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Daraus folgen die begründete detailliertere Riffanalyse, drei B7-Wendepunkte und sechs korrigierte Strophen-/Refrainüberschriften. 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Intro und Fade bleiben an ihrem Ort."}],"nextCheckDe":"Genaue vollständige Aufnahmeform einschließlich erster Riffwiederholungen, Gitarrenbreaks und Fadeout an derselben Aufnahme abstimmen."}],"limitationDe":"Belegte Begleit- und Benennungsentscheidungen, keine neue vollständige Originalaufnahme-Zertifizierung. Alle126Takte/504Viertel und136BPM bleiben erhalten; Verlags-132BPM, A/C♯ gegenüber D/A, zusätzliche Septimen und vorgezogene Achtel werden nicht verschwiegen. Die ursprünglichen Fachanalysen bleiben getrennt verglichen."},"sourceSelectionReview":{"checkedOn":"2026-10-17","harteSpine":1,"annotator":"David Temperley","sourceSha256":"43a09ecb121f305606802a3cabbd433c5361b8c04bee1fca84550f7e2223fc17","changedBarNumbers":[1,2,3,4,5,6,7,8,21,22,23,24,25,26,27,28,29,30,31,32,33,34,35,36,39,40,41,42,55,56,57,58,59,60,61,62,63,64,65,66,67,68,69,70,73,74,75,76,89,90,91,92,93,94,95,96,97,98,99,100,101,102,103,104,107,108,109,110,111,112,113,114,115,116,117,118,119,120,121,122,123,124,125,126],"reasonDe":"Die Lernfassung folgt in 84 Rifftakten David Temperleys detaillierter Analyse: auf Viertel 4 kommt jeweils ein kurzes A; in den geraden Rifftakten beginnt D/A statt eines ganzen A-Takts. Andy Crowleys eigener vollständiger Lektionstext nennt ausdrücklich D/A, E und A; die vollständig gelesene dreiseitige Verlagsnotation enthält kurze A-Wechsel und D/A als Begleitgriff. Die drei bisherigen Verse-Abschnitte sind musikalisch der Refrain; die drei bisherigen Chorus-Abschnitte erzählen die Strophen. Diese sechs Überschriften werden vertauscht, die bestehenden Abschnitts-IDs und Reihenfolge bleiben stabil.","limitationDe":"Dies wählt eine belegte Begleitfassung, keine neue vollständige Original-Master-Transkription. Dan Lundholm deutet das Riff als E–A/C♯–D–A/C♯ und verwendet mehr Septimen; diese Abweichungen bleiben sichtbar. Die Verlagsgitarre enthält zusätzliche vorgezogene Achtelwechsel und notiert 132 statt des vorhandenen Aufnahme-Übetempos 136. Das Viertelraster der ausgewählten Fachanalyse wird nicht als neu an jeder Stimme gemessene Aufnahmezeit ausgegeben; Tempo, alle 126 Takte und Fadeout-Länge bleiben erhalten.","corroboratingSources":[{"annotator":"Andy Crowley · eigener vollständiger Lektionstext","url":"https://www.andyguitar.co.uk/videos/rolling-stones-day-1-satisfaction","locator":"Originaltranskript: ausdrücklich D/A mit offener A-Saite, kurze A-Wechsel; B/B5 und B7 als unterschiedlich anspruchsvolle Möglichkeiten getrennt.","sha256":"428b411765a5991944bc309132643a44fa3e22a9f1570ca8fc86497959328a4e","textRead":true},{"annotator":"Hal Leonard · Guitar Tab","url":"https://musescore.com/user/39593079/scores/15266314","locator":"Alle drei Verlagsseiten92–94 visuell gelesen. D/A-Griff, kurze A-Wechsel, Chorus/Verse-Bezeichnungen, B7 auf Seite93, erste/zweite/dritte Endung und Repeat and fade. Nur SVG-Dateien für Seite1 und3 exportierbar; Seite2 im normalen Browser gelesen.","pagesRead":3},{"annotator":"Dan Lundholm · Spy Tunes","url":"https://spytunes.com/i-cant-get-no-satisfaction-chords/","locator":"Vollständiger eigener Artikel, einseitiger Formplan und ganzes Riff-TAB gelesen. A/C♯/D und E7/A7 sind dokumentierte Gegenpositionen, nicht verschwiegene Übereinstimmung.","sha256":"654c0657d0b216311dab7024564c93f0b1c5dbbff2cfabb12142b54eb427de07","textRead":true}]},"sourceChordQualityReview":{"checkedOn":"2026-10-17","headlineDe":"Drei B7-Wendepunkte der Begleitfassung","from":"B","to":"B7","changedBarNumbers":[18,52,86],"unresolvedBarNumbers":[],"reasonDe":"Die B-Wendepunkte auf Zählzeit 1 in Takt 18, 52 und 86 erhalten die kleine Septime A. Hal Leonards vollständig gelesene Gitarrenausgabe schreibt an dieser Stelle B7; Dan Lundholms eigener vollständiger Refrainplan ebenfalls. 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MacLennan veröffentlicht eine eigene Gitarrenfassung mit ausdrücklich getrennten einfachen und fortgeschrittenen Varianten. Nur der fortgeschrittene Dm/C-Griff wird hier als Bestätigung verwendet. Sein C/E statt Am/E und seine Cmaj7-, G7- und E7-Angaben werden nicht pauschal in den bisherigen Chart übernommen; deren genaue Aufnahme-Einsätze bleiben offen. Die drei Wechsel bleiben auf der dritten Viertelzählzeit, ohne neue zeitgenaue Bestätigung durch den Artikel. Alle 56 Takte, Abschnittsgrenzen, Wiederholungen, sonstigen Akkorde, Bassnoten, Dauern und Tempo 76 bleiben erhalten. Dass die drei Rohvergleichs-Unterschiede damit entschieden sind, macht weder die vollständige Form noch den gesamten Song unabhängig verifiziert. Der Artikeltext und genau das Dm/C-Griffbild wurden gelesen, nicht die Unterrichtsvideos. Eine zusätzlich gefundene Klaviertranskription war hinter einer Anbieter-Prüfseite nicht zugänglich und zählt nicht als geprüfte Quelle.","source":{"id":"jon-maclennan-imagine-descending-bass","family":"named-teacher-publication","author":"Jon MacLennan","kind":"teacher-authored-guitar-lesson-article","url":"https://www.jonmaclennan.com/blog/imagine-chords","title":"The ULTIMATE Imagine Chords And Guitar Lesson","format":"html","fullArticleRead":true,"sha256":"9acfd7e30e4b86a86997e029628863c567b051f999da62e21ee7fff3a73fbf3d","diagram":{"url":"https://kajabi-storefronts-production.kajabi-cdn.com/kajabi-storefronts-production/file-uploads/blogs/26029/images/d1ce51-10dc-418-a2d0-08e7bfeb23c_Imagine_Chords_6.png","visuallyRead":true,"sha256":"13378985f9fcd150acec8c4d815adeaec4fffb70b4ce284148c234fbbefa3009","fingering":"x3x231","soundingNotes":["C3","A3","D4","F4"]},"locator":"Imagine Chords: Dm followed by Dm/C; explicit definition of the changed bass. 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His four verse C7 choices are not adopted without a second explicit corroboration."}},"comparisonBasis":"Unmodified primary annotation before the documented selective chord-quality adjudication; the original expert agreement is not retroactively changed.","numberedRestPrefix":{"sourceBars":["=1"],"recordingSilenceVerified":false},"primaryImportCheck":{"sourceRead":true,"sourceSha256":"37810898afaf801055def61622fd5fc4756828c499a8bf78e8595be5a8bfcb55","normalizedImportMatches":true,"reviewedChordQualities":true,"rawSourceComparison":{"catalogBars":132,"sourceBars":132,"matchingBars":120,"differingBarNumbers":[19,20,24,25,28,30,40,41,45,46,49,51]},"catalogBars":132,"sourceBars":132,"matchingBars":132,"differingBarNumbers":[]},"independentExpertAnalyses":2,"independentQualifiedAnalyses":2,"sourceCount":5,"primaryCoverage":{"bars":132,"withinBarPositionsPresent":true},"comparisons":[{"id":"rolling-stone:David Temperley","url":"https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops/blob/6b04f4f99477dd97b6e98abd86a2448a481ddf7b/RollingStone/Data/TheBeatles_HeyJude_1968.hum","kind":"expert-recording-analysis","independentExpert":true,"eventOrderAgreementPercent":90,"sourceEventCount":123,"missingFromOtherSource":["5:major:9","2:minor:5"],"additionalInOtherSource":["0:dominant7:0","10:major7:9","7:minor7chord:5"],"transpositionApplied":0,"bars":{"catalogBars":132,"sourceBars":132,"matchingBars":116,"differingBarNumbers":[4,12,19,20,24,25,28,30,33,40,41,45,46,49,51,54]}}],"sources":[{"id":"rolling-stone:Trevor de Clercq","family":"rock-corpus","kind":"expert-recording-analysis","annotator":"Trevor de Clercq","independentExpert":true,"primary":true,"url":"https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops/blob/6b04f4f99477dd97b6e98abd86a2448a481ddf7b/RollingStone/Data/TheBeatles_HeyJude_1968.hum","locator":"**harte spine 1; !T.d.C.","barAligned":true},{"id":"rolling-stone:David Temperley","family":"rock-corpus","kind":"expert-recording-analysis","annotator":"David Temperley","independentExpert":true,"primary":false,"url":"https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops/blob/6b04f4f99477dd97b6e98abd86a2448a481ddf7b/RollingStone/Data/TheBeatles_HeyJude_1968.hum","locator":"**harte spine 2; !D.T.","barAligned":true},{"id":"wikifonia:wikifonia_4359","family":"wikifonia","kind":"score-candidate","independentExpert":false,"primary":false,"url":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/wikifonia/choco/jams/wikifonia_4359.jams","match":"title-only; composer and arrangement need review","composers":"John Lennon and Paul McCartney","barAligned":false},{"id":"wikifonia:wikifonia_5971","family":"wikifonia","kind":"score-candidate","independentExpert":false,"primary":false,"url":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/wikifonia/choco/jams/wikifonia_5971.jams","match":"title-only; composer and arrangement need review","composers":"John Lennon, Paul McCartney","barAligned":false},{"id":"alan-pollack-hey-jude","family":"named-musicologist-publication","kind":"specific-chord-quality-adjudication","annotator":"Alan W. 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Die Melodiespalte notiert ausdrücklich *f:; alle Akkorde auf diesem Grundton sind Moll, und es gibt keine wechselnde Tonart-Angabe in dieser Spalte. Die Harmonie-Referenz allein unterscheidet im ursprünglichen Rock Corpus nicht zwischen Dur und Moll. CoCoPops hat diese Unterscheidung in der Melodiespalte manuell ergänzt.","limitationDe":"Dies behebt das Lesen der vorhandenen Quellenangabe, nicht den vollständigen Songabgleich. Keine Note, kein Akkord, kein Einsatz und kein Tempo wird transponiert oder geändert. Die Tonhöhe des ursprünglichen Aufnahme-Masters und weitere Quellenabweichungen bleiben separat zu prüfen. Quelldatei und Dokumentation gehören zu derselben Veröffentlichung und werden nicht als zwei unabhängige musikalische Belege gezählt. Mischfälle mit Dur/Moll auf demselben Grundton oder wechselnden Tonarten werden nicht automatisch umgedeutet.","sources":["https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops/blob/6b04f4f99477dd97b6e98abd86a2448a481ddf7b/RollingStone/Data/Nirvana_SmellsLikeTeenSpirit_1991.hum","https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops/blob/6b04f4f99477dd97b6e98abd86a2448a481ddf7b/RollingStone/README.md#key-meter-tempo","https://rockcorpus.midside.com/harmonic_analyses.html"]},"sourceGuitarReview":{"checkedOn":"2026-10-17","sourceSha256":"47e73f718059133f8eea4b86b1509848ae21b2c66c02f344a60b615d1813ecab","headlineDe":"Hauptriff: Powerchords und vorgezogene Akkordwechsel statt voller Dreiklänge","changedBarNumbers":[1,2,3,4,5,6,7,8,9,10,11,12,13,14,15,16,17,18,19,20,21,22,23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,41,42,43,44,49,50,51,52,53,54,55,56,57,58,59,60,61,62,63,64,65,66,67,68,69,70,71,72,73,74,75,76,77,78,79,80,85,86,87,88,89,90,91,92,93,94,95,96,97,98,99,100,101,102,103,104,105,106,107,108,109,110,111,112,113,114,115,116,117,118,119,120,121,122,123,124,125,126,127,128,129,130,131,132,133,134,135,136,137,138,139,140,141],"qualityChanges":265,"riffTimingBarNumbers":[1,2,3,4,5,6,7,8,9,10,11,12,33,34,35,36,37,38,39,40,41,42,43,44,69,70,71,72,73,74,75,76,77,78,79,80,85,86,87,88,89,90,91,92,93,94,95,96,97,98,99,100,121,122,123,124,125,126,127,128,129,130,131,132,133,134,135,136,137,138,139,140],"unresolvedBarNumbers":[45,46,47,48,81,82,83,84],"completeOriginalRecordingVerified":false,"reasonDe":"In 133 Takten werden 265 volle Dreiklänge durch F5, B♭5, A♭5 und D♭5 ersetzt: Grundton und Quinte, ohne erfundene Dur-/Mollterz. 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Gedruckte 116 BPM ersetzen nicht ungeprüft die bisherigen 118 BPM aus der Aufnahmeannotation. Die ursprünglichen Fachvergleiche bleiben unverändert; ihre Abweichungen werden nicht als gelöst oder als neue vollständige Quellenübereinstimmung ausgegeben. Keine Noten, TAB oder Liedtexte werden weiterveröffentlicht.","sources":[{"author":"Hal Leonard","title":"Smells Like Teen Spirit – Easy Guitar with TAB","url":"https://musescore.com/user/39593079/scores/15680458","totalPages":5,"visuallyReadPages":[1,2,3,4,5],"pageSha256":["89c65407a0ff00318a237beafbb3832c34dc8470bcbebd3c97a8be1c1247ec1d","d15d0b654b4b63c41d3ad786a2a7cfa9d79b13de3c31c1e1e6ff8edd358c0ed8","db79179da3aea36b376edd81394e2e4ca2c1b6552bfcc585698c5466bc516706","3850faa5a9adef9f551d865292f2f17d56a7176633a093e2272eb2fe5999dfdf","2837409be1fb44ba3b3de7f39d37fa8c68f5801b551f5845590659a06ae864c9"],"inspectionDe":"Alle fünf Seiten im normalen angemeldeten Viewer visuell gelesen. 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Keine namentliche Autorschaft behauptet."}]},"comparisonBasis":"Unmodified original expert streams before the separately corroborated guitar-backing choices. Three read publications are bounded guitar references, not three newly aligned complete master/bass/form analyses.","sourceBridgeReview":{"checkedOn":"2026-10-17","sourceSha256":"47e73f718059133f8eea4b86b1509848ae21b2c66c02f344a60b615d1813ecab","headlineDe":"Späterer Bridge-Abgleich: Powerchords über C-Bass, chromatischer Schluss und N.C.","changedBarNumbers":[45,46,47,48,81,82,83,84],"firstBars":[45,47,81,83],"secondBars":[46,48,82,84],"firstBarChords":["F5","Gb5","N.C."],"firstBarOnsets":[0,2,3],"secondBarChords":["F5/C","Bb5","A5","Ab5"],"secondBarOnsets":[0,2,3,3.5],"completeOriginalRecordingVerified":false,"independentlyNamedTranscribersEstablished":false,"reasonDe":"Die acht zunächst zurückgestellten Übergangstakte erhalten jetzt eine getrennt begründete Lernfassung. Die Bass-Transkription bestätigt C unter F5; F5/C ersetzt deshalb Fm/C, ohne den C-Bass zu verlieren. In den geraden Übergangstakten folgen B♭5 auf Viertel 3, A5 auf Viertel 4 und A♭5 auf 4 und. Bassfassung und OpenMusicSchool-Notation bestätigen diese Schlussfolge. In den ungeraden Übergangstakten folgen F5, G♭5 und ab Viertel 4 N.C.; N.C. ist in beiden gelesenen Hal-Leonard-Instrumentalausgaben ausdrücklich notiert und die Bassstimme pausiert dort. Es bedeutet keine Akkordbegleitung, nicht völlige Stille der Originalaufnahme.","limitationDe":"Dies entscheidet die gemeinsame Akkord-/Bass-Übebegleitung, nicht jeden Ton oder Anschlag des Original-Masters. Die Hal-Leonard-Gitarren- und Bassfassung sind unterschiedliche Instrumentalausgaben desselben Verlags; getrennte namentliche Transkribenten sind nicht nachgewiesen. OpenMusicSchool bestätigt den chromatischen Schluss, lässt die N.C.-Angabe aber als Akkordsymbol weg. Die kurzzeitigen E-Gitarrentöne und Bendings werden nicht automatisch als zusätzliche E5-Harmonie der ganzen Band interpretiert: Gitarre und Bass spielen dort unterschiedliche Details. Der Bass antizipiert G♭ stellenweise schon vor dem Gitarreneinsatz; unser einfacher Bass-Layer folgt weiterhin dem Akkordraster und ist keine vollständige Bassriff-Transkription. Strophen-Liegetöne, spätere sus-/Septimenfarben, Tempo, vollständige Form und exakte Aufnahmefassung sind dadurch nicht vollverifiziert. Alle 141 Takte, neun Abschnitte und sämtliche anderen Songdatensätze bleiben erhalten. Die ursprünglichen Expertenabweichungen bleiben sichtbar. Keine Noten, TAB, Liedtexte oder Audiodateien werden weiterveröffentlicht.","sources":[{"author":"Hal Leonard","title":"Smells Like Teen Spirit – Bass Tab","url":"https://musescore.com/user/39593079/scores/15551419","totalPages":5,"visuallyReadPages":[1,2,3,4,5],"pageSha256":["fa6029a1e0736451de14023003bf91257d4487bb10c04da7666d35a4c05db7e1","845e7cc070cce7e788e805ab379acd09516fd1bd0480f8ab46186005bb94353d","9c90d1363dffd8fbc179d0c4a589be9edbe1c34b62afbc2d658a55e97aa9368d","d86a0f7157981bd3b275d50d5f02df548340bc31185937321981bd2c86ee792e","7fb3829f33ff177586ecaf1b1ea15f066282ae5c7ef9460289e36d6d40d27ecd"],"inspectionDe":"Alle fünf tatsächlich angezeigten Seiten im normalen angemeldeten Notenviewer visuell gelesen; fünf SVG-Seiten-Hashes, keine behauptete PDF-Datei. Seite 4: F5/C mit tatsächlich notiertem C-Bass, B♭5–A5–A♭5 auf 3–4–4 und sowie N.C. mit Basspause. Die Bassvorwegnahme und Gitarrendetails sind nicht dieselbe Stimme. Gedruckte 117 BPM ersetzen nicht ungeprüft die bestehenden 118 BPM."},{"author":"Hal Leonard","title":"Smells Like Teen Spirit – Easy Guitar with TAB","url":"https://musescore.com/user/39593079/scores/15680458","totalPages":5,"visuallyReadPages":[1,2,3,4,5],"pageSha256":["89c65407a0ff00318a237beafbb3832c34dc8470bcbebd3c97a8be1c1247ec1d","d15d0b654b4b63c41d3ad786a2a7cfa9d79b13de3c31c1e1e6ff8edd358c0ed8","db79179da3aea36b376edd81394e2e4ca2c1b6552bfcc585698c5466bc516706","3850faa5a9adef9f551d865292f2f17d56a7176633a093e2272eb2fe5999dfdf","2837409be1fb44ba3b3de7f39d37fa8c68f5801b551f5845590659a06ae864c9"],"inspectionDe":"Alle fünf Seiten zuvor visuell gelesen; hier besonders Seite 4: F5/G♭5/N.C. und chromatischer A5–A♭5-Schluss in den ausgeschriebenen Endungen. Die vereinfachte erste Endung und die Notation kurzer E-Durchgangstöne sind keine vollständige Bassanalyse. 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Intro und Gitarrensolo erhalten passende eigene Abschnitte; die70 bestehenden Takte und sämtliche Klänge/Einsätze bleiben erhalten. Aufnahmevarianten und Klangfarben sind weiter offen.","sources":[{"id":"hal-leonard-let-it-be-band-score","author":"Hal Leonard · Transcribed Score","kind":"licensed-complete-band-score","url":"https://musescore.com/user/39593079/scores/35562197","publisherPage":"https://musescore.com/user/39593079/scores/35562197","authorBackgroundUrl":"https://musescore.com/official_scores","pages":6,"pagesRead":6,"allPagesRead":true,"fullScoreRead":true,"recordingListened":false,"materialLabelDe":"Vollständige Bandtranskription · alle6 Seiten gelesen","sha256":"397f3d6054f445f0f91fc84f7463a6f381392925fe775b47682b6f6c701ace54","pageSha256":["397f3d6054f445f0f91fc84f7463a6f381392925fe775b47682b6f6c701ace54","3a13d79b788e489f4efd5c3dfd5af839eccfb07e5e65ca6c2a5c77388fe2d8e2","a5d1f22f8b9f0008bb5a4b5c12f176b57253ae78a43d19183b140b588a75ff78","ce2489591034d9b59cb009ec6a973a3c2e000a90442699e84cbac614faafcb03","3630ce33973b0082a03dec3b8abf60929b99c6a0bcc0ee4e480d2c1962f94bb7","eced1fee4ac8fc448dccd8f339c32f511ecd715afd1de9938ded6c8bd842394c"],"hashLabelDe":"Gelesene PNG-Seite1 der Verlagsausgabe","additionalSourceFiles":[{"labelDe":"Gelesene PNG-Seite2","sha256":"3a13d79b788e489f4efd5c3dfd5af839eccfb07e5e65ca6c2a5c77388fe2d8e2"},{"labelDe":"Gelesene PNG-Seite3","sha256":"a5d1f22f8b9f0008bb5a4b5c12f176b57253ae78a43d19183b140b588a75ff78"},{"labelDe":"Gelesene PNG-Seite4","sha256":"ce2489591034d9b59cb009ec6a973a3c2e000a90442699e84cbac614faafcb03"},{"labelDe":"Gelesene PNG-Seite5","sha256":"3630ce33973b0082a03dec3b8abf60929b99c6a0bcc0ee4e480d2c1962f94bb7"},{"labelDe":"Gelesene PNG-Seite6","sha256":"eced1fee4ac8fc448dccd8f339c32f511ecd715afd1de9938ded6c8bd842394c"}],"inspectionDe":"Gedruckte Seiten603–608:4/4, vier Intro-Takte vor AbschnittA, A mit zwei Endungen, B/C/D/E, instrumentaler ÜbergangF, achttaktiges GitarrensoloG, H mit Rücksprung und letzter Endung, abschließender RefrainI und zweitaktiger Schluss. Klavier-, Gesangs-, Orgel/Bläser-, Gitarren-, Bass- und Schlagzeugzeilen sind sichtbar. Fmaj7/F6-Figuren und C/G sind differenziert; daraus wird keine pauschale Änderung aller Bandsymbole abgeleitet.","limitationsDe":"Vollständig gelesene Ausgabe ist nicht automatisch eine zweite vollständig zeitmarkierte Aufnahmeanalyse. Kein numerisches Tempo im gelesenen Partiturkopf; keine Tempoänderung. Buch-Leseprobe und Einzelpartitur gehören zum selben Verlag und zählen nicht doppelt. Keine Käufe/Credits, kein Vollzugang zum Buch behauptet.","auditLocator":"All6 normal authorized viewer PNG pages, printed603–608, visually read and separately hashed. Four-bar piano intro, G eight-bar guitar solo and repeat/ending navigation inspected. Label/partition correction only; no complete master/onset certification."},{"id":"alan-pollack-let-it-be-form","author":"Alan W. 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Die 7→6-Vorhaltsbewegung über F wird ausdrücklich beschrieben; die Refrain-Deutung iii7/G ist vom C/G-Verlagssymbol getrennt.","limitationsDe":"Keine zusätzliche unabhängige Quelle durch den Groningen-Spiegel: beide Seiten enthalten denselben Autor. Unterschiedliche Fassungen und metrische Einheiten werden nicht als widersprechende Originaltaktzahlen oder identische Master ausgegeben.","auditLocator":"Complete Notes165 article read, especially explicit unofficial reference-version statement, form header, Arrangement, Intro, Refrain and Coda. Original author counted once across mirrors; no recording listened."},{"id":"beatles-official-let-it-be-versions","author":"The Beatles · Apple Corps","kind":"official-recording-release-metadata","url":"https://www.thebeatles.com/let-it-be-1","publisherPage":"https://www.thebeatles.com/let-it-be-1","authorBackgroundUrl":"https://www.thebeatles.com/","pages":null,"allPagesRead":false,"fullScoreRead":false,"textRead":true,"recordingListened":false,"materialLabelDe":"Offizielle Veröffentlichungsangaben · keine Notenquelle","sha256":null,"inspectionDe":"Offizielle Songseite unterscheidet die Single vom6.März1970 mit George Martin und den Albumtrack vom8.Mai1970 mit Phil Spector. Unterschiedliche Mischungen werden ausdrücklich genannt. Die Filmseite ohne Suffix ist nicht diese Songquelle.","limitationsDe":"Nur Aufnahme-/Veröffentlichungskontext, kein unabhängiger Akkord-, Takt- oder Tempobeleg. Keine Laufzeitumrechnung in Tempo oder Taktanzahl.","auditLocator":"Official song page read for explicitly separate single/album mix and release credits only. Not a musical confirming analysis."}],"findings":[{"id":"intro-and-solo-partitions","labelDe":"Intro und Gitarrensolo sind eigenständig auswählbar","status":"corroborated-labels-only","resolutionDe":"Die vollständig gelesene sechseitige Hal-Leonard-Bandtranskription trennt vier Intro-Takte vor dem Gesang und einen achtaktigen Gitarrensolo-Abschnitt. Pollacks eigenständige Formanalyse trennt ebenfalls Intro und instrumentale Strophe. Deshalb werden die ersten zwölf bisher gemeinsam als Verse bezeichneten Atlas-Takte in Intro1–4 und Verse1 mit5–12 geteilt;37–44 heißen Guitar Solo statt Verse3. Die letzte gesungene Strophe heißt entsprechend Verse3. Die instrumentalen Übergänge heißen Interlude und Outro statt Bridge. Alle70 Takte, Akkorde, Basstöne und Wechselpositionen bleiben unverändert.","observations":[{"sourceId":"hal-leonard-let-it-be-band-score","location":"Seite603 · Intro/A; Seite607 · AbschnittG","detailDe":"Vier Intro-Takte und acht instrumentale Solotakte sind im gelesenen Bandsatz klar abgegrenzt."},{"sourceId":"alan-pollack-let-it-be-form","location":"Formkopf, Intro und instrumentale Strophe","detailDe":"Eigene Abschnitte bestätigen die Rollen, nicht einen identischen vollständigen Master. Seine doppelte Taktzählung wird nicht direkt übernommen."}],"nextCheckDe":"Alle Klangfarben und genauen Einsätze gegen dieselbe eindeutig identifizierte Aufnahme weiterprüfen. Die70 bestehenden Takte werden nur neu gruppiert/bezeichnet."},{"id":"versions-colours-and-onsets","labelDe":"Aufnahmefassung, Farbnoten und Einsatzzeiten weiter offen","status":"open","observations":[{"sourceId":"hal-leonard-let-it-be-band-score","location":"Seiten603–608 · F-Figuren, Refrain und Schluss","detailDe":"Fmaj7/F6 sowie C/G stehen ausdrücklich im Satz; ein Grundakkordsymbol allein erfasst nicht jede Band-/Gesangsnote."},{"sourceId":"alan-pollack-let-it-be-form","location":"Style and Form, Arrangement und Refrain","detailDe":"Get-Back-Bezug, zusätzlicher Albumrefrain und andere Refrain-Akkorddeutung sind offengelegt, nicht als vollständige Übereinstimmung gewertet."},{"sourceId":"beatles-official-let-it-be-versions","location":"Single-/Albumangaben auf der Songseite","detailDe":"Die verschiedenen Mischungen sind offiziell bestätigt, die Identität des verwendeten Analyse-Masters dadurch noch nicht."}],"nextCheckDe":"Weitere aufnahmegleiche Fachquelle bis zur Übereinstimmung heranziehen. Bestehende Rohvergleiche und alle neun dokumentierten F-Korrekturen unverändert lassen."}],"limitationDe":"Dies korrigiert die Gliederung der bestehenden Lernfassung, keine vollständige Zwei-Quellen-Zertifizierung. Pollack zählt mit halb so großen Takteinheiten: sein achttaktiges Intro entspricht vier4/4-Takten der Verlagsnotation; seine maßgebliche Bezugsfassung ist ausdrücklich die damalige Get-Back-Fassung, nicht pauschal der Album-Master. Die Albumfassung hat laut seiner Analyse einen zusätzlichen Schlussrefrain. Die Beatles-Seite bestätigt verschiedene Single-/Albummischungen, aber keine Akkorde oder Einsätze. Farbnoten, Schlussdetails, genaue Master-Zuordnung und Aufnahmeeinsätze bleiben offen. Die bereits korrigierten neun F-basierten Takte werden nicht erneut geändert; keine Originalaufnahme manuell gehört."},"sourceSelectionReview":{"checkedOn":"2026-10-16","harteSpine":1,"annotator":"David Temperley","sourceSha256":"66c86449b855a9296ff8b5c9933b0a6b57dbe3a7a71e0dcb9d2909a094fca02d","changedBarNumbers":[2,6,10,18,22,38,42,50,54],"reason":"For the teaching chart, use Temperley’s F-major interpretation in nine Am–F bars. The other annotation encodes D:min7/b3 (Dm7 with F in the bass); dropping its inversion had produced a misleading root-position Dm7. The independent Isophonics annotation has F, F:maj7 or F:maj6 in all nine corresponding bars. These sources support the F-based reading but do not agree on every colour tone or performance onset.","reasonDe":"Die Lernfassung folgt hier David Temperleys F-Dur-Deutung. Die andere Fachanalyse notiert Dm7 mit F im Bass; das Weglassen dieser Umkehrung hatte zu einem irreführenden Dm7 in Grundstellung geführt. Isophonics führt in allen neun entsprechenden Takten ebenfalls F-basierte Harmonien (F, Fmaj7 oder F6).","limitation":"This selects one documented expert interpretation; it does not certify the complete song as fully agreed or finally verified. Differences in the independent recording annotation remain open.","limitationDe":"Diese begründete Quellenauswahl bestätigt noch nicht den gesamten Song. 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Ein separat veröffentlichtes Klavier-Vorschaubild von Play Like The Greats stützt A7/B7 im ersten Durchgang, entsprechend Übungstakt 6–8; das Bild bestätigt nicht alle sechs Durchgänge.","limitation":"This corroborates a retained teaching-accompaniment quality, not every recorded band note or the complete form. The eighteen A7/B7 cells are not rewritten; their exact positions remain attributed to de Clercq. Final bar50 remains open: de Clercq has Fmaj7-Emaj7 while Temperley has F-E. MacLennan's article and the read piano preview do not cover that ending. The preview also labels tonic E7, unlike the experts' bare E; a piano-part label is not proof that all original band/voice harmony must be changed. Full paid score and videos were not accessed. Raw expert disagreement is preserved, not converted to a false100percent agreement.","limitationDe":"Gestützt ist die beibehaltene Begleitqualität, nicht jede Stimme der Aufnahme oder die vollständige Songform. Alle 18 A7-/B7-Zellen und ihre Positionen bleiben unverändert; die Zuordnung zu allen sechs Durchgängen stammt weiterhin aus de Clercqs Analyse. Takt 50 bleibt offen: Fmaj7–Emaj7 bei de Clercq gegenüber F–E bei Temperley. Weder MacLennans Artikel noch das gelesene Klavier-Vorschaubild zeigen diesen Schluss. Die Klavier-Vorschau bezeichnet die Tonika außerdem als E7 statt des E beider Fachanalysen; das bestätigt eine einzelne Stimme und rechtfertigt keine pauschale Änderung der Bandharmonie. Vollständige kostenpflichtige Noten und Videos wurden nicht gelesen beziehungsweise angesehen. Die Rohabweichungen bleiben erhalten; daraus wird keine vollständige Übereinstimmung gemacht.","corroboratingSources":[{"annotator":"Jon MacLennan","url":"https://www.jonmaclennan.com/blog/heartbreak-hotel-chords","publisherPage":"https://www.fender.com/play/lessons/heartbreak-hotel-verse-4","sha256":"a5c9e12a4e9815090152f939f505b5d7313065e8cac547dcc1c8166c495e1fc0","textRead":true,"locator":"Complete original article text read: Heartbreak Hotel Chords and What key is Heartbreak Hotel in? explicitly give E/A7/B7 and the pitches A-C#-E-G / B-D#-F#-A. This is a guitar teaching interpretation, not an unfolded50-bar recording transcription. The publicly readable Fender description names the same instructor and E/A7/B7/E7; it supplies author identity, not another independent chord analysis. 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Booklet-Autor Roland Clare beschreibt das Album von 1995 und Darryl Ways neues Vorspiel zu A Whiter Shade of Pale. Das ist kein bestätigter Aufnahme-Match mit der früheren Katalogfassung.","evidence":[{"name":"Roland Clare: originale DVD-Liner-Notes im Archiv des Autors","url":"https://www.procolharum.com/ph-dvd-ledreborg-liner1.htm"}],"checkedOn":"2026-10-16","sameRecordingMasterVerified":false,"confirmingEvidenceAllowed":false},"provenance":{"institution":"NYU Music and Audio Research Lab","process":"Music-undergraduate annotation, double checked by two different annotators","creditedTeam":["Nocolas Dooley","Travis Kaufman"],"perSongAuthorSpecified":false,"provenanceUrl":"https://github.com/tmc323/Chord-Annotations/blob/4b022ff5a95ff1d9ba1057ea4c982e45484d764f/README.txt","provenanceSha256":"3c913c33963378f3ed51e46da415d43002a5c6276807c215b4ae8cb7a39e3475","revision":"4b022ff5a95ff1d9ba1057ea4c982e45484d764f","sourceSha256":"00f8db36dfe58ff31c266a24b79c76924c31a6af020f141a17e8bd9c480aa89a","originalEventsRead":191,"firstTime":0,"lastTime":328,"album":"The Long Goodbye","exactRecordingMasterVerified":false},"locator":"Original NYU LAB file; team credits are corpus-wide, individual song authors are not specified. Times are recording seconds, not a verified bar grid."},{"id":"wikifonia:wikifonia_4247","family":"wikifonia","kind":"score-candidate","independentExpert":false,"primary":false,"url":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/wikifonia/choco/jams/wikifonia_4247.jams","match":"title-only; composer and arrangement need review","composers":"Procol Harum","barAligned":false}],"limitations":[]},{"id":"rolling-stone-corpus-michael-jackson-billie-jean","title":"Billie Jean","artist":"Michael Jackson","primarySourceUrl":"https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops/blob/6b04f4f99477dd97b6e98abd86a2448a481ddf7b/RollingStone/Data/MichaelJackson_BillieJean_1983.hum","status":"two-expert-analyses-agree","sourceKeyReview":{"checkedOn":"2026-10-17","importCorrection":true,"method":"explicit-stable-kern-minor-with-only-minor-tonic-harmonies","originalKey":"G","reviewedKey":"Gm","sourceSha256":"c09bfd3161c1483bde3843f05dffa5a2284b037cae2a821aa412f5d357b2f403","melodyKeyToken":"*g:","tonicSymbols":["G:min"],"completeSongVerified":false,"concertPitchVerified":false,"reasonDe":"Die Quellen-Tonart wird als Gm statt G importiert. Die Melodiespalte notiert ausdrücklich *g:; alle Akkorde auf diesem Grundton sind Moll, und es gibt keine wechselnde Tonart-Angabe in dieser Spalte. Die Harmonie-Referenz allein unterscheidet im ursprünglichen Rock Corpus nicht zwischen Dur und Moll. CoCoPops hat diese Unterscheidung in der Melodiespalte manuell ergänzt.","limitationDe":"Dies behebt das Lesen der vorhandenen Quellenangabe, nicht den vollständigen Songabgleich. Keine Note, kein Akkord, kein Einsatz und kein Tempo wird transponiert oder geändert. Die Tonhöhe des ursprünglichen Aufnahme-Masters und weitere Quellenabweichungen bleiben separat zu prüfen. Quelldatei und Dokumentation gehören zu derselben Veröffentlichung und werden nicht als zwei unabhängige musikalische Belege gezählt. Mischfälle mit Dur/Moll auf demselben Grundton oder wechselnden Tonarten werden nicht automatisch umgedeutet.","sources":["https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops/blob/6b04f4f99477dd97b6e98abd86a2448a481ddf7b/RollingStone/Data/MichaelJackson_BillieJean_1983.hum","https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops/blob/6b04f4f99477dd97b6e98abd86a2448a481ddf7b/RollingStone/README.md#key-meter-tempo","https://rockcorpus.midside.com/harmonic_analyses.html"]},"sourcePitchReview":{"checkedOn":"2026-10-17","status":"original-key-corroborated-full-recording-review-open","sourceSha256":"c09bfd3161c1483bde3843f05dffa5a2284b037cae2a821aa412f5d357b2f403","sourceKey":"Gm","reviewedKey":"F#m","semitones":-1,"chordMapping":{"N.C.":"N.C.","Gm":"F#m","Cm":"Bm","Eb":"D","D":"C#"},"originalKeyCorroborated":true,"completeSongVerified":false,"fullScoreRead":false,"exactRecordingMasterVerified":false,"reasonDe":"Die Übungsfassung wird einen Halbton von g-Moll nach fis-Moll versetzt. Das lizenzierte Musicnotes-Lead-Sheet MN0075737 nennt F♯-Moll als Original-Veröffentlichungstonart; Jon MacLennans unabhängig verfasste Unterrichtslektion nennt ausdrücklich F♯-Moll für Michael Jacksons Aufnahme. Die unveränderte Korpusdatei notiert G als Bezugston und g-Moll in der Melodiespalte. Alle vier dort vorkommenden Akkordfamilien werden gleichmäßig versetzt: Gm→F♯m, Cm→Hm, E♭→D, D→C♯; N.C.-Pausentakte bleiben Pausen.","limitationDe":"Belegt ist die Zieltonart, nicht der vollständige Klang jeder Bandstimme oder ein identischer Aufnahme-Master. Musicnotes-Produktdaten und der Artikeltext wurden gelesen; die vollständige dreiseitige Partitur und Unterrichtsvideos wurden nicht geprüft oder gekauft. Die zwei ursprünglichen Fachanalysen stimmen in ihrer G-Fassung überein; deren Rohvergleich wird nicht umgeschrieben. MacLennan nennt zusätzlich G♯m/A-Durchgangsakkorde und C♯7, während die Korpusfassung am Dominantpunkt nur einen Durakkord enthält. Diese Detailunterschiede werden nicht durch die Tonartkorrektur entschieden. Alle 142 Quelltakte, die zwei Anfangspausen, Abschnitte, Einsätze, Dauern und Tempo 117 bleiben erhalten; die genaue Originalform und Ausblendung bleiben zu prüfen.","sources":[{"author":"Musicnotes · lizenzierte Sony/ATV-Ausgabe","publication":"Billie Jean · Lead Sheet MN0075737","url":"https://www.musicnotes.com/sheetmusic/michael-jackson/billie-jean/MN0075737","kind":"licensed-publisher-product-metadata","key":"F#m","sha256":"cd1414171a42eb1ed9612d9bc813463062d17d938000cc918dff96546583ec3f","scope":"Public product metadata read: original published F# minor, Thriller album, Sony/ATV publisher; G minor explicitly listed as a +1-semitone transposition. No full three-page score review or purchase. Product tempo112 is not used to replace recording-derived117."},{"author":"Jon MacLennan","publication":"The ULTIMATE Billie Jean Chords & Guitar Lesson","url":"https://www.jonmaclennan.com/blog/billie-jean-chords","kind":"independent-teacher-authored-lesson","key":"F#m","sha256":"390b63bcb99f54d7c277903138ff1c2cb4ed6190b984886a0215146a9715f387","scope":"Original lesson article read: explicitly states F# minor as recorded by Michael Jackson and spells F#–G#–A–B–C#–D–E. Videos/diagrams not reviewed. Passing triads and C#7 are additional unresolved detail, not imported wholesale."}]},"comparisonBasis":"Unmodified primary annotation before the documented original-key transposition and selective post-pitch quality adjudication; original expert agreement is not retroactively changed.","sourceChordQualityReview":{"checkedOn":"2026-10-17","status":"specific-dominant-seventh-reviewed-full-song-open","stage":"after-original-key-adaptation","sourceSha256":"c09bfd3161c1483bde3843f05dffa5a2284b037cae2a821aa412f5d357b2f403","headlineDe":"Dominantseptakkord am Pre-Chorus-Ende ergänzt · Billie Jean","changedBarNumbers":[42,82],"from":"C#","to":"C#7","completeSongVerified":false,"exactChangeBeatsReverified":false,"resolution":{"requiredIndependentAgreement":2,"agreeingAuthors":["Jon MacLennan","Coen Modder"],"placementCorroboration":["Coen Modder","Gustavo Morais · Cifra Club"],"scope":"C# dominant-seventh quality agreed by two independent teachers. A third named editorial lesson corroborates the D/F#m-to-C#7 lead-in before the main theme because the first two authors use different section names. Corpus supplies the existing eight-bar mapping; no new full original-band or rhythm transcription claimed."},"unresolvedBarNumbers":[],"reasonDe":"Nach der getrennt belegten Tonartangleichung zu fis-Moll wird der Schlussakkord beider achttaktiger Pre-Chorusse von C♯ zu C♯7 ergänzt. Jon MacLennan nennt ausdrücklich den Dominantseptakkord C♯–E♯–G♯–H. Coen Modders eigene Piano-Lektion beschreibt den abschließenden C♯7 vor dem Refrain. Weil Jon diese Folge dem Chorus zuordnet, wurde eine dritte Quelle hinzugezogen: Gustavo Morais nennt im redaktionellen Cifra-Club-Artikel ebenfalls D-/F♯m-Harmonien und C♯7 vor der Rückkehr des Hauptthemas. Die bestehende Taktzuordnung stammt aus dem Korpus. Durterz und Basston C♯ bleiben erhalten; hinzu kommt H als kleine Septime.","limitationDe":"Diese Übungsentscheidung betrifft nur die Septime in Takt 42 und 82. Beide Quellen sind eigene Unterrichtsarrangements, keine vollständigen Bandpartituren. Coen kennzeichnet seine Klavierfassung ausdrücklich als eigene Kombination von Gesang und Instrumentalstimmen; die Passage enthält außerdem die Schreibungen Fm(7)/F♯m(7), die nicht ungeprüft vereinheitlicht werden. Sein verlinktes Pre-Chorus-Diagramm war nicht verfügbar und wurde nicht als gelesen gewertet; Unterrichtsvideos wurden nicht geprüft. Durchgangsharmonien, genaue Originaleinsätze, vollständige Form und Ausblendung bleiben offen. Die leere Liste anderer Taktabweichungen bedeutet keine Vollverifizierung: Beide ursprünglichen Korpusanalysen stimmen untereinander überein, reduzieren aber stärker. Alle 142 Takte, Pausen, Einsätze, Dauern und Tempo 117 bleiben erhalten.","source":{"id":"coen-modder-billie-jean-dominant","family":"named-teacher-publication","author":"Coen Modder · Piano Couture","kind":"teacher-authored-piano-arrangement-article","url":"https://piano-couture.com/billie-jean-part-2-full-song/","title":"Billie Jean part 2: full song++","format":"html","fullArticleRead":true,"sha256":"2ac7c8940d83da3cfa40d25f20fefd8d67b1a76dc29021edb29440cb1420f2e1","locator":"Then the pre-chorus: prose explicitly ends the repeated D/F#m phrase with C#7 before the chorus. Complete article text and author box read; linked pre-chorus diagram404, not reviewed. Author identifies his performance as a personal piano arrangement.","scope":"Independent teacher corroboration of the terminal dominant seventh only; no complete142-bar score, timing or recorded-band voicing claim. No article, diagrams, video or lyrics redistributed.","auditLocator":"Original piano-lesson article read; corroborates C#7 in two documented pre-chorus endings only, not another complete recording/bar/onset analysis; see sourceChordQualityReview."},"corroboratingAnalysis":{"annotator":"Jon MacLennan","labelDe":"bestätigender Dominantseptakkord","url":"https://www.jonmaclennan.com/blog/billie-jean-chords","scope":"Original guitar-lesson article read: C#7 dominant, spelled C#–E#–G#–B, explicitly located at the end of the chorus progression (its D/F#m/C#7 lead-in, corresponding to the separately named pre-chorus in the corpus and Coen lesson). Other passing-chord claims and exact original timing not imported. This is the same article already used for key corroboration, not a new independent author."},"additionalSources":[{"author":"Gustavo Morais · Cifra Club","url":"https://www.cifraclub.com/blog/como-tocar-canciones-de-michael-jackson/","scope":"Named editorial lesson dated9August2022, Billie Jean section: D9/F#m7(11)/C#7 in the lead-in, followed by return to the main theme. This corroborates the location despite bridge/pre-chorus/chorus naming differences; extra colour tones are not adopted. Article text read via the web reader; direct HTML download403, so no original-file hash, notation or video review claimed. 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One author, no complete bar/onset comparison, and no decision on practice bar50; see teacherSourceReview."},{"id":"faber-whole-lotta-piano","author":"Faber Music · offizielle Piano-Voice-Guitar-Ausgabe","kind":"publisher-piano-vocal-score","url":"https://musescore.com/user/39593115/scores/6924988","publisherPage":"https://musescore.com/user/39593115/scores/6924988","authorBackgroundUrl":"https://musescore.com/official_author","authorBackgroundDe":"Die Ausgabe ist auf MuseScore ausdrücklich Faber Music zugeordnet. Sie nennt Jerry Lee Lewis im Notentext und enthält ausgeschriebene Klavier- und Gesangsstimmen. 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Die zweite Volta ersetzt Takt 16 durch 17; ab gedrucktem Takt 17 beträgt der Versatz zur Übungszählung deshalb elf Takte. Das erste Solo beginnt gedruckt bei 30 und damit gespielt bei 41. Seitenbilder, Liedtexte, Noten und geschützte Download-Adressen werden nicht veröffentlicht.","limitationsDe":"C-Dur, 2/2 mit Swing-Achteln und halber Note = 80. Das ist nicht dieselbe Tempobezeichnung wie die 12/8-Viertelzählung der Fachanalyse. Farbnoten, Cm-Symbole und einige Solo-Grundtöne weichen ab. Eine passende Form ist kein vollständiger Band- oder Master-Abgleich. Die andere gelesene Hal-Leonard-Vorschau in G wurde nicht als identische Aufnahme-Partitur gezählt.","auditLocator":"All seven authorized Faber piano/vocal SVG pages visually read. Printed repeat expansion1-16,5-15,17-102 yields113 bars; printed39 maps to performed50 and says C7, contrary to both corpus analyses. Additional Cm/root differences remain open. Not a complete timestamped independent band analysis."},{"id":"elmo-peeler-whole-lotta-video-excerpt","author":"Elmo Peeler · eingeblendete Noten bei Jane","kind":"named-transcriber-public-video-score-excerpt","url":"https://www.youtube.com/watch?v=gj2dpQUEgoI&t=146","publisherPage":"https://www.manymidi.com/sheetmusic.htm","authorBackgroundUrl":"https://www.manymidi.com/sheetmusic.htm","authorBackgroundDe":"Peelers eigener Katalog bezeichnet die Transkription als Notenfassung der gesamten 1957er Aufnahme. Janes öffentliche Videobeschreibung nennt ausdrücklich Elmo Peeler als Transkribenten; beide Verweise zählen als eine musikalische Transkription.","pages":null,"allPagesRead":false,"fullScoreRead":false,"videoWatched":false,"videoExcerptRead":true,"recordingListened":false,"materialLabelDe":"Gezielte Notenausschnitte im öffentlichen Video visuell gelesen","originalLinkLabelDe":"Video: eingeblendete Takte 49–50 bei etwa 2:26","scoreBarsRead":[41,42,43,44,45,46,49,50,51,52],"videoLocators":[{"seconds":95,"bars":[41,42]},{"seconds":108,"bars":[43,44]},{"seconds":128,"bars":[45,46]},{"seconds":146,"bars":[49,50]},{"seconds":165,"bars":[51,52]}],"inspectionDe":"Die bezeichneten Taktzahlen und Noten wurden in angehaltenen Videobildern gelesen. Takt 41 ist ausdrücklich als Piano Solo gekennzeichnet; das Taktpaar 49–50 zeigt G und weitergeführten G-Bass, danach folgt C in 51–52. Ton war stummgeschaltet. Das vollständige kostenpflichtige PDF wurde nicht erworben oder gelesen; weder das gesamte Video noch die Originalaufnahme wurden hier als vollständig gehört gewertet. Für einen Videostream wird kein erfundener Datei-Hash ausgegeben.","limitationsDe":"Videopositionen sind nur Fundstellen der Unterrichtsdemonstration und keine Aufnahme-Zeitmarken. G ist damit als konkrete Begleitung gestützt, nicht jede Zusatznote einer Bandaufnahme. Jane ist Interpretin/Vermittlerin derselben Peeler-Noten, keine weitere unabhängige Akkordquelle.","auditLocator":"Read specific publicly displayed Peeler score excerpts in Jane's video: solo header41, held G across49-50, C return51-52. Video description explicitly credits Peeler; own catalog identifies1957 transcription. Muted visual excerpt only, no full-video/audio/purchased-PDF claim. Not counted as a complete extra band analysis."}],"findings":[{"id":"first-solo-bar-ten","labelDe":"Erstes Solo: F-Dur oder weitergehaltenes G-Dur?","status":"resolved-teaching-choice","catalogBarNumbers":[50],"resolutionDe":"Für Takt 50 wird G-Dur statt F-Dur verwendet: David Temperley und der unabhängig verfasste, tatsächlich gelesene Peeler-Notenausschnitt stimmen bei gehaltenem G überein. Der vollständige Song wird dadurch nicht als abschließend geprüft erklärt.","observations":[{"sourceId":"paddy-milner-whole-lotta-shakin","location":"Solo ab Übungstakt 41; strittiger Takt 50; Quellenzeit 71,222–72,677 s","detailDe":"Trevor de Clercq setzt in Takt 50 F-Dur. David Temperleys Punkt-Markierung führt das G-Dur aus Takt 49 weiter; beide erreichen in Takt 51 wieder C-Dur. Milners Texte erklären linke Hand, Viertel-/Achtel-Wechsel und Solo-Turnaround, legen aber genau diesen Takt nicht als F oder G fest. Eine Punkt-Markierung ist hier keine Pause, und ein typischer Blues-Verlauf allein entscheidet den Widerspruch nicht."},{"sourceId":"faber-whole-lotta-piano","location":"Seite 3 · gedruckter Takt 39 = gespielter Takt 50","detailDe":"Faber notiert C7, nicht F oder G. Der vorherige gedruckte Takt 38 hat G und entspricht Übungstakt 49. Der Wiederholungsversatz ist ausdrücklich mitgerechnet; gleiche gedruckte und gespielte Nummern werden nicht verwechselt."},{"sourceId":"elmo-peeler-whole-lotta-video-excerpt","location":"Eingeblendetes Taktpaar 49–50 · Video etwa 2:26","detailDe":"Peeler bezeichnet Takt 49 mit G und führt den G-basierten Bass durch Takt 50 weiter, ohne F-Wechsel. Die vorher separat gelesene Solo-Überschrift nennt Takt 41. Takt 51–52 kehrt nach C zurück. Das stützt Temperleys Punkt-Fortführung an genau der strittigen Stelle."}],"nextCheckDe":"Die Begleitentscheidung für diesen einen Takt ist getroffen. Weitere Klangfarben, die abweichende Faber-Begleitung und die genaue Originalfassung müssen unabhängig davon weiter geprüft werden; die ursprünglichen F-/G-Fachanalysen bleiben sichtbar."},{"id":"faber-full-repeat-plan","labelDe":"Faber-Form entfaltet: 113 Takte","status":"partially-corroborated","observations":[{"sourceId":"faber-whole-lotta-piano","location":"Seiten 1–7 · 102 gedruckte Takte; Volten bei 16/17","detailDe":"Der Formplan 1–16, 5–15 und 17–102 ergibt 113 gespielte Takte. Das erste Solo liegt gedruckt in 30–41, entsprechend Übungstakt 41–52. Das zweite Solo folgt in 42–53, entsprechend 53–64. Die notierte Form wird gestützt, nicht automatisch das Tempo oder jede Note der Aufnahme."}],"nextCheckDe":"Die noch offenen Zusatzton- und Bassdetails weiterhin an derselben Aufnahme prüfen. Die 2/2- und 12/8-Tempobezeichnungen nicht ungeprüft gleichsetzen."},{"id":"faber-other-solo-differences","labelDe":"Weitere Faber-Soloklänge bleiben offen","status":"open","catalogBarNumbers":[59,60,61],"observations":[{"sourceId":"faber-whole-lotta-piano","location":"Seite 4 · gedruckte Takte 48–50","detailDe":"Faber notiert Cm und führt diesen C-basierten Bereich durch die folgenden beiden Takte. Das entspricht Übungstakt 59–61; beide bisherigen Fachanalysen nennen dort C, C und G. Blues-Melodietöne und ein Cm-Begleitsymbol werden deshalb nicht pauschal zur korrigierten Gesamtharmonie erklärt."}],"nextCheckDe":"Für diese drei Stellen erneut hochwertige unabhängige Quellen zur genauen Aufnahme heranziehen. Die Entscheidung für Takt 50 überträgt sich nicht auf andere Solo-Durchgänge."}],"limitationDe":"Nur ein spielbarer Akkord ändert sich: F zu G in Takt 50, einschließlich seines zugehörigen Grundbasses. Alle übrigen Akkorde, 113 Takte, Einsatzpositionen, Tempo und Abschnitte bleiben erhalten. Faber ist vollständig, Peeler nur in den bezeichneten öffentlichen Videoausschnitten gelesen. Die zwei ursprünglichen Fachanalysen und ihre rohe Abweichung bleiben erhalten; daraus wird keine neue vollständige Übereinstimmung oder Song-Vollverifizierung gemacht."},"sourceSelectionReview":{"checkedOn":"2026-10-17","harteSpine":1,"annotator":"David Temperley","sourceSha256":"c46b89218a4feb126f6c07f0f3b5c16e7a5f1c09583a7408226cd8351feb2a1b","changedBarNumbers":[50],"completeSongVerified":false,"reason":"Use Temperley's held G-major interpretation in the tenth bar of the first piano solo, practice bar50. His null token continues G from49; it is not a rest. Elmo Peeler's independently authored transcription of the1957 recording, visibly credited in Jane's public piano demonstration, labels G over the displayed bars49-50 and keeps the G-based left hand across both bars. The separately inspected solo header is bar41. This corroborates the particular G-root teaching choice, not every performed voice. The complete Faber piano score gives C7 at its printed bar39 (performed50); this contrary source is retained explicitly, not counted as agreement.","reasonDe":"Takt 50 folgt jetzt David Temperleys weitergeführtem G-Dur statt F-Dur. Sein Punkt setzt das G aus Takt 49 fort und ist keine Pause. Die unabhängig verfassten Peeler-Noten, im öffentlichen Klaviervideo von Jane ausdrücklich Elmo Peeler zugeordnet, zeigen über dem eingeblendeten Taktpaar 49–50 ebenfalls G und einen weitergeführten G-Bass. Der separat gelesene Solo-Anfang ist als Takt 41 bezeichnet. Damit stimmen zwei konkrete Belege für die gewählte G-Begleitung überein. Faber notiert im entsprechenden gedruckten Takt 39 dagegen C7; dieser Gegenbeleg bleibt sichtbar.","limitation":"A specific teaching-chart correction, not full original-recording certification. Only selected publicly displayed Peeler score excerpts were visually read with muted audio; the full paid score and complete video were not read/watched. Video time around146seconds is a tutorial locator, not original recording time71.222seconds. The113-bar form and all symbolic change positions remain unchanged. Peeler/Jane count as one transcription, not two independent authors. Faber's other voicings and the exact master/performance remain open; original expert disagreement is preserved.","limitationDe":"Entschieden ist die konkrete Begleitvariante, nicht jede Stimme der Originalaufnahme. Von Peeler wurden gezielte eingeblendete Notenausschnitte bei stummgeschaltetem Ton gelesen, nicht die vollständige kostenpflichtige Partitur oder das gesamte Video. Rund 2:26 im Unterrichtsvideo ist nicht die Quellenzeit 71,222 Sekunden der Aufnahme. Alle 113 Takte und Wechselpositionen bleiben erhalten. Jane ist die Vermittlerin derselben Peeler-Transkription und zählt nicht als zweite Autorin. Weitere Faber-Klänge und die genaue Aufnahmefassung bleiben offen; der ursprüngliche Fachanalysen-Widerspruch wird nicht gelöscht.","corroboratingSources":[{"annotator":"David Temperley","url":"https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops/blob/6b04f4f99477dd97b6e98abd86a2448a481ddf7b/RollingStone/Data/JerryLeeLewis_WholeLottaShakinGoinOn_1957.hum","locator":"Second **harte spine, !D.T.; G:maj in49, null in50 continues G, C:maj in51. First solo begins41. Other expert has F:maj in50; source timestamp interval71.222-72.677seconds."},{"annotator":"Elmo Peeler · Notenausschnitt bei Jane","url":"https://www.youtube.com/watch?v=gj2dpQUEgoI&t=146","publisherPage":"https://www.manymidi.com/sheetmusic.htm","videoExcerptRead":true,"videoTimestampSeconds":146,"scoreBarsRead":[41,42,43,44,45,46,49,50,51,52],"locator":"Visually read paused notation in Jane's public2017 video: solo header bar41 around95seconds; G heading and continuous G-based bass in displayed bars49-50 around146seconds; C return in51-52 around165seconds. Video description explicitly credits Peeler; his own catalog describes the1957 transcription. No full-video/audio/purchased-score claim; frame times locate teaching footage, not the original master."}]},"primaryImportCheck":{"sourceRead":true,"sourceSha256":"c46b89218a4feb126f6c07f0f3b5c16e7a5f1c09583a7408226cd8351feb2a1b","normalizedImportMatches":true,"selectedHarteSpine":2,"selectedAnnotator":"David Temperley","catalogBars":113,"sourceBars":113,"matchingBars":113,"differingBarNumbers":[]},"independentExpertAnalyses":2,"independentQualifiedAnalyses":2,"sourceCount":7,"primaryCoverage":{"bars":113,"withinBarPositionsPresent":true},"comparisons":[{"id":"rolling-stone:Trevor de Clercq","url":"https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops/blob/6b04f4f99477dd97b6e98abd86a2448a481ddf7b/RollingStone/Data/JerryLeeLewis_WholeLottaShakinGoinOn_1957.hum","kind":"expert-recording-analysis","independentExpert":true,"eventOrderAgreementPercent":99,"sourceEventCount":46,"missingFromOtherSource":[],"additionalInOtherSource":[],"transpositionApplied":0,"bars":{"catalogBars":113,"sourceBars":113,"matchingBars":112,"differingBarNumbers":[50]}},{"id":"ireal:ireal-pro-forum_24082","url":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/ireal-pro/choco/forum/jams/ireal-pro-forum_24082.jams","kind":"community-score-arrangement","independentExpert":false,"eventOrderAgreementPercent":39,"sourceEventCount":11,"missingFromOtherSource":[],"additionalInOtherSource":[],"transpositionApplied":0}],"sources":[{"id":"rolling-stone:Trevor de Clercq","family":"rock-corpus","kind":"expert-recording-analysis","annotator":"Trevor de Clercq","independentExpert":true,"primary":false,"url":"https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops/blob/6b04f4f99477dd97b6e98abd86a2448a481ddf7b/RollingStone/Data/JerryLeeLewis_WholeLottaShakinGoinOn_1957.hum","locator":"**harte spine 1; !T.d.C.","barAligned":true},{"id":"rolling-stone:David Temperley","family":"rock-corpus","kind":"expert-recording-analysis","annotator":"David Temperley","independentExpert":true,"primary":true,"url":"https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops/blob/6b04f4f99477dd97b6e98abd86a2448a481ddf7b/RollingStone/Data/JerryLeeLewis_WholeLottaShakinGoinOn_1957.hum","locator":"**harte spine 2; !D.T.","barAligned":true},{"id":"ireal:ireal-pro-forum_24082","family":"ireal-community","kind":"community-score-arrangement","independentExpert":false,"primary":false,"url":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/ireal-pro/choco/forum/jams/ireal-pro-forum_24082.jams","barAligned":false},{"id":"wikifonia:wikifonia_4643","family":"wikifonia","kind":"score-candidate","independentExpert":false,"primary":false,"url":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/wikifonia/choco/jams/wikifonia_4643.jams","match":"title-only; composer and arrangement need review","composers":"Dave Williams,Sunny David","barAligned":false},{"id":"paddy-milner-whole-lotta-shakin","family":"named-teacher-publication","kind":"teacher-authored-public-lesson-transcript","annotator":"Paddy Milner · MusicGurus","independentExpert":false,"primary":false,"url":"https://www.musicgurus.com/courses/play-authentic-rock-n-roll-piano-video-only/lessons/how-to-play-whole-lot-of-shakin-piano-solo-video","barAligned":false,"sourceSha256":"e7c9f835cfd8b3f136e1199e64f0fc0cc4873774307efaadbee8c98ab1d08354","locator":"Publicly visible original solo and turnaround lesson transcripts read; paid videos and complete score not accessed. One author, no complete bar/onset comparison, and no decision on practice bar50; see teacherSourceReview."},{"id":"faber-whole-lotta-piano","family":"named-teacher-publication","kind":"publisher-piano-vocal-score","annotator":"Faber Music · offizielle Piano-Voice-Guitar-Ausgabe","independentExpert":false,"primary":false,"url":"https://musescore.com/user/39593115/scores/6924988","barAligned":false,"sourceSha256":"c6314373084bb52e129ce8714348440d1a99f638a15ae25757c9126518d56e63","locator":"All seven authorized Faber piano/vocal SVG pages visually read. Printed repeat expansion1-16,5-15,17-102 yields113 bars; printed39 maps to performed50 and says C7, contrary to both corpus analyses. Additional Cm/root differences remain open. Not a complete timestamped independent band analysis."},{"id":"elmo-peeler-whole-lotta-video-excerpt","family":"named-teacher-publication","kind":"named-transcriber-public-video-score-excerpt","annotator":"Elmo Peeler · eingeblendete Noten bei Jane","independentExpert":false,"primary":false,"url":"https://www.youtube.com/watch?v=gj2dpQUEgoI&t=146","barAligned":false,"locator":"Read specific publicly displayed Peeler score excerpts in Jane's video: solo header41, held G across49-50, C return51-52. Video description explicitly credits Peeler; own catalog identifies1957 transcription. Muted visual excerpt only, no full-video/audio/purchased-PDF claim. Not counted as a complete extra band analysis."}],"limitations":[]},{"id":"rolling-stone-corpus-bo-diddley-bo-diddley","title":"Bo Diddley","artist":"Bo Diddley","primarySourceUrl":"https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops/blob/6b04f4f99477dd97b6e98abd86a2448a481ddf7b/RollingStone/Data/BoDiddley_BoDiddley_1955.hum","status":"expert-disagreement-needs-review","primaryImportCheck":{"sourceRead":true,"sourceSha256":"66929619185a1f7a726745cfe15dc53a3c86a3b3c116e08ac196a34eb0c43c41","normalizedImportMatches":true,"catalogBars":71,"sourceBars":71,"matchingBars":71,"differingBarNumbers":[]},"independentExpertAnalyses":2,"independentQualifiedAnalyses":2,"sourceCount":2,"primaryCoverage":{"bars":71,"withinBarPositionsPresent":true},"comparisons":[{"id":"rolling-stone:David Temperley","url":"https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops/blob/6b04f4f99477dd97b6e98abd86a2448a481ddf7b/RollingStone/Data/BoDiddley_BoDiddley_1955.hum","kind":"expert-recording-analysis","independentExpert":true,"eventOrderAgreementPercent":89,"sourceEventCount":21,"missingFromOtherSource":[],"additionalInOtherSource":["3:major:3","2:major:2"],"transpositionApplied":0,"bars":{"catalogBars":71,"sourceBars":71,"matchingBars":69,"differingBarNumbers":[34,36]}}],"sources":[{"id":"rolling-stone:Trevor de Clercq","family":"rock-corpus","kind":"expert-recording-analysis","annotator":"Trevor de Clercq","independentExpert":true,"primary":true,"url":"https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops/blob/6b04f4f99477dd97b6e98abd86a2448a481ddf7b/RollingStone/Data/BoDiddley_BoDiddley_1955.hum","locator":"**harte spine 1; !T.d.C.","barAligned":true},{"id":"rolling-stone:David Temperley","family":"rock-corpus","kind":"expert-recording-analysis","annotator":"David Temperley","independentExpert":true,"primary":false,"url":"https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops/blob/6b04f4f99477dd97b6e98abd86a2448a481ddf7b/RollingStone/Data/BoDiddley_BoDiddley_1955.hum","locator":"**harte spine 2; !D.T.","barAligned":true}],"limitations":[]},{"id":"rolling-stone-corpus-buffalo-springfield-for-what-it-s-worth","title":"For What It's Worth","artist":"Buffalo Springfield","primarySourceUrl":"https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops/blob/6b04f4f99477dd97b6e98abd86a2448a481ddf7b/RollingStone/Data/BuffaloSpringfield_ForWhatItsWorth_1967.hum","status":"expert-disagreement-needs-review","primaryImportCheck":{"sourceRead":true,"sourceSha256":"b6960930ff74e9926b1e6d84ec290ad8755a6367a2e50b241ccca2c37cb8f99e","normalizedImportMatches":true,"catalogBars":62,"sourceBars":62,"matchingBars":62,"differingBarNumbers":[]},"independentExpertAnalyses":2,"independentQualifiedAnalyses":2,"sourceCount":2,"primaryCoverage":{"bars":62,"withinBarPositionsPresent":true},"comparisons":[{"id":"rolling-stone:David Temperley","url":"https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops/blob/6b04f4f99477dd97b6e98abd86a2448a481ddf7b/RollingStone/Data/BuffaloSpringfield_ForWhatItsWorth_1967.hum","kind":"expert-recording-analysis","independentExpert":true,"eventOrderAgreementPercent":93,"sourceEventCount":73,"missingFromOtherSource":["0:major:0"],"additionalInOtherSource":["7:major:7"],"transpositionApplied":0,"bars":{"catalogBars":62,"sourceBars":62,"matchingBars":51,"differingBarNumbers":[14,28,34,36,38,40,42,56,58,60,62]}}],"sources":[{"id":"rolling-stone:Trevor de Clercq","family":"rock-corpus","kind":"expert-recording-analysis","annotator":"Trevor de Clercq","independentExpert":true,"primary":true,"url":"https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops/blob/6b04f4f99477dd97b6e98abd86a2448a481ddf7b/RollingStone/Data/BuffaloSpringfield_ForWhatItsWorth_1967.hum","locator":"**harte spine 1; !T.d.C.","barAligned":true},{"id":"rolling-stone:David Temperley","family":"rock-corpus","kind":"expert-recording-analysis","annotator":"David Temperley","independentExpert":true,"primary":false,"url":"https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops/blob/6b04f4f99477dd97b6e98abd86a2448a481ddf7b/RollingStone/Data/BuffaloSpringfield_ForWhatItsWorth_1967.hum","locator":"**harte spine 2; !D.T.","barAligned":true}],"limitations":[]},{"id":"rolling-stone-corpus-the-beatles-she-loves-you","title":"She Loves You","artist":"The Beatles","primarySourceUrl":"https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops/blob/6b04f4f99477dd97b6e98abd86a2448a481ddf7b/RollingStone/Data/TheBeatles_SheLovesYou_1963.hum","status":"expert-disagreement-needs-review","sourceSelectionReview":{"checkedOn":"2026-10-16","harteSpine":1,"annotator":"David Temperley","sourceSha256":"f00a6ec879745f43f4a7141f62f6737628c34e908b48e8e741bbb17574b8b145","changedBarNumbers":[22,23,38,39,46,62,63,70,74,78],"reason":"Use Temperley’s C-minor teaching interpretation in ten bars, rather than de Clercq’s A:dim/b3 (Adim with C in the bass). Alan W. Pollack’s separately authored analysis identifies the borrowed minor iv in the last phrase of each verse, the refrain and its extended outro returns. Mapping his section-relative positions onto this 87-bar chart, including the numbered initial rest, identifies exactly these ten bars. The two corpus analyses otherwise have identical chord symbols, change positions and section boundaries. This is a corroborated source choice, not a claim that a third text has adjudicated every performed note.","reasonDe":"Die Lernfassung verwendet an zehn Stellen C-Moll statt A-vermindert mit C im Bass. David Temperley und Alan W. Pollacks unabhängig verfasste Analyse stützen die C-Moll-Deutung: am Ende der drei Strophen, im Refrain und bei dessen Wiederholungen im Schluss. 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E-Dur/4-4/Viertel160. Hauptteil E×4,A×2,E×2,B,A,E×2. Geschriebene14/26/54: A auf Viertel1, danach N.C. mit drei Vierteln Pause in beiden Klavierhänden. Solo40 hält A ohne diese Pause. Intro4 hat ebenfalls einen kurzen Anschlag; Schluss57 enthält zwei kurze E-Einsätze und Pausen. Diese beiden Randtakte werden nicht ungeprüft übernommen.","repeatPlan":[{"from":1,"to":28},{"from":5,"to":26},{"from":29,"to":42},{"from":5,"to":26},{"from":43,"to":57}],"expandedWrittenBars":101,"archivalLimitDe":"Alle fünf Seiten im normalen angemeldeten Viewer überlappend gelesen; Seiten1/5 privat gesichert. Sicherung2–4 fehlgeschlagen und nicht wiederholt. Kein Herunterladen-/Drucken-Knopf, Kauf oder Credit-Verbrauch.","limitationsDe":"Klavier-/Gesangsbegleitung ist keine vollständige Band-/Bass- oder Mastertranskription. Rücksprünge ergeben101 geschriebene Durchlauftakte einschließlich eines zusätzlichen Schlusstakts gegenüber100 McGill-Takten; dessen Musik-/Pausendauer bleibt offen.160 ist ein gedrucktes Arrangementtempo, nicht zweite Bestätigung von157. Pausen in Begleitung beweisen keine absolute Stille aller Band-/Gesangsstimmen. Falsche Song-Verknüpfung im Katalog nicht als Identität der gelesenen Noten übernehmen.","auditLocator":"All five authorized Hal Leonard pages visually read through written57. Actual title The Twist/Hank Ballard/E/4-4/quarter160; website arrangement-of label incorrectly LetsTwistAgain. Written14,26,54: A quarter on1, then N.C./three quarter rests in both piano hands; solo40 A filled throughout. First/second endings27–28/29–30, D.S.alCoda after42 to5, ToCoda at26, Coda43–57. Reading plan1–28,5–26,29–42,5–26,43–57 expands101 written bars, not a certified100-bar recording. Intro4 and final57 hits excluded from practice change. Pages1/5 archived,2–4 archive failed; no purchase/credit/download/print action or original-master listening."},{"id":"munsonmusic-twist-original-lesson","author":"MunsonMusic","kind":"original-teacher-video-public-transcript","url":"https://www.youtube.com/watch?v=M7Dq6VQaAto","publisherPage":"https://www.youtube.com/@MunsonMusic","publishedOn":"2014-02-03","videoDurationSeconds":616,"completePublicTranscriptRead":true,"allPagesRead":false,"fullScoreRead":false,"fullVideoWatched":false,"recordingListened":false,"videoLocators":[{"seconds":280,"topic":"Zwölftaktige Hauptform"},{"seconds":288,"topic":"A-Anschlag abdämpfen"},{"seconds":411,"topic":"Solo: A-Takt ausfüllen"}],"materialLabelDe":"Vollständiges öffentliches automatisches Lehrertranskript gelesen · kein vollständiges Video gehört","authorBackgroundDe":"Verifizierter eigener MunsonMusic-Unterrichtskanal. Beschreibung erklärt ausdrücklich mehrere Griff-/Rhythmusmöglichkeiten zum Covern oder Mitspielen; Transkript und Kanal sind zusammen EIN Autor, nicht mehrere Quellen.","inspectionDe":"Öffentliches englisches Autotranskript0:01–9:58 vollständig gelesen.4:40–5:04 ausdrücklich vier E-Takte,zwei A,zwei E,B7,A-Hit und zwei E. Bei4:48–5:04 A kurz anschlagen und Saiten abdämpfen;6:43–7:17 Solo mit ausgefülltem A-Takt.0:34–2:58 bietet B/B7/B9,A/A7,E/E7/E9 als Alternativen, nicht gleichzeitig verpflichtende Bandtöne.9:37–9:58 nennt zwei E-Schlussanschläge ohne genaue gemeinsame Takt-/Aufnahmeausrichtung.","limitationsDe":"Automatische Untertitel sind fehleranfällig und Musiklücken keine gehörte Aufnahme. Lehrer bestätigt den kurzen A-Anschlag, misst aber keine unabhängig verifizierte Viertel-Pausenlänge. Nicht als vollständige100-Takt-Analyse oder Bestätigung jeder Septime/None zählen. Pinterest-Verweise und anderes TwistAgain-Material wurden nicht als zusätzliche Quelle gewertet.","auditLocator":"Own verified MunsonMusic channel/video03Feb2014. Entire public automatic English transcript0:01–9:58 read, including first singular-second caption; video muted/paused at0:06, not full video/audio watched. At4:40 main12bar E×4,A×2,E×2,B7,A-hit,E×2;4:48–5:04 kill strings after A hit;6:43–7:17 solo fills that A. Explicit optional B/B7/B9,A/A7,E/E7/E9 elsewhere are alternate guitar choices, not compulsory band harmony. No exact independent rest-length, complete form or master listening certification."},{"id":"reservoir-twist-leadsheet-preview","author":"Reservoir Media Management · Musicnotes R&B Fake Book","kind":"official-publisher-partial-page-preview","url":"https://www.musicnotes.com/sheetmusic/chubby-checker/the-twist/MN0136963","publisherPage":"https://www.musicnotes.com/sheetmusic/chubby-checker/the-twist/MN0136963","pages":1,"allPagesRead":false,"fullScoreRead":false,"recordingListened":false,"previewSystemsRead":2,"printedKey":"G","printedMeter":"2/2","catalogTempoUnit":"half-note","catalogTempo":78,"equivalentQuarterBpm":156,"materialLabelDe":"Zwei sichtbare Notenzeilen der einseitigen öffentlichen Vorschau · kein vollständiger Formbeleg","inspectionDe":"TheTwist/HankBallard, G-Dur/Alla-breve. Sichtbarer Anfang notiert G7,C7,C,G7,D7,C7,G7. Nach E normalisiert ergeben sich E7,A7,A,E7,B7,A7,E7 statt überwiegend einfacher McGill-Dreiklänge. Katalog nennt Halbe78; die Notenvorschau selbst nur RockAndRollShuffle ohne gedruckte Zahl.","limitationsDe":"Seite ausdrücklich als Sample gekennzeichnet; nur zwei sichtbare Notenzeilen und Zusatzstrophenbereich gelesen. Nicht als vollständiges Leadsheet oder100-Takt-Aufnahmeablauf werten. Halbe78 entspricht Viertel156, nicht Viertel78; numerische Tempometadaten sind keine gemessene Masterbestätigung. Gemeinsame Verlags-/Bearbeitungsabstammung mit anderen Ausgaben unbewiesen; keine zusätzliche qualifizierte unabhängige Vollanalyse. Keine Käufe/Credits oder Rekonstruktion verborgener Inhalte.","auditLocator":"Public Musicnotes MN0136963 from R&B FakeBook2ndEdition, Reservoir. Two visible notation systems/intro pickup and additional verse-text area read only; page labeled sample, no full-score claim. G/cut-time; visible G7,C7,C,G7,D7,C7,G7, compared by transpose-3 to E. Catalog half78/quarter156, not printed numerical tempo on preview. No full repeat/master verification, purchase, print, credit or obscured-content reconstruction. Not assumed independent full-band transcription from Hal Leonard lineage."}],"findings":[{"id":"short-a-accompaniment-shots","labelDe":"Sieben kurze A-Anschläge · Solo bleibt durchgehend","status":"resolved-teaching-choice","catalogBarNumbers":[14,26,38,50,74,86,98],"observations":[{"sourceId":"hal-leonard-twist-piano-vocal","location":"Seiten2/3/5 ·geschriebene14/26/54; Solo40 aufSeite4","detailDe":"A-Viertel auf1, danach drei Viertel Pause. Über die ausgeschriebenen Rücksprünge entsprechen diese Begleiteinsätze den Lern-Takten14/26/38/50/74/86/98. Der zugehörige Solo-Takt62 wird ausdrücklich nicht verkürzt."},{"sourceId":"munsonmusic-twist-original-lesson","location":"Transkript4:48–5:04 und6:43–7:17","detailDe":"Lehrer erklärt dieselbe Unterscheidung: A kurz anschlagen/abdämpfen in Strophe und Refrain, A-Takt dagegen im Solo ausfüllen. Exakte drei Viertel Pause allein aus der Verlagsnotation, nicht als zweite Zeitmessung darstellen."}],"resolutionDe":"Sieben Lern-Takte spielen A auf1 und pausieren die Akkord-/Bassbegleitung ab2. Drums/Gesang werden damit nicht als stumm behauptet. 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McGill endet100 mit E-Einzelton151,577s und unmeterierten Pausen ab153,111s; keine sichere gemeinsame Randtaktausrichtung."},{"sourceId":"munsonmusic-twist-original-lesson","location":"Transkript0:01–0:34 und9:37–9:58","detailDe":"IntroB–A–E/E und zwei Schlussanschläge stützen nur das Begleitmotiv, nicht alle Wiederholungszahlen oder deren genaue Dauer."}],"resolutionDe":"Weder zusätzlichen Schlusstakt noch neue Intro-/Endpausen aus der Klavierbearbeitung übernehmen.100Quelltakte und bestehende unmeterierte Randereignisse erhalten; falsche LetsTwistAgain-Webverknüpfung nicht als anderen Song importieren.","nextCheckDe":"Exakten Original-Master identifizieren und Wiederholungen, letzte Anschläge und Pausendauer mit unabhängiger vollständiger Quelle ausrichten."}],"limitationDe":"Vollständige Verlagsbegleitung und vollständiges öffentliches Lehrertranskript stützen eine eng begrenzte Begleitwahl. Zusätzlich nur Teilvorschau eines Leadsheets gelesen. Keine zwei vollständigen aufnahmegleichen Bandanalysen, kein Original-Master gehört, keine Vollverifizierung; bestehende Prüfklasse bleibt offen."},"sourceDetailReview":{"changedBarNumbers":[14,26,38,50,74,86,98],"preserveOriginalComparison":true,"reasonDe":"A-Anschläge: Pause ab Viertel2."},"unmeteredLeadIn":{"startSeconds":0,"firstBarSeconds":0.209,"durationSeconds":0.209,"restEvents":1,"firstNumberedBar":1,"practicePolicy":"start-at-first-numbered-source-bar","needsTimingReview":false,"recordingSilenceVerified":false},"unmeteredTail":{"sourceBar":"=100","finalBarQuarterNotes":4,"completeFinalBarProven":true,"startSeconds":153.111,"endSeconds":156.299,"lastMusicalSeconds":151.577,"restEvents":2,"practicePolicy":"exclude-unmetered-tail-after-complete-final-bar","needsTimingReview":false,"recordingSilenceVerified":false},"primaryImportCheck":{"sourceRead":true,"sourceSha256":"b7a08ece4f06eb0c2311b80adc559afb6df0d2ba9cdd031e9b16e22b7fac67fe","normalizedImportMatches":true,"reviewedTeachingDetails":true,"rawSourceComparison":{"catalogBars":100,"sourceBars":100,"matchingBars":93,"differingBarNumbers":[14,26,38,50,74,86,98]},"catalogBars":100,"sourceBars":100,"matchingBars":100,"differingBarNumbers":[]},"independentExpertAnalyses":1,"independentQualifiedAnalyses":1,"sourceCount":5,"primaryCoverage":{"bars":100,"withinBarPositionsPresent":true},"comparisons":[],"sources":[{"id":"wikifonia:wikifonia_6272","family":"wikifonia","kind":"score-candidate","independentExpert":false,"primary":false,"url":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/wikifonia/choco/jams/wikifonia_6272.jams","match":"title-only; composer and arrangement need review","composers":"Hank Ballard","barAligned":false},{"id":"hal-leonard-twist-piano-vocal","family":"named-teacher-publication","kind":"official-publisher-accompaniment-score","annotator":"Hal Leonard · Piano Vocal","independentExpert":false,"primary":false,"url":"https://musescore.com/official_scores/scores/6942549","barAligned":false,"sourceSha256":"1078b7da22dd8225274de5bc22ba3087a8ec552859913a337def7ec2778e918b","locator":"All five authorized Hal Leonard pages visually read through written57. Actual title The Twist/Hank Ballard/E/4-4/quarter160; website arrangement-of label incorrectly LetsTwistAgain. Written14,26,54: A quarter on1, then N.C./three quarter rests in both piano hands; solo40 A filled throughout. First/second endings27–28/29–30, D.S.alCoda after42 to5, ToCoda at26, Coda43–57. Reading plan1–28,5–26,29–42,5–26,43–57 expands101 written bars, not a certified100-bar recording. Intro4 and final57 hits excluded from practice change. Pages1/5 archived,2–4 archive failed; no purchase/credit/download/print action or original-master listening."},{"id":"munsonmusic-twist-original-lesson","family":"named-teacher-publication","kind":"original-teacher-video-public-transcript","annotator":"MunsonMusic","independentExpert":false,"primary":false,"url":"https://www.youtube.com/watch?v=M7Dq6VQaAto","barAligned":false,"locator":"Own verified MunsonMusic channel/video03Feb2014. Entire public automatic English transcript0:01–9:58 read, including first singular-second caption; video muted/paused at0:06, not full video/audio watched. At4:40 main12bar E×4,A×2,E×2,B7,A-hit,E×2;4:48–5:04 kill strings after A hit;6:43–7:17 solo fills that A. Explicit optional B/B7/B9,A/A7,E/E7/E9 elsewhere are alternate guitar choices, not compulsory band harmony. No exact independent rest-length, complete form or master listening certification."},{"id":"reservoir-twist-leadsheet-preview","family":"named-teacher-publication","kind":"official-publisher-partial-page-preview","annotator":"Reservoir Media Management · Musicnotes R&B Fake Book","independentExpert":false,"primary":false,"url":"https://www.musicnotes.com/sheetmusic/chubby-checker/the-twist/MN0136963","barAligned":false,"locator":"Public Musicnotes MN0136963 from R&B FakeBook2ndEdition, Reservoir. Two visible notation systems/intro pickup and additional verse-text area read only; page labeled sample, no full-score claim. G/cut-time; visible G7,C7,C,G7,D7,C7,G7, compared by transpose-3 to E. Catalog half78/quarter156, not printed numerical tempo on preview. No full repeat/master verification, purchase, print, credit or obscured-content reconstruction. 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Beide Begleitquellen stützen D♭/A♭ auf Viertel4 in Takt16. Nur dieser Akkord wird als Lernwahl geändert; Introfarben, andere Übergänge und die vollständige Originalaufnahme bleiben offen.","sources":[{"id":"hal-leonard-still-pvg","author":"Hal Leonard · Still PVG","kind":"official-publisher-accompaniment-score","url":"https://musescore.com/official_scores/scores/6941179","publisherPage":"https://musescore.com/official_scores/scores/6941179","pages":4,"allPagesRead":true,"fullScoreRead":true,"visuallyReadPageNumbers":[1,2,3,4],"writtenMeasures":39,"printedKey":"C","printedMeter":"4/4","printedQuarterNoteBpm":100,"comparisonTransposeSemitones":1,"repeatPlan":[{"from":1,"to":38},{"from":17,"to":32},{"from":39,"to":39}],"expandedWrittenBars":55,"sha256":"f78ac086c21574ede284e1a5ca6e76d6f9ec2bee56185c30e8923508b64eb383","hashLabelDe":"Gelesene zweite Verlagsseite · SVG","savedPageHashes":[{"page":1,"sha256":"620f8d7b43cf7387a42eed2df84f063a682b2c9772590e981330ccf919c2c005"},{"page":2,"sha256":"f78ac086c21574ede284e1a5ca6e76d6f9ec2bee56185c30e8923508b64eb383"}],"recordingListened":false,"materialLabelDe":"Vier vollständige Verlagsseiten gelesen ·39 geschriebene/55 entfaltete Takte · Takt16 gezielt gegengeprüft","inspectionDe":"Seite2 notiert in Takt16 C/G auf Viertel4: nach Halbton-Transposition D♭/A♭. 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Video, Transkript und Website sind zusammen EIN Autor, keine drei Quellen.","inspectionDe":"1:21 nennt D♭,3:11–3:16 Viertel63.2:07–2:41 beschreibt zusätzliche None und Terz/Quart-Wechsel im Intro.11:37–11:53 benennt E♭-Moll über B♭ und anschließend A♭ links mit D♭-Dreiklang rechts; pausierte Bilder11:49/11:52 gezielt geprüft. Die öffentliche Lektion endet vor der vollständigen Refrain-/Schluss-Erklärung.","limitationsDe":"Automatische Untertitel können irren; nur eindeutige Ton-/Akkordangaben samt gezielter Bildkontrolle verwendet. Das ist eine Klavier-Lernfassung, keine vollständig gehörte Bandaufnahme. Vollständiges Part-1-Transkript ist NICHT vollständiger Songunterricht; Refrain/Instrumental/Schluss hinter Mitgliedschaft nicht geöffnet oder gekauft. Keine zweite Vollform- oder Masterbestätigung.","auditLocator":"Verified own HDpiano video StrlY4I_aks dated27Apr2019; entire public automatic English transcript0:00–12:31 read via normal browser transcript export. Targeted paused frames2:19,2:29,11:49,11:52 inspected; final caption explicitly Db triad over Ab bass. Verse16 last quarter corresponds to publisher C/G normalized+1. PublicPart1 only, no remaining paid chapters or full recording listened. Private transcript hash is not a score/master hash."}],"findings":[{"id":"verse-turnaround-last-quarter","labelDe":"Takt16: D♭/A♭ auf Viertel4","status":"resolved-teaching-choice","catalogBarNumbers":[16],"observations":[{"sourceId":"hal-leonard-still-pvg","location":"Seite2 · Takt16 · Viertel4","detailDe":"C/G mit G-Bass; in der Atlas-Tonart entspricht das D♭/A♭."},{"sourceId":"hdpiano-devon-still-part-one","location":"Transkript11:37–11:53 · pausiertes Griffbild11:52","detailDe":"D♭-Dreiklang rechts über A♭ links als letzter Viertelübergang vor dem Refrain."}],"resolutionDe":"Nur das vierte Ereignis in Takt16 wird von A♭ zu D♭/A♭. A♭-Bass, Einsatz auf4 und alle anderen Ereignisse bleiben erhalten. 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Nicht jede Melodie-/Arpeggionote ist automatisch ein neuer Harmonieeinsatz."},{"sourceId":"hal-leonard-still-pvg","location":"Seiten1–4 · Intro und Übergänge","detailDe":"Andere sus-/Slash- und Septimfarben als in McGill und der Lehrerfassung; insbesondere die übrigen Ereignisse von16/20/24/28/38 werden durch die eine Entscheidung nicht mitbestätigt."}],"resolutionDe":"Keine pauschale Erweiterung, Bassänderung oder neue Zählzeit aus einzelnen Melodietönen ableiten.","nextCheckDe":"Eine weitere vollständige hochwertige aufnahmegleiche Quelle für diese strittigen Stellen beschaffen."},{"id":"form-tempo-and-ending","labelDe":"55-Takt-Grobform passt · Aufnahme und Schluss offen","status":"open","catalogBarNumbers":[31,32,53,54,55],"observations":[{"sourceId":"hal-leonard-still-pvg","location":"D.S./Segno17,ToCoda32,Coda39","detailDe":"Entfaltete Abschnitte passen zu den55 Quelltakten, Haltezeiten und Schlussaufteilung aber nicht vollständig. 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Keine Originalaufnahme gehört.","auditLocator":"Verified own HDpiano video NpG3s5DHsBc dated17Feb2018; entire public automatic English transcript0:00–10:38 read through normal browser content export. Paused frames3:17/3:22 inspected: E bass with C,E,Ab then Bb, agreeing with publisher C7#5/E for the first-verse family. Repetition/held extra bar described7:44–7:51. Only publicPart1, no paid remaining chapters, full-video watching or original recording listening. Private transcript hash is not a score/master hash."}],"findings":[{"id":"first-verse-e-bass-family","labelDe":"Erste Strophe: C7♯5/E über unverändertem E-Bass","status":"resolved-teaching-choice","catalogBarNumbers":[6,10,14,18,19],"observations":[{"sourceId":"hal-leonard-three-times-pvg","location":"Seite1 ·6/10; Seite2 ·14/18–19","detailDe":"C7♯5/E;19 hält den Akkord aus18 weiter."},{"sourceId":"hdpiano-devon-three-times-part-one","location":"2:46–3:23,5:09–5:14,6:55–7:02,7:44–7:51 · Bilder3:17/3:22","detailDe":"E im Bass mit C/E/A♭ und B♭ als wiederkehrender übermäßiger Strophenklang; letzter Klang einen weiteren Takt gehalten."}],"resolutionDe":"Nur6/10/14/18/19 wechseln von B♭m7♭5/F♭ zu C7♯5/E. Der Basston bleibt dieselbe Tonhöhe(F♭=E), Einsätze bleiben auf1. Das ist eine gestützte Begleit-Lernwahl, keine Aufwertung zur Originalaufnahme-Verifizierung.","nextCheckDe":"Passenden Original-Master und sämtliche Bandstimmen unabhängig abgleichen; die unveränderte McGill-Deutung bleibt als Rohabweichung sichtbar."},{"id":"remaining-colours-and-bass","labelDe":"Intro, Refrain- und spätere Slashakkorde bleiben offen","status":"open","catalogBarNumbers":[1,2,4,8,12,16,36,37,40,41,65,83,84],"observations":[{"sourceId":"hal-leonard-three-times-pvg","location":"Seiten1–6 · Intro und Übergänge","detailDe":"Unter anderem A♭ statt A♭sus2 als Introsymbol, E♭/C statt Cm7 und E♭/B♭ statt E♭9sus4/B♭; spätere D♭6-/Slashfarben weichen ab."},{"sourceId":"hdpiano-devon-three-times-part-one","location":"3:59–4:05;4:33–4:37;5:37–5:48","detailDe":"Introfigur enthält A♭/B♭/E♭; einzelne Melodietöne und Durchgänge sind nicht automatisch neue statische Akkorde. 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Kein Kauf, Credit-, Druck- oder Download-Knopf.","limitationsDe":"Keyboardstimme, keine vollständige Band-/Bass-Transkription eines identifizierten Masters. Im ersten Intro-Teil ist die linke Hand nicht ausnotiert; daraus folgt nicht, dass in der Band kein Bass klingt.80 geschriebene Takte mit Volten/D.S./Coda und offenem Ende bestätigen nicht117 linear gezählte Aufnahmetakte oder das aus Zeitmarken abgeleitete122BPM. Das gedruckte120BPM und zwei vorgeschriebene Vorlauftakte werden nicht still übernommen.","auditLocator":"All6 normal authorized keyboard-transcription pages read in overlapping views, introductory fourth-eighth switches rechecked at130percent. Manually counted unnumbered written bars14+12+12+12+13+17=80. First2 written bars precede source practice bar1. Written3/4 G/C on fourth eighth,7/8 Fadd9 thenF on fourth eighth,9Csus2,10Cadd9. Separate intro8-bar mapping only, no full repeat/master/tempo equivalence claimed. Pages1/6 privately archived;2–5 export failed; final Repeat and text suffix clipped even after sidebar hidden. 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Cale ergänzt gehaltene Basstöne, wo die Keyboardstimme keine linke Hand schreibt. C6/Am-C, Cm7/Cm, Gm7-C/B♭-C, spätere Akkorde und vollständiger Aufnahmeablauf bleiben getrennt zu prüfen. Website120BPM ist keine unabhängige Originaltempo-Messung.","auditLocator":"Verified own HDpiano video and Cale website. Entire public English automatic transcript0:00–7:16 read, no full video/original recording listening. G/C explicitly on2and2:48–3:17. F-bass withC/G/A thenC/F/A on2and4:39–5:51; repeated next bar. Csus2C/D/G5:55–6:23. Paused5:18/5:23 images only, not full audiovisual confirmation. Only free intro, not remaining paid chapters. Current site6:43 versus YouTube7:20 not silently conflated. Gm7/C differs from publisher Bb/C; no blanket chord equivalence."},{"id":"mikesmusic123-kiss-list-book-reading","author":"MikesMusic123 · Baby Boomer Piano Lessons","kind":"teacher-book-walkthrough-underlying-edition-unidentified","url":"https://www.youtube.com/watch?v=n6PsRVMWfbg","publisherPage":"https://www.youtube.com/@MikesMusic123","publishedOn":"2011-03-16","videoDurationSeconds":691,"pages":null,"allPagesRead":false,"fullScoreRead":false,"completePublicTranscriptRead":true,"fullVideoWatched":false,"recordingListened":false,"independenceEstablished":false,"underlyingBookIdentified":false,"independentChordCorroboration":false,"sha256":"25bf9652f3f8f75a713e940b07b5f26c1b63e9721befc564aca950fc8c037dc9","hashLabelDe":"Gesamtes öffentliches automatisches Buch-Lektionstranskript","materialLabelDe":"Gesamtes öffentliches Transkript0:01–11:28 gelesen ·Buchabhängigkeit ungeklärt, keine unabhängige Bestätigung","authorBackgroundDe":"Eigener Lehrerkanal und Selbsteinführung Baby Boomer Piano Lessons. Bei0:04–0:19 erklärt der Autor ausdrücklich ein vorliegendes Musikbuch, ohne die Ausgabe zu identifizieren. Persönlicher Nachname, Verlagszugehörigkeit und eigenständige Aufnahme-Transkription sind nicht belegt.","inspectionDe":"1:57–2:00 sagt die Lektion, im Intro keine Bassnoten zu spielen.3:20–3:53 erklärt sie Fm9 und6:50–7:07 Dm11;8:41–9:18 F/G vor G. Diese Namen passen teilweise zur Keyboardausgabe, beweisen aber gerade wegen der offen genannten Buchvorlage keine unabhängige Deutung.10:04–10:21 grenzt der Lehrer die Lektion auf die vorgestellten Teile und eine Strophe/einen Refrain ein.","limitationsDe":"Nicht als dritte unabhängige Akkordbestätigung zählen: ein anderes Video kann dieselbe nicht identifizierte Verlagsvorlage erklären. Automatische Untertitel enthalten unklare Tonnamen; kein vollständiges Leadsheet und keine eigene Aufnahme-Zeitachse gelesen, kein Original-Master gehört. Solo, gesamte Form und Ausklang nicht vollständig abgedeckt.","auditLocator":"Entire public English auto-transcript0:01–11:28 read, own channel/date verified. Opening0:04–0:19 explicitly reads an unidentified music book. No-bass intro1:57, Fm9 3:20–3:53 andDm11 6:50–7:07; book provenance unresolved. Never treated as an independent original chord corroboration or complete recording analysis. No whole-video/original-audio listening or paid book access."}],"findings":[{"id":"intro-two-and-grid","labelDe":"Intro1/2: G/C auf2und statt3","status":"resolved-teaching-choice","catalogBarNumbers":[1,2],"observations":[{"sourceId":"hal-leonard-kiss-list-keyboard","location":"Seite1 ·manuell gezählte geschriebene3/4 ·viertes Achtel","detailDe":"G/C beginnt jeweils nach drei Achteln, entsprechend Viertelposition1,5 innerhalb des Takts."},{"sourceId":"hdpiano-cale-kiss-list-intro","location":"2:48–3:17","detailDe":"Der Lehrer zählt beide G/C-Wechsel ausdrücklich auf2und."}],"resolutionDe":"Nur im Intro1/2 wird der zweite Einsatz von Viertelposition2 auf1,5 vorgezogen; Akkordsymbole und C-Bass bleiben erhalten. Keine pauschale Übertragung auf alle Refrains.","nextCheckDe":"Genaue Originalaufnahme-Einsätze und erster Auftakt bleiben unabhängig zu prüfen; dies ist die belegte Lernrhythmik zweier Begleitquellen."},{"id":"intro-f-add9-release","labelDe":"Intro5/6: Fadd9 vor F auf2und","status":"resolved-teaching-choice","catalogBarNumbers":[5,6],"observations":[{"sourceId":"hal-leonard-kiss-list-keyboard","location":"Seite1 ·gezählte7/8 ·zweite Notenzeile","detailDe":"Fadd9 am Taktanfang; der F-Dreiklang beginnt am vierten Achtel. Bei130Prozent geprüft."},{"sourceId":"hdpiano-cale-kiss-list-intro","location":"4:39–5:51 ·ergänzende Bilder5:18/5:23","detailDe":"Rechts C/G/A über F links; danach C/F/A ausdrücklich auf2und, anschließend derselbe Takt erneut."}],"resolutionDe":"Intro5/6 werden von einem gehaltenen F zu Fadd9–F mit Positionen0/1,5. Der F-Bass bleibt, keine zusätzliche Zählzeit und kein neuer Takt. Eine frühere rechte-Hand-Vorwegnahme in4 wird nicht automatisch als neue Bandharmonie eingefügt.","nextCheckDe":"Bandbass, alle Instrumente und Originalaufnahme-Timing einschließlich der Vorwegnahme separat prüfen."},{"id":"intro-suspended-seventh-bar","labelDe":"Intro7: Csus2 statt C-Dur","status":"resolved-teaching-choice","catalogBarNumbers":[7],"observations":[{"sourceId":"hal-leonard-kiss-list-keyboard","location":"Seite1 ·gezählter9 ·dritte Notenzeile","detailDe":"Csus2 mit C/D/G; der folgende geschriebene10 heißt dagegen Cadd9."},{"sourceId":"hdpiano-cale-kiss-list-intro","location":"5:55–6:23","detailDe":"C-Bass mit ausdrücklich genanntem C/D/G als Csus2."}],"resolutionDe":"Nur Intro7 wechselt zu Csus2. Intro8 bleibt wegen Cadd9 gegenüber der zusammengefassten Csus2-Erklärung unverändert; keine ungeprüfte globale Ersetzung aller C-Akkorde.","nextCheckDe":"E im letzten Intro-Takt und der folgenden Bandbegleitung mit zusätzlicher aufnahmegleicher Quelle klären."},{"id":"remaining-colours-and-book-dependence","labelDe":"Andere Klangfarben und Buchabhängigkeit bleiben offen","status":"open","catalogBarNumbers":[2,3,4,8,9,11,14,26,28,30,83,85,88],"observations":[{"sourceId":"hal-leonard-kiss-list-keyboard","location":"Seiten1–6 ·C6, Cm7/B♭-C, Dm11, C/F und F/E♭","detailDe":"Teilweise andere Stimmen und zusätzliche Töne gegenüber Am/C, gehaltenem Cm7, Gm7/D, F und Am7♭5/E♭ im Atlas."},{"sourceId":"hdpiano-cale-kiss-list-intro","location":"3:06–4:25","detailDe":"A/C/G rechts sowie Cm und Gm7/C entsprechen nicht ohne Weiteres allen Tönen der Verlagsbezeichnungen C6, Cm7 und B♭/C."},{"sourceId":"mikesmusic123-kiss-list-book-reading","location":"0:04–0:19;3:20–3:53;6:50–7:07","detailDe":"Die Lektion nennt Fm9/Dm11, liest aber ausdrücklich ein nicht identifiziertes Musikbuch. Keine zusätzliche unabhängige Akkordstimme aus gleicher Buchvorlage ableiten."}],"resolutionDe":"Keine pauschale Akkordumdeutung und keine dritte unabhängige Bestätigung aus der Bucherklärung. Übrige114Aufnahmetakte behalten ihre bisherigen Akkordsymbole; nur1/2 erhalten separat die belegte Lernrhythmik.","nextCheckDe":"Weitere vollständige hochwertige Quelle derselben Originalaufnahme suchen, insbesondere für E/G/B♭ im Intro und C/B♭ beziehungsweise Zusatzstimmen im Prechorus. 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Private transcript hash is not a score/master hash."},{"id":"jason-read-maneater","author":"Jason Read · Guitar Lessons","kind":"independent-teacher-public-transcript","url":"https://www.youtube.com/watch?v=0iFZAvkSHDg","publisherPage":"https://www.youtube.com/@thejaseguitar","publishedOn":"2018-04-01","videoDurationSeconds":319,"pages":null,"allPagesRead":false,"fullScoreRead":false,"completePublicTranscriptRead":true,"fullVideoWatched":false,"recordingListened":false,"sha256":"410d13a80c88db85f34ac9e79eafe821206c1744a7141f35e1123a51b4b30a8a","hashLabelDe":"Gesamtes öffentliches automatisches Lektionstranskript","materialLabelDe":"Gesamtes öffentliches Autotranskript0:00–5:17 gelesen · dritte unabhängige Lehrerpublikation","authorBackgroundDe":"Eigener Kanal Jason Read – Guitar Lessons; öffentliche Beschreibung nennt die selbst erstellten Gitarrentutorials. Keine bezahlten Patreon-Inhalte aufgerufen. 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Paused8:14 caption visible, fingers already on B: not claimed as A/B voicing proof. Sax solo described as chorus11:50–11:59, conflicting with publisher/McGill intro-family loop. No original audio listening, full-video watching or paid materials. Private transcript hash is not a score/master hash."},{"id":"jason-read-maneater","family":"named-teacher-publication","kind":"independent-teacher-public-transcript","annotator":"Jason Read · Guitar Lessons","independentExpert":false,"primary":false,"url":"https://www.youtube.com/watch?v=0iFZAvkSHDg","barAligned":false,"sourceSha256":"410d13a80c88db85f34ac9e79eafe821206c1744a7141f35e1123a51b4b30a8a","locator":"Entire English automatic transcript0:00–5:17 read, own channel verified and date1Apr2018. Third source due conflicts. Explicitly shortened intro1:27; guitar diminished triad frets8/6/5 on D/G/B2:19–2:47; F#m to B at3:18–3:28 conflicts with publisher/MacLennan A/B variant. Sax solo intro-family4:08, not full chorus. Auto-caption omissions/ambiguities retained, no full video/audio/master or paid Patreon read."}],"limitations":[]},{"id":"mcgill-billboard-daryl-hall-and-john-oates-rich-girl","title":"Rich Girl","artist":"Daryl Hall & John Oates","primarySourceUrl":"https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops/blob/6b04f4f99477dd97b6e98abd86a2448a481ddf7b/Billboard/Data/DarylHallAndJohnOates_RichGirl_1977.harm","status":"needs-independent-second-source","teacherSourceReview":{"checkedOn":"2026-10-23","status":"publisher-and-two-teacher-voicing-choice-full-recording-open","completeSongVerified":false,"originalRecordingFormVerified":false,"exactChangeBeatsVerified":false,"summaryDe":"Alle sechs offiziellen PVG-Seiten und zwei vollständige öffentliche Lehrertranskripte wurden gelesen. Hal Leonard und Jon MacLennan stützen Dm7 im A-Teil sowie B♭/C statt eines voll ausgebreiteten C11. Marty Schwartz zeigt B♭/C ebenfalls, nennt Dm7 aber ausdrücklich als Alternative zu Dm. Die Lernfassung übernimmt sieben Dm7- und sieben B♭/C-Ereignisse an den bisherigen Einsatzpositionen; das ist keine Bestätigung jeder gehaltenen Dauer oder der vollständigen Aufnahme. Andere Durchgangsakkorde, Bassvarianten, Wiederholungen, Schluss und Originaltempo bleiben offen.","sources":[{"id":"hal-leonard-rich-girl-pvg","author":"Hal Leonard · Rich Girl Piano/Vocal/Guitar","kind":"official-publisher-piano-vocal-guitar-score","url":"https://musescore.com/user/39593079/scores/6933536","publisherPage":"https://musescore.com/user/39593079/scores/6933536","pages":6,"fullScoreRead":true,"allPagesRead":true,"visuallyReadPageNumbers":[1,2,3,4,5,6],"numberedWrittenMeasures":48,"numberedBarsPerPage":[6,10,8,8,8,8],"viewerMeasuresIncludingPickup":49,"printedKey":"F","printedMeter":"4/4","printedQuarterNoteBpm":80,"shortPrintedBar":{"barNumber":8,"meter":"2/4"},"recordingListened":false,"comparisonTransposeSemitones":0,"sha256":"fb686481fd391571493b9a3a366449e806b734e1ed42df0d536f8de3d57e5244","hashLabelDe":"Gelesene erste PVG-Seite · SVG","savedPageHashes":[{"page":1,"sha256":"fb686481fd391571493b9a3a366449e806b734e1ed42df0d536f8de3d57e5244"},{"page":6,"sha256":"4d3970fdb5b345bf267118ff05bd13a4694436f61c4dcbef30448382fc20b3a4"}],"materialLabelDe":"Alle sechs vollständigen PVG-Seiten überlappend gelesen · nummerierte Takte 1–48 plus Auftakt · Viertel 80","inspectionDe":"Seite 1: F–Am7, Dm7–F/C, B♭–F/A und Gm7–B♭/C; Takte 5/6 wiederholen F–Am7 und Dm7–F/C. Seite 2: Takt 8 in 2/4, dann zwei instrumentale Takte mit F-Bass; zusätzliche Gm7/Am7-Auftaktakkorde, B♭maj7, Gm7, F/C und Dm7-Durchgänge. Seite 3: weitere Dm7/Gm7-Bewegung in 17, B♭/C in 18; 19/20 und 23/24 erneut F–Am7/Dm7–F/C, 22 mit B♭/C–B♭/D. Seite 4: 26 mit Gm7–F und Gm7/Am7-Auftakt, 27–32 mit weiteren ausgeschriebenen Übergängen. Seite 5: 33 mit Dm7-Durchgang, 34 B♭/C, Wiederholungsbeginn bei 35; Dm7–F/C in 36/40 und B♭/C–B♭/D in 38. Seite 6: 42 beginnt B♭ statt Quellen-Gm7, danach Dm7–F/C; 43/45 B♭ statt B♭maj7, Wiederholungsende nach 46. 47/48 schließen mit F–Am7/Dm7–F und Fermate, nicht mit einer ausgeschriebenen 50-Takt-Fadeout-Zeitachse.","archivalLimitDe":"Alle sechs Seiten normal im angemeldeten Viewer gelesen. Nur die bereits geladenen SVGs von Seite 1/6 wurden privat gesichert; Bündelung 2–5 fehlgeschlagen. Kein Druck-/Download-Knopf, Kauf oder Credit-Verbrauch; keine geschützten Noten oder Liedtexte veröffentlicht.","limitationsDe":"Eine PVG-Bearbeitung mit 48 nummerierten Takten, Auftakt und Wiederholungszeichen ist keine vollständige Band-/Bass-Transkription des identifizierten McGill-Masters. Die Viewer-Zahl 49 umfasst den Auftakt und ist kein Beleg für 49 linear gespielte Aufnahmetakte. Gedrucktes Tempo 80 wird nicht als unabhängige Bestätigung der bisherigen 84 BPM übernommen. Der Wiederholungsblock 35–46 und Fermatenschluss unterscheiden sich vom bestehenden Fadeout.","auditLocator":"All6 official PVG pages read normally in overlapping views. Printed numbered bars1–48 plus pickup; page counts6+10+8+8+8+8. Viewer49 includes pickup, not a linear master count. F/4-4/quarter80, printed bar8 in2-4. Dm7 andBb/C repeatedly explicit; additional B-section passing chords, Bb/D and Bb versus Gm7 at42 remain distinct. Repeat begins35 and ends46, written47/48 end on F with fermata. Pages1/6 privately saved,2–5 bundling failed. No purchase/credits/printing/download-button or original-recording listening."},{"id":"jon-maclennan-rich-girl","author":"Jon MacLennan · Rich Girl guitar lesson","kind":"original-teacher-complete-public-transcript-and-targeted-frames","url":"https://www.youtube.com/watch?v=wqoAyBVFmhU","publisherPage":"https://www.jonmaclennan.com/blog/how-to-play-rich-girl-on-guitar-hall-oates-guitar-lesson-tutorial-tabs","publishedOn":"2021-05-25","videoDurationSeconds":743,"completePublicTranscriptRead":true,"fullVideoWatched":false,"fullScoreRead":false,"recordingListened":false,"sha256":"001c06d9d8fe19b1f67daeab55082c644ac97af42379a0dcd27227e93072a90a","hashLabelDe":"Gesamtes öffentliches automatisches Lehrertranskript","videoLocators":[{"seconds":202,"topic":"Pausiertes Dm7-Griffbild zur Folge x57565"},{"seconds":269,"topic":"Pausiertes B♭/C-Barré-Griffbild; nicht jede klingende Saite unabhängig gehört"}],"materialLabelDe":"Ganzes öffentliches Autotranskript 0:00–12:23 gelesen · pausierte Bilder 3:22/4:29","authorBackgroundDe":"Verifizierter eigener Jon-MacLennan-Kanal und zugehörige Original-Lektionsseite. Video und Website zählen als EIN Autor, nicht als zwei Quellen. 0:57–1:07 und 1:57–2:01 beschreiben ausdrücklich seine Übertragung der Keyboardbegleitung auf Gitarre und seine Gig-Spielweise.","inspectionDe":"3:00–3:35 nennt F–Am7–Dm7–F/C; Dm7 wird als x57565 erklärt und im pausierten Bild 3:22 geprüft. 3:35–4:35 erklärt B♭–F/A–Gm7–B♭/C–C. Bei 4:35–4:39 sind die letzten beiden Akkorde je ein Schlag, also keine Bestätigung eines durchgehend gehaltenen B♭/C. 6:12–7:31 erklärt den ersten 2/4-Takt und fast zwei Takte F-Einzeltöne; 8:25–8:58 unterscheiden spätere A-Teile mit vollem 4/4-Takt und Gm7–F. 9:38–10:46 behandelt B♭maj7/Gm7/B♭/C sowie eine F/A-Verbindung; zusätzliche Verlags-Dm7/Am7-Durchgänge und jede Schlusswiederholung werden nicht einzeln abgeglichen.","limitationsDe":"Eigene Gitarrenbegleitung, keine unabhängig vollständige Band-/Master-Zeitachse. Gesamtes automatisches Transkript plus zwei pausierte Bilder sind keine vollständige audiovisuelle Hörprüfung. Der Refrain-Grundklang wird als Lernmuster auf entsprechende Atlas-Wiederholungen angewendet; daraus folgt keine bestätigte vollständige Dauer jedes Ereignisses oder ein bestimmter Fadeout. Bezahlte TAB-/Guitar-Pro-Angebote wurden nicht geöffnet oder gekauft.","auditLocator":"Own verified channel/date and original blog read. Entire public auto-transcript0:00–12:23, no whole-video/original-recording listening. Dm7x57565 at3:10–3:21 and paused3:22; Bb/C at4:16–4:35 and paused4:29, then C for one beat each. First short2/4 bar6:12–6:59, later4/4 A-ending8:25–8:58. B-section9:38–10:46 is an accompaniment pattern, not a linear complete repeat/master timeline. No paid tabs or downloads bought."},{"id":"marty-schwartz-rich-girl","author":"Marty Schwartz · GuitarJamz","kind":"original-teacher-simplified-acoustic-accompaniment-transcript","url":"https://www.youtube.com/watch?v=GW6pti04qIo","publisherPage":"https://www.youtube.com/@GuitarJamzOfficial","publishedOn":"2014-03-15","videoDurationSeconds":563,"completePublicTranscriptRead":true,"fullVideoWatched":false,"fullScoreRead":false,"recordingListened":false,"sha256":"98b0ab8e284ce7f91992146a992925388d4b3f1113bdd9e118f7ba15a0ebaef0","hashLabelDe":"Gesamtes öffentliches automatisches Akustik-Lektionstranskript","materialLabelDe":"Ganzes öffentliches Autotranskript 0:00–9:14 gelesen · keine vollständige Aufnahme-Zeitachse","authorBackgroundDe":"Originaler GuitarJamz-Kanal; der Lehrer stellt sich 1:04 als Marty Schwartz vor und nennt die eigene Website. 1:33–1:44 beschreibt er ausdrücklich eine möglichst einfache Übertragung des Klavierparts für Solo-Akustikgitarre.","inspectionDe":"2:04–2:23 nennt Dm und Dm7 als beide mögliche Optionen, Dm7 als jazzigere Variante. 2:48–3:16 kann ein C-Basston unter dem gehaltenen Dm7-Griff oder ein vereinfachter C-Akkord stehen, nicht zwingend F/C. 3:55–4:11 hält er eine B♭-Form über A/G und bietet 4:37–4:49 Am7 als Alternative; daraus folgt keine Bestätigung jeder F/A-Stimme. 5:04–5:27 nennt er B♭/C mit Barré ab der A-Saite. 6:16–6:30 verweist auf den F-Einzeltonteil, 6:34–8:37 auf B♭maj7/Gm7/Am7 und verschiedene Hits; keine taktweise vollständige Form oder präzise Wechselzählzeiten.","limitationsDe":"Unabhängiger Lehrer, aber bewusst vereinfachte Begleitfassung. Sein Dm/Dm7-Wahlangebot entscheidet nicht, welche Töne die Originalaufnahme tatsächlich enthält. C statt F/C und B♭/A beziehungsweise Am7 statt F/A bleiben klanglich verschiedene Optionen. Nicht als zweite vollständige Master-Transkription oder als Bestätigung aller Einsätze zählen.","auditLocator":"Original GuitarJamz/Marty self-identification1:04 and actual publication date verified. Entire public automatic transcript0:00–9:14 read, video length9:23; no full video/master listening. Explicit simplified solo-acoustic arrangement1:33–1:44; Dm or optionalDm7 at2:04–2:23. Bb/C5:04–5:27 supports that chord choice, not exact held durations or full song. Alternative C-bass/C, Bb/A orAm7 must not be silently equated withF/C,F/A."}],"findings":[{"id":"a-section-dm7","labelDe":"A-Teil: sieben Dm7-Klangentscheidungen","status":"resolved-teaching-choice","catalogBarNumbers":[2,6,20,24,36,40,48],"observations":[{"sourceId":"hal-leonard-rich-girl-pvg","location":"Seiten 1/3/5 · Takte 2/6/20/24/36/40; Schlussvariante 48","detailDe":"Die Dm7–F/C-Grundfolge ist wiederholt ausgeschrieben; der gedruckte Schluss 48 hat Dm7–F statt F/C."},{"sourceId":"jon-maclennan-rich-girl","location":"3:10–3:21, Bild 3:22; 6:45–6:51 und 8:25–8:58","detailDe":"Dm7 x57565 gehört zu seinem A-Muster; spätere A-Durchläufe unterscheiden sich am letzten Takt, nicht am Dm7-Grundklang."},{"sourceId":"marty-schwartz-rich-girl","location":"2:04–2:23","detailDe":"Dm7 ist ausdrücklich eine mögliche jazzigere Wahl neben Dm, keine Entscheidung über jeden Originalton."}],"resolutionDe":"Die entsprechende A-Grundfolge erhält in Übungstakt 2/6/20/24/36/40/48 Dm7 statt Dm. Position 1, D-Bass, das folgende F/C und jede Taktlänge bleiben erhalten. Takt 48 ist die Anwendung des belegten A-Lernmusters auf den bestehenden Fadeout, keine bestätigte Gleichsetzung mit dem abweichenden gedruckten Fermatenschluss.","nextCheckDe":"Originalaufnahme und tatsächliche C-Beimischung in allen Wiederholungen abgleichen; Dm in B-Übergängen 14/30 sowie Sondertakt 42 nicht automatisch ersetzen."},{"id":"suspended-dominant-bb-c","labelDe":"B♭/C statt voll ausgebreitetem C11","status":"resolved-teaching-choice","catalogBarNumbers":[4,18,22,34,38,46,50],"observations":[{"sourceId":"hal-leonard-rich-girl-pvg","location":"4/18/22/34/38/46 · Seiten 1/3/5/6","detailDe":"B♭/C ist notiert; 22/38/46 führen danach zu B♭/D, nicht zu einem durchgehend unveränderten C-Bass."},{"sourceId":"jon-maclennan-rich-girl","location":"4:16–4:39, Bild 4:29; 9:56–10:00 und 10:35–10:46","detailDe":"B♭/C wird in A und B erklärt; im A-Teil folgt ein C-Akkord als weiterer Einzelschlag."},{"sourceId":"marty-schwartz-rich-girl","location":"5:04–5:27","detailDe":"B♭/C wird ausdrücklich als Begleitgriff benannt."}],"resolutionDe":"Sieben bestehende C11-Ereignisse werden als belegte B♭/C-Lernvoicings gespielt, mit unverändertem C-Bass und bisherigen Einsätzen. Die große Terz E eines vollständig ausgebreiteten C11 wird dabei nicht hinzugefügt. Die Anwendung auf Fadeout-Takt 50 folgt dem A-Lernmuster und behauptet keine identische Original-Schlussform.","nextCheckDe":"Zusätzlichen C-Schlag oder D-Bass am letzten Viertel sowie genaue gehaltene Dauer pro Wiederholung anhand aufnahmegleicher Quellen entscheiden; bisherige Taktpositionen nicht als neu bestätigt ausgeben."},{"id":"short-bar-and-single-note-break","labelDe":"Der kurze 2/4-Takt bleibt · Einzelton-Break getrennt prüfen","status":"open","catalogBarNumbers":[8,9,10,26],"observations":[{"sourceId":"hal-leonard-rich-girl-pvg","location":"Seite 2 · Takte 8–10; Seite 4 · 26","detailDe":"8 steht in 2/4, danach wieder 4/4; die instrumentale Figur und spätere Auftaktakkorde sind ausgeschrieben."},{"sourceId":"jon-maclennan-rich-girl","location":"6:12–7:42 und 8:25–8:58","detailDe":"Erstes A-Ende hat zwei Viertel, dann ungefähr sieben Viertel F-Einzeltöne und einen Übergang; spätere Enden bleiben 4/4."}],"resolutionDe":"Der vorhandene kurze Takt 8 bleibt exakt zwei Viertel lang. Kein ganzer zusätzlicher Auftakttakt und keine Kürzung späterer 4/4-Takte. Die bestehende Akkord-/Bassbegleitung der zwei Interlude-Takte wird nicht allein aus einer Gitarren-Einzeltonlinie als vollständige Bandstille umgedeutet.","nextCheckDe":"Bandbesetzung, Auftakt und genaue F/G- beziehungsweise Gm7/Am7-Wechsel des Breaks gegen denselben Original-Master prüfen."},{"id":"passing-chords-and-bass","labelDe":"Durchgänge und Bassvarianten sind noch nicht übereinstimmend belegt","status":"open","catalogBarNumbers":[10,11,13,14,15,17,22,26,27,30,31,33,38,42,43,45,46],"observations":[{"sourceId":"hal-leonard-rich-girl-pvg","location":"Seiten 2–6 · zusätzliche Am7/Dm7, B♭/D und B♭","detailDe":"Mehr Durchgänge als die McGill-Grundharmonie; 42 beginnt B♭ statt Gm7, 43/45 B♭ statt B♭maj7."},{"sourceId":"jon-maclennan-rich-girl","location":"9:38–10:46","detailDe":"Die Gitarrenfassung reduziert Durchgänge und verwendet eine F/A-Verbindung."},{"sourceId":"marty-schwartz-rich-girl","location":"2:48–3:16, 3:55–4:49, 7:55–8:37","detailDe":"Mehrere ausdrücklich alternative Begleitgriffe; gleiche Bassbewegung ist nicht dieselbe vollständige Akkordstimme."}],"resolutionDe":"Dm in 14/30/42, vorhandene F/C/F/A-Basstöne und alle nicht oben genannten Durchgänge bleiben unverändert. Keine zusätzliche unabhängige Vollbestätigung aus zwei unterschiedlichen vereinfachten Varianten ableiten.","nextCheckDe":"Weitere hochwertige vollständige Originalquelle derselben Aufnahme für die strittigen B-Stellen und letzten A-Varianten hinzunehmen, bis zwei dieselben Töne und Einsätze bestätigen."},{"id":"recording-form-and-tempo","labelDe":"50 Quelltakte und 84 BPM bleiben · vollständiger Mastervergleich offen","status":"open","catalogBarNumbers":[1,35,46,47,48,49,50],"observations":[{"sourceId":"hal-leonard-rich-girl-pvg","location":"Seiten 1/5/6 · 80 BPM, Auftakt, Wiederholung 35–46 und Fermate 48","detailDe":"48 nummerierte geschriebene Takte plus Auftakt, keine 50-Takt-Fadeout-Zeitachse. Die Viewer-Metadaten nennen 49 Takte und 3:00, nicht die identifizierte Länge des McGill-Masters."},{"sourceId":"jon-maclennan-rich-girl","location":"1:43–1:59, 8:25–8:58, 10:50–11:05","detailDe":"Zwei Hauptmuster und Anfangsvariante; keine vollständige lineare Formliste oder unabhängige Aufnahme-Tempomessung."},{"sourceId":"marty-schwartz-rich-girl","location":"1:33–1:44 und 6:16–6:30","detailDe":"Vereinfachte Solo-Gitarrenfassung mit ungefährer Wiederholungserklärung, kein Master-/Fadeout-Nachweis."}],"resolutionDe":"Alle 50 Quelltakte, acht Teile, 198 Viertel einschließlich des kurzen Takts und die bisherigen 84 BPM bleiben erhalten. Der ausgeschriebene PVG-Schluss wird nicht auf den bestehenden Fadeout übertragen. Originalquelle und Rohvergleich bleiben unverändert zugänglich.","nextCheckDe":"Original-Masteridentität, ganze Form, Wiederholungsanzahl, sämtliche Wechsel und Schlussdauer mit weiteren unabhängigen vollständigen Quellen abgleichen; kein Nummer-1-Nachweis allein aus dem McGill-Header."}],"limitationDe":"Zwei Begleitquellen stützen die gewählte Dm7-/B♭/C-Klangfassung; die dritte zeigt auch bewusst vereinfachte Alternativen. Keine vollständige Originalaufnahme gehört, keine neue höhere musikalische Prüfklasse und keine neue Nummer-1-Zertifizierung. Genaue Dauern und vollständige Songform bleiben offen."},"sourceDetailReview":{"changedBarNumbers":[2,4,6,18,20,22,24,34,36,38,40,46,48,50],"preserveOriginalComparison":true,"reasonDe":"A-Lernmuster: Dm7 und B♭/C; Form/Einsätze offen."},"unmeteredLeadIn":{"startSeconds":0,"firstBarSeconds":0.72,"durationSeconds":0.72,"restEvents":1,"firstNumberedBar":1,"practicePolicy":"start-at-first-numbered-source-bar","needsTimingReview":false,"recordingSilenceVerified":false},"unmeteredTail":{"sourceBar":"=50","finalBarQuarterNotes":4,"completeFinalBarProven":true,"startSeconds":143.523,"endSeconds":147.395,"lastMusicalSeconds":142.1,"restEvents":2,"practicePolicy":"exclude-unmetered-tail-after-complete-final-bar","needsTimingReview":false,"recordingSilenceVerified":false},"sourceRhythmReview":{"method":"notated-harm-reciprocal-durations","completeBars":50,"unresolvedBars":0,"adjustedBars":[{"barNumber":14,"sourceBar":"=14","previousOnsets":[0,1.3333333333333333,2.6666666666666665],"onsets":[0,1,2]},{"barNumber":30,"sourceBar":"=30","previousOnsets":[0,1.3333333333333333,2.6666666666666665],"onsets":[0,1,2]},{"barNumber":42,"sourceBar":"=42","previousOnsets":[0,1.3333333333333333,2.6666666666666665],"onsets":[0,2,3]}]},"primaryImportCheck":{"sourceRead":true,"sourceSha256":"289662ea143a551f99bfd881bbd55489e8481e9f6b70e9715ab87956e0c94420","normalizedImportMatches":true,"reviewedTeachingDetails":true,"rawSourceComparison":{"catalogBars":50,"sourceBars":50,"matchingBars":36,"differingBarNumbers":[2,4,6,18,20,22,24,34,36,38,40,46,48,50]},"catalogBars":50,"sourceBars":50,"matchingBars":50,"differingBarNumbers":[]},"independentExpertAnalyses":1,"independentQualifiedAnalyses":1,"sourceCount":4,"primaryCoverage":{"bars":50,"withinBarPositionsPresent":true},"comparisons":[],"sources":[{"id":"hal-leonard-rich-girl-pvg","family":"named-teacher-publication","kind":"official-publisher-piano-vocal-guitar-score","annotator":"Hal Leonard · Rich Girl Piano/Vocal/Guitar","independentExpert":false,"primary":false,"url":"https://musescore.com/user/39593079/scores/6933536","barAligned":false,"sourceSha256":"fb686481fd391571493b9a3a366449e806b734e1ed42df0d536f8de3d57e5244","locator":"All6 official PVG pages read normally in overlapping views. Printed numbered bars1–48 plus pickup; page counts6+10+8+8+8+8. Viewer49 includes pickup, not a linear master count. F/4-4/quarter80, printed bar8 in2-4. Dm7 andBb/C repeatedly explicit; additional B-section passing chords, Bb/D and Bb versus Gm7 at42 remain distinct. Repeat begins35 and ends46, written47/48 end on F with fermata. Pages1/6 privately saved,2–5 bundling failed. No purchase/credits/printing/download-button or original-recording listening."},{"id":"jon-maclennan-rich-girl","family":"named-teacher-publication","kind":"original-teacher-complete-public-transcript-and-targeted-frames","annotator":"Jon MacLennan · Rich Girl guitar lesson","independentExpert":false,"primary":false,"url":"https://www.youtube.com/watch?v=wqoAyBVFmhU","barAligned":false,"sourceSha256":"001c06d9d8fe19b1f67daeab55082c644ac97af42379a0dcd27227e93072a90a","locator":"Own verified channel/date and original blog read. Entire public auto-transcript0:00–12:23, no whole-video/original-recording listening. Dm7x57565 at3:10–3:21 and paused3:22; Bb/C at4:16–4:35 and paused4:29, then C for one beat each. First short2/4 bar6:12–6:59, later4/4 A-ending8:25–8:58. B-section9:38–10:46 is an accompaniment pattern, not a linear complete repeat/master timeline. No paid tabs or downloads bought."},{"id":"marty-schwartz-rich-girl","family":"named-teacher-publication","kind":"original-teacher-simplified-acoustic-accompaniment-transcript","annotator":"Marty Schwartz · GuitarJamz","independentExpert":false,"primary":false,"url":"https://www.youtube.com/watch?v=GW6pti04qIo","barAligned":false,"sourceSha256":"98b0ab8e284ce7f91992146a992925388d4b3f1113bdd9e118f7ba15a0ebaef0","locator":"Original GuitarJamz/Marty self-identification1:04 and actual publication date verified. Entire public automatic transcript0:00–9:14 read, video length9:23; no full video/master listening. Explicit simplified solo-acoustic arrangement1:33–1:44; Dm or optionalDm7 at2:04–2:23. Bb/C5:04–5:27 supports that chord choice, not exact held durations or full song. Alternative C-bass/C, Bb/A orAm7 must not be silently equated withF/C,F/A."}],"limitations":[]},{"id":"mcgill-billboard-dean-martin-everybody-loves-somebody","title":"Everybody Loves Somebody","artist":"Dean Martin","primarySourceUrl":"https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops/blob/6b04f4f99477dd97b6e98abd86a2448a481ddf7b/Billboard/Data/DeanMartin_EverybodyLovesSomebody_1964.harm","status":"needs-independent-second-source","teacherSourceReview":{"checkedOn":"2026-10-23","status":"public-publisher-preview-and-harmonic-worksheet-choice-full-recording-open","completeSongVerified":false,"originalRecordingFormVerified":false,"exactChangeBeatsVerified":false,"summaryDe":"Die vollständige öffentlich angebotene erste Alfred-Vorschauseite, Curt Shellers ganzer öffentlich sichtbarer Harmonieabschnitt und Eric DeLucas komplettes öffentliches Autotranskript wurden gelesen. Alfred und Sheller stützen nach Tonartangleichung den verminderten Dreiklang G♭–A–C in der chromatischen Verbindung, statt G♭–A–D♭. Nur vier bisherige G♭m-Ereignisse werden deshalb zu G♭dim-Lernklängen. Septime, genaue Einsätze, übrige Bass-/Akkordfarben, ganze Form und Original-Master bleiben offen. Zwei Hal-Leonard-Ausgaben waren in der tatsächlich angemeldeten Sitzung regional gesperrt und zählen nicht als gelesen.","sources":[{"id":"alfred-everybody-tv-preview","author":"Alfred Music · Everybody Loves Somebody Piano/Vocal/Chords","kind":"original-publisher-public-first-page-preview","url":"https://www.alfred.com/products/everybody-loves-somebody-00-ps-0008952","publisherPage":"https://www.alfred.com/products/everybody-loves-somebody-00-ps-0008952","pages":1,"allPagesRead":false,"fullScoreRead":false,"visuallyReadPageNumbers":[1],"recordingListened":false,"printedKey":"F","printedMeter":"4/4","comparisonTransposeSemitones":-2,"printedTempoText":"Slowly","printedQuarterNoteBpm":null,"sha256":"7e755e70de7d735fd343c31736ea18bedcbaf429d3126c234ff2b91677748552","hashLabelDe":"Gelesene vollständige öffentliche erste Vorschauseite · PNG","materialLabelDe":"Eine vollständige öffentliche Vorschauseite · neun manuell gezählte unnummerierte Takte · F-Dur · Slowly","inspectionDe":"Der Kopf nennt die TV-Serie The Dean Martin Show, Irving Taylor und Ken Lane. 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Die verminderte Septime E♭ und die genaue Vorwegnahme sind nicht durch die andere Analyse ebenso detailliert bestätigt.","auditLocator":"Entire one publicly offered first preview PNG read, not a full purchased score. TV-series header The Dean Martin Show, F/4-4/Slowly, nine manually counted unnumbered bars. Printed Abdim7 approach beforeGm7 becomesGbdim7 beforeFm7 after minus2semitones. Shared triadGb-A-C only; seventhEb and exact onset not independently matched. Additional C9/C7b9/C7#5/C7-6 colours remain distinct. Normal public image archived privately; no purchase/credits/cart or protected redistribution."},{"id":"curt-sheller-everybody-harmonic-worksheet","author":"Curt Sheller Publications · Harmonic Analysis ULHA-YB-78","kind":"original-teacher-public-harmonic-worksheet-based-on-daily-ukulele","url":"https://learningukulele.com/lessons/code/ULHA-YB-78","publisherPage":"https://learningukulele.com/lessons/code/ULHA-YB-78","publishedOn":"2024-01-05","completePublicWorksheetRead":true,"fullScoreRead":false,"allPagesRead":false,"recordingListened":false,"worksheetKey":"D","comparisonTransposeSemitones":1,"sourceBookIdentified":true,"sourceBook":"The Daily Ukulele · Yellow Book","sha256":"650a5d3f3023983784480b033dd38d3e423ffff3a23ad6347b2407cc3d8fee50","hashLabelDe":"Vollständig gelesener öffentlich sichtbarer Harmonieabschnitt · DOM-Text","materialLabelDe":"Ganzer öffentlich sichtbarer Harmonieabschnitt und seine Grenzen gelesen · keine gesperrten Zusatzinhalte geöffnet","authorBackgroundDe":"Eigene Autoren-/Verlagsseite, Autor und Herausgeber Curt Sheller ausdrücklich genannt. 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Premium-/Login-Zusätze und das vollständige zugrunde liegende Buch wurden nicht geöffnet. Die drei gemeinsamen Dreiklangstöne entscheiden nicht über eine zusätzliche Septime oder jede gehaltene Dauer im Master.","auditLocator":"Entire public visible HTML harmonic worksheet and surrounding explicit limitations read in normal browser, no blur/login/premium bypass. Visible gridD, Fdim approach beforeEm; plus1semitone sharedGb-A-C. It explicitly is NOT a leadsheet, refers toDailyUkulele, allows omitted chromatic approaches and suggested turnbacks. Reference proseC/119BPM conflicts with visibleD grid; no tempo/master equivalence inferred. Public worksheet DOM-text518characters fingerprinted, no chart image/text republished."},{"id":"eric-deluca-everybody-simple-lesson","author":"Eric DeLuca · One Star Guitar Lessons","kind":"original-teacher-simplified-public-transcript-with-unclear-auto-captions","url":"https://www.youtube.com/watch?v=YqUDSXgEULw","publisherPage":"https://www.youtube.com/@ericdelucamusic1","publishedOn":"2017-01-17","videoDurationSeconds":149,"completePublicTranscriptRead":true,"fullVideoWatched":false,"fullScoreRead":false,"recordingListened":false,"sha256":"6a6a9ed35da07f72da2df248fd3077e5918d6292219a35753a961a4b29b40a12","hashLabelDe":"Komplettes öffentliches automatisches Kurz-Lektionstranskript","materialLabelDe":"Ganzes öffentliches Autotranskript 0:00–2:23 gelesen · viele musikalische Untertitel unverständlich","authorBackgroundDe":"Eigener Eric-DeLuca-Kanal und Selbstvorstellung als One Star Guitar Lessons; Titel und tatsächliches Veröffentlichungsdatum normal geprüft. Bei 0:03–0:12 nennt er Capo 3 und ausdrücklich eine Vereinfachung des akkordreichen Songs.","inspectionDe":"0:03–0:14: Capo 3, C-Griff als Ausgangspunkt; das klingt in E♭. Die folgende automatische Akkordbezeichnung ist unverständlich, ebenso große Teile der gesungenen Demonstration. 1:12–1:20 sagt der Lehrer, beim zweiten Durchlauf länger auf dem Anfangsgriff zu bleiben. Daraus werden weder vier präzise verminderte Einsätze noch eine vollständige Formbestätigung abgeleitet.","limitationsDe":"Bewusst stark vereinfachte Kurzlektion. Automatische Untertitel wie die unklare Bezeichnung nach C liefern keinen verlässlichen Akkord-/Bass-/Zählzeitenabgleich. Kein ganzes Video oder Original-Master gehört, keine vollständigen Noten gelesen; nicht als unabhängige komplette Bestätigung zählen.","auditLocator":"Own teacher video/date read; complete public auto-transcript0:00–2:23 of2:29 video, not full audiovisual listening. Capo3/C-shape and explicit simplification0:03–0:14; most later automatic chord/singing captions unclear. Never infer a precise augmented/diminished chord or full recording/form from those captions."}],"findings":[{"id":"chromatic-diminished-core","labelDe":"Vier chromatische Lernklänge: G♭dim statt G♭m","status":"resolved-teaching-choice","catalogBarNumbers":[7,15,31,47],"observations":[{"sourceId":"alfred-everybody-tv-preview","location":"Erste Vorschauseite · zweite Notenzeile · chromatischer Übergang","detailDe":"A♭dim7 in F-Dur ergibt nach zwei Halbtönen abwärts G♭–A–C–E♭, nicht den Moll-Dreiklang G♭–A–D♭."},{"sourceId":"curt-sheller-everybody-harmonic-worksheet","location":"Öffentlicher A-Teil · zweite Rasterzeile · Fdim vor Em","detailDe":"D-Dur-Raster einen Halbton aufwärts: G♭–A–C vor Fm. Eine Septime wird im Fdim-Symbol nicht ausdrücklich angegeben."}],"resolutionDe":"Nur die vier bestehenden G♭m-Ereignisse in Übungstakt 7/15/31/47 werden zu G♭dim. 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Der Rohvergleich zur Originaldatei bleibt separat sichtbar.","nextCheckDe":"Weitere hochwertige vollständige Originalquelle derselben Dean-Martin-Aufnahme für Intro, Bass, Bridge-Farben und die verbleibenden Slashakkorde lesen; abweichende Bearbeitungen nicht als komplette Übereinstimmung zählen."},{"id":"arrangement-form-and-tempo","labelDe":"51 Takte und 81 BPM bleiben · Aufnahme und Gesamtform offen","status":"open","catalogBarNumbers":[1,2,3,19,35,43,49,50,51],"observations":[{"sourceId":"alfred-everybody-tv-preview","location":"TV-Serien-Kopf, F-Dur und Slowly","detailDe":"Nur erste Vorschauseite, keine vollständige 51-Takt-Zeitachse oder belegte Identität mit dem 1964er McGill-Master."},{"sourceId":"curt-sheller-everybody-harmonic-worksheet","location":"Volten/Fine/D.C. und widersprüchliche Referenzangaben","detailDe":"Buchbezogener Fahrplan, kein vollständiger Aufnahmeablauf; Text C/119 BPM wird nicht über das sichtbare D-Raster oder die vorhandenen 81 BPM gestellt."}],"resolutionDe":"51 Quelltakte, sieben Teile, 204 Viertel und 81 BPM einschließlich aller bisherigen Wechselpositionen, Intro-/Schlussmarken bleiben unverändert. Kein zusätzlicher Auftakttakt, keine ungeprüfte Wiederholung und kein neuer Originaltempo-/Nummer-1-Nachweis.","nextCheckDe":"Die konkrete Aufnahmefassung, vollständige Form/Wiederholungen, Anfangsbesetzung, alle Einsätze und Schlussdauer mit passenden unabhängigen Vollquellen abgleichen."},{"id":"publisher-access-not-read","labelDe":"Regionale Verlagsgrenze: zwei Ausgaben nicht gelesen","status":"open","catalogBarNumbers":[],"observations":[{"sourceId":"alfred-everybody-tv-preview","location":"MuseScore · tatsächlich angemeldete Sitzung · 23.10.2026","detailDe":"Hal Leonard Real Book 15958291 und die vom Anbieter vorgeschlagene Easy-Piano-Ausgabe 6951981 meldeten beide nicht in deinem Land verfügbar. Kein Scoreinhalt dieser beiden Ausgaben gelesen."}],"resolutionDe":"Diese Titeltreffer werden nicht als gelesene musikalische Belege oder unabhängige Bestätigungen gezählt. Keine Länder-/IP-/Kontoänderung, kein Kauf/Credit und keine Zugangssperre umgangen.","nextCheckDe":"Nur bei tatsächlich neu verfügbarem legitimem Vollzugang oder einer anderen zugänglichen hochwertigen Originalquelle erneut prüfen; dieselben regional gesperrten Seiten nicht wiederholt als Fortschritt aufrufen."}],"limitationDe":"Eine vollständige öffentliche erste Verlagsvorschauseite und ein öffentliches, ausdrücklich reduziertes Buch-Arbeitsblatt stützen die gemeinsame verminderte Dreiklangswahl. Keine zweite unabhängige vollständige Originalaufnahme-Transkription, kein vollständiger Master gehört und keine höhere musikalische Prüfklasse. Die Kurzlektion und gesperrten Titeltreffer schließen diese Lücken nicht."},"sourceDetailReview":{"changedBarNumbers":[7,15,31,47],"preserveOriginalComparison":true,"reasonDe":"Chromatische Lernverbindung: G♭dim statt G♭m; Septime/Form offen."},"unmeteredLeadIn":{"startSeconds":0,"firstBarSeconds":0.302,"durationSeconds":0.302,"restEvents":1,"firstNumberedBar":1,"practicePolicy":"start-at-first-numbered-source-bar","needsTimingReview":false,"recordingSilenceVerified":false},"sourceRhythmReview":{"method":"notated-harm-reciprocal-durations","completeBars":50,"unresolvedBars":1,"adjustedBars":[{"barNumber":4,"sourceBar":"=4","previousOnsets":[0,1.3333333333333333,2.6666666666666665],"onsets":[0,2,3]},{"barNumber":7,"sourceBar":"=7","previousOnsets":[0,1.3333333333333333,2.6666666666666665],"onsets":[0,2,3]},{"barNumber":9,"sourceBar":"=9","previousOnsets":[0,2],"onsets":[0,3]},{"barNumber":10,"sourceBar":"=10","previousOnsets":[0,1.3333333333333333,2.6666666666666665],"onsets":[0,2,3]},{"barNumber":12,"sourceBar":"=12","previousOnsets":[0,1.3333333333333333,2.6666666666666665],"onsets":[0,2,3]},{"barNumber":15,"sourceBar":"=15","previousOnsets":[0,1.3333333333333333,2.6666666666666665],"onsets":[0,2,3]},{"barNumber":23,"sourceBar":"=23","previousOnsets":[0,1.3333333333333333,2.6666666666666665],"onsets":[0,2,3]},{"barNumber":28,"sourceBar":"=28","previousOnsets":[0,1.3333333333333333,2.6666666666666665],"onsets":[0,2,3]},{"barNumber":31,"sourceBar":"=31","previousOnsets":[0,1.3333333333333333,2.6666666666666665],"onsets":[0,2,3]},{"barNumber":39,"sourceBar":"=39","previousOnsets":[0,1.3333333333333333,2.6666666666666665],"onsets":[0,2,3]},{"barNumber":44,"sourceBar":"=44","previousOnsets":[0,1.3333333333333333,2.6666666666666665],"onsets":[0,2,3]},{"barNumber":47,"sourceBar":"=47","previousOnsets":[0,1.3333333333333333,2.6666666666666665],"onsets":[0,2,3]}]},"primaryImportCheck":{"sourceRead":true,"sourceSha256":"249384e37d1111549dcbb404760bc1888e6ae3a3a7f0cbad4b961a19abfd6fa9","normalizedImportMatches":true,"reviewedTeachingDetails":true,"rawSourceComparison":{"catalogBars":51,"sourceBars":51,"matchingBars":47,"differingBarNumbers":[7,15,31,47]},"catalogBars":51,"sourceBars":51,"matchingBars":51,"differingBarNumbers":[]},"independentExpertAnalyses":1,"independentQualifiedAnalyses":1,"sourceCount":4,"primaryCoverage":{"bars":51,"withinBarPositionsPresent":true},"comparisons":[],"sources":[{"id":"alfred-everybody-tv-preview","family":"named-teacher-publication","kind":"original-publisher-public-first-page-preview","annotator":"Alfred Music · Everybody Loves Somebody Piano/Vocal/Chords","independentExpert":false,"primary":false,"url":"https://www.alfred.com/products/everybody-loves-somebody-00-ps-0008952","barAligned":false,"sourceSha256":"7e755e70de7d735fd343c31736ea18bedcbaf429d3126c234ff2b91677748552","locator":"Entire one publicly offered first preview PNG read, not a full purchased score. 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Erst dann frühe Stopps, deren Länge und jede Einsatzzählzeit entscheiden; keine gleichmäßige Neuverteilung."},{"id":"different-key-and-ending","labelDe":"Kapo-Fassung und fester Gitarrenschluss sind kein Original-Fadeout","status":"open","catalogBarNumbers":[1,49,73,89,93,94,95,96],"observations":[{"sourceId":"hal-leonard-runaround-real-book","location":"Beide Seiten · Tonart, Fahrplan und Coda","detailDe":"D-Dur und Grundfolge passen zur Annotation; Volten, Segno/Coda und D.S.S.andFade sind aber keine zweite lineare 96-Takt-Zeitleiste."},{"sourceId":"alan-robinson-runaround-2022","location":"Kopf Blatt 1 und Ende Blatt 2","detailDe":"Kapo 1 über A-Griffen ergibt B♭, nicht D. Eigener Übergang und festes Strum-Ende ändern die Form; funktional ähnliche Akkorde allein bestätigen nicht dieselbe Aufnahmefassung."}],"resolutionDe":"D-Dur, alle 96 Takte, zehn Abschnitte, 384 Viertel und der vorhandene Ausklang bleiben erhalten. Keine zusätzliche Wiederholung, Gitarren-Schlusskadenz, andere Tonart oder Aufnahme-Dauer wird aus den Bearbeitungen übernommen.","nextCheckDe":"Aufnahmeidentität, tatsächliche Teile/Reihenfolge/Wiederholungen und exakte Fadeout-Länge mit einer weiteren unabhängigen vollständigen Originalquelle abgleichen."}],"limitationDe":"Zwei zusätzliche vollständige Publikationen sind gelesen, jedoch keine zwei übereinstimmenden unabhängigen Vollanalysen desselben Masters. Kein vollständiges Originalaudio gehört. Die weiteren Hal-Leonard-PVG-Verweise 15391825 und 6951372 wurden nur gefunden, nicht gelesen und nicht mitgezählt; zusätzliche Ausgaben desselben Verlags wären nicht automatisch unabhängige Autorenbelege. 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D, alla-breve,Freely thenMed.,no numeric tempo. D/Bm/G/A,voltas,segno,double-segno,coda,N.C. at several section endings,D.S.S.andFade. Melody rests not automatic band rests; no linear96-bar/master/onset certificate. No purchase,credits,download-button,fullaudio or protected score/lyrics redistribution."},{"id":"alan-robinson-runaround-2022","family":"named-teacher-publication","kind":"original-teacher-complete-public-chord-sheet-own-acoustic-interpretation","annotator":"Alan Robinson · Guitar Tutor Man","independentExpert":false,"primary":false,"url":"https://guitartutorman.com/dion-runaround-sue-2022/","barAligned":false,"sourceSha256":"667f3fa243c02e451474215e0aac666be700fa7b9e70b55590a519faddac2993","locator":"Both complete original publicly offered2022song-sheet PNGs visually read and privately hashed; exact embeddedvideoiUt2Fr59Oek attribution checked,description only,not fullvideo/audio. A/F#m/D/Eshapes,capo1,soundingBb/Gm/Eb/F; comparewritten+5,sounding+4 to McGillD. Own acousticinterpretation,earlySTOPs,additionaltransition,fixedstrumend,no exact bar/beatplan. Two sheets/video countone author lineage,not independent master verification."}],"limitations":[]},{"id":"mcgill-billboard-donovan-sunshine-superman","title":"Sunshine Superman","artist":"Donovan","primarySourceUrl":"https://github.com/Computational-Cognitive-Musicology-Lab/CoCoPops/blob/6b04f4f99477dd97b6e98abd86a2448a481ddf7b/Billboard/Data/Donovan_SunshineSuperman_1966.varms.hum","status":"needs-independent-second-source","teacherSourceReview":{"checkedOn":"2026-10-23","status":"complete-publisher-and-conversion-read-bounded-fermata-import-review","completeSongVerified":false,"originalRecordingFormVerified":false,"exactChangeBeatsVerified":false,"summaryDe":"Alle sieben Hal-Leonard-Gitarrenseiten, beide Seiten der ausdrücklich als PDF-Konvertierung bezeichneten Dick-Schmitt-Bearbeitung sowie die zwei frei angebotenen Jerry-Vorschauausschnitte wurden gelesen. Die Primärdatei enthält 108 nummerierte Takte, aber zusätzlich ungetaktete Pausen-Fermaten vor und nach diesen Takten. Nur deren falsche Einordnung ins Übungsraster wird korrigiert: kein zusätzlicher Anfangstakt und kein vorzeitiger Stopp im letzten Takt. Sololänge, Akkordfarben, Aufnahmeidentität und exakte Aufnahme-Zeitgrenzen bleiben offen; Konvertierung und Vorschau sind keine neuen unabhängigen Vollanalysen.","sources":[{"id":"hal-leonard-sunshine-guitar-tab","author":"Hal Leonard · Sunshine Superman – Guitar Tab","kind":"official-publisher-complete-multiple-guitar-score","url":"https://musescore.com/user/39593079/scores/15506242","publisherPage":"https://musescore.com/official_scores","pages":7,"allPagesRead":true,"fullScoreRead":true,"visuallyReadPageNumbers":[1,2,3,4,5,6,7],"recordingListened":false,"printedKey":"Db","printedMeter":"4/4","printedQuarterNoteBpm":133,"manuallyCountedIntroBars":8,"manuallyCountedSoloBars":16,"printedBarNumbersPresent":false,"sha256":"75c8ee137660c90d4361d792945b0fd4db30c00744452140b5ee4f6a91a9ede6","hashLabelDe":"Gelesene Verlagsseite 1 · privat gesichertes SVG","pageSha256":["75c8ee137660c90d4361d792945b0fd4db30c00744452140b5ee4f6a91a9ede6",null,null,null,null,"e3abef94bba4879b8f76ebdb4cb53254129b4c3a1b7e9d06713d32b4aea10d9d","d41667b1dfe3395d3af84df114bed31aebf563b02d44528e95ccc6f6fbfbc1c9"],"materialLabelDe":"Alle sieben Gitarrennotenseiten in überlappenden normalen Vieweransichten gelesen · keine vollständige Bandpartitur","inspectionDe":"D♭, 4/4 und Viertel=133. 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Die 16 Solo-Takte, zusätzlichen Stimmen und der offene Coda-Fade dürfen nicht ungeprüft auf den kürzeren Quellensolo-/Schlussablauf übertragen werden. Ein fehlender Pausentakt im Druck beweist keine Anfangsstille im Master.","auditLocator":"Sieben vollständige Original-Gitarrenseiten gelesen; D♭/4-4/Viertel133, acht Intro- und 16 Solo-Takte selbst gezählt. Strophe D♭7/G♭7, Refrain/Solo A♭/G♭ ohne Septime, Volten/D.S./Coda/Fade. Nur1/6/7 privat gesichert;2–5 gelesen, Sicherung fehlgeschlagen. Kein Master gehört, keine unabhängige Vollbestätigung."},{"id":"dick-schmitt-sunshine-pdf-conversion","author":"Dick Schmitt · ausdrücklich bezeichnete PDF-Konvertierung","kind":"complete-community-conversion-unidentified-original-pdf-lineage","url":"https://musescore.com/user/498481/scores/36005240","publisherPage":"https://musescore.com/user/498481","pages":2,"allPagesRead":true,"fullScoreRead":true,"visuallyReadPageNumbers":[1,2],"recordingListened":false,"originalPdfIdentified":false,"independentOriginalAnalysisEstablished":false,"declaredConversion":"PDF to Musescore XML Conversion","printedKey":"C","comparisonTransposeSemitones":1,"printedQuarterNoteBpm":133,"printedMeasureCount":72,"introBars":8,"writtenSoloBarNumbers":[41,42,43,44],"playbackMetadataSeconds":188,"sha256":"78184d923d132f7c486aa7f20dcb567e923280face6d81db11a2b78f0dc005be","hashLabelDe":"Gelesene Konvertierungsseite 1 · privat gesichertes SVG","pageSha256":["78184d923d132f7c486aa7f20dcb567e923280face6d81db11a2b78f0dc005be","f13f66e6e297f3ff4a4f6c1dcabcd249e97ea01fac5bd30232949796bde1dc65"],"materialLabelDe":"Beide vollständigen Seiten gelesen · ursprüngliche PDF-Vorlage und unabhängige Autorschaft nicht nachgewiesen","authorBackgroundDe":"Die eigene Partiturseite nennt ausdrücklich eine PDF-zu-MuseScore-XML-Konvertierung, aber weder den Verlag noch den ursprünglichen Transkribenten der Vorlage. Moderatorstatus und ein anderer Benutzername beweisen keine unabhängige Analyse. Verlinktes Video und Wikipedia wurden nicht als zusätzliche musikalische Quellen gezählt.","inspectionDe":"C-Dur/133 BPM, acht Intro-Takte, 72 geschriebene Takte mit Wiederholungen und vier Solotakte 41–44. C7/G7 und F; nach +1 entsprechen die Grundtöne D♭/A♭/G♭. G7 widerspricht dem bloßen A♭-Durgriff der Gitarrenausgabe, F wiederum der G♭7-Bezeichnung der Primärstrophe. Wiederholter Fadeout; die angezeigten 3:08 sind die Wiedergabedauer dieser Bearbeitung, nicht ein identifizierter Original-Master.","limitationsDe":"Die ursprüngliche Vorlage und deren Abhängigkeit von Hal Leonard sind ungeklärt. Diese vollständige Konvertierung ist deshalb kein zusätzlicher qualifizierter unabhängiger Zweitbeleg. Vier Solo-Takte dürfen weder die 14 Quelltakte noch die 16 Verlags-Gitarrentakte ersetzen; sämtliche Einsätze und Wiederholungen bleiben getrennt zu prüfen.","auditLocator":"Beide vollständigen C-Dur-Seiten gelesen. Eigene Beschreibung nennt PDF-zu-XML-Konvertierung ohne identifizierte Vorlage; keine unabhängige Autorschaft belegt. 133 BPM,72 geschriebene Takte,Intro1–8,Solo41–44,Fade. Vergleich+1; C7/G7/F stimmen nicht in allen Farben mit den anderen Quellen überein. 3:08 sind Bearbeitungsmetadaten, kein bestätigter Master."},{"id":"jerrys-guitar-bar-sunshine-public-previews","author":"Jerry's Guitar Bar · eigene akustische Gitarrenlektion","kind":"original-teacher-public-partial-tab-and-song-preview","url":"https://www.jerrysguitarbar.com/guitar-video-lessons/individual-songs/donovan-sunshine-superman/","publisherPage":"https://www.jerrysguitarbar.com/guitar-video-lessons/individual-songs/donovan-sunshine-superman/","pages":2,"allPagesRead":false,"fullScoreRead":false,"allPublicPreviewImagesRead":true,"videoWatched":false,"recordingListened":false,"pageUrls":["https://www.jerrysguitarbar.com/wp-content/uploads/2016/08/Donovan-Sunshine-Superman-Tab-Optimized.png","https://www.jerrysguitarbar.com/wp-content/uploads/2016/08/Donovan-Sunshine-Superman-Songsheet-Optimized.png"],"printedQuarterNoteBpm":134,"printedCapo":1,"visibleRiffBars":6,"sha256":"e2edcaea587ca6d607bcf25998bbfe6a0bb7f5dfd6191d33030c247b18a7b1d2","hashLabelDe":"Ganz gelesener öffentlicher Tab-Vorschauausschnitt · PNG","pageSha256":["e2edcaea587ca6d607bcf25998bbfe6a0bb7f5dfd6191d33030c247b18a7b1d2","09f08f70d44268a8f51e85e529f6697d886eddd95d497bddab95e07e4957da2d"],"materialLabelDe":"Beide ausdrücklich öffentlichen Vorschauausschnitte vollständig gelesen · nicht die kostenpflichtige Gesamtlektion","inspectionDe":"Tab-Auszug: 4/4, Viertel=134, Kapo1 und sechs sichtbare Rifftakte. Akkordauszug: Kapo1, Intro mit C7/Riff und dreifacher Wiederholung, dann Beginn der Strophe auf C7. Die Originalbeschreibung beschränkt die Lektion ausdrücklich auf Donovans akustischen Part ohne Gitarrensolo.","limitationsDe":"Kein vollständiges Tabulatur-PDF, vollständiger Songfahrplan, gehörtes Video oder Master. Die Vorschau bestätigt nicht die gesamte achttaktige Verlags-/Quellen-Einleitung oder das Solo. Komplettpaket kostenpflichtig und nicht gekauft; Cookie-/Videofreigaben und Sicherheitseinstellungen nicht verändert.","auditLocator":"Beide öffentlich angebotenen Original-PNG-Ausschnitte und originale Lektionsbeschreibung gelesen, nicht Gesamt-PDF/Video. Tab zeigt sechs Rifftakte,134Viertel/min,Kapo1; Songauszug C7 und Intro-Riffx3. Nur akustischer Part, ausdrücklich ohne Solo. Keine Käufe,Cookiesicherheitseingriffe oder unabhängige Vollbestätigung."}],"findings":[{"id":"unnumbered-boundary-rests","labelDe":"Kein erfundener Anfangstakt und kein vorzeitiger Schluss-Stopp","status":"resolved-practice-import-only","catalogBarNumbers":[1,108],"observations":[{"sourceId":"hal-leonard-sunshine-guitar-tab","location":"Seite 1 · Riffbeginn; Seite 7 · wiederholter Fadeout","detailDe":"Notierter Riffbeginn statt zusätzlichem Pausentakt, musikalisch wiederholter Ausklang statt eines willkürlichen Stopps auf der dritten Viertel. Das ist ein begrenzter Druckvergleich, kein Zeitgrenzenbeweis für die konkrete Aufnahme."},{"sourceId":"dick-schmitt-sunshine-pdf-conversion","location":"Intro1–8 und Schluss72","detailDe":"Ebenfalls notiertes Intro und wiederholter Ausklang. Abhängigkeit der PDF-Vorlage ungeklärt; ausdrücklich nicht als unabhängiger Masterbeleg gezählt."}],"resolutionDe":"Nur die beiden ungetakteten Randereignisse dieser exakten Originaldatei werden vom Übungsraster getrennt: Die Pausen-Fermate vor =1 ist kein zusätzlicher Vierertakt. Nach dem vollständig notierten letzten Quelltakt =108 ist die nächste Pausen-Fermate kein Einsatz auf der dritten Viertel. Der Player beginnt deshalb direkt bei Quelltakt 1 und hält den letzten D♭7 über dessen vier Viertel. Alle 108 nummerierten Takte und ihre übrigen Akkorde bleiben erhalten.","nextCheckDe":"Die unnummerierten Fermaten und unbekannten Sekunden bleiben als Herkunftsdaten erhalten. Tatsächlichen Aufnahmebeginn, Ausklang, Sololänge und alle Wechsel anhand derselben Aufnahme und unabhängiger Vollquellen prüfen. Nummerierte Pausen und echte Ton-Auftakte bleiben unverändert."},{"id":"different-solos-and-chord-colours","labelDe":"14, 16 oder vier Solotakte sind keine übereinstimmende Gesamtform","status":"open","catalogBarNumbers":[17,25,27,41,49,51,57,59,65,71,73,79,81,95,97,99,103,105,107,108],"observations":[{"sourceId":"hal-leonard-sunshine-guitar-tab","location":"Seiten 3–7 · Refrain/Solo/Coda","detailDe":"A♭ und G♭ als Durgriffe, 16 gezählte Solotakte und offener Coda-Fade; Primäranalyse A♭7/G♭7 und 14 Solotakte."},{"sourceId":"dick-schmitt-sunshine-pdf-conversion","location":"Refrains und Takte41–44","detailDe":"G7 und F in C, nur vier geschriebene Solotakte; unbekannte PDF-Vorlage. Eine Dur-Griffschrift beweist nicht, dass die Septime in jeder anderen Bandstimme fehlt."},{"sourceId":"jerrys-guitar-bar-sunshine-public-previews","location":"Lektionsbeschreibung und beide öffentliche Ausschnitte","detailDe":"Ausdrücklich kein Solo in der akustischen Lektion, Vorschau unvollständig; kann die widersprüchlichen Solo- und Schlussformen nicht entscheiden."}],"resolutionDe":"Keine Akkordfarbe, kein Bass, kein Solotakt und keine Wiederholung werden aus den abweichenden Bearbeitungen übernommen. Die 108 nummerierten Quelltakte und alle vorhandenen musikalischen Wechsel bleiben erhalten; nur die beiden ungetakteten Randpausen werden aus dem Übungsraster gelöst.","nextCheckDe":"Eine weitere hochwertige unabhängige Vollquelle für denselben Single-/Album-Schnitt beschaffen; ursprüngliche Schmitt-PDF klären. Nicht aus gleicher Gesamttaktzahl auf gleiche Solo-/Schlussform schließen."},{"id":"tempo-and-recording-identity","labelDe":"133/134 BPM und ein kurzer Künstler-Clip bestätigen keinen vollständigen Master","status":"open","catalogBarNumbers":[],"observations":[{"sourceId":"hal-leonard-sunshine-guitar-tab","location":"Kopf Seite1","detailDe":"Gedruckt Viertel=133, ohne eindeutige Zuordnung zum konkret annotierten Aufnahmeschnitt."},{"sourceId":"dick-schmitt-sunshine-pdf-conversion","location":"Kopf und Wiedergabemetadaten","detailDe":"Ebenfalls133, aber unbekannte PDF-Abhängigkeit; keine sichere unabhängige Doppelbestätigung."},{"sourceId":"jerrys-guitar-bar-sunshine-public-previews","location":"Tab-Kopf","detailDe":"Viertel=134; passt zum bisherigen Übungspuls, nicht zum Verlagswert133. Der kurze Auszug ist keine vollständige Tempo-/Masterprüfung."}],"resolutionDe":"134 BPM bleibt unverändert. Der frei verlinkte Künstler-MP3-Stream wurde nur technisch geprüft: 60,499583 Sekunden, 44,1kHz, Stereo,192kbit/s. Kein vollständiger Master und kein Audio als gehört behauptet; der Clip wird nicht als zusätzliche musikalische Vollquelle gezählt.","nextCheckDe":"Vollständige identifizierte Aufnahme und deren tatsächlichen Puls/Anfang/Ende unabhängig abgleichen, statt Vorschau- oder Wiedergabedauern als Originalfassung zu übernehmen."}],"excludedReadCandidates":[{"id":"artist-site-short-audio-preview","url":"https://donovan.ie/product/sunshine-superman-2/","assetUrl":"https://donovan.ie/wp-content/uploads/2016/02/1-01-Sunshine-Superman1.mp3","sha256":"26140e565632f4bbca1d672875384a2cc26861454355a7085c4779f929a7de84","technicalMetadataRead":true,"durationSeconds":60.499583,"sampleRate":44100,"channels":2,"bitrate":192000,"recordingListened":false,"completeMasterRead":false,"independentCompleteConfirmationAllowed":false,"reasonDe":"Öffentlich verlinkter Künstler-Clip, normale anonyme HTTP-Abfrage und lokale Metadatenprüfung; nur rund eine Minute. Keine Vollaufnahme gehört, dekodiert oder weiterveröffentlicht; kein Beleg für den vollständigen McGill-Master."}],"limitationDe":"Die Rasterkorrektur trennt unnummerierte Rand-Fermaten von echten notierten Takten. Sie entscheidet nicht sämtliche Klangfarben, Solo-/Schlusslängen oder Aufnahmezeiten. Die komplette Verlagsausgabe, eine in ihrer Herkunft ungeklärte Konvertierung und kurze Lehrer-Vorschauen sind keine zwei übereinstimmenden unabhängigen Vollanalysen. 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Vergleich+1; C7/G7/F stimmen nicht in allen Farben mit den anderen Quellen überein. 3:08 sind Bearbeitungsmetadaten, kein bestätigter Master."},{"id":"jerrys-guitar-bar-sunshine-public-previews","family":"named-teacher-publication","kind":"original-teacher-public-partial-tab-and-song-preview","annotator":"Jerry's Guitar Bar · eigene akustische Gitarrenlektion","independentExpert":false,"primary":false,"url":"https://www.jerrysguitarbar.com/guitar-video-lessons/individual-songs/donovan-sunshine-superman/","barAligned":false,"sourceSha256":"e2edcaea587ca6d607bcf25998bbfe6a0bb7f5dfd6191d33030c247b18a7b1d2","locator":"Beide öffentlich angebotenen Original-PNG-Ausschnitte und originale Lektionsbeschreibung gelesen, nicht Gesamt-PDF/Video. Tab zeigt sechs Rifftakte,134Viertel/min,Kapo1; Songauszug C7 und Intro-Riffx3. Nur akustischer Part, ausdrücklich ohne Solo. 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Verlagsstimme Em/G und der getrennt veröffentlichte G6-Gitarrengriff stützen die Sechste E im Refrain-Begleitklang; nur 24 G7 werden dort zu G6. Fester Verlagsabschluss, zusätzliche Duo-Schlussstrophe und Aufnahme-Fadeout bleiben verschiedene Formen. Keine neue vollständige Masterbestätigung.","sources":[{"id":"hal-leonard-rainy-pvg","author":"Hal Leonard · Piano-Vocal-Guitar","kind":"official-publisher-complete-piano-vocal-score","url":"https://musescore.com/user/39593079/scores/6932278","publisherPage":"https://musescore.com/official_scores","authorBackgroundUrl":"https://musescore.com/official_scores","authorBackgroundDe":"Eigene offizielle Hal-Leonard-Veröffentlichung. 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Instrumentale Melodiepausen sind keine akkordlosen Solotakte."},{"sourceId":"guitartuna-rainy-team","location":"Vollständige Teilfolge bisRefrain6/Fadeout","detailDe":"Sechs Refrains, acht Soloakkorde und akkordloser dritterVers passen zur groben Quellfolge; Taktgrenzen, konkrete Fade-Länge und vollständige Aufnahme nicht notiert."}],"resolutionDe":"104Takte/13Teile/416Viertel und alle Wiederholungen bleiben erhalten. Acht vorhandene N.C.-Takte33–40 bleiben harmoniefreie Begleitstellen, nicht zertifizierte Aufnahmestille. 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Für den Tonartvergleich +5Halbtöne, keine automatische Meter-/Tempoänderung."},{"sourceId":"guitartuna-rainy-team","location":"Tempoanzeige und Prechorusse","detailDe":"131 und G nachAm, aber keine ausgeschriebenen exakten Wechselzählzeiten."}],"resolutionDe":"131BPM bleibt der bestehende Übungspuls. Prechorusse22/50/70 behalten Am aufEins undG aufVier; Refrainwechsel bleiben aufEins undDrei. Vorlauf0–0,348s und ungetakteter Nachlauf187,06–190,433s bleiben als ursprüngliche Annotation dokumentiert, nicht als bestätigte Stille.","nextCheckDe":"Genauen Aufnahme-Puls und jede antizipierte Wechselposition am identifizierten Master mit weiteren unabhängigen Vollquellen prüfen; gedruckte Begleit-Rhythmik nicht mit einer Band-Transkription verwechseln."}],"limitationDe":"Drei zusätzliche vollständige Publikationen beziehungsweise Akkordtexte sind gelesen. Nur die gemeinsame Sechsten-Begleitfarbe wird als begründete Lernentscheidung übernommen. Unterschiedliche Arrangements, nicht notierte Zeitgrenzen und ein ungehörter Master erlauben keine höhere musikalische Vollprüfklasse. Rohvergleich,104Takte/131BPM und alle übrigen Ereignisse bleiben erhalten. Chartzulassung ist eine separate Prüfung."},"sourceDetailReview":{"status":"reviewed-chorus-sixth-accompaniment-core","checkedOn":"2026-10-23","preserveOriginalComparison":true,"changedBarNumbers":[26,28,30,32,54,56,58,60,74,76,78,80,82,84,86,88,90,92,94,96,98,100,102,104],"from":"G7","to":"G6","changedEvents":24,"reasonDe":"24 Refrain-Begleitklänge erhalten G6 statt G7. Die vollständig gelesene Hal-Leonard-PVG-Ausgabe notiert Em/G: G–H–E, also die Sechste E über G. Die separat als eigene Teamtranskription veröffentlichte GuitarTuna-Fassung bezeichnet dieselbe Refrainfarbe als G6 und zeigt den Griff 3-2-0-0-0-0 mit G/H/D/E. Für die Lernbegleitung wird deshalb die Sechste E statt der kleinen Septime F gewählt. 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Keine fehlenden Datei-Hashes erfunden, keine signierten Asset-URLs separat abgefragt und kein Download-/Druckknopf, Kauf oder Credit-Verbrauch.","limitationsDe":"255 Sekunden ist die Viewer-Wiedergabe dieser Notenausgabe, kein unabhängig identifizierter Aufnahme-Master. Zusätzliche Soli, ausgeschriebene Pausen, 6/8 und3/8 werden nicht ungeprüft in die kurze74-Takt-Annotation übertragen. Ein Keyboard-Auszug entscheidet nicht allein sämtliche Gitarren-, Bass- und Schlagzeugnoten; die Klangfarben und der zeitlich freie Schluss bleiben offen.","auditLocator":"Alle12Original-Keyboardseiten15735523 vollständig visuell gelesen; Viertel96,4/4,6/8,3/8,zusätzlicheSoli,ad-libitum/Pausen,SchlussB♭add5–Cadd5–Gadd5. Nur1/12privatgesichert;2–11Sicherunggescheitert. KeinOriginalmastergehört,keinevollständiggemeinsame74-Takt-/Einsatzprüfung."},{"id":"damon-wood-frankenstein-lessons","author":"Damon Wood · eigene Gitarrenlektionen, Teile 1 und 2","kind":"original-teacher-two-complete-public-auto-caption-transcripts","url":"https://www.youtube.com/watch?v=mzj4CvcZTi8","publisherPage":"https://www.youtube.com/@DamonWoodGuitarLessons","authorBackgroundUrl":"https://harmoniousjunk.com/about","authorBackgroundDe":"Sein eigener Bandauftritt beschreibt die professionelle Gitarrenarbeit mit James Brown und eigene Veröffentlichungen; der Unterrichtskanal nennt ihn als Autor dieser Lektionen. Beide Teile sind dieselbe Lehrerlinie, keine zwei unabhängigen Quellen. Die schwankenden Jahreszahlen seiner Biografie werden nicht als musikalischer Beleg verwendet.","originalLinkLabelDe":"Original-Lektion und öffentliche Untertitel","pages":null,"allPagesRead":false,"fullScoreRead":false,"videoWatched":false,"recordingListened":false,"fullLessonTranscriptsRead":true,"captionKind":"auto-generated English","lessonDurationsSeconds":[1766,427],"sha256":"2e76635996e291a986ce4c4c9dc9a01bc823a6e2227f4255410e10cb7507433e","hashLabelDe":"Vollständig gelesener automatischer Untertitel-Export Teil 1 · kein Audio-/Partitur-Hash","additionalReadPublications":[{"url":"https://www.youtube.com/watch?v=rGSl-H0ykuI","sha256":"a8e6375df1bc34f39f47ea0332b36e1dbd5222dbd5c8d08cfe2c50abe96fb6bb","labelDe":"Teil 2 desselben Lehrers · vollständige automatische Untertitel gelesen"}],"materialLabelDe":"Vollständige öffentliche automatische Untertitel beider Lektionen und eigene Beschreibung gelesen · Videos nicht vollständig angesehen oder abgehört","inspectionDe":"Teil1: 1:50–2:08 G/B♭-Riff;8:43–9:21 und11:43–12:59 unterscheidet er G5/C5 von seinen Gm7/C7-Improvisationsvoicings. Ab15:04 erklärt er die drei zusammenwirkenden Harmoniestimmen und ab28:51 den Übergang zum Schlagzeugsolo. Teil2: Triller-/Pull-off-Unterricht ab3:01, freie Geräusche ab5:26, Rückkehr zum Riff ab5:39;6:27 B♭,6:30 C und6:33 G-Moll als freier Schluss. Keine ausgeschriebene durchgehende Takt-/Wechselzählzeitenliste.","archivalLimitDe":"Beide kompletten automatischen Untertitel wurden mit der normalen YouTube-Transkriptfunktion privat exportiert und gehasht. Nur Analyse und Zeitverweise veröffentlicht, keine vollständigen Texte, Noten oder Audiodateien. Automatische Untertitel können Fachbegriffe und Notennamen verwechseln; keine vollständige Video-/Hörprüfung behauptet.","limitationsDe":"Die genaue Untertitel-Angabe C ist ein konkreter Lehrhinweis, kein am Original-Master bestätigter Einsatz. Der Lehrer unterscheidet eigene Konzert-/Improvisationslösungen von der Aufnahme und lässt den Schluss frei. Zwei Teile desselben Autors werden einmal gezählt; weder seine eigenen Septimenvoicings noch technische Erklärungen ersetzen einen vollständigen Band- und Formabgleich.","auditLocator":"BeidekomplettenöffentlichenautomatischenUntertitelgelesen;einAutor,DamonWood. Teil1G5/C5vsGm7/C7klaralsSpiel-/Improvisationswahl,Teil2ab6:27B♭–C–Gm/freierSchluss. KeineVideosvollständigangesehen/abgehört,keinVollchart,keinOriginalmaster-/74Takt-Einsatzbeleg."},{"id":"unattributed-frankenstein-master-rhythm","author":"Master Rhythm · Urheber und Herkunft nicht belegt","kind":"unattributed-public-band-practice-chart-discovery-only","url":"https://img1.wsimg.com/blobby/go/bcbfc65b-f644-4af4-b54f-f4ca06d71d6f/Frankenstein%20-%20Master%20Rhythm.pdf","authorBackgroundDe":"Das Blatt nennt Edgar Winter als Komponisten, aber keinen überprüfbaren Arrangeur/Transkribenten. Das PDF-Autorfeld ist leer; Finale ist die Erstellungssoftware, keine Autorenangabe. 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Schlussseite: drei3/8-Takte85–87, B♭ in88, C in90, Gm/rubato in92 und Schluss-Cue93. Wiederholungszahl der Vamps nicht verbindlich ausgeschrieben.","archivalLimitDe":"Frei erreichbare Original-URL regulär gesichert, ganze Datei gehasht und alle zehn gerenderten Seiten gelesen. Keine Partiturkopie weiterveröffentlicht. Metadaten nennen Finale/Quartz und2017, aber keinen Autor; keine unabhängige Herkunft aus einem Hostnamen abgeleitet.","limitationsDe":"Unbekannte Urheberschaft und nicht belegte Abhängigkeit von anderen Charts. Live-Cues, offene Wiederholungen und93 geschriebene Takte sind keine vollständige Bestätigung des kurzen74-Takt-Aufnahmeschnitts. Die Datei wird als Recherchekandidat dokumentiert, nicht als zweite Expertenanalyse oder als Mehrheitsstimme zur Fehlerkorrektur.","auditLocator":"Alle10Seitenvollständiggelesen,93geschriebeneTakte,offeneVamps/freieSchluss-Cues,95Viertel/weitereTempoeinheitenund4/4,6/8,12/8,3/8. 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Belegt Aufnahme-Kontext, nicht sämtliche Akkorde oder einen vollständigen Taktchart.","originalLinkLabelDe":"Originalinterview mit Aufnahmebeteiligten","pages":null,"allPagesRead":false,"completePublicArticleRead":true,"fullScoreRead":false,"recordingListened":false,"materialLabelDe":"Vollständiges Originalinterview gelesen · Aufnahme-Kontext, keine zusätzliche musikalische Vollanalyse","inspectionDe":"Der Artikel nennt seine Erstveröffentlichung im Juli2011 trotz neuerer Web-Datumsangaben. Beschrieben werden längere Live-Takes, der Albumedit4:45 und ein anschließend separat erstellter Singleedit3:28. Der Schlagzeug-Dialog wurde als eigenes Stück eingefügt; nur für einen Teil wird ein Clicktrack genannt. Dazu werden der6/8-Synthesizerabschnitt und die Mehrspur-/Stereo-Tapeschnitte erklärt.","limitationsDe":"Keine gemeinsame Master-ID, kein Audio-/Notendateibeleg und keine durchgehenden Akkord-Einsatzzeiten. 3:28 liegt nahe den208,144Sekunden der Primärannotation, beweist aber nicht dieselbe Audiodatei. Nicht die4:45-Albumform oder lange Konzertsoli in den kurzen Atlaschart übertragen.","auditLocator":"GesamtesOriginalinterviewmitAufnahmebeteiligten gelesen;Albumedit4:45vsSingleedit3:28,6/8undTape-Schnitte,ClicknurTeilDrumsolo.KontextquelleohneTaktchart,keinezusätzlicheunabhängigebar-/onset-geprüfteMusikanalyse."}],"findings":[{"id":"nine-quarter-import-grid","labelDe":"Takt31: neun echte Viertel statt gestauchter0,9-Schritte","status":"resolved-practice-import-only","catalogBarNumbers":[31],"observations":[{"sourceId":"mcgill-primary","location":"Originalannotation=31 · neun4-Noten, danach1r; vor=32","detailDe":"Neun notierte Vierteldauern füllen9/4 vollständig. Erst danach folgt die ungetaktete Pausen-Fermate. Alle neun vorhandenen Akkorde und Originalzeitmarken bleiben dokumentiert; der Parser verteilt den Pauseneintrag nicht mehr innerhalb des bereits vollen Taktes."}],"resolutionDe":"Die exakte Primärdatei schreibt in Takt31 neun Viertel-Akkorde im9/4-Takt und danach eine ungetaktete Pausen-Fermate. Der bisherige Import quetschte alle zehn Ereignisse einschließlich dieser Fermate gleichmäßig in neun Viertel: Einsätze0/0,9/1,8… statt0/1/2…8. Nur dieses Übungsraster wird korrigiert; die neun vorhandenen Akkorde bleiben auf ihren notierten Vierteln. Die zusätzliche Fermate ist kein zehnter Schlag im9/4-Takt.","nextCheckDe":"Freie Pause und Original-Master unabhängig prüfen. Dies ist allein eine sichere Wiederherstellung des notierten Übungsrasters, keine zweite musikalische Vollbestätigung."},{"id":"ending-c-root-onset-open","labelDe":"Schluss: C-Schritt genannt, genaue Position in der Single noch offen","status":"open","catalogBarNumbers":[73,74],"observations":[{"sourceId":"hal-leonard-frankenstein-keyboard","location":"Seite12 · letzte zwei Systeme","detailDe":"B♭add5, Cadd5 und Gadd5 mit Fermaten/Pausen. Die 74-Takt-Annotation hält dagegen B♭7 in73 und Gm7 in74, ohne C-Ereignis. Die Formen und Akkordqualitäten sind nicht gleichgesetzt."},{"sourceId":"damon-wood-frankenstein-lessons","location":"Teil2 ·6:27–6:51","detailDe":"Automatische Untertitel nennen B♭, dann C, dann G-Moll; der Lehrer erlaubt einen improvisierten Schluss. Kein exakter Aufnahmetakt oder Zählzeit für C angegeben."},{"sourceId":"unattributed-frankenstein-master-rhythm","location":"Seite10 ·88/90/92–93","detailDe":"B♭, C, Gm mit freien Cues. 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Der spätere Klavier-/Gesangsabgleich ergänzt öffentliche Verlagsvorschauen und korrigiert ausschließlich den Versanfangsbass in Takt 3, 19 und 55 zu D/A. Die 110 vorhandenen Übungstakte werden nicht durch eine verkürzte Gitarrenfassung ersetzt; weitere Klang- und Aufnahmefragen bleiben offen.","sources":[{"id":"hal-leonard-chiquitita-easy-guitar","author":"Hal Leonard · offizielle Easy-Guitar-Ausgabe","kind":"licensed-guitar-score","url":"https://musescore.com/user/39593079/scores/15582961","publisherPage":"https://musescore.com/user/39593079/scores/15582961","authorBackgroundUrl":"https://musescore.com/official_scores","authorBackgroundDe":"Im normalen angemeldeten MuseScore-Betrachter Hal Leonard zugeordnet; genannt sind Benny Andersson und Björn Ulvaeus. Kein unbekannter Einzeltranskribent wird erfunden.","pages":5,"allPagesRead":true,"fullScoreRead":true,"recordingListened":false,"sha256":"d3ca30a6384039aa8058ae0cb8cf0d42f15b73771e2ecb0a4d87f8397806b440","pageSha256":["d3ca30a6384039aa8058ae0cb8cf0d42f15b73771e2ecb0a4d87f8397806b440","b75e81f2e73d0c50047de73d9ff7b923b6e881daebc00f0d2243679402f6b311","78bf5408947940a4e6cd7bb5b9d0e22b02c05920fab460f4193995c980dfea40","66cd14f72d3fa3d388681be800e5787e6cd0cba1b13d38d7c88cbf9153e6654d","3150d81298a874a270f5b53f83d84080bd2e9c817d14b84ca2b53c7bd3720d16"],"originalLinkLabelDe":"Offizielle Hal-Leonard-Verlagsausgabe","hashLabelDe":"Gelesene SVG-Seite 1, keine vollständige PDF-Datei","inspectionDe":"Alle fünf tatsächlich angezeigten SVG-Seiten visuell gelesen und einzeln gehasht. Seite 1: A-Dur, Viertel = 84 und instrumentale N.C.-Noten. Seiten 2/3: C♯m sowie E–D-Wechsel. Seite 4: zwei ausgeschriebene 5/4-Takte jeweils nach dem ersten D-Takt einer Refrainhälfte, danach zurück zu 4/4. Seite 5: erste/zweite Volta, Ritardando und Schlussfermate. Keine Partitur, TAB, Liedtexte oder geschützten Abrufadressen werden veröffentlicht.","limitationsDe":"Vereinfachte Gitarrenfassung mit Wiederholungen und ausgeschriebenem Schluss, nicht identisch mit der kompletten aufgenommenen Band und ihrem Fadeout. Ein schlichtes C♯m- oder E-Symbol beweist nicht, dass andere Stimmen keine None, Septime oder abweichenden Bass spielen.","auditLocator":"All five authorized publisher SVG pages visually read;84-quarter pulse and two written5/4 chorus bars retained. Repeat/ending adaptation is not a timestamped original-master/all-band analysis."},{"id":"wikifonia:wikifonia_4298","author":"Wikifonia · archivierte Notenannotation","kind":"read-unexpanded-score-arrangement","url":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/wikifonia/choco/jams/wikifonia_4298.jams","publisherPage":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/wikifonia/choco/jams/wikifonia_4298.jams","authorBackgroundUrl":"https://github.com/smashub/choco","authorBackgroundDe":"Die Originaldatei nennt Ghent University Association als Kurator, aber keinen einzelnen Notenautor und keinen Interpreten. Diese Angaben werden nicht als namentlich geprüfte Fachtranskription ausgegeben.","pages":null,"allPagesRead":false,"fullScoreRead":false,"symbolicAnnotationRead":true,"materialLabelDe":"45 Original-Akkordereignisse und 5 Taktart-Ereignisse gelesen","sha256":"70acc16879120e801e7b7c25a6c54242100ffe9d9b9513a22519afe92f2dcd7f","originalLinkLabelDe":"Originale Wikifonia-JAMS-Annotation","hashLabelDe":"Vollständig gelesene JAMS-Datei","inspectionDe":"Titel und beide Komponisten stimmen mit der Komposition überein. Die ausgeschriebene Tonart ist G-Dur, nicht A-Dur. Für den Zusatzvergleich werden Grundtöne und Slash-Bässe exakt zwei Halbtöne erhöht; Akkordqualitäten bleiben erhalten. Die 5/4-Angaben stehen in Notentakt 20 und 28. Wiederholungen sind ausdrücklich nicht ausgeschrieben (expanded=false); die Zahlen sind Notentakt-/Zählzeitkoordinaten, keine Aufnahme-Sekunden.","limitationsDe":"Ein anderer Tonartauszug mit nicht ausgeschriebenen Wiederholungen bestätigt nicht automatisch alle 110 Aufnahme-Takte. Bm9 wird klingend C♯m9 und nicht C♯madd9; D11 wird E11. Diese Unterschiede werden nicht verschwiegen oder per Transposition wegoptimiert."},{"id":"chappell-chiquitita-pvg-preview","author":"Chappell · Klavier/Gesang · Alfred-/Faber-Vorschauen","kind":"licensed-pvg-preview","url":"https://www.sheetmusicplus.com/en/product/chiquitita-19318788.html","publisherPage":"https://www.notendownload.com/en/chiquitita/fbd-33093","authorBackgroundUrl":"https://www.sheetmusicplus.com/en/product/chiquitita-19318788.html","authorBackgroundDe":"Gelesene Originalimprints nennen Chappell & Co., Holland B.V. (1979) und Music for UNICEF. Alfred/Warner und Faber werden nicht fälschlich als unabhängig verfasste Vollanalysen gezählt.","pages":null,"allPagesRead":false,"fullScoreRead":false,"recordingListened":false,"materialLabelDe":"3 Alfred-Vorschaubilder + teilweise sichtbare Faber-Erstseite","sha256":"897ac42e64bded7c61e25936da76d22091447b5b1394b617db2ab34383e47465","hashLabelDe":"Gelesenes erstes PNG-Vorschaubild, keine vollständige PDF","originalLinkLabelDe":"Öffentliche Klavier-/Gesangsvorschau","inspectionDe":"Versanfang A → D/A mit A-Pedal; Überschrift gilt für Verse 1, 2 und 3. Seite 2: C♯m(9) und Griffbild x46644, ohne notierte kleine Septime im Griffbild. Alle vier Bildprüfsummen und die begrenzte Lesesicht stehen im späteren Klavier-/Gesangsabgleich.","limitationsDe":"Begründete Bassentscheidung für die Übefassung, keine vollständige Transkription des Original-Masters. Die Faber- und Alfred-Vorschauen tragen dieselbe Chappell-/UNICEF-Herkunft und zeigen dieselbe ursprüngliche Bearbeitung: zwei Vertriebsstellen zählen hier nur als eine Verlagslinie, nicht als zwei unabhängige Analysen. Gelesen wurden drei öffentlich angebotene Alfred-Vorschaubilder und das teilweise verdeckte Faber-Erstseitenbild, nicht beide vollständigen Kaufdateien. Alle übrigen Bässe, Zusatzklänge, Wiederholungen, Intro und Fadeout bleiben getrennt zu prüfen. Die ursprünglichen Quellenvergleiche werden nicht umgeschrieben.","auditLocator":"Public PVG previews: three Alfred PNG pages and partially visible Faber JPEG page1; shared1979 Chappell/UNICEF lineage, counted once. Verse1–3 opening A→D/A pedal and parenthesized minor ninth inspected. Neither complete paid score nor timestamped original master verified."}],"findings":[{"id":"tempo-84","labelDe":"84 BPM bestätigt, nicht neu geraten","status":"corroborated","observations":[{"sourceId":"hal-leonard-chiquitita-easy-guitar","location":"Seite 1 · gedruckte Tempoangabe","detailDe":"Viertel = 84 stimmt mit den vorhandenen 84 BPM aus der Aufnahmeannotation überein."}],"resolutionDe":"Das bestehende Übetempo 84 bleibt erhalten. Es wird kein anderes Zähltempo oder neuer Tempoverlauf erfunden.","nextCheckDe":"Lokale Temposchwankungen und die genaue Originalaufnahme bleiben separat zu prüfen."},{"id":"five-quarter-chorus","labelDe":"Refrain: fünf Viertel sind belegt","status":"corroborated","catalogBarNumbers":[36,44,72,80],"observations":[{"sourceId":"hal-leonard-chiquitita-easy-guitar","location":"Seite 4 · jeweils zweiter Takt einer Refrainhälfte","detailDe":"Beide notierten Refrainhälften enthalten einen echten 5/4-Takt auf D. Die Wiederholungsfassung ist nicht die globale Taktzählung der Aufnahme."},{"sourceId":"wikifonia:wikifonia_4298","location":"timesig · 20.1 und 28.1","detailDe":"Auch die G-Dur-Notenannotation setzt an den Refrainpositionen 2 und 10 jeweils 5/4. In der vorhandenen Aufnahmeform sind dies 36, 44, 72 und 80; jeder dieser Takte dauert bereits fünf Viertel."}],"resolutionDe":"Alle vier bestehenden Fünf-Viertel-Takte bleiben erhalten; sie werden nicht fälschlich auf 4/4 gekürzt. Die vier offenen Rohparser-Summenprüfungen bleiben als ursprünglicher Importbefund sichtbar und sind keine zusätzliche unabhängige Aufnahmebestätigung.","nextCheckDe":"Die genaue Lage innerhalb derselben Originalaufnahme und alle weiteren Einsatzpositionen sind weiterhin separat abzugleichen."},{"id":"extensions-and-basses","labelDe":"Zusatzklänge und Basstöne noch nicht entschieden","status":"open","catalogBarNumbers":[7,8,13,14,29,30,45,46,65,66,73,74,81,82],"observations":[{"sourceId":"hal-leonard-chiquitita-easy-guitar","location":"Seiten 1–5 · Gitarrensymbole und Einzelstimme","detailDe":"Schlichte A-, C♯m- und E-Symbole reichen nicht aus, D/F♯, E7/G♯, C♯madd9 oder die A6/Amaj7-Linie der Aufnahmeannotation als falsch zu streichen."},{"sourceId":"wikifonia:wikifonia_4298","location":"45 Akkordereignisse · festes G→A-Intervall","detailDe":"Der Auszug enthält nach Tonartanpassung C♯m9 und E11 sowie andere Slash-Bässe und Wechselpositionen. Das sind zusätzliche Klangtöne, keine vollständige Übereinstimmung mit der Primäranalyse. Die reichere iReal-Begleitung bleibt ebenfalls ein getrennter Vergleich."}],"nextCheckDe":"Bass, Begleitung und Melodietöne mit passender vollständiger Band-/Klavierausgabe oder derselben Aufnahme trennen; bei Widerspruch weitere unabhängige Quellen hinzunehmen, bis eine konkrete Stelle entschieden werden kann."},{"id":"intro-repeat-fade","labelDe":"Einleitung, Wiederholungen und Ausklang bleiben offen","status":"open","observations":[{"sourceId":"hal-leonard-chiquitita-easy-guitar","location":"Seite 1 · N.C.; Seite 5 · Volten und Schluss","detailDe":"N.C. enthält hörbar zu spielende notierte Gitarrentöne und bedeutet nicht Stille. Der ausgeschriebene Schluss mit Ritardando/Fermate ist keine Bestätigung des aufgenommenen Fadeouts."},{"sourceId":"wikifonia:wikifonia_4298","location":"sandbox.expanded=false und Notentaktkoordinaten","detailDe":"Der kompakte Auszug darf nicht als vollständige Abspielfolge mit 110 bereits gegengeprüften Takten importiert werden. Auch die vor Takt 1 entfernten 11,076 Sekunden der Primärannotation sind damit nicht als tatsächliche Aufnahme-Stille bewiesen."}],"nextCheckDe":"Pitched Guitar-Intro, alle Wiederholungen und den genauen Fadeout an derselben Aufnahme prüfen. Keine fehlende Passage allein durch Wiederholen eines häufigen Akkordmusters ergänzen."}],"limitationDe":"Vollständig gelesene Gitarren-/Symbolquellen und begrenzte Klavier-/Gesangsvorschauen belegen Teilfragen; sie machen weder den anonymen G-Dur-Auszug zu einer zweiten namentlichen Fachanalyse noch alle 110 Takte zum verifizierten Original-Master. Ausschließlich die drei dokumentierten Versanfangsbässe werden angepasst. Alle übrigen Akkorde, Zählzeiten, Taktlängen, Abschnitte und 84 BPM bleiben erhalten. Die musikalische Prüfklasse bleibt offen."},"sourceBassReview":{"checkedOn":"2026-10-17","status":"publisher-pedal-bass-teaching-choice-full-recording-open","completeOriginalRecordingVerified":false,"independentPublicationLineages":1,"changedBarNumbers":[3,19,55],"from":"D","to":"D/A","onsets":[0,2],"retainedAdd9BarNumbers":[13,14,29,30,65,66],"headlineDe":"Späterer Klavier-/Gesangsabgleich: A-Pedal unter D","reasonDe":"Die Klavier-/Gesangsausgabe überschreibt den Vers mit „Verses 1, 2 & 3“ und notiert am Anfang A → D/A über vier A-Vierteln im Bass. Das entspricht den ausdrücklich als Verse bezeichneten Primärtakten 3, 19 und 55. Nur das zweite Akkordsymbol dieser drei Takte wird D/A statt D; der Wechsel bleibt auf Zählzeit 3. Auch der gelesene Wikifonia-Auszug beginnt nach seiner festen G→A-Tonartanpassung mit A → D/A.","retainedAdd9ReasonDe":"Die zweite Vorschauseite schreibt C♯m(9). Das sichtbare Gitarrengriffbild x46644 enthält C♯, G♯ und D♯, aber kein B als kleine Septime; die Mollterz steht im Klavier-/Gesangskontext. Dies rechtfertigt nicht, die sechs vorhandenen C♯madd9-Ereignisse pauschal zu C♯m9 zu erweitern. Sie bleiben unverändert; ihre genauen Aufnahme-Einsätze werden durch die Vorschau nicht neu zertifiziert.","limitationDe":"Begründete Bassentscheidung für die Übefassung, keine vollständige Transkription des Original-Masters. Die Faber- und Alfred-Vorschauen tragen dieselbe Chappell-/UNICEF-Herkunft und zeigen dieselbe ursprüngliche Bearbeitung: zwei Vertriebsstellen zählen hier nur als eine Verlagslinie, nicht als zwei unabhängige Analysen. Gelesen wurden drei öffentlich angebotene Alfred-Vorschaubilder und das teilweise verdeckte Faber-Erstseitenbild, nicht beide vollständigen Kaufdateien. Alle übrigen Bässe, Zusatzklänge, Wiederholungen, Intro und Fadeout bleiben getrennt zu prüfen. Die ursprünglichen Quellenvergleiche werden nicht umgeschrieben.","editions":[{"author":"Alfred Music / Warner / Chappell","url":"https://www.sheetmusicplus.com/en/product/chiquitita-19318788.html","materialDe":"Drei tatsächlich sichtbare PNG-Vorschaubilder gelesen; gedruckte Seiten 1–3. Die Produktseite nennt 5 Seiten, die Vorschau auf Seite 2/3 „of 4“; keine unsichtbare Schlussseite als gelesen ausgegeben.","pageSha256":["897ac42e64bded7c61e25936da76d22091447b5b1394b617db2ab34383e47465","255725ae89f6775e1c69f7bfc9d6c567de143bea6f6aece72a883ed744587b0c","f02afe3c5a36706d613e9e55c6e19a7857a68f6effe3b7911ef5957f5ee3f100"]},{"author":"Faber Music / Chappell","url":"https://www.notendownload.com/en/chiquitita/fbd-33093","materialDe":"Öffentliches JPEG der ersten Seite teilweise gelesen; der weiße Vorschaustreifen bleibt verdeckt. 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Die Schluss-Eb-Verlängerung, alle Wiederholungen und die Fermaten stammen aus Faber; die echte Dauer der Fermaten und ein Rubato-Verlauf sind nicht gemessen. Der vorhandene Wikifonia-Titeltreffer nennt Lionel Richie und ist kein passender Zweitbeleg für Adele. 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Dieselbe Ausgabe bei einem anderen Händler wäre keine weitere Quelle."},{"id":"ry-naylor-rolling-deep-capo3","author":"Ry Naylor Guitar","kind":"original-teacher-chart","url":"https://static1.squarespace.com/static/535140c0e4b0ae193f882ca8/t/55fea547e4b0bdeb0bf1d566/1442751815565/Adele%2B-%2BRolling%2BIn%2BThe%2BDeep%2B(Capo%2B3).pdf","publisherPage":"https://www.rynaylorguitar.com/","authorBackgroundUrl":"https://www.rynaylorguitar.com/","authorBackgroundDe":"Das Originalblatt trägt Ry Naylors Namen, Gitarrenunterrichts-Logo und eigene Website, keine anonyme Aggregator-Akkordliste.","pages":2,"allPagesRead":true,"fullScoreRead":true,"recordingListened":false,"sha256":"0f753b4f7357552627eef2eb763df9c9928972fa318effd070b41378dc2998b8","inspectionDe":"Beide vollständigen Original-PDF-Seiten visuell gelesen: Albumversion mit Kapodaster 3, 4/4, Tempo 105, Abschnitts-Zeitmarken, halbtaktige Wechsel und Schlussvariante. A5/E5/G5-Griffe klingen mit Kapo 3 als C5/G5/B♭5; die Griffnamen werden nicht als andere klingende Tonart importiert.","limitationsDe":"Unterrichtsblatt, keine unabhängig gehörte Aufnahme: das kompakte zweitaktige Intro steht neben Zeitmarken 0:01 und Strophenbeginn 0:15. Daraus wird keine gesicherte vollständige Intro-Länge abgeleitet. Seine Angabe 105 BPM stimmt inzwischen mit Tency Musics getrennt veröffentlichter Adele-Studio-Referenz überein; beide stützen die Tempoentscheidung, nicht den vollständigen Aufnahmeablauf."},{"id":"tency-rolling-deep-studio-tempo","author":"Tency Music · Adele-Studio-Referenz 35287","kind":"re-recording-provider-tempo-metadata","url":"https://www.tencymusic.com/music-licensing/adele/rolling-in-the-deep.html","publisherPage":"https://www.tencymusic.com/music-licensing/adele/rolling-in-the-deep.html","authorBackgroundUrl":"https://www.tencymusic.com/music-licensing/adele/rolling-in-the-deep.html","authorBackgroundDe":"Anbietereigene Katalogangaben zur ausdrücklich als Adele bezeichneten Studio-Referenz, Seriennummer 35287; keine andere Cover- oder Livefassung wird unter demselben Titel mitgezählt.","pages":null,"textRead":true,"allPagesRead":false,"fullScoreRead":false,"recordingListened":false,"materialLabelDe":"Öffentliche Tempometadaten gelesen · keine Partitur","originalLinkLabelDe":"Original-Tempometadaten des Anbieters","hashLabelDe":"Gelesene HTML-Datei","sha256":"a94f02d25422c8dd5a495322aeda449624d67dc5ddd1d44f8101b16372c6165c","inspectionDe":"Vollständige öffentliche Produktbeschreibung gelesen: ausdrücklich Originaltempo 105 BPM, Originaltonart c-Moll, Dauer 3:49 und ohne Fadeout. Die Datei gehört zur Adele-Referenz 35287, nicht zu Glee, Boyce Avenue, John Legend, Linkin Park oder der Royal-Albert-Hall-Livefassung.","limitationsDe":"Tency kennzeichnet sein Musikmaterial ausdrücklich als neu eingespielt und nicht als Originalmusik oder Originalgesang. Hier wurden nur öffentliche Textangaben gelesen, kein Audio gehört oder lizenziert. Die Länge der Neuaufnahme wird weder als vollständige Originalform importiert noch als Takt- oder Akkordquelle gezählt. Dieselbe Tency-/KaraFun-Anbieterfamilie würde nicht als weitere unabhängige Tempoquelle zählen.","auditLocator":"Complete public provider description read: exact Adele studio reference35287,105BPM andCm, re-recorded material explicitly disclosed. No score pages or audio read; metadata corroborates Ry Naylor's105 quarter-note teaching pulse only. Alternate artists and live versions excluded; not a complete recording/form/onset analysis."}],"findings":[{"id":"power-chord-accompaniment","labelDe":"Strophe: Powerchords von zwei Veröffentlichungen gestützt","status":"partially-corroborated","observations":[{"sourceId":"hal-leonard-rolling-deep-real-book","location":"Buchseite 316 · Intro und Strophen","detailDe":"C5, G5 und B♭5 sind ausdrücklich bezeichnet; Naylors Kapo-3-Griffe ergeben dieselben klingenden Grundtöne und Quinten. Diese Übereinstimmung bestätigt nicht automatisch jede Note der gesamten Band und Gesangsstimme."}],"resolutionDe":"Die bestehenden Powerchord-Symbole bleiben erhalten. Keine zusätzlichen Terzen oder Septimen werden erfunden.","nextCheckDe":"Alle Strophen, Intro-Wiederholungen und Wechselpositionen mit derselben Aufnahme abgleichen."},{"id":"source-grid-versus-performed-form","labelDe":"75 Quelltakte statt 23 künstlicher Vierergruppen","status":"import-corrected-recording-open","observations":[{"sourceId":"hal-leonard-rolling-deep-real-book","location":"Original-iReal-JAMS · 91 Ereignisse in 75 Taktpositionen; beide vollständigen Lehrveröffentlichungen","detailDe":"Der frühere Import machte aus jeweils vier Ereignissen einen Takt. Die Originaldatei enthält dagegen 75 Taktpositionen und 16 zusätzliche Wechsel in der Taktmitte. Die Korrektur erhält alle 91 Akkord-/Pausenereignisse und liest die Quelle als Takt plus Schlagversatz. Die 75 Takte sind noch kein bestätigter vollständiger Ablauf der Originalaufnahme."}],"resolutionDe":"Die symbolische Quellstruktur wird ohne neue Akkorde oder erfundene Wiederholungen wiederhergestellt. Die frühere Quellen-Metadatenangabe 109 bleibt dokumentiert; das Übungstempo wird nach dem getrennten Zwei-Quellen-Abgleich auf 105 korrigiert.","nextCheckDe":"Hal Leonard setzt manche späten Wechsel anders als Naylors halbtaktige Aufteilung. ChoCos eigener iReal-Import verteilt mehrere Akkorde gleichmäßig. Exakte Original-Zählzeiten, Intro-Länge und alle Wiederholungen bleiben deshalb offen."},{"id":"colour-and-tempo-conflicts","labelDe":"A♭-Farbe und Dominante weiter offen · Tempo getrennt entschieden","status":"open","observations":[{"sourceId":"ry-naylor-rolling-deep-capo3","location":"Beide Verlags-/Lehrerfassungen · Pre-Chorus, Chorus und Tempo","detailDe":"Beide notieren im Refrain A♭ ohne maj7; die iReal-Fassung hat oft A♭maj7. Hal Leonard bezeichnet die Pre-Chorus-Dominante als G7, Naylor verwendet E als Kapo-3-Griff, also G ohne Septime. Der Verlag nennt keinen numerischen Puls; Naylors 105 ist keine zweite Bestätigung unserer 109 BPM."}],"nextCheckDe":"Weitere hochwertige, unabhängige Quelle zur selben Originalaufnahme für die Klangfarben heranziehen. Vereinfachte Begleitsymbole beweisen nicht das Fehlen einer Septime in allen Band-/Gesangsstimmen. A♭maj7 und G7 bleiben daher unverändert. Die unabhängig übereinstimmenden 105 BPM von Naylor und Tency werden ausschließlich als getrennte Tempoentscheidung übernommen."},{"id":"two-source-quarter-tempo","labelDe":"Tempo 105 statt 109 · zwei unabhängige Angaben stimmen überein","status":"corroborated-tempo-only","observations":[{"sourceId":"ry-naylor-rolling-deep-capo3","location":"Originalblatt · Kopf der ersten Seite","detailDe":"Albumfassung, Kapodaster 3, 4/4 und 105 BPM sind ausdrücklich genannt. Eine Viertelnote ist die Zähleinheit; keine Verwechslung mit Halben oder punktierten Vierteln."},{"sourceId":"tency-rolling-deep-studio-tempo","location":"Adele-Studio-Referenz 35287 · Tempo und Tonart","detailDe":"Der Anbieter nennt unabhängig ebenfalls 105 BPM als Originaltempo und c-Moll als Originaltonart. Seine Neuaufnahme bleibt vom Original-Master getrennt; anders benannte Live- und Coverfassungen zählen nicht mit."}],"resolutionDe":"Ry Naylors vollständig gelesenes Originalblatt bezeichnet die Albumfassung mit 4/4 und 105 BPM. Tency Musics eigene öffentliche Adele-Studio-Referenz, Seriennummer 35287, nennt unabhängig ebenfalls das Originaltempo 105 BPM und c-Moll. Deshalb ersetzt 105 die unbestätigte iReal-Metadatenangabe 109. Tency bietet ausdrücklich eine Neuaufnahme an; deren Audio ist kein gehörtes Original-Master. Live-, Glee-, Boyce-Avenue- und andere Fassungen werden nicht als Bestätigung dieser Albumreferenz gezählt. Akkorde, Einsatzpositionen und vollständige Songform bleiben von dieser reinen Tempoentscheidung getrennt.","nextCheckDe":"Exakte Aufnahmefassung, vollständiger Ablauf, lokale Temposchwankungen und Akkord-Einsätze bleiben separat zu prüfen. Kein Takt, Akkord, Basston oder Notensample wird durch die reine Tempoentscheidung geändert."}],"limitationDe":"Zwei vollständige Unterrichtsveröffentlichungen und zusätzliche öffentliche Anbieter-Tempometadaten sind gelesen. 105 BPM ist durch zwei unabhängige Angaben gestützt, aber kein identischer Original-Master, vollständiger Aufnahmeablauf oder jeder exakte Einsatz bestätigt. Die musikalische Prüfklasse wird nicht aufgewertet; Tempoentscheidung und offene Klang-/Form-/Einsatzfragen bleiben getrennt."},"primaryImportCheck":{"sourceRead":true,"sourceSha256":"062461c8c4d4004772230a6a299815aadc52a1f612e1b780e250a2ee7d3fef20","normalizedImportMatches":true,"reviewedTempo":true,"originalSourceBpm":109,"reviewedBpm":105,"catalogBars":75,"sourceBars":75,"matchingBars":75,"differingBarNumbers":[]},"independentExpertAnalyses":0,"independentQualifiedAnalyses":0,"sourceCount":5,"primaryCoverage":{"bars":75,"withinBarPositionsPresent":true},"comparisons":[],"sources":[{"id":"wikifonia:wikifonia_109","family":"wikifonia","kind":"score-candidate","independentExpert":false,"primary":false,"url":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/wikifonia/choco/jams/wikifonia_109.jams","match":"title-only; composer and arrangement need review","composers":"Adele","barAligned":false},{"id":"hal-leonard-rolling-deep-real-book","family":"named-teacher-publication","kind":"licensed-publisher-lead-sheet","annotator":"Hal Leonard · Real Book – Melody-Chords-Lyrics","independentExpert":false,"primary":false,"url":"https://musescore.com/user/39593079/scores/16040935","barAligned":false,"sourceSha256":"e4ed0968d59f0a27a2ba31fcb057357fee8d06753f25c2b389e38c0d3cf36ea4","locator":"Original PDF completely read; qualitative review only. No complete recording/bar/onset agreement established; see teacherSourceReview."},{"id":"ry-naylor-rolling-deep-capo3","family":"named-teacher-publication","kind":"original-teacher-chart","annotator":"Ry Naylor Guitar","independentExpert":false,"primary":false,"url":"https://static1.squarespace.com/static/535140c0e4b0ae193f882ca8/t/55fea547e4b0bdeb0bf1d566/1442751815565/Adele%2B-%2BRolling%2BIn%2BThe%2BDeep%2B(Capo%2B3).pdf","barAligned":false,"sourceSha256":"0f753b4f7357552627eef2eb763df9c9928972fa318effd070b41378dc2998b8","locator":"Original PDF completely read; qualitative review only. No complete recording/bar/onset agreement established; see teacherSourceReview."},{"id":"tency-rolling-deep-studio-tempo","family":"named-teacher-publication","kind":"re-recording-provider-tempo-metadata","annotator":"Tency Music · Adele-Studio-Referenz 35287","independentExpert":false,"primary":false,"url":"https://www.tencymusic.com/music-licensing/adele/rolling-in-the-deep.html","barAligned":false,"sourceSha256":"a94f02d25422c8dd5a495322aeda449624d67dc5ddd1d44f8101b16372c6165c","locator":"Complete public provider description read: exact Adele studio reference35287,105BPM andCm, re-recorded material explicitly disclosed. No score pages or audio read; metadata corroborates Ry Naylor's105 quarter-note teaching pulse only. Alternate artists and live versions excluded; not a complete recording/form/onset analysis."}],"limitations":["Symbolic chart: displayed teaching bars and part repetitions are not a verified transcription of the original recording."]},{"id":"ireal-modern-choco-adele-set-fire-to-the-rain","title":"Set Fire to the Rain","artist":"Adele","primarySourceUrl":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/ireal-pro/choco/forum/jams/ireal-pro-forum_11946.jams","status":"needs-independent-second-source","sourceMetricalReview":{"status":"source-measure-grid","sourceMeasures":82,"sourceEventCount":83,"reasonDe":"Takte und Einsatzpositionen werden aus der dokumentierten Takt.Schlag-Kodierung gelesen, nicht mehr aus Vierergruppen von Akkordereignissen. Dauer und Unterteilung entsprechen der symbolischen Quelle. ChoCos eigener Import verteilt Mehrfachakkorde innerhalb eines Takts gleichmäßig; das beweist noch keine exakten Einsätze oder vollständigen Wiederholungen der Originalaufnahme."},"primaryImportCheck":{"sourceRead":true,"sourceSha256":"54613babfe32c71a8787abe94d6241935aa98a3918c959d2e22118a6f1af744f","normalizedImportMatches":true,"catalogBars":82,"sourceBars":82,"matchingBars":82,"differingBarNumbers":[]},"independentExpertAnalyses":0,"independentQualifiedAnalyses":0,"sourceCount":2,"primaryCoverage":{"bars":82,"withinBarPositionsPresent":true},"comparisons":[],"sources":[{"id":"wikifonia:wikifonia_424","family":"wikifonia","kind":"score-candidate","independentExpert":false,"primary":false,"url":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/wikifonia/choco/jams/wikifonia_424.jams","match":"title-only; composer and arrangement need review","composers":"Fraser Smith","barAligned":false}],"limitations":["Symbolic chart: displayed teaching bars and part repetitions are not a verified transcription of the original recording."]},{"id":"ireal-modern-choco-adele-skyfall","title":"Skyfall","artist":"Adele","primarySourceUrl":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/ireal-pro/choco/forum/jams/ireal-pro-forum_22576.jams","status":"needs-independent-second-source","sourceMetricalReview":{"status":"invalid-source-markup","invalidValues":["*"],"sourceEventCount":176,"sourceMeasures":null,"reasonDe":"Die unveränderten176 Rohannotationen enthalten14 alleinstehende Sternchen. Die aktuelle88-Takte-Lernform folgt stattdessen vollständig gelesenen Faber- und Champion-Ausgaben mit separat dokumentiertem PIANOO-Abgleich, Bassraster und ungelösten Bridge-Varianten. Die29 expliziten Moll-Reparaturen bleiben erhalten; keine vollständige Original-Master-Bestätigung."},"sourceSymbolReview":{"checkedOn":"2026-10-17","status":"explicit-original-minor-symbol-recovered","sourceSha256":"bc2e62f5d3f9d70ea98b81dd54c755f9b336893b7d390db072c1e28ca9fcdb40","rawSourceSha256":"ded54788485c97391fdcb33f59617d4806eb811e5728863f4c288ceaa5e2b674","totalChanged":29,"replacements":[{"damaged":"C*","original":"C*m*","recovered":"C-","count":13,"sourceEventNumbers":[1,2,7,8,24,25,55,56,101,102,132,133,176]},{"damaged":"F*","original":"F*m*","recovered":"F-","count":16,"sourceEventNumbers":[6,12,23,29,43,54,60,75,82,100,106,120,131,137,152,159]}],"rawSourceUrl":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/ireal-pro/raw/forum/pop-rock-blues/skyfall%20-%20adele%20adkins-paul%20epworth.csv","parserSourceUrl":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/choco/parsers/ireal_parser.py","notationUrl":"https://www.irealpro.com/learn/chord-symbols/","completeSongVerified":false,"originalRecordingFormVerified":false,"exactChangeBeatsVerified":false,"reasonDe":"29 ausdrücklich im ursprünglichen iReal-Text notierte Moll-Symbole werden wiederhergestellt. ChoCos Entfernen von Abschnittsmarken hat die Schreibweisen *m* beziehungsweise *m7* beschädigt; unser bisheriger Import machte daraus Dur oder Dominantseptakkorde. Die Korrektur folgt dem gelesenen Originaltext und der offiziellen Moll-/Moll7-Schreibweise, nicht einer pauschalen Deutung aller Sternchen.","limitationDe":"Rohtext und daraus erzeugte JAMS-Datei sind dieselbe Quelle, keine zwei unabhängigen musikalischen Bestätigungen. Akkordanzahl, Reihenfolge, Basstöne, vorhandene Taktpositionen und Tempo bleiben erhalten. Beschädigte einzelne Sternchen, Wiederholungen und vollständige Originalform werden dadurch nicht repariert oder freigegeben. Eine Moll-Dreiklang-Markierung wird nicht ohne weiteren Beleg zu Moll7 erweitert."},"teacherSourceReview":{"checkedOn":"2026-10-17","status":"publisher-and-independent-teacher-read-teaching-form-separately-corroborated","completeSongVerified":false,"originalRecordingFormVerified":false,"exactChangeBeatsVerified":false,"summaryDe":"Alle acht Seiten der offiziellen Faber-Ausgabe und das vollständige eigene PIANOO-Lehrerblatt wurden visuell gelesen. Beide stützen c-Moll und 4/4, lösen aber nicht jeden Harmonieunterschied. Der beschädigte iReal-Rohimport bleibt im Vergleich erhalten; die aktuelle88-Takte-Lernform und der zusätzliche komplette Champion-Klavierpart stehen separat im Lernform-Abgleich. Die Quellenzahl wird nicht als vollständige Originalaufnahme-Prüfung ausgegeben.","sources":[{"id":"faber-skyfall-piano-vocal-guitar","author":"Faber · Piano-Voice-Guitar","kind":"licensed-publisher-score","url":"https://musescore.com/official_author/scores/6924281","publisherPage":"https://musescore.com/official_author/scores/6924281","authorBackgroundUrl":"https://musescore.com/official_author/scores/6924281","authorBackgroundDe":"Im normalen angemeldeten Viewer als offizielle Faber-Verlagsfassung bezeichnet; acht Seiten mit Klavier, Gesang und Gitarrensymbolen.","pages":8,"allPagesRead":true,"fullScoreRead":true,"recordingListened":false,"sha256":"1858436e4e91b2aef19cabf1253a0e8126e9cafc436cd71e8e6e1228d2f06053","hashLabelDe":"Gelesenes Seitenbild 1 · SVG","pageSha256":["1858436e4e91b2aef19cabf1253a0e8126e9cafc436cd71e8e6e1228d2f06053","b5a93e037f6d98afcffa5dce7679e16ad1ed7039fdc2941be74e70e70c083d65","78519e3f15bc6fe448cf45de97c2f0cff3c2366f0ff4db18b51aabbe7d9fb256","fef3e54d822125e72b6ab5f04835fa85777fc395302267254246feba77a0306d","7ea592227b55b2cc7f9768ed3a3c1556947ade29050c2cfc81ef84970097fcf9","de752511745daf47bf70a627468427c960af0e5486faeb68bd36104b6f461e64","592a92f3fd4ab0d78ee9f6dd7b723be48848d6f00f7acb20c259d6717f293101","5207bd3a1258179af3c930177db99b1ce38dd524c89910080d7f46e6e5146550"],"inspectionDe":"Alle acht freigegebenen Seiten vollständig gelesen: 84 gedruckte Takte, Intro-Wiederholung, Binnenwechsel, Bridge, Fermaten und Schluss. Die Prüfsumme bezeichnet die erste SVG-Seite, keine vollständige PDF. Keine Notenbilder, Liedtexte oder signierten Adressen veröffentlicht.","limitationsDe":"Drei b-Vorzeichen, 4/4 und Viertel = 76 sind ausdrücklich notiert. Gedruckte Takte samt Wiederholungen sind nicht automatisch gespielte Aufnahmetakte. Der Viewer und die Partitur sind dieselbe Veröffentlichung; kein Original-Master wurde angehört oder zeitmarkiert abgeglichen.","auditLocator":"All eight authorized Faber score pages visually read;84 printed measures,76 quarter-note tempo,C minor,4/4. Exact first-page and eight individual page hashes retained. Not a PDF, not an original-master audition or complete performed-form/onset certification; see teacherSourceReview."},{"id":"pianoo-tobias-homburger-skyfall","author":"Tobias Homburger · PIANOO","kind":"original-teacher-lead-sheet","url":"https://pianoo.de/app/uploads/2024/02/adele-skyfall-leadsheet.pdf","publisherPage":"https://pianoo.de/adele-skyfall-piano-chords-leadsheet/","authorBackgroundUrl":"https://pianoo.de/adele-skyfall-piano-chords-leadsheet/","authorBackgroundDe":"Der Originalartikel nennt Homburgers Unterrichtserfahrung in Klavier und Komposition und verlinkt das eigene PIANOO-Blatt. Artikel und PDF zählen zusammen nur einmal, nicht als zwei unabhängige Bestätigungen.","pages":3,"contentPages":2,"allPagesRead":true,"fullScoreRead":true,"recordingListened":false,"sha256":"6c0bb1513d8fbd3acc7ceb350ef496c39759248ad65226a3ffd82455fbaf6a17","inspectionDe":"Vollständigen Originalartikel und alle drei PDF-Seiten gelesen: zwei bedruckte, mit 1/2 und 2/2 bezeichnete Seiten sowie eine leere dritte Seite. Das Lehrblatt enthält Formbausteine, keinen ausgeschriebenen vollständigen Aufnahmeablauf.","limitationsDe":"Eine eigene Unterrichtsveröffentlichung, keine zweite vollständige Bandtranskription. Ihre vereinfachte Bridge ist nicht pauschal mit Fabers Erweiterungen gleichzusetzen; konkrete Aufnahmefassung und vollständige Wiederholungszahlen bleiben offen."}],"findings":[{"id":"damaged-primary-symbols","labelDe":"Beschädigte Akkordsymbole: keine automatische Reparatur","status":"open","observations":[{"sourceId":"faber-skyfall-piano-vocal-guitar","location":"Original-iReal-Datei · 176 Ereignisse in 101 Taktpositionen","detailDe":"Die Quelle enthält C*, F* und 14 alleinstehende Sternchen. Einige Sternchen belegen eigene Zeitfelder; die bestehende Vorschau hat 41 künstliche Takte. Einfaches Löschen oder gleichmäßiges Verteilen würde weder die Akkordqualität noch die Zählzeiten zuverlässig reparieren."}],"resolutionDe":"Im ursprünglichen iReal-Rohtext sind C*m* und F*m* ausdrücklich zu lesen. Die daraus beschädigten 29 C*/F*-Ereignisse werden getrennt als Cm/Fm wiederhergestellt; die vollständige Begründung steht im Moll-Importabgleich. Einzelne Sternchen und die ungeprüfte Takt-/Wiederholungsstruktur bleiben offen.","nextCheckDe":"Die übrigen beschädigten Ereignisse einzeln mit den gelesenen Fassungen und einer weiteren unabhängigen vollständigen Quelle abgleichen. Die Timing-Warnung bleibt erhalten; neue Einsatzzeiten oder vollständige Wiederholungen werden nicht geraten."},{"id":"intro-repeat-versus-source-form","labelDe":"Intro-Wiederholung:88-Takte-Lernform separat abgeglichen","status":"teaching-form-corroborated-original-recording-open","observations":[{"sourceId":"faber-skyfall-piano-vocal-guitar","location":"Seite 1 · gedruckte Takte 1–6","detailDe":"Faber stellt zwei gehaltene Cm(add2)-Takte vor einen mit x3 bezeichneten Wiederholungsabschnitt. 84 gedruckte Takte werden nicht ungeprüft zu 84 gespielten Takten erklärt."},{"sourceId":"pianoo-tobias-homburger-skyfall","location":"Artikel · Intro; PDF · Abschnitt A","detailDe":"Das Lehrerblatt beschreibt ein achttaktiges Piano-Intro nach dem Eröffnungsklang. Seine Bausteinnummern sind kein vollständiger Songablauf und keine automatische Zuordnung zu den 101 Quelltakten."}],"nextCheckDe":"Die ausgeschriebene Faber-Form und Champions88-Takte-Klavierpart sind im neuen Lernform-Abgleich verglichen. Aufnahmegleiche Freigaben, Schlussfermate und vollständige Original-Master-Voicings bleiben zusätzlich zu prüfen;88 ist keine erfundene Gleichsetzung mit84 gedruckten Takten."},{"id":"section-specific-major-minor-change","labelDe":"Strophen unterscheiden: F7–Fm7 nicht überall einsetzen","status":"partially-corroborated","observations":[{"sourceId":"faber-skyfall-piano-vocal-guitar","location":"Seiten 1–2 · erste und zweite Strophenhälfte","detailDe":"Die frühe Strophe verwendet Fm7; später erscheint F7–Fm7. Diese Abschnittsunterscheidung wird auch vom Lehrerblatt gestützt."}],"nextCheckDe":"Jeden konkreten Songtakt und Einsatz zuordnen; keine globale Fm7-Ersetzung und keine Entscheidung aus anonymen Kommentaren ableiten."},{"id":"bridge-arrangement-conflict","labelDe":"Bridge: unabhängige Fassungen widersprechen sich","status":"open","observations":[{"sourceId":"faber-skyfall-piano-vocal-guitar","location":"Seite 6 · gedruckte Takte 59–66","detailDe":"Faber notiert unter anderem Fm9, Ab6 und chromatisch geführte Cm9-Bassvarianten. Die beiden Veröffentlichungen stimmen hier nicht Symbol für Symbol überein."},{"sourceId":"pianoo-tobias-homburger-skyfall","location":"PDF · Abschnitt D","detailDe":"Das Lehrerblatt verwendet eine andere Reduktion mit Fm, Gm, Ab und weiteren Bassverbindungen. Vereinfachung oder andere Stimmführung ist noch kein Beweis, dass sämtliche klingenden Bandnoten unterschiedlich sind."}],"nextCheckDe":"Eine weitere hochwertige, unabhängig erstellte Quelle zur selben Aufnahme heranziehen: Auch die jetzt gelesene dritte Veröffentlichung von Champion weicht in Bridge-Erweiterungen ab. Übereinstimmung pro konkretem Klang und Zählzeit entscheiden, nicht den ganzen Song per Quellenmehrheit freigeben."}],"limitationDe":"Zwei vollständige Veröffentlichungen sind gelesen, nicht zwei vollständige Originalaufnahme-Analysen bestätigt. Die gesonderte Wiederherstellung ausdrücklich notierter Moll-Symbole ist eine Importkorrektur, keine Freigabe von Skyfalls beschädigter vollständiger Form. Keine Noten, Liedtexte oder Seitenbilder werden öffentlich verteilt."},"sourceKeyReview":{"checkedOn":"2026-10-17","method":"explicit-ireal-minor-key-in-markup-preview","originalKey":null,"reviewedKey":"Cm","originalToken":"C-","completeSongVerified":false,"concertPitchVerified":false,"reasonDe":"Die iReal-Tonart C- bezeichnet ausdrücklich Moll und wird deshalb als Cm statt als fehlende Tonart gelesen. Derselbe Moll-Import gilt bereits für die übrigen gültigen iReal-Taktraster.","limitationDe":"Nur das Lesen der ausdrücklich notierten Tonart wird repariert. Akkorde werden nicht transponiert; beschädigte Quellmarken, Wiederholungen, vollständige Form und Aufnahme-Tonhöhe bleiben getrennt zu prüfen.","sources":["https://www.irealpro.com/ireal-pro-custom-chord-chart-protocol/"]},"sourcePracticeReview":{"checkedOn":"2026-10-17","status":"ordered-teaching-form-corroborated-bridge-voicing-variants-open","sourceSha256":"bc2e62f5d3f9d70ea98b81dd54c755f9b336893b7d390db072c1e28ca9fcdb40","headlineDe":"88-Takte-Lernform und notierter Bassweg · Skyfall","expandedTeachingForm":true,"originalKey":"Cm","reviewedKey":"Cm","keyLabelOnly":true,"originalBpm":76,"reviewedBpm":76,"tempoBasis":"reviewed-teaching-quarter-note-pulse","originalBars":41,"reviewedBars":88,"originalEventCount":162,"reviewedEventCount":141,"rawAnnotatedEventCount":176,"fullMeasures":88,"pickupQuarterNotes":0,"durationQuarterNotes":352,"completeScoreRead":true,"completeSongVerified":false,"originalRecordingFormVerified":false,"exactRecordingMasterVerified":false,"resolution":{"requiredIndependentAgreement":2,"orderedTeachingFormIndependentlyAgrees":true,"independentCompleteBarTimingVerified":false,"publisherExpansions":[{"publication":"Faber PVG","printedMeasures":84,"ranges":[{"from":1,"to":4},{"from":3,"to":4},{"from":3,"to":84}]},{"publication":"Brendan Champion · own complete piano part","printedMeasures":88,"ranges":[{"from":1,"to":88}]}],"sourceBeatGrid":"Half-bar changes0/2; chorus passing bass0/3 on the fourth quarter, not evenly spaced thirds. This is a harmonic/bass reduction, not every repeated attack or release.","decisions":[{"claim":"88-bar ordered teaching form","agreeing":["All eight Faber pages:84 printed plus two additional passes through3–4","All four Brendan Champion piano-part pages:88 ordered measures"],"chosen":"Opening2,intro8,verse16,chorus8,post4,verse8,chorus8,break8,bridge8,chorus8,outro10","limit":"Two separate credited arrangement publications, not two full original-recording time-aligned analyses"},{"claim":"Intro and first verse F-minor seventh","agreeing":["Faber Fm7","Tobias Homburger PIANOO Fm7"],"chosen":"Fm7, not the damaged Fm or a global F7","alternate":"Champion labels F7 in the early piano intro/verse although its actual two-note right hand omits the third; this label is not silently treated as agreement"},{"claim":"Cm/D and suspended dominant","agreeing":["Faber piano and symbols","PIANOO own intro/verse chart","Champion piano part"],"chosen":"Cm/D, then Gsus4→G on the half bar"},{"claim":"Second verse half distinguishes F7 from Fm7","agreeing":["Faber first-verse second half","PIANOO own chart first-verse second half","Champion actual piano notes despite condensed F7 label"],"chosen":"F7→Fm7 at[0,2] in first verse second half; F→Fm7 in the later verse","limit":"No global minor-to-major substitution"},{"claim":"Chorus descending bass","agreeing":["Faber explicitly notated piano bass","Champion complete bass part: first chorus descending entries on beat4"],"chosen":"Passing bass at offset3, not2","alternate":"PIANOO moves these slash-bass entries to the third quarter(offset2). This genuine timing difference is not called agreement. Later Champion bass variations are not imposed on the Faber piano reduction.","limit":"Core harmonic/bass entries only, no equal three-way interpolation"},{"claim":"Chorus secondary dominant","agreeing":["PIANOO D7","Champion D7"],"chosen":"D7→G7 at[0,2]","alternate":"Faber prints D7(b9) in the first two choruses and plain D7 in the last; the flat ninth is not imposed globally"},{"claim":"Opening and final colour","agreeing":["Faber Cm(add2) and notated upper D","Champion Cmadd9"],"chosen":"Cmadd9 without an invented Bb","alternate":"PIANOO article calls the opening Cm9, which includes a seventh absent from the publisher symbol; its PDF omits the two-bar opening"},{"claim":"Bridge","chosen":"Faber Fm9,Ab6,Cm9/Bb→Cm9/B,Cm,Abmaj7,Fm9,G7sus4/D,G7","independentAgreement":false,"alternate":"PIANOO uses Fm/Gm,Ab,Bb/G-B,Cm/C-Bb,Ab/Abmaj7-G,Fm7,Cm-D,G; Champion uses Fm9,Abmaj7,Eb/Bb→Eb/B,Cm,Abmaj7,Fm9,D7sus4,G7. Three read sources do not agree on every voicing. Upper extensions and suspended dominant remain unresolved, not falsely decided by source count."},{"claim":"Eight-bar breakdown","chosen":"Faber Cm core for seven bars, then F/C","independentAgreement":false,"alternate":"Champion labels Cm bass and leaves the piano rests. This is a piano accompaniment choice, not proof of full-band chord attacks in the original."}],"scope":"Two full arrangement publications corroborate ordered form; independent teacher corroborates core harmonic functions. Disputed bridge/passing bass and original master/full timing remain open."},"reasonDe":"Die alte Vorschau quetschte162 Ereignisse auf41 künstliche Takte;176 Rohannotationen enthalten14 alleinstehende Sternchen. Die vollständig visuell gelesene Faber-PVG-Ausgabe hat84 gedruckte Takte und den zweimal zusätzlich gespielten Abschnitt3–4. Der vollständige, separat veröffentlichte Klavierpart von Brendan Champion zählt denselben Ablauf direkt als88 Takte. Zwei Eröffnungstakte, acht Intro-Takte, Strophen, drei Refrains, Post-Chorus, acht Takte Breakdown, acht Takte Bridge und zehn Schlusstakte werden nun in richtiger Reihenfolge angezeigt. Homburgers eigener PIANOO-Chart bestätigt frühes Fm7, Cm/D und die spätere F7–Fm7-Auflösung. Der Bassweg im Refrain wird auf den notierten Viertelpositionen0 und3 abgebildet, nicht als gleichmäßige Drittel.76 ist das gedruckte Viertel-Übungstempo und bleibt unverändert.","limitationDe":"Keine vollständige Originalaufnahme-Zertifizierung. Faber und Champion stimmen in88 Takten und grober Reihenfolge überein, aber nicht in jeder Klangfarbe. PIANOO ist ein Formbaustein-Leadsheet, kein kompletter ausgeschriebener Aufnahmeablauf. In der Bridge widersprechen sich auch nach der dritten gelesenen Veröffentlichung mehrere Erweiterungen und Bass-/Akkorddeutungen; hier bleibt Fabers Fassung ausdrücklich eine gewählte Lernvariante. Champion verwendet unter anderem Abmaj7 und Eb/Bb→Eb/B statt Ab6 und Cm9-Bassvarianten; PIANOO verwendet eine andere Reduktion mit Fm/Gm und Bb/G-B. Für diese Detail-Voicings fehlt weiterhin ein zweiter übereinstimmender Vollbeleg. Champions vollständig gelesener Basspart bestätigt im ersten Refrain die Durchgänge auf Zählzeit4 (Offset3); PIANOO setzt sie schon auf Zählzeit3 (Offset2). Spätere Bassvariationen von Champion werden nicht als identisch zur Faber-Klavierfassung ausgegeben. D7 folgt dagegen PIANOO und Champion; Faber fügt in zwei Refrains b9 hinzu. Die zwei Eröffnungstakte verwenden Cmadd9 ohne zusätzliche Septime, nicht den anders bezeichneten Cm9 aus dem Artikel. Der Breakdown wird nach Fabers Klavierfassung Cm/F-C begleitet; Champions Bass-only-Alternative bleibt dokumentiert. Über Taktstriche gebundene Noten können im Übetool auf der nächsten Eins neu angeschlagen werden; wiederholte Klavier-/Bassanschläge, alle Freigaben, die Schlussverlangsamung und Fermatendauern werden nicht vollständig nachgebildet.76 wird als festes notiertes Übungstempo verwendet, nicht als selbst gemessener vollständiger Original-Tempoverlauf. Die14 beschädigten Rohmarken und29 expliziten Moll-Reparaturen bleiben gesondert erhalten. Kein vollständiges Originalaudio/Video gehört, keine Käufe, keine Notenbilder oder Liedtexte veröffentlicht; strenge Fachanalyse-Zähler bleiben unverändert.","sources":[{"id":"faber-skyfall-piano-vocal-guitar","author":"Faber · Piano-Voice-Guitar","kind":"licensed-publisher-score","url":"https://musescore.com/official_author/scores/6924281","publisherPage":"https://musescore.com/official_author/scores/6924281","authorBackgroundUrl":"https://musescore.com/official_author/scores/6924281","authorBackgroundDe":"Im normalen angemeldeten Viewer als offizielle Faber-Verlagsfassung bezeichnet; acht Seiten mit Klavier, Gesang und Gitarrensymbolen.","pages":8,"allPagesRead":true,"fullScoreRead":true,"recordingListened":false,"sha256":"1858436e4e91b2aef19cabf1253a0e8126e9cafc436cd71e8e6e1228d2f06053","hashLabelDe":"Gelesenes Seitenbild 1 · SVG","pageSha256":["1858436e4e91b2aef19cabf1253a0e8126e9cafc436cd71e8e6e1228d2f06053","b5a93e037f6d98afcffa5dce7679e16ad1ed7039fdc2941be74e70e70c083d65","78519e3f15bc6fe448cf45de97c2f0cff3c2366f0ff4db18b51aabbe7d9fb256","fef3e54d822125e72b6ab5f04835fa85777fc395302267254246feba77a0306d","7ea592227b55b2cc7f9768ed3a3c1556947ade29050c2cfc81ef84970097fcf9","de752511745daf47bf70a627468427c960af0e5486faeb68bd36104b6f461e64","592a92f3fd4ab0d78ee9f6dd7b723be48848d6f00f7acb20c259d6717f293101","5207bd3a1258179af3c930177db99b1ce38dd524c89910080d7f46e6e5146550"],"inspectionDe":"Alle acht freigegebenen Seiten vollständig gelesen: 84 gedruckte Takte, Intro-Wiederholung, Binnenwechsel, Bridge, Fermaten und Schluss. Die Prüfsumme bezeichnet die erste SVG-Seite, keine vollständige PDF. Keine Notenbilder, Liedtexte oder signierten Adressen veröffentlicht.","limitationsDe":"Drei b-Vorzeichen, 4/4 und Viertel = 76 sind ausdrücklich notiert. Gedruckte Takte samt Wiederholungen sind nicht automatisch gespielte Aufnahmetakte. Der Viewer und die Partitur sind dieselbe Veröffentlichung; kein Original-Master wurde angehört oder zeitmarkiert abgeglichen.","auditLocator":"All eight authorized Faber score pages visually read;84 printed measures,76 quarter-note tempo,C minor,4/4. Exact first-page and eight individual page hashes retained. Not a PDF, not an original-master audition or complete performed-form/onset certification; see teacherSourceReview."},{"id":"pianoo-tobias-homburger-skyfall","author":"Tobias Homburger · PIANOO","kind":"original-teacher-lead-sheet","url":"https://pianoo.de/app/uploads/2024/02/adele-skyfall-leadsheet.pdf","publisherPage":"https://pianoo.de/adele-skyfall-piano-chords-leadsheet/","authorBackgroundUrl":"https://pianoo.de/adele-skyfall-piano-chords-leadsheet/","authorBackgroundDe":"Der Originalartikel nennt Homburgers Unterrichtserfahrung in Klavier und Komposition und verlinkt das eigene PIANOO-Blatt. Artikel und PDF zählen zusammen nur einmal, nicht als zwei unabhängige Bestätigungen.","pages":3,"contentPages":2,"allPagesRead":true,"fullScoreRead":true,"recordingListened":false,"sha256":"6c0bb1513d8fbd3acc7ceb350ef496c39759248ad65226a3ffd82455fbaf6a17","inspectionDe":"Vollständigen Originalartikel und alle drei PDF-Seiten gelesen: zwei bedruckte, mit 1/2 und 2/2 bezeichnete Seiten sowie eine leere dritte Seite. Das Lehrblatt enthält Formbausteine, keinen ausgeschriebenen vollständigen Aufnahmeablauf.","limitationsDe":"Eine eigene Unterrichtsveröffentlichung, keine zweite vollständige Bandtranskription. Ihre vereinfachte Bridge ist nicht pauschal mit Fabers Erweiterungen gleichzusetzen; konkrete Aufnahmefassung und vollständige Wiederholungszahlen bleiben offen."},{"id":"brendan-champion-skyfall-full-piano","author":"Brendan Champion · vollständiger Klavier- und Basspart","kind":"original-arranger-complete-piano-part","publicationGroup":"brendan-champion-skyfall","url":"https://freehorncharts.com/wp-content/uploads/2015/05/Skyfall-06.10.15-version-3-for-R.R.-Score-and-parts.pdf","publisherPage":"https://freehorncharts.com/","sha256":"a46e474821fa5699b6fa99551a1d476baf4ecbb8a73390e083967c8a927d472a","pdfPages":37,"inspectedPdfPages":[17,18,19,20,24,25],"pagesRead":6,"completePianoPartRead":true,"completeBassPartRead":true,"wholeDocumentRead":false,"fullScoreRead":false,"recordingListened":false,"inspectionDe":"Eigene Website nennt Brendan Champion als Anbieter und verlinkt diesen Version3-Chart vom6.10.2015. Den kompletten vierseitigen Keys1(Piano)-Part auf PDF-Seiten17–20 und beide vollständigen Bassseiten24–25 visuell gelesen, nicht sämtliche37 Orchesterseiten. Bass27–34 bestätigt die ersten Refrain-Durchgänge auf der vierten Viertel, nicht auf der dritten.88 durchgehend ausgeschriebene Takte, Eröffnung/Intro, Verse/Refrains, acht Bass-Breakdown-Takte55–62, Bridge63–70 und Schluss79–88 gelesen. Frühe F7-Beschriftung, Abmaj7/Eb-Bass-Bridge, D7sus4 statt G7sus4/D und finales F9 statt Fm9 bleiben abweichende Arrangemententscheidungen. Quelle ist ein eigener Aufführungs-Chart, keine Original-Master-/Vollband-Zertifizierung."}]},"comparisonBasis":"Explicitly expanded complete core teaching form from named read publications; original condensed community stream remains separately compared. Not counted as complete independent original-master/all-band/onset analyses.","primaryImportCheck":{"sourceRead":true,"sourceSha256":"bc2e62f5d3f9d70ea98b81dd54c755f9b336893b7d390db072c1e28ca9fcdb40","normalizedImportMatches":true,"sourceKey":"Cm","reviewedKey":"Cm","recoveredMinorSymbols":29,"reviewedPracticePattern":true,"reviewedTeachingForm":true,"rawSourceComparison":{"catalogBars":88,"sourceBars":41,"matchingBars":0,"differingBarNumbers":[1,2,3,4,5,6,7,8,9,10,11,12,13,14,15,16,17,18,19,20,21,22,23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,41,42,43,44,45,46,47,48,49,50,51,52,53,54,55,56,57,58,59,60,61,62,63,64,65,66,67,68,69,70,71,72,73,74,75,76,77,78,79,80,81,82,83,84,85,86,87,88]},"catalogBars":88,"sourceBars":88,"matchingBars":88,"differingBarNumbers":[]},"independentExpertAnalyses":0,"independentQualifiedAnalyses":0,"sourceCount":5,"primaryCoverage":{"bars":88,"withinBarPositionsPresent":true},"comparisons":[],"sources":[{"id":"wikifonia:wikifonia_3932","family":"wikifonia","kind":"score-candidate","independentExpert":false,"primary":false,"url":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/wikifonia/choco/jams/wikifonia_3932.jams","match":"title-only; composer and arrangement need review","composers":"Adele","barAligned":false},{"id":"faber-skyfall-piano-vocal-guitar","family":"partial-teaching-pattern-publication","kind":"licensed-publisher-score","annotator":"Faber · Piano-Voice-Guitar","independentExpert":false,"primary":false,"url":"https://musescore.com/official_author/scores/6924281","barAligned":false,"sourceSha256":"1858436e4e91b2aef19cabf1253a0e8126e9cafc436cd71e8e6e1228d2f06053","locator":"Alle acht freigegebenen Seiten vollständig gelesen: 84 gedruckte Takte, Intro-Wiederholung, Binnenwechsel, Bridge, Fermaten und Schluss. Die Prüfsumme bezeichnet die erste SVG-Seite, keine vollständige PDF. Keine Notenbilder, Liedtexte oder signierten Adressen veröffentlicht. Complete core teaching form inspected, not a complete original-master/all-band/onset analysis; see sourcePracticeReview."},{"id":"pianoo-tobias-homburger-skyfall","family":"partial-teaching-pattern-publication","kind":"original-teacher-lead-sheet","annotator":"Tobias Homburger · PIANOO","independentExpert":false,"primary":false,"url":"https://pianoo.de/app/uploads/2024/02/adele-skyfall-leadsheet.pdf","barAligned":false,"sourceSha256":"6c0bb1513d8fbd3acc7ceb350ef496c39759248ad65226a3ffd82455fbaf6a17","locator":"Vollständigen Originalartikel und alle drei PDF-Seiten gelesen: zwei bedruckte, mit 1/2 und 2/2 bezeichnete Seiten sowie eine leere dritte Seite. Das Lehrblatt enthält Formbausteine, keinen ausgeschriebenen vollständigen Aufnahmeablauf. Complete core teaching form inspected, not a complete original-master/all-band/onset analysis; see sourcePracticeReview."},{"id":"brendan-champion-skyfall-full-piano","family":"partial-teaching-pattern-publication","kind":"original-arranger-complete-piano-part","annotator":"Brendan Champion · vollständiger Klavier- und Basspart","independentExpert":false,"primary":false,"url":"https://freehorncharts.com/wp-content/uploads/2015/05/Skyfall-06.10.15-version-3-for-R.R.-Score-and-parts.pdf","barAligned":false,"sourceSha256":"a46e474821fa5699b6fa99551a1d476baf4ecbb8a73390e083967c8a927d472a","locator":"Eigene Website nennt Brendan Champion als Anbieter und verlinkt diesen Version3-Chart vom6.10.2015. Den kompletten vierseitigen Keys1(Piano)-Part auf PDF-Seiten17–20 und beide vollständigen Bassseiten24–25 visuell gelesen, nicht sämtliche37 Orchesterseiten. Bass27–34 bestätigt die ersten Refrain-Durchgänge auf der vierten Viertel, nicht auf der dritten.88 durchgehend ausgeschriebene Takte, Eröffnung/Intro, Verse/Refrains, acht Bass-Breakdown-Takte55–62, Bridge63–70 und Schluss79–88 gelesen. Frühe F7-Beschriftung, Abmaj7/Eb-Bass-Bridge, D7sus4 statt G7sus4/D und finales F9 statt Fm9 bleiben abweichende Arrangemententscheidungen. Quelle ist ein eigener Aufführungs-Chart, keine Original-Master-/Vollband-Zertifizierung. Complete core teaching form inspected, not a complete original-master/all-band/onset analysis; see sourcePracticeReview."}],"limitations":["Symbolic chart: displayed teaching bars and part repetitions are not a verified transcription of the original recording."]},{"id":"ireal-modern-choco-adele-someone-like-you","title":"Someone Like You","artist":"Adele","primarySourceUrl":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/ireal-pro/choco/forum/jams/ireal-pro-forum_21747.jams","status":"needs-independent-second-source","sourceMetricalReview":{"status":"source-measure-grid","sourceMeasures":77,"sourceEventCount":124,"reasonDe":"Takte und Einsatzpositionen werden aus der dokumentierten Takt.Schlag-Kodierung gelesen, nicht mehr aus Vierergruppen von Akkordereignissen. Dauer und Unterteilung entsprechen der symbolischen Quelle. ChoCos eigener Import verteilt Mehrfachakkorde innerhalb eines Takts gleichmäßig; das beweist noch keine exakten Einsätze oder vollständigen Wiederholungen der Originalaufnahme."},"sourcePracticeReview":{"checkedOn":"2026-10-17","status":"publisher-core-teaching-form-and-short-measures-adjudicated","expandedTeachingForm":true,"sourceSha256":"020dfa40becd708eb4a33a282115222f4aae9d2b70fac80f133f27def2d51f87","headlineDe":"80-Takte-Lernform mit kurzen Takten und67BPM · Someone Like You","originalKey":"A","reviewedKey":"A","originalBpm":115,"reviewedBpm":67,"tempoBasis":"reviewed-teaching-quarter-note-pulse","originalBars":77,"reviewedBars":80,"originalEventCount":124,"reviewedEventCount":124,"fullMeasures":80,"pickupQuarterNotes":0,"durationQuarterNotes":314,"shortMeasureNumbers":[21,31,76],"completeScoreRead":true,"completeSongVerified":false,"originalRecordingFormVerified":false,"exactRecordingMasterVerified":false,"resolution":{"requiredIndependentAgreement":2,"orderedTeachingFormIndependentlyAgrees":false,"independentCompleteBarTimingVerified":false,"decisions":[{"claim":"67-quarter-note fixed practice pulse","chosen":67,"agreeing":["Hal Leonard complete PV score printed quarter=67","Pianote complete four-page lead sheet printed quarter=67","Musicnotes MN0090054 public arrangement metadata q=67","Tency36011 variable tempo around67"],"alternate":"Bell&CoMusic prints68.115 is retained only as original community metadata. No full recording tempo map was measured."},{"claim":"First pre-chorus extension and short measures","chosen":"D2/4 inserted before first chorus; first chorus closes with F#m2/4 then D4/4; final refrain closes F#m2/4 before outro","agreeing":["Hal Leonard written21/31/76 explicitly2/4","Pianote written21/31/81 explicitly2/4; final position differs because its final chorus is longer","Bell&CoMusic explicitly marks first pre-chorus/chorus short measures"],"limit":"Numeric durations from notated scores, not lyric spacing or duration-to-bar inference."},{"claim":"Second pre-chorus missing held measure","chosen":"Retain D/Eadd9-D family for an additional full measure before chorus2","agreeing":["Hal Leonard written44 and45 both retain D-bass harmony before46 chorus","Pianote written44 and45 both D-family before46 chorus","Bell&CoMusic shows the extra D/Eadd9-D bar"],"limit":"Pianote does not add the same E/D upper structure; an extra measure agrees, every upper tone does not."},{"claim":"Eleven named parts and chosen80-bar teaching form","chosen":"Hal Leonard1–80, all repeats written out: Intro4, Verse1 12, Pre1 5, Chorus1 11, Verse2 8, Pre2 5, Chorus2 8, Bridge5, Chorus3 8, Chorus4 10, Outro4","agreeing":["Bell&CoMusic ordered text has two final chorus passes of8 then10 measures at core phrase level","Pianote agrees on the part order but has four additional final-refrain bars"],"independentAgreement":false,"limit":"The exact80-bar metric plan comes from the completely read publisher score, not two identical complete original-recording transcriptions. The original77-bar source and69-bar transposed Wikifonia chart are preserved as conflicting source evidence."},{"claim":"Bridge minor chord and closing tonic","chosen":"Bm rather than Bm7; close on A rather than an uncorroborated added ninth","agreeing":["Hal Leonard written57 Bm and80 A-family notation","Pianote written59 Bm and84 A","Bell&CoMusic Bm and final A"],"limit":"A/C# bridge passing bass retained; no automatic reharmonization of all F#m to F#5."},{"claim":"Outro colour is a chosen core reduction","chosen":"D | G#dim/D → Dmaj7 | D | A","agreeing":["Hal Leonard77–80 D, G#dim/D→Dmaj7(no3),D,A-family","Pianote82–84 Dmaj7,D,A; preceding E7/D includes the G#/B/D diminished-triad subset"],"independentAgreement":false,"alternate":"Pianote uses E7/D in a separate2/4 bar and a full Dmaj7 bar; Bell&CoMusic uses E/E6/E7 variants. G#dim/D versus E7/D and omitted F# in Dmaj7(no3) are not claimed as identical exact voicings. Final fermata/ritardando is not reproduced as measured audio."}],"scope":"Complete chosen publisher-based core teaching arrangement, independently corroborated pulse and specific meter/form corrections. Original-master form and all exact piano voicings remain open."},"reasonDe":"Die bisherige77-Takt-Quelle spielte115BPM und alle Takte als4/4. Die vollständig gelesene zehnseitige Hal-Leonard-Piano/Vocal-Ausgabe notiert67BPM,80 Takte und2/4 bei21,31 und76. Pianotes vierseitiges Leadsheet bestätigt67 sowie die entsprechenden kurzen Übergänge; Bell&CoMusic bestätigt zusätzlich die geordnete Teilefolge, den zusätzlichen D-Haltetakt vor Refrain2 und zwei abschließende Refrain-Durchläufe. Die Lernfassung schreibt elf Teile aus, umfasst314 Viertel und behält124 Klangfelder. Der zusätzliche2/4-D-Takt vor Refrain1, die verkürzten F#m-Schlüsse und der fehlende volle D-Bass-Haltetakt werden metrisch statt durch gleichmäßige Verteilung abgebildet. Die ursprünglichen77 Takte bleiben im Rohquellenvergleich sichtbar.","limitationDe":"Keine vollständige Original-Master-Zertifizierung.80 Takte sind die ausdrücklich gewählte vollständig gelesene Hal-Leonard-Lernform. Pianote hat84 Takte und vier zusätzliche Takte im letzten Refrain; Bell&CoMusic stützt zwei abschließende Phrasendurchläufe, liefert aber keine unabhängige lückenlose numerische80-Takt-Analyse. Die transponierte Wikifonia-Fassung hat69 Takte, andere Wiederholungen, teils abweichende Erweiterungen und keinen namentlichen Bearbeiter: kein dritter vollständiger Originalform-Beweis. Hal Leonards Seiten1/2/3/4/6/7/8/10 wurden als SVG gesichert; Seiten5/9 vollständig in mehreren normalen Viewer-Ausschnitten gelesen, ihr Dateiexport schlug fehl und dafür wird kein Hash erfunden. F#5/F#m, Eadd2/Esus2, D/D5/Dmaj7, E/G# im leisen Schlussrefrain sowie G#dim/D/E7/D und Dmaj7(no3) sind teils Voicing- oder Bearbeitungsvarianten. Die gewählte Grundharmonik behauptet keine identischen Einzeltöne aller Fassungen.67 ist ein festes Übetempo, kein nachgemessener Rubato-Verlauf; Tency nennt ausdrücklich eine Neuaufnahme mit variablem Tempo. Bell nennt68. Keine Originalaufnahme und keine Videos gehört, keine Käufe oder Credits, keine Notenbilder oder Liedtexte weiterveröffentlicht. 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Acht SVG-Seiten gesichert;5/9 direkt in mehreren Viewer-Ausschnitten gelesen, keine Dateihashes für fehlgeschlagenen Export. Die zuerst geöffnete Easy-Piano-Ausgabe6953303 in B-Dur/69BPM wurde nur zur Navigation benutzt und nicht als zusätzliche Originaltonart- oder Tempoquelle gezählt."},{"id":"pianote-someone-complete-leadsheet","author":"Lisa Witt · Pianote/Musora, eigener Artikel und Leadsheet","kind":"original-teacher-complete-chart","publicationGroup":"pianote-someone","url":"https://www.pianote.com/blog/?p=65","sha256":"ecfadb4a3af06b3035ae3e76583a44b2f6153f315b26e90dbd05e3344b119b06","chartUrl":"https://pianote.s3.amazonaws.com/blog/pdf/Someone_Like_You_Lead_Sheet.pdf","chartSha256":"d1c607ad9072a623a24ddb426627767aa4597cdf0a404ad461d92baf1d29c08f","pages":4,"pagesRead":4,"allPagesRead":true,"fullScoreRead":false,"completeChordChartRead":true,"printedTempo":67,"recordingListened":false,"videoWatched":false,"inspectionDe":"Vollständigen eigenen Artikel und alle vier PDF-Seiten visuell gelesen:84 ausgeschriebene Takte,2/4 bei21/31/81, Zusatz-Haltetakt45, Bm/A-C#-Bridge, Dmaj7 und Schluss-A. 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Keine vollständige nummerierte Metrik aus Liedtextabständen abgeleitet."},{"id":"musicnotes-someone-public-metadata","author":"Musicnotes · MN0090054, Universal Music Publishing Group","kind":"publisher-public-arrangement-metadata","publicationGroup":"musicnotes-someone","url":"https://www.musicnotes.com/sheetmusic/adele/someone-like-you/MN0090054","sha256":null,"textRead":true,"fullScoreRead":false,"recordingListened":false,"printedTempo":67,"readScopeAuditLocator":"Public arrangement metadata only: MN0090054, A major,4/4,q=67. Eight score pages offered, no full score read or purchased. Not a complete form/chord/onset or original-master analysis; see sourcePracticeReview.","inspectionDe":"Vollständige öffentliche Produktbeschreibung und Arrangement-Metadaten gelesen:OriginaltonartA,4/4,Metronom q=67,acht angebotene Seiten. Keine achtseitige Partitur gelesen oder gekauft; kein Credit benutzt. Nicht als zusätzlicher vollständiger Form-/Akkordbeleg gezählt."},{"id":"tency-someone-variable-pulse","author":"Tency Music · Referenz36011","kind":"re-recording-provider-metadata","publicationGroup":"tency-someone","url":"https://www.tencymusic.com/music-licensing/adele/someone-like-you.html","sha256":null,"providerTempo":67,"variableTempo":true,"textRead":true,"fullScoreRead":false,"recordingListened":false,"readScopeAuditLocator":"Rerecording-provider metadata only:36011,A,variable tempo around67BPM,4:46,no fadeout. No score or audio audition; not original master, complete form or chord/onset verification. No bar count inferred from duration; see sourcePracticeReview.","inspectionDe":"Vollständige öffentliche Referenz gelesen:A,variabel um67BPM,4:46,ohne Fadeout; ausdrücklich Neuaufnahme, nicht Originalaudio. Kein Taktumfang aus Dauer berechnet und kein Audio gehört."}]},"comparisonBasis":"Explicitly expanded complete core teaching form from named read publications; original condensed community stream remains separately compared. Not counted as complete independent original-master/all-band/onset analyses.","primaryImportCheck":{"sourceRead":true,"sourceSha256":"020dfa40becd708eb4a33a282115222f4aae9d2b70fac80f133f27def2d51f87","normalizedImportMatches":true,"reviewedPracticePattern":true,"reviewedTeachingForm":true,"sourceKey":"A","reviewedKey":"A","rawSourceComparison":{"catalogBars":80,"sourceBars":77,"matchingBars":42,"differingBarNumbers":[21,22,23,24,25,26,27,28,29,30,31,32,33,34,35,36,37,38,39,40,41,42,43,44,45,52,53,54,55,56,57,58,75,76,77,78,79,80]},"catalogBars":80,"sourceBars":80,"matchingBars":80,"differingBarNumbers":[]},"independentExpertAnalyses":0,"independentQualifiedAnalyses":0,"sourceCount":7,"primaryCoverage":{"bars":80,"withinBarPositionsPresent":true},"comparisons":[],"sources":[{"id":"wikifonia:wikifonia_2488","family":"wikifonia","kind":"score-candidate","independentExpert":false,"primary":false,"url":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/wikifonia/choco/jams/wikifonia_2488.jams","match":"title-only; composer and arrangement need review","composers":"Daniel Wilson","barAligned":false},{"id":"hal-leonard-someone-complete-pv","family":"partial-teaching-pattern-publication","kind":"licensed-complete-publisher-score","annotator":"Hal Leonard · vollständige Piano/Vocal-Ausgabe","independentExpert":false,"primary":false,"url":"https://musescore.com/official_scores/scores/6976107","barAligned":false,"sourceSha256":"5ddf7ffa8a8a304fefb614c11fd98dff3117d27096952e931e4364ecd093f907","locator":"Alle zehn normal im angemeldeten Viewer geladenen Seiten vollständig visuell gelesen:80 ausgeschriebene Takte, keine erfundene Wiederholungs-Expansion, gedruckte Viertel67,2/4 bei21/31/76, zweiter Pre-Chorus44–45, Bridge54–58 und Schluss77–80. Acht SVG-Seiten gesichert;5/9 direkt in mehreren Viewer-Ausschnitten gelesen, keine Dateihashes für fehlgeschlagenen Export. Die zuerst geöffnete Easy-Piano-Ausgabe6953303 in B-Dur/69BPM wurde nur zur Navigation benutzt und nicht als zusätzliche Originaltonart- oder Tempoquelle gezählt. Complete core teaching form inspected, not a complete original-master/all-band/onset analysis; see sourcePracticeReview."},{"id":"pianote-someone-complete-leadsheet","family":"partial-teaching-pattern-publication","kind":"original-teacher-complete-chart","annotator":"Lisa Witt · Pianote/Musora, eigener Artikel und Leadsheet","independentExpert":false,"primary":false,"url":"https://www.pianote.com/blog/?p=65","barAligned":false,"sourceSha256":"ecfadb4a3af06b3035ae3e76583a44b2f6153f315b26e90dbd05e3344b119b06","locator":"Vollständigen eigenen Artikel und alle vier PDF-Seiten visuell gelesen:84 ausgeschriebene Takte,2/4 bei21/31/81, Zusatz-Haltetakt45, Bm/A-C#-Bridge, Dmaj7 und Schluss-A. Vier zusätzliche Schlussrefrain-Takte gegenüber Hal Leonard ausdrücklich behalten als Quellenwiderspruch. Artikel und PDF eine Familie; keine Videowiedergabe oder Originalaufnahme geprüft. Complete core teaching form inspected, not a complete original-master/all-band/onset analysis; see sourcePracticeReview."},{"id":"bell-someone-own-arrangement","family":"partial-teaching-pattern-publication","kind":"original-teacher-ordered-chord-chart","annotator":"Bell&CoMusic · eigene Someone-Like-You-Bearbeitung","independentExpert":false,"primary":false,"url":"https://www.bellandcomusic.com/adele-someone-like-you.html","barAligned":false,"sourceSha256":null,"locator":"Vollständigen eigenen Artikel/Chart gelesen:Intro,Verse1,Pre,Chorus,Verse2,Pre,Chorus,Bridge und zwei abschließende Refrains;2/4-Markierungen vor erstem Chorus/am ersten Schluss, zusätzlicher D/Eadd9-D-Takt vor Chorus2.68BPM und vereinfachte Bass-/Outro-Voicings sind abweichend. 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Not a complete form/chord/onset or original-master analysis; see sourcePracticeReview."},{"id":"tency-someone-variable-pulse","family":"partial-teaching-pattern-publication","kind":"re-recording-provider-metadata","annotator":"Tency Music · Referenz36011","independentExpert":false,"primary":false,"url":"https://www.tencymusic.com/music-licensing/adele/someone-like-you.html","barAligned":false,"sourceSha256":null,"locator":"Rerecording-provider metadata only:36011,A,variable tempo around67BPM,4:46,no fadeout. No score or audio audition; not original master, complete form or chord/onset verification. No bar count inferred from duration; see sourcePracticeReview."}],"limitations":["Symbolic chart: displayed teaching bars and part repetitions are not a verified transcription of the original recording."]},{"id":"ireal-modern-choco-adele-when-we-were-young","title":"When We Were Young","artist":"Adele","primarySourceUrl":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/ireal-pro/choco/forum/jams/ireal-pro-forum_15713.jams","status":"needs-independent-second-source","sourceMetricalReview":{"status":"source-measure-grid","sourceMeasures":81,"sourceEventCount":142,"reasonDe":"Takte und Einsatzpositionen werden aus der dokumentierten Takt.Schlag-Kodierung gelesen, nicht mehr aus Vierergruppen von Akkordereignissen. Dauer und Unterteilung entsprechen der symbolischen Quelle. ChoCos eigener Import verteilt Mehrfachakkorde innerhalb eines Takts gleichmäßig; das beweist noch keine exakten Einsätze oder vollständigen Wiederholungen der Originalaufnahme."},"primaryImportCheck":{"sourceRead":true,"sourceSha256":"06ec32d5f3de80215721712dfd63cf2441f474d46c9f90b65549066fd310f0bf","normalizedImportMatches":true,"catalogBars":81,"sourceBars":81,"matchingBars":81,"differingBarNumbers":[]},"independentExpertAnalyses":0,"independentQualifiedAnalyses":0,"sourceCount":1,"primaryCoverage":{"bars":81,"withinBarPositionsPresent":true},"comparisons":[],"sources":[],"limitations":["Symbolic chart: displayed teaching bars and part repetitions are not a verified transcription of the original recording."]},{"id":"ireal-modern-choco-alicia-keys-no-one","title":"No One","artist":"Alicia Keys","primarySourceUrl":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/ireal-pro/choco/forum/jams/ireal-pro-forum_20970.jams","status":"needs-independent-second-source","sourceMetricalReview":{"status":"source-measure-grid","sourceMeasures":24,"sourceEventCount":24,"reasonDe":"Takte und Einsatzpositionen werden aus der dokumentierten Takt.Schlag-Kodierung gelesen, nicht mehr aus Vierergruppen von Akkordereignissen. 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ChoCos eigener Import verteilt Mehrfachakkorde innerhalb eines Takts gleichmäßig; das beweist noch keine exakten Einsätze oder vollständigen Wiederholungen der Originalaufnahme."},"primaryImportCheck":{"sourceRead":true,"sourceSha256":"277fff55486ec1cb88b7f6ca807d76397eca7c966cd29c481efd7be55bb4278b","normalizedImportMatches":true,"catalogBars":24,"sourceBars":24,"matchingBars":24,"differingBarNumbers":[]},"independentExpertAnalyses":0,"independentQualifiedAnalyses":0,"sourceCount":4,"primaryCoverage":{"bars":24,"withinBarPositionsPresent":true},"comparisons":[],"sources":[{"id":"wikifonia:wikifonia_1015","family":"wikifonia","kind":"score-candidate","independentExpert":false,"primary":false,"url":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/wikifonia/choco/jams/wikifonia_1015.jams","match":"title-only; composer and arrangement need review","composers":"Mort Shuman","barAligned":false},{"id":"wikifonia:wikifonia_1604","family":"wikifonia","kind":"score-candidate","independentExpert":false,"primary":false,"url":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/wikifonia/choco/jams/wikifonia_1604.jams","match":"title-only; composer and arrangement need review","composers":"Alicia Keys, George Harry, Kerry Brothers Jr.","barAligned":false},{"id":"wikifonia:wikifonia_4221","family":"wikifonia","kind":"score-candidate","independentExpert":false,"primary":false,"url":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/wikifonia/choco/jams/wikifonia_4221.jams","match":"title-only; composer and arrangement need review","composers":"Alicia Keys, George Harry, Kerry Brothers Jr.","barAligned":false}],"limitations":["Symbolic chart: displayed teaching bars and part repetitions are not a verified transcription of the original recording."]},{"id":"ireal-modern-choco-amy-winehouse-rehab","title":"Rehab","artist":"Amy Winehouse","primarySourceUrl":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/ireal-pro/choco/forum/jams/ireal-pro-forum_23322.jams","status":"needs-independent-second-source","sourceMetricalReview":{"status":"source-measure-grid","sourceMeasures":128,"sourceEventCount":128,"reasonDe":"Takte und Einsatzpositionen werden aus der dokumentierten Takt.Schlag-Kodierung gelesen, nicht mehr aus Vierergruppen von Akkordereignissen. 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ChoCos eigener Import verteilt Mehrfachakkorde innerhalb eines Takts gleichmäßig; das beweist noch keine exakten Einsätze oder vollständigen Wiederholungen der Originalaufnahme."},"sourceSymbolReview":{"checkedOn":"2026-10-17","status":"explicit-original-minor-symbol-recovered","sourceSha256":"e831cf39c72ef625cf9158b6ecfeaee68ac5c739fc19f9ecff51ab2667e4834b","rawSourceSha256":"b0fc0d72eb2bb1ed7547d8954a39924f24cc8084c484575e530169e939f163da","totalChanged":20,"replacements":[{"damaged":"E*","original":"E*m*","recovered":"E-","count":20,"sourceEventNumbers":[1,5,9,13,17,21,25,29,33,37,41,45,49,53,57,61,65,69,73,77]}],"rawSourceUrl":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/ireal-pro/raw/forum/pop-rock-blues/dangerous%20woman%20-%20johan%20carlsson-ross%20golan-max%20martin.csv","parserSourceUrl":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/choco/parsers/ireal_parser.py","notationUrl":"https://www.irealpro.com/learn/chord-symbols/","completeSongVerified":false,"originalRecordingFormVerified":false,"exactChangeBeatsVerified":false,"reasonDe":"20 ausdrücklich im ursprünglichen iReal-Text notierte Moll-Symbole werden wiederhergestellt. ChoCos Entfernen von Abschnittsmarken hat die Schreibweisen *m* beziehungsweise *m7* beschädigt; unser bisheriger Import machte daraus Dur oder Dominantseptakkorde. Die Korrektur folgt dem gelesenen Originaltext und der offiziellen Moll-/Moll7-Schreibweise, nicht einer pauschalen Deutung aller Sternchen.","limitationDe":"Rohtext und daraus erzeugte JAMS-Datei sind dieselbe Quelle, keine zwei unabhängigen musikalischen Bestätigungen. Akkordanzahl, Reihenfolge, Basstöne, vorhandene Taktpositionen und Tempo bleiben erhalten. Beschädigte einzelne Sternchen, Wiederholungen und vollständige Originalform werden dadurch nicht repariert oder freigegeben. Eine Moll-Dreiklang-Markierung wird nicht ohne weiteren Beleg zu Moll7 erweitert."},"primaryImportCheck":{"sourceRead":true,"sourceSha256":"e831cf39c72ef625cf9158b6ecfeaee68ac5c739fc19f9ecff51ab2667e4834b","normalizedImportMatches":true,"recoveredMinorSymbols":20,"catalogBars":77,"sourceBars":77,"matchingBars":77,"differingBarNumbers":[]},"independentExpertAnalyses":0,"independentQualifiedAnalyses":0,"sourceCount":1,"primaryCoverage":{"bars":77,"withinBarPositionsPresent":true},"comparisons":[],"sources":[],"limitations":["Symbolic chart: displayed teaching bars and part repetitions are not a verified transcription of the original recording."]},{"id":"ireal-modern-choco-avicii-wake-me-up","title":"Wake Me Up","artist":"Avicii","primarySourceUrl":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/ireal-pro/choco/forum/jams/ireal-pro-forum_18943.jams","status":"needs-independent-second-source","sourceMetricalReview":{"status":"source-measure-grid","sourceMeasures":4,"sourceEventCount":8,"reasonDe":"Takte und Einsatzpositionen werden aus der dokumentierten Takt.Schlag-Kodierung gelesen, nicht mehr aus Vierergruppen von Akkordereignissen. Dauer und Unterteilung entsprechen der symbolischen Quelle. ChoCos eigener Import verteilt Mehrfachakkorde innerhalb eines Takts gleichmäßig; das beweist noch keine exakten Einsätze oder vollständigen Wiederholungen der Originalaufnahme."},"sourcePracticeReview":{"checkedOn":"2026-10-17","status":"chorus-pattern-corroborated-full-song-form-open","sourceSha256":"279558d20f058a179cf63a3abfed96988edc57ea4ce2203be76d5f22355c3a06","headlineDe":"Viertaktiger Refrain-Grundbaustein geprüft · Wake Me Up","originalKey":"C","reviewedKey":"Bm","originalBpm":115,"reviewedBpm":124,"tempoBasis":"reviewed-teaching-quarter-note-pulse","originalBars":4,"reviewedBars":4,"retainedEventCount":8,"completeSongVerified":false,"originalRecordingFormVerified":false,"exactRecordingMasterVerified":false,"completeScoreRead":true,"resolution":{"requiredIndependentAgreement":2,"patternPublications":["Hal Leonard · Piano-Vocal-Guitar","Justin Sandercoe · JustinGuitar"],"tempoPublications":["Hal Leonard · Piano-Vocal-Guitar","Tency Music · 44385"],"chorusPrintedMeasures":[21,22,23,24],"scope":"Four-bar chorus teaching pattern, minor tonic, final major F-sharp turnaround, fourth-quarter A/F-sharp changes and 124-quarter-note pulse. Not a complete original-recording form or all-band transcription."},"reasonDe":"Der bisherige Kurzloop A–F–C–G begann zweimal mit Dur und klang zwei Halbtöne zu tief. Hal Leonards Refrain in Takt 21–24 und JustinGuitars Kapo-2-Erklärung stützen Bm–G / D–A / Bm–G / D–F♯. A und F♯ kommen dort erst auf Zählzeit vier. Die vier Takte und acht Ereignisse bleiben erhalten; h-Moll und 124 Viertel pro Minute ersetzen den bisherigen C-Bezug und 115. Die beiden Tempoangaben von Verlag und Tency stimmen überein.","limitationDe":"Dies bleibt ein kurzer Refrain-Grundbaustein, kein vollständiger Song. Die gelesene Partitur hat 78 gedruckte Takte mit Rücksprung und Coda; Spy Tunes verwendet einen kompakteren Formplan und Powerchords. Der vollständige Wiederholungs- und Pausenablauf ist noch nicht unabhängig geklärt und wird nicht aus dem vier­taktigen Ausgangsdatensatz erfunden. Die D/A-Strophenbassbewegung und Instrumentalvarianten werden nicht pauschal in den Refrain übernommen. Eine weitere gelesene Guitar-Control-Lektion verwendet eine abweichende Moll-Dominante; übernommen wird die übereinstimmende F♯-Dur-Variante von Verlag und JustinGuitar, keine zusätzliche Septime. Tencys Neuaufnahme ist kein Original-Master; ihre Dauer wird nicht als Formbeweis verwendet.","sources":[{"id":"hal-leonard-wake-pvg","author":"Hal Leonard · Piano-Vocal-Guitar","kind":"licensed-complete-publisher-score","url":"https://musescore.com/official_scores/scores/6938559","sha256":"bfea92f66feccb9deb03f364976a129e3f3f9f632426cd9ffa78cbfc3eabbe5e","pages":8,"allPagesRead":true,"fullScoreRead":true,"recordingListened":false,"pageSha256":["bfea92f66feccb9deb03f364976a129e3f3f9f632426cd9ffa78cbfc3eabbe5e","64e24aee8de76e225b4076dad177d272ab101357c285e24b15a6dd3ec07122c7","a0fe3ebda9339e0c36758bde8fb0d46014552cc1781b4b92c733e7dcec722c65","15c0dad098818caa40e4bfb277ea8e37bea80368961c059ed034911ef3c1d272","31864c497fd8b8c1bccbcd492ef844d0da8d5970b28fa0fcbc4ca0aef6ef8e8f","89a8258d82ed7491d6d8f50cfbb8313845757d3fb1110380262f468338b1472b","b4bf61d5a24931236275359ce8d3bf0c00e7cb710d34a5e5454da6ba9a8e50de","dc46d6096053c2db10a44f181b232ab1841ab80011360af6b47723a39cff28bf"],"inspectionDe":"Alle acht autorisiert angezeigten Seiten vollständig visuell gelesen: 78 gedruckte Takte, 4/4, Viertel = 124, zwei Kreuze, Refrain 21–24, D/A-Bass, Wiederholungen, D.S. al Coda und Schluss. Prüfsumme der ersten SVG-Seite, keine PDF-Prüfsumme. Kein Audio gehört und keine Notenbilder oder Liedtexte veröffentlicht."},{"id":"justin-wake-chorus","author":"Justin Sandercoe · JustinGuitar","kind":"original-teacher-browser-text","url":"https://www.justinguitar.com/songs/avicii-wake-me-up-chords-tabs-guitar-lesson-bs-626","sha256":null,"textRead":true,"browserVisibleTextRead":true,"videoWatched":false,"paidTabsRead":false,"inspectionDe":"Alle öffentlich sichtbaren Lektionstexte im regulären Browser vollständig gelesen: Kapo 2, relative Am/F/C/G/E-Refrainfolge und ausdrücklich ein Schlag für G und E auf der Vier. Das klingt als Bm/G/D/A/F♯. Kein Video oder Bezahl-TAB gelesen. Der separate HTML-Abruf war nicht möglich; deshalb wird keine heruntergeladene Datei oder Datei-Prüfsumme behauptet."},{"id":"dan-lundholm-wake-chart","author":"Dan Lundholm · Spy Tunes","kind":"original-teacher-chart","url":"https://spytunes.com/wp-content/uploads/2024/09/Wake-Me-Up-Spytunes.pdf","sha256":"82595a5c89444b502c9305a0ed5222e82012f426c4c07052c8d2d63d4c5589b1","lessonUrl":"https://spytunes.com/wake-me-up-chords/","lessonSha256":"c57306213f9019e7adf55fc041a73943090ed9e0108e62850636062090a1fd87","pages":1,"allPagesRead":true,"fullScoreRead":true,"recordingListened":false,"inspectionDe":"Ganzes eigenes einseitiges PDF und Originalartikel gelesen. Bestätigt h-Moll und späten A5-Wechsel, reduziert aber G/D/A auf Gitarren-Powerchords und lässt die F♯-Dur-Wendung weg. Artikel, Blatt und iReal-Angebot zählen zusammen als eine Veröffentlichung; der kondensierte Formplan bestätigt noch keine komplette Originalaufnahme."},{"id":"tency-wake-tempo-key","author":"Tency Music · Avicii/Aloe-Blacc-Referenz 44385","kind":"re-recording-provider-metadata","url":"https://www.tencymusic.com/music-licensing/avicii/wake-me-up.html","sha256":"9f8d44b34eba2a94f597cd6dfb9c7e98412f2b035b10a417311af92f45256da6","pages":null,"fullScoreRead":false,"textRead":true,"recordingListened":false,"inspectionDe":"Vollständige öffentliche Anbieterbeschreibung gelesen: 124 BPM, Bm und Referenz 44385. Material ausdrücklich neu eingespielt, nicht Originalmusik; weder Audio noch Partitur geprüft. Dauer 4:05 und fehlender Fadeout werden nicht als vollständiger Originalablauf importiert."},{"id":"darrin-goodman-wake-alternate","author":"Darrin Goodman · Guitar Control","kind":"alternate-teacher-transcript-not-selected","url":"https://guitarcontrol.com/how-to-play-wake-me-up-by-avicii-easy-acoustic-guitar-lesson-w-darrin-goodman/","sha256":"fe23b2b313c6b17d5d3a632d9d7a26ac40dc9148c42a4ceca4ce11c274415969","textRead":true,"fullScoreRead":false,"videoWatched":false,"inspectionDe":"Öffentliches Lektionstranskript vollständig gelesen, kein Video oder TAB. Kapo-2-Version mit abweichendem Em-Griff, anderem Zählraster und Wiederholungserklärungen. Diese vereinfachte Alternative wird nicht gegen die konkret übereinstimmende Dur-Wendung von Hal Leonard und JustinGuitar übernommen und nicht als vollständige Originalform gezählt."}]},"comparisonBasis":"Explicitly reviewed short practice loop; original community stream and full-song evidence remain separate. Named lesson and metadata publications are not counted as complete independent recording analyses.","primaryImportCheck":{"sourceRead":true,"sourceSha256":"279558d20f058a179cf63a3abfed96988edc57ea4ce2203be76d5f22355c3a06","normalizedImportMatches":true,"reviewedPracticePattern":true,"sourceKey":"C","reviewedKey":"Bm","rawSourceComparison":{"catalogBars":4,"sourceBars":4,"matchingBars":0,"differingBarNumbers":[1,2,3,4]},"catalogBars":4,"sourceBars":4,"matchingBars":4,"differingBarNumbers":[]},"independentExpertAnalyses":0,"independentQualifiedAnalyses":0,"sourceCount":6,"primaryCoverage":{"bars":4,"withinBarPositionsPresent":true},"comparisons":[],"sources":[{"id":"hal-leonard-wake-pvg","family":"partial-teaching-pattern-publication","kind":"licensed-complete-publisher-score","annotator":"Hal Leonard · Piano-Vocal-Guitar","independentExpert":false,"primary":false,"url":"https://musescore.com/official_scores/scores/6938559","barAligned":false,"sourceSha256":"bfea92f66feccb9deb03f364976a129e3f3f9f632426cd9ffa78cbfc3eabbe5e","locator":"Alle acht autorisiert angezeigten Seiten vollständig visuell gelesen: 78 gedruckte Takte, 4/4, Viertel = 124, zwei Kreuze, Refrain 21–24, D/A-Bass, Wiederholungen, D.S. al Coda und Schluss. Prüfsumme der ersten SVG-Seite, keine PDF-Prüfsumme. Kein Audio gehört und keine Notenbilder oder Liedtexte veröffentlicht. Partial loop/key/tempo corroboration only, not a complete recording/form/onset analysis; see sourcePracticeReview."},{"id":"justin-wake-chorus","family":"partial-teaching-pattern-publication","kind":"original-teacher-browser-text","annotator":"Justin Sandercoe · JustinGuitar","independentExpert":false,"primary":false,"url":"https://www.justinguitar.com/songs/avicii-wake-me-up-chords-tabs-guitar-lesson-bs-626","barAligned":false,"sourceSha256":null,"locator":"Alle öffentlich sichtbaren Lektionstexte im regulären Browser vollständig gelesen: Kapo 2, relative Am/F/C/G/E-Refrainfolge und ausdrücklich ein Schlag für G und E auf der Vier. Das klingt als Bm/G/D/A/F♯. Kein Video oder Bezahl-TAB gelesen. Der separate HTML-Abruf war nicht möglich; deshalb wird keine heruntergeladene Datei oder Datei-Prüfsumme behauptet. Partial loop/key/tempo corroboration only, not a complete recording/form/onset analysis; see sourcePracticeReview."},{"id":"dan-lundholm-wake-chart","family":"partial-teaching-pattern-publication","kind":"original-teacher-chart","annotator":"Dan Lundholm · Spy Tunes","independentExpert":false,"primary":false,"url":"https://spytunes.com/wp-content/uploads/2024/09/Wake-Me-Up-Spytunes.pdf","barAligned":false,"sourceSha256":"82595a5c89444b502c9305a0ed5222e82012f426c4c07052c8d2d63d4c5589b1","locator":"Ganzes eigenes einseitiges PDF und Originalartikel gelesen. Bestätigt h-Moll und späten A5-Wechsel, reduziert aber G/D/A auf Gitarren-Powerchords und lässt die F♯-Dur-Wendung weg. Artikel, Blatt und iReal-Angebot zählen zusammen als eine Veröffentlichung; der kondensierte Formplan bestätigt noch keine komplette Originalaufnahme. Partial loop/key/tempo corroboration only, not a complete recording/form/onset analysis; see sourcePracticeReview."},{"id":"tency-wake-tempo-key","family":"partial-teaching-pattern-publication","kind":"re-recording-provider-metadata","annotator":"Tency Music · Avicii/Aloe-Blacc-Referenz 44385","independentExpert":false,"primary":false,"url":"https://www.tencymusic.com/music-licensing/avicii/wake-me-up.html","barAligned":false,"sourceSha256":"9f8d44b34eba2a94f597cd6dfb9c7e98412f2b035b10a417311af92f45256da6","locator":"Vollständige öffentliche Anbieterbeschreibung gelesen: 124 BPM, Bm und Referenz 44385. Material ausdrücklich neu eingespielt, nicht Originalmusik; weder Audio noch Partitur geprüft. Dauer 4:05 und fehlender Fadeout werden nicht als vollständiger Originalablauf importiert. Partial loop/key/tempo corroboration only, not a complete recording/form/onset analysis; see sourcePracticeReview."},{"id":"darrin-goodman-wake-alternate","family":"partial-teaching-pattern-publication","kind":"alternate-teacher-transcript-not-selected","annotator":"Darrin Goodman · Guitar Control","independentExpert":false,"primary":false,"url":"https://guitarcontrol.com/how-to-play-wake-me-up-by-avicii-easy-acoustic-guitar-lesson-w-darrin-goodman/","barAligned":false,"sourceSha256":"fe23b2b313c6b17d5d3a632d9d7a26ac40dc9148c42a4ceca4ce11c274415969","locator":"Öffentliches Lektionstranskript vollständig gelesen, kein Video oder TAB. Kapo-2-Version mit abweichendem Em-Griff, anderem Zählraster und Wiederholungserklärungen. Diese vereinfachte Alternative wird nicht gegen die konkret übereinstimmende Dur-Wendung von Hal Leonard und JustinGuitar übernommen und nicht als vollständige Originalform gezählt. Partial loop/key/tempo corroboration only, not a complete recording/form/onset analysis; see sourcePracticeReview."}],"limitations":["Symbolic chart: displayed teaching bars and part repetitions are not a verified transcription of the original recording."]},{"id":"ireal-modern-choco-bastille-pompeii","title":"Pompeii","artist":"Bastille","primarySourceUrl":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/ireal-pro/choco/forum/jams/ireal-pro-forum_14527.jams","status":"needs-independent-second-source","sourceMetricalReview":{"status":"source-measure-grid","sourceMeasures":56,"sourceEventCount":58,"reasonDe":"Takte und Einsatzpositionen werden aus der dokumentierten Takt.Schlag-Kodierung gelesen, nicht mehr aus Vierergruppen von Akkordereignissen. Dauer und Unterteilung entsprechen der symbolischen Quelle. ChoCos eigener Import verteilt Mehrfachakkorde innerhalb eines Takts gleichmäßig; das beweist noch keine exakten Einsätze oder vollständigen Wiederholungen der Originalaufnahme."},"sourcePracticeReview":{"checkedOn":"2026-10-17","status":"complete-core-teaching-form-corroborated-recording-details-open","sourceSha256":"3384ee2e7e1de3849cdc1435b3032913a6988ebf7ce4055d550dbd43654fb663","headlineDe":"Vollständige Grundform als Lernfassung aufgebaut · Pompeii","expandedTeachingForm":true,"originalKey":"A","reviewedKey":"A","originalBpm":50,"reviewedBpm":128,"tempoBasis":"reviewed-teaching-quarter-note-pulse","originalBars":56,"reviewedBars":112,"originalEventCount":58,"reviewedEventCount":133,"fullMeasures":111,"pickupQuarterNotes":1,"durationQuarterNotes":445,"completeSongVerified":false,"originalRecordingFormVerified":false,"exactRecordingMasterVerified":false,"completeScoreRead":true,"resolution":{"requiredIndependentAgreement":2,"formPublications":["Hal Leonard · Piano-Vocal-Guitar","Ry Naylor · album-version capo-2 chart"],"tempoPublications":["Hal Leonard · quarter = 128","Ry Naylor · 4/4, 128 BPM"],"printedMeasureCount":62,"publisherExpansion":[{"from":1,"to":37},{"from":9,"to":49},{"from":17,"to":36},{"from":50,"to":62}],"scope":"Complete common teaching form, not complete all-band/original-master certification. Publisher repeat9–37 and D.S.17–36 produce111 full measures plus a one-quarter pickup. Core minor triads are retained without importing publisher-only sevenths."},"reasonDe":"Die bisherige symbolische Kurzform hatte 56 Takte, 58 Ereignisse, 13 falsche F♯-Dur-Klänge und Tempo 50. Die vollständig gelesene Hal-Leonard-Ausgabe und Ry Naylors eigener zweiseitiger Album-Chart mit Kapo 2 stimmen beim Grundablauf überein: Intro, zwei Strophen mit Refrains, Zwischenspiel, Bridge, erneuter Vorrefrain, dritter Refrain, Nachsatz und Outro. Die Verlagswiederholung 9–37 und der Rücksprung 17–36 werden ausgeschrieben. So entstehen 111 vollständige 4/4-Takte plus ein Viertel Auftakt in zwölf Abschnitten. F♯m ersetzt die beschädigte Dur-Qualität. Dokumentierte Esus4–E-Auflösungen und die halbtaktigen D–A-Wechsel bleiben im Viertelraster. Verlag und Naylor nennen beide 128 Viertel pro Minute.","limitationDe":"Dies ist eine vollständiger aufgebaute Grund-Lernfassung, keine vollständig verifizierte Transkription des Original-Masters. Die Publikationen bestätigen Form und Grundharmonien, nicht jede Bandstimme oder identische Griffbilder. Der Verlag notiert in den ersten beiden Strophen teils F♯m7; Naylor vereinfacht zu Em mit Kapo 2. Hier bleibt der gemeinsam enthaltene Moll-Dreiklang, ohne die zusätzliche Septime zu erfinden. Sus-Auflösungen folgen Naylors expliziter Halbierung und der gelesenen Verlagsnotation; Feinheiten des Klaviergrooves und genaue Original-Audioeinsätze sind nicht gemessen. Die gesondert gelesene Tency-Neuaufnahme nennt 127,5 BPM statt 128; sie wird weder zum Original-Master erklärt noch zur geratenen Mittelwertbildung verwendet. Anfangsstille, Ausklang und exakte Aufnahmedauer bleiben offen. Eine nicht erreichbare Music-Will-PDF wurde nicht als gelesen oder als Bestätigung gezählt. Die neue Form wird nicht als wortgleicher Import der alten iReal-Kurzfassung ausgegeben.","sources":[{"id":"hal-leonard-pompeii-complete","author":"Hal Leonard · Piano-Vocal-Guitar","kind":"licensed-complete-publisher-score","url":"https://musescore.com/official_scores/scores/6979079","sha256":"128992852680bb0dbdc5775891eccb29b195439034ccf0bdb4661a46c5a9b605","pages":6,"allPagesRead":true,"fullScoreRead":true,"recordingListened":false,"pageSha256":["128992852680bb0dbdc5775891eccb29b195439034ccf0bdb4661a46c5a9b605","f5fde3982ddc2f11fe0ea953aa04ec47cb6b321e0f502b434873edb971af85dc","f3204d4f04e3b19c791f01cf5dd82c4e9e236138cd65063d4d31753dc184b803","9656341f30d3f405910557bbdcae390859d22cc36cad3354fa961610185f1414","b6650e813d1dc3b6ff5e50dfe2cbacb9665069262ce82ec0cc1ffe0e42c69970","a461870ec1d4a743aff5f921d1ab68e302bcbf554a8d2af2b153d4483d4ba7eb"],"inspectionDe":"Alle sechs autorisiert angezeigten Seiten vollständig visuell gelesen: 62 gedruckte Volltakte, Viertel-Auftakt, 4/4, drei Kreuze, Viertel = 128, Moll/Moll7, Sus-Auflösungen, N.C.-Takt 25, Wiederholung 9–37, D.S.17–36, Coda 50–62. 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Expansion ergibt118 Takte. Cm/Eb/G-Strophen, chromatische Septakkorde, G→Db bei Offset2, Cm in39 bei3, G→N.C. in48 bei2, Eb7 in60 bei2,5, Powerchord-Bridge und N.C.-Passagen gelesen. Gedruckt Viertel120. 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Vereinfachte Farben, keine vollständig gezählten Takte oder unabhängige Aufnahme-Onsets; zählt nicht als qualifizierte vollständige Fachanalyse. Complete core teaching form inspected, not a complete original-master/all-band/onset analysis; see sourcePracticeReview."},{"id":"tency-toxic-tempo-key","family":"partial-teaching-pattern-publication","kind":"re-recording-provider-metadata","annotator":"Tency Music · Referenz5796","independentExpert":false,"primary":false,"url":"https://www.tencymusic.com/music-licensing/britney-spears/toxic.html","barAligned":false,"sourceSha256":"c3daab965528f5e4e98036df270d65cc82b01243db5c1ebb713ee6532e72eb86","locator":"Öffentliche Beschreibung vollständig gelesen: Referenz5796,142,98 BPM, Cm,3:20 und kein Fadeout. Anbieter kennzeichnet die Aufnahme ausdrücklich als Neuaufnahme, nicht Original-Master. Audio nicht gehört. Dauer wird nicht als Beweis aller Takte ausgegeben. 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Complete core teaching form inspected, not a complete original-master/all-band/onset analysis; see sourcePracticeReview."},{"id":"musicnotes-get-lucky-tempo-reference","family":"partial-teaching-pattern-publication","kind":"licensed-arrangement-tempo-key-metadata","annotator":"Musicnotes · EMI-Ausgabe MN0118111, öffentliche Produktdaten","independentExpert":false,"primary":false,"url":"https://www.musicnotes.com/sheetmusic/daft-punk/get-lucky/MN0118111","barAligned":false,"sourceSha256":null,"locator":"Öffentliche Produktseite vollständig gelesen: ursprünglicher Bezug B Minor,4/4, Viertel116, acht angebotene PVG-Seiten und EMI Publishing. Keine bezahlte Partitur gelesen, keine transponierte C-Moll-Variante als Originaltonart verwendet. Nur Metadatenbeleg, keine vollständige Akkord-/Formbestätigung und kein Kauf/Credit. 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Complete core teaching form inspected, not a complete original-master/all-band/onset analysis; see sourcePracticeReview."},{"id":"stanley-hosted-get-lucky-bass-form","family":"partial-teaching-pattern-publication","kind":"teacher-hosted-unattributed-complete-bass-chart","annotator":"David Stanley Guitar · veröffentlichtes Bass-Lehrblatt, Arrangeur ungenannt","independentExpert":false,"primary":false,"url":"https://davidstanleyguitar.com.au/wp-content/uploads/2021/08/Daft-Punk-Get-Lucky.pdf.pdf","barAligned":false,"sourceSha256":"818de6749fdcc4fbbb18d8a4d0298100828000f0a27437bcbc252707245ca578","locator":"Alle sechs Seiten des frei angebotenen Bass-Lehrblatts auf der eigenen Website des professionellen Gitarren-/Basslehrers vollständig visuell gelesen.120 fortlaufend nummerierte4/4-Takte ohne verdeckte Wiederholung, Teilemarker bei1/9/17/25/41/49/57/73/85/93/109. Reiner Basssatz, kein Beleg sämtlicher Akkordqualitäten.61–67 und69–72 vollständig pausierend;68 nur kurzer Auftakt. Schluss120 auf E, keine Bm-Fermate. Metadaten: Guitar Pro7, erstellt05.08.2021, kein benannter Arrangeur. Kein Autorencredit an den Hoster und keine Original-Master-Identität daraus erfunden. Complete core teaching form inspected, not a complete original-master/all-band/onset analysis; see sourcePracticeReview."}],"limitations":["Symbolic chart: displayed teaching bars and part repetitions are not a verified transcription of the original recording."]},{"id":"ireal-modern-choco-david-guetta-feat-sia-titanium","title":"Titanium","artist":"David Guetta feat. 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Rockschool notiert punktierte Viertel63 in einem eigenen Ukulelen-Duett inG; Musicnotes nennt64 für seine PVG-Ausgabe inA♭. Daher wird weder ein exakt gemessenes Originaltempo noch eine vollständige Zwei-Quellen-Verifizierung behauptet. Keine vollständige Verlagsausgabe, Melodie oder Liedtexte übernommen.","sources":[{"id":"ireal-official-T12","author":"iReal Pro","kind":"original-format-documentation","url":"https://www.irealpro.com/ireal-pro-custom-chord-chart-protocol/","sha256":null,"inspectionDe":"Offizielle Taktzeichentabelle gelesen:T12 bedeutet12/8. Belegt das Dateiformat, nicht die musikalische Originalaufnahme."},{"id":"fender-perfect-meter","author":"Jen Trani · Fender Play","kind":"original-teacher-lesson-metadata","url":"https://www.fender.com/play/lessons/perfect","sha256":null,"inspectionDe":"Öffentliche Lektionseinleitung nennt12/8. 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Belegt das Dateiformat, nicht die musikalische Originalaufnahme. Meter/tempo-unit corroboration only; original source form and equal-spaced source onsets remain unverified; see sourcePracticeReview."},{"id":"fender-perfect-meter","family":"partial-teaching-pattern-publication","kind":"original-teacher-lesson-metadata","annotator":"Jen Trani · Fender Play","independentExpert":false,"primary":false,"url":"https://www.fender.com/play/lessons/perfect","barAligned":false,"sourceSha256":null,"locator":"Öffentliche Lektionseinleitung nennt12/8. Vollvideo, vollständige Form und genaue Einsätze nicht gelesen. 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Ihre vollständige Taktzuordnung und Wiederholungszahlen sind hier nicht unabhängig bestätigt und werden nicht geraten oder pauschal übernommen. Die Musicnotes-Ausgabe notiert 2/2 mit halber Note = 96; ihr Vierteltempo wäre 192. Je zwei ihrer eintaktigen Akkordfelder entsprechen zeitlich einem unserer 4/4-Übungstakte bei Viertel = 96. Die Verlagsangabe wird daher nicht fälschlich als Viertel = 96 in 2/2 gelesen. Nur die frei angebotene erste Vorschauseite wurde visuell geprüft, nicht alle sechs Seiten. Tency kennzeichnet sein Material ausdrücklich als Neuaufnahme, nicht als Original-Master. Die zwei Unterrichtsveröffentlichungen sind keine zwei vollständigen aufnahmegleichen Transkriptionen. Ein nicht zugängliches PDF und eine nicht mehr vorhandene Schul-PDF zählen nicht als gelesene Belege.","sources":[{"id":"yga-shape-core-loop","author":"Your Guitar Academy","kind":"original-guitar-lesson","url":"https://yourguitaracademy.com/courses/ed-sheeran/lessons/shape-of-you-guitar-lesson","sha256":"5b2a2dd19b46293106052f1577d4bac9658ae74e67feb2fe099b2b00c249300e","inspectionDe":"Artikel vollständig gelesen: Akkordliste mit F♯m7, Rhythmusabschnitt mit zwei Schlägen pro Akkord; Melodieabschnitt nennt cis-Moll. Videos und interaktive Griffbilder nicht geprüft."},{"id":"dan-lundholm-shape-core-loop","author":"Dan Lundholm · Spy Tunes","kind":"original-teacher-chart","url":"https://spytunes.com/shape-of-you-chords/","sha256":"24b93cf64e6bdc2ee78e348768c8ce9134089c3b6984b572deb4323727cd4209","imageUrl":"https://spytunes.com/wp-content/uploads/2024/09/Shape-Of-You-Spytunes-712x1024.png","imageSha256":"02687d315c3daccf590514eeb07be053086b7c2fc83958146a71f183c4e91553","inspectionDe":"Artikel und das vollständig verlinkte öffentliche PNG-Chart visuell gelesen: zweitaktiger Loop, F♯m7, Abschnittsfolge und Unterbrechungen. Das separate PDF war nicht zugänglich; es wurde nicht als gelesen gewertet. 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ChoCos eigener Import verteilt Mehrfachakkorde innerhalb eines Takts gleichmäßig; das beweist noch keine exakten Einsätze oder vollständigen Wiederholungen der Originalaufnahme."},"primaryImportCheck":{"sourceRead":true,"sourceSha256":"b2953226ef8bd9b6c40c42e09f8bd9db1a01a9065a2001e3bfacf69af35c0e8d","normalizedImportMatches":true,"catalogBars":40,"sourceBars":40,"matchingBars":40,"differingBarNumbers":[]},"independentExpertAnalyses":0,"independentQualifiedAnalyses":0,"sourceCount":1,"primaryCoverage":{"bars":40,"withinBarPositionsPresent":true},"comparisons":[],"sources":[],"limitations":["Symbolic chart: displayed teaching bars and part repetitions are not a verified transcription of the original recording."]},{"id":"ireal-modern-choco-john-legend-all-of-me","title":"All of Me","artist":"John Legend","primarySourceUrl":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/ireal-pro/choco/forum/jams/ireal-pro-forum_24151.jams","status":"needs-independent-second-source","sourceMetricalReview":{"status":"source-measure-grid","sourceMeasures":46,"sourceEventCount":72,"reasonDe":"Takte und Einsatzpositionen werden aus der dokumentierten Takt.Schlag-Kodierung gelesen, nicht mehr aus Vierergruppen von Akkordereignissen. Dauer und Unterteilung entsprechen der symbolischen Quelle. ChoCos eigener Import verteilt Mehrfachakkorde innerhalb eines Takts gleichmäßig; das beweist noch keine exakten Einsätze oder vollständigen Wiederholungen der Originalaufnahme."},"sourcePracticeReview":{"checkedOn":"2026-10-17","status":"complete-publisher-teaching-form-with-independent-harmony-adjudication","expandedTeachingForm":true,"replacedUnverifiedPreview":true,"sourceSha256":"9441302cc56710baa5ce3a72eb1551f4a7009235dcf119b4e08b12ff5e0f7262","headlineDe":"All of Me · 144 gespielte Takte, 13 Teile und Halbe63 = Viertel126","originalKey":"Ab","reviewedKey":"Ab","originalBpm":70,"reviewedBpm":126,"tempoBasis":"reviewed-teaching-quarter-note-pulse","originalBars":46,"reviewedBars":144,"originalEventCount":72,"reviewedEventCount":144,"durationQuarterNotes":576,"printedMeter":"2/2","printedPulseUnit":"half-note","printedBpm":63,"publisherWrittenBars":140,"publisherPlaybackRanges":[[1,4],[1,140]],"completeScoreRead":true,"completeSongVerified":false,"originalRecordingFormVerified":false,"exactRecordingMasterVerified":false,"resolution":{"requiredIndependentAgreement":2,"orderedTeachingFormIndependentlyAgrees":false,"independentCompleteBarTimingVerified":false,"decisions":[{"claim":"Practice clock","chosen":"Half-note63 in2/2 equals quarter-note126, four quarters per written bar","agreeing":["Faber page1 printed half-note63 and2/2","Bell&CoMusic expressly defines half-note63 and two half-note beats per measure"],"independentAgreement":true},{"claim":"Complete ordered form","chosen":"Written1–4 twice, then5–140:144 played bars/576 quarters/13 parts","agreeing":["All ten Faber PVG pages, including the opening repeat and final bar140"],"independentAgreement":false,"limit":"Three independent teacher charts agree on the ordered named parts and the repeated four-chord intro, but do not provide a second complete matching numbered/rhythmic score."},{"claim":"Intro second root","chosen":"Db5, not the isolated printed D5 symbol","agreeing":["Faber actual piano/bass notation under the four-flat signature contains Db and Ab","Bell&CoMusic capo1 C shape sounds Db","Niels Andersen explicitly writes Db","Jonathan Richter capo1 C shape sounds Db"],"independentAgreement":true,"limit":"The publisher chord-name D5 conflicts with its own notes; it is not silently followed or hidden. The chosen no-third dyad comes from the actual printed accompaniment."},{"claim":"Chorus third harmony","chosen":"Bbm/Db, with Db bass rather than root-position Bbm or plain Db","agreeing":["Faber explicit Bbm/Db symbols in all choruses","Jonathan Richter explicit Am/C with capo1"],"independentAgreement":true,"alternate":"Niels Andersen simplifies to Bbm without that bass; Bell&CoMusic simplifies to Db. The fourth source resolves the first-inversion choice, not every voice."},{"claim":"Dominant approach in each chorus","chosen":"Db/Eb then Eb, as separate full measures","agreeing":["Bell&CoMusic C/D then D with capo1","Jonathan Richter C/D then D with capo1"],"independentAgreement":true,"alternate":"Faber also uses Bbm7/Eb at43/91 and115–116, with an extra Bb; bar116 therefore differs in exact chord quality/hold. Retain the two independently agreeing teacher versions here and disclose the publisher alternative rather than inventing universal agreement."},{"claim":"Verse and post-chorus colours","chosen":"Publisher F5/Eb5 in the quieter opening; Dbmaj7, Dbadd2 and later Ebadd2/Abadd2 where explicitly printed","agreeing":["Faber ten-page notation","Bell expressly discusses opening power dyads and later full chords","Richter independently includes major7/add9 colours, with register/simplification differences"],"independentAgreement":false,"limit":"Full exact-register and every-bar colour agreement remains open. Faber add2 is not silently relabelled as an octave-displaced add9; plain Fm has two simple teacher charts, unlike the old imported Fm9 with an extra seventh."}],"rejectedCandidates":[{"id":"wikifonia_2783","reason":"Different composition: Seymour Simons/Gerald Marks jazz standard, not John Stephens/Tobias Gad's2013 song"},{"id":"wikifonia_4766","reason":"Different composition: Seymour Simons/Gerald Marks jazz standard, not John Stephens/Tobias Gad's2013 song"}]},"reasonDe":"Die Community-Fassung hatte nur46 Takte/72 Ereignisse in einem Form-Block,70BPM,fehlende Wiederholungen und eine unvollständige Abfolge. Alle zehn Seiten der offiziellen Faber-Piano/Voice/Guitar-Ausgabe wurden vollständig gelesen.140 geschriebene Takte plus die vier zusätzlich gespielten Intro-Takte ergeben144 Takte/576 Viertel. Die notierten Halben63 in2/2 und Bells ausdrückliche Pulsangabe ergeben126 Viertel-BPM für die vorhandene gemeinsame Viertel-Uhr. Intro8,Verse1 16,Pre1 8,Chorus1 16,Post1 8,Verse2 16,Pre2 8,Chorus2 16,Post2 8,Bridge8,Chorus3 16,Post3 8,Outro8. Bei widersprüchlichen Chorus-Angaben wurde ein dritter und dann vierter eigener Lehrerbeleg gelesen: Bbm/Db wird von Faber/Richter gestützt; Db/Eb→Eb von Bell/Richter. Alle Quellenunterschiede bleiben sichtbar.","limitationDe":"Vollständig gelesene und expandierte Verlags-Lernform mit quellenbezogener Akkordentscheidung, keine von zwei unabhängigen vollständigen Originalaufnahme-Transkriptionen zertifizierte Fassung. Faber enthält den isolierten D5-Namensfehler im Intro und reichere Bbm7/Eb-Alternativen in mehreren Refrain-Enden. Zwei übereinstimmende unabhängige Lehrercharts stützen stattdessen Db/Eb→Eb; Richter/Faber stützen Bbm/Db. Einzelne Add2/Add9-Register, die volle Zahl notierter Begleitanschläge und gehaltene Bindungen sind nicht identisch bestätigt: der Lernplayer schlägt den gewählten Akkord auf jeder Takteins neu an. Der Schluss hat eine Fermate; ihre wirkliche Dauer und Rubato wurden nicht gemessen und werden als vier Viertel quantisiert. Die zwei Wikifonia-Titeltreffer sind das andere All of Me von Simons/Marks und werden nicht als Belege gezählt. Keine Originalaufnahme oder vollständiges Video manuell gehört, keine Käufe/Credits, keine Veröffentlichung der Notenseiten oder Liedtexte.","sources":[{"id":"faber-all-of-me-complete-pvg","author":"Faber Music · vollständige Piano-Voice-Guitar-Ausgabe","kind":"licensed-complete-publisher-score","publicationGroup":"faber-all-of-me","url":"https://musescore.com/user/39593115/scores/6921624","pages":10,"pagesRead":10,"allPagesRead":true,"fullScoreRead":true,"printedTempo":63,"printedPulseUnit":"half-note","recordingListened":false,"sha256":"1fa5536e7be15f8301a8885e2211eb4236acb34b0f826f3cdbcc7419685b9ddc","pageSha256":["1fa5536e7be15f8301a8885e2211eb4236acb34b0f826f3cdbcc7419685b9ddc","b7e2b36233acaa4caf338693eaf65993caba02ca40c12447926a904c43189b8a","2d176e466fd8e5920e23bbccebd1c4a69e45b02ec2c9a3d0a85da0e6987cd1a8","fe571deac56b261f2c27006cd8900719e2b3c8507ba28ddc842f5362b3ee9c6e","58684a0a871b689ef4b45bee494dfc3b7df338d6bd08a310969abb20d7ac3f13","a3855230dfe82b99f7423f8ab6b9cc77d42ea5414830cc2d906cbf416829812c","319dfc2e13097fb6aa3dd8a3d0c5354822e2b7f2ed7cde96347ce6ab9d74dee8","6cbe4957452d8bee65f1df74256983c032be45f4165e237690db876df397922f","948a2bed6d3f6f39c90bb165e510da9725153b39211f54851aa9aeacfef99ea3","9c998529175bd19f5c4147b016cf1d0d2e081ee3f843130dae7a79441bf3e160"],"inspectionDe":"Alle zehn normal zugänglichen Viewer-Seiten vollständig als ganze Seiten visuell gelesen und einzeln gehasht; keine quadratisch beschnittenen QuickLook-Vorschaubilder als Vollansicht benutzt.140 geschriebene2/2-Takte, Wiederholung1–4,13 benannte Teile nach Expansion, Halbe63. Akkordnamen und eigentliche Bass-/Klaviernoten getrennt geprüft; D5/Db-Widerspruch und Bbm7/Eb-Alternativen ausdrücklich dokumentiert. Hash betrifft Seite1, keine vollständige PDF oder Aufnahme."},{"id":"bell-all-of-me-own-chart","author":"Bell&CoMusic · eigener vollständiger Lehrerchart","kind":"original-teacher-chord-chart-and-meter-explanation","publicationGroup":"bell-all-of-me","url":"https://www.bellandcomusic.com/all-of-me.html","sha256":"135b3f906180e0989d1fe211a9539214f8dcc2ad627f2ef93673b542d9a09429","textRead":true,"fullScoreRead":false,"recordingListened":false,"inspectionDe":"Vollständigen eigenen Artikel mit sämtlichen Songteilen und Arrangementdetails gelesen. Capo1,G-Griffe klingen Ab; Intro vier Akkorde zweimal, zwei Verse/Pres, drei Refrains, Bridge und Outro. Explizit2/2 und Halbe63; C/D→D klingt Db/Eb→Eb. Schlichter C-Griff im dritten Chorus-Akkord weicht von Bbm/Db ab. Powerchord-Einsatz wird eigens erklärt. Keine zweite vollständige nummerierte rhythmische Partitur."},{"id":"andersen-all-of-me-own-chart","author":"Niels Andersen · eigener PianoChordCharts-Lehrerchart","kind":"original-teacher-chord-chart","publicationGroup":"andersen-all-of-me","url":"https://pianochordcharts.net/piano-chords-for-all-of-me-by-john-legend/","sha256":"13f7d9ee6ceb984772a5d61ec9d97cc66cd23c46bc64da7a568bf8293d1197e3","textRead":true,"fullScoreRead":false,"recordingListened":false,"inspectionDe":"Vollständigen eigenen HTML-Chart gelesen, nicht eine fremde Zusammenfassung. Intro Fm/Db/Ab/Eb zweimal; geordnete Verse,PreA,Chorus,Verse2,PreA,Chorus,PreB,Chorus,Outro. Bbm als dritter Refrain-Akkord ohne Db-Bass widerspricht Bells schlichtem Db; dadurch wurde Richter als vierte Quelle hinzugezogen. PDF nicht benötigt oder als gelesen ausgegeben; keine präzise komplette Taktnummerierung."},{"id":"richter-all-of-me-own-chart","author":"Jonathan Richter · eigener Guitar-Lehrerchart","kind":"original-teacher-chord-chart-with-slash-bass","publicationGroup":"richter-all-of-me","url":"https://richterguitar.com/all-of-me-john-legend/","sha256":"55a2cb8ea12666ce12132f9fa92e74579445f40f128cbbd674900b9ffe2fea9a","textRead":true,"fullScoreRead":false,"recordingListened":false,"inspectionDe":"Vollständigen eigenen HTML-Chart mit allen Teilen und ausdrücklicher Slash-Akkord-Erklärung gelesen. Capo1: Am/C klingt Bbm/Db und stimmt mit Faber überein; C/D→D klingt Db/Eb→Eb und stimmt mit Bell überein. Emadd9/Fmadd9 ist nicht das frühere Fm9 mit zusätzlicher kleiner Septime. Add9-Register und manche Vereinfachungen unterscheiden sich von Faber; keine zweite vollständige rhythmische Aufnahme-Transkription."}]},"comparisonBasis":"Explicitly expanded complete core teaching form from named read publications; original condensed community stream remains separately compared. 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Akkordnamen und eigentliche Bass-/Klaviernoten getrennt geprüft; D5/Db-Widerspruch und Bbm7/Eb-Alternativen ausdrücklich dokumentiert. Hash betrifft Seite1, keine vollständige PDF oder Aufnahme. Complete core teaching form inspected, not a complete original-master/all-band/onset analysis; see sourcePracticeReview."},{"id":"bell-all-of-me-own-chart","family":"partial-teaching-pattern-publication","kind":"original-teacher-chord-chart-and-meter-explanation","annotator":"Bell&CoMusic · eigener vollständiger Lehrerchart","independentExpert":false,"primary":false,"url":"https://www.bellandcomusic.com/all-of-me.html","barAligned":false,"sourceSha256":"135b3f906180e0989d1fe211a9539214f8dcc2ad627f2ef93673b542d9a09429","locator":"Vollständigen eigenen Artikel mit sämtlichen Songteilen und Arrangementdetails gelesen. Capo1,G-Griffe klingen Ab; Intro vier Akkorde zweimal, zwei Verse/Pres, drei Refrains, Bridge und Outro. Explizit2/2 und Halbe63; C/D→D klingt Db/Eb→Eb. Schlichter C-Griff im dritten Chorus-Akkord weicht von Bbm/Db ab. Powerchord-Einsatz wird eigens erklärt. Keine zweite vollständige nummerierte rhythmische Partitur. Complete core teaching form inspected, not a complete original-master/all-band/onset analysis; see sourcePracticeReview."},{"id":"andersen-all-of-me-own-chart","family":"partial-teaching-pattern-publication","kind":"original-teacher-chord-chart","annotator":"Niels Andersen · eigener PianoChordCharts-Lehrerchart","independentExpert":false,"primary":false,"url":"https://pianochordcharts.net/piano-chords-for-all-of-me-by-john-legend/","barAligned":false,"sourceSha256":"13f7d9ee6ceb984772a5d61ec9d97cc66cd23c46bc64da7a568bf8293d1197e3","locator":"Vollständigen eigenen HTML-Chart gelesen, nicht eine fremde Zusammenfassung. Intro Fm/Db/Ab/Eb zweimal; geordnete Verse,PreA,Chorus,Verse2,PreA,Chorus,PreB,Chorus,Outro. Bbm als dritter Refrain-Akkord ohne Db-Bass widerspricht Bells schlichtem Db; dadurch wurde Richter als vierte Quelle hinzugezogen. PDF nicht benötigt oder als gelesen ausgegeben; keine präzise komplette Taktnummerierung. Complete core teaching form inspected, not a complete original-master/all-band/onset analysis; see sourcePracticeReview."},{"id":"richter-all-of-me-own-chart","family":"partial-teaching-pattern-publication","kind":"original-teacher-chord-chart-with-slash-bass","annotator":"Jonathan Richter · eigener Guitar-Lehrerchart","independentExpert":false,"primary":false,"url":"https://richterguitar.com/all-of-me-john-legend/","barAligned":false,"sourceSha256":"55a2cb8ea12666ce12132f9fa92e74579445f40f128cbbd674900b9ffe2fea9a","locator":"Vollständigen eigenen HTML-Chart mit allen Teilen und ausdrücklicher Slash-Akkord-Erklärung gelesen. Capo1: Am/C klingt Bbm/Db und stimmt mit Faber überein; C/D→D klingt Db/Eb→Eb und stimmt mit Bell überein. Emadd9/Fmadd9 ist nicht das frühere Fm9 mit zusätzlicher kleiner Septime. Add9-Register und manche Vereinfachungen unterscheiden sich von Faber; keine zweite vollständige rhythmische Aufnahme-Transkription. Complete core teaching form inspected, not a complete original-master/all-band/onset analysis; see sourcePracticeReview."}],"limitations":["Symbolic chart: displayed teaching bars and part repetitions are not a verified transcription of the original recording."]},{"id":"ireal-modern-choco-john-legend-ordinary-people","title":"Ordinary People","artist":"John Legend","primarySourceUrl":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/ireal-pro/choco/forum/jams/ireal-pro-forum_23309.jams","status":"needs-independent-second-source","sourceMetricalReview":{"status":"source-measure-grid","sourceMeasures":89,"sourceEventCount":89,"reasonDe":"Takte und Einsatzpositionen werden aus der dokumentierten Takt.Schlag-Kodierung gelesen, nicht mehr aus Vierergruppen von Akkordereignissen. Dauer und Unterteilung entsprechen der symbolischen Quelle. ChoCos eigener Import verteilt Mehrfachakkorde innerhalb eines Takts gleichmäßig; das beweist noch keine exakten Einsätze oder vollständigen Wiederholungen der Originalaufnahme."},"primaryImportCheck":{"sourceRead":true,"sourceSha256":"7b6a84abff9dd77553175ece92b86382f7b10c93fe779bb913c1d4f900a98b27","normalizedImportMatches":true,"catalogBars":89,"sourceBars":89,"matchingBars":89,"differingBarNumbers":[]},"independentExpertAnalyses":0,"independentQualifiedAnalyses":0,"sourceCount":1,"primaryCoverage":{"bars":89,"withinBarPositionsPresent":true},"comparisons":[],"sources":[],"limitations":["Symbolic chart: displayed teaching bars and part repetitions are not a verified transcription of the original recording."]},{"id":"ireal-modern-choco-justin-bieber-love-yourself","title":"Love Yourself","artist":"Justin Bieber","primarySourceUrl":"https://github.com/smashub/choco/blob/5fe168fd55be5c84512abcfbc4e6f1b1f8f0092a/partitions/ireal-pro/choco/forum/jams/ireal-pro-forum_24270.jams","status":"needs-independent-second-source","sourceMetricalReview":{"status":"source-measure-grid","sourceMeasures":64,"sourceEventCount":108,"reasonDe":"Takte und Einsatzpositionen werden aus der dokumentierten Takt.Schlag-Kodierung gelesen, nicht mehr aus Vierergruppen von Akkordereignissen. Dauer und Unterteilung entsprechen der symbolischen Quelle. 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Complete core teaching form inspected, not a complete original-master/all-band/onset analysis; see sourcePracticeReview."},{"id":"hal-leonard-fire-pvg150","family":"partial-teaching-pattern-publication","kind":"licensed-complete-alternate-arrangement","annotator":"Hal Leonard · Klavier/Gesang, Tempo 150","independentExpert":false,"primary":false,"url":"https://musescore.com/official_scores/scores/6958696","barAligned":false,"sourceSha256":"a9b0504df104efda944b1534634693f35954baeab69d368bbe98ce587679167c","locator":"Alle sechs Seiten vollständig visuell gelesen: 83 gedruckte Volltakte, Viertel-Auftakt, Wiederholung, alternative Endungen, D.S./Coda und Schluss. Stützt die 129-Takte-Grundform und nur acht Stopptakte. Notiert Viertel = 150 und andere Klavierfarben; diese Ausgabe wird nicht zum 153er Original-Gitarrenarrangement oder zu einer unabhängigen zweiten Verlagsanalyse erklärt. Complete core teaching form inspected, not a complete original-master/all-band/onset analysis; see sourcePracticeReview."},{"id":"hal-leonard-fire-pvg140-first","family":"partial-teaching-pattern-publication","kind":"licensed-alternate-first-page-only","annotator":"Hal Leonard · Klavierfassung 140, nur erste Seite","independentExpert":false,"primary":false,"url":"https://musescore.com/official_scores/scores/6942360","barAligned":false,"sourceSha256":"3baa1d58e31169bcf6c16b62332441f35c01a369d6c0c1745bb4335ed6b7034f","locator":"Nur die autorisiert sichtbare erste Seite der achtseitigen Ausgabe visuell gelesen: Viertel = 140, vier Kreuze und Powerchord-Reduktion. Keine Volllektüre oder vollständige Formbehauptung. Dieselbe Verlagsfamilie; die Tempoabweichung wird als andere Fassung offengelegt, nicht weggezählt. 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G-Moll bleibt der Bezugsrahmen ohne Transposition.Nach Auswertung der offiziellen Apple-Album-Hörvorschau und Abgleich mit Tency wird98 statt der bisherigen100 BPM verwendet. Die Pulsmessung betrifft30 Sekunden, nicht den gesamten Original-Tempoverlauf.","limitationDe":"Dies ist eine quellenabgeglichene Grund-Lernbegleitung, keine vollständig bestätigte Originalaufnahme. Beide Verlage stimmen in70 Takten und der Teile-Reihenfolge überein, aber nicht in jeder Klangfarbe und Pause. Faber fügt Bbsus4 und Gsus4 als Melodie-/Begleitfarben hinzu; die gemeinsame Kernharmonie bleibt Bb beziehungsweise Gm. David DiMuzio nennt teilweise Bb/D und in einer Strophenzeile F statt Bb. Der Refrainschluss Gm folgt Faber und David; Hal Leonard schreibt dort N.C. bei weiterlaufender Klaviermelodie. Der zweitaktige Breakdown wird als zwei Takte ohne neue Begleitakkorde nach Hal Leonard gespielt; Faber notiert dort Gm, eine zweite aufnahmegleiche Bestätigung fehlt. Im vierten Instrumentaltakt wird Hal Leonards Gm/Bb gewählt; Faber notiert Gm/Gsus4/Gm, auch dies ist nicht abschließend geklärt. N.C. bedeutet keine neue Begleitharmonie, nicht Stille aller Gesangs-/Bandstimmen. Wiederholte Anschläge, Synth-Sounds, alle notierten Freigaben und finale Bass-Releases werden nicht vollständig transkribiert. Faber druckt100 und der Hal-Leonard-Viewer zeigt100; diese Arrangementtempi bleiben dokumentiert. Die30-Sekunden-Apple-Vorschau der Albumveröffentlichung wurde nun rechnerisch auf ihren Puls geprüft: rund98 BPM, unabhängig von Tency ebenfalls mit98 angegeben. Deshalb wird die Lernbegleitung auf98 gesetzt. Kein Beleg für einen konstanten Puls der gesamten Aufnahme oder deren vollständigen Tempoverlauf. Faber-Ausgaben und Musicnotes-Faber-Metadaten zählen nur als eine Verlagsfamilie. Der Super-Simple-Piano-Unterricht mit120 zählt nicht als Originaltempo-Beweis; Shawn Parrottes Video war regulär nicht verfügbar und zählt nicht als gelesene Quelle. Alle20 Rohannotationen und die beschädigten LF/bE-Marken bleiben in der Originaldatei. Nur die30-Sekunden-Hörvorschau wurde rechnerisch ausgewertet; keine vollständige Aufnahme und kein Video gehört, keine Käufe und keine Veröffentlichung von Liedtexten oder Notenbildern; vollständige Fachanalyse-Zähler bleiben unverändert.","sources":[{"id":"hal-leonard-lean-on-complete","author":"Hal Leonard · vollständige Piano-Vocal-Guitar-Ausgabe","kind":"licensed-complete-publisher-score","publicationGroup":"hal-leonard-lean-on","url":"https://musescore.com/official_scores/scores/6933353","sha256":"9457d5ca6dfa2943f13de170fb1d0c4f59ac41409fd904409fbb9d37647ee362","pages":5,"pagesRead":5,"allPagesRead":true,"fullScoreRead":true,"recordingListened":false,"viewerTempoRead":100,"pageSha256":["9457d5ca6dfa2943f13de170fb1d0c4f59ac41409fd904409fbb9d37647ee362","e24149911ac4f4ae519f027d0e574f8c7e2447048c08115eeda025d2f40a09d2","8c457a35a71c146fb7dd6e3a70de8d1019da6fd316b722fca0abe56a67224fdf","b41e0e0f9aa24f4bf603cb245defc87fb2322d1470447118e02f3d7a22b558bd","547be947e87c7431cd94d3f1755f7c33bc378fd371f88cbc21c5424174ca523e"],"inspectionDe":"Alle fünf autorisiert angezeigten SVG-Seiten vollständig visuell gelesen.44 gedruckte Takte; Wiederholung ab5 mit alternativen Endungen24–28/29; Segno13, To-Coda19, D.S.43, Coda44. Expansion1–28,5–23,29–43,13–19,44 ergibt70 volle Takte. Ebmaj7/Gm-Intro, Ebmaj7/F/Gm/Bb-Familie, notierte synkopierte Basswechsel2,25, N.C.20 und34–35 sowie Instrumental-Gm/Bb und Coda-Gm geprüft. Gedruckt Moderate R&B groove ohne Zahl; Viewer100 separat gelesen. Keine vollständige Originalaufnahme gehört, SVG- statt PDF-Prüfsummen."},{"id":"faber-lean-on-complete","author":"Faber · vollständige Piano-Voice-Guitar-Ausgabe","kind":"licensed-complete-publisher-score","publicationGroup":"faber-lean-on","url":"https://musescore.com/official_author/scores/6923261","sha256":"f37079cceb1a27593cc05117869d5b5461d3465b70317ac0b001ad1062c04b6f","pages":4,"pagesRead":4,"allPagesRead":true,"fullScoreRead":true,"recordingListened":false,"printedTempo":100,"pageSha256":["f37079cceb1a27593cc05117869d5b5461d3465b70317ac0b001ad1062c04b6f","f42052e8fbe9551dbf5834889282b7415c65292cfa018e04a6513b9d0bdd1252","20640e922316d25b702551d5970dae3a0ba06639ed6f01f4dc2feb1d60f58b24","fe56c5c89e61d5f3e1b0c0085c10a6911a78528a251aae54d00b242865be7865"],"alternateEdition":{"url":"https://musescore.com/official_author/scores/6920759","pages":3,"allPagesRead":true,"pageSha256":["e6a1541f4a02f68abab932d15b4b8c0178612adbd3d8e02fbc044405d705456f","908927bb4b4319797a35dcf1c464bf79542c537c7e7d5ebdb3e79907701663d6","63de97dff527832116d23276afc043ac5ea1c8c603d5b53117ebe16f4a7c6498"]},"inspectionDe":"Alle vier PVG-Seiten und zusätzlich alle drei Seiten der separaten Piano-Ausgabe vollständig visuell gelesen.38 gedruckte Takte, Wiederholung5–28, Segno13, Fine20, D.S.38:1–28,5–38,13–20 ergibt70 Takte. Gedruckte Viertel100, synkopierte Begleitwechsel2,25, zusätzliche Bbsus4/Gsus4-Melodieharmonisierung und Gm statt Hal-Leonard-N.C. im Breakdown gelesen. Zwei Ausgaben zählen zusammen nur als eine Faber-Publikationsfamilie. Die dreiseitige Piano-Ausgabe hat eine eigene Schluss-Bassfreigabe und bestätigt keine aufnahmegleiche PVG-Artikulation."},{"id":"david-dimuzio-lean-on","author":"David DiMuzio · eigene Gitarrenlektion","kind":"original-teacher-browser-description","publicationGroup":"david-dimuzio-lean-on","url":"https://www.youtube.com/watch?v=GJ5hEGdW4hA","sha256":null,"textRead":true,"browserVisibleTextRead":true,"fullScoreRead":false,"recordingListened":false,"videoWatched":false,"inspectionDe":"Die vollständige ausgeklappte eigene Videobeschreibung im regulären Browser gelesen: Ebmaj7/Gm-Intro, Strophen- und Refrainfamilien, Refrainschluss Gm und Bb/D-Variante im Refrain/zweiten Refrainteil. Die dritte Strophenzeile führt F statt Bb auf und bleibt als Unterschied dokumentiert. Keine vollständig taktnummerierte Form, keine exakten Sechzehntel-Onsets oder instrumentalspezifische Vollanalyse. Video war stumm automatisch angelaufen und wurde sofort pausiert; kein Audio/Video als musikalischer Beleg ausgewertet. Kein Download-Hash erfunden."},{"id":"tency-lean-on-tempo-key","author":"Tency Music · Referenz49193","kind":"re-recording-provider-metadata","publicationGroup":"tency-lean-on","url":"https://www.tencymusic.com/music-licensing/major-lazer/lean-on.html","sha256":"73f1d6ec5309ee3b8adfe54bfca2b4e9229f9d16348aad9a7179d81fcc4cecfc","textRead":true,"fullScoreRead":false,"recordingListened":false,"inspectionDe":"Vollständige öffentliche Beschreibung gelesen: Referenz49193, Gm,98 BPM,2:56, kein Fadeout. Anbieter erklärt ausdrücklich Neuaufnahme statt Original-Master;98 stimmt nun mit dem rechnerisch gemessenen Puls der offiziellen Apple-Vorschau überein; die Neuaufnahme bleibt eine andere Quelle als die Albumaufnahme. 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