It would be even better if you make a clear difference between sforzando and piano, and close the last two bars toward the end, maintaining forte until the last bar.", How would you describe the emotional intent of the performance? ," It is a lovely performance with a very gentle touch, but could use a little more weight. ",test
119,n32-moz-snt331-1-h-p01_c04.txt,n32-moz-snt331-1-h-p01.wav,"It is a lovely performance with a very gentle touch, but I think it could have a little weight to it to give it a core. You might want to be aware of the length of the piano strings and use your body.
I feel a fine swing in tempo, so a classical piece like Mozart would benefit from a little more contouring of the vertical lines.
It would be even better if you make a clear difference between sforzando and piano, and close the last two bars toward the end, maintaining forte until the last bar.", How is the overall tempo? , It has a fine swing in tempo. ,test
120,n32-moz-snt331-1-h-p01_c04.txt,n32-moz-snt331-1-h-p01.wav,"It is a lovely performance with a very gentle touch, but I think it could have a little weight to it to give it a core. You might want to be aware of the length of the piano strings and use your body.
I feel a fine swing in tempo, so a classical piece like Mozart would benefit from a little more contouring of the vertical lines.
It would be even better if you make a clear difference between sforzando and piano, and close the last two bars toward the end, maintaining forte until the last bar.", Is there reasonable dynamics contrast? ," It would be better to make a clear difference between sforzando and piano, and maintaining forte until the last bar.",test
121,n08-chp-pld007-s-p03_c12.txt,n08-chp-pld007-s-p03.wav,"　　I think the balance of melody and harmony is very nicely performed.
　　The length of the half notes in bars 2, 4, and 6 sound a little short, so it would be good to feel the length of the notes (rhythm). When the melody is moving, there is no problem, but when the notes are stretched out, you cannot wait and tend to speed up unconsciously, so always be aware of a constant speed (rhythm).
　　Good pedal shifting. The harmonies are clean and beautiful.
　　The bass sound is a bit buried in some parts, so it would be good to bring out more of the bass sound.", Is there reasonable balance between the hands? , The balance of melody and harmony is very nicely performed. ,test
122,n08-chp-pld007-s-p03_c12.txt,n08-chp-pld007-s-p03.wav,"　　I think the balance of melody and harmony is very nicely performed.
　　The length of the half notes in bars 2, 4, and 6 sound a little short, so it would be good to feel the length of the notes (rhythm). When the melody is moving, there is no problem, but when the notes are stretched out, you cannot wait and tend to speed up unconsciously, so always be aware of a constant speed (rhythm).
　　Good pedal shifting. The harmonies are clean and beautiful.
　　The bass sound is a bit buried in some parts, so it would be good to bring out more of the bass sound.", Is the rhythm accurate? ," The length of the half notes in bars 2, 4, and 6 are little short. ",test
123,n08-chp-pld007-s-p03_c12.txt,n08-chp-pld007-s-p03.wav,"　　I think the balance of melody and harmony is very nicely performed.
　　The length of the half notes in bars 2, 4, and 6 sound a little short, so it would be good to feel the length of the notes (rhythm). When the melody is moving, there is no problem, but when the notes are stretched out, you cannot wait and tend to speed up unconsciously, so always be aware of a constant speed (rhythm).
　　Good pedal shifting. The harmonies are clean and beautiful.
　　The bass sound is a bit buried in some parts, so it would be good to bring out more of the bass sound.", Is the pedal usage appropriate? , Good pedal shifting. The harmonies are clean and beautiful.,test
124,n01-chp-etd003-s-p03_c20.txt,n01-chp-etd003-s-p03.wav,"It is good to hear the melody line well.
The slur on the second beat of the third measure is a breather until the Fis on the second beat of the fourth measure.


The cresc. in the 15th bar is toward the first beat of the 17th bar.
The first beat of the 17th measure seems to go too smoothly, so it would be better to play with a sense of openness and joy after the E chord is resolved.
In the 18th bar, please reduce the size of the chord at once.", How is the tone production? ," It's good, the melody line is well heard.",train
125,n01-chp-etd003-s-p03_c20.txt,n01-chp-etd003-s-p03.wav,"It is good to hear the melody line well.
The slur on the second beat of the third measure is a breather until the Fis on the second beat of the fourth measure.


The cresc. in the 15th bar is toward the first beat of the 17th bar.
The first beat of the 17th measure seems to go too smoothly, so it would be better to play with a sense of openness and joy after the E chord is resolved.
In the 18th bar, please reduce the size of the chord at once.", Is the articulation appropriate? , The slur on the second beat of the third measure is a breather until the fis on the second beat of the fourth measure.,train
126,n01-chp-etd003-s-p03_c20.txt,n01-chp-etd003-s-p03.wav,"It is good to hear the melody line well.
The slur on the second beat of the third measure is a breather until the Fis on the second beat of the fourth measure.


The cresc. in the 15th bar is toward the first beat of the 17th bar.
The first beat of the 17th measure seems to go too smoothly, so it would be better to play with a sense of openness and joy after the E chord is resolved.
In the 18th bar, please reduce the size of the chord at once.", Is there a reasonable dynamics contrast? , The cresc. in the 15th bar is towards the first beat of the 17th bar.,train
127,n01-chp-etd003-s-p01_c06.txt,n01-chp-etd003-s-p01.wav,"The melody is beautifully cohesive.
The left hand could be music of thickness if the bass line resonates a bit more.
Although this is a quiet part, you may want to expand the phrase with crescendos and decrescendos.
It would be good to be aware of the ebb and flow of small waves so that the whole piece does not become monotonous.", How would you describe the performer's skill level? , The melody is beautifully cohesive.,train
128,n01-chp-etd003-s-p01_c06.txt,n01-chp-etd003-s-p01.wav,"The melody is beautifully cohesive.
The left hand could be music of thickness if the bass line resonates a bit more.
Although this is a quiet part, you may want to expand the phrase with crescendos and decrescendos.
It would be good to be aware of the ebb and flow of small waves so that the whole piece does not become monotonous.", Is there reasonable balance between hands? , The left hand could add more by letting the bass line resonate a bit more.,train
129,n01-chp-etd003-s-p01_c06.txt,n01-chp-etd003-s-p01.wav,"The melody is beautifully cohesive.
The left hand could be music of thickness if the bass line resonates a bit more.
Although this is a quiet part, you may want to expand the phrase with crescendos and decrescendos.
It would be good to be aware of the ebb and flow of small waves so that the whole piece does not become monotonous.", Is there a reasonable dynamics contrast? , It would be good to expand the phrase with crescendos and decrescendos.,train
130,n32-moz-snt331-1-h-p02_c20.txt,n32-moz-snt331-1-h-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The melody sounded great and the harmonies were well balanced!
It was a very nice performance!",train
131,n28-bet-snt008-3-s-p01_c15.txt,n28-bet-snt008-3-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"(Instructor)
　　You play very carefully. Do you have any thoughts after you finished playing?
(Learner)
　　I played very hard not to make any mistakes.
(Instructor)
You played well.
Do you want to improve?
(Learner)
I do, but I don't know what to do.
(Instructor)
Well, let me explain a little.
First of all, what does ""make it better"" mean? Let's clarify that.

This piece was written by the famous composer ""Beethoven. He is also called the saint of music.
He was the one who made the narrative of classical music clearer and paved the way for Romantic music.

First of all, a piece of music has the composer's ""feelings"". He wanted it to be played this way. I want you to play it like this, and I want you to play it like this, and I want you to play it like this.
I want the audience to be moved by the ""feelings"" that the composer has put into the music.
First of all, there is the composer's ""thought. It is written in the score.

For example, ""Alegro"" at the beginning of the piece is a word about the speed of the music, meaning ""lively and fast.
Rondo"" is the form of the piece and means to repeat the theme.
The same melody is repeated twice.

Another common word is ""cresc,"" which is an indication of strength or weakness.
It means to make it stronger in smooth, gradual steps.
Another common word is ""dolce,"" which means ""soften,
It means to soften the touch, to round out the tone, and to slightly reduce the volume.
In your playing, this
You could say that the ""cresc"" and ""dolce"" in your playing are not well processed, and as a result the intonation is flat.
It could be said that your performance has a flat intonation.

Now, another aspect of ""make it better"" is,
What is the message of this music?
A piece of music is a story. A story has a purpose.
To convey that purpose,

<Start> <Contextualization> <Event> <Completion> <Summarization> <Completion> <Decision

The story progresses in this order.
Now, let's see,
In this piece, the first 12 bars are a story - the theme.
Then, the next story is told immediately without a pause. This sense of speed without a pause creates a sense of tension in the piece.
creates a sense of tension in the piece. This is an important point.

From the 18th bar, the music starts a new story and continues until the 43rd bar.
The four quarter notes in measure 44 are ""p"" notes, so it would be better to play them more softly and lovingly.
The development of the story becomes clearer,
After the 51st bar, you can create a dynamic atmosphere by playing the notes with a sense of speed.
the dynamic conception of the piece can be created by playing it with a sense of speed.",train
132,n08-chp-pld007-s-p01_c21.txt,n08-chp-pld007-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"As indicated by dolce, the performance is very gentle and lovely, and the pedaling is good.
Since it is an Andantino, the speed is fine as it is, but I am concerned that the overall flow is a bit stagnant. You should be a little more aware of the flow of phrases so that you can dance a waltz to this piece at a ball.
Specifically, this piece is divided into the first half (~8 bars, beat 2) and the second half (~8 bars, beat 3), and if you are aware of the crescendo at the beginning of each part and the decrescendo towards the end, you will be able to capture the flow of the phrase.",train
133,n32-moz-snt331-1-h-p02_c11.txt,n32-moz-snt331-1-h-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"I think it is well understood and almost perfect.
Sorry, I just have two things to say about the way you play.

Overall, I was concerned about the impact of the second note followed by the same note.
If you don't press the next key until you feel the key return to your fingers (feel the hammer), I think you will get a natural series of hits. Please try it.

The other thing is the sf interpretation.
I know the score I'm looking at now is the Henle version from 2015 onwards, so it's a reliable slur and strong/weak sign, but I think you should be able to hold it down a bit more. I think you can take it as an sf against the adjacent p rather than the general interpretation of sf.

If we come back to this again after the 6th variation, we should be able to see the theme (subject) theme with an even cooler feeling, so let's quickly move on to the next variation.",train
134,n32-moz-snt331-1-h-p02_c20.txt,n32-moz-snt331-1-h-p02.wav,"The melody sounded great and the harmonies were well balanced!
It was a very nice performance!", Is the melody accurate and clear? , The melody sounded great. ,train
135,n32-moz-snt331-1-h-p02_c20.txt,n32-moz-snt331-1-h-p02.wav,"The melody sounded great and the harmonies were well balanced!
It was a very nice performance!", Is there reasonable balance between hands? , The harmonies were well balanced. ,train
136,n32-moz-snt331-1-h-p02_c20.txt,n32-moz-snt331-1-h-p02.wav,"The melody sounded great and the harmonies were well balanced!
It was a very nice performance!", How would you describe the emotional intent of the performance?  , It was a very nice performance!,train
137,n28-bet-snt008-3-s-p01_c15.txt,n28-bet-snt008-3-s-p01.wav,"(Instructor)
　　You play very carefully. Do you have any thoughts after you finished playing?
(Learner)
　　I played very hard not to make any mistakes.
(Instructor)
You played well.
Do you want to improve?
(Learner)
I do, but I don't know what to do.
(Instructor)
Well, let me explain a little.
First of all, what does ""make it better"" mean? Let's clarify that.

This piece was written by the famous composer ""Beethoven. He is also called the saint of music.
He was the one who made the narrative of classical music clearer and paved the way for Romantic music.

First of all, a piece of music has the composer's ""feelings"". He wanted it to be played this way. I want you to play it like this, and I want you to play it like this, and I want you to play it like this.
I want the audience to be moved by the ""feelings"" that the composer has put into the music.
First of all, there is the composer's ""thought. It is written in the score.

For example, ""Alegro"" at the beginning of the piece is a word about the speed of the music, meaning ""lively and fast.
Rondo"" is the form of the piece and means to repeat the theme.
The same melody is repeated twice.

Another common word is ""cresc,"" which is an indication of strength or weakness.
It means to make it stronger in smooth, gradual steps.
Another common word is ""dolce,"" which means ""soften,
It means to soften the touch, to round out the tone, and to slightly reduce the volume.
In your playing, this
You could say that the ""cresc"" and ""dolce"" in your playing are not well processed, and as a result the intonation is flat.
It could be said that your performance has a flat intonation.

Now, another aspect of ""make it better"" is,
What is the message of this music?
A piece of music is a story. A story has a purpose.
To convey that purpose,

<Start> <Contextualization> <Event> <Completion> <Summarization> <Completion> <Decision

The story progresses in this order.
Now, let's see,
In this piece, the first 12 bars are a story - the theme.
Then, the next story is told immediately without a pause. This sense of speed without a pause creates a sense of tension in the piece.
creates a sense of tension in the piece. This is an important point.

From the 18th bar, the music starts a new story and continues until the 43rd bar.
The four quarter notes in measure 44 are ""p"" notes, so it would be better to play them more softly and lovingly.
The development of the story becomes clearer,
After the 51st bar, you can create a dynamic atmosphere by playing the notes with a sense of speed.
the dynamic conception of the piece can be created by playing it with a sense of speed.", What does the student need to work on? ," The student needs to improve on processing ""cresc"" and ""dolce"", and ensuring that the intonation is not flat.",train
138,n28-bet-snt008-3-s-p01_c15.txt,n28-bet-snt008-3-s-p01.wav,"(Instructor)
　　You play very carefully. Do you have any thoughts after you finished playing?
(Learner)
　　I played very hard not to make any mistakes.
(Instructor)
You played well.
Do you want to improve?
(Learner)
I do, but I don't know what to do.
(Instructor)
Well, let me explain a little.
First of all, what does ""make it better"" mean? Let's clarify that.

This piece was written by the famous composer ""Beethoven. He is also called the saint of music.
He was the one who made the narrative of classical music clearer and paved the way for Romantic music.

First of all, a piece of music has the composer's ""feelings"". He wanted it to be played this way. I want you to play it like this, and I want you to play it like this, and I want you to play it like this.
I want the audience to be moved by the ""feelings"" that the composer has put into the music.
First of all, there is the composer's ""thought. It is written in the score.

For example, ""Alegro"" at the beginning of the piece is a word about the speed of the music, meaning ""lively and fast.
Rondo"" is the form of the piece and means to repeat the theme.
The same melody is repeated twice.

Another common word is ""cresc,"" which is an indication of strength or weakness.
It means to make it stronger in smooth, gradual steps.
Another common word is ""dolce,"" which means ""soften,
It means to soften the touch, to round out the tone, and to slightly reduce the volume.
In your playing, this
You could say that the ""cresc"" and ""dolce"" in your playing are not well processed, and as a result the intonation is flat.
It could be said that your performance has a flat intonation.

Now, another aspect of ""make it better"" is,
What is the message of this music?
A piece of music is a story. A story has a purpose.
To convey that purpose,

<Start> <Contextualization> <Event> <Completion> <Summarization> <Completion> <Decision

The story progresses in this order.
Now, let's see,
In this piece, the first 12 bars are a story - the theme.
Then, the next story is told immediately without a pause. This sense of speed without a pause creates a sense of tension in the piece.
creates a sense of tension in the piece. This is an important point.

From the 18th bar, the music starts a new story and continues until the 43rd bar.
The four quarter notes in measure 44 are ""p"" notes, so it would be better to play them more softly and lovingly.
The development of the story becomes clearer,
After the 51st bar, you can create a dynamic atmosphere by playing the notes with a sense of speed.
the dynamic conception of the piece can be created by playing it with a sense of speed.", Is the interpretation appropriate to the style of the composition? , The interpretation needs more work. There should be a sense of tension in the piece and a distinct progression of the story.,train
139,n28-bet-snt008-3-s-p01_c15.txt,n28-bet-snt008-3-s-p01.wav,"(Instructor)
　　You play very carefully. Do you have any thoughts after you finished playing?
(Learner)
　　I played very hard not to make any mistakes.
(Instructor)
You played well.
Do you want to improve?
(Learner)
I do, but I don't know what to do.
(Instructor)
Well, let me explain a little.
First of all, what does ""make it better"" mean? Let's clarify that.

This piece was written by the famous composer ""Beethoven. He is also called the saint of music.
He was the one who made the narrative of classical music clearer and paved the way for Romantic music.

First of all, a piece of music has the composer's ""feelings"". He wanted it to be played this way. I want you to play it like this, and I want you to play it like this, and I want you to play it like this.
I want the audience to be moved by the ""feelings"" that the composer has put into the music.
First of all, there is the composer's ""thought. It is written in the score.

For example, ""Alegro"" at the beginning of the piece is a word about the speed of the music, meaning ""lively and fast.
Rondo"" is the form of the piece and means to repeat the theme.
The same melody is repeated twice.

Another common word is ""cresc,"" which is an indication of strength or weakness.
It means to make it stronger in smooth, gradual steps.
Another common word is ""dolce,"" which means ""soften,
It means to soften the touch, to round out the tone, and to slightly reduce the volume.
In your playing, this
You could say that the ""cresc"" and ""dolce"" in your playing are not well processed, and as a result the intonation is flat.
It could be said that your performance has a flat intonation.

Now, another aspect of ""make it better"" is,
What is the message of this music?
A piece of music is a story. A story has a purpose.
To convey that purpose,

<Start> <Contextualization> <Event> <Completion> <Summarization> <Completion> <Decision

The story progresses in this order.
Now, let's see,
In this piece, the first 12 bars are a story - the theme.
Then, the next story is told immediately without a pause. This sense of speed without a pause creates a sense of tension in the piece.
creates a sense of tension in the piece. This is an important point.

From the 18th bar, the music starts a new story and continues until the 43rd bar.
The four quarter notes in measure 44 are ""p"" notes, so it would be better to play them more softly and lovingly.
The development of the story becomes clearer,
After the 51st bar, you can create a dynamic atmosphere by playing the notes with a sense of speed.
the dynamic conception of the piece can be created by playing it with a sense of speed.", How would you rate the difficulty level of this piece? ," The piece seems to have a moderate to high difficulty level as it requires a good understanding of music theory and the ability to convey the composer's ""feelings"".",train
140,n08-chp-pld007-s-p01_c21.txt,n08-chp-pld007-s-p01.wav,"As indicated by dolce, the performance is very gentle and lovely, and the pedaling is good.
Since it is an Andantino, the speed is fine as it is, but I am concerned that the overall flow is a bit stagnant. You should be a little more aware of the flow of phrases so that you can dance a waltz to this piece at a ball.
Specifically, this piece is divided into the first half (~8 bars, beat 2) and the second half (~8 bars, beat 3), and if you are aware of the crescendo at the beginning of each part and the decrescendo towards the end, you will be able to capture the flow of the phrase.", How is the tone production in terms of gentleness and love? ," As indicated by dolce, the performance is very gentle and lovely.",train
141,n08-chp-pld007-s-p01_c21.txt,n08-chp-pld007-s-p01.wav,"As indicated by dolce, the performance is very gentle and lovely, and the pedaling is good.
Since it is an Andantino, the speed is fine as it is, but I am concerned that the overall flow is a bit stagnant. You should be a little more aware of the flow of phrases so that you can dance a waltz to this piece at a ball.
Specifically, this piece is divided into the first half (~8 bars, beat 2) and the second half (~8 bars, beat 3), and if you are aware of the crescendo at the beginning of each part and the decrescendo towards the end, you will be able to capture the flow of the phrase.", Is the pedal usage appropriate? , The pedaling is good.,train
142,n08-chp-pld007-s-p01_c21.txt,n08-chp-pld007-s-p01.wav,"As indicated by dolce, the performance is very gentle and lovely, and the pedaling is good.
Since it is an Andantino, the speed is fine as it is, but I am concerned that the overall flow is a bit stagnant. You should be a little more aware of the flow of phrases so that you can dance a waltz to this piece at a ball.
Specifically, this piece is divided into the first half (~8 bars, beat 2) and the second half (~8 bars, beat 3), and if you are aware of the crescendo at the beginning of each part and the decrescendo towards the end, you will be able to capture the flow of the phrase.", How is the overall tempo? ," The speed is fine as it is an Andantino, but the overall flow is a bit stagnant. The performance needs to capture the flow of the phrase, especially during the crescendo and decrescendo parts.",train
143,n32-moz-snt331-1-h-p02_c11.txt,n32-moz-snt331-1-h-p02.wav,"I think it is well understood and almost perfect.
Sorry, I just have two things to say about the way you play.

Overall, I was concerned about the impact of the second note followed by the same note.
If you don't press the next key until you feel the key return to your fingers (feel the hammer), I think you will get a natural series of hits. Please try it.

The other thing is the sf interpretation.
I know the score I'm looking at now is the Henle version from 2015 onwards, so it's a reliable slur and strong/weak sign, but I think you should be able to hold it down a bit more. I think you can take it as an sf against the adjacent p rather than the general interpretation of sf.

If we come back to this again after the 6th variation, we should be able to see the theme (subject) theme with an even cooler feeling, so let's quickly move on to the next variation.", What does the student needs to work on? , The student needs to work on the impact of the second note followed by the same note and the interpretation of sf.,train
144,n32-moz-snt331-1-h-p02_c11.txt,n32-moz-snt331-1-h-p02.wav,"I think it is well understood and almost perfect.
Sorry, I just have two things to say about the way you play.

Overall, I was concerned about the impact of the second note followed by the same note.
If you don't press the next key until you feel the key return to your fingers (feel the hammer), I think you will get a natural series of hits. Please try it.

The other thing is the sf interpretation.
I know the score I'm looking at now is the Henle version from 2015 onwards, so it's a reliable slur and strong/weak sign, but I think you should be able to hold it down a bit more. I think you can take it as an sf against the adjacent p rather than the general interpretation of sf.

If we come back to this again after the 6th variation, we should be able to see the theme (subject) theme with an even cooler feeling, so let's quickly move on to the next variation.", Is the performance following score instructions? , It's mostly followed but needs more focus on the interpretation of sf.,train
145,n32-moz-snt331-1-h-p02_c11.txt,n32-moz-snt331-1-h-p02.wav,"I think it is well understood and almost perfect.
Sorry, I just have two things to say about the way you play.

Overall, I was concerned about the impact of the second note followed by the same note.
If you don't press the next key until you feel the key return to your fingers (feel the hammer), I think you will get a natural series of hits. Please try it.

The other thing is the sf interpretation.
I know the score I'm looking at now is the Henle version from 2015 onwards, so it's a reliable slur and strong/weak sign, but I think you should be able to hold it down a bit more. I think you can take it as an sf against the adjacent p rather than the general interpretation of sf.

If we come back to this again after the 6th variation, we should be able to see the theme (subject) theme with an even cooler feeling, so let's quickly move on to the next variation.", In which skill level would you say the performer is in? , The performer is almost perfect and well understood in the playing.,train
146,n32-moz-snt331-1-h-p12_c05.txt,n32-moz-snt331-1-h-p12.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"You should pay more attention to your pedals. You should listen to the sound yourself to make sure it is not muddy.
The second bar from the end of the song should be a little stronger and more decisive, as if to change the mood of the song.",train
147,n32-moz-snt331-1-h-p02_c22.txt,n32-moz-snt331-1-h-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The music was beautiful...sometimes bright, sometimes gentle, sometimes lovely.... The emotional expression of each tone that I could hear was wonderful and comfortable to listen to,
　It was pleasant to listen to.

I was very comfortable listening to the music,
　The staccato part from the 11th bar to the 12th bar
　I thought that you could slow down at the end of the phrase while maintaining the tempo without rushing,
　I thought that if you could slow down at the end of the phrase, you would be able to return to the theme more naturally and emotionally.",train
148,n48-deb-rev068-s-p01_c11.txt,n48-deb-rev068-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"You are very good, you seem to have the music completely memorized, and I think you are at a very advanced level.
So let me say something a little more developmental.
In a word, I don't think you are ""relaxed"" enough.
I think it is a little too energetic (especially on the left). (Especially the left side. (Especially the left side. It should be more like it is about to disappear.)
I think it should be a little more sickly.
In addition, the emotional skill was outstanding, but in the case of this song, I would like to see an accidental skill that does not contain unnecessary emotion.
I want him to lose his confidence a little, or to have a sense of confusion or fuzziness at first sight.
The chords are relatively simple and the arpeggios are easy, so I tend to get used to them,
Remember to control the tension. Never get carried away with your feelings.
Debussy himself did not like this piece, and I think it will sound fantastic to the listener if you play it while thinking, ""What is this music?

I hear that the fingering is firmly determined,
I think it is possible to change it every time you play it. I think it is possible to change it every time you play it, because I want the sound to come out by chance every time.

As for the chord in the last bar, it seemed to be exactly as planned,
I think it would be preferable to have the wind that you didn't think of playing here, but rather forgot to play it, but your hand fell from above.
Another way to describe it would be like I finished writing and ""sent"" it.

I have mentioned only abstract things, but this abstraction (Debussy is said to be a symbolist)
It is a question of whether or not it is ""de-emphasized"" to reproduce it.

In the case of this piece, try lowering the height of the chair by about 2 cm.
This will keep your elbows bent and your fingers will feel stuck to the keys.
Also, round your back slightly and do not put any pressure on your stomach.
In this state, you can take in a lot of air, which allows you to play while relaxed.

I think this is a test of purity because it is a technically easy song,
I encourage you to try it, even if it is just by being aware of the matters we have discussed today.",train
149,n22-bac-inv015-s-p02_c12.txt,n22-bac-inv015-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"　　The theme in the right hand is played gracefully and beautifully.
　　When the theme appears in the left hand, the trills become unstable and the whole theme seems to break down a little, which bothers me. It would be good to practice playing the theme in the left hand using your own right hand theme as a model.
　　The melody repeated from measure 8 is sung very beautifully, but the tempo slows down a bit, so be careful not to fluctuate the speed.
　　This is a well-researched performance of an invention (2 voices).",train
150,n32-moz-snt331-1-h-p12_c05.txt,n32-moz-snt331-1-h-p12.wav,"You should pay more attention to your pedals. You should listen to the sound yourself to make sure it is not muddy.
The second bar from the end of the song should be a little stronger and more decisive, as if to change the mood of the song.", Is the pedal usage appropriate? , Need to be improved. The pedal usage should not make the sound muddy.,train
151,n32-moz-snt331-1-h-p12_c05.txt,n32-moz-snt331-1-h-p12.wav,"You should pay more attention to your pedals. You should listen to the sound yourself to make sure it is not muddy.
The second bar from the end of the song should be a little stronger and more decisive, as if to change the mood of the song.", How is the tone production? , The second bar from the end of the song should be a little stronger and more decisive.,train
152,n32-moz-snt331-1-h-p12_c05.txt,n32-moz-snt331-1-h-p12.wav,"You should pay more attention to your pedals. You should listen to the sound yourself to make sure it is not muddy.
The second bar from the end of the song should be a little stronger and more decisive, as if to change the mood of the song.", What does the student needs to work on? , The usage of pedals and the decisiveness of the performance. ,train
153,n32-moz-snt331-1-h-p02_c22.txt,n32-moz-snt331-1-h-p02.wav,"The music was beautiful...sometimes bright, sometimes gentle, sometimes lovely.... The emotional expression of each tone that I could hear was wonderful and comfortable to listen to,
　It was pleasant to listen to.

I was very comfortable listening to the music,
　The staccato part from the 11th bar to the 12th bar
　I thought that you could slow down at the end of the phrase while maintaining the tempo without rushing,
　I thought that if you could slow down at the end of the phrase, you would be able to return to the theme more naturally and emotionally.", How would you describe the emotional intent of the performance? , The music was beautiful with various emotional expressions. ,train
154,n32-moz-snt331-1-h-p02_c22.txt,n32-moz-snt331-1-h-p02.wav,"The music was beautiful...sometimes bright, sometimes gentle, sometimes lovely.... The emotional expression of each tone that I could hear was wonderful and comfortable to listen to,
　It was pleasant to listen to.

I was very comfortable listening to the music,
　The staccato part from the 11th bar to the 12th bar
　I thought that you could slow down at the end of the phrase while maintaining the tempo without rushing,
　I thought that if you could slow down at the end of the phrase, you would be able to return to the theme more naturally and emotionally.", Is the interpretation appropriate to the style of the composition? ," No, the staccato part from the 11th bar to the 12th bar could slow down at the end of the phrase.",train
155,n32-moz-snt331-1-h-p02_c22.txt,n32-moz-snt331-1-h-p02.wav,"The music was beautiful...sometimes bright, sometimes gentle, sometimes lovely.... The emotional expression of each tone that I could hear was wonderful and comfortable to listen to,
　It was pleasant to listen to.

I was very comfortable listening to the music,
　The staccato part from the 11th bar to the 12th bar
　I thought that you could slow down at the end of the phrase while maintaining the tempo without rushing,
　I thought that if you could slow down at the end of the phrase, you would be able to return to the theme more naturally and emotionally.", What does the student needs to work on? , The student needs to work on slowing down and controlling tempo. ,train
156,n48-deb-rev068-s-p01_c11.txt,n48-deb-rev068-s-p01.wav,"You are very good, you seem to have the music completely memorized, and I think you are at a very advanced level.
So let me say something a little more developmental.
In a word, I don't think you are ""relaxed"" enough.
I think it is a little too energetic (especially on the left). (Especially the left side. (Especially the left side. It should be more like it is about to disappear.)
I think it should be a little more sickly.
In addition, the emotional skill was outstanding, but in the case of this song, I would like to see an accidental skill that does not contain unnecessary emotion.
I want him to lose his confidence a little, or to have a sense of confusion or fuzziness at first sight.
The chords are relatively simple and the arpeggios are easy, so I tend to get used to them,
Remember to control the tension. Never get carried away with your feelings.
Debussy himself did not like this piece, and I think it will sound fantastic to the listener if you play it while thinking, ""What is this music?

I hear that the fingering is firmly determined,
I think it is possible to change it every time you play it. I think it is possible to change it every time you play it, because I want the sound to come out by chance every time.

As for the chord in the last bar, it seemed to be exactly as planned,
I think it would be preferable to have the wind that you didn't think of playing here, but rather forgot to play it, but your hand fell from above.
Another way to describe it would be like I finished writing and ""sent"" it.

I have mentioned only abstract things, but this abstraction (Debussy is said to be a symbolist)
It is a question of whether or not it is ""de-emphasized"" to reproduce it.

In the case of this piece, try lowering the height of the chair by about 2 cm.
This will keep your elbows bent and your fingers will feel stuck to the keys.
Also, round your back slightly and do not put any pressure on your stomach.
In this state, you can take in a lot of air, which allows you to play while relaxed.

I think this is a test of purity because it is a technically easy song,
I encourage you to try it, even if it is just by being aware of the matters we have discussed today.", In which skill level would you say the performer is in? , Advanced level.,train
157,n48-deb-rev068-s-p01_c11.txt,n48-deb-rev068-s-p01.wav,"You are very good, you seem to have the music completely memorized, and I think you are at a very advanced level.
So let me say something a little more developmental.
In a word, I don't think you are ""relaxed"" enough.
I think it is a little too energetic (especially on the left). (Especially the left side. (Especially the left side. It should be more like it is about to disappear.)
I think it should be a little more sickly.
In addition, the emotional skill was outstanding, but in the case of this song, I would like to see an accidental skill that does not contain unnecessary emotion.
I want him to lose his confidence a little, or to have a sense of confusion or fuzziness at first sight.
The chords are relatively simple and the arpeggios are easy, so I tend to get used to them,
Remember to control the tension. Never get carried away with your feelings.
Debussy himself did not like this piece, and I think it will sound fantastic to the listener if you play it while thinking, ""What is this music?

I hear that the fingering is firmly determined,
I think it is possible to change it every time you play it. I think it is possible to change it every time you play it, because I want the sound to come out by chance every time.

As for the chord in the last bar, it seemed to be exactly as planned,
I think it would be preferable to have the wind that you didn't think of playing here, but rather forgot to play it, but your hand fell from above.
Another way to describe it would be like I finished writing and ""sent"" it.

I have mentioned only abstract things, but this abstraction (Debussy is said to be a symbolist)
It is a question of whether or not it is ""de-emphasized"" to reproduce it.

In the case of this piece, try lowering the height of the chair by about 2 cm.
This will keep your elbows bent and your fingers will feel stuck to the keys.
Also, round your back slightly and do not put any pressure on your stomach.
In this state, you can take in a lot of air, which allows you to play while relaxed.

I think this is a test of purity because it is a technically easy song,
I encourage you to try it, even if it is just by being aware of the matters we have discussed today.", How would you describe the character of the performance? ," The performance was too energetic, it should be more insightful and controlled.",train
158,n48-deb-rev068-s-p01_c11.txt,n48-deb-rev068-s-p01.wav,"You are very good, you seem to have the music completely memorized, and I think you are at a very advanced level.
So let me say something a little more developmental.
In a word, I don't think you are ""relaxed"" enough.
I think it is a little too energetic (especially on the left). (Especially the left side. (Especially the left side. It should be more like it is about to disappear.)
I think it should be a little more sickly.
In addition, the emotional skill was outstanding, but in the case of this song, I would like to see an accidental skill that does not contain unnecessary emotion.
I want him to lose his confidence a little, or to have a sense of confusion or fuzziness at first sight.
The chords are relatively simple and the arpeggios are easy, so I tend to get used to them,
Remember to control the tension. Never get carried away with your feelings.
Debussy himself did not like this piece, and I think it will sound fantastic to the listener if you play it while thinking, ""What is this music?

I hear that the fingering is firmly determined,
I think it is possible to change it every time you play it. I think it is possible to change it every time you play it, because I want the sound to come out by chance every time.

As for the chord in the last bar, it seemed to be exactly as planned,
I think it would be preferable to have the wind that you didn't think of playing here, but rather forgot to play it, but your hand fell from above.
Another way to describe it would be like I finished writing and ""sent"" it.

I have mentioned only abstract things, but this abstraction (Debussy is said to be a symbolist)
It is a question of whether or not it is ""de-emphasized"" to reproduce it.

In the case of this piece, try lowering the height of the chair by about 2 cm.
This will keep your elbows bent and your fingers will feel stuck to the keys.
Also, round your back slightly and do not put any pressure on your stomach.
In this state, you can take in a lot of air, which allows you to play while relaxed.

I think this is a test of purity because it is a technically easy song,
I encourage you to try it, even if it is just by being aware of the matters we have discussed today.", How is the playing of the theme in the right hand? , The theme in the right hand is played gracefully and beautifully. ,train
159,n22-bac-inv015-s-p02_c12.txt,n22-bac-inv015-s-p02.wav,"　　The theme in the right hand is played gracefully and beautifully.
　　When the theme appears in the left hand, the trills become unstable and the whole theme seems to break down a little, which bothers me. It would be good to practice playing the theme in the left hand using your own right hand theme as a model.
　　The melody repeated from measure 8 is sung very beautifully, but the tempo slows down a bit, so be careful not to fluctuate the speed.
　　This is a well-researched performance of an invention (2 voices).", Is the performance hesitant or smooth? ," When the theme appears in the left hand, the performance becomes unstable. ",train
160,n22-bac-inv015-s-p02_c12.txt,n22-bac-inv015-s-p02.wav,"　　The theme in the right hand is played gracefully and beautifully.
　　When the theme appears in the left hand, the trills become unstable and the whole theme seems to break down a little, which bothers me. It would be good to practice playing the theme in the left hand using your own right hand theme as a model.
　　The melody repeated from measure 8 is sung very beautifully, but the tempo slows down a bit, so be careful not to fluctuate the speed.
　　This is a well-researched performance of an invention (2 voices).", What does the student needs to work on? , The theme in the left hand needs improvement and the speed fluctuation should be avoided.,train
161,n17-bac-inv001-s-p01_c17.txt,n17-bac-inv001-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"There are many original and interpreted versions of Bach's scores, and this is the Vienna original.
I can't tell you what the correct interpretation of the score is, so I'll just say what caught my attention.
You play the trills in bars 1 and 2 down like mordents, but I play them up to take advantage of the mordent in bar 5.
As I said before, I can't tell you what is the right way to play the song, and I was wondering if perhaps you are used to playing it in other interpreted versions.
Why does the eighth-note re in bar 5 and the first beat of bar 6 suddenly jump? Is it the Busoni version? Is it?
Did the rattling of the 14th bar show your dislike of it? Is it lack of practice?
From bar 15, it would be nice if the right hand and left hand each had some color/expression, like singing or dialoguing.
The eighth note in measure 20, the eighth note do, is the only highest eighth note, so please handle it carefully.
I was really stuck on the eighth note because it was almost the way I liked to play it, except for this note.

That's all.",train
162,n26-bet-snt008-2-s-p01_c22.txt,n26-bet-snt008-2-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The warm and gentle tone reached my heart and healed it.


The key, though, is to play the inner voice so that it is not louder than the melody,
　I was able to pay attention to that,
　I think it is a good idea to work on the rhythm more quietly and comfortably.
　I think it would be good if you continue to train yourself to play quieter and more comfortable rhythms other than the melody.

The pedal sustain is still there,
　The lingering sound of the note was lost in the next phrase,
　There were some parts where the sound was a little muddy,
　The harmony of the phrase should be sustained by the pedal,
　In between the next phrase, I release the pedal at the right moment and step on it again,
　So that the next phrase sounds beautiful.
　I think it will make the music more beautiful if you are conscious of it.


The second movement of this Piano Sonata No. 8 ""Pathetique"" was written in Beethoven's late twenties, when he was losing his hearing.
　In the first movement, which is full of tragedy, he struggles and suffers from the fate he has been placed in.
　And in this second movement, it is in A-flat major. It is depicted in a warm key.
　Because we are experiencing suffering, we can be kind.
　I imagine that this music contains Beethoven's various thoughts and feelings as he gradually accepts his fate in the midst of it.
　I put my own interpretation of the story in my mind, and while thinking of Beethoven's thoughts and feelings, I play it.
　I think you will be able to express yourself more lyrically if you play it with your own interpretation of the story in mind and with Beethoven's thoughts in mind.",train
163,n31-sch-knd007-s-p02_c16.txt,n31-sch-knd007-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"This is a very unique performance. The fast eighth-note ascending form that appears repeatedly from the first phrase of the melody is very unique. Is this done with an agenda, or is it an imitation of some famous performer's CD?

The Japanese translation of the song ""Troimelai"" means something like ""dream"" or ""dreamy dreaminess. It is the most famous song among the 13 ""Children's Scenes,"" but for some reason, this song is known by its original German title. (The other 12 pieces are known by their Japanese translations.) The entire piece must be played calmly so as not to destroy the child's dream. If you are unintentionally ""going too fast,"" you may want to use a metronome or try ""conducting"" a recording of your own performance in four beats to see if the tempo and beat are correct. If the tempo is intentionally fast, the overall tempo is not bad, but it gives the impression that the singer is in a hurry only here.",train
164,n22-bac-inv015-s-p01_c19.txt,n22-bac-inv015-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The eighth notes of Bach's Invention are basically played in trills (non-legato), but in the eighth and ninth bars, the left hand plays only the first and third beats in trills, and the rest is played in legato.
The note after the trill seems too strong, so do not insist on it too much. It is better to play the first note of the trill at the same time as the left hand than to play it before.
The right hand in bars 16 and 17 should follow the slur and be more smooth and yet crescendoing.
You could finish slowly and calmly without the rit notation at the end with the melody of the theme in mind.",test
165,n17-bac-inv001-s-p01_c17.txt,n17-bac-inv001-s-p01.wav,"There are many original and interpreted versions of Bach's scores, and this is the Vienna original.
I can't tell you what the correct interpretation of the score is, so I'll just say what caught my attention.
You play the trills in bars 1 and 2 down like mordents, but I play them up to take advantage of the mordent in bar 5.
As I said before, I can't tell you what is the right way to play the song, and I was wondering if perhaps you are used to playing it in other interpreted versions.
Why does the eighth-note re in bar 5 and the first beat of bar 6 suddenly jump? Is it the Busoni version? Is it?
Did the rattling of the 14th bar show your dislike of it? Is it lack of practice?
From bar 15, it would be nice if the right hand and left hand each had some color/expression, like singing or dialoguing.
The eighth note in measure 20, the eighth note do, is the only highest eighth note, so please handle it carefully.
I was really stuck on the eighth note because it was almost the way I liked to play it, except for this note.

That's all.", Is the interpretation of the composition correct? , Not able to determine as there are many interpreted versions but the trills in bars 1 and 2 were played like mordents instead of being taking advantage in bar 5.,train
166,n17-bac-inv001-s-p01_c17.txt,n17-bac-inv001-s-p01.wav,"There are many original and interpreted versions of Bach's scores, and this is the Vienna original.
I can't tell you what the correct interpretation of the score is, so I'll just say what caught my attention.
You play the trills in bars 1 and 2 down like mordents, but I play them up to take advantage of the mordent in bar 5.
As I said before, I can't tell you what is the right way to play the song, and I was wondering if perhaps you are used to playing it in other interpreted versions.
Why does the eighth-note re in bar 5 and the first beat of bar 6 suddenly jump? Is it the Busoni version? Is it?
Did the rattling of the 14th bar show your dislike of it? Is it lack of practice?
From bar 15, it would be nice if the right hand and left hand each had some color/expression, like singing or dialoguing.
The eighth note in measure 20, the eighth note do, is the only highest eighth note, so please handle it carefully.
I was really stuck on the eighth note because it was almost the way I liked to play it, except for this note.

That's all."," How was the expression, like singing or dialoguing, between hands? ", It would improve from bar 15 if there is more color/expression in the right hand and the left hand.,train
167,n17-bac-inv001-s-p01_c17.txt,n17-bac-inv001-s-p01.wav,"There are many original and interpreted versions of Bach's scores, and this is the Vienna original.
I can't tell you what the correct interpretation of the score is, so I'll just say what caught my attention.
You play the trills in bars 1 and 2 down like mordents, but I play them up to take advantage of the mordent in bar 5.
As I said before, I can't tell you what is the right way to play the song, and I was wondering if perhaps you are used to playing it in other interpreted versions.
Why does the eighth-note re in bar 5 and the first beat of bar 6 suddenly jump? Is it the Busoni version? Is it?
Did the rattling of the 14th bar show your dislike of it? Is it lack of practice?
From bar 15, it would be nice if the right hand and left hand each had some color/expression, like singing or dialoguing.
The eighth note in measure 20, the eighth note do, is the only highest eighth note, so please handle it carefully.
I was really stuck on the eighth note because it was almost the way I liked to play it, except for this note.

That's all.", How was the specific note handling? , A sudden jump in the eighth-note re in bar 5 and the first beat of bar 6 needs attention and the only highest eighth note do in measure 20 is to be handled carefully.,train
168,n26-bet-snt008-2-s-p01_c22.txt,n26-bet-snt008-2-s-p01.wav,"The warm and gentle tone reached my heart and healed it.


The key, though, is to play the inner voice so that it is not louder than the melody,
　I was able to pay attention to that,
　I think it is a good idea to work on the rhythm more quietly and comfortably.
　I think it would be good if you continue to train yourself to play quieter and more comfortable rhythms other than the melody.

The pedal sustain is still there,
　The lingering sound of the note was lost in the next phrase,
　There were some parts where the sound was a little muddy,
　The harmony of the phrase should be sustained by the pedal,
　In between the next phrase, I release the pedal at the right moment and step on it again,
　So that the next phrase sounds beautiful.
　I think it will make the music more beautiful if you are conscious of it.


The second movement of this Piano Sonata No. 8 ""Pathetique"" was written in Beethoven's late twenties, when he was losing his hearing.
　In the first movement, which is full of tragedy, he struggles and suffers from the fate he has been placed in.
　And in this second movement, it is in A-flat major. It is depicted in a warm key.
　Because we are experiencing suffering, we can be kind.
　I imagine that this music contains Beethoven's various thoughts and feelings as he gradually accepts his fate in the midst of it.
　I put my own interpretation of the story in my mind, and while thinking of Beethoven's thoughts and feelings, I play it.
　I think you will be able to express yourself more lyrically if you play it with your own interpretation of the story in mind and with Beethoven's thoughts in mind.", How was the tone production? , The tone was warm and gentle which was healing.,train
169,n26-bet-snt008-2-s-p01_c22.txt,n26-bet-snt008-2-s-p01.wav,"The warm and gentle tone reached my heart and healed it.


The key, though, is to play the inner voice so that it is not louder than the melody,
　I was able to pay attention to that,
　I think it is a good idea to work on the rhythm more quietly and comfortably.
　I think it would be good if you continue to train yourself to play quieter and more comfortable rhythms other than the melody.

The pedal sustain is still there,
　The lingering sound of the note was lost in the next phrase,
　There were some parts where the sound was a little muddy,
　The harmony of the phrase should be sustained by the pedal,
　In between the next phrase, I release the pedal at the right moment and step on it again,
　So that the next phrase sounds beautiful.
　I think it will make the music more beautiful if you are conscious of it.


The second movement of this Piano Sonata No. 8 ""Pathetique"" was written in Beethoven's late twenties, when he was losing his hearing.
　In the first movement, which is full of tragedy, he struggles and suffers from the fate he has been placed in.
　And in this second movement, it is in A-flat major. It is depicted in a warm key.
　Because we are experiencing suffering, we can be kind.
　I imagine that this music contains Beethoven's various thoughts and feelings as he gradually accepts his fate in the midst of it.
　I put my own interpretation of the story in my mind, and while thinking of Beethoven's thoughts and feelings, I play it.
　I think you will be able to express yourself more lyrically if you play it with your own interpretation of the story in mind and with Beethoven's thoughts in mind.", How was the performance in terms of the inner voice and melody? , The inner voice needs to be lower than the melody.,train
170,n26-bet-snt008-2-s-p01_c22.txt,n26-bet-snt008-2-s-p01.wav,"The warm and gentle tone reached my heart and healed it.


The key, though, is to play the inner voice so that it is not louder than the melody,
　I was able to pay attention to that,
　I think it is a good idea to work on the rhythm more quietly and comfortably.
　I think it would be good if you continue to train yourself to play quieter and more comfortable rhythms other than the melody.

The pedal sustain is still there,
　The lingering sound of the note was lost in the next phrase,
　There were some parts where the sound was a little muddy,
　The harmony of the phrase should be sustained by the pedal,
　In between the next phrase, I release the pedal at the right moment and step on it again,
　So that the next phrase sounds beautiful.
　I think it will make the music more beautiful if you are conscious of it.


The second movement of this Piano Sonata No. 8 ""Pathetique"" was written in Beethoven's late twenties, when he was losing his hearing.
　In the first movement, which is full of tragedy, he struggles and suffers from the fate he has been placed in.
　And in this second movement, it is in A-flat major. It is depicted in a warm key.
　Because we are experiencing suffering, we can be kind.
　I imagine that this music contains Beethoven's various thoughts and feelings as he gradually accepts his fate in the midst of it.
　I put my own interpretation of the story in my mind, and while thinking of Beethoven's thoughts and feelings, I play it.
　I think you will be able to express yourself more lyrically if you play it with your own interpretation of the story in mind and with Beethoven's thoughts in mind.", How was the rhythm? , Rhythm may benefit from quieter and more comfortable playing.,train
171,n31-sch-knd007-s-p02_c16.txt,n31-sch-knd007-s-p02.wav,"This is a very unique performance. The fast eighth-note ascending form that appears repeatedly from the first phrase of the melody is very unique. Is this done with an agenda, or is it an imitation of some famous performer's CD?

The Japanese translation of the song ""Troimelai"" means something like ""dream"" or ""dreamy dreaminess. It is the most famous song among the 13 ""Children's Scenes,"" but for some reason, this song is known by its original German title. (The other 12 pieces are known by their Japanese translations.) The entire piece must be played calmly so as not to destroy the child's dream. If you are unintentionally ""going too fast,"" you may want to use a metronome or try ""conducting"" a recording of your own performance in four beats to see if the tempo and beat are correct. If the tempo is intentionally fast, the overall tempo is not bad, but it gives the impression that the singer is in a hurry only here.", How is the overall performance? , The performance was unique especially due to the fast eighth-note ascending form that appears repeatedly.,train
172,n31-sch-knd007-s-p02_c16.txt,n31-sch-knd007-s-p02.wav,"This is a very unique performance. The fast eighth-note ascending form that appears repeatedly from the first phrase of the melody is very unique. Is this done with an agenda, or is it an imitation of some famous performer's CD?

The Japanese translation of the song ""Troimelai"" means something like ""dream"" or ""dreamy dreaminess. It is the most famous song among the 13 ""Children's Scenes,"" but for some reason, this song is known by its original German title. (The other 12 pieces are known by their Japanese translations.) The entire piece must be played calmly so as not to destroy the child's dream. If you are unintentionally ""going too fast,"" you may want to use a metronome or try ""conducting"" a recording of your own performance in four beats to see if the tempo and beat are correct. If the tempo is intentionally fast, the overall tempo is not bad, but it gives the impression that the singer is in a hurry only here.", How was the tempo of the performance? ," The tempo may feel hurried, using a metronome or ""conducting"" a recording may help ensure correct tempo.",train
173,n31-sch-knd007-s-p02_c16.txt,n31-sch-knd007-s-p02.wav,"This is a very unique performance. The fast eighth-note ascending form that appears repeatedly from the first phrase of the melody is very unique. Is this done with an agenda, or is it an imitation of some famous performer's CD?

The Japanese translation of the song ""Troimelai"" means something like ""dream"" or ""dreamy dreaminess. It is the most famous song among the 13 ""Children's Scenes,"" but for some reason, this song is known by its original German title. (The other 12 pieces are known by their Japanese translations.) The entire piece must be played calmly so as not to destroy the child's dream. If you are unintentionally ""going too fast,"" you may want to use a metronome or try ""conducting"" a recording of your own performance in four beats to see if the tempo and beat are correct. If the tempo is intentionally fast, the overall tempo is not bad, but it gives the impression that the singer is in a hurry only here.", How was the interpretation of the piece in terms of the composer's intention? , The whole piece needs to be played calmly consistent with the theme of a child's dream.,train
174,n22-bac-inv015-s-p01_c19.txt,n22-bac-inv015-s-p01.wav,"The eighth notes of Bach's Invention are basically played in trills (non-legato), but in the eighth and ninth bars, the left hand plays only the first and third beats in trills, and the rest is played in legato.
The note after the trill seems too strong, so do not insist on it too much. It is better to play the first note of the trill at the same time as the left hand than to play it before.
The right hand in bars 16 and 17 should follow the slur and be more smooth and yet crescendoing.
You could finish slowly and calmly without the rit notation at the end with the melody of the theme in mind.", How was the articulation of the eighth notes? ," The eighth and ninth bars played only the first and third beats in trills, while the remaining were played in legato.",test
175,n22-bac-inv015-s-p01_c19.txt,n22-bac-inv015-s-p01.wav,"The eighth notes of Bach's Invention are basically played in trills (non-legato), but in the eighth and ninth bars, the left hand plays only the first and third beats in trills, and the rest is played in legato.
The note after the trill seems too strong, so do not insist on it too much. It is better to play the first note of the trill at the same time as the left hand than to play it before.
The right hand in bars 16 and 17 should follow the slur and be more smooth and yet crescendoing.
You could finish slowly and calmly without the rit notation at the end with the melody of the theme in mind.", How accurate was the weight on the notes? , The note after the trill seems too strong and needs to be less pronounced.,test
176,n22-bac-inv015-s-p01_c19.txt,n22-bac-inv015-s-p01.wav,"The eighth notes of Bach's Invention are basically played in trills (non-legato), but in the eighth and ninth bars, the left hand plays only the first and third beats in trills, and the rest is played in legato.
The note after the trill seems too strong, so do not insist on it too much. It is better to play the first note of the trill at the same time as the left hand than to play it before.
The right hand in bars 16 and 17 should follow the slur and be more smooth and yet crescendoing.
You could finish slowly and calmly without the rit notation at the end with the melody of the theme in mind.", How was the interpretation in the ending? , It could be finished slowly and calmly without the rit notation at the end maintaining the melody of the theme.,test
177,n26-bet-snt008-2-s-p02_c02.txt,n26-bet-snt008-2-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Overall, the rhythmic rhythm of the accompaniment form sounds uneven. It is not necessary to play too precisely on the beat, but try to oscillate within two large beats rather than in sixteenth-note increments. The melody also has a big hoard every time between small breaks in the phrase, so it is best to limit the hoarding to only between large phrases.
The melody from measure 11, however, gives the impression of a sudden strengthening of the high As. It would be better if the strength of the As is gently increased or decreased.
There is a part where the left hand sounds missing from measure 17. It is difficult to control the left hand in the strong/weak symbol ""p"", but it would be better to play it as if you play the next note before the keyboard rises all the way up, instead of holding all the notes from the top each time.",train
178,n26-bet-snt008-2-s-p01_c20.txt,n26-bet-snt008-2-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The melody is connected by a basic slur.
The attack of the keystrokes is a little strong.
The inner voices should be smaller and more delicate
Feel the harmonic spread of Do, C-flat, Mi-flat",train
179,n22-bac-inv015-s-p02_c09.txt,n22-bac-inv015-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"At first glance, the performance sounds as if it is played exactly according to the score, but unfortunately, I thought it was not Bach-like. It sounds like the melody of the right hand that you are consciously playing. I think it would be better if you practice with a different perception, because the important theme is not heard. The bass, which is the most important part to be heard and the base of the piece, like the pillar of the piece, may not be resonant enough.
Also, I think the tempo is a little slow for finishing. If you are aware of the allegro, it is faster. Also, it tends to drag on the sixteenth note, so you will need to practice finely.
However, I thought it was very commendable that you played the piece properly according to the score and that the tempo was stable.",train
180,n31-sch-knd007-s-p12_c19.txt,n31-sch-knd007-s-p12.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The melody was sung properly and played well at a relaxed tempo.
The same form is played from the 9th bar to the 17th bar, but this too was played carefully and without too much haste.
There are slurs in the right hand from measure 2 to 3 and from measure 3 to 4. Let's play it with an awareness of the ""miredo fa,"" ""solasile,"" and ""fasolado"" clusters.
It would be good to play a little more rit in the 16th bar.
Before entering the fourth beat of the 23rd bar, take just a few breaths and play with the intention of finishing carefully.",train
181,n26-bet-snt008-2-s-p02_c02.txt,n26-bet-snt008-2-s-p02.wav,"Overall, the rhythmic rhythm of the accompaniment form sounds uneven. It is not necessary to play too precisely on the beat, but try to oscillate within two large beats rather than in sixteenth-note increments. The melody also has a big hoard every time between small breaks in the phrase, so it is best to limit the hoarding to only between large phrases.
The melody from measure 11, however, gives the impression of a sudden strengthening of the high As. It would be better if the strength of the As is gently increased or decreased.
There is a part where the left hand sounds missing from measure 17. It is difficult to control the left hand in the strong/weak symbol ""p"", but it would be better to play it as if you play the next note before the keyboard rises all the way up, instead of holding all the notes from the top each time.", Is the rhythm accurate? , The rhythmic rhythm of the accompaniment form sounds uneven.,train
182,n26-bet-snt008-2-s-p02_c02.txt,n26-bet-snt008-2-s-p02.wav,"Overall, the rhythmic rhythm of the accompaniment form sounds uneven. It is not necessary to play too precisely on the beat, but try to oscillate within two large beats rather than in sixteenth-note increments. The melody also has a big hoard every time between small breaks in the phrase, so it is best to limit the hoarding to only between large phrases.
The melody from measure 11, however, gives the impression of a sudden strengthening of the high As. It would be better if the strength of the As is gently increased or decreased.
There is a part where the left hand sounds missing from measure 17. It is difficult to control the left hand in the strong/weak symbol ""p"", but it would be better to play it as if you play the next note before the keyboard rises all the way up, instead of holding all the notes from the top each time.", Is the phrasing or melodic shaping clear? , The melody also has a big hoard every time between small breaks in the phrase.,train
183,n26-bet-snt008-2-s-p02_c02.txt,n26-bet-snt008-2-s-p02.wav,"Overall, the rhythmic rhythm of the accompaniment form sounds uneven. It is not necessary to play too precisely on the beat, but try to oscillate within two large beats rather than in sixteenth-note increments. The melody also has a big hoard every time between small breaks in the phrase, so it is best to limit the hoarding to only between large phrases.
The melody from measure 11, however, gives the impression of a sudden strengthening of the high As. It would be better if the strength of the As is gently increased or decreased.
There is a part where the left hand sounds missing from measure 17. It is difficult to control the left hand in the strong/weak symbol ""p"", but it would be better to play it as if you play the next note before the keyboard rises all the way up, instead of holding all the notes from the top each time.", Is the performed note accurate?  , There is a part where the left hand sounds missing from measure 17.,train
184,n26-bet-snt008-2-s-p01_c20.txt,n26-bet-snt008-2-s-p01.wav,"The melody is connected by a basic slur.
The attack of the keystrokes is a little strong.
The inner voices should be smaller and more delicate
Feel the harmonic spread of Do, C-flat, Mi-flat", Is the articulation appropriate? , The attack of the keystrokes is a little strong.,train
185,n26-bet-snt008-2-s-p01_c20.txt,n26-bet-snt008-2-s-p01.wav,"The melody is connected by a basic slur.
The attack of the keystrokes is a little strong.
The inner voices should be smaller and more delicate
Feel the harmonic spread of Do, C-flat, Mi-flat", Is there reasonable balance between hands? , The inner voices should be smaller and more delicate.,train
186,n26-bet-snt008-2-s-p01_c20.txt,n26-bet-snt008-2-s-p01.wav,"The melody is connected by a basic slur.
The attack of the keystrokes is a little strong.
The inner voices should be smaller and more delicate
Feel the harmonic spread of Do, C-flat, Mi-flat", What does the student needs to work on? ," Feel the harmonic spread of Do, C-flat, Mi-flat.",train
187,n22-bac-inv015-s-p02_c09.txt,n22-bac-inv015-s-p02.wav,"At first glance, the performance sounds as if it is played exactly according to the score, but unfortunately, I thought it was not Bach-like. It sounds like the melody of the right hand that you are consciously playing. I think it would be better if you practice with a different perception, because the important theme is not heard. The bass, which is the most important part to be heard and the base of the piece, like the pillar of the piece, may not be resonant enough.
Also, I think the tempo is a little slow for finishing. If you are aware of the allegro, it is faster. Also, it tends to drag on the sixteenth note, so you will need to practice finely.
However, I thought it was very commendable that you played the piece properly according to the score and that the tempo was stable.", Is the tempo stable? , The tempo was stable.,train
188,n22-bac-inv015-s-p02_c09.txt,n22-bac-inv015-s-p02.wav,"At first glance, the performance sounds as if it is played exactly according to the score, but unfortunately, I thought it was not Bach-like. It sounds like the melody of the right hand that you are consciously playing. I think it would be better if you practice with a different perception, because the important theme is not heard. The bass, which is the most important part to be heard and the base of the piece, like the pillar of the piece, may not be resonant enough.
Also, I think the tempo is a little slow for finishing. If you are aware of the allegro, it is faster. Also, it tends to drag on the sixteenth note, so you will need to practice finely.
However, I thought it was very commendable that you played the piece properly according to the score and that the tempo was stable.", How is the overall tempo? , I think the tempo is a little slow for finishing.,train
189,n22-bac-inv015-s-p02_c09.txt,n22-bac-inv015-s-p02.wav,"At first glance, the performance sounds as if it is played exactly according to the score, but unfortunately, I thought it was not Bach-like. It sounds like the melody of the right hand that you are consciously playing. I think it would be better if you practice with a different perception, because the important theme is not heard. The bass, which is the most important part to be heard and the base of the piece, like the pillar of the piece, may not be resonant enough.
Also, I think the tempo is a little slow for finishing. If you are aware of the allegro, it is faster. Also, it tends to drag on the sixteenth note, so you will need to practice finely.
However, I thought it was very commendable that you played the piece properly according to the score and that the tempo was stable.", Is the performance following score instructions? , You played the piece properly according to the score.,train
190,n31-sch-knd007-s-p12_c19.txt,n31-sch-knd007-s-p12.wav,"The melody was sung properly and played well at a relaxed tempo.
The same form is played from the 9th bar to the 17th bar, but this too was played carefully and without too much haste.
There are slurs in the right hand from measure 2 to 3 and from measure 3 to 4. Let's play it with an awareness of the ""miredo fa,"" ""solasile,"" and ""fasolado"" clusters.
It would be good to play a little more rit in the 16th bar.
Before entering the fourth beat of the 23rd bar, take just a few breaths and play with the intention of finishing carefully.", How would you describe the emotional intent of the performance? , The melody was sung properly and played well at a relaxed tempo.,train
191,n31-sch-knd007-s-p12_c19.txt,n31-sch-knd007-s-p12.wav,"The melody was sung properly and played well at a relaxed tempo.
The same form is played from the 9th bar to the 17th bar, but this too was played carefully and without too much haste.
There are slurs in the right hand from measure 2 to 3 and from measure 3 to 4. Let's play it with an awareness of the ""miredo fa,"" ""solasile,"" and ""fasolado"" clusters.
It would be good to play a little more rit in the 16th bar.
Before entering the fourth beat of the 23rd bar, take just a few breaths and play with the intention of finishing carefully.", What does the student needs to work on? , It would be good to play a little more rit in the 16th bar.,train
192,n31-sch-knd007-s-p12_c19.txt,n31-sch-knd007-s-p12.wav,"The melody was sung properly and played well at a relaxed tempo.
The same form is played from the 9th bar to the 17th bar, but this too was played carefully and without too much haste.
There are slurs in the right hand from measure 2 to 3 and from measure 3 to 4. Let's play it with an awareness of the ""miredo fa,"" ""solasile,"" and ""fasolado"" clusters.
It would be good to play a little more rit in the 16th bar.
Before entering the fourth beat of the 23rd bar, take just a few breaths and play with the intention of finishing carefully.", Is the rhythm accurate? , The same form is played from the 9th bar to the 17th bar with care and without too much haste.,train
193,n32-moz-snt331-1-h-p02_c18.txt,n32-moz-snt331-1-h-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Weak in strength. Especially at sf.
Overall, it is beautifully put together, but I would like to see a little more individuality.
It seems like they are just playing what is written in the score.",train
194,n01-chp-etd003-s-p02_c21.txt,n01-chp-etd003-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The expression of ""swing"" in the Romantic style tends to make the performance sound like a drunken man if it is overdone, but the overall rhythm and tempo are well put together without any breakdown.
The volume balance of the three voices is very delicate, and the melody line is well defined and easy to understand.
The way each phrase is carefully captured makes for a very pleasing performance.
However, since the inflection of the strong and weak phrases is generally restrained, it might be better to play them a little more exaggeratedly. In particular, the ff at the beginning of the 17th bar is played too gently, so try dropping the powerful sound expressed in the con forza of the 16th bar directly into the ff (never hit the keyboard).",test
195,n31-sch-knd007-s-p01_c04.txt,n31-sch-knd007-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The pedaling is well done, although the chords tend to be muddy.
I think it would be better if the right hand could play the parts where the outer and inner voices cross each other (bars 7 and 11, etc.), as if to separate the vocal hierarchy a little more.",train
196,n32-moz-snt331-1-h-p01_c06.txt,n32-moz-snt331-1-h-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The pedals seem slightly long.
The pedal of Mozart will need to be severely timed with the fingers and pedal so as not to muddy the pedal.
The notes sound brighter if they are not dragged. Especially where adjacent notes (e.g., do and re) are played with dotted eighth notes and sixteenth notes, you want to be careful because the notes overlap and cause dissonance.
Staccatos tend to be a bit too light, and you want to be careful not to make them jumpy and expressive.
Staccato has the nuance of being ""far apart"" from the note, and does not originally mean ""bouncing"" or ""cutting. In Mozart's time, the piano itself was different from the modern piano, so we should be even more careful about the meaning of staccato.
The ending is compact, light, and lovely, just like Mozart.",test
197,n32-moz-snt331-1-h-p02_c18.txt,n32-moz-snt331-1-h-p02.wav,"Weak in strength. Especially at sf.
Overall, it is beautifully put together, but I would like to see a little more individuality.
It seems like they are just playing what is written in the score.", How would you describe the emotional intent of the performance? ," It is beautifully put together, but lacks individuality and personal flair.",train
198,n32-moz-snt331-1-h-p02_c18.txt,n32-moz-snt331-1-h-p02.wav,"Weak in strength. Especially at sf.
Overall, it is beautifully put together, but I would like to see a little more individuality.
It seems like they are just playing what is written in the score.", Is the performance following score instructions? ," Yes, but it seems like they are just strictly playing what is written in the score.",train
199,n32-moz-snt331-1-h-p02_c18.txt,n32-moz-snt331-1-h-p02.wav,"Weak in strength. Especially at sf.
Overall, it is beautifully put together, but I would like to see a little more individuality.
It seems like they are just playing what is written in the score.", What does the student needs to work on? ," The student needs to work on strength in dynamics, particularly at sf (sforzando), and injecting more individuality into the performance.",train
200,n01-chp-etd003-s-p02_c21.txt,n01-chp-etd003-s-p02.wav,"The expression of ""swing"" in the Romantic style tends to make the performance sound like a drunken man if it is overdone, but the overall rhythm and tempo are well put together without any breakdown.
The volume balance of the three voices is very delicate, and the melody line is well defined and easy to understand.
The way each phrase is carefully captured makes for a very pleasing performance.
However, since the inflection of the strong and weak phrases is generally restrained, it might be better to play them a little more exaggeratedly. In particular, the ff at the beginning of the 17th bar is played too gently, so try dropping the powerful sound expressed in the con forza of the 16th bar directly into the ff (never hit the keyboard).", Is there a reasonable balance between hands?  ," Yes, the volume balance of the three voices is delicate and well executed.",test
201,n01-chp-etd003-s-p02_c21.txt,n01-chp-etd003-s-p02.wav,"The expression of ""swing"" in the Romantic style tends to make the performance sound like a drunken man if it is overdone, but the overall rhythm and tempo are well put together without any breakdown.
The volume balance of the three voices is very delicate, and the melody line is well defined and easy to understand.
The way each phrase is carefully captured makes for a very pleasing performance.
However, since the inflection of the strong and weak phrases is generally restrained, it might be better to play them a little more exaggeratedly. In particular, the ff at the beginning of the 17th bar is played too gently, so try dropping the powerful sound expressed in the con forza of the 16th bar directly into the ff (never hit the keyboard).", Is the rhythm accurate? ," Yes, the rhythm and tempo are well put together without any breakdown.",test
202,n01-chp-etd003-s-p02_c21.txt,n01-chp-etd003-s-p02.wav,"The expression of ""swing"" in the Romantic style tends to make the performance sound like a drunken man if it is overdone, but the overall rhythm and tempo are well put together without any breakdown.
The volume balance of the three voices is very delicate, and the melody line is well defined and easy to understand.
The way each phrase is carefully captured makes for a very pleasing performance.
However, since the inflection of the strong and weak phrases is generally restrained, it might be better to play them a little more exaggeratedly. In particular, the ff at the beginning of the 17th bar is played too gently, so try dropping the powerful sound expressed in the con forza of the 16th bar directly into the ff (never hit the keyboard).", What does the student needs to work on? ," The student needs to work on their expression of ""swing"" to avoid overdoing it, and on exaggerating the inflection of the strong and weak phrases more. Particularly, the ff at the beginning of the 17th bar could be played with more forcefulness.",test
203,n31-sch-knd007-s-p01_c04.txt,n31-sch-knd007-s-p01.wav,"The pedaling is well done, although the chords tend to be muddy.
I think it would be better if the right hand could play the parts where the outer and inner voices cross each other (bars 7 and 11, etc.), as if to separate the vocal hierarchy a little more.", Is the pedal change clean? ," Yes, but the chords are somewhat muddy.",train
204,n31-sch-knd007-s-p01_c04.txt,n31-sch-knd007-s-p01.wav,"The pedaling is well done, although the chords tend to be muddy.
I think it would be better if the right hand could play the parts where the outer and inner voices cross each other (bars 7 and 11, etc.), as if to separate the vocal hierarchy a little more.", What does the student needs to work on? , The student could improve on playing the right hand parts where the outer and inner voices cross each other to more clearly distinguish the vocal hierarchy.,train
205,n31-sch-knd007-s-p01_c04.txt,n31-sch-knd007-s-p01.wav,"The pedaling is well done, although the chords tend to be muddy.
I think it would be better if the right hand could play the parts where the outer and inner voices cross each other (bars 7 and 11, etc.), as if to separate the vocal hierarchy a little more.", How is the overall pedal usage? ," It's well done, although the chords tend to be muddy.",train
206,n32-moz-snt331-1-h-p01_c06.txt,n32-moz-snt331-1-h-p01.wav,"The pedals seem slightly long.
The pedal of Mozart will need to be severely timed with the fingers and pedal so as not to muddy the pedal.
The notes sound brighter if they are not dragged. Especially where adjacent notes (e.g., do and re) are played with dotted eighth notes and sixteenth notes, you want to be careful because the notes overlap and cause dissonance.
Staccatos tend to be a bit too light, and you want to be careful not to make them jumpy and expressive.
Staccato has the nuance of being ""far apart"" from the note, and does not originally mean ""bouncing"" or ""cutting. In Mozart's time, the piano itself was different from the modern piano, so we should be even more careful about the meaning of staccato.
The ending is compact, light, and lovely, just like Mozart.", How is pedal usage? ," The pedals seem slightly long, there's a need to more precisely time pedalling to avoid muddying the tone.",test
207,n32-moz-snt331-1-h-p01_c06.txt,n32-moz-snt331-1-h-p01.wav,"The pedals seem slightly long.
The pedal of Mozart will need to be severely timed with the fingers and pedal so as not to muddy the pedal.
The notes sound brighter if they are not dragged. Especially where adjacent notes (e.g., do and re) are played with dotted eighth notes and sixteenth notes, you want to be careful because the notes overlap and cause dissonance.
Staccatos tend to be a bit too light, and you want to be careful not to make them jumpy and expressive.
Staccato has the nuance of being ""far apart"" from the note, and does not originally mean ""bouncing"" or ""cutting. In Mozart's time, the piano itself was different from the modern piano, so we should be even more careful about the meaning of staccato.
The ending is compact, light, and lovely, just like Mozart.", Is the articulation appropriate? ," Staccatos are bit too light and need to be played in a way that conveys their distance from other notes, avoiding becoming too jumpy or expressive.",test
208,n32-moz-snt331-1-h-p01_c06.txt,n32-moz-snt331-1-h-p01.wav,"The pedals seem slightly long.
The pedal of Mozart will need to be severely timed with the fingers and pedal so as not to muddy the pedal.
The notes sound brighter if they are not dragged. Especially where adjacent notes (e.g., do and re) are played with dotted eighth notes and sixteenth notes, you want to be careful because the notes overlap and cause dissonance.
Staccatos tend to be a bit too light, and you want to be careful not to make them jumpy and expressive.
Staccato has the nuance of being ""far apart"" from the note, and does not originally mean ""bouncing"" or ""cutting. In Mozart's time, the piano itself was different from the modern piano, so we should be even more careful about the meaning of staccato.
The ending is compact, light, and lovely, just like Mozart.", What does the student needs to work on? ," The student needs to work on the pedal timing and articulation. Care should be taken where adjacent notes overlap to avoid dissonance, and the meaning of staccato needs to be understood and implemented keeping in mind the difference between modern pianos and those of Mozart's time.",test
209,n48-deb-rev068-s-p01_c12.txt,n48-deb-rev068-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"　　The tone is soft and flowing, and the performance is very nice.
　　I like the breadth of expression after the melody becomes octave playing.
　　I would like to see a little more movement of sound in the middle section from the 51st bar.
Each phrase is carefully played, but when listening to the whole piece, it sounds a little too slow.
If you create some movement in the middle section, the softness and beauty of the sound after returning to ""Tempo I"" will come alive.
　　I think you are practicing very carefully.",train
210,n26-bet-snt008-2-s-p01_c16.txt,n26-bet-snt008-2-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"　This is a very beautiful piece written by Beethoven. This performance clearly shows that the player has been practicing very carefully and listening to the notes very carefully. The right hand melody notes and the bass notes in the left hand are well balanced as if the fingers are well supported.

　The next task is not only to improve the vertical balance but also to listen to the horizontal connections. The melody and bass are marked with ""slurs,"" so it is of course important to play them in a connected manner, but since slurs are originally phrasing symbols, the sixteenth notes of the left hand accompaniment, which are not marked with slurs, should be played in the same smooth manner. I understand that you want to play each note carefully, but at the same time, if you can hear these sixteenth notes as a single mass or flow, just like the melody and bass, the whole performance will become more lively.",train
211,n17-bac-inv001-s-p02_c23.txt,n17-bac-inv001-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Each note is played clearly and carefully. To improve this performance, it would be good to learn the playing style of the period in which this piece was written. In this performance, there were crescendos and rubato like those of the Romantic period. Singing in a word, the style of singing varies from period to period. In Bach's time, the tempo was somewhat constant, and crescendos and rubato were performed sparingly. Even in this situation, it is possible to sing beautifully. Listen to recordings by various pianists and study them.",train
212,n01-chp-etd003-s-p01_c05.txt,n01-chp-etd003-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"It went in very gently, but a little too weak and there is not much difference between it and the pp that comes in the second half.
Since the right hand notes are adjacent to each other, you should be a little more careful with the pedal so as not to muddy the sound.
Ff should be played a little harder to make it more expressive.
Be careful not to play too delicately, because the left hand tends to lose notes.",train
213,n48-deb-rev068-s-p01_c12.txt,n48-deb-rev068-s-p01.wav,"　　The tone is soft and flowing, and the performance is very nice.
　　I like the breadth of expression after the melody becomes octave playing.
　　I would like to see a little more movement of sound in the middle section from the 51st bar.
Each phrase is carefully played, but when listening to the whole piece, it sounds a little too slow.
If you create some movement in the middle section, the softness and beauty of the sound after returning to ""Tempo I"" will come alive.
　　I think you are practicing very carefully.", How is the tone production? ," The tone is soft and flowing, the performance is very nice.",train
214,n48-deb-rev068-s-p01_c12.txt,n48-deb-rev068-s-p01.wav,"　　The tone is soft and flowing, and the performance is very nice.
　　I like the breadth of expression after the melody becomes octave playing.
　　I would like to see a little more movement of sound in the middle section from the 51st bar.
Each phrase is carefully played, but when listening to the whole piece, it sounds a little too slow.
If you create some movement in the middle section, the softness and beauty of the sound after returning to ""Tempo I"" will come alive.
　　I think you are practicing very carefully.", How is the overall tempo? , It sounds a little too slow.,train
215,n48-deb-rev068-s-p01_c12.txt,n48-deb-rev068-s-p01.wav,"　　The tone is soft and flowing, and the performance is very nice.
　　I like the breadth of expression after the melody becomes octave playing.
　　I would like to see a little more movement of sound in the middle section from the 51st bar.
Each phrase is carefully played, but when listening to the whole piece, it sounds a little too slow.
If you create some movement in the middle section, the softness and beauty of the sound after returning to ""Tempo I"" will come alive.
　　I think you are practicing very carefully.", What does the student needs to work on? , The student needs to create some movement of sound in the middle section from the 51st bar and careful about the overall tempo.,train
216,n26-bet-snt008-2-s-p01_c16.txt,n26-bet-snt008-2-s-p01.wav,"　This is a very beautiful piece written by Beethoven. This performance clearly shows that the player has been practicing very carefully and listening to the notes very carefully. The right hand melody notes and the bass notes in the left hand are well balanced as if the fingers are well supported.

　The next task is not only to improve the vertical balance but also to listen to the horizontal connections. The melody and bass are marked with ""slurs,"" so it is of course important to play them in a connected manner, but since slurs are originally phrasing symbols, the sixteenth notes of the left hand accompaniment, which are not marked with slurs, should be played in the same smooth manner. I understand that you want to play each note carefully, but at the same time, if you can hear these sixteenth notes as a single mass or flow, just like the melody and bass, the whole performance will become more lively.", In which skill level would you say the performer is in? , The performer has been practicing very carefully and listening to the notes attentively.,train
217,n26-bet-snt008-2-s-p01_c16.txt,n26-bet-snt008-2-s-p01.wav,"　This is a very beautiful piece written by Beethoven. This performance clearly shows that the player has been practicing very carefully and listening to the notes very carefully. The right hand melody notes and the bass notes in the left hand are well balanced as if the fingers are well supported.

　The next task is not only to improve the vertical balance but also to listen to the horizontal connections. The melody and bass are marked with ""slurs,"" so it is of course important to play them in a connected manner, but since slurs are originally phrasing symbols, the sixteenth notes of the left hand accompaniment, which are not marked with slurs, should be played in the same smooth manner. I understand that you want to play each note carefully, but at the same time, if you can hear these sixteenth notes as a single mass or flow, just like the melody and bass, the whole performance will become more lively.", Is there reasonable balance between hands? , The right hand melody notes and the left hand bass notes are well balanced.,train
218,n26-bet-snt008-2-s-p01_c16.txt,n26-bet-snt008-2-s-p01.wav,"　This is a very beautiful piece written by Beethoven. This performance clearly shows that the player has been practicing very carefully and listening to the notes very carefully. The right hand melody notes and the bass notes in the left hand are well balanced as if the fingers are well supported.

　The next task is not only to improve the vertical balance but also to listen to the horizontal connections. The melody and bass are marked with ""slurs,"" so it is of course important to play them in a connected manner, but since slurs are originally phrasing symbols, the sixteenth notes of the left hand accompaniment, which are not marked with slurs, should be played in the same smooth manner. I understand that you want to play each note carefully, but at the same time, if you can hear these sixteenth notes as a single mass or flow, just like the melody and bass, the whole performance will become more lively.", What does the student needs to work on? , The student needs to improve the vertical balance and listen to the horizontal connections.,train
219,n17-bac-inv001-s-p02_c23.txt,n17-bac-inv001-s-p02.wav,"Each note is played clearly and carefully. To improve this performance, it would be good to learn the playing style of the period in which this piece was written. In this performance, there were crescendos and rubato like those of the Romantic period. Singing in a word, the style of singing varies from period to period. In Bach's time, the tempo was somewhat constant, and crescendos and rubato were performed sparingly. Even in this situation, it is possible to sing beautifully. Listen to recordings by various pianists and study them.", Is the performed note accurate? , Each note is played clearly and carefully.,train
220,n17-bac-inv001-s-p02_c23.txt,n17-bac-inv001-s-p02.wav,"Each note is played clearly and carefully. To improve this performance, it would be good to learn the playing style of the period in which this piece was written. In this performance, there were crescendos and rubato like those of the Romantic period. Singing in a word, the style of singing varies from period to period. In Bach's time, the tempo was somewhat constant, and crescendos and rubato were performed sparingly. Even in this situation, it is possible to sing beautifully. Listen to recordings by various pianists and study them.", Is the interpretation appropriate to the style of the composition? , It would be good to learn the playing style of the period in which this piece was written.,train
221,n17-bac-inv001-s-p02_c23.txt,n17-bac-inv001-s-p02.wav,"Each note is played clearly and carefully. To improve this performance, it would be good to learn the playing style of the period in which this piece was written. In this performance, there were crescendos and rubato like those of the Romantic period. Singing in a word, the style of singing varies from period to period. In Bach's time, the tempo was somewhat constant, and crescendos and rubato were performed sparingly. Even in this situation, it is possible to sing beautifully. Listen to recordings by various pianists and study them.", What does the student needs to work on? , The student needs to learn more about period singing styles and listen to various pianists' recordings to study.,train
222,n01-chp-etd003-s-p01_c05.txt,n01-chp-etd003-s-p01.wav,"It went in very gently, but a little too weak and there is not much difference between it and the pp that comes in the second half.
Since the right hand notes are adjacent to each other, you should be a little more careful with the pedal so as not to muddy the sound.
Ff should be played a little harder to make it more expressive.
Be careful not to play too delicately, because the left hand tends to lose notes.", What's the dynamics contrast in the performance? , It is a bit too weak and lacked contrast with the pp part in the second half.,train
223,n01-chp-etd003-s-p01_c05.txt,n01-chp-etd003-s-p01.wav,"It went in very gently, but a little too weak and there is not much difference between it and the pp that comes in the second half.
Since the right hand notes are adjacent to each other, you should be a little more careful with the pedal so as not to muddy the sound.
Ff should be played a little harder to make it more expressive.
Be careful not to play too delicately, because the left hand tends to lose notes.", Is the pedal usage appropriate? , Needs to handle the pedal a little more carefully as the right hand notes are adjacent to each other.,train
224,n01-chp-etd003-s-p01_c05.txt,n01-chp-etd003-s-p01.wav,"It went in very gently, but a little too weak and there is not much difference between it and the pp that comes in the second half.
Since the right hand notes are adjacent to each other, you should be a little more careful with the pedal so as not to muddy the sound.
Ff should be played a little harder to make it more expressive.
Be careful not to play too delicately, because the left hand tends to lose notes.", What does the student needs to work on? , The student needs to play Ff a bit harder for better expressiveness and avoid playing too delicately because the left hand tends to lose notes.,train
225,n32-moz-snt331-1-h-p01_c24.txt,n32-moz-snt331-1-h-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"I thought it was very good that the player was generally relaxed and played gracefully and leisurely.
I thought it would be better if you could work on the last part of the phrase, where it is good to let your breath go out.",test
226,n22-bac-inv015-s-p02_c16.txt,n22-bac-inv015-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"　It is difficult to play Bach's Inventions with a lot of leeway because they are all made up of only a horizontal flow of two voices, and even the slightest mistake can be felt greatly by the audience.

　In Bach's music, it is often said, ""How do you think about the ornamented notes in the Prübla? This is a very important question. This is a topic so deep that a whole book could be written on it alone, so I won't go into details here. If you are interested, please look for it on the Web. If you are interested, you can find more information on the web. （The thing that bothers me about this performance is that the way the ornaments are played is different when they appear in the right hand and when they appear in the left hand (the right hand plays them backward and the left hand plays them forward). （The right hand is now in the back and the left hand is in the front.) This must at least be unified. Let's practice slowly here so that the right hand can also play with the front alignment.",train
227,n31-sch-knd007-s-p02_c22.txt,n31-sch-knd007-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The complex harmonic progression of the middle voice and the balance of the four voices are also beautiful,
　I was impressed by the soft and gentle tone of the music,
　I was impressed by the soft and gentle tone.

I was impressed by the soft and gentle tone that made me feel like I was in a dream,
　Listening to the performance,
　I was listening to the performance of ""Troimelai"" (daydream, dreaminess) in ""Children's Scene"",
　I felt the soft light of a child's innocence,
　I was struck by the rich expressiveness of the performance,
　The expressive performance warmed my heart.

I felt that the performance was in keeping with Schumann's wish for the piece to be played this way.
　I felt intuitively that the performance was close to Schumann's wish.",train
228,n01-chp-etd003-s-p12_c02.txt,n01-chp-etd003-s-p12.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Are your fingernails stretched? The ticking sound is noticeable throughout the piece.
The Fis in the right hand in bars 1 and 9 is buried in the chords, making it difficult to hear. Since it is played by the little finger, it would be better to be more conscious of this and make it a little easier to hear.
I have the impression that the ornamental Ais in bars 7 and 8 is too prominent. Since it is only an ornamental note, don't put too much weight on the Ais, but be aware of the next Gis.
There are places where the chords sound out of tune, such as in the right hand on the second beat of measure 11. It depends on the size of your hands, but they should sound aligned.
The left hand from the second beat of measure 13 sounds muddy. You can play the pedal shallowly, not too deeply, or you can pedal on the first beat and gradually raise the pedal on the second beat.
The crescendo in bar 15 sounds like a sudden ""f"" after the second beat, so it would be better to play it gradually.",train
229,n32-moz-snt331-1-h-p01_c24.txt,n32-moz-snt331-1-h-p01.wav,"I thought it was very good that the player was generally relaxed and played gracefully and leisurely.
I thought it would be better if you could work on the last part of the phrase, where it is good to let your breath go out.", How would you describe the emotional intent of the performance? , The player was generally relaxed and played gracefully and leisurely. ,test
230,n32-moz-snt331-1-h-p01_c24.txt,n32-moz-snt331-1-h-p01.wav,"I thought it was very good that the player was generally relaxed and played gracefully and leisurely.
I thought it would be better if you could work on the last part of the phrase, where it is good to let your breath go out.", What does the student need to work on? ," It would be better to work on the last part of the phrase, let your breath go out more. ",test
231,n32-moz-snt331-1-h-p01_c24.txt,n32-moz-snt331-1-h-p01.wav,"I thought it was very good that the player was generally relaxed and played gracefully and leisurely.
I thought it would be better if you could work on the last part of the phrase, where it is good to let your breath go out.", In which skill level would you say the performer is in? ," Very good, as the player was generally relaxed and graceful.",test
232,n22-bac-inv015-s-p02_c16.txt,n22-bac-inv015-s-p02.wav,"　It is difficult to play Bach's Inventions with a lot of leeway because they are all made up of only a horizontal flow of two voices, and even the slightest mistake can be felt greatly by the audience.

　In Bach's music, it is often said, ""How do you think about the ornamented notes in the Prübla? This is a very important question. This is a topic so deep that a whole book could be written on it alone, so I won't go into details here. If you are interested, please look for it on the Web. If you are interested, you can find more information on the web. （The thing that bothers me about this performance is that the way the ornaments are played is different when they appear in the right hand and when they appear in the left hand (the right hand plays them backward and the left hand plays them forward). （The right hand is now in the back and the left hand is in the front.) This must at least be unified. Let's practice slowly here so that the right hand can also play with the front alignment.", Is the performed note accurate? , It's difficult to play Bach's Inventions with a lot of leeway. Even the slightest mistake can be greatly felt by the audience. ,train
233,n22-bac-inv015-s-p02_c16.txt,n22-bac-inv015-s-p02.wav,"　It is difficult to play Bach's Inventions with a lot of leeway because they are all made up of only a horizontal flow of two voices, and even the slightest mistake can be felt greatly by the audience.

　In Bach's music, it is often said, ""How do you think about the ornamented notes in the Prübla? This is a very important question. This is a topic so deep that a whole book could be written on it alone, so I won't go into details here. If you are interested, please look for it on the Web. If you are interested, you can find more information on the web. （The thing that bothers me about this performance is that the way the ornaments are played is different when they appear in the right hand and when they appear in the left hand (the right hand plays them backward and the left hand plays them forward). （The right hand is now in the back and the left hand is in the front.) This must at least be unified. Let's practice slowly here so that the right hand can also play with the front alignment.", What does the student need to work on? , The way the ornaments are played is different when they appear in the right hand and when they appear in the left hand. This needs to be unified. ,train
234,n22-bac-inv015-s-p02_c16.txt,n22-bac-inv015-s-p02.wav,"　It is difficult to play Bach's Inventions with a lot of leeway because they are all made up of only a horizontal flow of two voices, and even the slightest mistake can be felt greatly by the audience.

　In Bach's music, it is often said, ""How do you think about the ornamented notes in the Prübla? This is a very important question. This is a topic so deep that a whole book could be written on it alone, so I won't go into details here. If you are interested, please look for it on the Web. If you are interested, you can find more information on the web. （The thing that bothers me about this performance is that the way the ornaments are played is different when they appear in the right hand and when they appear in the left hand (the right hand plays them backward and the left hand plays them forward). （The right hand is now in the back and the left hand is in the front.) This must at least be unified. Let's practice slowly here so that the right hand can also play with the front alignment.", Is the interpretation appropriate to the style of the composition? , The interpretation needs to better align with Bach's style. ,train
235,n31-sch-knd007-s-p02_c22.txt,n31-sch-knd007-s-p02.wav,"The complex harmonic progression of the middle voice and the balance of the four voices are also beautiful,
　I was impressed by the soft and gentle tone of the music,
　I was impressed by the soft and gentle tone.

I was impressed by the soft and gentle tone that made me feel like I was in a dream,
　Listening to the performance,
　I was listening to the performance of ""Troimelai"" (daydream, dreaminess) in ""Children's Scene"",
　I felt the soft light of a child's innocence,
　I was struck by the rich expressiveness of the performance,
　The expressive performance warmed my heart.

I felt that the performance was in keeping with Schumann's wish for the piece to be played this way.
　I felt intuitively that the performance was close to Schumann's wish.", How would you describe the emotional intent of the performance? ," Soft and gentle, soothing like a lullaby, reflective of a child's innocence.",train
236,n31-sch-knd007-s-p02_c22.txt,n31-sch-knd007-s-p02.wav,"The complex harmonic progression of the middle voice and the balance of the four voices are also beautiful,
　I was impressed by the soft and gentle tone of the music,
　I was impressed by the soft and gentle tone.

I was impressed by the soft and gentle tone that made me feel like I was in a dream,
　Listening to the performance,
　I was listening to the performance of ""Troimelai"" (daydream, dreaminess) in ""Children's Scene"",
　I felt the soft light of a child's innocence,
　I was struck by the rich expressiveness of the performance,
　The expressive performance warmed my heart.

I felt that the performance was in keeping with Schumann's wish for the piece to be played this way.
　I felt intuitively that the performance was close to Schumann's wish.", What are the strengths of the performer? ," Beautiful balance and harmonic progression in the voices, and expressive.",train
237,n31-sch-knd007-s-p02_c22.txt,n31-sch-knd007-s-p02.wav,"The complex harmonic progression of the middle voice and the balance of the four voices are also beautiful,
　I was impressed by the soft and gentle tone of the music,
　I was impressed by the soft and gentle tone.

I was impressed by the soft and gentle tone that made me feel like I was in a dream,
　Listening to the performance,
　I was listening to the performance of ""Troimelai"" (daydream, dreaminess) in ""Children's Scene"",
　I felt the soft light of a child's innocence,
　I was struck by the rich expressiveness of the performance,
　The expressive performance warmed my heart.

I felt that the performance was in keeping with Schumann's wish for the piece to be played this way.
　I felt intuitively that the performance was close to Schumann's wish.", Is the interpretation appropriate to the style of the composition? ," Yes, the performance seemed close to Schumann's wish.",train
238,n01-chp-etd003-s-p12_c02.txt,n01-chp-etd003-s-p12.wav,"Are your fingernails stretched? The ticking sound is noticeable throughout the piece.
The Fis in the right hand in bars 1 and 9 is buried in the chords, making it difficult to hear. Since it is played by the little finger, it would be better to be more conscious of this and make it a little easier to hear.
I have the impression that the ornamental Ais in bars 7 and 8 is too prominent. Since it is only an ornamental note, don't put too much weight on the Ais, but be aware of the next Gis.
There are places where the chords sound out of tune, such as in the right hand on the second beat of measure 11. It depends on the size of your hands, but they should sound aligned.
The left hand from the second beat of measure 13 sounds muddy. You can play the pedal shallowly, not too deeply, or you can pedal on the first beat and gradually raise the pedal on the second beat.
The crescendo in bar 15 sounds like a sudden ""f"" after the second beat, so it would be better to play it gradually.", Is the performed note accurate? ," There were a few inaccuracies, the Fis in the right hand in bars 1 and 9 is buried in the chords and needs to be clearer. Also, the ornamental Ais in bars 7 and 8 is too prominent. ",train
239,n01-chp-etd003-s-p12_c02.txt,n01-chp-etd003-s-p12.wav,"Are your fingernails stretched? The ticking sound is noticeable throughout the piece.
The Fis in the right hand in bars 1 and 9 is buried in the chords, making it difficult to hear. Since it is played by the little finger, it would be better to be more conscious of this and make it a little easier to hear.
I have the impression that the ornamental Ais in bars 7 and 8 is too prominent. Since it is only an ornamental note, don't put too much weight on the Ais, but be aware of the next Gis.
There are places where the chords sound out of tune, such as in the right hand on the second beat of measure 11. It depends on the size of your hands, but they should sound aligned.
The left hand from the second beat of measure 13 sounds muddy. You can play the pedal shallowly, not too deeply, or you can pedal on the first beat and gradually raise the pedal on the second beat.
The crescendo in bar 15 sounds like a sudden ""f"" after the second beat, so it would be better to play it gradually.", Is the performance following score instructions? ," Some chords sound out of tune and the crescendo in bar 15 sounds like a sudden ""f"" after the second beat. ",train
240,n01-chp-etd003-s-p12_c02.txt,n01-chp-etd003-s-p12.wav,"Are your fingernails stretched? The ticking sound is noticeable throughout the piece.
The Fis in the right hand in bars 1 and 9 is buried in the chords, making it difficult to hear. Since it is played by the little finger, it would be better to be more conscious of this and make it a little easier to hear.
I have the impression that the ornamental Ais in bars 7 and 8 is too prominent. Since it is only an ornamental note, don't put too much weight on the Ais, but be aware of the next Gis.
There are places where the chords sound out of tune, such as in the right hand on the second beat of measure 11. It depends on the size of your hands, but they should sound aligned.
The left hand from the second beat of measure 13 sounds muddy. You can play the pedal shallowly, not too deeply, or you can pedal on the first beat and gradually raise the pedal on the second beat.
The crescendo in bar 15 sounds like a sudden ""f"" after the second beat, so it would be better to play it gradually.", What does the student need to work on? ," The ticking sound throughout the piece is distracting, it suggests that the fingernails might be too long. Also, the left hand from the second beat of measure 13 sounds muddy. The pedaling could be improved.",train
241,n46-deb-pld108-s-p01_c13.txt,n46-deb-pld108-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"I liked the performance, which was very delicately thought out in terms of melodic intensity and tempo swings.

There were many long notes, but I would like to keep in mind that even in such a situation, the performance should not forget tempo.",train
242,n31-sch-knd007-s-p02_c11.txt,n31-sch-knd007-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Harmony, phrasing, articulation, everything is absolutely fine, perfect music reading.
However, while it was beautiful and a pleasure for anyone to hear, I felt like an announcer or narrator.

Let me make a few corrections.
The crescendo in the first and second phrases may be too strong.
I see the crescendo here as a crescendo in terms of feeling, not in terms of sound.
The minor part of the third and fourth phrases could be played a little faster.
The reason is that we want to focus on the denial of the minor key later on.
As for the last rit., I feel that it would be fine to start playing it from measure 21.
Also, are you conscious of your breathing?
Try to be aware of your breathing and see where you exhale, hold your exhale, inhale, and hold your inhale.
If you play with a breath that suits your senses, it will be easier to hear the notes you produce and easier for your image to ride the melody.


Supplementary;.
Dig deeper into the meaning of the title,
""I, as an adult, am looking back in time at a scene from my childhood,"" ""I affirm what I remember and come back to the present with a sense of fulfillment,"" and ""I want to tell someone about this.""
I believe that this state of mind is also the key to making changes in the eight phrases that make up this song.
Specifically, the interpretation is that the ""Do"" in the aufktak takes us all the way back to the past, and the fermata in measure 22 brings us back to the present.

Also, in Schumann's music, it is possible to create an atmosphere if you think that once a note is played, it does not disappear.
It is not as if the notes are overlapping, but as if they are being added to each other.
It is good to imagine that the keyboard is the canvas and your fingers are the brushes, like painting a picture.",train
243,n22-bac-inv015-s-p01_c03.txt,n22-bac-inv015-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Bach's works are a very difficult category when played on the piano.
Originally, in the period when Bach composed his works, they were played on the harpsichord, not the piano. The harpsichord cannot hold its sound for a long time because of the instrument's structure. Therefore, when you listen to recordings, it sounds as if all the notes are cut off. Whether it is necessary to reproduce such a technique on the piano may be controversial, but I think it is good to imagine how it sounds in order to understand the composer's intention.

If you look at the first measure, you will see that an eighth rest is written deliberately in the left hand. I think this means that it should definitely be cut shorter than a quarter note. It makes it a little lighter.
And the right hand is the fugue motif (theme). There are various interpretations of the ornamental notes, and opinions differ as to whether they should be placed on the top or the bottom (in the first measure, whether they should be la solo or solo solo solo), but one important thing to remember is that in Baroque works, the rule is to always place them at the beginning of the beat. This means that the left hand's playing of the mi note and the beginning of the ornament must be at the same time. Be careful not to start before the left hand. An exception to this rule is the ornamentation that begins after the left hand, which can be found in works by French composers of the Baroque period.
And as mentioned above, this is a fugue, so the same theme appears many times. Once you mark them in the score, it will be easier to understand. The principle is that the same theme is basically played in the same way.
The eighth and ninth bars are called ""sequents,"" which are repetitive progressions. In bar 10, the zequenz is a more detailed movement. Here the repetition is one beat at a time. There is more forward force, leading to the cadenza (terminal form) in the next bar. The end form (dominant-tonica) flows all the way to the last note (here, the first note of measure 12, the ""Re"" note).
The theme then appears in the left hand, modulating to the major key. It is a good idea to start playing with a new mood here, so you may want to leave a little more space between notes. For this reason, it is better not to slow down too much at the end of the previous phrase to make it easier to express.
There is a ritardando on the last bar, but as was the trend in the Baroque era, I think it would be fine to play it without a rit and just add a momentary break before the last note.",test
244,n01-chp-etd003-s-p12_c08.txt,n01-chp-etd003-s-p12.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The volume balance between the main melody and the accompaniment is well balanced and beautiful.
I feel that Dinner Miku is faithful to the score, but in what direction did you decide to go with this expression?
Did you experiment with other possibilities of expression?",train
245,n46-deb-pld108-s-p01_c13.txt,n46-deb-pld108-s-p01.wav,"I liked the performance, which was very delicately thought out in terms of melodic intensity and tempo swings.

There were many long notes, but I would like to keep in mind that even in such a situation, the performance should not forget tempo.", How would you describe the emotional intent of the performance? , It was very delicately thought out in terms of melodic intensity and tempo swings.,train
246,n46-deb-pld108-s-p01_c13.txt,n46-deb-pld108-s-p01.wav,"I liked the performance, which was very delicately thought out in terms of melodic intensity and tempo swings.

There were many long notes, but I would like to keep in mind that even in such a situation, the performance should not forget tempo.", Is the performed tempo stable? ," Yes, despite many long notes, the performance maintained tempo.",train
247,n46-deb-pld108-s-p01_c13.txt,n46-deb-pld108-s-p01.wav,"I liked the performance, which was very delicately thought out in terms of melodic intensity and tempo swings.

There were many long notes, but I would like to keep in mind that even in such a situation, the performance should not forget tempo.", Is the interpretation appropriate to the style of the composition? ," Yes, the performance was delicately thought out and didn't forget the tempo even during long notes.",train
248,n31-sch-knd007-s-p02_c11.txt,n31-sch-knd007-s-p02.wav,"Harmony, phrasing, articulation, everything is absolutely fine, perfect music reading.
However, while it was beautiful and a pleasure for anyone to hear, I felt like an announcer or narrator.

Let me make a few corrections.
The crescendo in the first and second phrases may be too strong.
I see the crescendo here as a crescendo in terms of feeling, not in terms of sound.
The minor part of the third and fourth phrases could be played a little faster.
The reason is that we want to focus on the denial of the minor key later on.
As for the last rit., I feel that it would be fine to start playing it from measure 21.
Also, are you conscious of your breathing?
Try to be aware of your breathing and see where you exhale, hold your exhale, inhale, and hold your inhale.
If you play with a breath that suits your senses, it will be easier to hear the notes you produce and easier for your image to ride the melody.


Supplementary;.
Dig deeper into the meaning of the title,
""I, as an adult, am looking back in time at a scene from my childhood,"" ""I affirm what I remember and come back to the present with a sense of fulfillment,"" and ""I want to tell someone about this.""
I believe that this state of mind is also the key to making changes in the eight phrases that make up this song.
Specifically, the interpretation is that the ""Do"" in the aufktak takes us all the way back to the past, and the fermata in measure 22 brings us back to the present.

Also, in Schumann's music, it is possible to create an atmosphere if you think that once a note is played, it does not disappear.
It is not as if the notes are overlapping, but as if they are being added to each other.
It is good to imagine that the keyboard is the canvas and your fingers are the brushes, like painting a picture."," How is the student's grasp of the piece's harmony, phrasing, and articulation? "," Everything is absolutely fine, perfect music reading.",train
249,n31-sch-knd007-s-p02_c11.txt,n31-sch-knd007-s-p02.wav,"Harmony, phrasing, articulation, everything is absolutely fine, perfect music reading.
However, while it was beautiful and a pleasure for anyone to hear, I felt like an announcer or narrator.

Let me make a few corrections.
The crescendo in the first and second phrases may be too strong.
I see the crescendo here as a crescendo in terms of feeling, not in terms of sound.
The minor part of the third and fourth phrases could be played a little faster.
The reason is that we want to focus on the denial of the minor key later on.
As for the last rit., I feel that it would be fine to start playing it from measure 21.
Also, are you conscious of your breathing?
Try to be aware of your breathing and see where you exhale, hold your exhale, inhale, and hold your inhale.
If you play with a breath that suits your senses, it will be easier to hear the notes you produce and easier for your image to ride the melody.


Supplementary;.
Dig deeper into the meaning of the title,
""I, as an adult, am looking back in time at a scene from my childhood,"" ""I affirm what I remember and come back to the present with a sense of fulfillment,"" and ""I want to tell someone about this.""
I believe that this state of mind is also the key to making changes in the eight phrases that make up this song.
Specifically, the interpretation is that the ""Do"" in the aufktak takes us all the way back to the past, and the fermata in measure 22 brings us back to the present.

Also, in Schumann's music, it is possible to create an atmosphere if you think that once a note is played, it does not disappear.
It is not as if the notes are overlapping, but as if they are being added to each other.
It is good to imagine that the keyboard is the canvas and your fingers are the brushes, like painting a picture.", How would you describe the emotional intent of the performance? , It felt like an announcer or narrator.,train
250,n31-sch-knd007-s-p02_c11.txt,n31-sch-knd007-s-p02.wav,"Harmony, phrasing, articulation, everything is absolutely fine, perfect music reading.
However, while it was beautiful and a pleasure for anyone to hear, I felt like an announcer or narrator.

Let me make a few corrections.
The crescendo in the first and second phrases may be too strong.
I see the crescendo here as a crescendo in terms of feeling, not in terms of sound.
The minor part of the third and fourth phrases could be played a little faster.
The reason is that we want to focus on the denial of the minor key later on.
As for the last rit., I feel that it would be fine to start playing it from measure 21.
Also, are you conscious of your breathing?
Try to be aware of your breathing and see where you exhale, hold your exhale, inhale, and hold your inhale.
If you play with a breath that suits your senses, it will be easier to hear the notes you produce and easier for your image to ride the melody.


Supplementary;.
Dig deeper into the meaning of the title,
""I, as an adult, am looking back in time at a scene from my childhood,"" ""I affirm what I remember and come back to the present with a sense of fulfillment,"" and ""I want to tell someone about this.""
I believe that this state of mind is also the key to making changes in the eight phrases that make up this song.
Specifically, the interpretation is that the ""Do"" in the aufktak takes us all the way back to the past, and the fermata in measure 22 brings us back to the present.

Also, in Schumann's music, it is possible to create an atmosphere if you think that once a note is played, it does not disappear.
It is not as if the notes are overlapping, but as if they are being added to each other.
It is good to imagine that the keyboard is the canvas and your fingers are the brushes, like painting a picture.", What does the student needs to work on? , The student needs to convey the emotions of the piece better beyond just reading music.,train
251,n22-bac-inv015-s-p01_c03.txt,n22-bac-inv015-s-p01.wav,"Bach's works are a very difficult category when played on the piano.
Originally, in the period when Bach composed his works, they were played on the harpsichord, not the piano. The harpsichord cannot hold its sound for a long time because of the instrument's structure. Therefore, when you listen to recordings, it sounds as if all the notes are cut off. Whether it is necessary to reproduce such a technique on the piano may be controversial, but I think it is good to imagine how it sounds in order to understand the composer's intention.

If you look at the first measure, you will see that an eighth rest is written deliberately in the left hand. I think this means that it should definitely be cut shorter than a quarter note. It makes it a little lighter.
And the right hand is the fugue motif (theme). There are various interpretations of the ornamental notes, and opinions differ as to whether they should be placed on the top or the bottom (in the first measure, whether they should be la solo or solo solo solo), but one important thing to remember is that in Baroque works, the rule is to always place them at the beginning of the beat. This means that the left hand's playing of the mi note and the beginning of the ornament must be at the same time. Be careful not to start before the left hand. An exception to this rule is the ornamentation that begins after the left hand, which can be found in works by French composers of the Baroque period.
And as mentioned above, this is a fugue, so the same theme appears many times. Once you mark them in the score, it will be easier to understand. The principle is that the same theme is basically played in the same way.
The eighth and ninth bars are called ""sequents,"" which are repetitive progressions. In bar 10, the zequenz is a more detailed movement. Here the repetition is one beat at a time. There is more forward force, leading to the cadenza (terminal form) in the next bar. The end form (dominant-tonica) flows all the way to the last note (here, the first note of measure 12, the ""Re"" note).
The theme then appears in the left hand, modulating to the major key. It is a good idea to start playing with a new mood here, so you may want to leave a little more space between notes. For this reason, it is better not to slow down too much at the end of the previous phrase to make it easier to express.
There is a ritardando on the last bar, but as was the trend in the Baroque era, I think it would be fine to play it without a rit and just add a momentary break before the last note.", How would you rate the difficulty level of this piece? ," Very high, as Bach's works generally are when played on the piano.",test
252,n22-bac-inv015-s-p01_c03.txt,n22-bac-inv015-s-p01.wav,"Bach's works are a very difficult category when played on the piano.
Originally, in the period when Bach composed his works, they were played on the harpsichord, not the piano. The harpsichord cannot hold its sound for a long time because of the instrument's structure. Therefore, when you listen to recordings, it sounds as if all the notes are cut off. Whether it is necessary to reproduce such a technique on the piano may be controversial, but I think it is good to imagine how it sounds in order to understand the composer's intention.

If you look at the first measure, you will see that an eighth rest is written deliberately in the left hand. I think this means that it should definitely be cut shorter than a quarter note. It makes it a little lighter.
And the right hand is the fugue motif (theme). There are various interpretations of the ornamental notes, and opinions differ as to whether they should be placed on the top or the bottom (in the first measure, whether they should be la solo or solo solo solo), but one important thing to remember is that in Baroque works, the rule is to always place them at the beginning of the beat. This means that the left hand's playing of the mi note and the beginning of the ornament must be at the same time. Be careful not to start before the left hand. An exception to this rule is the ornamentation that begins after the left hand, which can be found in works by French composers of the Baroque period.
And as mentioned above, this is a fugue, so the same theme appears many times. Once you mark them in the score, it will be easier to understand. The principle is that the same theme is basically played in the same way.
The eighth and ninth bars are called ""sequents,"" which are repetitive progressions. In bar 10, the zequenz is a more detailed movement. Here the repetition is one beat at a time. There is more forward force, leading to the cadenza (terminal form) in the next bar. The end form (dominant-tonica) flows all the way to the last note (here, the first note of measure 12, the ""Re"" note).
The theme then appears in the left hand, modulating to the major key. It is a good idea to start playing with a new mood here, so you may want to leave a little more space between notes. For this reason, it is better not to slow down too much at the end of the previous phrase to make it easier to express.
There is a ritardando on the last bar, but as was the trend in the Baroque era, I think it would be fine to play it without a rit and just add a momentary break before the last note.", What does the student needs to work on? ," The student needs to consider Bach's original instrument, the harpsichord, in their interpretation to capture his musical intention.",test
253,n22-bac-inv015-s-p01_c03.txt,n22-bac-inv015-s-p01.wav,"Bach's works are a very difficult category when played on the piano.
Originally, in the period when Bach composed his works, they were played on the harpsichord, not the piano. The harpsichord cannot hold its sound for a long time because of the instrument's structure. Therefore, when you listen to recordings, it sounds as if all the notes are cut off. Whether it is necessary to reproduce such a technique on the piano may be controversial, but I think it is good to imagine how it sounds in order to understand the composer's intention.

If you look at the first measure, you will see that an eighth rest is written deliberately in the left hand. I think this means that it should definitely be cut shorter than a quarter note. It makes it a little lighter.
And the right hand is the fugue motif (theme). There are various interpretations of the ornamental notes, and opinions differ as to whether they should be placed on the top or the bottom (in the first measure, whether they should be la solo or solo solo solo), but one important thing to remember is that in Baroque works, the rule is to always place them at the beginning of the beat. This means that the left hand's playing of the mi note and the beginning of the ornament must be at the same time. Be careful not to start before the left hand. An exception to this rule is the ornamentation that begins after the left hand, which can be found in works by French composers of the Baroque period.
And as mentioned above, this is a fugue, so the same theme appears many times. Once you mark them in the score, it will be easier to understand. The principle is that the same theme is basically played in the same way.
The eighth and ninth bars are called ""sequents,"" which are repetitive progressions. In bar 10, the zequenz is a more detailed movement. Here the repetition is one beat at a time. There is more forward force, leading to the cadenza (terminal form) in the next bar. The end form (dominant-tonica) flows all the way to the last note (here, the first note of measure 12, the ""Re"" note).
The theme then appears in the left hand, modulating to the major key. It is a good idea to start playing with a new mood here, so you may want to leave a little more space between notes. For this reason, it is better not to slow down too much at the end of the previous phrase to make it easier to express.
There is a ritardando on the last bar, but as was the trend in the Baroque era, I think it would be fine to play it without a rit and just add a momentary break before the last note.", How is the tone production? , The tone production can be improved by considering the difference between piano and harpsichord.,test
254,n01-chp-etd003-s-p12_c08.txt,n01-chp-etd003-s-p12.wav,"The volume balance between the main melody and the accompaniment is well balanced and beautiful.
I feel that Dinner Miku is faithful to the score, but in what direction did you decide to go with this expression?
Did you experiment with other possibilities of expression?", Is there reasonable balance between hands? ," Yes, the volume balance between the main melody and the accompaniment is well maintained.",train
255,n01-chp-etd003-s-p12_c08.txt,n01-chp-etd003-s-p12.wav,"The volume balance between the main melody and the accompaniment is well balanced and beautiful.
I feel that Dinner Miku is faithful to the score, but in what direction did you decide to go with this expression?
Did you experiment with other possibilities of expression?", Is the performance following score instructions? , The performance is faithful to the score.,train
256,n01-chp-etd003-s-p12_c08.txt,n01-chp-etd003-s-p12.wav,"The volume balance between the main melody and the accompaniment is well balanced and beautiful.
I feel that Dinner Miku is faithful to the score, but in what direction did you decide to go with this expression?
Did you experiment with other possibilities of expression?", Is the interpretation appropriate to the style of the composition? ," Yes, but the student could experiment with other possibilities of expression.",train
257,n32-moz-snt331-1-h-p02_c09.txt,n32-moz-snt331-1-h-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"I think it is played in a light and graceful manner typical of Mozart. What bothered me, however, was the treatment of the midora and the descending la in the right hand in the 12th bar. I felt that only the notes of the midora and the descending la in the right hand stood out strangely and did not match the music. Also, the end of the piece sounds too much like the end of the piece. I thought it would be better if it sounded as if it continued on to the next section.
However, I was impressed by the way the sforzando was inserted naturally and beautifully. Overall, the performance is an example of what an andante grazioso should sound like. I would like to listen to the rest of the performance.",train
258,n26-bet-snt008-2-s-p02_c11.txt,n26-bet-snt008-2-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"(Applause.) It's wonderful. I also want you to do this one more. At the first theme, I hear too much of the inner voice, so ignore it more. I want more bass. Play it with the bass in mind.

I can't say enough about the episodes from 17 and the reproduction from 29! It's perfect in terms of color and hoarding!
Let's do the 3rd movement already soon.",train
259,n31-sch-knd007-s-p12_c23.txt,n31-sch-knd007-s-p12.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The notes written in the score itself were picked up. However, the overall impression was one of roughness and lack of intonation. For example, the first note is indicated as P, but it is played at a volume of about F. The first note was played at a volume of about F from beginning to end, when it should have been played with intonation in accordance with the change of harmony and the progress of the music. In terms of expression, again, the reading of the score is insufficient. For example, in the 6th bar, Schumann wrote a crescendo for the right hand A note on the second beat, but this is not expressed. The left hand needs to be restrained a little, and the volume of the left and right hands should be balanced to emphasize the A note.
In the fourth measure, from the second to the fourth beat of the left hand, the pedal should not muddy each note.
Further study is needed to express the lovely and fantastic atmosphere of this piece.",train
260,n31-sch-knd007-s-p01_c01.txt,n31-sch-knd007-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"I was able to clearly understand how they wanted to play the piece and how they wanted to play it. It was a wonderful performance, and it seemed as if the player had a good understanding of the piece. The understanding of Romantic music was well-developed, and the way she played was delicate.
Especially, I could feel her understanding of harmony and the tension of changing harmonies. Even in the parts where the inner voices moved, I could feel the harmony in each note.
I think the balance of bass, inner voice, and melody is just right.
There were many variations of expression in the ""p"" and it was pleasant to listen to. I thought it would be nice if there were more expressions that gave a sense of tension in the ""p"".",train
261,n32-moz-snt331-1-h-p02_c09.txt,n32-moz-snt331-1-h-p02.wav,"I think it is played in a light and graceful manner typical of Mozart. What bothered me, however, was the treatment of the midora and the descending la in the right hand in the 12th bar. I felt that only the notes of the midora and the descending la in the right hand stood out strangely and did not match the music. Also, the end of the piece sounds too much like the end of the piece. I thought it would be better if it sounded as if it continued on to the next section.
However, I was impressed by the way the sforzando was inserted naturally and beautifully. Overall, the performance is an example of what an andante grazioso should sound like. I would like to listen to the rest of the performance.", Is the performed note accurate? , There was a discrepancy in the notes of the midora and the descending la in the right hand in the 12th bar.,train
262,n32-moz-snt331-1-h-p02_c09.txt,n32-moz-snt331-1-h-p02.wav,"I think it is played in a light and graceful manner typical of Mozart. What bothered me, however, was the treatment of the midora and the descending la in the right hand in the 12th bar. I felt that only the notes of the midora and the descending la in the right hand stood out strangely and did not match the music. Also, the end of the piece sounds too much like the end of the piece. I thought it would be better if it sounded as if it continued on to the next section.
However, I was impressed by the way the sforzando was inserted naturally and beautifully. Overall, the performance is an example of what an andante grazioso should sound like. I would like to listen to the rest of the performance.", Is the interpretation appropriate to the style of the composition? ," Yes, it was played in a light and graceful manner typical of Mozart, and the sforzando was inserted naturally and beautifully.",train
263,n32-moz-snt331-1-h-p02_c09.txt,n32-moz-snt331-1-h-p02.wav,"I think it is played in a light and graceful manner typical of Mozart. What bothered me, however, was the treatment of the midora and the descending la in the right hand in the 12th bar. I felt that only the notes of the midora and the descending la in the right hand stood out strangely and did not match the music. Also, the end of the piece sounds too much like the end of the piece. I thought it would be better if it sounded as if it continued on to the next section.
However, I was impressed by the way the sforzando was inserted naturally and beautifully. Overall, the performance is an example of what an andante grazioso should sound like. I would like to listen to the rest of the performance.", How would you describe the emotional intent of the performance? , The end of the piece was overly dramatic and could be made to sound like it is leading into the next section.,train
264,n26-bet-snt008-2-s-p02_c11.txt,n26-bet-snt008-2-s-p02.wav,"(Applause.) It's wonderful. I also want you to do this one more. At the first theme, I hear too much of the inner voice, so ignore it more. I want more bass. Play it with the bass in mind.

I can't say enough about the episodes from 17 and the reproduction from 29! It's perfect in terms of color and hoarding!
Let's do the 3rd movement already soon.", In which skill level would you say the performer is in? , The performer is highly skilled.,train
265,n26-bet-snt008-2-s-p02_c11.txt,n26-bet-snt008-2-s-p02.wav,"(Applause.) It's wonderful. I also want you to do this one more. At the first theme, I hear too much of the inner voice, so ignore it more. I want more bass. Play it with the bass in mind.

I can't say enough about the episodes from 17 and the reproduction from 29! It's perfect in terms of color and hoarding!
Let's do the 3rd movement already soon.", Is there reasonable balance between hands? , There needs to be more bass emphasis.,train
266,n26-bet-snt008-2-s-p02_c11.txt,n26-bet-snt008-2-s-p02.wav,"(Applause.) It's wonderful. I also want you to do this one more. At the first theme, I hear too much of the inner voice, so ignore it more. I want more bass. Play it with the bass in mind.

I can't say enough about the episodes from 17 and the reproduction from 29! It's perfect in terms of color and hoarding!
Let's do the 3rd movement already soon.", How would you rate the difficulty level of this piece? ," The piece is challenging, with the performer doing exceptionally well on parts 17 and 29 and is ready to move on to the 3rd movement.",train
267,n31-sch-knd007-s-p12_c23.txt,n31-sch-knd007-s-p12.wav,"The notes written in the score itself were picked up. However, the overall impression was one of roughness and lack of intonation. For example, the first note is indicated as P, but it is played at a volume of about F. The first note was played at a volume of about F from beginning to end, when it should have been played with intonation in accordance with the change of harmony and the progress of the music. In terms of expression, again, the reading of the score is insufficient. For example, in the 6th bar, Schumann wrote a crescendo for the right hand A note on the second beat, but this is not expressed. The left hand needs to be restrained a little, and the volume of the left and right hands should be balanced to emphasize the A note.
In the fourth measure, from the second to the fourth beat of the left hand, the pedal should not muddy each note.
Further study is needed to express the lovely and fantastic atmosphere of this piece.", Is the performance following score instructions? ," No, the performance was rough and lacked intonation. The notes played did not match the volume indicated in the score.",train
268,n31-sch-knd007-s-p12_c23.txt,n31-sch-knd007-s-p12.wav,"The notes written in the score itself were picked up. However, the overall impression was one of roughness and lack of intonation. For example, the first note is indicated as P, but it is played at a volume of about F. The first note was played at a volume of about F from beginning to end, when it should have been played with intonation in accordance with the change of harmony and the progress of the music. In terms of expression, again, the reading of the score is insufficient. For example, in the 6th bar, Schumann wrote a crescendo for the right hand A note on the second beat, but this is not expressed. The left hand needs to be restrained a little, and the volume of the left and right hands should be balanced to emphasize the A note.
In the fourth measure, from the second to the fourth beat of the left hand, the pedal should not muddy each note.
Further study is needed to express the lovely and fantastic atmosphere of this piece.", Is the pedal change clean? ," No, the pedal was not used properly in the fourth measure leading to muddied notes.",train
269,n31-sch-knd007-s-p12_c23.txt,n31-sch-knd007-s-p12.wav,"The notes written in the score itself were picked up. However, the overall impression was one of roughness and lack of intonation. For example, the first note is indicated as P, but it is played at a volume of about F. The first note was played at a volume of about F from beginning to end, when it should have been played with intonation in accordance with the change of harmony and the progress of the music. In terms of expression, again, the reading of the score is insufficient. For example, in the 6th bar, Schumann wrote a crescendo for the right hand A note on the second beat, but this is not expressed. The left hand needs to be restrained a little, and the volume of the left and right hands should be balanced to emphasize the A note.
In the fourth measure, from the second to the fourth beat of the left hand, the pedal should not muddy each note.
Further study is needed to express the lovely and fantastic atmosphere of this piece.", What does the student needs to work on? ," The student needs to work on reading the score, the balance between left and right hand,and the use of the pedal.",train
270,n31-sch-knd007-s-p01_c01.txt,n31-sch-knd007-s-p01.wav,"I was able to clearly understand how they wanted to play the piece and how they wanted to play it. It was a wonderful performance, and it seemed as if the player had a good understanding of the piece. The understanding of Romantic music was well-developed, and the way she played was delicate.
Especially, I could feel her understanding of harmony and the tension of changing harmonies. Even in the parts where the inner voices moved, I could feel the harmony in each note.
I think the balance of bass, inner voice, and melody is just right.
There were many variations of expression in the ""p"" and it was pleasant to listen to. I thought it would be nice if there were more expressions that gave a sense of tension in the ""p"".", How would you describe the emotional intent of the performance? ," The performer had a good grasp of Romantic music and expressed delicate emotions, with particular understanding of harmony and tension of changing harmonies.",train
271,n31-sch-knd007-s-p01_c01.txt,n31-sch-knd007-s-p01.wav,"I was able to clearly understand how they wanted to play the piece and how they wanted to play it. It was a wonderful performance, and it seemed as if the player had a good understanding of the piece. The understanding of Romantic music was well-developed, and the way she played was delicate.
Especially, I could feel her understanding of harmony and the tension of changing harmonies. Even in the parts where the inner voices moved, I could feel the harmony in each note.
I think the balance of bass, inner voice, and melody is just right.
There were many variations of expression in the ""p"" and it was pleasant to listen to. I thought it would be nice if there were more expressions that gave a sense of tension in the ""p"".", Is there reasonable balance between hands? ," Yes, the balance of bass, inner voice, and melody seemed right. ",train
272,n31-sch-knd007-s-p01_c01.txt,n31-sch-knd007-s-p01.wav,"I was able to clearly understand how they wanted to play the piece and how they wanted to play it. It was a wonderful performance, and it seemed as if the player had a good understanding of the piece. The understanding of Romantic music was well-developed, and the way she played was delicate.
Especially, I could feel her understanding of harmony and the tension of changing harmonies. Even in the parts where the inner voices moved, I could feel the harmony in each note.
I think the balance of bass, inner voice, and melody is just right.
There were many variations of expression in the ""p"" and it was pleasant to listen to. I thought it would be nice if there were more expressions that gave a sense of tension in the ""p"".", What does the student needs to work on? ," The variations in the ""p"" could be improved with more expressions that give a sense of tension.",train
273,n17-bac-inv001-s-p02_c24.txt,n17-bac-inv001-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"I think it is very good that both hands have good touch control and legato/non-legato.
I would like to see you further explore the way you perceive a piece of music as ""music"".
I think that further study of the song as a melody and cantabile will help to further improve the expression.",train
274,n28-bet-snt008-3-s-p01_c01.txt,n28-bet-snt008-3-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"I think that the articulation is well suited to the tune.
I think that the light playing style and the tempo are well suited to the music.

I think that the lightness and tempo of the music suits the song well, but I think that the atmosphere could be changed a little more from the sfp part. The detailed phrases are well captured, but it would be better to feel the big phrases and play them as if you were singing, so that there is more balance between the first half of the piece and the second half.
I thought it would be better if there was more tension when the melody goes to the high notes.
If you can create several characters in the song, I think you can feel the intonation more.",train
275,n17-bac-inv001-s-p01_c20.txt,n17-bac-inv001-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Imagine that the third measure is one phrase from the beginning to the beginning of the third beat, and that it is repeated.
So the next phrase will be from the second d of the first sixteenth beat of the fourth measure.
The rests should be placed in between.


You should be able to connect and play the sixth measure up to the third beat.",train
276,n32-moz-snt331-1-h-p01_c02.txt,n32-moz-snt331-1-h-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The tempo, the balance of sounds, and the singing style were all good.
Even when repeating, the tempo was not exactly the same twice, and slowing down the tempo, etc. was exquisitely good.",test
277,n17-bac-inv001-s-p02_c24.txt,n17-bac-inv001-s-p02.wav,"I think it is very good that both hands have good touch control and legato/non-legato.
I would like to see you further explore the way you perceive a piece of music as ""music"".
I think that further study of the song as a melody and cantabile will help to further improve the expression.", How is the touch control and legato/non-legato of both hands? , Both hands have good touch control and legato/non-legato.,train
278,n17-bac-inv001-s-p02_c24.txt,n17-bac-inv001-s-p02.wav,"I think it is very good that both hands have good touch control and legato/non-legato.
I would like to see you further explore the way you perceive a piece of music as ""music"".
I think that further study of the song as a melody and cantabile will help to further improve the expression.", What should the performer further explore? ," Explore the way to perceive a piece of music as ""music"".",train
279,n17-bac-inv001-s-p02_c24.txt,n17-bac-inv001-s-p02.wav,"I think it is very good that both hands have good touch control and legato/non-legato.
I would like to see you further explore the way you perceive a piece of music as ""music"".
I think that further study of the song as a melody and cantabile will help to further improve the expression.", What will help to further improve the expression? , Further study of the song as a melody and cantabile.,train
280,n28-bet-snt008-3-s-p01_c01.txt,n28-bet-snt008-3-s-p01.wav,"I think that the articulation is well suited to the tune.
I think that the light playing style and the tempo are well suited to the music.

I think that the lightness and tempo of the music suits the song well, but I think that the atmosphere could be changed a little more from the sfp part. The detailed phrases are well captured, but it would be better to feel the big phrases and play them as if you were singing, so that there is more balance between the first half of the piece and the second half.
I thought it would be better if there was more tension when the melody goes to the high notes.
If you can create several characters in the song, I think you can feel the intonation more.", How is the articulation? , The articulation is well suited to the tune.,train
281,n28-bet-snt008-3-s-p01_c01.txt,n28-bet-snt008-3-s-p01.wav,"I think that the articulation is well suited to the tune.
I think that the light playing style and the tempo are well suited to the music.

I think that the lightness and tempo of the music suits the song well, but I think that the atmosphere could be changed a little more from the sfp part. The detailed phrases are well captured, but it would be better to feel the big phrases and play them as if you were singing, so that there is more balance between the first half of the piece and the second half.
I thought it would be better if there was more tension when the melody goes to the high notes.
If you can create several characters in the song, I think you can feel the intonation more.", How are the light playing style and the tempo? , They are well suited to the music.,train
282,n28-bet-snt008-3-s-p01_c01.txt,n28-bet-snt008-3-s-p01.wav,"I think that the articulation is well suited to the tune.
I think that the light playing style and the tempo are well suited to the music.

I think that the lightness and tempo of the music suits the song well, but I think that the atmosphere could be changed a little more from the sfp part. The detailed phrases are well captured, but it would be better to feel the big phrases and play them as if you were singing, so that there is more balance between the first half of the piece and the second half.
I thought it would be better if there was more tension when the melody goes to the high notes.
If you can create several characters in the song, I think you can feel the intonation more.", What could improve the performance? , Changing the atmosphere a bit from the sfp part; feeling the big phrases and playing them as if singing; creating more tension when the melody goes to the high notes; creating several characters in the song for more intonation.,train
283,n17-bac-inv001-s-p01_c20.txt,n17-bac-inv001-s-p01.wav,"Imagine that the third measure is one phrase from the beginning to the beginning of the third beat, and that it is repeated.
So the next phrase will be from the second d of the first sixteenth beat of the fourth measure.
The rests should be placed in between.


You should be able to connect and play the sixth measure up to the third beat.", What should the performer imagine? ," Imagining the third measure as one phrase from the beginning to the beginning of the third beat, and that it's repeated.",train
284,n17-bac-inv001-s-p01_c20.txt,n17-bac-inv001-s-p01.wav,"Imagine that the third measure is one phrase from the beginning to the beginning of the third beat, and that it is repeated.
So the next phrase will be from the second d of the first sixteenth beat of the fourth measure.
The rests should be placed in between.


You should be able to connect and play the sixth measure up to the third beat.", Where should rests be placed? , The rests should be placed in between.,train
285,n17-bac-inv001-s-p01_c20.txt,n17-bac-inv001-s-p01.wav,"Imagine that the third measure is one phrase from the beginning to the beginning of the third beat, and that it is repeated.
So the next phrase will be from the second d of the first sixteenth beat of the fourth measure.
The rests should be placed in between.


You should be able to connect and play the sixth measure up to the third beat.", What should be done with the sixth measure? , It should be able to connect and play up to the third beat.,train
286,n32-moz-snt331-1-h-p01_c02.txt,n32-moz-snt331-1-h-p01.wav,"The tempo, the balance of sounds, and the singing style were all good.
Even when repeating, the tempo was not exactly the same twice, and slowing down the tempo, etc. was exquisitely good."," How are the tempo, the balance of sounds, and the singing style? ", They were all good.,test
287,n32-moz-snt331-1-h-p01_c02.txt,n32-moz-snt331-1-h-p01.wav,"The tempo, the balance of sounds, and the singing style were all good.
Even when repeating, the tempo was not exactly the same twice, and slowing down the tempo, etc. was exquisitely good.", How were the repetitions? ," Even when repeating, the tempo was not exactly the same twice.",test
288,n32-moz-snt331-1-h-p01_c02.txt,n32-moz-snt331-1-h-p01.wav,"The tempo, the balance of sounds, and the singing style were all good.
Even when repeating, the tempo was not exactly the same twice, and slowing down the tempo, etc. was exquisitely good.", What was exquisitely good? , Slowing down the tempo.,test
289,n31-sch-knd007-s-p01_c05.txt,n31-sch-knd007-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Overall, nicely put together.
The pedal was switched frequently so that the sound did not become muddy; only the seventh bar was a little muddy.
The atmosphere changed from the ninth bar, where there were a few more notes, and it sounded a bit muddy.",train
290,n22-bac-inv015-s-p02_c22.txt,n22-bac-inv015-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The melody was played smoothly and legato as if it were sung, and I could feel that she was conscious of this.
　It was a wonderful performance that reached my heart.


Ornamental notes
　(Praltriller: short trills, stopping after one or two round-trips and extending on the parent note)
　The rhythm of the ""ornamented"" part sometimes wavered a little,
　When you practice taking out only the ornamented phrases and learning to play them rhythmically, when you return to the piece, the melody will dissolve into a melody,
　When you return to the music, the sound will blend in with the melody.

The fingers are moving well, so keep that in mind,
　I slowed down the tempo a little as if I was carrying the sadness on my back, and carefully worked on the fingertips while being aware of the tips of my fingers.
　I tried to play more smoothly without losing the rhythm,
　Plus, I tried to play smoothly without losing the rhythm,
　I think it is better to play it with the image of how it was originally played on the harpsichord,
　the more you can feel the sadness and peace that is depicted in the fugal style.
　I think that the soul of ""Mass in B minor"", Invention No. 15, which is related to Christianity
　I think that the soul of this piece will be filled with the feelings of sadness and peace.",train
291,n31-sch-knd007-s-p01_c02.txt,n31-sch-knd007-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"There are some parts where the tone is hard, such as the A note in the right hand in measure 6. Also, some notes sound unnaturally accented in the inner voices of the right hand in bars 11 and 15. Try to make the melody line sound good.
The beginning of the piece was good with a soft image, so try to play with this tone throughout the piece.",train
292,n26-bet-snt008-2-s-p01_c14.txt,n26-bet-snt008-2-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The overall impression is one of indifference.
The first p. might be better if it is softly introduced rather than softly and weakly.
A little more cantabile (singing intonation) would be good.

I feel only a change in volume of about p.?mp., so I would like to see a rise and a fullness of about ?
I would like to hear a little more volume and fullness.

I think it would be better to make the muddy notes in the fourth bar, such as the natural E note (diminished ninth degree), stand out more naturally, so that the world view of this piece can be expressed more.

Since there are many transitional notes in the melody, as mentioned above, please be careful not to play it too smoothly as a whole.
I would like you to play it with care so as not to make it too easy!",train
293,n31-sch-knd007-s-p01_c05.txt,n31-sch-knd007-s-p01.wav,"Overall, nicely put together.
The pedal was switched frequently so that the sound did not become muddy; only the seventh bar was a little muddy.
The atmosphere changed from the ninth bar, where there were a few more notes, and it sounded a bit muddy.", How would you describe the emotional intent of the performance? , The atmosphere changed from the ninth bar. ,train
294,n31-sch-knd007-s-p01_c05.txt,n31-sch-knd007-s-p01.wav,"Overall, nicely put together.
The pedal was switched frequently so that the sound did not become muddy; only the seventh bar was a little muddy.
The atmosphere changed from the ninth bar, where there were a few more notes, and it sounded a bit muddy.", Is the pedal change clean? , The pedal was switched frequently.,train
295,n31-sch-knd007-s-p01_c05.txt,n31-sch-knd007-s-p01.wav,"Overall, nicely put together.
The pedal was switched frequently so that the sound did not become muddy; only the seventh bar was a little muddy.
The atmosphere changed from the ninth bar, where there were a few more notes, and it sounded a bit muddy.", Is the pedal usage appropriate? ," Only the seventh bar was a little muddy, sounded a bit muddy from the ninth bar.",train
296,n22-bac-inv015-s-p02_c22.txt,n22-bac-inv015-s-p02.wav,"The melody was played smoothly and legato as if it were sung, and I could feel that she was conscious of this.
　It was a wonderful performance that reached my heart.


Ornamental notes
　(Praltriller: short trills, stopping after one or two round-trips and extending on the parent note)
　The rhythm of the ""ornamented"" part sometimes wavered a little,
　When you practice taking out only the ornamented phrases and learning to play them rhythmically, when you return to the piece, the melody will dissolve into a melody,
　When you return to the music, the sound will blend in with the melody.

The fingers are moving well, so keep that in mind,
　I slowed down the tempo a little as if I was carrying the sadness on my back, and carefully worked on the fingertips while being aware of the tips of my fingers.
　I tried to play more smoothly without losing the rhythm,
　Plus, I tried to play smoothly without losing the rhythm,
　I think it is better to play it with the image of how it was originally played on the harpsichord,
　the more you can feel the sadness and peace that is depicted in the fugal style.
　I think that the soul of ""Mass in B minor"", Invention No. 15, which is related to Christianity
　I think that the soul of this piece will be filled with the feelings of sadness and peace.", In which skill level would you say the performer is in? , Wonderful performance that reached my heart.,train
297,n22-bac-inv015-s-p02_c22.txt,n22-bac-inv015-s-p02.wav,"The melody was played smoothly and legato as if it were sung, and I could feel that she was conscious of this.
　It was a wonderful performance that reached my heart.


Ornamental notes
　(Praltriller: short trills, stopping after one or two round-trips and extending on the parent note)
　The rhythm of the ""ornamented"" part sometimes wavered a little,
　When you practice taking out only the ornamented phrases and learning to play them rhythmically, when you return to the piece, the melody will dissolve into a melody,
　When you return to the music, the sound will blend in with the melody.

The fingers are moving well, so keep that in mind,
　I slowed down the tempo a little as if I was carrying the sadness on my back, and carefully worked on the fingertips while being aware of the tips of my fingers.
　I tried to play more smoothly without losing the rhythm,
　Plus, I tried to play smoothly without losing the rhythm,
　I think it is better to play it with the image of how it was originally played on the harpsichord,
　the more you can feel the sadness and peace that is depicted in the fugal style.
　I think that the soul of ""Mass in B minor"", Invention No. 15, which is related to Christianity
　I think that the soul of this piece will be filled with the feelings of sadness and peace.", Is the rhythm accurate? ," The rhythm of the ""ornamented"" part sometimes wavered a little.",train
298,n22-bac-inv015-s-p02_c22.txt,n22-bac-inv015-s-p02.wav,"The melody was played smoothly and legato as if it were sung, and I could feel that she was conscious of this.
　It was a wonderful performance that reached my heart.


Ornamental notes
　(Praltriller: short trills, stopping after one or two round-trips and extending on the parent note)
　The rhythm of the ""ornamented"" part sometimes wavered a little,
　When you practice taking out only the ornamented phrases and learning to play them rhythmically, when you return to the piece, the melody will dissolve into a melody,
　When you return to the music, the sound will blend in with the melody.

The fingers are moving well, so keep that in mind,
　I slowed down the tempo a little as if I was carrying the sadness on my back, and carefully worked on the fingertips while being aware of the tips of my fingers.
　I tried to play more smoothly without losing the rhythm,
　Plus, I tried to play smoothly without losing the rhythm,
　I think it is better to play it with the image of how it was originally played on the harpsichord,
　the more you can feel the sadness and peace that is depicted in the fugal style.
　I think that the soul of ""Mass in B minor"", Invention No. 15, which is related to Christianity
　I think that the soul of this piece will be filled with the feelings of sadness and peace.", Is the interpretation appropriate to the style of the composition? , It is better to play it with the image of how it was originally played on the harpsichord.,train
299,n31-sch-knd007-s-p01_c02.txt,n31-sch-knd007-s-p01.wav,"There are some parts where the tone is hard, such as the A note in the right hand in measure 6. Also, some notes sound unnaturally accented in the inner voices of the right hand in bars 11 and 15. Try to make the melody line sound good.
The beginning of the piece was good with a soft image, so try to play with this tone throughout the piece.", How is the tone production? ," There are some parts where the tone is hard, such as the A note in the right hand in measure 6.",train
300,n31-sch-knd007-s-p01_c02.txt,n31-sch-knd007-s-p01.wav,"There are some parts where the tone is hard, such as the A note in the right hand in measure 6. Also, some notes sound unnaturally accented in the inner voices of the right hand in bars 11 and 15. Try to make the melody line sound good.
The beginning of the piece was good with a soft image, so try to play with this tone throughout the piece.", Is the performance following score instructions? , Some notes sound unnaturally accented in the inner voices of the right hand in bars 11 and 15. ,train
301,n31-sch-knd007-s-p01_c02.txt,n31-sch-knd007-s-p01.wav,"There are some parts where the tone is hard, such as the A note in the right hand in measure 6. Also, some notes sound unnaturally accented in the inner voices of the right hand in bars 11 and 15. Try to make the melody line sound good.
The beginning of the piece was good with a soft image, so try to play with this tone throughout the piece.", What does the student needs to work on? ," Try to make the melody line sound good, and maintain the soft tone throughout the piece.",train
302,n26-bet-snt008-2-s-p01_c14.txt,n26-bet-snt008-2-s-p01.wav,"The overall impression is one of indifference.
The first p. might be better if it is softly introduced rather than softly and weakly.
A little more cantabile (singing intonation) would be good.

I feel only a change in volume of about p.?mp., so I would like to see a rise and a fullness of about ?
I would like to hear a little more volume and fullness.

I think it would be better to make the muddy notes in the fourth bar, such as the natural E note (diminished ninth degree), stand out more naturally, so that the world view of this piece can be expressed more.

Since there are many transitional notes in the melody, as mentioned above, please be careful not to play it too smoothly as a whole.
I would like you to play it with care so as not to make it too easy!", How would you describe the emotional intent of the performance? , The overall impression is one of indifference.,train
303,n26-bet-snt008-2-s-p01_c14.txt,n26-bet-snt008-2-s-p01.wav,"The overall impression is one of indifference.
The first p. might be better if it is softly introduced rather than softly and weakly.
A little more cantabile (singing intonation) would be good.

I feel only a change in volume of about p.?mp., so I would like to see a rise and a fullness of about ?
I would like to hear a little more volume and fullness.

I think it would be better to make the muddy notes in the fourth bar, such as the natural E note (diminished ninth degree), stand out more naturally, so that the world view of this piece can be expressed more.

Since there are many transitional notes in the melody, as mentioned above, please be careful not to play it too smoothly as a whole.
I would like you to play it with care so as not to make it too easy!", Is there reasonalbe dynamics contrast? , The dynamics might be better if it is softly introduced rather than softly and weakly. ,train
304,n26-bet-snt008-2-s-p01_c14.txt,n26-bet-snt008-2-s-p01.wav,"The overall impression is one of indifference.
The first p. might be better if it is softly introduced rather than softly and weakly.
A little more cantabile (singing intonation) would be good.

I feel only a change in volume of about p.?mp., so I would like to see a rise and a fullness of about ?
I would like to hear a little more volume and fullness.

I think it would be better to make the muddy notes in the fourth bar, such as the natural E note (diminished ninth degree), stand out more naturally, so that the world view of this piece can be expressed more.

Since there are many transitional notes in the melody, as mentioned above, please be careful not to play it too smoothly as a whole.
I would like you to play it with care so as not to make it too easy!", What does the student needs to work on? ," A little more cantabile (singing intonation) would be good, and play with care to make the piece sound not too easy!",train
305,n32-moz-snt331-1-h-p12_c08.txt,n32-moz-snt331-1-h-p12.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Since this melody is in the # series of Mozart's sonata, it would be better to be conscious of lightness to some extent.
Since the first bar involves the melody and the lower voices, I think it would be better not to pedal the pedal so as not to muddy the sound and make it clearer.
In the latter half of the measure, the frontal and staccato notes tend to be a bit heavy, so I felt it would be better to relax the fingers and aim for a lighter tone.

The dinner mikku sounded a little too appropriate, so I thought it would be appropriate to express subtle nuances without too large a difference in volume.",train
306,n48-deb-rev068-s-p01_c24.txt,n48-deb-rev068-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Overall, I think you are playing well.
This kind of music requires particular delicacy, and I think your expression will change dramatically if you practice your touch and other control skills further.
You should listen to various performances to deepen your own interpretation of ""Dream,"" and make good use of the ambiguity and unstable elements of the piece.
It would be a good idea to play it by making good use of the ambiguity and unstable elements of the piece.",train
307,n46-deb-pld108-s-p01_c17.txt,n46-deb-pld108-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"I think this is the easiest performance of this piece I have ever heard.
I thought that Debussy like this would be nice, and I also thought that it might be before adding color to the piece.
There is a score, and the instructions are quite detailed, so let's try to follow them.
It also says ""be expressive"" at the beginning.
Let me tell you what I liked about it.
I thought a quick brace between slurs in bar 2 would enhance the tenuto, as would bar 22.
The last chord in bar 23 was too loud, right before the pp.
The second and third beats of bar 27 were messy, the tenuto slur decrescendo carefully!
It's a pity that the ""la"" in the third beat of the middle part of measure 30 was barely audible. This is the part where the ""so,"" ""la,"" and ""ci"" gradually increase in intensity. Crescendos and slurs are also written.
From bar 33 to the end, it is too easy, so I expect ""perdendo"" and ""pp"" to create a sigh-worthy ending.
That's all.",train
308,n22-bac-inv015-s-p01_c18.txt,n22-bac-inv015-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Overall, the left hand seems a bit large.
From the 16th to 17th bars, the music is played with different articulations (slurs) from the score's instructions.
There are some eighth notes in the left hand that are a little too extended and cut off, so it would be good if the length could be finely controlled.
The theme should sound better when it comes out in the left hand.",test
309,n32-moz-snt331-1-h-p12_c08.txt,n32-moz-snt331-1-h-p12.wav,"Since this melody is in the # series of Mozart's sonata, it would be better to be conscious of lightness to some extent.
Since the first bar involves the melody and the lower voices, I think it would be better not to pedal the pedal so as not to muddy the sound and make it clearer.
In the latter half of the measure, the frontal and staccato notes tend to be a bit heavy, so I felt it would be better to relax the fingers and aim for a lighter tone.

The dinner mikku sounded a little too appropriate, so I thought it would be appropriate to express subtle nuances without too large a difference in volume.", How would you describe the emotional intent of the performance? ," The performance aimed to bring out the lightness and clarity in Mozart's sonata. However, this was not fully achieved due to the pedaling and heavy staccato notes.",train
310,n32-moz-snt331-1-h-p12_c08.txt,n32-moz-snt331-1-h-p12.wav,"Since this melody is in the # series of Mozart's sonata, it would be better to be conscious of lightness to some extent.
Since the first bar involves the melody and the lower voices, I think it would be better not to pedal the pedal so as not to muddy the sound and make it clearer.
In the latter half of the measure, the frontal and staccato notes tend to be a bit heavy, so I felt it would be better to relax the fingers and aim for a lighter tone.

The dinner mikku sounded a little too appropriate, so I thought it would be appropriate to express subtle nuances without too large a difference in volume.", Is the pedal change clean? ," The use of the pedal muddied the sound in the first bar, affecting the distinction between the melody and the lower voices. A cleaner pedal change is recommended.",train
311,n32-moz-snt331-1-h-p12_c08.txt,n32-moz-snt331-1-h-p12.wav,"Since this melody is in the # series of Mozart's sonata, it would be better to be conscious of lightness to some extent.
Since the first bar involves the melody and the lower voices, I think it would be better not to pedal the pedal so as not to muddy the sound and make it clearer.
In the latter half of the measure, the frontal and staccato notes tend to be a bit heavy, so I felt it would be better to relax the fingers and aim for a lighter tone.

The dinner mikku sounded a little too appropriate, so I thought it would be appropriate to express subtle nuances without too large a difference in volume.", Is the articulation appropriate? , The frontal and staccato notes were heavy and took away from the intended light tone. A more relaxed finger technique could improve the articulation.,train
312,n48-deb-rev068-s-p01_c24.txt,n48-deb-rev068-s-p01.wav,"Overall, I think you are playing well.
This kind of music requires particular delicacy, and I think your expression will change dramatically if you practice your touch and other control skills further.
You should listen to various performances to deepen your own interpretation of ""Dream,"" and make good use of the ambiguity and unstable elements of the piece.
It would be a good idea to play it by making good use of the ambiguity and unstable elements of the piece.", In which skill level would you say the performer is in? ," The performer is playing well overall. With more focus on touch and control, they could bring out the delicacy that the piece demands.",train
313,n48-deb-rev068-s-p01_c24.txt,n48-deb-rev068-s-p01.wav,"Overall, I think you are playing well.
This kind of music requires particular delicacy, and I think your expression will change dramatically if you practice your touch and other control skills further.
You should listen to various performances to deepen your own interpretation of ""Dream,"" and make good use of the ambiguity and unstable elements of the piece.
It would be a good idea to play it by making good use of the ambiguity and unstable elements of the piece.", What does the student needs to work on? ," The student should practice to deepen their interpretation of ""Dream"" and effectively portray the ambiguity and unstable elements of the piece. ",train
314,n48-deb-rev068-s-p01_c24.txt,n48-deb-rev068-s-p01.wav,"Overall, I think you are playing well.
This kind of music requires particular delicacy, and I think your expression will change dramatically if you practice your touch and other control skills further.
You should listen to various performances to deepen your own interpretation of ""Dream,"" and make good use of the ambiguity and unstable elements of the piece.
It would be a good idea to play it by making good use of the ambiguity and unstable elements of the piece.", Is the interpretation appropriate to the style of the composition? , The interpretation could involve a better use of ambiguity and unstable elements inherent in the composition.,train
315,n46-deb-pld108-s-p01_c17.txt,n46-deb-pld108-s-p01.wav,"I think this is the easiest performance of this piece I have ever heard.
I thought that Debussy like this would be nice, and I also thought that it might be before adding color to the piece.
There is a score, and the instructions are quite detailed, so let's try to follow them.
It also says ""be expressive"" at the beginning.
Let me tell you what I liked about it.
I thought a quick brace between slurs in bar 2 would enhance the tenuto, as would bar 22.
The last chord in bar 23 was too loud, right before the pp.
The second and third beats of bar 27 were messy, the tenuto slur decrescendo carefully!
It's a pity that the ""la"" in the third beat of the middle part of measure 30 was barely audible. This is the part where the ""so,"" ""la,"" and ""ci"" gradually increase in intensity. Crescendos and slurs are also written.
From bar 33 to the end, it is too easy, so I expect ""perdendo"" and ""pp"" to create a sigh-worthy ending.
That's all.", How would you rate the difficulty level of this piece? ," The performance made this piece seem relatively easy. However, there is room for adding color to the piece. ",train
316,n46-deb-pld108-s-p01_c17.txt,n46-deb-pld108-s-p01.wav,"I think this is the easiest performance of this piece I have ever heard.
I thought that Debussy like this would be nice, and I also thought that it might be before adding color to the piece.
There is a score, and the instructions are quite detailed, so let's try to follow them.
It also says ""be expressive"" at the beginning.
Let me tell you what I liked about it.
I thought a quick brace between slurs in bar 2 would enhance the tenuto, as would bar 22.
The last chord in bar 23 was too loud, right before the pp.
The second and third beats of bar 27 were messy, the tenuto slur decrescendo carefully!
It's a pity that the ""la"" in the third beat of the middle part of measure 30 was barely audible. This is the part where the ""so,"" ""la,"" and ""ci"" gradually increase in intensity. Crescendos and slurs are also written.
From bar 33 to the end, it is too easy, so I expect ""perdendo"" and ""pp"" to create a sigh-worthy ending.
That's all.", Is the performance following score instructions? ," Instructions provided in the score are not fully followed, particularly around dynamics and articulation. Specific issues were found in bars 2, 22, 23, 27, 30, and 33-to-end.",train
317,n46-deb-pld108-s-p01_c17.txt,n46-deb-pld108-s-p01.wav,"I think this is the easiest performance of this piece I have ever heard.
I thought that Debussy like this would be nice, and I also thought that it might be before adding color to the piece.
There is a score, and the instructions are quite detailed, so let's try to follow them.
It also says ""be expressive"" at the beginning.
Let me tell you what I liked about it.
I thought a quick brace between slurs in bar 2 would enhance the tenuto, as would bar 22.
The last chord in bar 23 was too loud, right before the pp.
The second and third beats of bar 27 were messy, the tenuto slur decrescendo carefully!
It's a pity that the ""la"" in the third beat of the middle part of measure 30 was barely audible. This is the part where the ""so,"" ""la,"" and ""ci"" gradually increase in intensity. Crescendos and slurs are also written.
From bar 33 to the end, it is too easy, so I expect ""perdendo"" and ""pp"" to create a sigh-worthy ending.
That's all.", What does the student needs to work on? ," The student needs to pay closer attention to the score instructions, particularly around dynamics, articulations and expressions. Specific improvements can be made in bars 2, 22, 23, 27, 30, and towards the end.",train
318,n22-bac-inv015-s-p01_c18.txt,n22-bac-inv015-s-p01.wav,"Overall, the left hand seems a bit large.
From the 16th to 17th bars, the music is played with different articulations (slurs) from the score's instructions.
There are some eighth notes in the left hand that are a little too extended and cut off, so it would be good if the length could be finely controlled.
The theme should sound better when it comes out in the left hand.", Is there reasonable balance between hands? , The left hand has a larger presence in the performance which disrupts the balance. ,test
319,n22-bac-inv015-s-p01_c18.txt,n22-bac-inv015-s-p01.wav,"Overall, the left hand seems a bit large.
From the 16th to 17th bars, the music is played with different articulations (slurs) from the score's instructions.
There are some eighth notes in the left hand that are a little too extended and cut off, so it would be good if the length could be finely controlled.
The theme should sound better when it comes out in the left hand.", Is the articulation appropriate? ," Articulations, particularly in the 16th to 17th bars and in the left hand, did not fully follow the score instructions. Fine control in the length of eighth notes is recommended. ",test
320,n22-bac-inv015-s-p01_c18.txt,n22-bac-inv015-s-p01.wav,"Overall, the left hand seems a bit large.
From the 16th to 17th bars, the music is played with different articulations (slurs) from the score's instructions.
There are some eighth notes in the left hand that are a little too extended and cut off, so it would be good if the length could be finely controlled.
The theme should sound better when it comes out in the left hand.", What does the student needs to work on? ," The student should focus on achieving a better balance between the hands, following the score's articulation instructions, and improving control over note lengths in the left hand.",test
321,n01-chp-etd003-s-p02_c17.txt,n01-chp-etd003-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Throughout the entire piece, the tempo sounded like it was moving forward in a bumpy, stuttering way, beyond the fluctuating range.
After reading some of the music, please try singing the melody as it is written, including all slurs, accents, etc.
You can hum, ""ahh"", or use a floor name or whatever.
If you can't sing, you can't play the melody, especially if you can't play the melody.
I'll tell you what I liked about the part.
I liked that I could feel the breath going into the ninth bar, but it was sucked in too slowly. If you go too slow, you sound dumb, so please find a good pause for the breath.
There was no right hand accent in bar 13.
I like bars 14-16.
The ff in bar 17, is that the right volume? My ff has a little more volume. And the legato, I wanted a careful legato as it is the most delicious part.
The decrescendo wasn't enough either. Suddenly, only the melody was stoned down to p in bar 18. I wanted the afterglow of the excitement of the previous bar. And I guess I missed the ""sempre legato"", it was messing up.
The ""dim."" in bar 19, not enough.
The ""rallent."" and pp in bar 20 were ignored? It seemed to have been ignored, and suddenly there was an abrupt brake before bar 21 and a very disappointing ending. Please look at the score carefully and be creative.　That's all.",test
322,n48-deb-rev068-s-p01_c18.txt,n48-deb-rev068-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"There is not much volume variation in the left hand arpeggio.
I think it would be better to make the strength and weakness a little clearer. Especially the pp at the beginning should be smaller and sound like it is far away.
The sound sometimes breaks off when the pedal is released. It would be better if the length of the note could be finely adjusted with the finger.",train
323,n32-moz-snt331-1-h-p12_c23.txt,n32-moz-snt331-1-h-p12.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The right hand melody is played very beautifully and floats.
I am concerned about the muddiness of the pedal. For example, the pedal is left depressed on the fourth and sixth beats of the fourth measure. Or, the pedaling is a little deep. Since they are completely different harmonies, the pedal should be replaced with a shallower pedal.
The first beat of the 10th bar should be played at the same time, not before the A note strike of the left hand, considering the style of the time.
Measures 1 to 8 and 9 to 18 should be repeated in some way different from the first repetition.
In the left hand of measure 2, there was a missing note when repeated. Even in a quiet atmosphere, the player should hit the keyboard all the way to the bottom of the keyboard.",train
324,n26-bet-snt008-2-s-p02_c19.txt,n26-bet-snt008-2-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The main melody is produced with a low inner voice, and the next note is carefully produced. The tempo is precise and balanced throughout.
The triplet in bar 8 is also very lively and carefully connected to the next ""Do"".
From the third beat of the 21st bar, there are a lot of notes in the right hand, which requires constant finger movement. You should bring it to the apex ""so"" with a little more crescendo, and then diminish it down to give it more expression.
Many of Beethoven's sonatas in the second movement, such as Adagio and Andante, are relatively slow. Play them calmly, singing the melody with a sense of composure.",train
325,n01-chp-etd003-s-p02_c17.txt,n01-chp-etd003-s-p02.wav,"Throughout the entire piece, the tempo sounded like it was moving forward in a bumpy, stuttering way, beyond the fluctuating range.
After reading some of the music, please try singing the melody as it is written, including all slurs, accents, etc.
You can hum, ""ahh"", or use a floor name or whatever.
If you can't sing, you can't play the melody, especially if you can't play the melody.
I'll tell you what I liked about the part.
I liked that I could feel the breath going into the ninth bar, but it was sucked in too slowly. If you go too slow, you sound dumb, so please find a good pause for the breath.
There was no right hand accent in bar 13.
I like bars 14-16.
The ff in bar 17, is that the right volume? My ff has a little more volume. And the legato, I wanted a careful legato as it is the most delicious part.
The decrescendo wasn't enough either. Suddenly, only the melody was stoned down to p in bar 18. I wanted the afterglow of the excitement of the previous bar. And I guess I missed the ""sempre legato"", it was messing up.
The ""dim."" in bar 19, not enough.
The ""rallent."" and pp in bar 20 were ignored? It seemed to have been ignored, and suddenly there was an abrupt brake before bar 21 and a very disappointing ending. Please look at the score carefully and be creative.　That's all.", Is the performance hesitant or smooth? ," The tempo sounded like it was moving forward in a bumpy, stuttering way, beyond the fluctuating range. ",test
326,n01-chp-etd003-s-p02_c17.txt,n01-chp-etd003-s-p02.wav,"Throughout the entire piece, the tempo sounded like it was moving forward in a bumpy, stuttering way, beyond the fluctuating range.
After reading some of the music, please try singing the melody as it is written, including all slurs, accents, etc.
You can hum, ""ahh"", or use a floor name or whatever.
If you can't sing, you can't play the melody, especially if you can't play the melody.
I'll tell you what I liked about the part.
I liked that I could feel the breath going into the ninth bar, but it was sucked in too slowly. If you go too slow, you sound dumb, so please find a good pause for the breath.
There was no right hand accent in bar 13.
I like bars 14-16.
The ff in bar 17, is that the right volume? My ff has a little more volume. And the legato, I wanted a careful legato as it is the most delicious part.
The decrescendo wasn't enough either. Suddenly, only the melody was stoned down to p in bar 18. I wanted the afterglow of the excitement of the previous bar. And I guess I missed the ""sempre legato"", it was messing up.
The ""dim."" in bar 19, not enough.
The ""rallent."" and pp in bar 20 were ignored? It seemed to have been ignored, and suddenly there was an abrupt brake before bar 21 and a very disappointing ending. Please look at the score carefully and be creative.　That's all.", Is the phrasing or melodic shaping clear? ," I could feel the breath going into the ninth bar, but it was sucked in too slowly. The right hand accent in bar 13 was missing. The ff in bar 17 lacked volume and the decrescendo wasn't enough, and only the melody was suddenly stoned down to p in bar 18.",test
327,n01-chp-etd003-s-p02_c17.txt,n01-chp-etd003-s-p02.wav,"Throughout the entire piece, the tempo sounded like it was moving forward in a bumpy, stuttering way, beyond the fluctuating range.
After reading some of the music, please try singing the melody as it is written, including all slurs, accents, etc.
You can hum, ""ahh"", or use a floor name or whatever.
If you can't sing, you can't play the melody, especially if you can't play the melody.
I'll tell you what I liked about the part.
I liked that I could feel the breath going into the ninth bar, but it was sucked in too slowly. If you go too slow, you sound dumb, so please find a good pause for the breath.
There was no right hand accent in bar 13.
I like bars 14-16.
The ff in bar 17, is that the right volume? My ff has a little more volume. And the legato, I wanted a careful legato as it is the most delicious part.
The decrescendo wasn't enough either. Suddenly, only the melody was stoned down to p in bar 18. I wanted the afterglow of the excitement of the previous bar. And I guess I missed the ""sempre legato"", it was messing up.
The ""dim."" in bar 19, not enough.
The ""rallent."" and pp in bar 20 were ignored? It seemed to have been ignored, and suddenly there was an abrupt brake before bar 21 and a very disappointing ending. Please look at the score carefully and be creative.　That's all.", What does the student needs to work on? ," The student needs to sing the melody as it is written, including all slurs, accents, etc. The student also needs to attend to the volume, legato, and score instructions for dynamics and tempo.",test
328,n48-deb-rev068-s-p01_c18.txt,n48-deb-rev068-s-p01.wav,"There is not much volume variation in the left hand arpeggio.
I think it would be better to make the strength and weakness a little clearer. Especially the pp at the beginning should be smaller and sound like it is far away.
The sound sometimes breaks off when the pedal is released. It would be better if the length of the note could be finely adjusted with the finger.", Is there reasonable balance between hands? , There is not much volume variation in the left hand arpeggio. The pp at the beginning should be smaller and sound like it is far away. ,train
329,n48-deb-rev068-s-p01_c18.txt,n48-deb-rev068-s-p01.wav,"There is not much volume variation in the left hand arpeggio.
I think it would be better to make the strength and weakness a little clearer. Especially the pp at the beginning should be smaller and sound like it is far away.
The sound sometimes breaks off when the pedal is released. It would be better if the length of the note could be finely adjusted with the finger.", Is the pedal change clean? , The sound sometimes breaks off when the pedal is released.,train
330,n48-deb-rev068-s-p01_c18.txt,n48-deb-rev068-s-p01.wav,"There is not much volume variation in the left hand arpeggio.
I think it would be better to make the strength and weakness a little clearer. Especially the pp at the beginning should be smaller and sound like it is far away.
The sound sometimes breaks off when the pedal is released. It would be better if the length of the note could be finely adjusted with the finger.", How would you rate the difficulty level of this piece? , The student needs to adjust the strength and weakness of the playing and the length of the note with the finger.,train
331,n32-moz-snt331-1-h-p12_c23.txt,n32-moz-snt331-1-h-p12.wav,"The right hand melody is played very beautifully and floats.
I am concerned about the muddiness of the pedal. For example, the pedal is left depressed on the fourth and sixth beats of the fourth measure. Or, the pedaling is a little deep. Since they are completely different harmonies, the pedal should be replaced with a shallower pedal.
The first beat of the 10th bar should be played at the same time, not before the A note strike of the left hand, considering the style of the time.
Measures 1 to 8 and 9 to 18 should be repeated in some way different from the first repetition.
In the left hand of measure 2, there was a missing note when repeated. Even in a quiet atmosphere, the player should hit the keyboard all the way to the bottom of the keyboard.", Is the performed note accurate? ," In the left hand of measure 2, there was a missing note when repeated. ",train
332,n32-moz-snt331-1-h-p12_c23.txt,n32-moz-snt331-1-h-p12.wav,"The right hand melody is played very beautifully and floats.
I am concerned about the muddiness of the pedal. For example, the pedal is left depressed on the fourth and sixth beats of the fourth measure. Or, the pedaling is a little deep. Since they are completely different harmonies, the pedal should be replaced with a shallower pedal.
The first beat of the 10th bar should be played at the same time, not before the A note strike of the left hand, considering the style of the time.
Measures 1 to 8 and 9 to 18 should be repeated in some way different from the first repetition.
In the left hand of measure 2, there was a missing note when repeated. Even in a quiet atmosphere, the player should hit the keyboard all the way to the bottom of the keyboard.", Is the pedal usage appropriate? , The pedaling is a problem with the pedal being left depressed on the fourth and sixth beats of the fourth measure and being a bit deep.,train
333,n32-moz-snt331-1-h-p12_c23.txt,n32-moz-snt331-1-h-p12.wav,"The right hand melody is played very beautifully and floats.
I am concerned about the muddiness of the pedal. For example, the pedal is left depressed on the fourth and sixth beats of the fourth measure. Or, the pedaling is a little deep. Since they are completely different harmonies, the pedal should be replaced with a shallower pedal.
The first beat of the 10th bar should be played at the same time, not before the A note strike of the left hand, considering the style of the time.
Measures 1 to 8 and 9 to 18 should be repeated in some way different from the first repetition.
In the left hand of measure 2, there was a missing note when repeated. Even in a quiet atmosphere, the player should hit the keyboard all the way to the bottom of the keyboard.", Is the interpretation appropriate to the style of the composition? ," The first beat of the 10th bar should be played at the same time, not before the A note strike of the left hand, considering the style of the time.",train
334,n26-bet-snt008-2-s-p02_c19.txt,n26-bet-snt008-2-s-p02.wav,"The main melody is produced with a low inner voice, and the next note is carefully produced. The tempo is precise and balanced throughout.
The triplet in bar 8 is also very lively and carefully connected to the next ""Do"".
From the third beat of the 21st bar, there are a lot of notes in the right hand, which requires constant finger movement. You should bring it to the apex ""so"" with a little more crescendo, and then diminish it down to give it more expression.
Many of Beethoven's sonatas in the second movement, such as Adagio and Andante, are relatively slow. Play them calmly, singing the melody with a sense of composure.", How is the overall tempo? , The tempo is precise and balanced throughout.,train
335,n26-bet-snt008-2-s-p02_c19.txt,n26-bet-snt008-2-s-p02.wav,"The main melody is produced with a low inner voice, and the next note is carefully produced. The tempo is precise and balanced throughout.
The triplet in bar 8 is also very lively and carefully connected to the next ""Do"".
From the third beat of the 21st bar, there are a lot of notes in the right hand, which requires constant finger movement. You should bring it to the apex ""so"" with a little more crescendo, and then diminish it down to give it more expression.
Many of Beethoven's sonatas in the second movement, such as Adagio and Andante, are relatively slow. Play them calmly, singing the melody with a sense of composure.", Is the rhythm accurate? ," The triplet in bar 8 is also very lively and carefully connected to the next ""Do"".",train
336,n26-bet-snt008-2-s-p02_c19.txt,n26-bet-snt008-2-s-p02.wav,"The main melody is produced with a low inner voice, and the next note is carefully produced. The tempo is precise and balanced throughout.
The triplet in bar 8 is also very lively and carefully connected to the next ""Do"".
From the third beat of the 21st bar, there are a lot of notes in the right hand, which requires constant finger movement. You should bring it to the apex ""so"" with a little more crescendo, and then diminish it down to give it more expression.
Many of Beethoven's sonatas in the second movement, such as Adagio and Andante, are relatively slow. Play them calmly, singing the melody with a sense of composure.", How would you describe the emotional intent of the performance? ," Many of Beethoven's sonatas in the second movement, such as Adagio and Andante, are relatively slow. The student plays them calmly, singing the melody with a sense of composure.",train
337,n01-chp-etd003-s-p12_c03.txt,n01-chp-etd003-s-p12.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"I think it is a very beautiful performance.
From the very quiet beginning of this piece, it is hard to imagine the stormy intensity of the middle section that follows.
The ff at the peak of the 17th bar is like an outpouring of passion.
How you create the process to get to this point is the fantasy and the real pleasure of the performer. Your playing is very beautiful, but I felt that some parts of it sounded a little subdued and flat in a kind of swaying way.
In the right hand melody section, I think you could express the sway of the phrase by using the same sixteenth note but changing its length slightly or varying its intensity.
The inner voice is a series of sixteenth notes, and the bass is a monotonous rhythmic repetition, but if, for example, the left hand has a five-degree and octave movement, the octave will sound more dynamic. Instead of playing them exactly the same way, I think it helps the melody and gives it a more three-dimensional change, making it easier to express the detailed changes in the melody.
Also, what you have to be careful about is the pedal handling. In your playing, the sound is sometimes muddy. If you practice while listening carefully to where you are stepping back and forth, I think you will be able to hear the connection but not muddy the sound.",train
338,n17-bac-inv001-s-p02_c05.txt,n17-bac-inv001-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Overall, a soft invention. It could be a little more firm given the style of the piece.
The modifier note in bar 8 is not included.
The left hand sounds stronger in the exchange from the 15th bar.
It is soft and gentle, but considering that it is a Bach's Invention, it would be better to play without rubato a little more. I think it would be better to play it lightly rather than expressively, which would be more suitable for this piece.",train
339,n22-bac-inv015-s-p02_c14.txt,n22-bac-inv015-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"I was impressed by the simplicity of the music without exaggerated articulation, which is typical of the Baroque period, where the keyboard did not allow for volume changes.

I am concerned about the rhythm shift around the 57th second.

The difference between trills and praltrillers is also clearly audible, which I think is good.

Keep up the good work!",train
340,n32-moz-snt331-1-h-p02_c15.txt,n32-moz-snt331-1-h-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"(Instructor)
　　You are playing well. Do you have any thoughts after you finished playing?
(Learner)
　　I was careful not to make any mistakes.
(Instructor)
You played well.
Do you want to improve?
(Learner)
I think so, but I don't know what to do.
(Instructor)
Well, let me tell you a few things.
First of all, what does ""make it better"" mean? Let's clarify that.

This piece was written by the famous composer ""Mozart. He is a well-known composer whom everyone knows.
Mozart's works are often easy to understand the melody and easy to listen to with beautiful harmony.
This piece is also simple, but the harmony is stable.

First of all, a piece of music has the composer's ""feelings. He wants us to play it this way. I want you to play it like this.
I want the audience to be moved by the ""feelings"" that the composer has put into the piece.
First of all, there is the composer's ""thought. It is written in the score.

The ""andante"" at the beginning of the piece means ""a walking speed - around 72 bpm,
It is a little bit slower tempo.

The rest of the tempo is indicated by the strength of the ""p"" and ""sf"".
The ""p"" means ""less,"" while the ""sf"" means ""make that note especially strong and immediately weaker thereafter.

Therefore, your performance does not handle ""sf"" properly.
If you change it, your performance will touch the audience's heartstrings even more.

For example, you retarded the end of the piece at a casual level,
The subtle processing is done well,
Leave it as it is.
Enjoy the rest of the performance.",train
341,n01-chp-etd003-s-p12_c03.txt,n01-chp-etd003-s-p12.wav,"I think it is a very beautiful performance.
From the very quiet beginning of this piece, it is hard to imagine the stormy intensity of the middle section that follows.
The ff at the peak of the 17th bar is like an outpouring of passion.
How you create the process to get to this point is the fantasy and the real pleasure of the performer. Your playing is very beautiful, but I felt that some parts of it sounded a little subdued and flat in a kind of swaying way.
In the right hand melody section, I think you could express the sway of the phrase by using the same sixteenth note but changing its length slightly or varying its intensity.
The inner voice is a series of sixteenth notes, and the bass is a monotonous rhythmic repetition, but if, for example, the left hand has a five-degree and octave movement, the octave will sound more dynamic. Instead of playing them exactly the same way, I think it helps the melody and gives it a more three-dimensional change, making it easier to express the detailed changes in the melody.
Also, what you have to be careful about is the pedal handling. In your playing, the sound is sometimes muddy. If you practice while listening carefully to where you are stepping back and forth, I think you will be able to hear the connection but not muddy the sound.", How would you describe the emotional intent of the performance? , Some parts sounded a little subdued and flat.,train
342,n01-chp-etd003-s-p12_c03.txt,n01-chp-etd003-s-p12.wav,"I think it is a very beautiful performance.
From the very quiet beginning of this piece, it is hard to imagine the stormy intensity of the middle section that follows.
The ff at the peak of the 17th bar is like an outpouring of passion.
How you create the process to get to this point is the fantasy and the real pleasure of the performer. Your playing is very beautiful, but I felt that some parts of it sounded a little subdued and flat in a kind of swaying way.
In the right hand melody section, I think you could express the sway of the phrase by using the same sixteenth note but changing its length slightly or varying its intensity.
The inner voice is a series of sixteenth notes, and the bass is a monotonous rhythmic repetition, but if, for example, the left hand has a five-degree and octave movement, the octave will sound more dynamic. Instead of playing them exactly the same way, I think it helps the melody and gives it a more three-dimensional change, making it easier to express the detailed changes in the melody.
Also, what you have to be careful about is the pedal handling. In your playing, the sound is sometimes muddy. If you practice while listening carefully to where you are stepping back and forth, I think you will be able to hear the connection but not muddy the sound.", What does the student needs to work on? , The student should work on pedaling and bringing out the melody in a more dynamic way.,train
343,n01-chp-etd003-s-p12_c03.txt,n01-chp-etd003-s-p12.wav,"I think it is a very beautiful performance.
From the very quiet beginning of this piece, it is hard to imagine the stormy intensity of the middle section that follows.
The ff at the peak of the 17th bar is like an outpouring of passion.
How you create the process to get to this point is the fantasy and the real pleasure of the performer. Your playing is very beautiful, but I felt that some parts of it sounded a little subdued and flat in a kind of swaying way.
In the right hand melody section, I think you could express the sway of the phrase by using the same sixteenth note but changing its length slightly or varying its intensity.
The inner voice is a series of sixteenth notes, and the bass is a monotonous rhythmic repetition, but if, for example, the left hand has a five-degree and octave movement, the octave will sound more dynamic. Instead of playing them exactly the same way, I think it helps the melody and gives it a more three-dimensional change, making it easier to express the detailed changes in the melody.
Also, what you have to be careful about is the pedal handling. In your playing, the sound is sometimes muddy. If you practice while listening carefully to where you are stepping back and forth, I think you will be able to hear the connection but not muddy the sound.", How would you rate the difficulty level of this piece? , The difficult part of this piece is creating a process to reach the peak intensity while starting from a quiet beginning.,train
344,n17-bac-inv001-s-p02_c05.txt,n17-bac-inv001-s-p02.wav,"Overall, a soft invention. It could be a little more firm given the style of the piece.
The modifier note in bar 8 is not included.
The left hand sounds stronger in the exchange from the 15th bar.
It is soft and gentle, but considering that it is a Bach's Invention, it would be better to play without rubato a little more. I think it would be better to play it lightly rather than expressively, which would be more suitable for this piece.", Is the balance between hands reasonable?," No, the left hand sounds stronger in the exchange from the 15th bar.",train
345,n17-bac-inv001-s-p02_c05.txt,n17-bac-inv001-s-p02.wav,"Overall, a soft invention. It could be a little more firm given the style of the piece.
The modifier note in bar 8 is not included.
The left hand sounds stronger in the exchange from the 15th bar.
It is soft and gentle, but considering that it is a Bach's Invention, it would be better to play without rubato a little more. I think it would be better to play it lightly rather than expressively, which would be more suitable for this piece.", Is the interpretation appropriate to the style of the composition? ," No, it could be a little more firm and light to better suit the style of the piece.",train
346,n17-bac-inv001-s-p02_c05.txt,n17-bac-inv001-s-p02.wav,"Overall, a soft invention. It could be a little more firm given the style of the piece.
The modifier note in bar 8 is not included.
The left hand sounds stronger in the exchange from the 15th bar.
It is soft and gentle, but considering that it is a Bach's Invention, it would be better to play without rubato a little more. I think it would be better to play it lightly rather than expressively, which would be more suitable for this piece.", Is the performed note accurate? ," No, the modifier note in bar 8 is not included.",train
347,n22-bac-inv015-s-p02_c14.txt,n22-bac-inv015-s-p02.wav,"I was impressed by the simplicity of the music without exaggerated articulation, which is typical of the Baroque period, where the keyboard did not allow for volume changes.

I am concerned about the rhythm shift around the 57th second.

The difference between trills and praltrillers is also clearly audible, which I think is good.

Keep up the good work!", How would you describe the emotional intent of the performance?, The performance was simple without exaggerated articulation.,train
348,n22-bac-inv015-s-p02_c14.txt,n22-bac-inv015-s-p02.wav,"I was impressed by the simplicity of the music without exaggerated articulation, which is typical of the Baroque period, where the keyboard did not allow for volume changes.

I am concerned about the rhythm shift around the 57th second.

The difference between trills and praltrillers is also clearly audible, which I think is good.

Keep up the good work!", What does the student needs to work on? , The student needs to work on the rhythm around the 57th second.,train
349,n22-bac-inv015-s-p02_c14.txt,n22-bac-inv015-s-p02.wav,"I was impressed by the simplicity of the music without exaggerated articulation, which is typical of the Baroque period, where the keyboard did not allow for volume changes.

I am concerned about the rhythm shift around the 57th second.

The difference between trills and praltrillers is also clearly audible, which I think is good.

Keep up the good work!", Is the rhythm accurate? ," No, there was a rhythm shift around the 57th second.",train
350,n17-bac-inv001-s-p02_c01.txt,n17-bac-inv001-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The way he plays is crisp and clear and easy to listen to.

There are many ways to enjoy playing an invention, but finding the theme will change the way you play it. The theme is the beginning of the piece up to the ""do re mi phare mido so,"" and the second bar begins the melody five degrees above the theme. If you analyze how the theme is used in the piece and how it changes, you will enjoy playing the piece.
Listen carefully to the notes of the left hand and the right hand crossing each other so that the tempo will not be disturbed.",train
351,n28-bet-snt008-3-s-p02_c20.txt,n28-bet-snt008-3-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"He understood the music very well, and each note was carefully played.
The performance was wonderful.",test
352,n01-chp-etd003-s-p01_c16.txt,n01-chp-etd003-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"　It is a good performance that clearly shows that the player has picked up the details of the score and that the phrasing is important. Also, this piece must be played with relatively weak fingers, such as the 4 (ring) and 5 (pinky) fingers of the right hand in the melody, and I am impressed by the careful and well-balanced performance of these fingers.

　One area for improvement would be to make the left hand syncopation a little more crisp and clear. This syncopation is a characteristic of the piece, which is slow but at the same time rhythmically carries the idea of the piece, so it would be nice to bring it out here.",train
353,n08-chp-pld007-s-p01_c15.txt,n08-chp-pld007-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"(Instructor)
　　You play very carefully. Do you have any thoughts after you finished playing?
(Learner)
　　I played very hard not to make any mistakes.
(Instructor)
I could tell that you played carefully.
Do you want to make it better?
(Learner)
Yes, but I don't know what to do.
(Instructor)
Well, let me explain a little.
First of all, what does ""make it better"" mean? Let's clarify that.

This piece was written by the famous composer ""Chopin. He was active as both a pianist and a composer.
He was active as both a pianist and a composer, and he was very much attached to the piano,
He wrote many solo piano pieces. This piece is no exception.

First of all, the music has the composer's ""feelings"". I want you to play it like this. The ""feelings"" that the composer put into the piece will move the audience.
I want the audience to be moved by the ""feelings"" that the composer put into the piece.
First of all, there is the composer's ""thought. It is written in the score.

For example, ""dolce"" at the beginning means ""please play softly.
And ""Andantino"" is a word about the speed of the piece, meaning a little faster than ""Andante"".
Andante"" means ""as fast as you can walk,"" and ""Andante"" means ""as fast as you can walk,
It may be more appropriate if you have a light image of the song.

If you take the current performance with this in mind, I think the speed of the music is exactly as it is in the score.

Now, the other aspect of ""make it better"" is,
What is the message of this piece of music?
A piece of music is a story. A story has a purpose.
To convey that purpose,

<Start> <Circumstance> <Event> <Completion> <Event> <Settlement> <Decision

The story progresses in this order.
In this piece, the last four bars are the melody of <Conclusion>.

In order to effectively impress the audience with this melody, it is up to the performers how they grasp the tune and play it.
It is up to the performer to do so.

The score says ""dolce"" ~ please play softly~ at the beginning of the piece.
The composer's intention is to start the story quietly,
It is true that if you play it vigorously from the beginning, there will not be enough gap to the final climax, and it will be difficult to give an impression of the end,
It would be difficult to impress the audience at the end, wouldn't it?

How to effectively create this ""drop off"" is what is required of the performer,
This is what is required of performers.

If you review your performance from this point of view, you may find that the ""drop"" is small,
The ""drop"" may be too small.
I think it would be more effective if you play the weaker parts sweetly and softly.

For example, the half-note in bar 8 could be played more softly.
For example, the half note in the eighth bar could be played more softly, because the story is over in the eighth bar.
After this, the next story begins again. So, in order to make the flow of the story clearer
I'll hold back the half-note part here.

And one more thing,
In addition to strength and weakness, you can also adjust the speed
In addition to strength and weakness, you can also adjust the speed in your performance.

Try to make the quarter note before the 13th bar a little longer than a normal quarter note.
Then you can emphasize the second note of the 13th bar, which is the culmination of the story of this piece,
You can emphasize it.

But when you play the piece, you should be more conscious of the story I have just told you.
But when you play, rather than being conscious of the story I just told you,
Rather, play the melody as if you are ""singing along"" with it in your body.

If you can do this naturally
your playing will naturally become better.

Enjoy playing.",train
354,n17-bac-inv001-s-p02_c01.txt,n17-bac-inv001-s-p02.wav,"The way he plays is crisp and clear and easy to listen to.

There are many ways to enjoy playing an invention, but finding the theme will change the way you play it. The theme is the beginning of the piece up to the ""do re mi phare mido so,"" and the second bar begins the melody five degrees above the theme. If you analyze how the theme is used in the piece and how it changes, you will enjoy playing the piece.
Listen carefully to the notes of the left hand and the right hand crossing each other so that the tempo will not be disturbed.", Is the performer following the score instructions? ," The performer did not handle ""sf"" (sforzando) properly. ",train
355,n17-bac-inv001-s-p02_c01.txt,n17-bac-inv001-s-p02.wav,"The way he plays is crisp and clear and easy to listen to.

There are many ways to enjoy playing an invention, but finding the theme will change the way you play it. The theme is the beginning of the piece up to the ""do re mi phare mido so,"" and the second bar begins the melody five degrees above the theme. If you analyze how the theme is used in the piece and how it changes, you will enjoy playing the piece.
Listen carefully to the notes of the left hand and the right hand crossing each other so that the tempo will not be disturbed.", What's the overall tempo? ," The piece is meant to be performed at ""andante"" which means a walking speed around 72 bpm.",train
356,n17-bac-inv001-s-p02_c01.txt,n17-bac-inv001-s-p02.wav,"The way he plays is crisp and clear and easy to listen to.

There are many ways to enjoy playing an invention, but finding the theme will change the way you play it. The theme is the beginning of the piece up to the ""do re mi phare mido so,"" and the second bar begins the melody five degrees above the theme. If you analyze how the theme is used in the piece and how it changes, you will enjoy playing the piece.
Listen carefully to the notes of the left hand and the right hand crossing each other so that the tempo will not be disturbed.", What does the performer need to work on? ," They should pay attention to applying the ""feelings"" that the composer has put into the piece. ",train
357,n28-bet-snt008-3-s-p02_c20.txt,n28-bet-snt008-3-s-p02.wav,"He understood the music very well, and each note was carefully played.
The performance was wonderful.", What's the overall impression of the performance? , The way he plays is crisp and clear and easy to listen to.,test
358,n28-bet-snt008-3-s-p02_c20.txt,n28-bet-snt008-3-s-p02.wav,"He understood the music very well, and each note was carefully played.
The performance was wonderful.", What should the performer keep in mind when playing this piece? , It's important to understand how the theme is used and how it changes in the piece. ,test
359,n28-bet-snt008-3-s-p02_c20.txt,n28-bet-snt008-3-s-p02.wav,"He understood the music very well, and each note was carefully played.
The performance was wonderful.", What else should the performer focus on? , They should listen carefully to the notes of the left hand and the right hand crossing each other so that the tempo will not be disturbed. ,test
360,n01-chp-etd003-s-p01_c16.txt,n01-chp-etd003-s-p01.wav,"　It is a good performance that clearly shows that the player has picked up the details of the score and that the phrasing is important. Also, this piece must be played with relatively weak fingers, such as the 4 (ring) and 5 (pinky) fingers of the right hand in the melody, and I am impressed by the careful and well-balanced performance of these fingers.

　One area for improvement would be to make the left hand syncopation a little more crisp and clear. This syncopation is a characteristic of the piece, which is slow but at the same time rhythmically carries the idea of the piece, so it would be nice to bring it out here.", What is the overall impression of the performer's understanding of the music? ," He understood the music very well, and each note was carefully played.",train
361,n01-chp-etd003-s-p01_c16.txt,n01-chp-etd003-s-p01.wav,"　It is a good performance that clearly shows that the player has picked up the details of the score and that the phrasing is important. Also, this piece must be played with relatively weak fingers, such as the 4 (ring) and 5 (pinky) fingers of the right hand in the melody, and I am impressed by the careful and well-balanced performance of these fingers.

　One area for improvement would be to make the left hand syncopation a little more crisp and clear. This syncopation is a characteristic of the piece, which is slow but at the same time rhythmically carries the idea of the piece, so it would be nice to bring it out here.", How would you describe the overall performance? , The performance was wonderful.,train
362,n01-chp-etd003-s-p01_c16.txt,n01-chp-etd003-s-p01.wav,"　It is a good performance that clearly shows that the player has picked up the details of the score and that the phrasing is important. Also, this piece must be played with relatively weak fingers, such as the 4 (ring) and 5 (pinky) fingers of the right hand in the melody, and I am impressed by the careful and well-balanced performance of these fingers.

　One area for improvement would be to make the left hand syncopation a little more crisp and clear. This syncopation is a characteristic of the piece, which is slow but at the same time rhythmically carries the idea of the piece, so it would be nice to bring it out here.", In which skill level would you say the performer is in? , The performer showed high level of understanding and precision in the performance.,train
363,n08-chp-pld007-s-p01_c15.txt,n08-chp-pld007-s-p01.wav,"(Instructor)
　　You play very carefully. Do you have any thoughts after you finished playing?
(Learner)
　　I played very hard not to make any mistakes.
(Instructor)
I could tell that you played carefully.
Do you want to make it better?
(Learner)
Yes, but I don't know what to do.
(Instructor)
Well, let me explain a little.
First of all, what does ""make it better"" mean? Let's clarify that.

This piece was written by the famous composer ""Chopin. He was active as both a pianist and a composer.
He was active as both a pianist and a composer, and he was very much attached to the piano,
He wrote many solo piano pieces. This piece is no exception.

First of all, the music has the composer's ""feelings"". I want you to play it like this. The ""feelings"" that the composer put into the piece will move the audience.
I want the audience to be moved by the ""feelings"" that the composer put into the piece.
First of all, there is the composer's ""thought. It is written in the score.

For example, ""dolce"" at the beginning means ""please play softly.
And ""Andantino"" is a word about the speed of the piece, meaning a little faster than ""Andante"".
Andante"" means ""as fast as you can walk,"" and ""Andante"" means ""as fast as you can walk,
It may be more appropriate if you have a light image of the song.

If you take the current performance with this in mind, I think the speed of the music is exactly as it is in the score.

Now, the other aspect of ""make it better"" is,
What is the message of this piece of music?
A piece of music is a story. A story has a purpose.
To convey that purpose,

<Start> <Circumstance> <Event> <Completion> <Event> <Settlement> <Decision

The story progresses in this order.
In this piece, the last four bars are the melody of <Conclusion>.

In order to effectively impress the audience with this melody, it is up to the performers how they grasp the tune and play it.
It is up to the performer to do so.

The score says ""dolce"" ~ please play softly~ at the beginning of the piece.
The composer's intention is to start the story quietly,
It is true that if you play it vigorously from the beginning, there will not be enough gap to the final climax, and it will be difficult to give an impression of the end,
It would be difficult to impress the audience at the end, wouldn't it?

How to effectively create this ""drop off"" is what is required of the performer,
This is what is required of performers.

If you review your performance from this point of view, you may find that the ""drop"" is small,
The ""drop"" may be too small.
I think it would be more effective if you play the weaker parts sweetly and softly.

For example, the half-note in bar 8 could be played more softly.
For example, the half note in the eighth bar could be played more softly, because the story is over in the eighth bar.
After this, the next story begins again. So, in order to make the flow of the story clearer
I'll hold back the half-note part here.

And one more thing,
In addition to strength and weakness, you can also adjust the speed
In addition to strength and weakness, you can also adjust the speed in your performance.

Try to make the quarter note before the 13th bar a little longer than a normal quarter note.
Then you can emphasize the second note of the 13th bar, which is the culmination of the story of this piece,
You can emphasize it.

But when you play the piece, you should be more conscious of the story I have just told you.
But when you play, rather than being conscious of the story I just told you,
Rather, play the melody as if you are ""singing along"" with it in your body.

If you can do this naturally
your playing will naturally become better.

Enjoy playing.", Did the performer manage the phrasing well? ," Yes, it's clear that the player has picked up the details of the score and that the phrasing is important.",train
364,n08-chp-pld007-s-p01_c15.txt,n08-chp-pld007-s-p01.wav,"(Instructor)
　　You play very carefully. Do you have any thoughts after you finished playing?
(Learner)
　　I played very hard not to make any mistakes.
(Instructor)
I could tell that you played carefully.
Do you want to make it better?
(Learner)
Yes, but I don't know what to do.
(Instructor)
Well, let me explain a little.
First of all, what does ""make it better"" mean? Let's clarify that.

This piece was written by the famous composer ""Chopin. He was active as both a pianist and a composer.
He was active as both a pianist and a composer, and he was very much attached to the piano,
He wrote many solo piano pieces. This piece is no exception.

First of all, the music has the composer's ""feelings"". I want you to play it like this. The ""feelings"" that the composer put into the piece will move the audience.
I want the audience to be moved by the ""feelings"" that the composer put into the piece.
First of all, there is the composer's ""thought. It is written in the score.

For example, ""dolce"" at the beginning means ""please play softly.
And ""Andantino"" is a word about the speed of the piece, meaning a little faster than ""Andante"".
Andante"" means ""as fast as you can walk,"" and ""Andante"" means ""as fast as you can walk,
It may be more appropriate if you have a light image of the song.

If you take the current performance with this in mind, I think the speed of the music is exactly as it is in the score.

Now, the other aspect of ""make it better"" is,
What is the message of this piece of music?
A piece of music is a story. A story has a purpose.
To convey that purpose,

<Start> <Circumstance> <Event> <Completion> <Event> <Settlement> <Decision

The story progresses in this order.
In this piece, the last four bars are the melody of <Conclusion>.

In order to effectively impress the audience with this melody, it is up to the performers how they grasp the tune and play it.
It is up to the performer to do so.

The score says ""dolce"" ~ please play softly~ at the beginning of the piece.
The composer's intention is to start the story quietly,
It is true that if you play it vigorously from the beginning, there will not be enough gap to the final climax, and it will be difficult to give an impression of the end,
It would be difficult to impress the audience at the end, wouldn't it?

How to effectively create this ""drop off"" is what is required of the performer,
This is what is required of performers.

If you review your performance from this point of view, you may find that the ""drop"" is small,
The ""drop"" may be too small.
I think it would be more effective if you play the weaker parts sweetly and softly.

For example, the half-note in bar 8 could be played more softly.
For example, the half note in the eighth bar could be played more softly, because the story is over in the eighth bar.
After this, the next story begins again. So, in order to make the flow of the story clearer
I'll hold back the half-note part here.

And one more thing,
In addition to strength and weakness, you can also adjust the speed
In addition to strength and weakness, you can also adjust the speed in your performance.

Try to make the quarter note before the 13th bar a little longer than a normal quarter note.
Then you can emphasize the second note of the 13th bar, which is the culmination of the story of this piece,
You can emphasize it.

But when you play the piece, you should be more conscious of the story I have just told you.
But when you play, rather than being conscious of the story I just told you,
Rather, play the melody as if you are ""singing along"" with it in your body.

If you can do this naturally
your playing will naturally become better.

Enjoy playing.", How was the balance between the hands? , The performer was careful and well-balanced especially with the weaker fingers such as the 4 (ring) and 5 (pinky) fingers of the right hand in the melody. ,train
365,n08-chp-pld007-s-p01_c15.txt,n08-chp-pld007-s-p01.wav,"(Instructor)
　　You play very carefully. Do you have any thoughts after you finished playing?
(Learner)
　　I played very hard not to make any mistakes.
(Instructor)
I could tell that you played carefully.
Do you want to make it better?
(Learner)
Yes, but I don't know what to do.
(Instructor)
Well, let me explain a little.
First of all, what does ""make it better"" mean? Let's clarify that.

This piece was written by the famous composer ""Chopin. He was active as both a pianist and a composer.
He was active as both a pianist and a composer, and he was very much attached to the piano,
He wrote many solo piano pieces. This piece is no exception.

First of all, the music has the composer's ""feelings"". I want you to play it like this. The ""feelings"" that the composer put into the piece will move the audience.
I want the audience to be moved by the ""feelings"" that the composer put into the piece.
First of all, there is the composer's ""thought. It is written in the score.

For example, ""dolce"" at the beginning means ""please play softly.
And ""Andantino"" is a word about the speed of the piece, meaning a little faster than ""Andante"".
Andante"" means ""as fast as you can walk,"" and ""Andante"" means ""as fast as you can walk,
It may be more appropriate if you have a light image of the song.

If you take the current performance with this in mind, I think the speed of the music is exactly as it is in the score.

Now, the other aspect of ""make it better"" is,
What is the message of this piece of music?
A piece of music is a story. A story has a purpose.
To convey that purpose,

<Start> <Circumstance> <Event> <Completion> <Event> <Settlement> <Decision

The story progresses in this order.
In this piece, the last four bars are the melody of <Conclusion>.

In order to effectively impress the audience with this melody, it is up to the performers how they grasp the tune and play it.
It is up to the performer to do so.

The score says ""dolce"" ~ please play softly~ at the beginning of the piece.
The composer's intention is to start the story quietly,
It is true that if you play it vigorously from the beginning, there will not be enough gap to the final climax, and it will be difficult to give an impression of the end,
It would be difficult to impress the audience at the end, wouldn't it?

How to effectively create this ""drop off"" is what is required of the performer,
This is what is required of performers.

If you review your performance from this point of view, you may find that the ""drop"" is small,
The ""drop"" may be too small.
I think it would be more effective if you play the weaker parts sweetly and softly.

For example, the half-note in bar 8 could be played more softly.
For example, the half note in the eighth bar could be played more softly, because the story is over in the eighth bar.
After this, the next story begins again. So, in order to make the flow of the story clearer
I'll hold back the half-note part here.

And one more thing,
In addition to strength and weakness, you can also adjust the speed
In addition to strength and weakness, you can also adjust the speed in your performance.

Try to make the quarter note before the 13th bar a little longer than a normal quarter note.
Then you can emphasize the second note of the 13th bar, which is the culmination of the story of this piece,
You can emphasize it.

But when you play the piece, you should be more conscious of the story I have just told you.
But when you play, rather than being conscious of the story I just told you,
Rather, play the melody as if you are ""singing along"" with it in your body.

If you can do this naturally
your playing will naturally become better.

Enjoy playing.", What's the area for improvement? , The performer should work on making the left hand syncopation a little more crisp and clear.,train
366,n32-moz-snt331-1-h-p01_c12.txt,n32-moz-snt331-1-h-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"　　It is played in a rustic, soft, and beautiful sound.
　　Although there are no detailed instructions for strength and weakness in the score, I think the performance will be even more expressive and better if you vary the timbre when repeating. For example, within the range of ""P"" indicated in the score, try to study the tone (strength) a little weaker or stronger for the second time.
　　I think the expression that comes in the third step is very good, expressing the change of phrase.",test
367,n31-sch-knd007-s-p01_c03.txt,n31-sch-knd007-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"It is a very romantic performance.
This piece is characterized by the contrast between long two-note notes and moving eighth-note phrases.
Conversely, it tends to sound monotonous because it consists of only those two.
To avoid monotony, for example, be careful that the length and volume of the long extended bifurcation notes do not always seem the same.
To figure out how to do this, it helps to look at the types of chords.
There are two concepts of chords: consonants (concertants) and dissonants (dissonants).
Consonants are simply chords with no muddy notes, while dissonants are chords with muddy notes. For example, the chord in bar 2 is a consonance, while the chord in bar 6 is a disonant because of the clash between so and la.
Since dissonance has a strong character, it means that the chord in measure 6 is more emphatic than the chord in measure 2.
Compare the chords in bars 6 and 14 for the same dissonance: bar 6 has 7 chords and bar 14 has 9 chords. Then the 14th bar has a more dissonant element.
In this way, you will be able to perceive differences even in a monotonous composition if you think about it more deeply. On top of that, depending on the length and strength of the chords, as well as which notes within the chords you wish to emphasize, differences will emerge, resulting in a diverse and varied performance.
To help those chords, please also think together about how to play the eighth-note passages that lead to the chords.

It is important to think of eighth-note passages as a single wave-like movement.
The way the slurs are applied will make it easier to see how far they are in a single mass.
In your performance, the passages in the main right hand and the left hand sounded like a single mass, but you should also pay attention to the passages in the inner voices, as in bars 7 and 11. Make sure to check carefully that the volume and length of the notes are not disjointed from note to note, so that they too sound as one mass.",train
368,n48-deb-rev068-s-p01_c07.txt,n48-deb-rev068-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"It's a good performance, with a nice atmosphere from the first note.

I hope you can fix it, because it's a waste of time to disturb the details.

I thought it was a waste that the e note in the 5th bar was left out in a huff. It would be good if you could play such a small part carefully.

In the left hand of the 35th and 39th bars, the Б seems to jump out in response to C. It would be good if you could play it naturally when you try to sing it.

The left hand phrases in bars 67 and 68 were sloppy, so sing them so that they float out but not unevenly.

There were several places, such as in measure 98, where the same note was played on the same beat in a paralelli-arpeggio-like manner. Where it is not specified, try to play them at the same time.

Overall, the performance is beautiful sounding and has a nice airy feel to it.",train
369,n08-chp-pld007-s-p03_c16.txt,n08-chp-pld007-s-p03.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"I have the impression that it is played very carefully. I think the balance between right hand and left hand, melody and accompaniment is also good.

The regrettable part is that the 16th note after the dotted 8th note in the melody is too strong, even though I have the impression that you are playing with a sense of phrasing. In this rhythm, the center of gravity of the sound is the dotted eighth note, and the sixteenth note should be played lightly as a transitional note to the next quarter note, otherwise the whole phrase will sound heavy. I am only guessing, but it may be that the weight of the hand is causing the notes to sound louder. If you can improve this, I think you will have a great performance.",test
370,n32-moz-snt331-1-h-p01_c12.txt,n32-moz-snt331-1-h-p01.wav,"　　It is played in a rustic, soft, and beautiful sound.
　　Although there are no detailed instructions for strength and weakness in the score, I think the performance will be even more expressive and better if you vary the timbre when repeating. For example, within the range of ""P"" indicated in the score, try to study the tone (strength) a little weaker or stronger for the second time.
　　I think the expression that comes in the third step is very good, expressing the change of phrase.", How would you describe the emotional intent of the performance?  , The emotions of the performance indicated that the student tried hard not to make any mistakes.,test
371,n32-moz-snt331-1-h-p01_c12.txt,n32-moz-snt331-1-h-p01.wav,"　　It is played in a rustic, soft, and beautiful sound.
　　Although there are no detailed instructions for strength and weakness in the score, I think the performance will be even more expressive and better if you vary the timbre when repeating. For example, within the range of ""P"" indicated in the score, try to study the tone (strength) a little weaker or stronger for the second time.
　　I think the expression that comes in the third step is very good, expressing the change of phrase.", How is the tone production? ," The tone production can be improved, especially at the beginning where it needs to be played softer for more impact towards the end of the piece.",test
372,n32-moz-snt331-1-h-p01_c12.txt,n32-moz-snt331-1-h-p01.wav,"　　It is played in a rustic, soft, and beautiful sound.
　　Although there are no detailed instructions for strength and weakness in the score, I think the performance will be even more expressive and better if you vary the timbre when repeating. For example, within the range of ""P"" indicated in the score, try to study the tone (strength) a little weaker or stronger for the second time.
　　I think the expression that comes in the third step is very good, expressing the change of phrase.", What does the student needs to work on? ," The student needs to work on the dynamic changes particularly playing the weaker parts sweeter and softer. He needs to vary the speed of performance, hold back the half-note part for a clearer flow of the story, and should be more conscious of the story while playing.",test
373,n31-sch-knd007-s-p01_c03.txt,n31-sch-knd007-s-p01.wav,"It is a very romantic performance.
This piece is characterized by the contrast between long two-note notes and moving eighth-note phrases.
Conversely, it tends to sound monotonous because it consists of only those two.
To avoid monotony, for example, be careful that the length and volume of the long extended bifurcation notes do not always seem the same.
To figure out how to do this, it helps to look at the types of chords.
There are two concepts of chords: consonants (concertants) and dissonants (dissonants).
Consonants are simply chords with no muddy notes, while dissonants are chords with muddy notes. For example, the chord in bar 2 is a consonance, while the chord in bar 6 is a disonant because of the clash between so and la.
Since dissonance has a strong character, it means that the chord in measure 6 is more emphatic than the chord in measure 2.
Compare the chords in bars 6 and 14 for the same dissonance: bar 6 has 7 chords and bar 14 has 9 chords. Then the 14th bar has a more dissonant element.
In this way, you will be able to perceive differences even in a monotonous composition if you think about it more deeply. On top of that, depending on the length and strength of the chords, as well as which notes within the chords you wish to emphasize, differences will emerge, resulting in a diverse and varied performance.
To help those chords, please also think together about how to play the eighth-note passages that lead to the chords.

It is important to think of eighth-note passages as a single wave-like movement.
The way the slurs are applied will make it easier to see how far they are in a single mass.
In your performance, the passages in the main right hand and the left hand sounded like a single mass, but you should also pay attention to the passages in the inner voices, as in bars 7 and 11. Make sure to check carefully that the volume and length of the notes are not disjointed from note to note, so that they too sound as one mass.", How would you describe the emotional intent of the performance?  ," The emotional intent of the performance is rustic, soft, and beautiful.",train
374,n31-sch-knd007-s-p01_c03.txt,n31-sch-knd007-s-p01.wav,"It is a very romantic performance.
This piece is characterized by the contrast between long two-note notes and moving eighth-note phrases.
Conversely, it tends to sound monotonous because it consists of only those two.
To avoid monotony, for example, be careful that the length and volume of the long extended bifurcation notes do not always seem the same.
To figure out how to do this, it helps to look at the types of chords.
There are two concepts of chords: consonants (concertants) and dissonants (dissonants).
Consonants are simply chords with no muddy notes, while dissonants are chords with muddy notes. For example, the chord in bar 2 is a consonance, while the chord in bar 6 is a disonant because of the clash between so and la.
Since dissonance has a strong character, it means that the chord in measure 6 is more emphatic than the chord in measure 2.
Compare the chords in bars 6 and 14 for the same dissonance: bar 6 has 7 chords and bar 14 has 9 chords. Then the 14th bar has a more dissonant element.
In this way, you will be able to perceive differences even in a monotonous composition if you think about it more deeply. On top of that, depending on the length and strength of the chords, as well as which notes within the chords you wish to emphasize, differences will emerge, resulting in a diverse and varied performance.
To help those chords, please also think together about how to play the eighth-note passages that lead to the chords.

It is important to think of eighth-note passages as a single wave-like movement.
The way the slurs are applied will make it easier to see how far they are in a single mass.
In your performance, the passages in the main right hand and the left hand sounded like a single mass, but you should also pay attention to the passages in the inner voices, as in bars 7 and 11. Make sure to check carefully that the volume and length of the notes are not disjointed from note to note, so that they too sound as one mass.", How is the tone production?  ," The tone production could be varied for a more expressive performance, particularly when repeating.",train
375,n31-sch-knd007-s-p01_c03.txt,n31-sch-knd007-s-p01.wav,"It is a very romantic performance.
This piece is characterized by the contrast between long two-note notes and moving eighth-note phrases.
Conversely, it tends to sound monotonous because it consists of only those two.
To avoid monotony, for example, be careful that the length and volume of the long extended bifurcation notes do not always seem the same.
To figure out how to do this, it helps to look at the types of chords.
There are two concepts of chords: consonants (concertants) and dissonants (dissonants).
Consonants are simply chords with no muddy notes, while dissonants are chords with muddy notes. For example, the chord in bar 2 is a consonance, while the chord in bar 6 is a disonant because of the clash between so and la.
Since dissonance has a strong character, it means that the chord in measure 6 is more emphatic than the chord in measure 2.
Compare the chords in bars 6 and 14 for the same dissonance: bar 6 has 7 chords and bar 14 has 9 chords. Then the 14th bar has a more dissonant element.
In this way, you will be able to perceive differences even in a monotonous composition if you think about it more deeply. On top of that, depending on the length and strength of the chords, as well as which notes within the chords you wish to emphasize, differences will emerge, resulting in a diverse and varied performance.
To help those chords, please also think together about how to play the eighth-note passages that lead to the chords.

It is important to think of eighth-note passages as a single wave-like movement.
The way the slurs are applied will make it easier to see how far they are in a single mass.
In your performance, the passages in the main right hand and the left hand sounded like a single mass, but you should also pay attention to the passages in the inner voices, as in bars 7 and 11. Make sure to check carefully that the volume and length of the notes are not disjointed from note to note, so that they too sound as one mass.", What does the student needs to work on? , The student could work on varying the tone (strength) and improving the expression that comes in the third step to express the change of phrase. ,train
376,n48-deb-rev068-s-p01_c07.txt,n48-deb-rev068-s-p01.wav,"It's a good performance, with a nice atmosphere from the first note.

I hope you can fix it, because it's a waste of time to disturb the details.

I thought it was a waste that the e note in the 5th bar was left out in a huff. It would be good if you could play such a small part carefully.

In the left hand of the 35th and 39th bars, the Б seems to jump out in response to C. It would be good if you could play it naturally when you try to sing it.

The left hand phrases in bars 67 and 68 were sloppy, so sing them so that they float out but not unevenly.

There were several places, such as in measure 98, where the same note was played on the same beat in a paralelli-arpeggio-like manner. Where it is not specified, try to play them at the same time.

Overall, the performance is beautiful sounding and has a nice airy feel to it.", How would you describe the emotional intent of the performance? , The emotional intent of the performance is romantic.,train
377,n48-deb-rev068-s-p01_c07.txt,n48-deb-rev068-s-p01.wav,"It's a good performance, with a nice atmosphere from the first note.

I hope you can fix it, because it's a waste of time to disturb the details.

I thought it was a waste that the e note in the 5th bar was left out in a huff. It would be good if you could play such a small part carefully.

In the left hand of the 35th and 39th bars, the Б seems to jump out in response to C. It would be good if you could play it naturally when you try to sing it.

The left hand phrases in bars 67 and 68 were sloppy, so sing them so that they float out but not unevenly.

There were several places, such as in measure 98, where the same note was played on the same beat in a paralelli-arpeggio-like manner. Where it is not specified, try to play them at the same time.

Overall, the performance is beautiful sounding and has a nice airy feel to it.", How is the overall tempo? , The tempo tends to sound monotonous due to the contrast between long two-note notes and moving eighth-note phrases.,train
378,n48-deb-rev068-s-p01_c07.txt,n48-deb-rev068-s-p01.wav,"It's a good performance, with a nice atmosphere from the first note.

I hope you can fix it, because it's a waste of time to disturb the details.

I thought it was a waste that the e note in the 5th bar was left out in a huff. It would be good if you could play such a small part carefully.

In the left hand of the 35th and 39th bars, the Б seems to jump out in response to C. It would be good if you could play it naturally when you try to sing it.

The left hand phrases in bars 67 and 68 were sloppy, so sing them so that they float out but not unevenly.

There were several places, such as in measure 98, where the same note was played on the same beat in a paralelli-arpeggio-like manner. Where it is not specified, try to play them at the same time.

Overall, the performance is beautiful sounding and has a nice airy feel to it.", What does the student needs to work on? , The student needs to work on varying the length and volume of the long extended bifurcation notes to avoid monotony. Understanding the chords and length and strength of the notes will help to create a diverse and varied performance.,train
379,n08-chp-pld007-s-p03_c16.txt,n08-chp-pld007-s-p03.wav,"I have the impression that it is played very carefully. I think the balance between right hand and left hand, melody and accompaniment is also good.

The regrettable part is that the 16th note after the dotted 8th note in the melody is too strong, even though I have the impression that you are playing with a sense of phrasing. In this rhythm, the center of gravity of the sound is the dotted eighth note, and the sixteenth note should be played lightly as a transitional note to the next quarter note, otherwise the whole phrase will sound heavy. I am only guessing, but it may be that the weight of the hand is causing the notes to sound louder. If you can improve this, I think you will have a great performance.", How would you describe the emotional intent of the performance?  ," The emotional intent was good, creating a nice atmosphere from the first note.",test
380,n08-chp-pld007-s-p03_c16.txt,n08-chp-pld007-s-p03.wav,"I have the impression that it is played very carefully. I think the balance between right hand and left hand, melody and accompaniment is also good.

The regrettable part is that the 16th note after the dotted 8th note in the melody is too strong, even though I have the impression that you are playing with a sense of phrasing. In this rhythm, the center of gravity of the sound is the dotted eighth note, and the sixteenth note should be played lightly as a transitional note to the next quarter note, otherwise the whole phrase will sound heavy. I am only guessing, but it may be that the weight of the hand is causing the notes to sound louder. If you can improve this, I think you will have a great performance.", Is the performed note accurate?  ," The E note in the 5th bar was played too quickly, and the same note was played on the same beat in a paralleli-arpeggio-like manner in measure 98 which needs to be corrected.",test
381,n08-chp-pld007-s-p03_c16.txt,n08-chp-pld007-s-p03.wav,"I have the impression that it is played very carefully. I think the balance between right hand and left hand, melody and accompaniment is also good.

The regrettable part is that the 16th note after the dotted 8th note in the melody is too strong, even though I have the impression that you are playing with a sense of phrasing. In this rhythm, the center of gravity of the sound is the dotted eighth note, and the sixteenth note should be played lightly as a transitional note to the next quarter note, otherwise the whole phrase will sound heavy. I am only guessing, but it may be that the weight of the hand is causing the notes to sound louder. If you can improve this, I think you will have a great performance.", What does the student needs to work on? ," The student needs to work on the detailed parts of the performance such as not playing the E note at the 5th bar too quickly, playing the left hand phrases in bars 67 and 68 smoothly and accurately, and making sure that the same notes aren't played at the same time in a paralleli-arpeggio-like manner where it is not specified.  ",test
382,n28-bet-snt008-3-s-p02_c07.txt,n28-bet-snt008-3-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The music is very crisp and clear and has the atmosphere of Beethoven. There are some minor parts that are not played well, so it would be nice if they could be fixed.

The last two notes of the eighth note in the left hand in bars 9 and 10 are muddled by the pedal, so it would be nice to hear them cleanly.


The first beat of the 17th bar should be broken off clearly in staccato, which would be cool. The theme is ""crisp and clear.

The second staccato note in the 28th bar, for example, is extended by the pedal, so it would be nice if it were cut off properly. The staccato tends to be sweet, so let's try to make it crisp and clear.

The soprano in the 37th bar tends to be a note too weak, so practice the basics so that you can play it with a nice tata-tata.

The chords in bar 58 and the long chord in bar 60 are powerful fortissimos, and you should show your presence. I felt that the impression was a little graceful and quiet. I think it would be better to play them firmly, which would give the impression of Beethoven.",test
383,n22-bac-inv015-s-p02_c15.txt,n22-bac-inv015-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"(Instructor)
　　You play very carefully. Do you have any thoughts after you finished playing?
(Learner)
　　I played very hard not to make any mistakes.
(Instructor)
I could tell that you played carefully.
Do you want to make it better?
(Learner)
Yes, but I don't know what to do.
(Instructor)
Well, let me explain a little.
First of all, what does ""make it better"" mean? Let's clarify that.

This piece was written by the famous composer ""Bach. He was active as both an organist and a composer.
He was active as both an organist and a composer, and his improvisations are especially wonderful,
Some people say that none of Bach's works can compare to his improvisations.

First of all, a piece of music has the composer's ""feelings. He wants you to play it this way. I want you to play it like this.
I want the audience to be moved by the ""feelings"" that the composer put into the piece.
First of all, there is the composer's ""thought. It is written in the score.
It is not written in the score, but it is written in the words of the music,
The words ""moderato"" and ""moderato"" are used to describe the speed of the music.
Moderato"", ""Allegretto"", ""Allegretto"", and so on.
Your playing is closer to ""Allegretto"". I think it is a good choice.


Now, another aspect of ""make it better"" is,
What is the message of this piece?

What the composer Bach wanted to express in this piece is the beauty produced by ""two melodies.
Music in which multiple melodies are played to produce beauty is called ""polyphony,
The origin of polyphony is the beauty produced by two melodies.

I feel that the overall performance is beautiful.
The balance between the right hand and the left hand is even and well played,
However, it might be kind to make the structure clearer for the music that progresses in the same way.
It may be kind to the listener to make the structure clearer, since the music proceeds in the same way.
In that sense, I think it is one melody up to the beginning of the 12th bar,
It would be better if you give a little extra time to the eighth note of the right hand at the beginning of the twelfth bar.
It would be better if you consider it as one melody until the beginning of the 12th bar.

This kind of music with two contrasting melodies is called
counterpoint"" and is considered a basic compositional technique.
One of the points of ""counterpoint"" is not that the two melodies are compounded into one, but rather
The more prominent the exchange between the two melodies, the less monotonous and the more beautiful the music will sound.

In this sense, it is better to play the line where the left hand moves, such as bars 6, 11, 14, and 20, with your attention focused on the left hand, so that the balance of the two melodies will naturally stand out.
I think that by playing with the left hand's attention focused on the left hand, the balance will naturally become more pronounced.",train
384,n01-chp-etd003-s-p03_c24.txt,n01-chp-etd003-s-p03.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Overall, I thought the balance between the main melody and the inner and lower voices was well balanced and well controlled.
The beautiful melody, as if sung, is also well expressed.
The depth of this piece is deep, so I suggest further study to see how far you can go in your singing.",train
385,n01-chp-etd003-s-p03_c11.txt,n01-chp-etd003-s-p03.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Can you play while feeling the following?

Measure No.
1-8: Hope
9-14: desire
15-16: Longing
17: Despair
18-19: Denial of despair
20-21: Acceptance

For bars 18 and 19, feel the weight and pain of going up one note. The ornamental note in bar 21 is a premonition of what is to come in the middle section.

Considering all this, I don't think you will be able to play the piece as if you are angry from giving up, or as if you are just letting out your anger and feeling relieved. You may want to work on it again after more years have passed.

Let's not play this song now.
Let's do Proco.",train
386,n28-bet-snt008-3-s-p02_c07.txt,n28-bet-snt008-3-s-p02.wav,"The music is very crisp and clear and has the atmosphere of Beethoven. There are some minor parts that are not played well, so it would be nice if they could be fixed.

The last two notes of the eighth note in the left hand in bars 9 and 10 are muddled by the pedal, so it would be nice to hear them cleanly.


The first beat of the 17th bar should be broken off clearly in staccato, which would be cool. The theme is ""crisp and clear.

The second staccato note in the 28th bar, for example, is extended by the pedal, so it would be nice if it were cut off properly. The staccato tends to be sweet, so let's try to make it crisp and clear.

The soprano in the 37th bar tends to be a note too weak, so practice the basics so that you can play it with a nice tata-tata.

The chords in bar 58 and the long chord in bar 60 are powerful fortissimos, and you should show your presence. I felt that the impression was a little graceful and quiet. I think it would be better to play them firmly, which would give the impression of Beethoven.", Is there reasonable balance between hands? , The balance between right hand and left hand is good. ,test
387,n28-bet-snt008-3-s-p02_c07.txt,n28-bet-snt008-3-s-p02.wav,"The music is very crisp and clear and has the atmosphere of Beethoven. There are some minor parts that are not played well, so it would be nice if they could be fixed.

The last two notes of the eighth note in the left hand in bars 9 and 10 are muddled by the pedal, so it would be nice to hear them cleanly.


The first beat of the 17th bar should be broken off clearly in staccato, which would be cool. The theme is ""crisp and clear.

The second staccato note in the 28th bar, for example, is extended by the pedal, so it would be nice if it were cut off properly. The staccato tends to be sweet, so let's try to make it crisp and clear.

The soprano in the 37th bar tends to be a note too weak, so practice the basics so that you can play it with a nice tata-tata.

The chords in bar 58 and the long chord in bar 60 are powerful fortissimos, and you should show your presence. I felt that the impression was a little graceful and quiet. I think it would be better to play them firmly, which would give the impression of Beethoven.", Is the phrasing or melodic shaping clear? ," Yes, played with a sense of phrasing.",test
388,n28-bet-snt008-3-s-p02_c07.txt,n28-bet-snt008-3-s-p02.wav,"The music is very crisp and clear and has the atmosphere of Beethoven. There are some minor parts that are not played well, so it would be nice if they could be fixed.

The last two notes of the eighth note in the left hand in bars 9 and 10 are muddled by the pedal, so it would be nice to hear them cleanly.


The first beat of the 17th bar should be broken off clearly in staccato, which would be cool. The theme is ""crisp and clear.

The second staccato note in the 28th bar, for example, is extended by the pedal, so it would be nice if it were cut off properly. The staccato tends to be sweet, so let's try to make it crisp and clear.

The soprano in the 37th bar tends to be a note too weak, so practice the basics so that you can play it with a nice tata-tata.

The chords in bar 58 and the long chord in bar 60 are powerful fortissimos, and you should show your presence. I felt that the impression was a little graceful and quiet. I think it would be better to play them firmly, which would give the impression of Beethoven.", What does the student needs to work on? , The 16th note after the dotted 8th note in the melody is too strong.,test
389,n22-bac-inv015-s-p02_c15.txt,n22-bac-inv015-s-p02.wav,"(Instructor)
　　You play very carefully. Do you have any thoughts after you finished playing?
(Learner)
　　I played very hard not to make any mistakes.
(Instructor)
I could tell that you played carefully.
Do you want to make it better?
(Learner)
Yes, but I don't know what to do.
(Instructor)
Well, let me explain a little.
First of all, what does ""make it better"" mean? Let's clarify that.

This piece was written by the famous composer ""Bach. He was active as both an organist and a composer.
He was active as both an organist and a composer, and his improvisations are especially wonderful,
Some people say that none of Bach's works can compare to his improvisations.

First of all, a piece of music has the composer's ""feelings. He wants you to play it this way. I want you to play it like this.
I want the audience to be moved by the ""feelings"" that the composer put into the piece.
First of all, there is the composer's ""thought. It is written in the score.
It is not written in the score, but it is written in the words of the music,
The words ""moderato"" and ""moderato"" are used to describe the speed of the music.
Moderato"", ""Allegretto"", ""Allegretto"", and so on.
Your playing is closer to ""Allegretto"". I think it is a good choice.


Now, another aspect of ""make it better"" is,
What is the message of this piece?

What the composer Bach wanted to express in this piece is the beauty produced by ""two melodies.
Music in which multiple melodies are played to produce beauty is called ""polyphony,
The origin of polyphony is the beauty produced by two melodies.

I feel that the overall performance is beautiful.
The balance between the right hand and the left hand is even and well played,
However, it might be kind to make the structure clearer for the music that progresses in the same way.
It may be kind to the listener to make the structure clearer, since the music proceeds in the same way.
In that sense, I think it is one melody up to the beginning of the 12th bar,
It would be better if you give a little extra time to the eighth note of the right hand at the beginning of the twelfth bar.
It would be better if you consider it as one melody until the beginning of the 12th bar.

This kind of music with two contrasting melodies is called
counterpoint"" and is considered a basic compositional technique.
One of the points of ""counterpoint"" is not that the two melodies are compounded into one, but rather
The more prominent the exchange between the two melodies, the less monotonous and the more beautiful the music will sound.

In this sense, it is better to play the line where the left hand moves, such as bars 6, 11, 14, and 20, with your attention focused on the left hand, so that the balance of the two melodies will naturally stand out.
I think that by playing with the left hand's attention focused on the left hand, the balance will naturally become more pronounced.", Is the interpretation appropriate to the style of the composition? ," Yes, it has the atmosphere of Beethoven.",train
390,n22-bac-inv015-s-p02_c15.txt,n22-bac-inv015-s-p02.wav,"(Instructor)
　　You play very carefully. Do you have any thoughts after you finished playing?
(Learner)
　　I played very hard not to make any mistakes.
(Instructor)
I could tell that you played carefully.
Do you want to make it better?
(Learner)
Yes, but I don't know what to do.
(Instructor)
Well, let me explain a little.
First of all, what does ""make it better"" mean? Let's clarify that.

This piece was written by the famous composer ""Bach. He was active as both an organist and a composer.
He was active as both an organist and a composer, and his improvisations are especially wonderful,
Some people say that none of Bach's works can compare to his improvisations.

First of all, a piece of music has the composer's ""feelings. He wants you to play it this way. I want you to play it like this.
I want the audience to be moved by the ""feelings"" that the composer put into the piece.
First of all, there is the composer's ""thought. It is written in the score.
It is not written in the score, but it is written in the words of the music,
The words ""moderato"" and ""moderato"" are used to describe the speed of the music.
Moderato"", ""Allegretto"", ""Allegretto"", and so on.
Your playing is closer to ""Allegretto"". I think it is a good choice.


Now, another aspect of ""make it better"" is,
What is the message of this piece?

What the composer Bach wanted to express in this piece is the beauty produced by ""two melodies.
Music in which multiple melodies are played to produce beauty is called ""polyphony,
The origin of polyphony is the beauty produced by two melodies.

I feel that the overall performance is beautiful.
The balance between the right hand and the left hand is even and well played,
However, it might be kind to make the structure clearer for the music that progresses in the same way.
It may be kind to the listener to make the structure clearer, since the music proceeds in the same way.
In that sense, I think it is one melody up to the beginning of the 12th bar,
It would be better if you give a little extra time to the eighth note of the right hand at the beginning of the twelfth bar.
It would be better if you consider it as one melody until the beginning of the 12th bar.

This kind of music with two contrasting melodies is called
counterpoint"" and is considered a basic compositional technique.
One of the points of ""counterpoint"" is not that the two melodies are compounded into one, but rather
The more prominent the exchange between the two melodies, the less monotonous and the more beautiful the music will sound.

In this sense, it is better to play the line where the left hand moves, such as bars 6, 11, 14, and 20, with your attention focused on the left hand, so that the balance of the two melodies will naturally stand out.
I think that by playing with the left hand's attention focused on the left hand, the balance will naturally become more pronounced.", Is the performed note accurate? , There are some minor parts that are not played well.,train
391,n22-bac-inv015-s-p02_c15.txt,n22-bac-inv015-s-p02.wav,"(Instructor)
　　You play very carefully. Do you have any thoughts after you finished playing?
(Learner)
　　I played very hard not to make any mistakes.
(Instructor)
I could tell that you played carefully.
Do you want to make it better?
(Learner)
Yes, but I don't know what to do.
(Instructor)
Well, let me explain a little.
First of all, what does ""make it better"" mean? Let's clarify that.

This piece was written by the famous composer ""Bach. He was active as both an organist and a composer.
He was active as both an organist and a composer, and his improvisations are especially wonderful,
Some people say that none of Bach's works can compare to his improvisations.

First of all, a piece of music has the composer's ""feelings. He wants you to play it this way. I want you to play it like this.
I want the audience to be moved by the ""feelings"" that the composer put into the piece.
First of all, there is the composer's ""thought. It is written in the score.
It is not written in the score, but it is written in the words of the music,
The words ""moderato"" and ""moderato"" are used to describe the speed of the music.
Moderato"", ""Allegretto"", ""Allegretto"", and so on.
Your playing is closer to ""Allegretto"". I think it is a good choice.


Now, another aspect of ""make it better"" is,
What is the message of this piece?

What the composer Bach wanted to express in this piece is the beauty produced by ""two melodies.
Music in which multiple melodies are played to produce beauty is called ""polyphony,
The origin of polyphony is the beauty produced by two melodies.

I feel that the overall performance is beautiful.
The balance between the right hand and the left hand is even and well played,
However, it might be kind to make the structure clearer for the music that progresses in the same way.
It may be kind to the listener to make the structure clearer, since the music proceeds in the same way.
In that sense, I think it is one melody up to the beginning of the 12th bar,
It would be better if you give a little extra time to the eighth note of the right hand at the beginning of the twelfth bar.
It would be better if you consider it as one melody until the beginning of the 12th bar.

This kind of music with two contrasting melodies is called
counterpoint"" and is considered a basic compositional technique.
One of the points of ""counterpoint"" is not that the two melodies are compounded into one, but rather
The more prominent the exchange between the two melodies, the less monotonous and the more beautiful the music will sound.

In this sense, it is better to play the line where the left hand moves, such as bars 6, 11, 14, and 20, with your attention focused on the left hand, so that the balance of the two melodies will naturally stand out.
I think that by playing with the left hand's attention focused on the left hand, the balance will naturally become more pronounced.", What does the student needs to work on? ," Some notes were muddled by the pedal, and some notes should be broken off clearly in staccato, also improve on pedal usage on staccato notes.",train
392,n01-chp-etd003-s-p03_c24.txt,n01-chp-etd003-s-p03.wav,"Overall, I thought the balance between the main melody and the inner and lower voices was well balanced and well controlled.
The beautiful melody, as if sung, is also well expressed.
The depth of this piece is deep, so I suggest further study to see how far you can go in your singing.", Is there reasonable balance between hands? ," Yes, The balance between the right hand and the left hand is even.",train
393,n01-chp-etd003-s-p03_c24.txt,n01-chp-etd003-s-p03.wav,"Overall, I thought the balance between the main melody and the inner and lower voices was well balanced and well controlled.
The beautiful melody, as if sung, is also well expressed.
The depth of this piece is deep, so I suggest further study to see how far you can go in your singing.", How would you describe the emotional intent of the performance? ," The student played very carefully, and the overall performance is beautiful.",train
394,n01-chp-etd003-s-p03_c24.txt,n01-chp-etd003-s-p03.wav,"Overall, I thought the balance between the main melody and the inner and lower voices was well balanced and well controlled.
The beautiful melody, as if sung, is also well expressed.
The depth of this piece is deep, so I suggest further study to see how far you can go in your singing.", What does the student needs to work on? , The structure of the music could be clearer.,train
395,n01-chp-etd003-s-p03_c11.txt,n01-chp-etd003-s-p03.wav,"Can you play while feeling the following?

Measure No.
1-8: Hope
9-14: desire
15-16: Longing
17: Despair
18-19: Denial of despair
20-21: Acceptance

For bars 18 and 19, feel the weight and pain of going up one note. The ornamental note in bar 21 is a premonition of what is to come in the middle section.

Considering all this, I don't think you will be able to play the piece as if you are angry from giving up, or as if you are just letting out your anger and feeling relieved. You may want to work on it again after more years have passed.

Let's not play this song now.
Let's do Proco.", Is there reasonable balance between melody and accompaniment? ," Yes, the balance between the main melody and the inner and lower voices was well balanced and well controlled. ",train
396,n01-chp-etd003-s-p03_c11.txt,n01-chp-etd003-s-p03.wav,"Can you play while feeling the following?

Measure No.
1-8: Hope
9-14: desire
15-16: Longing
17: Despair
18-19: Denial of despair
20-21: Acceptance

For bars 18 and 19, feel the weight and pain of going up one note. The ornamental note in bar 21 is a premonition of what is to come in the middle section.

Considering all this, I don't think you will be able to play the piece as if you are angry from giving up, or as if you are just letting out your anger and feeling relieved. You may want to work on it again after more years have passed.

Let's not play this song now.
Let's do Proco.", Is the phrasing or melodic shaping clear? ," Yes, the melody is well expressed as if sung.",train
397,n01-chp-etd003-s-p03_c11.txt,n01-chp-etd003-s-p03.wav,"Can you play while feeling the following?

Measure No.
1-8: Hope
9-14: desire
15-16: Longing
17: Despair
18-19: Denial of despair
20-21: Acceptance

For bars 18 and 19, feel the weight and pain of going up one note. The ornamental note in bar 21 is a premonition of what is to come in the middle section.

Considering all this, I don't think you will be able to play the piece as if you are angry from giving up, or as if you are just letting out your anger and feeling relieved. You may want to work on it again after more years have passed.

Let's not play this song now.
Let's do Proco.", What does the student needs to work on? , Further study is needed to see how far the student can go in the singing.,train
398,n28-bet-snt008-3-s-p02_c03.txt,n28-bet-snt008-3-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"I think it is nicely organized.
Let's look at the left hand first. Looking at the note pattern, there is an eighth-note dispersed chord (bar 1) and an eighth-note section with an even number of notes playing the same note (bar 3, for example). The former has a slur every four notes; the latter does not. The former's dispersed chords are strongly ascending and have a powerful unity, while the latter is stagnant. If this difference in expression were made clearer, the left hand passages would be more dynamic.
The long slur from the 12th bar requires mobility to propel the phrase forward with the left hand without interruption; I think it would be better to bring it all the way to the forte in the 16th bar to express a longer phrase.
The repetition of the note pattern with the first eight rests in the 35th bar gives a sense of uncertainty and anticipation, as if you don't know what happens next. It then reaches its apex in the next measure and descends quickly from there. The rhythm of measure 36 is a triplet followed by four sixteenth notes, but it is better to play this rhythm as if it is plunging into the next measure, rather than playing it rhythmically. I think the music will be more three-dimensional if you play it with the image of a plodding into the next bar, rather than playing the rhythm as it is.
The 58th bar has a similar shape. This one is more dramatic, with a longer distance from the flat of the apex la to the natural of the ci below, and even a fermata with an sf (sforzando) on the note you reach. I think the sf in your playing is very good. I would like to see the descending form before it, if possible, with more downward suction.


Finally, your fingers tend to get tangled at the part of the triplet note pattern sequence. I think you will improve if you practice with different rhythms or try playing while singing with your mouth.",test
399,n26-bet-snt008-2-s-p02_c10.txt,n26-bet-snt008-2-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Please play the melody from bar 11 to bar 12 carefully. I would like to see a little more depth in the sound.
Other than that, the performance was polite, coherent, and pleasant to listen to.",train
400,n31-sch-knd007-s-p02_c20.txt,n31-sch-knd007-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The way he paused and felt each phrase was exquisite and I couldn't help but listen to him.
It was wonderful.",train
401,n01-chp-etd003-s-p03_c09.txt,n01-chp-etd003-s-p03.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"I thought it was a beautiful performance. The tempo, the inner voices, the way the rubato is handled and the pauses, etc. are all exemplary in the creation of the piece.
The only thing that bothered me a little was that the accented notes sometimes sounded broken. This may possibly be the fault of the computer.
But apart from this, it is an excellent performance.",train
402,n28-bet-snt008-3-s-p02_c03.txt,n28-bet-snt008-3-s-p02.wav,"I think it is nicely organized.
Let's look at the left hand first. Looking at the note pattern, there is an eighth-note dispersed chord (bar 1) and an eighth-note section with an even number of notes playing the same note (bar 3, for example). The former has a slur every four notes; the latter does not. The former's dispersed chords are strongly ascending and have a powerful unity, while the latter is stagnant. If this difference in expression were made clearer, the left hand passages would be more dynamic.
The long slur from the 12th bar requires mobility to propel the phrase forward with the left hand without interruption; I think it would be better to bring it all the way to the forte in the 16th bar to express a longer phrase.
The repetition of the note pattern with the first eight rests in the 35th bar gives a sense of uncertainty and anticipation, as if you don't know what happens next. It then reaches its apex in the next measure and descends quickly from there. The rhythm of measure 36 is a triplet followed by four sixteenth notes, but it is better to play this rhythm as if it is plunging into the next measure, rather than playing it rhythmically. I think the music will be more three-dimensional if you play it with the image of a plodding into the next bar, rather than playing the rhythm as it is.
The 58th bar has a similar shape. This one is more dramatic, with a longer distance from the flat of the apex la to the natural of the ci below, and even a fermata with an sf (sforzando) on the note you reach. I think the sf in your playing is very good. I would like to see the descending form before it, if possible, with more downward suction.


Finally, your fingers tend to get tangled at the part of the triplet note pattern sequence. I think you will improve if you practice with different rhythms or try playing while singing with your mouth.", How would you describe the emotional intent of the performance? ," The performance should involve feelings of hope, desire, longing, despair, denial of despair, acceptance, and premonition.",test
403,n28-bet-snt008-3-s-p02_c03.txt,n28-bet-snt008-3-s-p02.wav,"I think it is nicely organized.
Let's look at the left hand first. Looking at the note pattern, there is an eighth-note dispersed chord (bar 1) and an eighth-note section with an even number of notes playing the same note (bar 3, for example). The former has a slur every four notes; the latter does not. The former's dispersed chords are strongly ascending and have a powerful unity, while the latter is stagnant. If this difference in expression were made clearer, the left hand passages would be more dynamic.
The long slur from the 12th bar requires mobility to propel the phrase forward with the left hand without interruption; I think it would be better to bring it all the way to the forte in the 16th bar to express a longer phrase.
The repetition of the note pattern with the first eight rests in the 35th bar gives a sense of uncertainty and anticipation, as if you don't know what happens next. It then reaches its apex in the next measure and descends quickly from there. The rhythm of measure 36 is a triplet followed by four sixteenth notes, but it is better to play this rhythm as if it is plunging into the next measure, rather than playing it rhythmically. I think the music will be more three-dimensional if you play it with the image of a plodding into the next bar, rather than playing the rhythm as it is.
The 58th bar has a similar shape. This one is more dramatic, with a longer distance from the flat of the apex la to the natural of the ci below, and even a fermata with an sf (sforzando) on the note you reach. I think the sf in your playing is very good. I would like to see the descending form before it, if possible, with more downward suction.


Finally, your fingers tend to get tangled at the part of the triplet note pattern sequence. I think you will improve if you practice with different rhythms or try playing while singing with your mouth.", What does the student needs to work on? , The student needs to work on incorporating more emotion into their performance based on the specific measures in the composition.,test
404,n28-bet-snt008-3-s-p02_c03.txt,n28-bet-snt008-3-s-p02.wav,"I think it is nicely organized.
Let's look at the left hand first. Looking at the note pattern, there is an eighth-note dispersed chord (bar 1) and an eighth-note section with an even number of notes playing the same note (bar 3, for example). The former has a slur every four notes; the latter does not. The former's dispersed chords are strongly ascending and have a powerful unity, while the latter is stagnant. If this difference in expression were made clearer, the left hand passages would be more dynamic.
The long slur from the 12th bar requires mobility to propel the phrase forward with the left hand without interruption; I think it would be better to bring it all the way to the forte in the 16th bar to express a longer phrase.
The repetition of the note pattern with the first eight rests in the 35th bar gives a sense of uncertainty and anticipation, as if you don't know what happens next. It then reaches its apex in the next measure and descends quickly from there. The rhythm of measure 36 is a triplet followed by four sixteenth notes, but it is better to play this rhythm as if it is plunging into the next measure, rather than playing it rhythmically. I think the music will be more three-dimensional if you play it with the image of a plodding into the next bar, rather than playing the rhythm as it is.
The 58th bar has a similar shape. This one is more dramatic, with a longer distance from the flat of the apex la to the natural of the ci below, and even a fermata with an sf (sforzando) on the note you reach. I think the sf in your playing is very good. I would like to see the descending form before it, if possible, with more downward suction.


Finally, your fingers tend to get tangled at the part of the triplet note pattern sequence. I think you will improve if you practice with different rhythms or try playing while singing with your mouth.", Is the interpretation appropriate to the style of the composition? ," As per the feedback, the student’s current performance seems to be played as if they are angry from giving up, which the teacher suggests may not fit the required emotional journey of the piece.",test
405,n26-bet-snt008-2-s-p02_c10.txt,n26-bet-snt008-2-s-p02.wav,"Please play the melody from bar 11 to bar 12 carefully. I would like to see a little more depth in the sound.
Other than that, the performance was polite, coherent, and pleasant to listen to.", How would you describe the overall integrity of the performance? ," The performance is nicely organized, although there's room for improvement in differentiating expression between sections.",train
406,n26-bet-snt008-2-s-p02_c10.txt,n26-bet-snt008-2-s-p02.wav,"Please play the melody from bar 11 to bar 12 carefully. I would like to see a little more depth in the sound.
Other than that, the performance was polite, coherent, and pleasant to listen to.", What does the student needs to work on? ," The student needs to work on differentiating the note patterns in the left hand, creating a sense of anticipation, expressing the rhythm dynamically, and untangling the triplet note pattern sequence.",train
407,n26-bet-snt008-2-s-p02_c10.txt,n26-bet-snt008-2-s-p02.wav,"Please play the melody from bar 11 to bar 12 carefully. I would like to see a little more depth in the sound.
Other than that, the performance was polite, coherent, and pleasant to listen to.", How would you rate the difficulty level of this piece? , The complexity of the rhythms and expressivity of the piece could mark it as of a higher difficulty level.,train
408,n31-sch-knd007-s-p02_c20.txt,n31-sch-knd007-s-p02.wav,"The way he paused and felt each phrase was exquisite and I couldn't help but listen to him.
It was wonderful.", How would you describe the musicality or timbre of the performance? ," Overall, the performance was polite, coherent, and pleasant to listen to, but deeper sound from bars 11 to 12 would be beneficial.",train
409,n31-sch-knd007-s-p02_c20.txt,n31-sch-knd007-s-p02.wav,"The way he paused and felt each phrase was exquisite and I couldn't help but listen to him.
It was wonderful.", What does the student needs to work on? , The student could add depth to the sound in bars 11 through 12.,train
410,n31-sch-knd007-s-p02_c20.txt,n31-sch-knd007-s-p02.wav,"The way he paused and felt each phrase was exquisite and I couldn't help but listen to him.
It was wonderful.", In which skill level would you say the performer is in? ," The performer appears to be at a skill level where they can deliver a polite and coherent performance, but could work towards further depth in sound.",train
411,n01-chp-etd003-s-p03_c09.txt,n01-chp-etd003-s-p03.wav,"I thought it was a beautiful performance. The tempo, the inner voices, the way the rubato is handled and the pauses, etc. are all exemplary in the creation of the piece.
The only thing that bothered me a little was that the accented notes sometimes sounded broken. This may possibly be the fault of the computer.
But apart from this, it is an excellent performance.", How would you describe the emotional intent of the performance? ," The performer was exquisite in pausing and feeling each phrase, drawing the listener in.",train
412,n01-chp-etd003-s-p03_c09.txt,n01-chp-etd003-s-p03.wav,"I thought it was a beautiful performance. The tempo, the inner voices, the way the rubato is handled and the pauses, etc. are all exemplary in the creation of the piece.
The only thing that bothered me a little was that the accented notes sometimes sounded broken. This may possibly be the fault of the computer.
But apart from this, it is an excellent performance.", In which skill level would you say the performer is in? , The performer is at a level where they can deliver an exquisite performance that compels listeners.,train
413,n01-chp-etd003-s-p03_c09.txt,n01-chp-etd003-s-p03.wav,"I thought it was a beautiful performance. The tempo, the inner voices, the way the rubato is handled and the pauses, etc. are all exemplary in the creation of the piece.
The only thing that bothered me a little was that the accented notes sometimes sounded broken. This may possibly be the fault of the computer.
But apart from this, it is an excellent performance.", How would you rate the performance out of 10? ," The performance was wonderful, indicating high scoring.",train
414,n01-chp-etd003-s-p02_c07.txt,n01-chp-etd003-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"I think you sing very carefully and have a wonderful air about you. I think it is very good that you have your own world.
However, I think it would be even better if you could insist on the notes that should be emphasized, because there are often notes that are considered important that are left out. For example, the second ""a"" in the fourth bar sounds withdrawn, and the ""e"" in the sixth bar gives a shadowy impression. These are the notes that should be emphasized, so I think it is a good idea to carefully declare their presence.

Another point is the tempo. While it is nice to feel free to expand or relax the tempo, if you overdo it, it may sound a bit unnatural.

I think the chord on the first beat of the 17th bar should be fortissimo with more presence. I also thought it could have more volume.

　  I think it will get better and better as you polish it while keeping the good parts.",test
415,n28-bet-snt008-3-s-p01_c23.txt,n28-bet-snt008-3-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The performance was strong and powerful, typical of Beethoven. On the other hand, I was concerned about the loss of notes in the left hand in the 6th and 11th bars. While paying attention to the volume balance between the left hand and the right hand, the left hand should hit the keyboard keys to the bottom of the keyboard without fail. Also, please read the score accurately. For example, the fourth beat of the 24th bar is a rest, but the note has been extended from the third beat. Beethoven wrote the rests intentionally, and you should express this. Other things that bothered me were that the right hand in bar 30 is played in staccato even though it is legato, and that bar 33 is played in F even though it is written in P. Classical music is a reproduction art, so be sure to read the score and follow the instructions before going on to your personal interpretation.",train
416,n01-chp-etd003-s-p01_c19.txt,n01-chp-etd003-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Try to play the opening notes with both hands at the same time so that they do not shift.
Let the melody be heard with a little less inner voice.
The accent is on the ""Do #"" in the third beat of the third measure and the ""Fa #"" in the third beat of the fourth measure. Before playing these notes, prepare your fingers on the keyboard and make them clear.
Play the fourth beat of the seventh bar and the first and second beats of the eighth bar as if you were closing in a little, so that the riten of the next bar will come alive.
Play the 15th bar in the same way, and in the 16th bar, crescendo each note clearly and hit the next ff.
Chopin's etude is a piece of music, even if it is an exercise. It is good if you can play both the melody and the accompaniment with careful intonation.",train
417,n22-bac-inv015-s-p01_c07.txt,n22-bac-inv015-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"I think you played it with great care. The theme of the piece is also well defined and easy to listen to.

However, it is unfortunate that there are some irregularities in the grain in some places. For example, the third bar's ""Shido sisora sirafa"" and the fifth bar's ""rasidore"" are uneven and the grain is uneven.

The remifami in the 16th bar is also broken for some reason, so be sure to play this part properly as well. The left hand is even more prone to technical breakdowns, so practice it.


I think you can improve your technique by practicing basic exercises so that the sixteenth note doesn't fall down. It is effective to practice playing the part where you fall down firmly and properly in fortissimo.

Bach is difficult, but I think you will gradually enjoy playing it.",test
418,n01-chp-etd003-s-p02_c07.txt,n01-chp-etd003-s-p02.wav,"I think you sing very carefully and have a wonderful air about you. I think it is very good that you have your own world.
However, I think it would be even better if you could insist on the notes that should be emphasized, because there are often notes that are considered important that are left out. For example, the second ""a"" in the fourth bar sounds withdrawn, and the ""e"" in the sixth bar gives a shadowy impression. These are the notes that should be emphasized, so I think it is a good idea to carefully declare their presence.

Another point is the tempo. While it is nice to feel free to expand or relax the tempo, if you overdo it, it may sound a bit unnatural.

I think the chord on the first beat of the 17th bar should be fortissimo with more presence. I also thought it could have more volume.

　  I think it will get better and better as you polish it while keeping the good parts.", How is the overall tempo? , The tempo is handled well.,test
419,n01-chp-etd003-s-p02_c07.txt,n01-chp-etd003-s-p02.wav,"I think you sing very carefully and have a wonderful air about you. I think it is very good that you have your own world.
However, I think it would be even better if you could insist on the notes that should be emphasized, because there are often notes that are considered important that are left out. For example, the second ""a"" in the fourth bar sounds withdrawn, and the ""e"" in the sixth bar gives a shadowy impression. These are the notes that should be emphasized, so I think it is a good idea to carefully declare their presence.

Another point is the tempo. While it is nice to feel free to expand or relax the tempo, if you overdo it, it may sound a bit unnatural.

I think the chord on the first beat of the 17th bar should be fortissimo with more presence. I also thought it could have more volume.

　  I think it will get better and better as you polish it while keeping the good parts.", How would you describe the emotional intent of the performance? , It was a beautiful performance.,test
420,n01-chp-etd003-s-p02_c07.txt,n01-chp-etd003-s-p02.wav,"I think you sing very carefully and have a wonderful air about you. I think it is very good that you have your own world.
However, I think it would be even better if you could insist on the notes that should be emphasized, because there are often notes that are considered important that are left out. For example, the second ""a"" in the fourth bar sounds withdrawn, and the ""e"" in the sixth bar gives a shadowy impression. These are the notes that should be emphasized, so I think it is a good idea to carefully declare their presence.

Another point is the tempo. While it is nice to feel free to expand or relax the tempo, if you overdo it, it may sound a bit unnatural.

I think the chord on the first beat of the 17th bar should be fortissimo with more presence. I also thought it could have more volume.

　  I think it will get better and better as you polish it while keeping the good parts.", What does the student needs to work on? , The accented notes sometimes sounded broken.,test
421,n28-bet-snt008-3-s-p01_c23.txt,n28-bet-snt008-3-s-p01.wav,"The performance was strong and powerful, typical of Beethoven. On the other hand, I was concerned about the loss of notes in the left hand in the 6th and 11th bars. While paying attention to the volume balance between the left hand and the right hand, the left hand should hit the keyboard keys to the bottom of the keyboard without fail. Also, please read the score accurately. For example, the fourth beat of the 24th bar is a rest, but the note has been extended from the third beat. Beethoven wrote the rests intentionally, and you should express this. Other things that bothered me were that the right hand in bar 30 is played in staccato even though it is legato, and that bar 33 is played in F even though it is written in P. Classical music is a reproduction art, so be sure to read the score and follow the instructions before going on to your personal interpretation.", How is the overall tempo? , The tempo is a little unnatural.,train
422,n28-bet-snt008-3-s-p01_c23.txt,n28-bet-snt008-3-s-p01.wav,"The performance was strong and powerful, typical of Beethoven. On the other hand, I was concerned about the loss of notes in the left hand in the 6th and 11th bars. While paying attention to the volume balance between the left hand and the right hand, the left hand should hit the keyboard keys to the bottom of the keyboard without fail. Also, please read the score accurately. For example, the fourth beat of the 24th bar is a rest, but the note has been extended from the third beat. Beethoven wrote the rests intentionally, and you should express this. Other things that bothered me were that the right hand in bar 30 is played in staccato even though it is legato, and that bar 33 is played in F even though it is written in P. Classical music is a reproduction art, so be sure to read the score and follow the instructions before going on to your personal interpretation.", Is the performance following score instructions? , The notes that should be emphasized are often left out.,train
423,n28-bet-snt008-3-s-p01_c23.txt,n28-bet-snt008-3-s-p01.wav,"The performance was strong and powerful, typical of Beethoven. On the other hand, I was concerned about the loss of notes in the left hand in the 6th and 11th bars. While paying attention to the volume balance between the left hand and the right hand, the left hand should hit the keyboard keys to the bottom of the keyboard without fail. Also, please read the score accurately. For example, the fourth beat of the 24th bar is a rest, but the note has been extended from the third beat. Beethoven wrote the rests intentionally, and you should express this. Other things that bothered me were that the right hand in bar 30 is played in staccato even though it is legato, and that bar 33 is played in F even though it is written in P. Classical music is a reproduction art, so be sure to read the score and follow the instructions before going on to your personal interpretation.", What does the student need to work on? , The chord on the first beat of the 17th bar should have more presence.,train
424,n01-chp-etd003-s-p01_c19.txt,n01-chp-etd003-s-p01.wav,"Try to play the opening notes with both hands at the same time so that they do not shift.
Let the melody be heard with a little less inner voice.
The accent is on the ""Do #"" in the third beat of the third measure and the ""Fa #"" in the third beat of the fourth measure. Before playing these notes, prepare your fingers on the keyboard and make them clear.
Play the fourth beat of the seventh bar and the first and second beats of the eighth bar as if you were closing in a little, so that the riten of the next bar will come alive.
Play the 15th bar in the same way, and in the 16th bar, crescendo each note clearly and hit the next ff.
Chopin's etude is a piece of music, even if it is an exercise. It is good if you can play both the melody and the accompaniment with careful intonation.", What is the overall score you would assign to the performance? ," The performance was strong and powerful, typical of Beethoven.",train
425,n01-chp-etd003-s-p01_c19.txt,n01-chp-etd003-s-p01.wav,"Try to play the opening notes with both hands at the same time so that they do not shift.
Let the melody be heard with a little less inner voice.
The accent is on the ""Do #"" in the third beat of the third measure and the ""Fa #"" in the third beat of the fourth measure. Before playing these notes, prepare your fingers on the keyboard and make them clear.
Play the fourth beat of the seventh bar and the first and second beats of the eighth bar as if you were closing in a little, so that the riten of the next bar will come alive.
Play the 15th bar in the same way, and in the 16th bar, crescendo each note clearly and hit the next ff.
Chopin's etude is a piece of music, even if it is an exercise. It is good if you can play both the melody and the accompaniment with careful intonation.", Is the performed note accurate? , The left hand notes in the 6th and 11th bars are lost.,train
426,n01-chp-etd003-s-p01_c19.txt,n01-chp-etd003-s-p01.wav,"Try to play the opening notes with both hands at the same time so that they do not shift.
Let the melody be heard with a little less inner voice.
The accent is on the ""Do #"" in the third beat of the third measure and the ""Fa #"" in the third beat of the fourth measure. Before playing these notes, prepare your fingers on the keyboard and make them clear.
Play the fourth beat of the seventh bar and the first and second beats of the eighth bar as if you were closing in a little, so that the riten of the next bar will come alive.
Play the 15th bar in the same way, and in the 16th bar, crescendo each note clearly and hit the next ff.
Chopin's etude is a piece of music, even if it is an exercise. It is good if you can play both the melody and the accompaniment with careful intonation.", Is the articulation appropriate? , The right hand in bar 30 is played in staccato even though it is legato.,train
427,n22-bac-inv015-s-p01_c07.txt,n22-bac-inv015-s-p01.wav,"I think you played it with great care. The theme of the piece is also well defined and easy to listen to.

However, it is unfortunate that there are some irregularities in the grain in some places. For example, the third bar's ""Shido sisora sirafa"" and the fifth bar's ""rasidore"" are uneven and the grain is uneven.

The remifami in the 16th bar is also broken for some reason, so be sure to play this part properly as well. The left hand is even more prone to technical breakdowns, so practice it.


I think you can improve your technique by practicing basic exercises so that the sixteenth note doesn't fall down. It is effective to practice playing the part where you fall down firmly and properly in fortissimo.

Bach is difficult, but I think you will gradually enjoy playing it.", Is the performance hesitant or smooth? ," Not smooth, the opening notes shift between two hands.",test
428,n22-bac-inv015-s-p01_c07.txt,n22-bac-inv015-s-p01.wav,"I think you played it with great care. The theme of the piece is also well defined and easy to listen to.

However, it is unfortunate that there are some irregularities in the grain in some places. For example, the third bar's ""Shido sisora sirafa"" and the fifth bar's ""rasidore"" are uneven and the grain is uneven.

The remifami in the 16th bar is also broken for some reason, so be sure to play this part properly as well. The left hand is even more prone to technical breakdowns, so practice it.


I think you can improve your technique by practicing basic exercises so that the sixteenth note doesn't fall down. It is effective to practice playing the part where you fall down firmly and properly in fortissimo.

Bach is difficult, but I think you will gradually enjoy playing it.", Is the balance between right and left hand appropriate? ," Needs more balance, both hands should play the opening note at the same time.",test
429,n22-bac-inv015-s-p01_c07.txt,n22-bac-inv015-s-p01.wav,"I think you played it with great care. The theme of the piece is also well defined and easy to listen to.

However, it is unfortunate that there are some irregularities in the grain in some places. For example, the third bar's ""Shido sisora sirafa"" and the fifth bar's ""rasidore"" are uneven and the grain is uneven.

The remifami in the 16th bar is also broken for some reason, so be sure to play this part properly as well. The left hand is even more prone to technical breakdowns, so practice it.


I think you can improve your technique by practicing basic exercises so that the sixteenth note doesn't fall down. It is effective to practice playing the part where you fall down firmly and properly in fortissimo.

Bach is difficult, but I think you will gradually enjoy playing it.", Is there a clear phrasing or melodic shaping? , The melody needs to be heard with a little less inner voice.,test
430,n17-bac-inv001-s-p02_c13.txt,n17-bac-inv001-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The performance was very carefully played, with a clear awareness of even the melodic delimitations of the bass, and I liked that.

However, I had the impression that the overall tempo and tonal nuances were a bit too restrained, so I would like to see a more energetic and strong-willed performance.",train
431,n31-sch-knd007-s-p12_c06.txt,n31-sch-knd007-s-p12.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"You want to make changes to the repeating parts rather than tracing them exactly the same way. It is important to understand that music is a time art and to play it as if it is constantly shifting.
In particular, the impression of the Trommelai changes drastically depending on how you add fluctuations.
Instead of playing it plainly, we should study more how to give different expressions to similar phrases.
Although the score only describes crescendos, strengthening a note means that there is a ""weak part,"" and repeated crescendos mean that there is a cycle of weakening and strengthening.

Also, I would like the pre-strike notes and arpeggios to be graceful.
When playing these, we also want to be aware of the strength and weakness (superiority or inferiority of each note) and mold the whole in a curvilinear manner.",train
432,n46-deb-pld108-s-p01_c21.txt,n46-deb-pld108-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"You play carefully. The tempo is also fine. The title of this piece is ""The Maiden with Flaxen Hair,"" so if you play it while imagining flaxen, fluffy, curly hair, you may get a more impressive performance.
Change the pedal on the third beat of the fourth bar (the left hand has been extended a whole beat).
In the arpeggio of the 12th bar, play each note firmly and carefully. It sounds as if you are playing it roughly and randomly.
In the first beat of the 24th bar, change the pedal (change the pedal firmly so that the previous note does not remain).
The left hand chords in bars 24-27 sound a little grainy in places. 5 notes in pp or p is a very delicate and difficult technique to play, but try to press down on the keyboard firmly as if stroking, without taking your fingers off the keyboard too much.
The quarter rests in the second and third beats of measure 37 sound as if they are missing, and bars 36-39 should be played while counting the three beats in your mind (don't overextend at the end) rather than just playing along.",train
433,n28-bet-snt008-3-s-p01_c12.txt,n28-bet-snt008-3-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"　　The performance captures the structure of the piece, and the eighth notes in the left hand and other notes are carefully practiced.
　　Overall, I have the impression that your fingertips have a touch as if you are hitting the keyboard, and I am particularly concerned about the broken notes in the octave.
　　In octaves and harmonies, listen carefully to the balance between the upper and lower notes.
　　I think the change of scene could be conveyed if you could express more the singing of a new phrase by breathing in the quarter rest in the 43rd bar.
　　This is a voluminous piece, but I think you have practiced it well.
　　Please try to play it in the same length as the original.",train
434,n17-bac-inv001-s-p02_c13.txt,n17-bac-inv001-s-p02.wav,"The performance was very carefully played, with a clear awareness of even the melodic delimitations of the bass, and I liked that.

However, I had the impression that the overall tempo and tonal nuances were a bit too restrained, so I would like to see a more energetic and strong-willed performance.", Is the performance hesitant or smooth? , There are some irregularities in the grain in some places.,train
435,n17-bac-inv001-s-p02_c13.txt,n17-bac-inv001-s-p02.wav,"The performance was very carefully played, with a clear awareness of even the melodic delimitations of the bass, and I liked that.

However, I had the impression that the overall tempo and tonal nuances were a bit too restrained, so I would like to see a more energetic and strong-willed performance.", Is the performed note accurate? ," The third bar's ""Shido sisora sirafa"" and the fifth bar's ""rasidore"" are uneven and the 16th bar's remifami is broken.",train
436,n17-bac-inv001-s-p02_c13.txt,n17-bac-inv001-s-p02.wav,"The performance was very carefully played, with a clear awareness of even the melodic delimitations of the bass, and I liked that.

However, I had the impression that the overall tempo and tonal nuances were a bit too restrained, so I would like to see a more energetic and strong-willed performance.", What does the student needs to work on? , Improve technique by practicing basic exercises so that the sixteenth note doesn't fall down and play the part where you fall down firmly and properly in fortissimo.,train
437,n31-sch-knd007-s-p12_c06.txt,n31-sch-knd007-s-p12.wav,"You want to make changes to the repeating parts rather than tracing them exactly the same way. It is important to understand that music is a time art and to play it as if it is constantly shifting.
In particular, the impression of the Trommelai changes drastically depending on how you add fluctuations.
Instead of playing it plainly, we should study more how to give different expressions to similar phrases.
Although the score only describes crescendos, strengthening a note means that there is a ""weak part,"" and repeated crescendos mean that there is a cycle of weakening and strengthening.

Also, I would like the pre-strike notes and arpeggios to be graceful.
When playing these, we also want to be aware of the strength and weakness (superiority or inferiority of each note) and mold the whole in a curvilinear manner.", How would you describe the emotional intent of the performance? ," The performance was very carefully played, with a clear awareness of even the melodic delimitations of the bass.",train
438,n31-sch-knd007-s-p12_c06.txt,n31-sch-knd007-s-p12.wav,"You want to make changes to the repeating parts rather than tracing them exactly the same way. It is important to understand that music is a time art and to play it as if it is constantly shifting.
In particular, the impression of the Trommelai changes drastically depending on how you add fluctuations.
Instead of playing it plainly, we should study more how to give different expressions to similar phrases.
Although the score only describes crescendos, strengthening a note means that there is a ""weak part,"" and repeated crescendos mean that there is a cycle of weakening and strengthening.

Also, I would like the pre-strike notes and arpeggios to be graceful.
When playing these, we also want to be aware of the strength and weakness (superiority or inferiority of each note) and mold the whole in a curvilinear manner.", How is the overall tempo? , The overall tempo and tonal nuances were a bit too restrained.,train
439,n31-sch-knd007-s-p12_c06.txt,n31-sch-knd007-s-p12.wav,"You want to make changes to the repeating parts rather than tracing them exactly the same way. It is important to understand that music is a time art and to play it as if it is constantly shifting.
In particular, the impression of the Trommelai changes drastically depending on how you add fluctuations.
Instead of playing it plainly, we should study more how to give different expressions to similar phrases.
Although the score only describes crescendos, strengthening a note means that there is a ""weak part,"" and repeated crescendos mean that there is a cycle of weakening and strengthening.

Also, I would like the pre-strike notes and arpeggios to be graceful.
When playing these, we also want to be aware of the strength and weakness (superiority or inferiority of each note) and mold the whole in a curvilinear manner.", What does the student needs to work on? , To show a more energetic and strong-willed performance.,train
440,n46-deb-pld108-s-p01_c21.txt,n46-deb-pld108-s-p01.wav,"You play carefully. The tempo is also fine. The title of this piece is ""The Maiden with Flaxen Hair,"" so if you play it while imagining flaxen, fluffy, curly hair, you may get a more impressive performance.
Change the pedal on the third beat of the fourth bar (the left hand has been extended a whole beat).
In the arpeggio of the 12th bar, play each note firmly and carefully. It sounds as if you are playing it roughly and randomly.
In the first beat of the 24th bar, change the pedal (change the pedal firmly so that the previous note does not remain).
The left hand chords in bars 24-27 sound a little grainy in places. 5 notes in pp or p is a very delicate and difficult technique to play, but try to press down on the keyboard firmly as if stroking, without taking your fingers off the keyboard too much.
The quarter rests in the second and third beats of measure 37 sound as if they are missing, and bars 36-39 should be played while counting the three beats in your mind (don't overextend at the end) rather than just playing along.", Is the interpretation appropriate to the style of the composition? , The impression of the Trommelai changes drastically depending on how you add fluctuations.,train
441,n46-deb-pld108-s-p01_c21.txt,n46-deb-pld108-s-p01.wav,"You play carefully. The tempo is also fine. The title of this piece is ""The Maiden with Flaxen Hair,"" so if you play it while imagining flaxen, fluffy, curly hair, you may get a more impressive performance.
Change the pedal on the third beat of the fourth bar (the left hand has been extended a whole beat).
In the arpeggio of the 12th bar, play each note firmly and carefully. It sounds as if you are playing it roughly and randomly.
In the first beat of the 24th bar, change the pedal (change the pedal firmly so that the previous note does not remain).
The left hand chords in bars 24-27 sound a little grainy in places. 5 notes in pp or p is a very delicate and difficult technique to play, but try to press down on the keyboard firmly as if stroking, without taking your fingers off the keyboard too much.
The quarter rests in the second and third beats of measure 37 sound as if they are missing, and bars 36-39 should be played while counting the three beats in your mind (don't overextend at the end) rather than just playing along.", Is there reasonalbe dynamics contrast? ," Although the score only describes crescendos, strengthening a note means that there is a ""weak part,"" and repeated crescendos mean that there is a cycle of weakening and strengthening.",train
442,n46-deb-pld108-s-p01_c21.txt,n46-deb-pld108-s-p01.wav,"You play carefully. The tempo is also fine. The title of this piece is ""The Maiden with Flaxen Hair,"" so if you play it while imagining flaxen, fluffy, curly hair, you may get a more impressive performance.
Change the pedal on the third beat of the fourth bar (the left hand has been extended a whole beat).
In the arpeggio of the 12th bar, play each note firmly and carefully. It sounds as if you are playing it roughly and randomly.
In the first beat of the 24th bar, change the pedal (change the pedal firmly so that the previous note does not remain).
The left hand chords in bars 24-27 sound a little grainy in places. 5 notes in pp or p is a very delicate and difficult technique to play, but try to press down on the keyboard firmly as if stroking, without taking your fingers off the keyboard too much.
The quarter rests in the second and third beats of measure 37 sound as if they are missing, and bars 36-39 should be played while counting the three beats in your mind (don't overextend at the end) rather than just playing along.", What does the student needs to work on? ," Study more how to give different expressions to similar phrases, and ensure that pre-strike notes and arpeggios are played gracefully.",train
443,n28-bet-snt008-3-s-p01_c12.txt,n28-bet-snt008-3-s-p01.wav,"　　The performance captures the structure of the piece, and the eighth notes in the left hand and other notes are carefully practiced.
　　Overall, I have the impression that your fingertips have a touch as if you are hitting the keyboard, and I am particularly concerned about the broken notes in the octave.
　　In octaves and harmonies, listen carefully to the balance between the upper and lower notes.
　　I think the change of scene could be conveyed if you could express more the singing of a new phrase by breathing in the quarter rest in the 43rd bar.
　　This is a voluminous piece, but I think you have practiced it well.
　　Please try to play it in the same length as the original.", Is the pedal change clean? , Change the pedal on the third beat of the fourth bar.,train
444,n28-bet-snt008-3-s-p01_c12.txt,n28-bet-snt008-3-s-p01.wav,"　　The performance captures the structure of the piece, and the eighth notes in the left hand and other notes are carefully practiced.
　　Overall, I have the impression that your fingertips have a touch as if you are hitting the keyboard, and I am particularly concerned about the broken notes in the octave.
　　In octaves and harmonies, listen carefully to the balance between the upper and lower notes.
　　I think the change of scene could be conveyed if you could express more the singing of a new phrase by breathing in the quarter rest in the 43rd bar.
　　This is a voluminous piece, but I think you have practiced it well.
　　Please try to play it in the same length as the original.", Is the performed tempo stable? , The tempo is also fine.,train
445,n28-bet-snt008-3-s-p01_c12.txt,n28-bet-snt008-3-s-p01.wav,"　　The performance captures the structure of the piece, and the eighth notes in the left hand and other notes are carefully practiced.
　　Overall, I have the impression that your fingertips have a touch as if you are hitting the keyboard, and I am particularly concerned about the broken notes in the octave.
　　In octaves and harmonies, listen carefully to the balance between the upper and lower notes.
　　I think the change of scene could be conveyed if you could express more the singing of a new phrase by breathing in the quarter rest in the 43rd bar.
　　This is a voluminous piece, but I think you have practiced it well.
　　Please try to play it in the same length as the original.", What does the student needs to work on? ," In the arpeggio of the 12th bar, play each note firmly and carefully. The left hand chords in bars 24-27 need to be clean. The quarter rests in the second and third beats of measure 37 need to be emphasized by counting the three beats in your mind.",train
446,n01-chp-etd003-s-p03_c14.txt,n01-chp-etd003-s-p03.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The difference in volume between the main melody and the 16th notes of the inner voice is very good.
However, there is also an impression of laziness or boredom.
If the sweet spot of the short first half of this piece, the part that I want to hear the most, could be expressed a little more clearly, I think the audience would feel more emotionally charged.

And while I think it's good to rock the sixteenth notes in the inner voices, I personally find the peculiar pauses, which are not in the score, a bit annoying...
The first half is still good, but in the second half, the ""pause"" seems to be increasing.

I think the peak of the second half of this recording might be more effective if you played straight except for the parts where you intentionally wanted to accumulate the pause, and played the music with a light nuance.",train
447,n22-bac-inv015-s-p01_c10.txt,n22-bac-inv015-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The overall cohesiveness is very good.
One thing I would point out is that the slur in bar 16 is broken, so please play it with a firm slur.",test
448,n46-deb-pld108-s-p01_c14.txt,n46-deb-pld108-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The difficult expression of p. notation while building up to a crescendo is well expressed in the performance, and I think it is wonderful!

I don't know if it was intentional or not, but I think this is a performance that ""makes you want to listen to the rest of the piece"" without much of a three-beat feeling.

And the tone is very pure and transparent.


The piano is an instrument that, due to its structure, once a sound is produced, it is not possible to change the volume of that sound afterwards (it will decay), but it was as if the sound was raised after it was played,
Hats off to you!

I hope you will further pursue the beauty of its tone!",train
449,n08-chp-pld007-s-p03_c08.txt,n08-chp-pld007-s-p03.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The flow of the music was very good.
The technique of expression was well done.

It is a simple two-part piece, but how did you plan to play it the way you did? Or, if you had improvised, how do you think it would have sounded?

How did you try to change your performance between the A part (bars 1-8) and the B part (bars 8-16)? Or did you not?

In bar 13, there is a sequential movement of the inner voices, which I think is the climax or the charm point of this piece.",test
450,n01-chp-etd003-s-p03_c14.txt,n01-chp-etd003-s-p03.wav,"The difference in volume between the main melody and the 16th notes of the inner voice is very good.
However, there is also an impression of laziness or boredom.
If the sweet spot of the short first half of this piece, the part that I want to hear the most, could be expressed a little more clearly, I think the audience would feel more emotionally charged.

And while I think it's good to rock the sixteenth notes in the inner voices, I personally find the peculiar pauses, which are not in the score, a bit annoying...
The first half is still good, but in the second half, the ""pause"" seems to be increasing.

I think the peak of the second half of this recording might be more effective if you played straight except for the parts where you intentionally wanted to accumulate the pause, and played the music with a light nuance.", Is the performed rhythm accurate? ," The performance captures the structure of the piece, and the eighth notes in the left hand and other notes are carefully practiced.",train
451,n01-chp-etd003-s-p03_c14.txt,n01-chp-etd003-s-p03.wav,"The difference in volume between the main melody and the 16th notes of the inner voice is very good.
However, there is also an impression of laziness or boredom.
If the sweet spot of the short first half of this piece, the part that I want to hear the most, could be expressed a little more clearly, I think the audience would feel more emotionally charged.

And while I think it's good to rock the sixteenth notes in the inner voices, I personally find the peculiar pauses, which are not in the score, a bit annoying...
The first half is still good, but in the second half, the ""pause"" seems to be increasing.

I think the peak of the second half of this recording might be more effective if you played straight except for the parts where you intentionally wanted to accumulate the pause, and played the music with a light nuance.", Is the performed note accurate? , Broken notes in the octave.,train
452,n01-chp-etd003-s-p03_c14.txt,n01-chp-etd003-s-p03.wav,"The difference in volume between the main melody and the 16th notes of the inner voice is very good.
However, there is also an impression of laziness or boredom.
If the sweet spot of the short first half of this piece, the part that I want to hear the most, could be expressed a little more clearly, I think the audience would feel more emotionally charged.

And while I think it's good to rock the sixteenth notes in the inner voices, I personally find the peculiar pauses, which are not in the score, a bit annoying...
The first half is still good, but in the second half, the ""pause"" seems to be increasing.

I think the peak of the second half of this recording might be more effective if you played straight except for the parts where you intentionally wanted to accumulate the pause, and played the music with a light nuance.", Is the interpretation appropriate to the style of the composition? , I think the change of scene could be conveyed if you could express more the singing of a new phrase by breathing in the quarter rest in the 43rd bar.,train
453,n22-bac-inv015-s-p01_c10.txt,n22-bac-inv015-s-p01.wav,"The overall cohesiveness is very good.
One thing I would point out is that the slur in bar 16 is broken, so please play it with a firm slur.", Is there a reasonable balance between hands? , The difference in volume between the main melody and the 16th notes of the inner voice is very good.,test
454,n22-bac-inv015-s-p01_c10.txt,n22-bac-inv015-s-p01.wav,"The overall cohesiveness is very good.
One thing I would point out is that the slur in bar 16 is broken, so please play it with a firm slur.", Is the performance following score instructions? , There are peculiar pauses which are not in the score.,test
455,n22-bac-inv015-s-p01_c10.txt,n22-bac-inv015-s-p01.wav,"The overall cohesiveness is very good.
One thing I would point out is that the slur in bar 16 is broken, so please play it with a firm slur.", How would you describe the emotional intent of the performance? , There's an impression of laziness or boredom.,test
456,n46-deb-pld108-s-p01_c14.txt,n46-deb-pld108-s-p01.wav,"The difficult expression of p. notation while building up to a crescendo is well expressed in the performance, and I think it is wonderful!

I don't know if it was intentional or not, but I think this is a performance that ""makes you want to listen to the rest of the piece"" without much of a three-beat feeling.

And the tone is very pure and transparent.


The piano is an instrument that, due to its structure, once a sound is produced, it is not possible to change the volume of that sound afterwards (it will decay), but it was as if the sound was raised after it was played,
Hats off to you!

I hope you will further pursue the beauty of its tone!", Is the performance hesitant or smooth? , The overall cohesiveness is very good.,train
457,n46-deb-pld108-s-p01_c14.txt,n46-deb-pld108-s-p01.wav,"The difficult expression of p. notation while building up to a crescendo is well expressed in the performance, and I think it is wonderful!

I don't know if it was intentional or not, but I think this is a performance that ""makes you want to listen to the rest of the piece"" without much of a three-beat feeling.

And the tone is very pure and transparent.


The piano is an instrument that, due to its structure, once a sound is produced, it is not possible to change the volume of that sound afterwards (it will decay), but it was as if the sound was raised after it was played,
Hats off to you!

I hope you will further pursue the beauty of its tone!", Is the performed note accurate? , The slur in the bar 16 is broken.,train
458,n46-deb-pld108-s-p01_c14.txt,n46-deb-pld108-s-p01.wav,"The difficult expression of p. notation while building up to a crescendo is well expressed in the performance, and I think it is wonderful!

I don't know if it was intentional or not, but I think this is a performance that ""makes you want to listen to the rest of the piece"" without much of a three-beat feeling.

And the tone is very pure and transparent.


The piano is an instrument that, due to its structure, once a sound is produced, it is not possible to change the volume of that sound afterwards (it will decay), but it was as if the sound was raised after it was played,
Hats off to you!

I hope you will further pursue the beauty of its tone!", What does the student needs to work on? , Play the slur in bar 16 with a firm touch.,train
459,n08-chp-pld007-s-p03_c08.txt,n08-chp-pld007-s-p03.wav,"The flow of the music was very good.
The technique of expression was well done.

It is a simple two-part piece, but how did you plan to play it the way you did? Or, if you had improvised, how do you think it would have sounded?

How did you try to change your performance between the A part (bars 1-8) and the B part (bars 8-16)? Or did you not?

In bar 13, there is a sequential movement of the inner voices, which I think is the climax or the charm point of this piece.", How is the tone production? , The tone is very pure and transparent.,test
460,n08-chp-pld007-s-p03_c08.txt,n08-chp-pld007-s-p03.wav,"The flow of the music was very good.
The technique of expression was well done.

It is a simple two-part piece, but how did you plan to play it the way you did? Or, if you had improvised, how do you think it would have sounded?

How did you try to change your performance between the A part (bars 1-8) and the B part (bars 8-16)? Or did you not?

In bar 13, there is a sequential movement of the inner voices, which I think is the climax or the charm point of this piece.", Is the performance following score instructions? , The difficult expression of p. notation while building up to a crescendo is well expressed.,test
461,n08-chp-pld007-s-p03_c08.txt,n08-chp-pld007-s-p03.wav,"The flow of the music was very good.
The technique of expression was well done.

It is a simple two-part piece, but how did you plan to play it the way you did? Or, if you had improvised, how do you think it would have sounded?

How did you try to change your performance between the A part (bars 1-8) and the B part (bars 8-16)? Or did you not?

In bar 13, there is a sequential movement of the inner voices, which I think is the climax or the charm point of this piece.", How would you describe the emotional intent of the performance? ," I think this is a performance that ""makes you want to listen to the rest of the piece"" without much of a three-beat feeling.",test
462,n01-chp-etd003-s-p01_c04.txt,n01-chp-etd003-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Your playing is very careful, as if you are taking care of each note.
I felt it was somewhat cautious, so be aware of moving the phrase and the music as a whole forward.
The stretto from bar 15 would be even better if you could hang on a little more from that bar and try to condense the sound and volume in the decrescendo of bar 17.",train
463,n01-chp-etd003-s-p12_c23.txt,n01-chp-etd003-s-p12.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The player is able to capture the characteristics of the piece and play it softly with a warm tone. The player is well aware of dynamics. On the other hand, there are cases where the flow of the piece sounds stagnant due to over-consciousness of rubato. Especially in the first 1-2 bars at the beginning, I would like to see more propulsive force, albeit slowly. It can be said that the accent on the B natural of the bass is to give the song a driving force. It would be better if a natural rubato is added in a constant flow.",train
464,n28-bet-snt008-3-s-p01_c04.txt,n28-bet-snt008-3-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Overall, I was concerned about the short and staccato performance of note values.
Conversely, the staccato indicated sections, such as the 16th bar, were extended with the pedal, and I feel that classical pieces such as Beethoven's are better when they are faithful to the score.
The phrases of this piece are often clustered around 4 bars, so it would be even better if you think about the performance structure of the whole piece while following the instructions and articulations of the score to connect the notes toward the 4th bar and how to create a musical mountain since these clusters of notes can form a big flow in succession. It is even better to",train
465,n28-bet-snt008-3-s-p02_c05.txt,n28-bet-snt008-3-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The notes in bars 9-10 are muddy.
Bar 17 is staccato, so it would be better to end the piece with a clean end, instead of extending it for a longer period of time.
The loudness of the note in bars 18 and 22 is ambiguous; it is sfp, but it would be better to make the note a little clearer.
The left hand note in bars 19 and 23 is too long.
The staccato of the right hand in bar 25 is not expressed.
The tempo of the left hand in the 3rd and 4th night of measure 30 is not consistent.
The sf in bars 33 and 34 is not expressed.
The staccato in the second note of measure 46 is staccato, so it would be better to cut off the note with feeling.
The first note of the 50th bar is the note that changes the mood of the rest of the piece, so it should be played without stretching.
The ff in bar 58 is not expressed.
The 77th and 78th bars should be finished strongly and firmly, not gently.
Overall, the tightness of Beethoven's sonatas is not expressed.
The first movement of ""Pathetique"" is hopeless, the second movement is like a dream, and the third movement should end with an uneasy pathetic feeling again.",test
466,n01-chp-etd003-s-p01_c04.txt,n01-chp-etd003-s-p01.wav,"Your playing is very careful, as if you are taking care of each note.
I felt it was somewhat cautious, so be aware of moving the phrase and the music as a whole forward.
The stretto from bar 15 would be even better if you could hang on a little more from that bar and try to condense the sound and volume in the decrescendo of bar 17.", How would you describe the emotional intent of the performance? , The flow of the music was very good. The technique of expression was well done.,train
467,n01-chp-etd003-s-p01_c04.txt,n01-chp-etd003-s-p01.wav,"Your playing is very careful, as if you are taking care of each note.
I felt it was somewhat cautious, so be aware of moving the phrase and the music as a whole forward.
The stretto from bar 15 would be even better if you could hang on a little more from that bar and try to condense the sound and volume in the decrescendo of bar 17.", How would you rate the difficulty level of this piece? , It is a simple two-part piece.,train
468,n01-chp-etd003-s-p01_c04.txt,n01-chp-etd003-s-p01.wav,"Your playing is very careful, as if you are taking care of each note.
I felt it was somewhat cautious, so be aware of moving the phrase and the music as a whole forward.
The stretto from bar 15 would be even better if you could hang on a little more from that bar and try to condense the sound and volume in the decrescendo of bar 17.", What does the student needs to work on? ," The student needs to work on planning or improvising the way they play the piece, and differentiating the performance between the A part (bars 1-8) and the B part (bars 8-16). They should also try to highlight the sequential movement of the inner voices in bar 13.",train
469,n01-chp-etd003-s-p12_c23.txt,n01-chp-etd003-s-p12.wav,"The player is able to capture the characteristics of the piece and play it softly with a warm tone. The player is well aware of dynamics. On the other hand, there are cases where the flow of the piece sounds stagnant due to over-consciousness of rubato. Especially in the first 1-2 bars at the beginning, I would like to see more propulsive force, albeit slowly. It can be said that the accent on the B natural of the bass is to give the song a driving force. It would be better if a natural rubato is added in a constant flow.", How would you describe the emotional intent of the performance? ," Your playing is very careful, as if you are taking care of each note.",train
470,n01-chp-etd003-s-p12_c23.txt,n01-chp-etd003-s-p12.wav,"The player is able to capture the characteristics of the piece and play it softly with a warm tone. The player is well aware of dynamics. On the other hand, there are cases where the flow of the piece sounds stagnant due to over-consciousness of rubato. Especially in the first 1-2 bars at the beginning, I would like to see more propulsive force, albeit slowly. It can be said that the accent on the B natural of the bass is to give the song a driving force. It would be better if a natural rubato is added in a constant flow.", What does the student needs to work on? ," The student needs to work on moving the phrase and the music as a whole forward, and try to condense the sound and volume in the decrescendo of bar 17.",train
471,n01-chp-etd003-s-p12_c23.txt,n01-chp-etd003-s-p12.wav,"The player is able to capture the characteristics of the piece and play it softly with a warm tone. The player is well aware of dynamics. On the other hand, there are cases where the flow of the piece sounds stagnant due to over-consciousness of rubato. Especially in the first 1-2 bars at the beginning, I would like to see more propulsive force, albeit slowly. It can be said that the accent on the B natural of the bass is to give the song a driving force. It would be better if a natural rubato is added in a constant flow.", Is the interpretation appropriate to the style of the composition? , The stretto from bar 15 would be even better if you play it a little more tensely from that bar.,train
472,n28-bet-snt008-3-s-p01_c04.txt,n28-bet-snt008-3-s-p01.wav,"Overall, I was concerned about the short and staccato performance of note values.
Conversely, the staccato indicated sections, such as the 16th bar, were extended with the pedal, and I feel that classical pieces such as Beethoven's are better when they are faithful to the score.
The phrases of this piece are often clustered around 4 bars, so it would be even better if you think about the performance structure of the whole piece while following the instructions and articulations of the score to connect the notes toward the 4th bar and how to create a musical mountain since these clusters of notes can form a big flow in succession. It is even better to", How would you describe the emotional intent of the performance? , The player is able to capture the characteristics of the piece and play it softly with a warm tone.,train
473,n28-bet-snt008-3-s-p01_c04.txt,n28-bet-snt008-3-s-p01.wav,"Overall, I was concerned about the short and staccato performance of note values.
Conversely, the staccato indicated sections, such as the 16th bar, were extended with the pedal, and I feel that classical pieces such as Beethoven's are better when they are faithful to the score.
The phrases of this piece are often clustered around 4 bars, so it would be even better if you think about the performance structure of the whole piece while following the instructions and articulations of the score to connect the notes toward the 4th bar and how to create a musical mountain since these clusters of notes can form a big flow in succession. It is even better to", Is there reasonalbe dynamics contrast? , The player is well aware of dynamics.,train
474,n28-bet-snt008-3-s-p01_c04.txt,n28-bet-snt008-3-s-p01.wav,"Overall, I was concerned about the short and staccato performance of note values.
Conversely, the staccato indicated sections, such as the 16th bar, were extended with the pedal, and I feel that classical pieces such as Beethoven's are better when they are faithful to the score.
The phrases of this piece are often clustered around 4 bars, so it would be even better if you think about the performance structure of the whole piece while following the instructions and articulations of the score to connect the notes toward the 4th bar and how to create a musical mountain since these clusters of notes can form a big flow in succession. It is even better to", What does the student needs to work on? , The student needs to work on not making the flow of the piece stagnant due to over-consciousness of rubato. It would be beneficial to add more propulsive force from the beginning and add a natural rubato in a constant flow.,train
475,n28-bet-snt008-3-s-p02_c05.txt,n28-bet-snt008-3-s-p02.wav,"The notes in bars 9-10 are muddy.
Bar 17 is staccato, so it would be better to end the piece with a clean end, instead of extending it for a longer period of time.
The loudness of the note in bars 18 and 22 is ambiguous; it is sfp, but it would be better to make the note a little clearer.
The left hand note in bars 19 and 23 is too long.
The staccato of the right hand in bar 25 is not expressed.
The tempo of the left hand in the 3rd and 4th night of measure 30 is not consistent.
The sf in bars 33 and 34 is not expressed.
The staccato in the second note of measure 46 is staccato, so it would be better to cut off the note with feeling.
The first note of the 50th bar is the note that changes the mood of the rest of the piece, so it should be played without stretching.
The ff in bar 58 is not expressed.
The 77th and 78th bars should be finished strongly and firmly, not gently.
Overall, the tightness of Beethoven's sonatas is not expressed.
The first movement of ""Pathetique"" is hopeless, the second movement is like a dream, and the third movement should end with an uneasy pathetic feeling again.", How would you describe the emotional intent of the performance? , I was concerned about the short and staccato performance of note values.,test
476,n28-bet-snt008-3-s-p02_c05.txt,n28-bet-snt008-3-s-p02.wav,"The notes in bars 9-10 are muddy.
Bar 17 is staccato, so it would be better to end the piece with a clean end, instead of extending it for a longer period of time.
The loudness of the note in bars 18 and 22 is ambiguous; it is sfp, but it would be better to make the note a little clearer.
The left hand note in bars 19 and 23 is too long.
The staccato of the right hand in bar 25 is not expressed.
The tempo of the left hand in the 3rd and 4th night of measure 30 is not consistent.
The sf in bars 33 and 34 is not expressed.
The staccato in the second note of measure 46 is staccato, so it would be better to cut off the note with feeling.
The first note of the 50th bar is the note that changes the mood of the rest of the piece, so it should be played without stretching.
The ff in bar 58 is not expressed.
The 77th and 78th bars should be finished strongly and firmly, not gently.
Overall, the tightness of Beethoven's sonatas is not expressed.
The first movement of ""Pathetique"" is hopeless, the second movement is like a dream, and the third movement should end with an uneasy pathetic feeling again.", Is the articulation appropriate? ," The staccato indicated sections, such as the 16th bar, were extended with the pedal.",test
477,n28-bet-snt008-3-s-p02_c05.txt,n28-bet-snt008-3-s-p02.wav,"The notes in bars 9-10 are muddy.
Bar 17 is staccato, so it would be better to end the piece with a clean end, instead of extending it for a longer period of time.
The loudness of the note in bars 18 and 22 is ambiguous; it is sfp, but it would be better to make the note a little clearer.
The left hand note in bars 19 and 23 is too long.
The staccato of the right hand in bar 25 is not expressed.
The tempo of the left hand in the 3rd and 4th night of measure 30 is not consistent.
The sf in bars 33 and 34 is not expressed.
The staccato in the second note of measure 46 is staccato, so it would be better to cut off the note with feeling.
The first note of the 50th bar is the note that changes the mood of the rest of the piece, so it should be played without stretching.
The ff in bar 58 is not expressed.
The 77th and 78th bars should be finished strongly and firmly, not gently.
Overall, the tightness of Beethoven's sonatas is not expressed.
The first movement of ""Pathetique"" is hopeless, the second movement is like a dream, and the third movement should end with an uneasy pathetic feeling again.", What does the student needs to work on? ," The student needs to work on staying faithful to the score in classical pieces such as Beethoven's, and consider the performance structure of the piece while creating a musical mountain. They should connect the notes toward the 4th bar and think about how these clusters of notes can form a big flow in succession.",test
478,n17-bac-inv001-s-p02_c02.txt,n17-bac-inv001-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The right hand at the beginning should not slur too much, but each note should be heard clearly. The previous note is still heard.
The trill in the right hand on the opening third beat sounds a little heavy. Since the notes of the syllables are played with equal length and intensity, the center of gravity should be placed on the syllables, and the rest of the notes should be played with a light image. The same applies to the subsequent trills.
The ascending right hand note from bar 5 sounds a bit run-on, so it is best to play along with the left hand, making sure that the left hand is precisely engraved.
From measures 7 and 15, the theme appears alternately in the right and left hands, but I have the impression that the right hand is difficult to hear. Let the left and right hands hear the themes that appear in each hand, and play them in such a way as to create a three-dimensional effect.",train
479,n26-bet-snt008-2-s-p01_c06.txt,n26-bet-snt008-2-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The touch is too light.
In this case, it should be played with a weak but core sound. Although the instructions are in p (piano), the sonata should be expressed based on the relationship between each movement. Specifically, a slightly sharp touch is recommended, with emphasis on the ""point"" of the fingertips at the moment the note is played.
The outer voice, which should produce the sound, and the inner voice, which should be muffled, are played correctly.
Since this is an adagio and cantabile, we want to add fluctuation and aim for a human-like phrasing.",train
480,n48-deb-rev068-s-p01_c15.txt,n48-deb-rev068-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"(Instructor)
　　You are playing well. Do you have any thoughts after you finished playing?
(Learner)
　　It was difficult. I had to work hard not to make mistakes.
(Instructor)
What do you think should be done to make it better?
(Learner)
I want to improve my expressive ability, but I'm not sure what exactly I should do.
(Instructor)
Well, let me tell you a few things.
First of all, what does ""improve"" mean? Let's clarify it.

This piece was written by the famous composer ""Debussy. At first, he wanted to be a pianist,
However, he could not achieve good results in competitions, so he gave up and devoted himself to composing music.
He had a passion for piano music and wrote string pieces and songs.
He has established a firm position in piano music.

First of all, a piece of music has the composer's ""feelings. He wanted the piece to be played this way. I want you to play it like this.
I want the audience to be moved by the ""feelings"" that the composer has put into the piece.
First of all, there is the composer's ""thought. It is written in the score.

Andantino sans lenteur"" is an indication of the tempo of the piece.
Andantino"" is a little faster than ""andante,"" and ""sans lenteur"" is added to it.
It should be about 80 bpm.

The other thing is the ""dim"" ~dim"" ~ ""gradually weaker"" in the 15th bar.
In general, I think it is appropriate to have the feeling of floating rather than playing energetically.
I think your playing sounds similar to that.
Rather than increasing the level of the ""mf"" to add dynamics, I think it would be better to play the weak beats more carefully and softly,
I think that playing the weak beats more carefully and softly will bring out the characteristics of the piece.

Now, what should we do to make this song better?
What should we do to make this song better?

Do you have any ideas?

(Learner)
Yes, I do. Should I play it with more emotion, as if I am speaking to you?

(Instructor)
That may be so,
This song is a song that gives the impression of an unaffected landscape.
If you put emotion as the standard, you may end up being verbose, i.e., exaggerating.

The way I see it, there are three factors to consider when performing

1. control of tempo
2. control of intensity
3. length of notes

These three allow for emotional regulation.

In classical music, the conductor of an orchestral piece will give instructions regarding these three factors.
In some cases, the ""tempo"" can be adjusted drastically, but too much of this can lead to talkativeness.
Just as it is easier for others to understand you if you speak at a steady pace when you are conversing, so it is not a good idea to make large adjustments in speed.
It is not a good idea to adjust the speed too much.

Even if ""1. tempo"" is constant, ""2. control of intensity"" can make a big difference in the expression of the melody,
The expression of the melody can be greatly changed and is effective.

This piece has many arpeggio phrases,
It would be better if you can feel the beat of these phrases in two-beat units.
It will not become monotonous.
In order to achieve this, please play the phrases with a sense of
and play it with a feeling of raising the beat.

This is a difficult piece of music, so please play it carefully while keeping the points in mind.
Please play carefully and enjoy the music.
Please enjoy it.",train
481,n26-bet-snt008-2-s-p02_c13.txt,n26-bet-snt008-2-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The natural rubato was pleasant, the melody of the chords that tended to be buried in the melody line was well highlighted, and the pedal changes were carefully executed, giving the overall impression of clarity.

I thought it would be better if the ornamental notes in some places were sung with more room to spare.",train
482,n17-bac-inv001-s-p02_c02.txt,n17-bac-inv001-s-p02.wav,"The right hand at the beginning should not slur too much, but each note should be heard clearly. The previous note is still heard.
The trill in the right hand on the opening third beat sounds a little heavy. Since the notes of the syllables are played with equal length and intensity, the center of gravity should be placed on the syllables, and the rest of the notes should be played with a light image. The same applies to the subsequent trills.
The ascending right hand note from bar 5 sounds a bit run-on, so it is best to play along with the left hand, making sure that the left hand is precisely engraved.
From measures 7 and 15, the theme appears alternately in the right and left hands, but I have the impression that the right hand is difficult to hear. Let the left and right hands hear the themes that appear in each hand, and play them in such a way as to create a three-dimensional effect.", How is the overall tempo? , Inconsistent in the 3rd and 4th night of measure 30.,train
483,n17-bac-inv001-s-p02_c02.txt,n17-bac-inv001-s-p02.wav,"The right hand at the beginning should not slur too much, but each note should be heard clearly. The previous note is still heard.
The trill in the right hand on the opening third beat sounds a little heavy. Since the notes of the syllables are played with equal length and intensity, the center of gravity should be placed on the syllables, and the rest of the notes should be played with a light image. The same applies to the subsequent trills.
The ascending right hand note from bar 5 sounds a bit run-on, so it is best to play along with the left hand, making sure that the left hand is precisely engraved.
From measures 7 and 15, the theme appears alternately in the right and left hands, but I have the impression that the right hand is difficult to hear. Let the left and right hands hear the themes that appear in each hand, and play them in such a way as to create a three-dimensional effect.", Is the performed note accurate? , The notes in bars 9-10 are muddy and the left hand note in bars 19 and 23 is too long.,train
484,n17-bac-inv001-s-p02_c02.txt,n17-bac-inv001-s-p02.wav,"The right hand at the beginning should not slur too much, but each note should be heard clearly. The previous note is still heard.
The trill in the right hand on the opening third beat sounds a little heavy. Since the notes of the syllables are played with equal length and intensity, the center of gravity should be placed on the syllables, and the rest of the notes should be played with a light image. The same applies to the subsequent trills.
The ascending right hand note from bar 5 sounds a bit run-on, so it is best to play along with the left hand, making sure that the left hand is precisely engraved.
From measures 7 and 15, the theme appears alternately in the right and left hands, but I have the impression that the right hand is difficult to hear. Let the left and right hands hear the themes that appear in each hand, and play them in such a way as to create a three-dimensional effect.", Is the articulation appropriate? , Bar 17 is staccato and should end cleanly. The staccato of the right hand in bar 25 is not expressed and the staccato in the second note of measure 46 needs cut off. ,train
485,n26-bet-snt008-2-s-p01_c06.txt,n26-bet-snt008-2-s-p01.wav,"The touch is too light.
In this case, it should be played with a weak but core sound. Although the instructions are in p (piano), the sonata should be expressed based on the relationship between each movement. Specifically, a slightly sharp touch is recommended, with emphasis on the ""point"" of the fingertips at the moment the note is played.
The outer voice, which should produce the sound, and the inner voice, which should be muffled, are played correctly.
Since this is an adagio and cantabile, we want to add fluctuation and aim for a human-like phrasing.", How is the performed note? ," The right hand at the beginning should not slur too much, but each note should be heard clearly. ",train
486,n26-bet-snt008-2-s-p01_c06.txt,n26-bet-snt008-2-s-p01.wav,"The touch is too light.
In this case, it should be played with a weak but core sound. Although the instructions are in p (piano), the sonata should be expressed based on the relationship between each movement. Specifically, a slightly sharp touch is recommended, with emphasis on the ""point"" of the fingertips at the moment the note is played.
The outer voice, which should produce the sound, and the inner voice, which should be muffled, are played correctly.
Since this is an adagio and cantabile, we want to add fluctuation and aim for a human-like phrasing.", What does the student needs to work on? , Right hand trill sound heavy and the ascending right hand note from bar 5 sounds a bit run.,train
487,n26-bet-snt008-2-s-p01_c06.txt,n26-bet-snt008-2-s-p01.wav,"The touch is too light.
In this case, it should be played with a weak but core sound. Although the instructions are in p (piano), the sonata should be expressed based on the relationship between each movement. Specifically, a slightly sharp touch is recommended, with emphasis on the ""point"" of the fingertips at the moment the note is played.
The outer voice, which should produce the sound, and the inner voice, which should be muffled, are played correctly.
Since this is an adagio and cantabile, we want to add fluctuation and aim for a human-like phrasing.", How is the balance between hands? , The theme in measures 7 and 15 appears alternately in the right and left hands but the right hand is difficult to hear. ,train
488,n48-deb-rev068-s-p01_c15.txt,n48-deb-rev068-s-p01.wav,"(Instructor)
　　You are playing well. Do you have any thoughts after you finished playing?
(Learner)
　　It was difficult. I had to work hard not to make mistakes.
(Instructor)
What do you think should be done to make it better?
(Learner)
I want to improve my expressive ability, but I'm not sure what exactly I should do.
(Instructor)
Well, let me tell you a few things.
First of all, what does ""improve"" mean? Let's clarify it.

This piece was written by the famous composer ""Debussy. At first, he wanted to be a pianist,
However, he could not achieve good results in competitions, so he gave up and devoted himself to composing music.
He had a passion for piano music and wrote string pieces and songs.
He has established a firm position in piano music.

First of all, a piece of music has the composer's ""feelings. He wanted the piece to be played this way. I want you to play it like this.
I want the audience to be moved by the ""feelings"" that the composer has put into the piece.
First of all, there is the composer's ""thought. It is written in the score.

Andantino sans lenteur"" is an indication of the tempo of the piece.
Andantino"" is a little faster than ""andante,"" and ""sans lenteur"" is added to it.
It should be about 80 bpm.

The other thing is the ""dim"" ~dim"" ~ ""gradually weaker"" in the 15th bar.
In general, I think it is appropriate to have the feeling of floating rather than playing energetically.
I think your playing sounds similar to that.
Rather than increasing the level of the ""mf"" to add dynamics, I think it would be better to play the weak beats more carefully and softly,
I think that playing the weak beats more carefully and softly will bring out the characteristics of the piece.

Now, what should we do to make this song better?
What should we do to make this song better?

Do you have any ideas?

(Learner)
Yes, I do. Should I play it with more emotion, as if I am speaking to you?

(Instructor)
That may be so,
This song is a song that gives the impression of an unaffected landscape.
If you put emotion as the standard, you may end up being verbose, i.e., exaggerating.

The way I see it, there are three factors to consider when performing

1. control of tempo
2. control of intensity
3. length of notes

These three allow for emotional regulation.

In classical music, the conductor of an orchestral piece will give instructions regarding these three factors.
In some cases, the ""tempo"" can be adjusted drastically, but too much of this can lead to talkativeness.
Just as it is easier for others to understand you if you speak at a steady pace when you are conversing, so it is not a good idea to make large adjustments in speed.
It is not a good idea to adjust the speed too much.

Even if ""1. tempo"" is constant, ""2. control of intensity"" can make a big difference in the expression of the melody,
The expression of the melody can be greatly changed and is effective.

This piece has many arpeggio phrases,
It would be better if you can feel the beat of these phrases in two-beat units.
It will not become monotonous.
In order to achieve this, please play the phrases with a sense of
and play it with a feeling of raising the beat.

This is a difficult piece of music, so please play it carefully while keeping the points in mind.
Please play carefully and enjoy the music.
Please enjoy it.", How is the tone production? ," The touch is too light, it needs a slightly sharp touch and the outer voice needs to create the sound.",train
489,n48-deb-rev068-s-p01_c15.txt,n48-deb-rev068-s-p01.wav,"(Instructor)
　　You are playing well. Do you have any thoughts after you finished playing?
(Learner)
　　It was difficult. I had to work hard not to make mistakes.
(Instructor)
What do you think should be done to make it better?
(Learner)
I want to improve my expressive ability, but I'm not sure what exactly I should do.
(Instructor)
Well, let me tell you a few things.
First of all, what does ""improve"" mean? Let's clarify it.

This piece was written by the famous composer ""Debussy. At first, he wanted to be a pianist,
However, he could not achieve good results in competitions, so he gave up and devoted himself to composing music.
He had a passion for piano music and wrote string pieces and songs.
He has established a firm position in piano music.

First of all, a piece of music has the composer's ""feelings. He wanted the piece to be played this way. I want you to play it like this.
I want the audience to be moved by the ""feelings"" that the composer has put into the piece.
First of all, there is the composer's ""thought. It is written in the score.

Andantino sans lenteur"" is an indication of the tempo of the piece.
Andantino"" is a little faster than ""andante,"" and ""sans lenteur"" is added to it.
It should be about 80 bpm.

The other thing is the ""dim"" ~dim"" ~ ""gradually weaker"" in the 15th bar.
In general, I think it is appropriate to have the feeling of floating rather than playing energetically.
I think your playing sounds similar to that.
Rather than increasing the level of the ""mf"" to add dynamics, I think it would be better to play the weak beats more carefully and softly,
I think that playing the weak beats more carefully and softly will bring out the characteristics of the piece.

Now, what should we do to make this song better?
What should we do to make this song better?

Do you have any ideas?

(Learner)
Yes, I do. Should I play it with more emotion, as if I am speaking to you?

(Instructor)
That may be so,
This song is a song that gives the impression of an unaffected landscape.
If you put emotion as the standard, you may end up being verbose, i.e., exaggerating.

The way I see it, there are three factors to consider when performing

1. control of tempo
2. control of intensity
3. length of notes

These three allow for emotional regulation.

In classical music, the conductor of an orchestral piece will give instructions regarding these three factors.
In some cases, the ""tempo"" can be adjusted drastically, but too much of this can lead to talkativeness.
Just as it is easier for others to understand you if you speak at a steady pace when you are conversing, so it is not a good idea to make large adjustments in speed.
It is not a good idea to adjust the speed too much.

Even if ""1. tempo"" is constant, ""2. control of intensity"" can make a big difference in the expression of the melody,
The expression of the melody can be greatly changed and is effective.

This piece has many arpeggio phrases,
It would be better if you can feel the beat of these phrases in two-beat units.
It will not become monotonous.
In order to achieve this, please play the phrases with a sense of
and play it with a feeling of raising the beat.

This is a difficult piece of music, so please play it carefully while keeping the points in mind.
Please play carefully and enjoy the music.
Please enjoy it.", Is the phrasing or melodic shaping clear? , Aim for a human-like phrasing with fluctuations.,train
490,n48-deb-rev068-s-p01_c15.txt,n48-deb-rev068-s-p01.wav,"(Instructor)
　　You are playing well. Do you have any thoughts after you finished playing?
(Learner)
　　It was difficult. I had to work hard not to make mistakes.
(Instructor)
What do you think should be done to make it better?
(Learner)
I want to improve my expressive ability, but I'm not sure what exactly I should do.
(Instructor)
Well, let me tell you a few things.
First of all, what does ""improve"" mean? Let's clarify it.

This piece was written by the famous composer ""Debussy. At first, he wanted to be a pianist,
However, he could not achieve good results in competitions, so he gave up and devoted himself to composing music.
He had a passion for piano music and wrote string pieces and songs.
He has established a firm position in piano music.

First of all, a piece of music has the composer's ""feelings. He wanted the piece to be played this way. I want you to play it like this.
I want the audience to be moved by the ""feelings"" that the composer has put into the piece.
First of all, there is the composer's ""thought. It is written in the score.

Andantino sans lenteur"" is an indication of the tempo of the piece.
Andantino"" is a little faster than ""andante,"" and ""sans lenteur"" is added to it.
It should be about 80 bpm.

The other thing is the ""dim"" ~dim"" ~ ""gradually weaker"" in the 15th bar.
In general, I think it is appropriate to have the feeling of floating rather than playing energetically.
I think your playing sounds similar to that.
Rather than increasing the level of the ""mf"" to add dynamics, I think it would be better to play the weak beats more carefully and softly,
I think that playing the weak beats more carefully and softly will bring out the characteristics of the piece.

Now, what should we do to make this song better?
What should we do to make this song better?

Do you have any ideas?

(Learner)
Yes, I do. Should I play it with more emotion, as if I am speaking to you?

(Instructor)
That may be so,
This song is a song that gives the impression of an unaffected landscape.
If you put emotion as the standard, you may end up being verbose, i.e., exaggerating.

The way I see it, there are three factors to consider when performing

1. control of tempo
2. control of intensity
3. length of notes

These three allow for emotional regulation.

In classical music, the conductor of an orchestral piece will give instructions regarding these three factors.
In some cases, the ""tempo"" can be adjusted drastically, but too much of this can lead to talkativeness.
Just as it is easier for others to understand you if you speak at a steady pace when you are conversing, so it is not a good idea to make large adjustments in speed.
It is not a good idea to adjust the speed too much.

Even if ""1. tempo"" is constant, ""2. control of intensity"" can make a big difference in the expression of the melody,
The expression of the melody can be greatly changed and is effective.

This piece has many arpeggio phrases,
It would be better if you can feel the beat of these phrases in two-beat units.
It will not become monotonous.
In order to achieve this, please play the phrases with a sense of
and play it with a feeling of raising the beat.

This is a difficult piece of music, so please play it carefully while keeping the points in mind.
Please play carefully and enjoy the music.
Please enjoy it.", What does the student needs to work on? , Needs to play piano based on the relationship between each movement.,train
491,n26-bet-snt008-2-s-p02_c13.txt,n26-bet-snt008-2-s-p02.wav,"The natural rubato was pleasant, the melody of the chords that tended to be buried in the melody line was well highlighted, and the pedal changes were carefully executed, giving the overall impression of clarity.

I thought it would be better if the ornamental notes in some places were sung with more room to spare.", What does the student needs to work on?  ," Needs to improve control of tempo, intensity and length of notes. ",train
492,n26-bet-snt008-2-s-p02_c13.txt,n26-bet-snt008-2-s-p02.wav,"The natural rubato was pleasant, the melody of the chords that tended to be buried in the melody line was well highlighted, and the pedal changes were carefully executed, giving the overall impression of clarity.

I thought it would be better if the ornamental notes in some places were sung with more room to spare.", In which skill level would you say the performer is in? , The performer is playing well but needs to improve expressive ability.,train
493,n26-bet-snt008-2-s-p02_c13.txt,n26-bet-snt008-2-s-p02.wav,"The natural rubato was pleasant, the melody of the chords that tended to be buried in the melody line was well highlighted, and the pedal changes were carefully executed, giving the overall impression of clarity.

I thought it would be better if the ornamental notes in some places were sung with more room to spare.", What is the interpretation appropriate to the style of the composition? ," It should give an impression of an unaffected landscape, the expression of the melody can be greatly changed with control of intensity.",train
494,n08-chp-pld007-s-p01_c18.txt,n08-chp-pld007-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The left and right vertical lines are not aligned and sound disjointed.
Also, the volume of the ornamental notes is too loud and sounds unnatural.
In the third measure of the second row of the score, there are notes that are sounding and notes that are not sounding.
I feel that more detailed work needs to be done throughout the score.",train
495,n46-deb-pld108-s-p01_c19.txt,n46-deb-pld108-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The third beat of the fourth measure is too fast; count the three beats carefully.
The quarter note and eighth note in the seventh bar are also rhythmically ambiguous, so keep the length of the eighth note.
The first chord in the first beat of the 17th bar should be played with five notes at the same time to avoid missing the beat.
The second beat of measure 29 has been entered too early. The tie should also be counted as a beat.
The French notation for the 33rd measure means ""murmur (whisper) and slowly, little by little.
The 35th bar is marked perdendosi (gradually slowing down, gradually weakening), so slow the tempo down a bit more and play small toward the pp.
In bars 37 and 38, quarter notes are also played too fast. Count the beats properly and play them with plenty of pauses.
The last note should be played gently, as if you were just placing your hand on it.",train
496,n31-sch-knd007-s-p12_c14.txt,n31-sch-knd007-s-p12.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"I have played this piece myself at work, and I think it is a piece that requires a lot of pedaling skill.
I would like to see more changes in tone when the note is extended and when it is moving. There is not much change in tone throughout the song, and it has become a bit monotonous.
(For example, the second beat of the second measure, the second half note, could have a heavier, deeper tone.)


The 16th note passages sound like they are rolling throughout, so I think you should try to play them a little more naturally.

It sounds rushed and a waste of time...

The fermata chords three bars before the end also sound rushed, so I would like to see you bring your fingers to the keyboard with more room to spare.



One last thing.
Since the slurs are specified in great detail, it would be good to practice with an awareness of easy-to-understand expressions so that the listener can understand them without looking at the score.

It's a waste of time, because the tone is so beautiful and the pedaling is appropriate...",train
497,n17-bac-inv001-s-p01_c06.txt,n17-bac-inv001-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Bach's music is more touch light.
Trills are clean. Pay attention to fingering so that there is no hesitation or ""tame"" when playing a note.
The counter-melody in the left hand should have more presence of sound. Although the left hand is supposed to be the accompaniment, this piece should be balanced so that the right hand part and the left hand part are on equal footing and respond to each other.
At the end, it would be fine enough to fine-tune the sound toward the afterglow of the fermata without rit.
Listen to the sound of clavichord and other ancient instruments on YouTube or streaming services, and play the piano with a touch that reproduces the lightness of the instruments of the time as much as possible.",train
498,n08-chp-pld007-s-p01_c18.txt,n08-chp-pld007-s-p01.wav,"The left and right vertical lines are not aligned and sound disjointed.
Also, the volume of the ornamental notes is too loud and sounds unnatural.
In the third measure of the second row of the score, there are notes that are sounding and notes that are not sounding.
I feel that more detailed work needs to be done throughout the score.", How is the overall tempo? , The natural rubato was pleasant.,train
499,n08-chp-pld007-s-p01_c18.txt,n08-chp-pld007-s-p01.wav,"The left and right vertical lines are not aligned and sound disjointed.
Also, the volume of the ornamental notes is too loud and sounds unnatural.
In the third measure of the second row of the score, there are notes that are sounding and notes that are not sounding.
I feel that more detailed work needs to be done throughout the score.", Is the pedaling change clean? , The pedal changes were carefully executed.,train
500,n08-chp-pld007-s-p01_c18.txt,n08-chp-pld007-s-p01.wav,"The left and right vertical lines are not aligned and sound disjointed.
Also, the volume of the ornamental notes is too loud and sounds unnatural.
In the third measure of the second row of the score, there are notes that are sounding and notes that are not sounding.
I feel that more detailed work needs to be done throughout the score.",  What does the student needs to work on? , The ornamental notes could have been sung with more room to spare.,train
501,n46-deb-pld108-s-p01_c19.txt,n46-deb-pld108-s-p01.wav,"The third beat of the fourth measure is too fast; count the three beats carefully.
The quarter note and eighth note in the seventh bar are also rhythmically ambiguous, so keep the length of the eighth note.
The first chord in the first beat of the 17th bar should be played with five notes at the same time to avoid missing the beat.
The second beat of measure 29 has been entered too early. The tie should also be counted as a beat.
The French notation for the 33rd measure means ""murmur (whisper) and slowly, little by little.
The 35th bar is marked perdendosi (gradually slowing down, gradually weakening), so slow the tempo down a bit more and play small toward the pp.
In bars 37 and 38, quarter notes are also played too fast. Count the beats properly and play them with plenty of pauses.
The last note should be played gently, as if you were just placing your hand on it.", Is there reasonable balance between hands? , The left and right vertical lines are not aligned.,train
502,n46-deb-pld108-s-p01_c19.txt,n46-deb-pld108-s-p01.wav,"The third beat of the fourth measure is too fast; count the three beats carefully.
The quarter note and eighth note in the seventh bar are also rhythmically ambiguous, so keep the length of the eighth note.
The first chord in the first beat of the 17th bar should be played with five notes at the same time to avoid missing the beat.
The second beat of measure 29 has been entered too early. The tie should also be counted as a beat.
The French notation for the 33rd measure means ""murmur (whisper) and slowly, little by little.
The 35th bar is marked perdendosi (gradually slowing down, gradually weakening), so slow the tempo down a bit more and play small toward the pp.
In bars 37 and 38, quarter notes are also played too fast. Count the beats properly and play them with plenty of pauses.
The last note should be played gently, as if you were just placing your hand on it.", Is the performed note accurate? ," In the third measure of the second row of the score, there are notes that are sounding and notes that are not sounding.",train
503,n46-deb-pld108-s-p01_c19.txt,n46-deb-pld108-s-p01.wav,"The third beat of the fourth measure is too fast; count the three beats carefully.
The quarter note and eighth note in the seventh bar are also rhythmically ambiguous, so keep the length of the eighth note.
The first chord in the first beat of the 17th bar should be played with five notes at the same time to avoid missing the beat.
The second beat of measure 29 has been entered too early. The tie should also be counted as a beat.
The French notation for the 33rd measure means ""murmur (whisper) and slowly, little by little.
The 35th bar is marked perdendosi (gradually slowing down, gradually weakening), so slow the tempo down a bit more and play small toward the pp.
In bars 37 and 38, quarter notes are also played too fast. Count the beats properly and play them with plenty of pauses.
The last note should be played gently, as if you were just placing your hand on it.", Is there reasonalbe dynamics contrast? , The volume of the ornamental notes is too loud and sounds unnatural. ,train
504,n31-sch-knd007-s-p12_c14.txt,n31-sch-knd007-s-p12.wav,"I have played this piece myself at work, and I think it is a piece that requires a lot of pedaling skill.
I would like to see more changes in tone when the note is extended and when it is moving. There is not much change in tone throughout the song, and it has become a bit monotonous.
(For example, the second beat of the second measure, the second half note, could have a heavier, deeper tone.)


The 16th note passages sound like they are rolling throughout, so I think you should try to play them a little more naturally.

It sounds rushed and a waste of time...

The fermata chords three bars before the end also sound rushed, so I would like to see you bring your fingers to the keyboard with more room to spare.



One last thing.
Since the slurs are specified in great detail, it would be good to practice with an awareness of easy-to-understand expressions so that the listener can understand them without looking at the score.

It's a waste of time, because the tone is so beautiful and the pedaling is appropriate...", Is the rhythm accurate? , The third beat of the fourth measure is too fast,train
505,n31-sch-knd007-s-p12_c14.txt,n31-sch-knd007-s-p12.wav,"I have played this piece myself at work, and I think it is a piece that requires a lot of pedaling skill.
I would like to see more changes in tone when the note is extended and when it is moving. There is not much change in tone throughout the song, and it has become a bit monotonous.
(For example, the second beat of the second measure, the second half note, could have a heavier, deeper tone.)


The 16th note passages sound like they are rolling throughout, so I think you should try to play them a little more naturally.

It sounds rushed and a waste of time...

The fermata chords three bars before the end also sound rushed, so I would like to see you bring your fingers to the keyboard with more room to spare.



One last thing.
Since the slurs are specified in great detail, it would be good to practice with an awareness of easy-to-understand expressions so that the listener can understand them without looking at the score.

It's a waste of time, because the tone is so beautiful and the pedaling is appropriate...", Is the rhythm accurate? , The quarter note and eighth note in the seventh bar are rhythmically ambiguous.,train
506,n31-sch-knd007-s-p12_c14.txt,n31-sch-knd007-s-p12.wav,"I have played this piece myself at work, and I think it is a piece that requires a lot of pedaling skill.
I would like to see more changes in tone when the note is extended and when it is moving. There is not much change in tone throughout the song, and it has become a bit monotonous.
(For example, the second beat of the second measure, the second half note, could have a heavier, deeper tone.)


The 16th note passages sound like they are rolling throughout, so I think you should try to play them a little more naturally.

It sounds rushed and a waste of time...

The fermata chords three bars before the end also sound rushed, so I would like to see you bring your fingers to the keyboard with more room to spare.



One last thing.
Since the slurs are specified in great detail, it would be good to practice with an awareness of easy-to-understand expressions so that the listener can understand them without looking at the score.

It's a waste of time, because the tone is so beautiful and the pedaling is appropriate...", Is the rhythm accurate? , The second beat of measure 29 has been entered too early. ,train
507,n17-bac-inv001-s-p01_c06.txt,n17-bac-inv001-s-p01.wav,"Bach's music is more touch light.
Trills are clean. Pay attention to fingering so that there is no hesitation or ""tame"" when playing a note.
The counter-melody in the left hand should have more presence of sound. Although the left hand is supposed to be the accompaniment, this piece should be balanced so that the right hand part and the left hand part are on equal footing and respond to each other.
At the end, it would be fine enough to fine-tune the sound toward the afterglow of the fermata without rit.
Listen to the sound of clavichord and other ancient instruments on YouTube or streaming services, and play the piano with a touch that reproduces the lightness of the instruments of the time as much as possible.", How would you rate the difficulty level of this piece? , It is a piece that requires a lot of pedaling skill.,train
508,n17-bac-inv001-s-p01_c06.txt,n17-bac-inv001-s-p01.wav,"Bach's music is more touch light.
Trills are clean. Pay attention to fingering so that there is no hesitation or ""tame"" when playing a note.
The counter-melody in the left hand should have more presence of sound. Although the left hand is supposed to be the accompaniment, this piece should be balanced so that the right hand part and the left hand part are on equal footing and respond to each other.
At the end, it would be fine enough to fine-tune the sound toward the afterglow of the fermata without rit.
Listen to the sound of clavichord and other ancient instruments on YouTube or streaming services, and play the piano with a touch that reproduces the lightness of the instruments of the time as much as possible.", How is the tone production? ," There is not much change in tone throughout the song, and it has become a bit monotonous.",train
509,n17-bac-inv001-s-p01_c06.txt,n17-bac-inv001-s-p01.wav,"Bach's music is more touch light.
Trills are clean. Pay attention to fingering so that there is no hesitation or ""tame"" when playing a note.
The counter-melody in the left hand should have more presence of sound. Although the left hand is supposed to be the accompaniment, this piece should be balanced so that the right hand part and the left hand part are on equal footing and respond to each other.
At the end, it would be fine enough to fine-tune the sound toward the afterglow of the fermata without rit.
Listen to the sound of clavichord and other ancient instruments on YouTube or streaming services, and play the piano with a touch that reproduces the lightness of the instruments of the time as much as possible.", What does the student needs to work on? ," The performance sounds rushed, needs more attention to changes in tone when the note is extended and when it is moving.",train
510,n01-chp-etd003-s-p01_c23.txt,n01-chp-etd003-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The music is carefully played with an awareness of the flow of the music. To make it even better, the relative differences in dynamics could be made clearer. Also, the pedal should be a little more finely pressed, sometimes in shallow 16-note increments. I was concerned that the harmony was muddy in some parts. Please be especially aware of this at this tempo. Finally, the first note B natural might be too tame. It may be a matter of taste, but I don't mind if you go a little more smoothly.",train
511,n28-bet-snt008-3-s-p02_c18.txt,n28-bet-snt008-3-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Overall, I like the cohesiveness and strength of the piece.
I felt a bit of unintended tempo running at the triplets, resulting in the left and right hands sounding disjointed.
It would be better if it could be controlled a little more.",test
512,n08-chp-pld007-s-p01_c03.txt,n08-chp-pld007-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"I think it is a very beautiful performance.
The time signature of this piece by Chopin is three-quarter time.
Chopin was one of the leading composers of the National Music School, and many of his three-beat pieces incorporate elements of Polish dance music.
This piece has a gentle feel to it, but I think it is important to be aware of the dance. For example, if the end of a phrase is too interminable, you can't dance.
And the Andantino in the notation means slightly faster than Andante.
Andante means walking speed, so a slightly lighter tempo than that is required.
If you try to play the phrases with a little more slur in one piece, the flow will be a little cleaner than it is now.
For short pieces like this, I think it's a good idea to think of a conversation or story for each phrase, for example.
A typical example would be a question, an answer, a development, and an end. Just by being aware of this, you may be able to express a little more variation, such as which phrases and chords to emphasize or retract a little, play a little longer or shorter, and so on.",train
513,n22-bac-inv015-s-p01_c21.txt,n22-bac-inv015-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Bach's Inventions are composed in such a way that the right and left hands follow the same motif. For example, in this piece, the eighth note from the first bar to the beginning of the third bar is the theme, and from the eighth rest in the right hand in the third bar, the repetition of the theme begins again in the left fis, as if the right hand takes over from the left hand.
Since the performance is too plain, try to play the whole motif (especially the entrance part) in the right and left hands with more emphasis so that you can tell the listeners that ""a new motif starts here"".
There are two ways to play the trills, one is to go down from the top and the other is to go up from the bottom, but it is better to stick to one of them. When playing from the bottom up, the left hand note is aligned with the end of the trill, but in the case of Bach, you should always play so that the left hand note is aligned with the beginning of the trill.",test
514,n01-chp-etd003-s-p01_c23.txt,n01-chp-etd003-s-p01.wav,"The music is carefully played with an awareness of the flow of the music. To make it even better, the relative differences in dynamics could be made clearer. Also, the pedal should be a little more finely pressed, sometimes in shallow 16-note increments. I was concerned that the harmony was muddy in some parts. Please be especially aware of this at this tempo. Finally, the first note B natural might be too tame. It may be a matter of taste, but I don't mind if you go a little more smoothly.", Is the performed note accurate? ," Pay attention to fingering to ensure there is no hesitation or ""tame"" when playing a note.",train
515,n01-chp-etd003-s-p01_c23.txt,n01-chp-etd003-s-p01.wav,"The music is carefully played with an awareness of the flow of the music. To make it even better, the relative differences in dynamics could be made clearer. Also, the pedal should be a little more finely pressed, sometimes in shallow 16-note increments. I was concerned that the harmony was muddy in some parts. Please be especially aware of this at this tempo. Finally, the first note B natural might be too tame. It may be a matter of taste, but I don't mind if you go a little more smoothly.", Is there reasonable balance between hands? ," The counter-melody in the left hand should have more presence of sound, this piece should be balanced so that the right hand part and the left hand part are on equal footing and respond to each other.",train
516,n01-chp-etd003-s-p01_c23.txt,n01-chp-etd003-s-p01.wav,"The music is carefully played with an awareness of the flow of the music. To make it even better, the relative differences in dynamics could be made clearer. Also, the pedal should be a little more finely pressed, sometimes in shallow 16-note increments. I was concerned that the harmony was muddy in some parts. Please be especially aware of this at this tempo. Finally, the first note B natural might be too tame. It may be a matter of taste, but I don't mind if you go a little more smoothly.", How would you describe the emotional intent of the performance? ," At the end, fine-tune the sound toward the afterglow of the fermata without rit. Listen to the sound of clavichord and other ancient instruments, and play the piano with a touch that reproduces the lightness of the instruments of the time as much as possible.",train
517,n28-bet-snt008-3-s-p02_c18.txt,n28-bet-snt008-3-s-p02.wav,"Overall, I like the cohesiveness and strength of the piece.
I felt a bit of unintended tempo running at the triplets, resulting in the left and right hands sounding disjointed.
It would be better if it could be controlled a little more.", Is there reasonalbe dynamics contrast? , The relative differences in dynamics could be more clear. ,test
518,n28-bet-snt008-3-s-p02_c18.txt,n28-bet-snt008-3-s-p02.wav,"Overall, I like the cohesiveness and strength of the piece.
I felt a bit of unintended tempo running at the triplets, resulting in the left and right hands sounding disjointed.
It would be better if it could be controlled a little more.", Is the pedal usage appropriate? ," The pedal should be a little more finely pressed, sometimes in shallow 16-note increments. The harmony was muddy in some parts which needs to be taken care of at this tempo.",test
519,n28-bet-snt008-3-s-p02_c18.txt,n28-bet-snt008-3-s-p02.wav,"Overall, I like the cohesiveness and strength of the piece.
I felt a bit of unintended tempo running at the triplets, resulting in the left and right hands sounding disjointed.
It would be better if it could be controlled a little more.", Is the performed note accurate? ," The first note B natural might be too tame. It may be a matter of taste, but it could be played a little more smoothly.",test
520,n08-chp-pld007-s-p01_c03.txt,n08-chp-pld007-s-p01.wav,"I think it is a very beautiful performance.
The time signature of this piece by Chopin is three-quarter time.
Chopin was one of the leading composers of the National Music School, and many of his three-beat pieces incorporate elements of Polish dance music.
This piece has a gentle feel to it, but I think it is important to be aware of the dance. For example, if the end of a phrase is too interminable, you can't dance.
And the Andantino in the notation means slightly faster than Andante.
Andante means walking speed, so a slightly lighter tempo than that is required.
If you try to play the phrases with a little more slur in one piece, the flow will be a little cleaner than it is now.
For short pieces like this, I think it's a good idea to think of a conversation or story for each phrase, for example.
A typical example would be a question, an answer, a development, and an end. Just by being aware of this, you may be able to express a little more variation, such as which phrases and chords to emphasize or retract a little, play a little longer or shorter, and so on.", In which skill level would you say the performer is in?  ," Overall, I like the cohesiveness and strength of the piece.",train
521,n08-chp-pld007-s-p01_c03.txt,n08-chp-pld007-s-p01.wav,"I think it is a very beautiful performance.
The time signature of this piece by Chopin is three-quarter time.
Chopin was one of the leading composers of the National Music School, and many of his three-beat pieces incorporate elements of Polish dance music.
This piece has a gentle feel to it, but I think it is important to be aware of the dance. For example, if the end of a phrase is too interminable, you can't dance.
And the Andantino in the notation means slightly faster than Andante.
Andante means walking speed, so a slightly lighter tempo than that is required.
If you try to play the phrases with a little more slur in one piece, the flow will be a little cleaner than it is now.
For short pieces like this, I think it's a good idea to think of a conversation or story for each phrase, for example.
A typical example would be a question, an answer, a development, and an end. Just by being aware of this, you may be able to express a little more variation, such as which phrases and chords to emphasize or retract a little, play a little longer or shorter, and so on.", Is the performed tempo stable? , Unintended tempo running at the triplets results in the left and right hands sounding disjointed. It would be better if it could be controlled a little more.,train
522,n08-chp-pld007-s-p01_c03.txt,n08-chp-pld007-s-p01.wav,"I think it is a very beautiful performance.
The time signature of this piece by Chopin is three-quarter time.
Chopin was one of the leading composers of the National Music School, and many of his three-beat pieces incorporate elements of Polish dance music.
This piece has a gentle feel to it, but I think it is important to be aware of the dance. For example, if the end of a phrase is too interminable, you can't dance.
And the Andantino in the notation means slightly faster than Andante.
Andante means walking speed, so a slightly lighter tempo than that is required.
If you try to play the phrases with a little more slur in one piece, the flow will be a little cleaner than it is now.
For short pieces like this, I think it's a good idea to think of a conversation or story for each phrase, for example.
A typical example would be a question, an answer, a development, and an end. Just by being aware of this, you may be able to express a little more variation, such as which phrases and chords to emphasize or retract a little, play a little longer or shorter, and so on.", What does the student needs to work on? , Controlling the tempo during the triplets to avoid sounding disjointed.,train
523,n22-bac-inv015-s-p01_c21.txt,n22-bac-inv015-s-p01.wav,"Bach's Inventions are composed in such a way that the right and left hands follow the same motif. For example, in this piece, the eighth note from the first bar to the beginning of the third bar is the theme, and from the eighth rest in the right hand in the third bar, the repetition of the theme begins again in the left fis, as if the right hand takes over from the left hand.
Since the performance is too plain, try to play the whole motif (especially the entrance part) in the right and left hands with more emphasis so that you can tell the listeners that ""a new motif starts here"".
There are two ways to play the trills, one is to go down from the top and the other is to go up from the bottom, but it is better to stick to one of them. When playing from the bottom up, the left hand note is aligned with the end of the trill, but in the case of Bach, you should always play so that the left hand note is aligned with the beginning of the trill.", How would you describe the emotional intent of the performance? , Be aware of the polish dance music in the three-beat pieces.,test
524,n22-bac-inv015-s-p01_c21.txt,n22-bac-inv015-s-p01.wav,"Bach's Inventions are composed in such a way that the right and left hands follow the same motif. For example, in this piece, the eighth note from the first bar to the beginning of the third bar is the theme, and from the eighth rest in the right hand in the third bar, the repetition of the theme begins again in the left fis, as if the right hand takes over from the left hand.
Since the performance is too plain, try to play the whole motif (especially the entrance part) in the right and left hands with more emphasis so that you can tell the listeners that ""a new motif starts here"".
There are two ways to play the trills, one is to go down from the top and the other is to go up from the bottom, but it is better to stick to one of them. When playing from the bottom up, the left hand note is aligned with the end of the trill, but in the case of Bach, you should always play so that the left hand note is aligned with the beginning of the trill.", Is there reasonalbe tempo contrast? ," The Andantino in the notation means slightly faster than Andante. If the phrases are played with a little more slur in one piece, the flow will be a little cleaner than it is now. ",test
525,n22-bac-inv015-s-p01_c21.txt,n22-bac-inv015-s-p01.wav,"Bach's Inventions are composed in such a way that the right and left hands follow the same motif. For example, in this piece, the eighth note from the first bar to the beginning of the third bar is the theme, and from the eighth rest in the right hand in the third bar, the repetition of the theme begins again in the left fis, as if the right hand takes over from the left hand.
Since the performance is too plain, try to play the whole motif (especially the entrance part) in the right and left hands with more emphasis so that you can tell the listeners that ""a new motif starts here"".
There are two ways to play the trills, one is to go down from the top and the other is to go up from the bottom, but it is better to stick to one of them. When playing from the bottom up, the left hand note is aligned with the end of the trill, but in the case of Bach, you should always play so that the left hand note is aligned with the beginning of the trill.", What does the student needs to work on? ," Being aware of a conversation or story for each phrase, emphasizing or retracting certain phrases and chords, playing a little longer or shorter, and so on will add more variation in the performance.",test
526,n01-chp-etd003-s-p03_c01.txt,n01-chp-etd003-s-p03.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The tone is soft and easy to listen to.
The lively crescendo in the second half of the piece contrasts with the music in the first half, and I think it is an expression that fits the musical theme of the piece.
The detailed phrasing of the melody is well captured.

It would be more beautiful if there were a little more variation in the tune.
For example, from the 6th bar, there is a crescendo articulation, and the melody changes, so I would like to see a change. The change is already there, but I think we can add more change by taking a breath to go to the next phrase. Breaths are not taken just to breathe, but to breathe in preparation for the next phrase.　Imagine yourself as a conductor. Just before the tune changes, you need to give the performer an image of the next piece of music. You take a breath to get ready for the next piece of music. It is a good idea to try to imagine this and be aware of your breath for each phrase.

I think it would be good if the stretto in the seventh bar had a little more accent...I think it would be good if you play the second ornamental note in a different way from the first one, so that there is a change.",train
527,n08-chp-pld007-s-p01_c01.txt,n08-chp-pld007-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"I think the sense of beat of the three beats is well expressed.
I think that the expression of the same notes in succession is good and subtle.
The phrases were well varied and conveyed the image of the music.

I felt that the bass sounded a little more resonant. It would be nice if the balance between the left and right hands could be adjusted while feeling the harmony.
The first part of the piece has the same chords and harmony, but in the 12th measure, the harmony changes, and in the 13th measure, the inner voices are moving. I thought it would be good to have a sense of tension there, and to play with a sense of harmony.
I think you should be more conscious of the end of the phrase, and not be too hasty at the beginning of the phrase.",train
528,n17-bac-inv001-s-p01_c11.txt,n17-bac-inv001-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"I can hear that you understand the development of imitation and repetition of the theme through counterpoint.
However, I felt it was still far from ideal.
There are four points that bothered me.
The one that bothered me the most was the trill.
Perhaps the left hand is being distracted by the trills of the right hand, and the notes are not of equal length.
The way to improve it, say for example in the first measure,
It may be easier to do this by bouncing the left hand on the ""mi"" of ""Do Re Mi"" and then placing a finger on the ""fa"" of ""Falemido"" which overlaps with the ornaments.

The key to Bach is in the trills.
If you control the ornaments, it may sound like the clavichord of the time.
There is a Bach handwritten chart of ornamented notes, though, so you may want to refer to it,
There is no right answer, so there is no need to be rigid about how many notes to put in,
Spontaneous trills are preferable.
You should research what style you feel comfortable with.

The next thing that bothered me was that the scale, which rises by three degrees, was not smooth.
I felt like I was running out of breath as I ascended the scale.
1, 3 Are you playing with the fingers of 1, 3 1, 3?
Please review your scale practice with 1, 3, 2, and 4 again.

Also, next to playing each note carefully,
Next to playing each note carefully, try practicing with the separation in mind: 11 pieces of 2 bars each.
Ideally, I imagined an escalator going up to the 12th floor, and you were going up one flight of stairs at a time.

And you seem to be playing the rit. at the end of the song from the point of ascent, which is not your favorite place to play,
I think it is enough to play it just before the final part if you play at this tempo. (The ""redo faci"" part.) If you play at a faster tempo, you should play it originally.
If you play at a faster tempo, I think it is fine to play it the way it was originally played.
If you play at a faster tempo, you can play it the way it was originally played.

Invention is like an appetizer for the mean rate clavier, though,
Please practice as if it is essential to your understanding of the music, even if it is in two voices.",train
529,n08-chp-pld007-s-p03_c18.txt,n08-chp-pld007-s-p03.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"It is cohesive and beautiful, but sometimes the tempo swings too much, so a little less tame would be good.
The top notes are audible and easy to listen to.",test
530,n01-chp-etd003-s-p03_c01.txt,n01-chp-etd003-s-p03.wav,"The tone is soft and easy to listen to.
The lively crescendo in the second half of the piece contrasts with the music in the first half, and I think it is an expression that fits the musical theme of the piece.
The detailed phrasing of the melody is well captured.

It would be more beautiful if there were a little more variation in the tune.
For example, from the 6th bar, there is a crescendo articulation, and the melody changes, so I would like to see a change. The change is already there, but I think we can add more change by taking a breath to go to the next phrase. Breaths are not taken just to breathe, but to breathe in preparation for the next phrase.　Imagine yourself as a conductor. Just before the tune changes, you need to give the performer an image of the next piece of music. You take a breath to get ready for the next piece of music. It is a good idea to try to imagine this and be aware of your breath for each phrase.

I think it would be good if the stretto in the seventh bar had a little more accent...I think it would be good if you play the second ornamental note in a different way from the first one, so that there is a change.", Is the performance following score instructions? ," Needs more emphasis on the motifs especially the entrance part. Also, be more precise with the trills and make sure to synchronize with the left hand note.",train
531,n01-chp-etd003-s-p03_c01.txt,n01-chp-etd003-s-p03.wav,"The tone is soft and easy to listen to.
The lively crescendo in the second half of the piece contrasts with the music in the first half, and I think it is an expression that fits the musical theme of the piece.
The detailed phrasing of the melody is well captured.

It would be more beautiful if there were a little more variation in the tune.
For example, from the 6th bar, there is a crescendo articulation, and the melody changes, so I would like to see a change. The change is already there, but I think we can add more change by taking a breath to go to the next phrase. Breaths are not taken just to breathe, but to breathe in preparation for the next phrase.　Imagine yourself as a conductor. Just before the tune changes, you need to give the performer an image of the next piece of music. You take a breath to get ready for the next piece of music. It is a good idea to try to imagine this and be aware of your breath for each phrase.

I think it would be good if the stretto in the seventh bar had a little more accent...I think it would be good if you play the second ornamental note in a different way from the first one, so that there is a change.", Is the phrasing or melodic shaping clear? ," Yes, but there needs to be more variation, for instance a more emphasized crescendo articulation and change in tune from the 6th bar onward.",train
532,n01-chp-etd003-s-p03_c01.txt,n01-chp-etd003-s-p03.wav,"The tone is soft and easy to listen to.
The lively crescendo in the second half of the piece contrasts with the music in the first half, and I think it is an expression that fits the musical theme of the piece.
The detailed phrasing of the melody is well captured.

It would be more beautiful if there were a little more variation in the tune.
For example, from the 6th bar, there is a crescendo articulation, and the melody changes, so I would like to see a change. The change is already there, but I think we can add more change by taking a breath to go to the next phrase. Breaths are not taken just to breathe, but to breathe in preparation for the next phrase.　Imagine yourself as a conductor. Just before the tune changes, you need to give the performer an image of the next piece of music. You take a breath to get ready for the next piece of music. It is a good idea to try to imagine this and be aware of your breath for each phrase.

I think it would be good if the stretto in the seventh bar had a little more accent...I think it would be good if you play the second ornamental note in a different way from the first one, so that there is a change.", What does the student need to work on? ," The student needs to work on the clarity of motifs in right and left hand, executing the trills appropriately, and adding more variation in the tune especially in terms of crescendo articulation and phrasing.",train
533,n08-chp-pld007-s-p01_c01.txt,n08-chp-pld007-s-p01.wav,"I think the sense of beat of the three beats is well expressed.
I think that the expression of the same notes in succession is good and subtle.
The phrases were well varied and conveyed the image of the music.

I felt that the bass sounded a little more resonant. It would be nice if the balance between the left and right hands could be adjusted while feeling the harmony.
The first part of the piece has the same chords and harmony, but in the 12th measure, the harmony changes, and in the 13th measure, the inner voices are moving. I thought it would be good to have a sense of tension there, and to play with a sense of harmony.
I think you should be more conscious of the end of the phrase, and not be too hasty at the beginning of the phrase.", How would you describe the emotional intent of the performance? ," The tone is soft and easy to listen to, and the chrescendo is lively. ",train
534,n08-chp-pld007-s-p01_c01.txt,n08-chp-pld007-s-p01.wav,"I think the sense of beat of the three beats is well expressed.
I think that the expression of the same notes in succession is good and subtle.
The phrases were well varied and conveyed the image of the music.

I felt that the bass sounded a little more resonant. It would be nice if the balance between the left and right hands could be adjusted while feeling the harmony.
The first part of the piece has the same chords and harmony, but in the 12th measure, the harmony changes, and in the 13th measure, the inner voices are moving. I thought it would be good to have a sense of tension there, and to play with a sense of harmony.
I think you should be more conscious of the end of the phrase, and not be too hasty at the beginning of the phrase.", What does the student need to work on? , The student needs to add more variation in tune especially from the 6th bar and needs to accentuate the stretto in the seventh bar.,train
535,n08-chp-pld007-s-p01_c01.txt,n08-chp-pld007-s-p01.wav,"I think the sense of beat of the three beats is well expressed.
I think that the expression of the same notes in succession is good and subtle.
The phrases were well varied and conveyed the image of the music.

I felt that the bass sounded a little more resonant. It would be nice if the balance between the left and right hands could be adjusted while feeling the harmony.
The first part of the piece has the same chords and harmony, but in the 12th measure, the harmony changes, and in the 13th measure, the inner voices are moving. I thought it would be good to have a sense of tension there, and to play with a sense of harmony.
I think you should be more conscious of the end of the phrase, and not be too hasty at the beginning of the phrase.", Is the interpretation appropriate to the style of the composition? ," Yes, the detailed phrasing of the melody is well captured.",train
536,n17-bac-inv001-s-p01_c11.txt,n17-bac-inv001-s-p01.wav,"I can hear that you understand the development of imitation and repetition of the theme through counterpoint.
However, I felt it was still far from ideal.
There are four points that bothered me.
The one that bothered me the most was the trill.
Perhaps the left hand is being distracted by the trills of the right hand, and the notes are not of equal length.
The way to improve it, say for example in the first measure,
It may be easier to do this by bouncing the left hand on the ""mi"" of ""Do Re Mi"" and then placing a finger on the ""fa"" of ""Falemido"" which overlaps with the ornaments.

The key to Bach is in the trills.
If you control the ornaments, it may sound like the clavichord of the time.
There is a Bach handwritten chart of ornamented notes, though, so you may want to refer to it,
There is no right answer, so there is no need to be rigid about how many notes to put in,
Spontaneous trills are preferable.
You should research what style you feel comfortable with.

The next thing that bothered me was that the scale, which rises by three degrees, was not smooth.
I felt like I was running out of breath as I ascended the scale.
1, 3 Are you playing with the fingers of 1, 3 1, 3?
Please review your scale practice with 1, 3, 2, and 4 again.

Also, next to playing each note carefully,
Next to playing each note carefully, try practicing with the separation in mind: 11 pieces of 2 bars each.
Ideally, I imagined an escalator going up to the 12th floor, and you were going up one flight of stairs at a time.

And you seem to be playing the rit. at the end of the song from the point of ascent, which is not your favorite place to play,
I think it is enough to play it just before the final part if you play at this tempo. (The ""redo faci"" part.) If you play at a faster tempo, you should play it originally.
If you play at a faster tempo, I think it is fine to play it the way it was originally played.
If you play at a faster tempo, you can play it the way it was originally played.

Invention is like an appetizer for the mean rate clavier, though,
Please practice as if it is essential to your understanding of the music, even if it is in two voices.", Is there reasonable balance between hands? , The balance could be better by making bass sound little more resonant.,train
537,n17-bac-inv001-s-p01_c11.txt,n17-bac-inv001-s-p01.wav,"I can hear that you understand the development of imitation and repetition of the theme through counterpoint.
However, I felt it was still far from ideal.
There are four points that bothered me.
The one that bothered me the most was the trill.
Perhaps the left hand is being distracted by the trills of the right hand, and the notes are not of equal length.
The way to improve it, say for example in the first measure,
It may be easier to do this by bouncing the left hand on the ""mi"" of ""Do Re Mi"" and then placing a finger on the ""fa"" of ""Falemido"" which overlaps with the ornaments.

The key to Bach is in the trills.
If you control the ornaments, it may sound like the clavichord of the time.
There is a Bach handwritten chart of ornamented notes, though, so you may want to refer to it,
There is no right answer, so there is no need to be rigid about how many notes to put in,
Spontaneous trills are preferable.
You should research what style you feel comfortable with.

The next thing that bothered me was that the scale, which rises by three degrees, was not smooth.
I felt like I was running out of breath as I ascended the scale.
1, 3 Are you playing with the fingers of 1, 3 1, 3?
Please review your scale practice with 1, 3, 2, and 4 again.

Also, next to playing each note carefully,
Next to playing each note carefully, try practicing with the separation in mind: 11 pieces of 2 bars each.
Ideally, I imagined an escalator going up to the 12th floor, and you were going up one flight of stairs at a time.

And you seem to be playing the rit. at the end of the song from the point of ascent, which is not your favorite place to play,
I think it is enough to play it just before the final part if you play at this tempo. (The ""redo faci"" part.) If you play at a faster tempo, you should play it originally.
If you play at a faster tempo, I think it is fine to play it the way it was originally played.
If you play at a faster tempo, you can play it the way it was originally played.

Invention is like an appetizer for the mean rate clavier, though,
Please practice as if it is essential to your understanding of the music, even if it is in two voices.", How would you rate the difficulty level of this piece? ," The piece has the same chords and harmony, but changes in the 12th measure and requires awareness of harmony.",train
538,n17-bac-inv001-s-p01_c11.txt,n17-bac-inv001-s-p01.wav,"I can hear that you understand the development of imitation and repetition of the theme through counterpoint.
However, I felt it was still far from ideal.
There are four points that bothered me.
The one that bothered me the most was the trill.
Perhaps the left hand is being distracted by the trills of the right hand, and the notes are not of equal length.
The way to improve it, say for example in the first measure,
It may be easier to do this by bouncing the left hand on the ""mi"" of ""Do Re Mi"" and then placing a finger on the ""fa"" of ""Falemido"" which overlaps with the ornaments.

The key to Bach is in the trills.
If you control the ornaments, it may sound like the clavichord of the time.
There is a Bach handwritten chart of ornamented notes, though, so you may want to refer to it,
There is no right answer, so there is no need to be rigid about how many notes to put in,
Spontaneous trills are preferable.
You should research what style you feel comfortable with.

The next thing that bothered me was that the scale, which rises by three degrees, was not smooth.
I felt like I was running out of breath as I ascended the scale.
1, 3 Are you playing with the fingers of 1, 3 1, 3?
Please review your scale practice with 1, 3, 2, and 4 again.

Also, next to playing each note carefully,
Next to playing each note carefully, try practicing with the separation in mind: 11 pieces of 2 bars each.
Ideally, I imagined an escalator going up to the 12th floor, and you were going up one flight of stairs at a time.

And you seem to be playing the rit. at the end of the song from the point of ascent, which is not your favorite place to play,
I think it is enough to play it just before the final part if you play at this tempo. (The ""redo faci"" part.) If you play at a faster tempo, you should play it originally.
If you play at a faster tempo, I think it is fine to play it the way it was originally played.
If you play at a faster tempo, you can play it the way it was originally played.

Invention is like an appetizer for the mean rate clavier, though,
Please practice as if it is essential to your understanding of the music, even if it is in two voices.", What does the student need to work on? ," The student should be more conscious of phrase ends, and try to adjust balance feeling the harmony.",train
539,n08-chp-pld007-s-p03_c18.txt,n08-chp-pld007-s-p03.wav,"It is cohesive and beautiful, but sometimes the tempo swings too much, so a little less tame would be good.
The top notes are audible and easy to listen to.", How would you describe the emotional intent of the performance? ," It is clear there is an understanding of the development of imitation and repetition of theme through counterpoint, but it's still far from ideal.",test
540,n08-chp-pld007-s-p03_c18.txt,n08-chp-pld007-s-p03.wav,"It is cohesive and beautiful, but sometimes the tempo swings too much, so a little less tame would be good.
The top notes are audible and easy to listen to.", What does the student need to work on? ," The student needs to practice trills, work on making the scale smooth, be more mindful of the length of each note, practice the separation, and revise the timing of the ritardando.",test
541,n08-chp-pld007-s-p03_c18.txt,n08-chp-pld007-s-p03.wav,"It is cohesive and beautiful, but sometimes the tempo swings too much, so a little less tame would be good.
The top notes are audible and easy to listen to.", Is the interpretation appropriate to the style of the composition? ," No, the interpretation still needs work especially with regard to playing trills, managing scale ascensions, and executing ritardando.",test
542,n48-deb-rev068-s-p01_c09.txt,n48-deb-rev068-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"This is an impressive performance, typical of Debussy. I thought it was beautifully played at an overall appropriate tempo.
What bothered me was the way he played the forte chords around measure 27. It sounded a bit broken. I also thought it would be better to let the bass play a little more in bar 37. Also, the tempo primo at the end sounded a bit rushed. Also, I thought a little more contrast between tenuto and legato in bar 92 would have been nice.
However, I think this is a highly technical performance.",train
543,n32-moz-snt331-1-h-p12_c14.txt,n32-moz-snt331-1-h-p12.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"It is good that the difference between the main melody and the chords moving three degrees below is clear.
However, the melody sounds a little floaty, so it might be better to practice a little more balance in terms of matching the inner voice.

The ""swing"" of taking a bar in two large beats, which is characteristic of 6/8 time signature, is not so apparent in this piece,

♪♪♪♪♪♪
Rather than capturing it in
♩ ♪ ♩ ♪
How about paying attention to the way the beat is taken?


The last time you release the pedal is regrettable.
If you release the pedal slowly when the note is extended, you will inevitably get the chattering sound of the strings, so, for example, if you extend the reverberation and raise the pedal slowly after the sound has fully decayed, you can solve this problem!",train
544,n26-bet-snt008-2-s-p02_c17.txt,n26-bet-snt008-2-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"As I always tell other people, please sing the song after reading the music to some extent.
This song in particular is firmly marked ""cantabile"" in the score, so please sing the melody line out loud first, and think about where the breath is. There were a few places where I almost choked because I couldn't feel the breaths. Please play it after you can sing it.
I think you were able to play from the beginning to the end of the song without any problems, but I think it would be better if there was a little more difference in volume between the melody line and the rest of the song, even if it was only a slight difference.
I'll start from the beginning of the song and go through the parts that bothered me.
The second beat of the 6th bar was too hesitant and I felt like I was going to fall. 33rd and 34th bars were the same.
I think the triplet staccato in the 8th bar should be lighter, so that the player can ascend and enter the next phrase more comfortably.
The front struck note in bar 22 is a flower circle. Staccato!
From bar 24 to bar 28, please play the slur between the two notes in such a way that we can hear that the slur is on. Also, I was disappointed that there was little difference in strength here. More movement would be nice, cantabile!
That's all.",train
545,n32-moz-snt331-1-h-p12_c16.txt,n32-moz-snt331-1-h-p12.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The phrasing of each two bars is also well thought out.

As a point of improvement, you should consider how to take and feel the six-eighths time signature a little more. As you may already know, a six-eighth beat is not a single eighth note, but rather three eighth notes, or in other words, two beats of dotted quarter notes in one beat. If you feel the two beats as if you are being slowly rocked by a boat, the way you play the dotted rhythm of the melody may change. Also, let's consider why the sfotzando (sf) that sometimes appears in the melody is attached to it. This is a mountain in the big flow of the piece. Let's not just make it stronger, but let's feel that there is a mountain of melody at the place where this symbol is attached. This will give the whole song a more lively feel.",train
546,n48-deb-rev068-s-p01_c09.txt,n48-deb-rev068-s-p01.wav,"This is an impressive performance, typical of Debussy. I thought it was beautifully played at an overall appropriate tempo.
What bothered me was the way he played the forte chords around measure 27. It sounded a bit broken. I also thought it would be better to let the bass play a little more in bar 37. Also, the tempo primo at the end sounded a bit rushed. Also, I thought a little more contrast between tenuto and legato in bar 92 would have been nice.
However, I think this is a highly technical performance.", How would you describe the emotional intent of the performance? , It is cohesive and beautiful.,train
547,n48-deb-rev068-s-p01_c09.txt,n48-deb-rev068-s-p01.wav,"This is an impressive performance, typical of Debussy. I thought it was beautifully played at an overall appropriate tempo.
What bothered me was the way he played the forte chords around measure 27. It sounded a bit broken. I also thought it would be better to let the bass play a little more in bar 37. Also, the tempo primo at the end sounded a bit rushed. Also, I thought a little more contrast between tenuto and legato in bar 92 would have been nice.
However, I think this is a highly technical performance.", Is the performed tempo stable? ," Sometimes the tempo swings too much, so a little less tame would be good.",train
548,n48-deb-rev068-s-p01_c09.txt,n48-deb-rev068-s-p01.wav,"This is an impressive performance, typical of Debussy. I thought it was beautifully played at an overall appropriate tempo.
What bothered me was the way he played the forte chords around measure 27. It sounded a bit broken. I also thought it would be better to let the bass play a little more in bar 37. Also, the tempo primo at the end sounded a bit rushed. Also, I thought a little more contrast between tenuto and legato in bar 92 would have been nice.
However, I think this is a highly technical performance.", How is the tone production? , The top notes are audible and easy to listen to.,train
549,n32-moz-snt331-1-h-p12_c14.txt,n32-moz-snt331-1-h-p12.wav,"It is good that the difference between the main melody and the chords moving three degrees below is clear.
However, the melody sounds a little floaty, so it might be better to practice a little more balance in terms of matching the inner voice.

The ""swing"" of taking a bar in two large beats, which is characteristic of 6/8 time signature, is not so apparent in this piece,

♪♪♪♪♪♪
Rather than capturing it in
♩ ♪ ♩ ♪
How about paying attention to the way the beat is taken?


The last time you release the pedal is regrettable.
If you release the pedal slowly when the note is extended, you will inevitably get the chattering sound of the strings, so, for example, if you extend the reverberation and raise the pedal slowly after the sound has fully decayed, you can solve this problem!", In which skill level would you say the performer is in? , This is a highly technical performance.,train
550,n32-moz-snt331-1-h-p12_c14.txt,n32-moz-snt331-1-h-p12.wav,"It is good that the difference between the main melody and the chords moving three degrees below is clear.
However, the melody sounds a little floaty, so it might be better to practice a little more balance in terms of matching the inner voice.

The ""swing"" of taking a bar in two large beats, which is characteristic of 6/8 time signature, is not so apparent in this piece,

♪♪♪♪♪♪
Rather than capturing it in
♩ ♪ ♩ ♪
How about paying attention to the way the beat is taken?


The last time you release the pedal is regrettable.
If you release the pedal slowly when the note is extended, you will inevitably get the chattering sound of the strings, so, for example, if you extend the reverberation and raise the pedal slowly after the sound has fully decayed, you can solve this problem!", How is the overall tempo? ," The overall tempo is appropriate, but the tempo primo at the end sounded a bit rushed.",train
551,n32-moz-snt331-1-h-p12_c14.txt,n32-moz-snt331-1-h-p12.wav,"It is good that the difference between the main melody and the chords moving three degrees below is clear.
However, the melody sounds a little floaty, so it might be better to practice a little more balance in terms of matching the inner voice.

The ""swing"" of taking a bar in two large beats, which is characteristic of 6/8 time signature, is not so apparent in this piece,

♪♪♪♪♪♪
Rather than capturing it in
♩ ♪ ♩ ♪
How about paying attention to the way the beat is taken?


The last time you release the pedal is regrettable.
If you release the pedal slowly when the note is extended, you will inevitably get the chattering sound of the strings, so, for example, if you extend the reverberation and raise the pedal slowly after the sound has fully decayed, you can solve this problem!", What does the student need to work on? ," Balance between the bass play and forte chords, contrast between tenuto and legato.",train
552,n26-bet-snt008-2-s-p02_c17.txt,n26-bet-snt008-2-s-p02.wav,"As I always tell other people, please sing the song after reading the music to some extent.
This song in particular is firmly marked ""cantabile"" in the score, so please sing the melody line out loud first, and think about where the breath is. There were a few places where I almost choked because I couldn't feel the breaths. Please play it after you can sing it.
I think you were able to play from the beginning to the end of the song without any problems, but I think it would be better if there was a little more difference in volume between the melody line and the rest of the song, even if it was only a slight difference.
I'll start from the beginning of the song and go through the parts that bothered me.
The second beat of the 6th bar was too hesitant and I felt like I was going to fall. 33rd and 34th bars were the same.
I think the triplet staccato in the 8th bar should be lighter, so that the player can ascend and enter the next phrase more comfortably.
The front struck note in bar 22 is a flower circle. Staccato!
From bar 24 to bar 28, please play the slur between the two notes in such a way that we can hear that the slur is on. Also, I was disappointed that there was little difference in strength here. More movement would be nice, cantabile!
That's all.", Is the performed note accurate? , The difference between the main melody and the chords moving three degrees below is clear.,train
553,n26-bet-snt008-2-s-p02_c17.txt,n26-bet-snt008-2-s-p02.wav,"As I always tell other people, please sing the song after reading the music to some extent.
This song in particular is firmly marked ""cantabile"" in the score, so please sing the melody line out loud first, and think about where the breath is. There were a few places where I almost choked because I couldn't feel the breaths. Please play it after you can sing it.
I think you were able to play from the beginning to the end of the song without any problems, but I think it would be better if there was a little more difference in volume between the melody line and the rest of the song, even if it was only a slight difference.
I'll start from the beginning of the song and go through the parts that bothered me.
The second beat of the 6th bar was too hesitant and I felt like I was going to fall. 33rd and 34th bars were the same.
I think the triplet staccato in the 8th bar should be lighter, so that the player can ascend and enter the next phrase more comfortably.
The front struck note in bar 22 is a flower circle. Staccato!
From bar 24 to bar 28, please play the slur between the two notes in such a way that we can hear that the slur is on. Also, I was disappointed that there was little difference in strength here. More movement would be nice, cantabile!
That's all.", Is there reasonable balance between hands? , The melody sounds a little floaty. It might be better to practice a little more balance in terms of matching the inner voice.,train
554,n26-bet-snt008-2-s-p02_c17.txt,n26-bet-snt008-2-s-p02.wav,"As I always tell other people, please sing the song after reading the music to some extent.
This song in particular is firmly marked ""cantabile"" in the score, so please sing the melody line out loud first, and think about where the breath is. There were a few places where I almost choked because I couldn't feel the breaths. Please play it after you can sing it.
I think you were able to play from the beginning to the end of the song without any problems, but I think it would be better if there was a little more difference in volume between the melody line and the rest of the song, even if it was only a slight difference.
I'll start from the beginning of the song and go through the parts that bothered me.
The second beat of the 6th bar was too hesitant and I felt like I was going to fall. 33rd and 34th bars were the same.
I think the triplet staccato in the 8th bar should be lighter, so that the player can ascend and enter the next phrase more comfortably.
The front struck note in bar 22 is a flower circle. Staccato!
From bar 24 to bar 28, please play the slur between the two notes in such a way that we can hear that the slur is on. Also, I was disappointed that there was little difference in strength here. More movement would be nice, cantabile!
That's all.", Is the pedal change clean? , There was a problem on releasing the pedal. Release the pedal slowly to avoid the chattering sound of the strings.,train
555,n32-moz-snt331-1-h-p12_c16.txt,n32-moz-snt331-1-h-p12.wav,"The phrasing of each two bars is also well thought out.

As a point of improvement, you should consider how to take and feel the six-eighths time signature a little more. As you may already know, a six-eighth beat is not a single eighth note, but rather three eighth notes, or in other words, two beats of dotted quarter notes in one beat. If you feel the two beats as if you are being slowly rocked by a boat, the way you play the dotted rhythm of the melody may change. Also, let's consider why the sfotzando (sf) that sometimes appears in the melody is attached to it. This is a mountain in the big flow of the piece. Let's not just make it stronger, but let's feel that there is a mountain of melody at the place where this symbol is attached. This will give the whole song a more lively feel.", Is the interpretation appropriate to the style of the composition? ," Interpretation needs to be more ""cantabile"".",train
556,n32-moz-snt331-1-h-p12_c16.txt,n32-moz-snt331-1-h-p12.wav,"The phrasing of each two bars is also well thought out.

As a point of improvement, you should consider how to take and feel the six-eighths time signature a little more. As you may already know, a six-eighth beat is not a single eighth note, but rather three eighth notes, or in other words, two beats of dotted quarter notes in one beat. If you feel the two beats as if you are being slowly rocked by a boat, the way you play the dotted rhythm of the melody may change. Also, let's consider why the sfotzando (sf) that sometimes appears in the melody is attached to it. This is a mountain in the big flow of the piece. Let's not just make it stronger, but let's feel that there is a mountain of melody at the place where this symbol is attached. This will give the whole song a more lively feel.", Is there reasonable dynamics contrast? , There was a need for a little more difference in volume between the melody and the rest of the song.,train
557,n32-moz-snt331-1-h-p12_c16.txt,n32-moz-snt331-1-h-p12.wav,"The phrasing of each two bars is also well thought out.

As a point of improvement, you should consider how to take and feel the six-eighths time signature a little more. As you may already know, a six-eighth beat is not a single eighth note, but rather three eighth notes, or in other words, two beats of dotted quarter notes in one beat. If you feel the two beats as if you are being slowly rocked by a boat, the way you play the dotted rhythm of the melody may change. Also, let's consider why the sfotzando (sf) that sometimes appears in the melody is attached to it. This is a mountain in the big flow of the piece. Let's not just make it stronger, but let's feel that there is a mountain of melody at the place where this symbol is attached. This will give the whole song a more lively feel.", Is the performance hesitant or smooth? ," The second beat of the 6th bar was too hesitant, as were the 33rd and 34th bars.",train
558,n01-chp-etd003-s-p12_c17.txt,n01-chp-etd003-s-p12.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"I could feel that the player was very careful to make the melody come to life.
Overall, the vertical lines of chords and other notes were out of place here and there, and I thought it was a bit messy.
I felt that the music had not been read very well, and I wondered if this was the first time for the audience to hear it. I also thought it might have been a first-time performance.
I will say the parts that stood out to me as messy.
I couldn't feel whether there was an accent or not in the bass line, although it is an accent in P, so it doesn't need a strong hit, but it would be easier to get two beats if there was one.
I could only hear a part of the second beat of measure 8, and it was missing some teeth.
The short slurs in the melody line in bars 14 and 15 are being ignored? I wondered.
I thought the short crescendos and decrescendos in the other bars were also ignored.
The worst mistake was made in bar 16, overlooking the natural on beat 2. This mistake was so bad that it ruined all my efforts from the beginning of the piece.
As I said at the beginning, I did not read enough music. So there is no end to the detailed evaluation, so I'll pass this time.
The message from Mr. Chopin is not easy to play ""yes, yes, yes,"" but please don't just overlook or ignore it.

That is all.",train
559,n32-moz-snt331-1-h-p01_c21.txt,n32-moz-snt331-1-h-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"It was very pleasant to listen to, and I can't find anything to point out at all.
Generally speaking, the more notes there are, the more likely they are to be uneven, and it is quite difficult to keep the progression of the three voices, which make up most of the performance part, perfectly aligned in a vertical line, but they are played very beautifully. Also, if you focus too much on the vertical line, the horizontal flow tends to be neglected and you end up sounding like a machine, but this is not the case at all; you have a firm grasp of the flow of the big phrase while also expressing the detailed strength and weakness markings.
If I were to offer one piece of advice, it would be to change the impression of the two upper and lower sections when repeating them, rather than playing them exactly the same (e.g., playing the first section in f and the second section in p, etc.).",test
560,n31-sch-knd007-s-p12_c10.txt,n31-sch-knd007-s-p12.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Please use the pedal from the beginning to the 8th bar, stepping back and forth so that the note does not become muddy.
I want you to be aware of the 2nd and 7th bars.
The 11th to 12th bars are a bit lilting, so please play calmly.",train
561,n46-deb-pld108-s-p01_c04.txt,n46-deb-pld108-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"In the fourth measure, the eighth note seems to enter a beat early, and in the sixteenth measure, once the chord is established on the second beat, try to pedal again lightly so that it does not become muddy.
Also, the position of the note in the second bar from the end is early, so count the beats in your mind and enter precisely.

This piece has many voices, but they sound beautifully balanced.
It is a good performance, delicately expressing Debussy's pale tones.",train
562,n01-chp-etd003-s-p12_c17.txt,n01-chp-etd003-s-p12.wav,"I could feel that the player was very careful to make the melody come to life.
Overall, the vertical lines of chords and other notes were out of place here and there, and I thought it was a bit messy.
I felt that the music had not been read very well, and I wondered if this was the first time for the audience to hear it. I also thought it might have been a first-time performance.
I will say the parts that stood out to me as messy.
I couldn't feel whether there was an accent or not in the bass line, although it is an accent in P, so it doesn't need a strong hit, but it would be easier to get two beats if there was one.
I could only hear a part of the second beat of measure 8, and it was missing some teeth.
The short slurs in the melody line in bars 14 and 15 are being ignored? I wondered.
I thought the short crescendos and decrescendos in the other bars were also ignored.
The worst mistake was made in bar 16, overlooking the natural on beat 2. This mistake was so bad that it ruined all my efforts from the beginning of the piece.
As I said at the beginning, I did not read enough music. So there is no end to the detailed evaluation, so I'll pass this time.
The message from Mr. Chopin is not easy to play ""yes, yes, yes,"" but please don't just overlook or ignore it.

That is all.", Is the phrasing or melodic shaping clear? , The phrasing of each two bars is well thought out. ,train
563,n01-chp-etd003-s-p12_c17.txt,n01-chp-etd003-s-p12.wav,"I could feel that the player was very careful to make the melody come to life.
Overall, the vertical lines of chords and other notes were out of place here and there, and I thought it was a bit messy.
I felt that the music had not been read very well, and I wondered if this was the first time for the audience to hear it. I also thought it might have been a first-time performance.
I will say the parts that stood out to me as messy.
I couldn't feel whether there was an accent or not in the bass line, although it is an accent in P, so it doesn't need a strong hit, but it would be easier to get two beats if there was one.
I could only hear a part of the second beat of measure 8, and it was missing some teeth.
The short slurs in the melody line in bars 14 and 15 are being ignored? I wondered.
I thought the short crescendos and decrescendos in the other bars were also ignored.
The worst mistake was made in bar 16, overlooking the natural on beat 2. This mistake was so bad that it ruined all my efforts from the beginning of the piece.
As I said at the beginning, I did not read enough music. So there is no end to the detailed evaluation, so I'll pass this time.
The message from Mr. Chopin is not easy to play ""yes, yes, yes,"" but please don't just overlook or ignore it.

That is all.", How would you describe the emotional intent of the performance? ," The player needs to feel the two beats of the six-eighths time signature as if being slowly rocked by a boat, and feel that there is a mountain of melody at the place where sfotzando (sf) appears to give the song a more lively feel.",train
564,n01-chp-etd003-s-p12_c17.txt,n01-chp-etd003-s-p12.wav,"I could feel that the player was very careful to make the melody come to life.
Overall, the vertical lines of chords and other notes were out of place here and there, and I thought it was a bit messy.
I felt that the music had not been read very well, and I wondered if this was the first time for the audience to hear it. I also thought it might have been a first-time performance.
I will say the parts that stood out to me as messy.
I couldn't feel whether there was an accent or not in the bass line, although it is an accent in P, so it doesn't need a strong hit, but it would be easier to get two beats if there was one.
I could only hear a part of the second beat of measure 8, and it was missing some teeth.
The short slurs in the melody line in bars 14 and 15 are being ignored? I wondered.
I thought the short crescendos and decrescendos in the other bars were also ignored.
The worst mistake was made in bar 16, overlooking the natural on beat 2. This mistake was so bad that it ruined all my efforts from the beginning of the piece.
As I said at the beginning, I did not read enough music. So there is no end to the detailed evaluation, so I'll pass this time.
The message from Mr. Chopin is not easy to play ""yes, yes, yes,"" but please don't just overlook or ignore it.

That is all.", What does the student need to work on? , The student needs to better understand and implement the six-eighths beat and the meaning of sfotzando (sf) in the melody. ,train
565,n32-moz-snt331-1-h-p01_c21.txt,n32-moz-snt331-1-h-p01.wav,"It was very pleasant to listen to, and I can't find anything to point out at all.
Generally speaking, the more notes there are, the more likely they are to be uneven, and it is quite difficult to keep the progression of the three voices, which make up most of the performance part, perfectly aligned in a vertical line, but they are played very beautifully. Also, if you focus too much on the vertical line, the horizontal flow tends to be neglected and you end up sounding like a machine, but this is not the case at all; you have a firm grasp of the flow of the big phrase while also expressing the detailed strength and weakness markings.
If I were to offer one piece of advice, it would be to change the impression of the two upper and lower sections when repeating them, rather than playing them exactly the same (e.g., playing the first section in f and the second section in p, etc.).", How would you describe the emotional intent of the performance? , I could feel that the player was very careful to make the melody come to life.,test
566,n32-moz-snt331-1-h-p01_c21.txt,n32-moz-snt331-1-h-p01.wav,"It was very pleasant to listen to, and I can't find anything to point out at all.
Generally speaking, the more notes there are, the more likely they are to be uneven, and it is quite difficult to keep the progression of the three voices, which make up most of the performance part, perfectly aligned in a vertical line, but they are played very beautifully. Also, if you focus too much on the vertical line, the horizontal flow tends to be neglected and you end up sounding like a machine, but this is not the case at all; you have a firm grasp of the flow of the big phrase while also expressing the detailed strength and weakness markings.
If I were to offer one piece of advice, it would be to change the impression of the two upper and lower sections when repeating them, rather than playing them exactly the same (e.g., playing the first section in f and the second section in p, etc.).", Is the performance smooth? , The performance was a bit messy with misplacement of chords and out-of-place notes.,test
567,n32-moz-snt331-1-h-p01_c21.txt,n32-moz-snt331-1-h-p01.wav,"It was very pleasant to listen to, and I can't find anything to point out at all.
Generally speaking, the more notes there are, the more likely they are to be uneven, and it is quite difficult to keep the progression of the three voices, which make up most of the performance part, perfectly aligned in a vertical line, but they are played very beautifully. Also, if you focus too much on the vertical line, the horizontal flow tends to be neglected and you end up sounding like a machine, but this is not the case at all; you have a firm grasp of the flow of the big phrase while also expressing the detailed strength and weakness markings.
If I were to offer one piece of advice, it would be to change the impression of the two upper and lower sections when repeating them, rather than playing them exactly the same (e.g., playing the first section in f and the second section in p, etc.).", What does the student need to work on? ," The student needs to work on understanding and executing the accents in the bass line, maintaining the beat in measure 8, noticing the short slurs in melody lines, observing the crescendo and decrescendo markings, and avoiding mistakes like the one in bar 16. ",test
568,n31-sch-knd007-s-p12_c10.txt,n31-sch-knd007-s-p12.wav,"Please use the pedal from the beginning to the 8th bar, stepping back and forth so that the note does not become muddy.
I want you to be aware of the 2nd and 7th bars.
The 11th to 12th bars are a bit lilting, so please play calmly.", In which skill level would you say the performer is in? ," Advanced. The performance was pleasing, evenly played, well-phrased, and expressive.",train
569,n31-sch-knd007-s-p12_c10.txt,n31-sch-knd007-s-p12.wav,"Please use the pedal from the beginning to the 8th bar, stepping back and forth so that the note does not become muddy.
I want you to be aware of the 2nd and 7th bars.
The 11th to 12th bars are a bit lilting, so please play calmly.", How would you describe the emotional intent of the performance? , Very pleasant to listen to.,train
570,n31-sch-knd007-s-p12_c10.txt,n31-sch-knd007-s-p12.wav,"Please use the pedal from the beginning to the 8th bar, stepping back and forth so that the note does not become muddy.
I want you to be aware of the 2nd and 7th bars.
The 11th to 12th bars are a bit lilting, so please play calmly.", What does the student need to work on? , They could vary their performance when repeating sections so they don't sound exactly the same. ,train
571,n46-deb-pld108-s-p01_c04.txt,n46-deb-pld108-s-p01.wav,"In the fourth measure, the eighth note seems to enter a beat early, and in the sixteenth measure, once the chord is established on the second beat, try to pedal again lightly so that it does not become muddy.
Also, the position of the note in the second bar from the end is early, so count the beats in your mind and enter precisely.

This piece has many voices, but they sound beautifully balanced.
It is a good performance, delicately expressing Debussy's pale tones.", Is the pedal change clean? ," The pedal should be used from the beginning to the 8th bar, stepping back and forth so the note does not become muddy.",train
572,n46-deb-pld108-s-p01_c04.txt,n46-deb-pld108-s-p01.wav,"In the fourth measure, the eighth note seems to enter a beat early, and in the sixteenth measure, once the chord is established on the second beat, try to pedal again lightly so that it does not become muddy.
Also, the position of the note in the second bar from the end is early, so count the beats in your mind and enter precisely.

This piece has many voices, but they sound beautifully balanced.
It is a good performance, delicately expressing Debussy's pale tones.", What does the student need to work on? ," The student needs to work on their use of the pedal and their execution of bars 2, 7, and 11 to 12.",train
573,n46-deb-pld108-s-p01_c04.txt,n46-deb-pld108-s-p01.wav,"In the fourth measure, the eighth note seems to enter a beat early, and in the sixteenth measure, once the chord is established on the second beat, try to pedal again lightly so that it does not become muddy.
Also, the position of the note in the second bar from the end is early, so count the beats in your mind and enter precisely.

This piece has many voices, but they sound beautifully balanced.
It is a good performance, delicately expressing Debussy's pale tones.", How would you rate the difficulty level of this piece? ," Difficult, as it requires skilled pedal usage and attention to specific bars.",train
574,n28-bet-snt008-3-s-p02_c21.txt,n28-bet-snt008-3-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The tempo is a little slow compared to the Allegro, so let's work on increasing the tempo as we continue to practice.
In measure 10, the third beat of the left hand es note is wrong, so please check it.
The staccato in both hands in measure 17 is too long, so cut it a little shorter (the same goes for measure 78).
The left hand in measure 19 extends to the first beat of measure 20, not the whole beat, so it should be cut off in one beat (the same applies to the left hand in measure 23).
The sforzando in the 33rd and 34th bars is not at all clear. Play with a little more force (don't hit the keyboard).
Don't extend the left hand in measure 40 a whole beat.
The fourth beat of the right hand in the 43rd bar is too slow; I understand that you want to make it rit. from the descending flow of the right hand in the 42nd bar, but play it without slowing down the tempo as the score says.
The second note in measure 46 is long. Since it is staccato, play it as long as a quarter note.
I am worried about the right hand entering without a pause after the fermata in the 61st bar. As you can see when you actually sing it, you need to breathe to start a new song after such a long note. Make sure to breathe at the eighth rest.",test
575,n26-bet-snt008-2-s-p01_c08.txt,n26-bet-snt008-2-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"I remember that the expression of cantabile is a little inadequate. What exactly do you do to express cantabile in your performance?
It would be good to try singing this song or playing it while singing it, and see if there is anything that would be helpful in terms of breath control or changes in the dancer's technique.

At the break of a phrase and the beginning of the next phrase, you might want to be aware of a little ""breathing"" and wait for the notes (breathe as if you were singing in piano playing as well).",train
576,n31-sch-knd007-s-p02_c08.txt,n31-sch-knd007-s-p02.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"It is good that you have your own expression and world view, but I think you are rushing a little too much with the rubato.
How do you think you are playing it?
(Are you aware that the slurs are broken in the ascending phrases of the first and second bars?)

As for the rubato, I think you should be aware of the balance.
For my part, I think you should weaken the rubato.",train
577,n17-bac-inv001-s-p01_c10.txt,n17-bac-inv001-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"It is a practice piece, but I would like you to play it with emotion, as it sounds mechanical without emotion.
The 6th and 14th bars should be slurred as before, not staccato.
I think the overall cohesiveness is good.",train
578,n28-bet-snt008-3-s-p02_c21.txt,n28-bet-snt008-3-s-p02.wav,"The tempo is a little slow compared to the Allegro, so let's work on increasing the tempo as we continue to practice.
In measure 10, the third beat of the left hand es note is wrong, so please check it.
The staccato in both hands in measure 17 is too long, so cut it a little shorter (the same goes for measure 78).
The left hand in measure 19 extends to the first beat of measure 20, not the whole beat, so it should be cut off in one beat (the same applies to the left hand in measure 23).
The sforzando in the 33rd and 34th bars is not at all clear. Play with a little more force (don't hit the keyboard).
Don't extend the left hand in measure 40 a whole beat.
The fourth beat of the right hand in the 43rd bar is too slow; I understand that you want to make it rit. from the descending flow of the right hand in the 42nd bar, but play it without slowing down the tempo as the score says.
The second note in measure 46 is long. Since it is staccato, play it as long as a quarter note.
I am worried about the right hand entering without a pause after the fermata in the 61st bar. As you can see when you actually sing it, you need to breathe to start a new song after such a long note. Make sure to breathe at the eighth rest.", Is the performed note accurate? ," There are several inaccuracies; in the fourth measure, the eighth note seems to enter a beat early, and in the second bar from the end, the note position is early. Also, the note of the left hand in measure 10 is wrong.",test
579,n28-bet-snt008-3-s-p02_c21.txt,n28-bet-snt008-3-s-p02.wav,"The tempo is a little slow compared to the Allegro, so let's work on increasing the tempo as we continue to practice.
In measure 10, the third beat of the left hand es note is wrong, so please check it.
The staccato in both hands in measure 17 is too long, so cut it a little shorter (the same goes for measure 78).
The left hand in measure 19 extends to the first beat of measure 20, not the whole beat, so it should be cut off in one beat (the same applies to the left hand in measure 23).
The sforzando in the 33rd and 34th bars is not at all clear. Play with a little more force (don't hit the keyboard).
Don't extend the left hand in measure 40 a whole beat.
The fourth beat of the right hand in the 43rd bar is too slow; I understand that you want to make it rit. from the descending flow of the right hand in the 42nd bar, but play it without slowing down the tempo as the score says.
The second note in measure 46 is long. Since it is staccato, play it as long as a quarter note.
I am worried about the right hand entering without a pause after the fermata in the 61st bar. As you can see when you actually sing it, you need to breathe to start a new song after such a long note. Make sure to breathe at the eighth rest.", Is the pedal usage appropriate? ," In the sixteenth measure once the chord is established on the second beat, the pedal usage can be improved to avoid it becoming muddy.",test
580,n28-bet-snt008-3-s-p02_c21.txt,n28-bet-snt008-3-s-p02.wav,"The tempo is a little slow compared to the Allegro, so let's work on increasing the tempo as we continue to practice.
In measure 10, the third beat of the left hand es note is wrong, so please check it.
The staccato in both hands in measure 17 is too long, so cut it a little shorter (the same goes for measure 78).
The left hand in measure 19 extends to the first beat of measure 20, not the whole beat, so it should be cut off in one beat (the same applies to the left hand in measure 23).
The sforzando in the 33rd and 34th bars is not at all clear. Play with a little more force (don't hit the keyboard).
Don't extend the left hand in measure 40 a whole beat.
The fourth beat of the right hand in the 43rd bar is too slow; I understand that you want to make it rit. from the descending flow of the right hand in the 42nd bar, but play it without slowing down the tempo as the score says.
The second note in measure 46 is long. Since it is staccato, play it as long as a quarter note.
I am worried about the right hand entering without a pause after the fermata in the 61st bar. As you can see when you actually sing it, you need to breathe to start a new song after such a long note. Make sure to breathe at the eighth rest.", Is there reasonable balance between hands? ," This piece has many voices, but they sound beautifully balanced. It is a good performance.",test
581,n26-bet-snt008-2-s-p01_c08.txt,n26-bet-snt008-2-s-p01.wav,"I remember that the expression of cantabile is a little inadequate. What exactly do you do to express cantabile in your performance?
It would be good to try singing this song or playing it while singing it, and see if there is anything that would be helpful in terms of breath control or changes in the dancer's technique.

At the break of a phrase and the beginning of the next phrase, you might want to be aware of a little ""breathing"" and wait for the notes (breathe as if you were singing in piano playing as well).", How is the overall tempo? , The tempo is a little slow compared to Allegro.,train
582,n26-bet-snt008-2-s-p01_c08.txt,n26-bet-snt008-2-s-p01.wav,"I remember that the expression of cantabile is a little inadequate. What exactly do you do to express cantabile in your performance?
It would be good to try singing this song or playing it while singing it, and see if there is anything that would be helpful in terms of breath control or changes in the dancer's technique.

At the break of a phrase and the beginning of the next phrase, you might want to be aware of a little ""breathing"" and wait for the notes (breathe as if you were singing in piano playing as well).", Is the articulation appropriate? ," The staccato in both hands in measure 17 is too long and the second note in measure 46 is also long, for appropriate articulation, these need to be shortened.",train
583,n26-bet-snt008-2-s-p01_c08.txt,n26-bet-snt008-2-s-p01.wav,"I remember that the expression of cantabile is a little inadequate. What exactly do you do to express cantabile in your performance?
It would be good to try singing this song or playing it while singing it, and see if there is anything that would be helpful in terms of breath control or changes in the dancer's technique.

At the break of a phrase and the beginning of the next phrase, you might want to be aware of a little ""breathing"" and wait for the notes (breathe as if you were singing in piano playing as well).", What does the student needs to work on? ," Several aspects need work on, including increasing the tempo, fixing inaccurate notes, improving staccato articulation among others.",train
584,n31-sch-knd007-s-p02_c08.txt,n31-sch-knd007-s-p02.wav,"It is good that you have your own expression and world view, but I think you are rushing a little too much with the rubato.
How do you think you are playing it?
(Are you aware that the slurs are broken in the ascending phrases of the first and second bars?)

As for the rubato, I think you should be aware of the balance.
For my part, I think you should weaken the rubato.", Is the phrasing or melodic shaping clear? ," At the break of a phrase and the beginning of the next phrase, you might want to practice a little ""breathing"" and wait for the notes.",train
585,n31-sch-knd007-s-p02_c08.txt,n31-sch-knd007-s-p02.wav,"It is good that you have your own expression and world view, but I think you are rushing a little too much with the rubato.
How do you think you are playing it?
(Are you aware that the slurs are broken in the ascending phrases of the first and second bars?)

As for the rubato, I think you should be aware of the balance.
For my part, I think you should weaken the rubato.", Is the interpretation appropriate to the style of the composition? , It suggests trying to play the song while singing it to work on the cantabile expression which seems a little inadequate presently.,train
586,n31-sch-knd007-s-p02_c08.txt,n31-sch-knd007-s-p02.wav,"It is good that you have your own expression and world view, but I think you are rushing a little too much with the rubato.
How do you think you are playing it?
(Are you aware that the slurs are broken in the ascending phrases of the first and second bars?)

As for the rubato, I think you should be aware of the balance.
For my part, I think you should weaken the rubato.", How would you describe the emotional intent of the performance? ," The performer should experiment with singing the song or playing it while singing, to notice if it helps in breath control or changes in the dancer's technique. ",train
587,n17-bac-inv001-s-p01_c10.txt,n17-bac-inv001-s-p01.wav,"It is a practice piece, but I would like you to play it with emotion, as it sounds mechanical without emotion.
The 6th and 14th bars should be slurred as before, not staccato.
I think the overall cohesiveness is good.", How would you describe the emotional intent of the performance? ," It's great to have a personal expression and perspective, but the rubato seems to be rushed.",train
588,n17-bac-inv001-s-p01_c10.txt,n17-bac-inv001-s-p01.wav,"It is a practice piece, but I would like you to play it with emotion, as it sounds mechanical without emotion.
The 6th and 14th bars should be slurred as before, not staccato.
I think the overall cohesiveness is good.", Is the interpretation appropriate to the style of the composition? , No. The slurs are broken in the ascending phrases of the first and second bars suggesting a need for improvement in interpretation.,train
589,n17-bac-inv001-s-p01_c10.txt,n17-bac-inv001-s-p01.wav,"It is a practice piece, but I would like you to play it with emotion, as it sounds mechanical without emotion.
The 6th and 14th bars should be slurred as before, not staccato.
I think the overall cohesiveness is good.", What does the student needs to work on? , It might be beneficial to lessen the rubato and keep the balance in mind.,train
590,n31-sch-knd007-s-p12_c17.txt,n31-sch-knd007-s-p12.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The player was very conscious of the melody line, but I felt that he did not read the score well enough.
This piece is full of confusing lines with long and short slurs and ties all over the place. Please check it carefully.
Be sure to sing the melody line afterwards.
Be careful not to overlook the ties and the way the slurs are played.
I will say the part that caught my attention.
The vertical line on the second beat of the first measure was distorted. If the vertical line here is crisp and clear, the contrast with the next preceding strike will be clearer, and it won't sound lazy. This pattern is also found in the second half.
It sounded as if the preceding strike on the second beat of the second measure was frying. Please try different timing.
The first beat of the left hand in bar 7 does not sound octave.
The second left hand part of the eighth bar was composed, and you have rit, so please play it without hesitation.
The third beat of the 12th and 16th bars sounded like you replayed it even though it is a tie. If your fingers leave the keyboard, give up on that tie.
The left hand on the second beat of measure 22 is not a forward strike note. Don't jump out and play the correct note with the taran.
The last three bars are rit and p. I want the title to end like a dream. Please don't end quickly.
That's all.",train
591,n31-sch-knd007-s-p01_c15.txt,n31-sch-knd007-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"(Instructor)
　　This is a wonderful performance. Do you have any thoughts after you finished playing?
(Learner)
　　It's my favorite piece, so I was able to play it comfortably.
(Instructor)
That's great.
Do you want to make it better?
(Learner)
I think so, but I don't know what to do.
(Instructor)
Well, let me tell you a few things.
First of all, what does ""make it better"" mean? Let's clarify that.

This piece was written by the famous composer ""Chopin. He was active as both a pianist and a composer.
He was active as both a pianist and a composer, and he was very much attached to the piano,
He wrote many solo piano pieces. This piece is no exception.

First of all, the music has the composer's ""feelings"". I want you to play it like this. The composer's ""feeling"" for the piece is what delivers the audience's emotion.
I want the audience to be moved by the ""feelings"" that the composer put into the piece.
First of all, there is the composer's ""thought. It is written in the score.

However, there are only two ""p ""s in this piece: ""pianissimo"" and ""rit""-dan-dan-dan late.
It is difficult to play it the way you just played it from the score.
But since this song is famous, everyone knows that it is played this fast, so you can do it.
You can do it because it is well known.
But if you play it many times and check the whole picture and make a decision, it may take the shape you are playing now.

Now to make this song better.
What should I do?

Do you have any ideas?

(Learner)
Yes, I do. Should I play it with more emotion, as if I am speaking to you?


(Instructor)
That may be so,
If you put emotion as the criterion, you can become talkative, i.e., you can exaggerate.

The idea is that there are three elements when performing

1. control of tempo
2. control of intensity
3. length of notes

Emotional control is achieved through these three factors.
In the case of classical music, the conductor of an orchestral piece will give instructions regarding these three factors.
In some cases, the ""tempo"" is adjusted drastically, but too much of this can lead to talkativeness.
Just as it is easier for others to understand you if you speak at a steady pace when you are conversing, so it is not a good idea to make large speed adjustments.
It is not a good idea to adjust the speed too much.

Even if ""1. tempo"" is constant, ""2. control of intensity"" can make a big difference in the expression of the melody,
The expression of the melody can be greatly changed and is effective.

Keep this in mind,
Enjoy your performance.",train
592,n32-moz-snt331-1-h-p01_c10.txt,n32-moz-snt331-1-h-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"It was coherent and very good.
There was nothing in particular to point out, and the performance was pleasant to listen to.",test
593,n28-bet-snt008-3-s-p01_c24.txt,n28-bet-snt008-3-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"Basically, you play well, but please study the causes of the missing notes & your own habits in order to achieve a more stable performance.
As for the dynamics, I think it would be good to delve a little deeper into your own expression.
I think it would be good for you to listen to various performances to deepen your understanding of the music and establish your own style of playing.",train
594,n31-sch-knd007-s-p12_c17.txt,n31-sch-knd007-s-p12.wav,"The player was very conscious of the melody line, but I felt that he did not read the score well enough.
This piece is full of confusing lines with long and short slurs and ties all over the place. Please check it carefully.
Be sure to sing the melody line afterwards.
Be careful not to overlook the ties and the way the slurs are played.
I will say the part that caught my attention.
The vertical line on the second beat of the first measure was distorted. If the vertical line here is crisp and clear, the contrast with the next preceding strike will be clearer, and it won't sound lazy. This pattern is also found in the second half.
It sounded as if the preceding strike on the second beat of the second measure was frying. Please try different timing.
The first beat of the left hand in bar 7 does not sound octave.
The second left hand part of the eighth bar was composed, and you have rit, so please play it without hesitation.
The third beat of the 12th and 16th bars sounded like you replayed it even though it is a tie. If your fingers leave the keyboard, give up on that tie.
The left hand on the second beat of measure 22 is not a forward strike note. Don't jump out and play the correct note with the taran.
The last three bars are rit and p. I want the title to end like a dream. Please don't end quickly.
That's all.", How would you describe the emotional intent of the performance? ," It was a practice piece, but I would like you to play it with emotion, as it sounds mechanical without emotion.",train
595,n31-sch-knd007-s-p12_c17.txt,n31-sch-knd007-s-p12.wav,"The player was very conscious of the melody line, but I felt that he did not read the score well enough.
This piece is full of confusing lines with long and short slurs and ties all over the place. Please check it carefully.
Be sure to sing the melody line afterwards.
Be careful not to overlook the ties and the way the slurs are played.
I will say the part that caught my attention.
The vertical line on the second beat of the first measure was distorted. If the vertical line here is crisp and clear, the contrast with the next preceding strike will be clearer, and it won't sound lazy. This pattern is also found in the second half.
It sounded as if the preceding strike on the second beat of the second measure was frying. Please try different timing.
The first beat of the left hand in bar 7 does not sound octave.
The second left hand part of the eighth bar was composed, and you have rit, so please play it without hesitation.
The third beat of the 12th and 16th bars sounded like you replayed it even though it is a tie. If your fingers leave the keyboard, give up on that tie.
The left hand on the second beat of measure 22 is not a forward strike note. Don't jump out and play the correct note with the taran.
The last three bars are rit and p. I want the title to end like a dream. Please don't end quickly.
That's all.", Is the performance hesitant or smooth? , The overall cohesiveness is good.,train
596,n31-sch-knd007-s-p12_c17.txt,n31-sch-knd007-s-p12.wav,"The player was very conscious of the melody line, but I felt that he did not read the score well enough.
This piece is full of confusing lines with long and short slurs and ties all over the place. Please check it carefully.
Be sure to sing the melody line afterwards.
Be careful not to overlook the ties and the way the slurs are played.
I will say the part that caught my attention.
The vertical line on the second beat of the first measure was distorted. If the vertical line here is crisp and clear, the contrast with the next preceding strike will be clearer, and it won't sound lazy. This pattern is also found in the second half.
It sounded as if the preceding strike on the second beat of the second measure was frying. Please try different timing.
The first beat of the left hand in bar 7 does not sound octave.
The second left hand part of the eighth bar was composed, and you have rit, so please play it without hesitation.
The third beat of the 12th and 16th bars sounded like you replayed it even though it is a tie. If your fingers leave the keyboard, give up on that tie.
The left hand on the second beat of measure 22 is not a forward strike note. Don't jump out and play the correct note with the taran.
The last three bars are rit and p. I want the title to end like a dream. Please don't end quickly.
That's all.", What does the student need to work on? ," The 6th and 14th bars should be slurred as before, not staccato.",train
597,n31-sch-knd007-s-p01_c15.txt,n31-sch-knd007-s-p01.wav,"(Instructor)
　　This is a wonderful performance. Do you have any thoughts after you finished playing?
(Learner)
　　It's my favorite piece, so I was able to play it comfortably.
(Instructor)
That's great.
Do you want to make it better?
(Learner)
I think so, but I don't know what to do.
(Instructor)
Well, let me tell you a few things.
First of all, what does ""make it better"" mean? Let's clarify that.

This piece was written by the famous composer ""Chopin. He was active as both a pianist and a composer.
He was active as both a pianist and a composer, and he was very much attached to the piano,
He wrote many solo piano pieces. This piece is no exception.

First of all, the music has the composer's ""feelings"". I want you to play it like this. The composer's ""feeling"" for the piece is what delivers the audience's emotion.
I want the audience to be moved by the ""feelings"" that the composer put into the piece.
First of all, there is the composer's ""thought. It is written in the score.

However, there are only two ""p ""s in this piece: ""pianissimo"" and ""rit""-dan-dan-dan late.
It is difficult to play it the way you just played it from the score.
But since this song is famous, everyone knows that it is played this fast, so you can do it.
You can do it because it is well known.
But if you play it many times and check the whole picture and make a decision, it may take the shape you are playing now.

Now to make this song better.
What should I do?

Do you have any ideas?

(Learner)
Yes, I do. Should I play it with more emotion, as if I am speaking to you?


(Instructor)
That may be so,
If you put emotion as the criterion, you can become talkative, i.e., you can exaggerate.

The idea is that there are three elements when performing

1. control of tempo
2. control of intensity
3. length of notes

Emotional control is achieved through these three factors.
In the case of classical music, the conductor of an orchestral piece will give instructions regarding these three factors.
In some cases, the ""tempo"" is adjusted drastically, but too much of this can lead to talkativeness.
Just as it is easier for others to understand you if you speak at a steady pace when you are conversing, so it is not a good idea to make large speed adjustments.
It is not a good idea to adjust the speed too much.

Even if ""1. tempo"" is constant, ""2. control of intensity"" can make a big difference in the expression of the melody,
The expression of the melody can be greatly changed and is effective.

Keep this in mind,
Enjoy your performance.", Is the performance following score instructions? ," The player was very conscious of the melody line, but I felt that he did not read the score well enough.",train
598,n31-sch-knd007-s-p01_c15.txt,n31-sch-knd007-s-p01.wav,"(Instructor)
　　This is a wonderful performance. Do you have any thoughts after you finished playing?
(Learner)
　　It's my favorite piece, so I was able to play it comfortably.
(Instructor)
That's great.
Do you want to make it better?
(Learner)
I think so, but I don't know what to do.
(Instructor)
Well, let me tell you a few things.
First of all, what does ""make it better"" mean? Let's clarify that.

This piece was written by the famous composer ""Chopin. He was active as both a pianist and a composer.
He was active as both a pianist and a composer, and he was very much attached to the piano,
He wrote many solo piano pieces. This piece is no exception.

First of all, the music has the composer's ""feelings"". I want you to play it like this. The composer's ""feeling"" for the piece is what delivers the audience's emotion.
I want the audience to be moved by the ""feelings"" that the composer put into the piece.
First of all, there is the composer's ""thought. It is written in the score.

However, there are only two ""p ""s in this piece: ""pianissimo"" and ""rit""-dan-dan-dan late.
It is difficult to play it the way you just played it from the score.
But since this song is famous, everyone knows that it is played this fast, so you can do it.
You can do it because it is well known.
But if you play it many times and check the whole picture and make a decision, it may take the shape you are playing now.

Now to make this song better.
What should I do?

Do you have any ideas?

(Learner)
Yes, I do. Should I play it with more emotion, as if I am speaking to you?


(Instructor)
That may be so,
If you put emotion as the criterion, you can become talkative, i.e., you can exaggerate.

The idea is that there are three elements when performing

1. control of tempo
2. control of intensity
3. length of notes

Emotional control is achieved through these three factors.
In the case of classical music, the conductor of an orchestral piece will give instructions regarding these three factors.
In some cases, the ""tempo"" is adjusted drastically, but too much of this can lead to talkativeness.
Just as it is easier for others to understand you if you speak at a steady pace when you are conversing, so it is not a good idea to make large speed adjustments.
It is not a good idea to adjust the speed too much.

Even if ""1. tempo"" is constant, ""2. control of intensity"" can make a big difference in the expression of the melody,
The expression of the melody can be greatly changed and is effective.

Keep this in mind,
Enjoy your performance.", What does the student need to work on? , This piece is full of confusing lines with long and short slurs and ties all over the place. Check that carefully and sing the melody line.,train
599,n31-sch-knd007-s-p01_c15.txt,n31-sch-knd007-s-p01.wav,"(Instructor)
　　This is a wonderful performance. Do you have any thoughts after you finished playing?
(Learner)
　　It's my favorite piece, so I was able to play it comfortably.
(Instructor)
That's great.
Do you want to make it better?
(Learner)
I think so, but I don't know what to do.
(Instructor)
Well, let me tell you a few things.
First of all, what does ""make it better"" mean? Let's clarify that.

This piece was written by the famous composer ""Chopin. He was active as both a pianist and a composer.
He was active as both a pianist and a composer, and he was very much attached to the piano,
He wrote many solo piano pieces. This piece is no exception.

First of all, the music has the composer's ""feelings"". I want you to play it like this. The composer's ""feeling"" for the piece is what delivers the audience's emotion.
I want the audience to be moved by the ""feelings"" that the composer put into the piece.
First of all, there is the composer's ""thought. It is written in the score.

However, there are only two ""p ""s in this piece: ""pianissimo"" and ""rit""-dan-dan-dan late.
It is difficult to play it the way you just played it from the score.
But since this song is famous, everyone knows that it is played this fast, so you can do it.
You can do it because it is well known.
But if you play it many times and check the whole picture and make a decision, it may take the shape you are playing now.

Now to make this song better.
What should I do?

Do you have any ideas?

(Learner)
Yes, I do. Should I play it with more emotion, as if I am speaking to you?


(Instructor)
That may be so,
If you put emotion as the criterion, you can become talkative, i.e., you can exaggerate.

The idea is that there are three elements when performing

1. control of tempo
2. control of intensity
3. length of notes

Emotional control is achieved through these three factors.
In the case of classical music, the conductor of an orchestral piece will give instructions regarding these three factors.
In some cases, the ""tempo"" is adjusted drastically, but too much of this can lead to talkativeness.
Just as it is easier for others to understand you if you speak at a steady pace when you are conversing, so it is not a good idea to make large speed adjustments.
It is not a good idea to adjust the speed too much.

Even if ""1. tempo"" is constant, ""2. control of intensity"" can make a big difference in the expression of the melody,
The expression of the melody can be greatly changed and is effective.

Keep this in mind,
Enjoy your performance.", Is the performed note accurate? , The first beat of the left hand in bar 7 does not sound octave. ,train
600,n32-moz-snt331-1-h-p01_c10.txt,n32-moz-snt331-1-h-p01.wav,"It was coherent and very good.
There was nothing in particular to point out, and the performance was pleasant to listen to.", In which skill level would you say the performer is in? , Wonderful performance.,test
601,n32-moz-snt331-1-h-p01_c10.txt,n32-moz-snt331-1-h-p01.wav,"It was coherent and very good.
There was nothing in particular to point out, and the performance was pleasant to listen to.", How would you rate the difficulty level of this piece? ," This piece was written by the famous composer ""Chopin"", very much attached to the piano.",test
602,n32-moz-snt331-1-h-p01_c10.txt,n32-moz-snt331-1-h-p01.wav,"It was coherent and very good.
There was nothing in particular to point out, and the performance was pleasant to listen to.", What does the student need to work on? ," Keep in mind the three elements when performing: Control of tempo, control of intensity, length of notes.",test
603,n28-bet-snt008-3-s-p01_c24.txt,n28-bet-snt008-3-s-p01.wav,"Basically, you play well, but please study the causes of the missing notes & your own habits in order to achieve a more stable performance.
As for the dynamics, I think it would be good to delve a little deeper into your own expression.
I think it would be good for you to listen to various performances to deepen your understanding of the music and establish your own style of playing.", In which skill level would you say the performer is in? , Coherent and very good performance.,train
604,n28-bet-snt008-3-s-p01_c24.txt,n28-bet-snt008-3-s-p01.wav,"Basically, you play well, but please study the causes of the missing notes & your own habits in order to achieve a more stable performance.
As for the dynamics, I think it would be good to delve a little deeper into your own expression.
I think it would be good for you to listen to various performances to deepen your understanding of the music and establish your own style of playing.", How would you describe the emotional intent of the performance? , It was pleasant to listen to.,train
605,n28-bet-snt008-3-s-p01_c24.txt,n28-bet-snt008-3-s-p01.wav,"Basically, you play well, but please study the causes of the missing notes & your own habits in order to achieve a more stable performance.
As for the dynamics, I think it would be good to delve a little deeper into your own expression.
I think it would be good for you to listen to various performances to deepen your understanding of the music and establish your own style of playing.", What does the student need to work on? , Nothing in particular to point out.,train
606,n08-chp-pld007-s-p03_c10.txt,n08-chp-pld007-s-p03.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"It is good that the melody is played carefully and the notes of the melody are well produced.
The arpeggio in bar 12 should be played a little faster.
The last four bars are too slow, so if you play them a little faster, the overall cohesiveness of the piece will improve.",test
607,n46-deb-pld108-s-p01_c01.txt,n46-deb-pld108-s-p01.wav,N/A,Can you give an overall assessment of the student performance? Elaborate in detail? ,"The sound is beautiful, and I think it is the right way to play this song.

I thought it would be good to have a little more different expression than just the ""p"" expression. For example, the part where they are all descending, I think it would sound more lively if there were a little crescendo, and the moment they get to the bass note, they settle down, etc.
I think that if you think about the story of this piece, where is the mountain, and how to play toward the mountain, you can play it while keeping your head clear. I think it is fun when you can express yourself in various ways within a single piece of music.",train
608,n08-chp-pld007-s-p03_c10.txt,n08-chp-pld007-s-p03.wav,"It is good that the melody is played carefully and the notes of the melody are well produced.
The arpeggio in bar 12 should be played a little faster.
The last four bars are too slow, so if you play them a little faster, the overall cohesiveness of the piece will improve.", What does the student need to work on? , Study the causes of the missing notes & your own habits in order to achieve a more stable performance.,test
609,n08-chp-pld007-s-p03_c10.txt,n08-chp-pld007-s-p03.wav,"It is good that the melody is played carefully and the notes of the melody are well produced.
The arpeggio in bar 12 should be played a little faster.
The last four bars are too slow, so if you play them a little faster, the overall cohesiveness of the piece will improve.", How is the dynamics? ," Good, but it would be good to delve a little deeper into your own expression.",test
610,n08-chp-pld007-s-p03_c10.txt,n08-chp-pld007-s-p03.wav,"It is good that the melody is played carefully and the notes of the melody are well produced.
The arpeggio in bar 12 should be played a little faster.
The last four bars are too slow, so if you play them a little faster, the overall cohesiveness of the piece will improve.", How would you describe the emotional intent of the performance? ," Good, but could improve by listening to various performances to deepen understanding of the music and establish your own style of playing. ",test
611,n46-deb-pld108-s-p01_c01.txt,n46-deb-pld108-s-p01.wav,"The sound is beautiful, and I think it is the right way to play this song.

I thought it would be good to have a little more different expression than just the ""p"" expression. For example, the part where they are all descending, I think it would sound more lively if there were a little crescendo, and the moment they get to the bass note, they settle down, etc.
I think that if you think about the story of this piece, where is the mountain, and how to play toward the mountain, you can play it while keeping your head clear. I think it is fun when you can express yourself in various ways within a single piece of music.", Is the performed note accurate? ," Yes, the melody is played carefully and the notes of the melody are well produced.",train
612,n46-deb-pld108-s-p01_c01.txt,n46-deb-pld108-s-p01.wav,"The sound is beautiful, and I think it is the right way to play this song.

I thought it would be good to have a little more different expression than just the ""p"" expression. For example, the part where they are all descending, I think it would sound more lively if there were a little crescendo, and the moment they get to the bass note, they settle down, etc.
I think that if you think about the story of this piece, where is the mountain, and how to play toward the mountain, you can play it while keeping your head clear. I think it is fun when you can express yourself in various ways within a single piece of music.", Is the performed tempo stable? ," The arpeggio in bar 12 should be played a little faster, the last four bars are too slow, so if you play them a little faster, the overall cohesiveness of the piece will improve.",train
613,n46-deb-pld108-s-p01_c01.txt,n46-deb-pld108-s-p01.wav,"The sound is beautiful, and I think it is the right way to play this song.

I thought it would be good to have a little more different expression than just the ""p"" expression. For example, the part where they are all descending, I think it would sound more lively if there were a little crescendo, and the moment they get to the bass note, they settle down, etc.
I think that if you think about the story of this piece, where is the mountain, and how to play toward the mountain, you can play it while keeping your head clear. I think it is fun when you can express yourself in various ways within a single piece of music.", How would you rate the difficulty level of this piece? ," Moderate, requires fine control over tempo changes.",train