• First Steps
• Section-by-section reading
• Selective reading
• Following contrapuntal parts
• The score at a glance

Following contrapuntal parts

The present excerpt from Brahms\'s Requiem (example 6) is polyphonic, i.e. one has to be able to follow several equal parts either alternately (without lagging behind) or simultaneously. But by looking for parallel parts in the score, the notation which, at first glance, seems to be overcrowded soon becomes clearer. For example, Brahms allocates orchestral parts to each choral part. As a consequence, there are many parts written in the score but considerably fewer independent parts actually played. Hence, the large amount of written music can be reduced to a manageable quantity.

The flute, clarinet, first violins and soprano are in parallel motion. Furthermore, the tenor of oboe and viola is supported by a much-expanded, yet parallel part. The violoncellos and bassoons too are in almost parallel motion.

The low winds and strings as well as the timpani played simultaneously with the polyphonic parts are fill-in parts which consist only of stationary tones (sustained notes). They do not need to be followed upon first reading of the score.

Seen as a whole, this excerpt is most suitable for focussing on the soprano voice as it is coupled with two instruments and, being the highest voice, can be heard very well. In addition, the text is an aid to orientation, making it easier to return from brief trips to other parts.

In fugal sections, score-reading will be easier if the entries of the theme in the score are first looked for and then marked.