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49<br />
100<br />
<br />
<br />
Poco meno mosso<br />
al fine<br />
mp<br />
p<br />
ppp<br />
<br />
<br />
<br />
<br />
I<br />
sing of a mai ‐ den that is ma<br />
‐ ke ‐ less.<br />
17<br />
S.<br />
<br />
<br />
mp<br />
<br />
<br />
<br />
<br />
<br />
I<br />
sing of a mai ‐ den that is ma<br />
p<br />
‐ ke ‐ le[ss]. *<br />
pp<br />
<br />
<br />
A.<br />
<br />
pp<br />
<br />
<br />
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<br />
ah<br />
mm<br />
div.<br />
p<br />
<br />
<br />
<br />
for online perusal only<br />
<br />
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pp<br />
pp<br />
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ah<br />
sss...<br />
**<br />
niente<br />
T.<br />
<br />
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pp<br />
pp<br />
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ah<br />
**<br />
sss...<br />
niente<br />
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pp<br />
pp<br />
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ah<br />
**<br />
sss...<br />
niente<br />
B.<br />
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pp<br />
<br />
<br />
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<br />
ah<br />
pp<br />
**<br />
sss...<br />
niente<br />
<br />
Poco meno mosso<br />
al fine<br />
<br />
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<br />
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<br />
<br />
pp<br />
mp<br />
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p<br />
<br />
<br />
[Winchester, October 1999.]<br />
* Soprano 2 omit sibilant<br />
**The final sibilant should be allocated to tenors and basses as above only if it can be made to sound as natural as when provided by a solo voice; the desired effect is something like a light<br />
breeze stirring the trees. Failing this, the upper soprano line should provide a slightly elongated 'sss' and the lower parts should omit it altogether.
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