alto part

The collection was discovered in 1913, though only the alto part is extant.

He wrote new alto parts for the many songs that originally just had three vocal lines.

Marietta Simpson did the alto parts with dignity and musical simplicity.

At 2, she improvised alto parts to lullabies her mother sang.

According to the englisch model they sing also the alto part, which is singular in Germany.

She sang alto parts in vocal duets with her two-year-old sister.

He let him sing many solo alto parts and also created compositions that perfectly fitted Peter's boy voice.

However, Mahler also includes the note that "if necessary, the alto part may be sung by a baritone".

Thus, a few measures later in the same Billings work, the following passage in the alto part:

The latter sang the alto part.

The supplement also included settings of songs from the 1870 Sacred Harp with alto parts added.

The Walker songs are generally sung in four-part versions, with alto parts added by early 20th century composers.

The men's contingent is made up of professional singers, and adhering to the old tradition, the alto parts are sung by counter-tenors.

The choir is Anglican, meaning boys and countertenors singing the soprano and alto parts.

Besides singing the great mezzo roles, she also took the outstanding alto parts of the Italian operatic repertoire."

Some of the alto parts of Handel's Messiah were first sung by a castrato.

Francy Heagy added an alto part to this motet around 1547 and this is shown in most contemporary editions.

Robert Isaacs, a countertenor took the alto parts and Richard Lippold was the bass; both very good.

The canon occurs in the two lower voices over which the alto part plays a free melody, with the cantus firmus in the soprano.

The alto part anticipates the pedal motif and, with it and the later dotted figure, echos the melody in the soprano.

The always reliable Florence Quivar stepped in for Marietta Simpson, scheduled for the alto part.

The treble and high alto parts were most often played by cornetts or shawms, with the violin sometimes replacing the cornett in 17th century Italian music.

At the same time Bach adds one statement of the fugue subject in crotchets in the alto part, as a sort of "simultaneous stretto".

He was sued by W. M. Cooper for plagiarism of the alto parts as written by Cooper.

In Iasi, at only 17, Cortez made her debut in the alto part of Beethoven's Ninth Symphony.