Credits
Credits for every piece in TwoThree
Short answer
TwoThree encodes every piece itself. 56 pieces are in the public domain and 23 were written for TwoThree. 22 come from Mutopia Project typesets under CC BY-SA, so those encodings are shared under the same licence. 1 piece comes from a Mutopia Project typeset under CC BY, so its typesetter is credited.
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How pieces are chosen
Each piece is encoded note for note from a public-domain edition, or from a typeset whose licence allows it: CC0, CC BY or CC BY-SA. A protected modern edition’s typesetting, fingering and editorial marks are never copied.
Each entry names the edition, and any change made so the piece fits a 61-key keyboard or a beginner’s reading.
From Mutopia Project typesets
Shared under CC BY-SA. Each entry names the typesetters and links the licence. You may copy and adapt these encodings if you credit the source and share your version under the same licence.
Gnossienne No. 1
Gnossienne No. 1 (1890), Paris: Rouart, Lerolle & Cie / Salabert, 1913, as typeset in Mutopia Project no. 2035 by Knute Snortum (CC BY-SA 4.0); this encoding is shared under the same licence. Satie wrote it without bar lines: it is barred here in 4/4, one bar per left-hand swing, as in the Mutopia edition (82 bars). The low B♭1 under the second tune (16 notes) is played an octave up, B♭2, because the PSR-E483 starts at C2. All 100 grace notes are drawn as Satie wrote them, small and slashed, just before their note; they are not marked, and playing them never counts as a wrong note.
Hanon No. 1
The Virtuoso Pianist, Part I, No. 1 (1873). Encoded note for note from Mutopia no. 2037 (Mutopia-2015/07/23-2037), typeset by Steve Taylor and Javier Ruiz-Alma from the G. Schirmer edition of 1900 and licensed CC BY-SA 4.0; this encoding is shared alike. Hanon died in 1900. The printed repeat is written out: 59 bars. Fingering only where the edition prints it. Played an octave higher than printed so the lowest note, B below the C two octaves under middle C, fits the 61-key keyboard; the hands and pattern are unchanged.
Hanon No. 2
The Virtuoso Pianist, Part I, No. 2 (1873). Encoded note for note from Mutopia no. 2037 (Mutopia-2015/07/23-2037), typeset by Steve Taylor and Javier Ruiz-Alma from the G. Schirmer edition of 1900 and licensed CC BY-SA 4.0; this encoding is shared alike. Hanon died in 1900. The printed repeat is written out: 57 bars. Fingering only where the edition prints it.
Hanon No. 3
The Virtuoso Pianist, Part I, No. 3 (1873). Encoded note for note from Mutopia no. 2037 (Mutopia-2015/07/23-2037), typeset by Steve Taylor and Javier Ruiz-Alma from the G. Schirmer edition of 1900 and licensed CC BY-SA 4.0; this encoding is shared alike. Hanon died in 1900. The printed repeat is written out: 57 bars. Fingering only where the edition prints it.
Hanon No. 4
The Virtuoso Pianist, Part I, No. 4 (1873). Encoded note for note from Mutopia no. 2037 (Mutopia-2015/07/23-2037), typeset by Steve Taylor and Javier Ruiz-Alma from the G. Schirmer edition of 1900 and licensed CC BY-SA 4.0; this encoding is shared alike. Hanon died in 1900. The printed repeat is written out: 57 bars. Fingering only where the edition prints it.
Hanon No. 5
The Virtuoso Pianist, Part I, No. 5 (1873). Encoded note for note from Mutopia no. 2037 (Mutopia-2015/07/23-2037), typeset by Steve Taylor and Javier Ruiz-Alma from the G. Schirmer edition of 1900 and licensed CC BY-SA 4.0; this encoding is shared alike. Hanon died in 1900. The printed repeat is written out: 57 bars. Fingering only where the edition prints it.
Hanon No. 6
The Virtuoso Pianist, Part I, No. 6 (1873). Encoded note for note from Mutopia no. 2037 (Mutopia-2015/07/23-2037), typeset by Steve Taylor and Javier Ruiz-Alma from the G. Schirmer edition of 1900 and licensed CC BY-SA 4.0; this encoding is shared alike. Hanon died in 1900. The printed repeat is written out: 57 bars. Fingering only where the edition prints it.
Hanon No. 7
The Virtuoso Pianist, Part I, No. 7 (1873). Encoded note for note from Mutopia no. 2037 (Mutopia-2015/07/23-2037), typeset by Steve Taylor and Javier Ruiz-Alma from the G. Schirmer edition of 1900 and licensed CC BY-SA 4.0; this encoding is shared alike. Hanon died in 1900. The printed repeat is written out: 57 bars. Fingering only where the edition prints it.
Hanon No. 8
The Virtuoso Pianist, Part I, No. 8 (1873). Encoded note for note from Mutopia no. 2037 (Mutopia-2015/07/23-2037), typeset by Steve Taylor and Javier Ruiz-Alma from the G. Schirmer edition of 1900 and licensed CC BY-SA 4.0; this encoding is shared alike. Hanon died in 1900. The printed repeat is written out: 57 bars. Fingering only where the edition prints it.
Hanon No. 9
The Virtuoso Pianist, Part I, No. 9 (1873). Encoded note for note from Mutopia no. 2037 (Mutopia-2015/07/23-2037), typeset by Steve Taylor and Javier Ruiz-Alma from the G. Schirmer edition of 1900 and licensed CC BY-SA 4.0; this encoding is shared alike. Hanon died in 1900. The printed repeat is written out: 57 bars. Fingering only where the edition prints it.
Hanon No. 10
The Virtuoso Pianist, Part I, No. 10 (1873). Encoded note for note from Mutopia no. 2037 (Mutopia-2015/07/23-2037), typeset by Steve Taylor and Javier Ruiz-Alma from the G. Schirmer edition of 1900 and licensed CC BY-SA 4.0; this encoding is shared alike. Hanon died in 1900. The printed repeat is written out: 57 bars. Fingering only where the edition prints it.
Hanon No. 11
The Virtuoso Pianist, Part I, No. 11 (1873). Encoded note for note from Mutopia no. 2037 (Mutopia-2015/07/23-2037), typeset by Steve Taylor and Javier Ruiz-Alma from the G. Schirmer edition of 1900 and licensed CC BY-SA 4.0; this encoding is shared alike. Hanon died in 1900. The printed repeat is written out: 57 bars. Fingering only where the edition prints it.
Hanon No. 12
The Virtuoso Pianist, Part I, No. 12 (1873). Encoded note for note from Mutopia no. 2037 (Mutopia-2015/07/23-2037), typeset by Steve Taylor and Javier Ruiz-Alma from the G. Schirmer edition of 1900 and licensed CC BY-SA 4.0; this encoding is shared alike. Hanon died in 1900. The printed repeat is written out: 59 bars. Fingering only where the edition prints it.
Hanon No. 13
The Virtuoso Pianist, Part I, No. 13 (1873). Encoded note for note from Mutopia no. 2037 (Mutopia-2015/07/23-2037), typeset by Steve Taylor and Javier Ruiz-Alma from the G. Schirmer edition of 1900 and licensed CC BY-SA 4.0; this encoding is shared alike. Hanon died in 1900. The printed repeat is written out: 57 bars. Fingering only where the edition prints it.
Hanon No. 14
The Virtuoso Pianist, Part I, No. 14 (1873). Encoded note for note from Mutopia no. 2037 (Mutopia-2015/07/23-2037), typeset by Steve Taylor and Javier Ruiz-Alma from the G. Schirmer edition of 1900 and licensed CC BY-SA 4.0; this encoding is shared alike. Hanon died in 1900. The printed repeat is written out: 57 bars. Fingering only where the edition prints it.
Hanon No. 15
The Virtuoso Pianist, Part I, No. 15 (1873). Encoded note for note from Mutopia no. 2037 (Mutopia-2015/07/23-2037), typeset by Steve Taylor and Javier Ruiz-Alma from the G. Schirmer edition of 1900 and licensed CC BY-SA 4.0; this encoding is shared alike. Hanon died in 1900. The printed repeat is written out: 57 bars. Fingering only where the edition prints it.
Hanon No. 16
The Virtuoso Pianist, Part I, No. 16 (1873). Encoded note for note from Mutopia no. 2037 (Mutopia-2015/07/23-2037), typeset by Steve Taylor and Javier Ruiz-Alma from the G. Schirmer edition of 1900 and licensed CC BY-SA 4.0; this encoding is shared alike. Hanon died in 1900. The printed repeat is written out: 57 bars. Fingering only where the edition prints it.
Hanon No. 17
The Virtuoso Pianist, Part I, No. 17 (1873). Encoded note for note from Mutopia no. 2037 (Mutopia-2015/07/23-2037), typeset by Steve Taylor and Javier Ruiz-Alma from the G. Schirmer edition of 1900 and licensed CC BY-SA 4.0; this encoding is shared alike. Hanon died in 1900. The printed repeat is written out: 55 bars. Fingering only where the edition prints it.
Hanon No. 18
The Virtuoso Pianist, Part I, No. 18 (1873). Encoded note for note from Mutopia no. 2037 (Mutopia-2015/07/23-2037), typeset by Steve Taylor and Javier Ruiz-Alma from the G. Schirmer edition of 1900 and licensed CC BY-SA 4.0; this encoding is shared alike. Hanon died in 1900. The printed repeat is written out: 57 bars. Fingering only where the edition prints it.
Hanon No. 19
The Virtuoso Pianist, Part I, No. 19 (1873). Encoded note for note from Mutopia no. 2037 (Mutopia-2015/07/23-2037), typeset by Steve Taylor and Javier Ruiz-Alma from the G. Schirmer edition of 1900 and licensed CC BY-SA 4.0; this encoding is shared alike. Hanon died in 1900. The printed repeat is written out: 57 bars. Fingering only where the edition prints it.
Hanon No. 20
The Virtuoso Pianist, Part I, No. 20 (1873). Encoded note for note from Mutopia no. 2037 (Mutopia-2015/07/23-2037), typeset by Steve Taylor and Javier Ruiz-Alma from the G. Schirmer edition of 1900 and licensed CC BY-SA 4.0; this encoding is shared alike. Hanon died in 1900. The printed repeat is written out: 61 bars. Fingering only where the edition prints it.
The Happy Farmer
Fröhlicher Landmann, von der Arbeit zurückkehrend, Album für die Jugend Op. 68 No. 10 (1848); Schumann died in 1856. Encoded note for note from Mutopia no. 659 (Mutopia-2007/02/11-659), typeset by Philippe Hézaine from the Peters edition (19th century, public domain) under CC BY-SA 2.5, so this encoding is shared under CC BY-SA 2.5 too. The repeat of bars 5-8 is written out as in that typeset; the upbeat quaver sits at the end of bar 1; two left-hand F3s doubled between voices are one key each. The source prints no fingering.
Credited under CC BY. Each entry names the typesetter and links the licence. CC BY asks that the typesetter is credited. It doesn’t ask for adaptations to be shared under the same licence.
Canon in D
Canon per 3 Violini e Basso: the Violin I and bass parts, note for note, from Mutopia no. 2047 (CC BY 4.0, typeset by Michael Fischer v. Mollard from a public-domain IMSLP source)
Public domain
The music is out of copyright. Each entry names the edition or typeset it was encoded from.
Amazing Grace
Tune "New Britain", American, first printed 1829. Two lines in C; the quaver turns are written as crotchets, each pickup as a bar with two rests, and the low G and A go to the left hand in middle C position.
Arabesque (Burgmüller)
Edition and changes
L'Arabesque, 25 Études faciles et progressives Op. 100 No. 2 (1851); Burgmüller died in 1874. Encoded note for note from Mutopia no. 203 (Mutopia-2013/01/12-203), typeset by Bas Wassink from the Collection Litolff edition (19th century, public domain) and placed in the public domain. Both repeats written out with their first and second endings: 33 printed bars play as 55. Fingering only where the Litolff edition prints a number; its staccato dots kept.
Au clair de la lune
French folk song, 18th century. First phrase only.
Au clair de la lune, left hand
French folk song, 18th century. First phrase only, an octave lower for the left hand.
Beyer Op. 101 · Left hand No. 10
Edition and changes
Vorschule im Klavierspiel Op. 101, Exercises in Touch for the Left Hand, No. 10. Encoded note for note from Edition Peters (C. F. Peters, Leipzig, plate 8033), revised by Adolf Ruthardt, who died in 1934; archive.org imslp-im-klavierspiel-op101-beyer-ferdinand (PMLP31149). Beyer died in 1863. The repeat is written out, then the closing note. The left-hand exercises are printed in the treble clef, around middle C, and stay there.
Beyer Op. 101 · Left hand No. 21
Edition and changes
Vorschule im Klavierspiel Op. 101, Exercises in Touch for the Left Hand, No. 21. Encoded note for note from Edition Peters (C. F. Peters, Leipzig, plate 8033), revised by Adolf Ruthardt, who died in 1934; archive.org imslp-im-klavierspiel-op101-beyer-ferdinand (PMLP31149). Beyer died in 1863. The repeat is written out, then the closing note. The left-hand exercises are printed in the treble clef, around middle C, and stay there. Fingering only where the edition prints it.
Beyer Op. 101 · Right hand No. 10
Edition and changes
Vorschule im Klavierspiel Op. 101, Exercises in Touch for the Right Hand, No. 10. Encoded note for note from Edition Peters (C. F. Peters, Leipzig, plate 8033), revised by Adolf Ruthardt, who died in 1934; archive.org imslp-im-klavierspiel-op101-beyer-ferdinand (PMLP31149). Beyer died in 1863. The repeat is written out, then the closing note.
Beyer Op. 101 · Right hand No. 21
Edition and changes
Vorschule im Klavierspiel Op. 101, Exercises in Touch for the Right Hand, No. 21. Encoded note for note from Edition Peters (C. F. Peters, Leipzig, plate 8033), revised by Adolf Ruthardt, who died in 1934; archive.org imslp-im-klavierspiel-op101-beyer-ferdinand (PMLP31149). Beyer died in 1863. The repeat is written out, then the closing note. Fingering only where the edition prints it.
Brahms' Lullaby
Edition and changes
Johannes Brahms, Wiegenlied Op. 49 No. 4 (1868); Brahms died in 1897. Opening phrase in crotchets, minims and a dotted minim, moved to F so it sits around middle C; no B occurs, so no key signature. Low A goes to the left hand. p and the slur added by TwoThree.
Clair de lune
Edition and changes
Suite bergamasque, III. Clair de lune (Paris: E. Fromont, 1905, plate E. 1404 F., IMSLP #02907); Debussy died in 1918 and the 1905 edition is public domain. Encoded note for note from Mutopia no. 1778 (Mutopia-2010/12/21-1778), typeset by Keith OHara from the Fromont edition and placed in the public domain: the whole piece, 72 bars. Each hand reads its own staff, so notes Debussy writes across the staves are drawn on the playing hand's staff; a key written twice at once, in two voices, is played once; six bass notes below the PSR's C2 (bars 15-22) and one C♯7 above its C7 (bar 39) are left out where the other octave is played with them; the one grace note (bar 18) is a short note on the beat. Bars 37-42 show the edition's four sharps. The source prints no fingering.
Czerny Op. 599 No. 1
Edition and changes
Practical Method for Beginners Op. 599, No. 1 (First Lessons in learning the Notes). Encoded note for note from Schirmer's Library Vol. 146 (G. Schirmer, New York, 1893, plate 11038), edited, revised and fingered by Giuseppe Buonamici, who died in 1914; archive.org imslp-exercises-for-beginners-op599-czerny-carl (PMLP177048). Czerny died in 1857. Both parts carry repeat signs, so each is written out twice: 16 printed bars play as 32. The left hand, printed in the treble clef, is shown on the bass staff at the same pitch. Printed fingering kept.
Czerny Op. 599 No. 2
Edition and changes
Practical Method for Beginners Op. 599, No. 2 (First Lessons in learning the Notes). Encoded note for note from Schirmer's Library Vol. 146 (G. Schirmer, New York, 1893, plate 11038), edited, revised and fingered by Giuseppe Buonamici, who died in 1914; archive.org imslp-exercises-for-beginners-op599-czerny-carl (PMLP177048). Czerny died in 1857. Both parts carry repeat signs, so each is written out twice: 32 printed bars play as 64. The left hand, printed in the treble clef, is shown on the bass staff at the same pitch. Printed fingering kept.
Czerny Op. 599 No. 3
Edition and changes
Practical Method for Beginners Op. 599, No. 3 (First Lessons in learning the Notes). Encoded note for note from Schirmer's Library Vol. 146 (G. Schirmer, New York, 1893, plate 11038), edited, revised and fingered by Giuseppe Buonamici, who died in 1914; archive.org imslp-exercises-for-beginners-op599-czerny-carl (PMLP177048). Czerny died in 1857. Both parts carry repeat signs, so each is written out twice: 16 printed bars play as 32. The left hand, printed in the treble clef, is shown on the bass staff at the same pitch. Printed fingering kept.
Czerny Op. 599 No. 4
Edition and changes
Practical Method for Beginners Op. 599, No. 4 (First Lessons in learning the Notes). Encoded note for note from Schirmer's Library Vol. 146 (G. Schirmer, New York, 1893, plate 11038), edited, revised and fingered by Giuseppe Buonamici, who died in 1914; archive.org imslp-exercises-for-beginners-op599-czerny-carl (PMLP177048). Czerny died in 1857. Both parts carry repeat signs, so each is written out twice: 16 printed bars play as 32. The left hand, printed in the treble clef, is shown on the bass staff at the same pitch. Printed fingering kept.
Czerny Op. 599 No. 5
Edition and changes
Practical Method for Beginners Op. 599, No. 5 (First Lessons in learning the Notes). Encoded note for note from Schirmer's Library Vol. 146 (G. Schirmer, New York, 1893, plate 11038), edited, revised and fingered by Giuseppe Buonamici, who died in 1914; archive.org imslp-exercises-for-beginners-op599-czerny-carl (PMLP177048). Czerny died in 1857. Both parts carry repeat signs, so each is written out twice: 16 printed bars play as 32. The left hand, printed in the treble clef, is shown on the bass staff at the same pitch. Printed fingering kept.
Czerny Op. 599 No. 6
Edition and changes
Practical Method for Beginners Op. 599, No. 6 (First Lessons in learning the Notes). Encoded note for note from Schirmer's Library Vol. 146 (G. Schirmer, New York, 1893, plate 11038), edited, revised and fingered by Giuseppe Buonamici, who died in 1914; archive.org imslp-exercises-for-beginners-op599-czerny-carl (PMLP177048). Czerny died in 1857. Both parts carry repeat signs, so each is written out twice: 16 printed bars play as 32. The left hand, printed in the treble clef, is shown on the bass staff at the same pitch. Printed fingering kept.
Frère Jacques, hands take turns
French nursery song, 18th century. First half of the tune, played by each hand in turn.
Für Elise
Edition and changes
Für Elise (Bagatelle in A minor), WoO 59. Breitkopf & Härtel, Ludwig van Beethovens Werke, Serie 25 (1888), as typeset in Mutopia Project no. 931 by Stelios Samelis (placed in the public domain). Repeats written out; 103 written bars play as 125 bars after the pickup.
Go Tell Aunt Rhody
American folk song, 19th century.
Go Tell Aunt Rhody in F position
American folk song, 19th century, in F.
Go Tell Aunt Rhody, left hand in F position
American folk song, 19th century, in F, an octave lower for the left hand.
Greensleeves
Edition and changes
"Tune of Green Sleeves. Oldest copy." in William Chappell, Popular Music of the Olden Time, vol. 1 (London: Cramer, Beale & Chappell, 1855-59), p. 230, the airs harmonised by G. A. Macfarren (died 1887); public domain. Scan: Internet Archive popularmusicov1185559chap. Tune and accompaniment written out note for note from the scan by TwoThree. The upbeat sits at the end of bar 1, and the quaver rest that opens the second part ends bar 9. The edition prints no fingering.
Gymnopédie No. 1
1ère Gymnopédie (1888), the composer's edition (Paris: Erik Satie, 1895; BnF, Gallica btv1b520000770), checked against Mutopia no. 37 (public domain, Evin Robertson)
Hot Cross Buns
English street cry, 18th century. Bar 3 simplified from quavers to crotchets.
Hot Cross Buns in F position
English street cry, 18th century, in F. Bar 3 simplified from quavers to crotchets.
Hot Cross Buns over held notes
English street cry, 18th century. Bar 3 simplified from quavers to crotchets. Held left-hand notes added by TwoThree.
In the Hall of the Mountain King
Edition and changes
In the Hall of the Mountain King, from Peer Gynt Suite No. 1, Op. 46 No. 4, in Grieg's own piano arrangement (The University Society, New York, 1918; Grieg died in 1907), as typeset in Mutopia Project no. 1888 by Coyau (Mutopia-2013/12/07-1888, placed in the public domain). Encoded note for note, 88 bars, with Grieg's staccatos; the closing tremolo is written out. Grieg's score spans B0 to D♯7, past the 61 keys of the PSR-E483 (C2 to C7), so it is octave-folded: a note below C2 or above C7 moves by whole octaves onto the keyboard (111 notes), and where that copy is already sounding (an octave doubling) the out-of-range copy is dropped (76 notes). Everything else is as written. Bar by bar: 2 (3 moved, 2 dropped); 3 (4 moved); 4 (3 moved, 2 dropped); 5 (4 moved); 6 (3 moved, 1 dropped); 7 (4 moved); 8 (3 moved, 1 dropped); 9 (4 moved); 10 (1 moved, 1 dropped); 11 (3 moved); 12 (1 moved, 1 dropped); 13 (3 moved); 14 (2 moved); 15 (3 moved); 16 (2 moved); 17 (3 moved); 18 (3 moved, 2 dropped); 19 (4 moved); 20 (3 moved, 2 dropped); 21 (4 moved); 22 (3 moved, 1 dropped); 23 (4 moved); 24 (3 moved, 1 dropped); 25 (4 moved); 26 (2 moved); 27 (2 moved); 28 (2 moved); 30 (2 moved); 31 (2 moved); 32 (2 moved); 42 (2 moved); 43 (2 moved); 44 (2 moved); 46 (2 moved); 47 (2 moved); 48 (1 moved); 50 (2 dropped); 51 (2 dropped); 52 (2 dropped); 54 (2 dropped); 55 (2 dropped); 56 (2 dropped); 57 (2 dropped); 58 (2 dropped); 59 (4 dropped); 60 (2 dropped); 61 (3 dropped); 62 (2 dropped); 63 (4 dropped); 64 (2 dropped); 65 (3 dropped); 66 (2 dropped); 67 (2 dropped); 68 (2 dropped); 70 (2 dropped); 71 (2 dropped); 72 (2 dropped); 73 (2 dropped); 74 (1 dropped); 75 (1 dropped); 77 (2 dropped); 78 (1 dropped); 79 (1 dropped); 81 (1 moved, 2 dropped); 82 (1 dropped); 83 (1 dropped); 84 (1 dropped); 86 (4 moved); 87 (8 moved); 88 (1 moved, 1 dropped). The grace notes before the closing chords are drawn small and never marked. The marking is Alla marcia molto marcato, ♩ 138, then Più vivo, ♩ 154, at bar 50; here one tempo runs throughout.
Jingle Bells with chords
Chorus of "One Horse Open Sleigh" (1857). Dotted rhythms and quavers written as crotchets; chords C, F and G added by TwoThree.
Largo from the New World, left hand
Edition and changes
Antonín Dvořák, Symphony No. 9 "From the New World", Largo (1893); Dvořák died in 1904. Opening cor anglais theme in C, an octave below middle C for the left hand; dotted rhythms evened to crotchets and minims. p and slurs follow the theme's phrasing.
Lightly Row
German folk song (Hänschen klein), 19th century.
Lightly Row in G position
German folk song (Hänschen klein), 19th century, in G.
Lightly Row, left hand
German folk song (Hänschen klein), 19th century, an octave lower for the left hand.
London Bridge
English nursery song, 17th century or earlier. First phrase, rhythm simplified to crotchets and minims.
Mary Had a Little Lamb
American nursery song, 1830s.
Mary Had a Little Lamb with chords
American nursery song, 1830s. Chords C and G added by TwoThree.
Minuet in G
Edition and changes
Menuet in G, BWV Anh. 114, from the 1725 Notebook for Anna Magdalena Bach, after the Bach-Gesellschaft edition (Breitkopf & Härtel), as typeset in Mutopia Project no. 75 by Allen Garvin (placed in the public domain). Both halves' repeats written out: 32 written bars play as 64. The grace note before bar 8 (and its repeat, bar 24) is drawn small before its note and is never marked. The mordents (bars 3, 5, 11 and 13, and their repeats) and the short trill (bar 46, and its repeat) are shown as signs over their notes; only the main note is followed.
Moonlight Sonata, first movement
Edition and changes
Piano Sonata No. 14 in C♯ minor, Op. 27 No. 2, mvt 1 (Adagio sostenuto). Durand, Paris, 1915, ed. Paul Dukas, plates 9327/9328 (public domain; Dukas died 1935). Checked bar by bar against the scan; editorial fingering not copied.
Ode to Joy
Symphony No. 9, Op. 125, finale theme (1824). The dotted rhythm in bars 4 and 8 is written as even crotchets.
Ode to Joy in G position
Symphony No. 9, Op. 125, finale theme (1824), in G. Dotted rhythms in bars 4 and 8 written as even crotchets.
Ode to Joy, hands take turns
Symphony No. 9, Op. 125, finale theme (1824). Dotted rhythms written as even crotchets; the second phrase moves to the left hand.
Ode to Joy, left hand in G position
Symphony No. 9, Op. 125, finale theme (1824), in G, two octaves lower for the left hand. Dotted rhythms in bars 4 and 8 written as even crotchets.
Passacaglia in G minor (Handel)
Edition and changes
Passacaille from the Suite No. 7 in G minor, HWV 432, as printed in Handel's own Suites de pièces pour le clavecin (London: J. Cluer, 1720; Royal College of Music H321, archive.org item h321-images), public domain. Read from the Muzyka edition (Moscow, plate 12811) as a reading copy and checked bar by bar against the 1720 print; only the 1720 notes are kept, none of that edition's editorial marks, footnotes or added ornaments. Bar numbers below are this app's: the theme is written out twice, so Handel's bar n is bar n + 4 from bar 9 on (68 bars). Repeats: the 1720 print has dotted double bars after the theme and at the very end and plain double bars between the variations, so the theme is played twice and each variation once; the reading copy's footnote (repeat every variation) is not followed, and the closing sign is not read as a repeat of all the variations. Where the 1720 print differs from the reading copy, 1720 is followed: bar 12, no left-hand G2 on beat 3 (the reading copy adds it in brackets); bar 35, left hand E♭ G on beat 1 and D F♯ A on beat 3 (not E♭ G B♭ and C E♭ A); bar 52, right hand F♯ E on beat 3 (not F E♭). The 1720 key signature has one flat but marks E natural with a natural sign, so an unmarked E is read as E flat. In bar 48 the right hand's first note of beat 2 is F♯: 1720 prints no sharp; F♯ follows the harmony and later editions. Bar 52 is half a beat short in both prints; the gap is left silent. Ornaments: only 1720's trills are shown (bars 17, 18, 24 and 33) and only their main note is played. The 12/8 variations (bars 25 to 32) are drawn in 12/8 in both hands: 1720 keeps C in the other hand, with minims that are dotted minims here, the same length. The dotted-crotchet beat in 12/8 equals the crotchet beat in C, as the two hands together require, so the click keeps one speed. Range: the low B♭1 in bar 10 doubles B♭2 and is left out (2 notes), and the G1 in bar 48 is played an octave up, G2, because the PSR-E483 starts at C2. Handel gives no tempo; ♩72 is the marking used here.
Prelude in C major
Edition and changes
Das Wohltemperirte Clavier I, Praeludium I in C major, BWV 846 (1722), as typeset in Mutopia Project no. 5 (Shay Rojansky, Han-Wen Nienhuys, Tobias Erbsland; placed in the public domain), checked bar by bar against Hans Bischoff's critical edition (Steingräber, 1883; archive.org 31761034970749). 35 bars, without the bar Schwencke and Czerny added; no editorial fingering copied.
Prelude in E minor, Op. 28 No. 4
Edition and changes
24 Préludes Op. 28 No. 4, Largo (1839); Chopin died in 1849. Encoded note for note from Mutopia no. 468 (Mutopia-2016/10/28-468), typeset by Magnus Lewis-Smith from the Peters edition (Leipzig, 1879, public domain) and placed in the public domain. The upbeat sits at the end of bar 1. The grace notes before bars 12 and 20 are short notes on the beat; the turn in bar 17 is its main note only. Four bass notes below the PSR's C2 (B1 in bars 18 and 25, E1 in bar 26) are left out because the octave above is played with them. The source prints no fingering.
Rondo alla Turca (Mozart)
Edition and changes
Piano Sonata in A major K. 331, third movement, Alla Turca, Allegretto (1783); Mozart died in 1791. Encoded note for note from Mutopia no. 108 (Mutopia-2015/08/13-108), typeset by Rune Zedeler and Chris Sawer from a public-domain IMSLP scan and placed in the public domain; the Mutopia file does not name the edition, so its fingering is not copied. The full movement with every repeat written out, the coda's first and second endings included: 224 bars. Grace notes, including the left hand's rolled-chord graces, are short notes on the beat; the trill is its main note only; the upbeat sits at the end of bar 1. A major sections show three sharps.
Scarborough Fair
Edition and changes
"Scarborough Fair", the tune sung by a ballad singer in Whitby streets, in Frank Kidson, Traditional Tunes (Oxford: Chas. Taphouse & Son, 1891), p. 43; Kidson died in 1926; public domain. Scan: Internet Archive imslp-tunes-kidson-frank (IMSLP PMLP202386). The melody note for note; Kidson prints no accompaniment, so none is added. This is Kidson's Whitby tune, not the later arrangement made famous in the 1960s. The upbeat sits at the end of bar 1. No fingering in the source.
Schmitt Op. 16 No. 1
Edition and changes
Preparatory Exercises (Five-Finger Exercises) Op. 16, No. 1. Encoded note for note from Schirmer's Library of Musical Classics Vol. 434 (G. Schirmer, New York, 1922, plate 13330, page 3; archive.org preparatoryexerc00schm, New York Public Library copy, not in copyright). Schmitt died in 1866; only Schmitt's exercises are used, not A. Knecht's 1922 appendix. Two printed bars and the closing note, both hands an octave apart as printed; the edition asks for 10 to 20 repetitions, closing note only at the end. Fingering only where the edition prints it (first bar).
Schmitt Op. 16 No. 2
Edition and changes
Preparatory Exercises (Five-Finger Exercises) Op. 16, No. 2. Encoded note for note from Schirmer's Library of Musical Classics Vol. 434 (G. Schirmer, New York, 1922, plate 13330, page 3; archive.org preparatoryexerc00schm, New York Public Library copy, not in copyright). Schmitt died in 1866; only Schmitt's exercises are used, not A. Knecht's 1922 appendix. Two printed bars and the closing note, both hands an octave apart as printed; the edition asks for 10 to 20 repetitions, closing note only at the end.
Schmitt Op. 16 No. 3
Edition and changes
Preparatory Exercises (Five-Finger Exercises) Op. 16, No. 3. Encoded note for note from Schirmer's Library of Musical Classics Vol. 434 (G. Schirmer, New York, 1922, plate 13330, page 3; archive.org preparatoryexerc00schm, New York Public Library copy, not in copyright). Schmitt died in 1866; only Schmitt's exercises are used, not A. Knecht's 1922 appendix. Two printed bars and the closing note, both hands an octave apart as printed; the edition asks for 10 to 20 repetitions, closing note only at the end.
Schmitt Op. 16 No. 4
Edition and changes
Preparatory Exercises (Five-Finger Exercises) Op. 16, No. 4. Encoded note for note from Schirmer's Library of Musical Classics Vol. 434 (G. Schirmer, New York, 1922, plate 13330, page 3; archive.org preparatoryexerc00schm, New York Public Library copy, not in copyright). Schmitt died in 1866; only Schmitt's exercises are used, not A. Knecht's 1922 appendix. Two printed bars and the closing note, both hands an octave apart as printed; the edition asks for 10 to 20 repetitions, closing note only at the end.
Schmitt Op. 16 No. 5
Edition and changes
Preparatory Exercises (Five-Finger Exercises) Op. 16, No. 5. Encoded note for note from Schirmer's Library of Musical Classics Vol. 434 (G. Schirmer, New York, 1922, plate 13330, page 3; archive.org preparatoryexerc00schm, New York Public Library copy, not in copyright). Schmitt died in 1866; only Schmitt's exercises are used, not A. Knecht's 1922 appendix. Two printed bars and the closing note, both hands an octave apart as printed; the edition asks for 10 to 20 repetitions, closing note only at the end.
Schmitt Op. 16 No. 6
Edition and changes
Preparatory Exercises (Five-Finger Exercises) Op. 16, No. 6. Encoded note for note from Schirmer's Library of Musical Classics Vol. 434 (G. Schirmer, New York, 1922, plate 13330, page 3; archive.org preparatoryexerc00schm, New York Public Library copy, not in copyright). Schmitt died in 1866; only Schmitt's exercises are used, not A. Knecht's 1922 appendix. Two printed bars and the closing note, both hands an octave apart as printed; the edition asks for 10 to 20 repetitions, closing note only at the end.
Schmitt Op. 16 No. 7
Edition and changes
Preparatory Exercises (Five-Finger Exercises) Op. 16, No. 7. Encoded note for note from Schirmer's Library of Musical Classics Vol. 434 (G. Schirmer, New York, 1922, plate 13330, page 3; archive.org preparatoryexerc00schm, New York Public Library copy, not in copyright). Schmitt died in 1866; only Schmitt's exercises are used, not A. Knecht's 1922 appendix. Two printed bars and the closing note, both hands an octave apart as printed; the edition asks for 10 to 20 repetitions, closing note only at the end.
Schmitt Op. 16 No. 8
Edition and changes
Preparatory Exercises (Five-Finger Exercises) Op. 16, No. 8. Encoded note for note from Schirmer's Library of Musical Classics Vol. 434 (G. Schirmer, New York, 1922, plate 13330, page 3; archive.org preparatoryexerc00schm, New York Public Library copy, not in copyright). Schmitt died in 1866; only Schmitt's exercises are used, not A. Knecht's 1922 appendix. Two printed bars and the closing note, both hands an octave apart as printed; the edition asks for 10 to 20 repetitions, closing note only at the end.
Swan Lake: Scene (Act 2)
Edition and changes
Swan Lake Op. 20, Act 2 No. 10 Scène, bars 1–18, up to the full-orchestra return of the theme. Piano reduction by TwoThree from the full score (Jurgenson, Moscow, n.d. [1895], title-page no. 4432; IMSLP 535915, PMLP09904): oboe melody and bass as written, inner harmony from the written string and harp chords, tremolos as held notes. The bass is the lowest written part as it sounds (double basses, harp or cellos); where the double basses would sound below the keyboard's low C, the cellos' B is kept. Tchaikovsky died in 1893.
Twinkle, Twinkle
French melody "Ah ! vous dirai-je, maman", published 1761. First two phrases.
Written for TwoThree
Short tunes and reading pieces written for the lessons.
Bell Tower
Written for TwoThree.
Breathing Space
Read with me No. 3, written for TwoThree's Read along shelf.
C, F, G, C
Chords I, IV, V, I in C major, voiced so the left hand barely moves. Written by TwoThree.
Call and Answer
Written for TwoThree.
Echoes
Written for TwoThree.
Evening Song
Written for TwoThree.
Five Steps
Written for TwoThree.
Going Down
Written for TwoThree.
High in G
Read with me No. 11, written for TwoThree's Read along shelf.
Left Hand Leads
Written for TwoThree.
Little Leaps
Read with me No. 5, written for TwoThree's Read along shelf.
Low Bells
Read with me No. 4, written for TwoThree's Read along shelf.
Low Waltz
Read with me No. 9, written for TwoThree's Read along shelf.
Skipping Song
Written for TwoThree.
Slow Waltz
Read with me No. 8, written for TwoThree's Read along shelf.
Stepping Stones
Read with me No. 6, written for TwoThree's Read along shelf.
Stop and Go
Written for TwoThree.
The Flat Step
Read with me No. 12, written for TwoThree's Read along shelf.
Two Voices Talking
Read with me No. 7, written for TwoThree's Read along shelf.
Up in G
Read with me No. 10, written for TwoThree's Read along shelf.
Walking Down
Read with me No. 2, written for TwoThree's Read along shelf.
Walking Song
Written for TwoThree.
Walking Up
Read with me No. 1, written for TwoThree's Read along shelf.
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