Indeed: ever-lovely, another message from the world of the 'sunny' bits of the Requiem. With each movement having its own, different meter and characteristic rhythmic motives, it's somewhat like a friendly etude for counting. (I always give the first two pitches for the Benedictus before starting the movement.) There are a few places where F's suave chromaticism makes tuning a bit challenging, but none of it arbitrary or abstract. The decrescendo on high G at the end of the Sanctus is a bit optimistic!
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Have you used it that way, Patricia? How did it sound? I'm hesitant to do it with my mostly-male choir because the organ part lies so high. I'm a little fussy about the intended bass note being the actual bass.
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