Chapter 1 THE G AND F CLEFS } i i i i i In playing three-part open score, it is usually easiest to play the upper two i parts with the right hand and the lowest part with the left hand. At times, ' however, it will be more practical to play only the upper part with the right hand and the lower two parts with the left hand, or even to play all three parts with the right hand. In this and all the following excerpts, each per- former should choose the distribution that fits his hands most comfortably and should be free to change this distribution between the two hands at any time he wishes. Bear in mind that at any given moment one of the parts may be the most interesting or thematically important and should be emphasized. 1. Menegali, Jesu Salvator Mundi Lento Soprano 1 P Soprano It Alto2. Pisari, O Salutaris Hostia Adagio a . Soprano I P Soprano I Alto3. Byrd, Non Nobis, Domine Soprano alte Bass WL Tn bit When parts for the tenor voice are written on the tieble staff, they are sung or played an octave lower than the written pitches. 4. Mozart, The Magic Flute, Act Il, No.18* “O Isis and Osiri Adagio Tenor 1 P Tenor 11 Bass *The orchestral parts are omitted. 3Alto ‘Tenor 3 B 3 5. Palestrina, Missa Brevis, “Benedictus II” ~ cesteammaania emanate enemaIn the following excerpt, play the soprano with the right hand, the tenor and bass with the left hand. In measure 3, sustain the G-natural in the Soprano with the damper pedal and play the last three notes of the tenor in that measure with the right hand. 6. Haydn, The Creation, No. 20,"The Lord is Great”* Vivace Soprano. ‘Tenor The orchestral parts are omitted. nner tacoma EE senna aeIn four-part music, one usually plays the upper two parts with the right hand and the lower two parts with the left hand. At times, however, it is better to play the upper three parts with the right hand, ay in meeecre 4, beat 1, of the following motet, 7. Arcadelt, “Ave Moria” Soprano Alto Tenor Bass—s See ee oR tee ap ealgnettennaecinatinememaantieetamneeamtj } 8. Brahms, Liebeslieder Walzer, Op. 52, No. 8* Im Lindler Tempo Soprano ‘The piano accompaniment is omitted. 9Schubert, Der Entfernten ‘Tenor 1 BP 2P > > ———— Note thatthe two tenor voices are sung or played an otave lower than writen, 10 P =— Langsam a o—10. Verdi, “Ave Maria” Moderato Soprano P Alto TenorIl. Beethoven, Mount of Olives, No.15,* “Praise our God” Allegro tf Alto ‘Tenor "The orchestral parts are omitted. 1212. Handel, Messiah, “Behold the Lamb of God"* Largo Soprano oS Alto Tenor me mm ee ‘*The orchestral parts are omitted, 1313. Joseph Wood, “The Lamb” (for mixed chorus) Allegretto —— B Soprano Alto P Lit - de lamb, 2 Bass bid thee feed, Gave thee life, bid thee feed, oer the mead; © copyright 1956 Joseph Wood. [All rights reserved. Reprinted by permission. 4 | | peelight, soft-est cloth wool-y, bright? of de- light, —soft-est_| cloth - ing, wool- y, bright? ten-der voice, mak-ing all the vales : ————————— ten-der voice,, mak-ing all the vales re ——SEe q Lit-tle lamb, who made thee? 2p. A 2p. Lit-tle lamb, | who made thee? 2p © copyright 1956 Joseph Wood. All rights reserved. Reprinted by permission. 5 Pp Gave thee such 2p. Gave thee such 2p14. Stravinsky, Mass for Mixed Chorus and Double Wind Quintet, “Benedictus” * 1258 . > Soprano Alto. Tenor | a Pitt mosso J.34 Copyright 1948 by Boosey & Hawkes, Inc. Reprinted by permission. *The wind parts are omitted.In playing music of more than four parts it is impossible to make any de- tailed suggestions for the distribution of voices in each hand. They must be distributed in whatever way is most pianistically feasible, depending upon the ranges of the individual parts, 15. J.S. Bach, Cantata No. 27, Chorale, Welt, ade! h bin dein miide** Soprano I Soprano It Alto Tenor Bass ‘the orchestral parts are omitted. 7