Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
Composed by
Jimmy Baas. Sws.
Performance Score. 16
pages. Duration 3
minutes, 49 seconds. Carl
Fischer Music #CM9625.
Published by Carl Fischer
Music (CF.CM9625).
ISBN 9781491156988.
UPC: 680160915545. 6.875
x 10.5 inches. Key: Bb
major. English, English.
William Butler
Yeats.
The
Everlasting Voices is the
perfect blend of textural
variety and harmonic
interest for the advanced
treble ensemble.
Employing a powerful
text, Baas' vocal
layering coupled with
piano and optional cello
make this compelling
piece a programming
must!. O sweet
everlasting Voices, be
still; Go to the guards
of the heavenly fold And
bid them wander obeying
your will, Flame under
flame, till Time be no
more; Have you not heard
that our hearts are old,
That you call in birds,
in wind on the hill, In
shaken boughs, in tide on
the shore? O sweet
everlasting Voices, be
still. This SSAA choral
work by Jimmy Baas was
comissioned by the
Lumberton HS Varsity
Treble Choir. The opening
and closing lines of the
poem, O sweet everlasting
voices, be still provide
the perfect bookends for
two larger sections of
the poem. These two
sections are equally
divided into verses. The
opening line is used once
again as a transition
between the verses. The
previously mentioned
lines, O sweet
everlasting voices, are
overlapped as different
layers of voices enter
and sustain. A fifth and
sixth voice, the cello
and piano accompaniment
take part in these layers
as well. The words be
still are very much a
part of the mood each
time as the everlasting
voices become quiet and
still. The two verses
feature different voices
within the SSAA choir.
Verse 1, the sopranos,
and verse 2 the altos.
There are many moments in
this piece to explore the
full range and color of
the SSAA choir. The piano
and cello play an
important part
throughout, making this
piece an excellent choice
for any festival women's
chorus. O sweet
everlasting Voices, be
still;Go to the guards of
the heavenly foldAnd bid
them wander obeying your
will,Flame under flame,
till Time be no more;Have
you not heard that our
hearts are old,That you
call in birds, in wind on
the hill,In shaken
boughs, in tide on the
shore?O sweet everlasting
Voices, be still.This
SSAA choral work by Jimmy
Baas wascomissioned by
the Lumberton HS Varsity
Treble Choir.The opening
and closing lines of the
poem, “O
sweeteverlasting voices,
be still†provide
the perfect bookendsfor
two larger sections of
the poem. These two
sectionsare equally
divided into verses. The
opening line is usedonce
again as a transition
between the verses.The
previously mentioned
lines, “O sweet
everlastingvoices,â€
are overlapped as
different layers of
voices enterand sustain.
A fifth and sixth voice,
the cello and
pianoaccompaniment take
part in these layers as
well.The words “be
still†are very
much a part of the
moodeach time as the
everlasting voices become
quietand still.The two
verses feature different
voices within the
SSAAchoir. Verse 1, the
sopranos, and verse 2 the
altos. Thereare many
moments in this piece to
explore the full range
andcolor of the SSAA
choir. The piano and
cello play an
importantpart throughout,
making this piece an
excellent choice for
anyfestival
women’s
chorus.
Bass Flute, Electronics, Scene SKU: CA.1631000 (georgiques I), fur bas...(+)
Bass Flute, Electronics,
Scene
SKU:
CA.1631000
(georgiques I), fur
bass flute and live
electronics. Composed
by Walter Feldmann. This
edition: Paperbound.
(r)TELLEMENT FROID QUE-
(GEORGIQUES I). Full
score. Composed 1995-96.
66 pages. Duration 20
minutes. Carus Verlag #CV
16.310/00. Published by
Carus Verlag
(CA.1631000).
ISBN
9790007242800. Language:
all
languages.
1989.
Stay in Aix-en-Provence,
France, doing a language
course. Reading,
discussing and analyzing
Les Georgiques; this
pursuit is going to be
the foundation of the
multiple intellectual and
literary levels of my
composing. 2. THE WOODEN
PLATFORM IS COVERED WITH
FINE WHITE SAND (OR
SALT), THE TWO SHELVES
WITH BLACK CLOTH ... At
the time I work on my
first serious piece,
still a far cry from the
under-standing of writing
music I have today. <<
tellement froid que >>
(georgiques I) for bass
flute, electronics and
scene (1995-96), sections
1-7. << comme si le froid
>> (georgiques II) for
baritone saxophone,
timpani and piano (1998),
sections 18-24. <<
n'etait le froid >>
(georgiques III) for
orchestra (2000-2002),
sections not yet decided.
3. THE INTERPRETER WILL
BE DRESSED IN BLACK AND
WHITE, MAINLY WHITE IF
BLUISH LIGHT IS AT HAND
... The enormously rich
vocabulary and the
accuracy of expression -
in temporal, spatial and
material terms - is
particularly impressive.
To comprehend all of it,
a reading on three
different levels is
called for: a first
reading of one passage,
then the acquisition of
unknown vocabulary;
thirdly a repeated -
knowing - reading, which
points out the utopia of
precise expression: The
text is treated in a
rather problematic (cold:
le froid?) manner: it's
not the semantic content
that is primarily
dominant, but rather the
outward appearance, the
mise en page and the
syntactic structure. 4.
THE INTERPRETER ENTERS
THE STAGE WITH ALL THE
FLUTES (S)HE WILL PLAY
DURING THE CONCERT AND
DEPOSITS THEM - EXCEPT
FOR THE BASS FLUTE - ON
SHELF B; IF (S)HE ONLY
PLAYS THIS PIECE, (S)HE
SHOULD PUT THE PROGRAMME
OF THE CONCERT THERE; IN
ANY CASE THE INSTRUCTIONS
IN BAR 195 MUST BE
FOLLOWED ... In concrete
terms the 10 centimetres
of a line in the minuit
edition correspond to 10
seconds of musical
structure (which is three
times as slow as the
average reading speed).
Only seven years later is
the term / expression
casse ferique changed
into casse ferrique, and
thus its secret is
revealed, which almost
becomes - due to its
unreadability - the key
to the planned musical
cycle. The text is
measured from section to
section (big format: each
section is marked with a
continuous, ,,cold chord
by the bass flute, played
on tape recorder), from
full stop to full stop
(new entry of keynote
material), from comma to
comma (tripling of
continuous resonances)
etc. 5. DURING THE
PERFORMANCE UP TO BAR
195, THE INTERPRETER WILL
TRY - IN A KIND OF
THEATRICAL ADAPTATION -
TO EXPRESS HIS/HER OWN
FEELING OF IRREPRESSIBLY
GROWING FRUSTRATION; FROM
BAR 195 ONWARDS (S)HE
WILL DEFINITELY HAVE PUT
UP WITH THE BASS FLUTE
... Brackets in the text
bring about a reduction
of sound (the
differentiating micro
tones are no longer
used), the syntactical
progression to
subordinate clauses of
the remotest degree has
its immediate effect on
dynamics (degree of
volume). Then: the
perception of a logical
and yet erratic syntax,
vastly progressive layers
of subordinate clauses
and brackets (lowering
tone of voice?), a
polyphony of ,,memoire,
which leads to a
maelstrom of attention, a
tonally centric /
concentrated (main
material?) and
progressive (subordinate
and brackets-material?)
reading, listening and
proceeding. The different
levels are constantly in
touch - transferring the
sensuous moment of scenes
of bodily encounter
(Tryptique) that are
evoked again and again -
in perpetual excitement
of text and imagination,
memory and remembering
sensitivity. 6. THE BODY
MOVEMENTS AND FIXATION
(FIGE) , BOTH CLEARLY
PERCEPTIBLE, WILL EVOKE
AND SUPPORT THE SAME
EMOTIONS ... The basic
moods of the text will be
reflected in the
relationship (which is
very important here) of
the interpreter to the
music; (s)he is somehow
at the mercy of given
(and not always
transparent) structures
on the one hand and the
complexity of musical
sensations on the other,
which has to be defeated
inspite of exhaustion.
It's not only here that
semantic agreement
(besides the
materialistic structure)
of music and text can be
felt: On top of that
there's the existential
helplessness in view of
the mercilessly flowing
polyphony of levels and
events -- as a mirror of
this there are the
remembered scenes of the
Flemish cold in the
second chapter (Les
Georgiques). The
interpreters are
confronted with unusual
directions which
correspond to the
adjectives in the
respective passages of
the text: anachronique,
engourdi, glace et acre,
monotone et desert etc.
The possibilities of
interpretation are
amplified, the ability to
perceive and personal
reaction is opened. The
impression of this
inexorability is
multiplied in the
extremest way by the fact
that the particular
layers can be found in
Simon's complete works.
It's a continuous work of
art in which each novel
turns into a chapter of a
complex, cyclic whole;
its title denoting only
one main strand, as it
were. A personal comment
is made also as regards
the clearly defined
stage; the mise en scene
points out the
extra-musical elements
and the correlation
between text, human being
and music. 7. THE
INTERPRETER IS ASKED TO
MOVE FREELY WITHIN A
DEFINED SPOT WITHOUT
LOOKING ARTIFICIAL;
SOUNDS CAUSED BY THE FEET
MOVING ON THE SAND ARE
WELCOME DURING THE WHOLE
PIECE ... And here the
idea of a cycle is born,
an attempt to transfer
these nuances of
memorized structures,
this clarity and
coldness, to transform
the text into musical
material. Walter
Feldmann.
(253 of the finest praise and worship songs). Composed by Various. For voice, pi...(+)
(253 of the finest praise
and worship songs).
Composed by Various. For
voice, piano and guitar
(chords only). Sacred
Folio. Gospel and
Worship. Difficulty:
medium. Songbook (spiral
bound). Vocal melody,
piano accompaniment,
lyrics and chord names.
420 pages. Hal Leonard
#080689006395. Published
by Hal Leonard
Choral SATB Choir and Piano SKU: CF.CM9549 Composed by Michael John Trott...(+)
Choral SATB Choir and
Piano
SKU:
CF.CM9549
Composed by
Michael John Trotta.
Fold. Mjts. Performance
Score. With Standard
notation. 12 pages. Carl
Fischer Music #CM9549.
Published by Carl Fischer
Music (CF.CM9549).
ISBN 9781491150818.
UPC: 680160908318. 6.875
x 10.5 inches.
Make
Space for Life to Live by
Michael John Trotta
offers captivating,
expansive melodies
interwoven with a piano
accompaniment that makes
subtle allusions to the
main theme. Its
mesmerizing text
resonates with the singer
and the audience.
Appropriate for concert
or festival use
throughout the year, this
piece is also available
for SA voices (CM9274),
TB Voices (CM9283) and
SAB voices
(CM9289). Editor's
NoteAbout the WorkMake
Space for Life to
Live features
expansive, yet accessible
vocal lines perfect for
choirs of all abilities
and sizes. It offers
compelling melodies and
singable vocal lines
interwoven with a piano
accompaniment that makes
subtle allusions to the
main theme.About the
TextThe text for this
work was written while on
an extended seashore
retreat several years
ago. It was the product
of many long walks
looking out into the
vastness of the sea. It
was a time in my life
that was immediately
preceded by great
personal loss and
turmoil. It was in that
silence and space I was
able to reconnect to that
still, small voice within
that reminded me that I
was merely a part of
something much bigger
than myself. The text
that was hewn from that
experience is a
reflection on the
importance of allowing
space in my daily life to
experience the simple
joys that every moment
has to offer.Optional
NarrationRegardless of
race or creed the
abundance that is found
in the reality of the
present moment is
augmented by regular
exposure to the arts. The
capricious nature of time
in the age of immediacy
is that it is entirely
flexible. Experience
suggests that exposure to
natural beauty, such as
watching a sunrise
unravel over the sea or a
cloud formation sweep
through a mountain range,
allows an individual to
feel part of something
greater than themselves.
Music has the ability to
take time and slow it
down, revealing to the
participant their part in
the whole. Taking part in
choral music, whether as
an audience member,
singer, conductor or
composer is an
opportunity to slow down
time long enough to allow
the beauty of life to
catch up with you.
Piano (Piano Solo) SKU: HL.49046935 Solo Piano. Composed by Gregor...(+)
Piano (Piano Solo)
SKU: HL.49046935
Solo Piano.
Composed by Gregory
Spears. Piano Solo.
Classical. Softcover. 98
pages. Duration 6180
seconds. Schott Music
#ED30418. Published by
Schott Music
(HL.49046935).
ISBN
9781705169353. UPC:
842819116837.
9.25x12.0x0.5
inches.
SEVEN DAYS
is a cycle for solo piano
in 21 movements, most
lasting between three and
seven minutes,
distributed in the form
of a custom app produced
by the 92Y and released
during their Fall 2021
season. Using the app on
their phones, listeners
are asked to listen to
three movements a day
according to an
approximate schedule -
one movement in the
morning, one in the
afternoon, and another
sometime in the evening -
for seven days. The music
is performed by Pedja
Muzijevic and presented
alongside paintings by
Gloria Maximo. (Please
visit 92Y.org for
information on how to
download the Seven Days
app.) The work is
designed as a listening
experience that tunes us
into the passing of time,
connecting us both to the
present moment as well as
the cycle of the week.
The experience invites
music to inhabit and
structure our everyday -
to find us where we are
in the world. The
morning-afternoonevening
schedule is meant to
focus participants on the
dawn-to-dusk cycle as
well as to create a
communal listening
ritual. It is also an
experiment in large-scale
form, designed to draw
attention to musical
material developing
across a week-long
expanse, interspersed
with vast silences. SEVEN
DAYS was shaped by a year
spent in relative
isolation due to the
pandemic. While it is a
work composed during a
time of quarantine, it
will be experienced first
by an audience in the
process of returning to a
more normal world. In
that sense, it is an
artwork born out of a
year of relatively
cloistered existence that
seeks to preserve aspects
of that experience as we
move forward. The piece
was also inspired by the
work of Morton Feldman
and Chantal Akerman,
whose large-scale works
consider time, process,
and stillness. Their art
struck me with a fresh
relevance during the
silent stretches of the
pandemic year 2020. It
was also a year in which
writings about time,
penned by contemplatives
like Henry David Thoreau
and Thomas Merton, held
new weight. All of this
in turnresonated with
Gloria Maximo's profound
paintings, which I've
long admired. SEVEN DAYS
is an artwork we are
invited to do - using
music to point our
attention to the present
moment, the everyday, and
the seemingly mundane. It
is a piece listeners are
also asked to live within
as it unfolds over a week
rather than to witness it
live. The key players
here are time and the
listener's own
surroundings, starring
together alongside music
and art in a wordless
drama. -Gregory
Spears.
Concert Band Concert Band - Grade 2 SKU: FJ.B1744 Composed by Jeremy Bell...(+)
Concert Band Concert Band
- Grade 2
SKU:
FJ.B1744
Composed by
Jeremy Bell. Concert
Band. FJH Young Band.
Form: Chorale. Score and
Part(s). Duration 2:15.
The FJH Music Company Inc
#98-B1744. Published by
The FJH Music Company Inc
(FJ.B1744).
UPC:
241444390696.
English.
This
heartfelt and uplifting
piece for young band
focuses on developing
musicianship and balance
within the ensemble. The
beautiful, plaintive
melody floats on top of
the warmth of the brass
section and includes
moments of serenity and
power. Beautiful.
About FJH
Young
Band
Appro
priate for middle school
and smaller high school
groups. Second clarinets
usually stay below the
break. Parts are written
with more independence,
and instrumentation
increases slightly. There
is still adequate
doubling in the lower
voices. Grades 2 -
2.5
Concert Band Concert Band - Grade 2 SKU: FJ.B1744S Score Only. Com...(+)
Concert Band Concert Band
- Grade 2
SKU:
FJ.B1744S
Score
Only. Composed by
Jeremy Bell. Concert
Band. FJH Young Band.
Form: Chorale. Score.
Duration 2:15. The FJH
Music Company Inc
#98-B1744S. Published by
The FJH Music Company Inc
(FJ.B1744S).
English.
This
heartfelt and uplifting
piece for young band
focuses on developing
musicianship and balance
within the ensemble. The
beautiful, plaintive
melody floats on top of
the warmth of the brass
section and includes
moments of serenity and
power. Beautiful.
About FJH
Young
Band
Appro
priate for middle school
and smaller high school
groups. Second clarinets
usually stay below the
break. Parts are written
with more independence,
and instrumentation
increases slightly. There
is still adequate
doubling in the lower
voices. Grades 2 -
2.5
Concert band - Grade 1 SKU: CL.023-4582-01 Composed by Neeck. Young Conce...(+)
Concert band - Grade 1
SKU:
CL.023-4582-01
Composed by Neeck. Young
Concert Band. Sound
Foundations Series. Audio
recording available
separately (item
CL.WFR393). Extra full
score. Composed 2017.
Duration 1 minute, 40
seconds. C.L. Barnhouse
#023-4582-01. Published
by C.L. Barnhouse
(CL.023-4582-01).
The flutes take
center stage in this
captivating piece. The
delightful theme is
perfectly suited to the
skill level of young
flutists, staying within
the one-octave range of
the Bb scale. Although
flutes are featured,
there are still plenty of
musical moments for the
rest of your young band.
Let your flute section
shine with Flutitude, the
perfect change of pace
for your next
concert.
Concert band - Grade 1 SKU: CL.023-4582-00 Composed by Neeck. Young Conce...(+)
Concert band - Grade 1
SKU:
CL.023-4582-00
Composed by Neeck. Young
Concert Band. Sound
Foundations Series. Audio
recording available
separately (item
CL.WFR393). Score and set
of parts. Composed 2017.
Duration 1 minute, 40
seconds. C.L. Barnhouse
#023-4582-00. Published
by C.L. Barnhouse
(CL.023-4582-00).
The flutes take
center stage in this
captivating piece. The
delightful theme is
perfectly suited to the
skill level of young
flutists, staying within
the one-octave range of
the Bb scale. Although
flutes are featured,
there are still plenty of
musical moments for the
rest of your young band.
Let your flute section
shine with Flutitude, the
perfect change of pace
for your next
concert.
America Orchestre d'harmonie - Facile Carl Fischer
Band Concert Band - Grade 3 SKU: CF.CPS252 Composed by Michael J. Miller....(+)
Band Concert Band - Grade
3
SKU: CF.CPS252
Composed by Michael J.
Miller. Set of Score and
Parts.
12+4+4+2+4+4+4+2+2+2+2+2+
2+4+4+4+2+2+3+3+3+2+4+3+1
+2+3 pages. Duration
1:45. Carl Fischer Music
#CPS252. Published by
Carl Fischer Music
(CF.CPS252).
ISBN
9781491159699. UPC:
680160918287.
Ameri
ca is intended for any
intermediate to
professional concert band
looking to honor the
United States of America
and/or members of the
Armed Forces. It is
therefore ideal for
performance on or around
any patriotic holiday. It
is not a typical setting
of the tune, in that many
liberties are taken to
showcase each instrument
of the ensemble, with the
melodic focus constantly
shifting. The conductor
and performers should
seek out these moments,
and bring them to life
whenever possible. The
introduction, mm. 1-12,
should be approached in
the style of a fanfare,
with an emphasis on
syncopation and
exaggerated nuance in
regards to articulation
style. Here, hidden
beneath woodwind
flourishes and triumphant
bugle calls, the low
voices play quotes of
familiar American tunes
such as The Star-Spangled
Banner (m. 1, beat 3) and
Simple Gifts (m. 3, beat
4). In mm. 15-22 the
melody is carefully
hidden among counter
lines. This should be
carefully balanced to
highlight the melody,
while still shaping the
counter melodies
appropriately. A brief
return to the fanfare
style occurs in mm. 33-35
before melding back into
the chorale style. In
regards to dynamics,
performers should be
reminded that within any
single dynamic exists a
range of expressive
shades. No two notes
should be played at the
same volume, ensuring
direction in even the
simplest of phrases.
Generally speaking, the
fortissimo dynamic should
be approached
thoughtfully, with the
bulk of the sound coming
from the lowest voices,
and the least from the
highest
voices. America is
intended for any
intermediate to
professional concert band
looking to honor the
United States of America
and/or members of the
Armed Forces. It is
therefore ideal for
performance on or around
any patriotic holiday. It
is not a typical setting
of the tune, in that many
liberties are taken to
showcase each instrument
of the ensemble, with the
melodic focus constantly
shifting. The conductor
and performers should
seek out these moments,
and bring them to life
whenever possible.The
introduction, mm.
1–12, should be
approached in the style
of a fanfare, with an
emphasis on syncopation
and exaggerated nuance in
regards to articulation
style. Here, hidden
beneath woodwind
flourishes and triumphant
bugle calls, the low
voices play quotes of
familiar American tunes
such as The Star-Spangled
Banner (m. 1, beat 3) and
Simple Gifts (m. 3, beat
4). In mm.
15–22 the melody
is carefully hidden among
counter lines. This
should be carefully
balanced to highlight the
melody, while still
shaping the counter
melodies appropriately.A
brief return to the
fanfare style occurs in
mm. 33–35 before
melding back into the
chorale style.In regards
to dynamics, performers
should be reminded that
within any single dynamic
exists a range of
expressive shades. No two
notes should be played at
the same volume, ensuring
direction in even the
simplest of
phrases.Generally
speaking, the fortissimo
dynamic should be
approached thoughtfully,
with the bulk of the
sound coming from the
lowest voices, and the
least from the highest
voices.
America Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Concert Band - Grade 3 SKU: CF.CPS252F Composed by Michael J. Miller...(+)
Band Concert Band - Grade
3
SKU: CF.CPS252F
Composed by Michael J.
Miller. Full score. 9
pages. Carl Fischer Music
#CPS252F. Published by
Carl Fischer Music
(CF.CPS252F).
ISBN
9781491159705. UPC:
680160918294.
Ameri
ca is intended for any
intermediate to
professional concert band
looking to honor the
United States of America
and/or members of the
Armed Forces. It is
therefore ideal for
performance on or around
any patriotic holiday. It
is not a typical setting
of the tune, in that many
liberties are taken to
showcase each instrument
of the ensemble, with the
melodic focus constantly
shifting. The conductor
and performers should
seek out these moments,
and bring them to life
whenever possible. The
introduction, mm. 1-12,
should be approached in
the style of a fanfare,
with an emphasis on
syncopation and
exaggerated nuance in
regards to articulation
style. Here, hidden
beneath woodwind
flourishes and triumphant
bugle calls, the low
voices play quotes of
familiar American tunes
such as The Star-Spangled
Banner (m. 1, beat 3) and
Simple Gifts (m. 3, beat
4). In mm. 15-22 the
melody is carefully
hidden among counter
lines. This should be
carefully balanced to
highlight the melody,
while still shaping the
counter melodies
appropriately. A brief
return to the fanfare
style occurs in mm. 33-35
before melding back into
the chorale style. In
regards to dynamics,
performers should be
reminded that within any
single dynamic exists a
range of expressive
shades. No two notes
should be played at the
same volume, ensuring
direction in even the
simplest of phrases.
Generally speaking, the
fortissimo dynamic should
be approached
thoughtfully, with the
bulk of the sound coming
from the lowest voices,
and the least from the
highest
voices. America is
intended for any
intermediate to
professional concert band
looking to honor the
United States of America
and/or members of the
Armed Forces. It is
therefore ideal for
performance on or around
any patriotic holiday. It
is not a typical setting
of the tune, in that many
liberties are taken to
showcase each instrument
of the ensemble, with the
melodic focus constantly
shifting. The conductor
and performers should
seek out these moments,
and bring them to life
whenever possible.The
introduction, mm.
1–12, should be
approached in the style
of a fanfare, with an
emphasis on syncopation
and exaggerated nuance in
regards to articulation
style. Here, hidden
beneath woodwind
flourishes and triumphant
bugle calls, the low
voices play quotes of
familiar American tunes
such as The Star-Spangled
Banner (m. 1, beat 3) and
Simple Gifts (m. 3, beat
4). In mm.
15–22 the melody
is carefully hidden among
counter lines. This
should be carefully
balanced to highlight the
melody, while still
shaping the counter
melodies appropriately.A
brief return to the
fanfare style occurs in
mm. 33–35 before
melding back into the
chorale style.In regards
to dynamics, performers
should be reminded that
within any single dynamic
exists a range of
expressive shades. No two
notes should be played at
the same volume, ensuring
direction in even the
simplest of
phrases.Generally
speaking, the fortissimo
dynamic should be
approached thoughtfully,
with the bulk of the
sound coming from the
lowest voices, and the
least from the highest
voices.