This is the third piece, Who Is At My Window Weeping. Since there are substantial division among parts I have thus made upper/lower voices. There are many instances of unconventional harmonic structures which I am not sure whether it’s really literal “word-painting” (how the lovers are dying manifested through such a sonic spectacle) or is again, copying/editing errors. Nevertheless as this is what we have now, and I have merely double check my input, please check for yourselves to see was it a mistake (mine) or its something novel for all of us to be familiar with. And if indeed I made any errors please do not hesitate to mail me back for refund, no, rework.

This piece is actually much simpler then it sound/seems. All harmony (except the end) are remarkably similar, and as soon as you mastered the first part you know more then two-thirds of the piece. and the last third is essentially a transposition up a semi-tone (from e-minor-ish to f-minor-ish)…

Just to make sure everyone is on the same page, I believe that the main reason behind such “complex” (foreign would be more suitable) sounds is due to the intrinsic modal structure found within the main melody. Interestingly the melody itself does not remain in the same mode (aeolian or “natural minor”, depends where you are schooled), and I would suggest one of the reason behind such foreign sounds is due to the composer’s attempt trying to harmonize (chromaticize, actually, towards the end) the inter-modality found in this tune: (In the key of 2 Sharps; D+/B-)

la-do-re-fa-la-so-mi-do

re-fa-so-la-do-ti-so-la (this is B aeolian, or 6-7-1-2-3-4-5-6 mode, or the natual minor, or flat third, sixth and seventh degree)

fa-so-la-do-re-mi-mi-re-do-la-so (ALMOST D pentatonic, if you exclude the first fa it would be)

fa-so-la-fa-mi-mi-fa-mi-re (this is now? E dorian, or 2-3-4-5-6-7-1-2 mode, or the Raised sixth degree with a flat third and seventh) Perhaps if one can follow closely the unchanging intervallic structure of the melody, and consequently using the melody as the standard to anchor your notes, pitch recognition should be of little trouble. Here are the versions for different parts:

• First Soprano
• Second Soprano
• First Alto
• Second Alto
• First Tenor
• Second Tenor
• First Bass
• Second Bass