TuneReveal.com
Reviewed concrete example
A small worksheet improves every later answer
To prepare observations for song analysis, collect only the facts and listening judgments needed for one defined passage. A compact worksheet prevents a BPM from losing its beat unit, a key from losing its section, and a confident label from losing the evidence that supported it.
TuneReveal.com does not receive a recording or save a project. Preparation happens through listening you conduct elsewhere and notes you choose to enter locally. The final workbench card exists only in the active browser page, so keep your own copy if the record matters.
Step 1: identify the source
Write enough to distinguish the recording: title or private label, performer if useful, studio or live version, edit or remix, and playback-speed change. Do not place a confidential client name or rights-restricted link into the site.
Two files with the same title can differ in key, tempo, structure, or tuning. Source identity is part of the analysis, not clerical overhead.
Step 2: define the passage
Choose a section such as “first chorus,” “bars 9-16,” or “breakdown before final drop.” Mark start and end by musical events rather than relying only on a rounded player timestamp. Note pickups, fades, fermatas, or free-time introductions.
One observation should not pretend to cover a modulation it did not examine. Create another card when the musical state changes.
Step 3: state the listening conditions
Record anything likely to affect judgment: headphones or speakers, noisy room, mono playback, low-volume reference, isolated stem, score availability, or instrument used to check pitches. This is not a demand for studio equipment. It is a reminder that evidence has conditions.
If fatigue or hearing safety is a concern, stop. The site supplies no medical or safe-listening guidance.
Step 4: count tempo and pulse
Identify the event you will call one beat. Count across several complete bars or use another permitted measurement. Note half-time or double-time alternatives. If you know bar count and elapsed time, the tempo calculator shows the arithmetic.
Write the beat unit: quarter note, dotted quarter, half-note feel, or another clear description. If tempo drifts, record a range or several section measurements rather than inventing a stable average.
Step 5: describe meter and rhythm separately
Mark recurring strong beats, subdivision, and bar grouping. State a meter only when the accents and phrase structure support it. A four-chord loop is not automatically four beats or 4/4.
Add a short rhythm note: swung eighths, syncopated bass, triplet subdivision, additive grouping, or unmetered opening. This protects the feel from being reduced to BPM.
Step 6: form a key hypothesis
Listen for phrase endings, bass arrivals, melodic resting tones, recurring chords, and leading motion. Write one candidate tonic and its mode, then name the strongest relative, parallel, or modal alternative.
Use the signature lookup only after forming the candidate. A table can verify spelling and relationships but cannot hear which tonic governs the passage.
Step 7: separate evidence from counterevidence
Use two lines:
Evidence: observations that support the current label.
Counterevidence: observations that support another reading or weaken measurement.
This format is brief enough for a workbench note and strong enough to make revision possible.
Step 8: choose confidence and next check
Low means a candidate with sparse or conflicting support. Medium means useful convergence with a credible alternative. High means several independent clues agree over the scoped passage. No category is a probability.
End with one next action: retime a longer span, check the bass on better speakers, compare the final cadence, inspect a score, or ask another musician to listen independently.
Worked worksheet: a hypothetical rehearsal take
Source: “North Window, rehearsal take 2,” normal playback.
Passage: first chorus, eight complete bars from the opening downbeat to the next section’s downbeat.
Conditions: closed-back headphones; no score.
Tempo: approximately 108 BPM, quarter-note pulse. Two timings agree within a small margin. No obvious drift.
Meter and rhythm: 4/4; syncopated bass anticipates beat three; straight eighth-note hi-hat.
Key hypothesis: G minor.
Evidence: phrases close on G-minor harmony; bass returns D-to-G at endings; melody sustains B-flat over tonic.
Counterevidence: E-flat-major chord begins bar five and briefly sounds stable; no raised F-sharp was heard.
Confidence: medium.
Next check: isolate the final two beats of each phrase mentally and compare G with E-flat as a sung tonic.
The hypothetical title is only a private label. The worksheet does not claim a real recording exists. Its value lies in the structure: another listener can repeat the checks.
Transfer to the workbench
Condense the source and passage into Observation label. Enter the known BPM, observed key, meter beats and beat unit, and confidence. Put evidence, counterevidence, and next check into Listening notes.
After building the card, verify that derived timing values use your intended pulse. Relative, parallel, and Camelot references are consequences of the entered key, not new evidence. Copy the final text into your own notebook before leaving.
Limits and privacy
A worksheet cannot replace listening skill, a complete score analysis, calibrated measurement, or knowledge of the musical tradition. Categories drawn from Western major/minor and meter theory may be inappropriate for some music. Write “not established” rather than forcing a label.
The tool stores nothing persistently and sends no inputs. That means privacy by minimization, but also no recovery, history, synchronization, or collaboration. Device software and people with physical access may still see the screen.
Frequently asked questions
How long should the passage be?
Long enough to contain repeatable evidence, short enough to avoid combining different musical states. A phrase or section is often practical.
Must every field be known?
No. Unknown is preferable to an unsupported guess, and notes can explain what remains open.
Should I use an automatic label as evidence?
Use it as a candidate and record its source and scope. Derived mappings from that label are not independent confirmation.
Can I save the card on the site?
No. Copy it to your own approved notes before resetting or leaving.
Choose a single section, write two observations and one doubt, then open the song analysis workbench. A prepared input produces a result you can explain.