Choral Music Workshop 2012

Cristian, Faria is right. The text isn't chosen in secret, the few who participate choose (other methods don't come to mind) ... what did you have in mind, just so we can orient ourselves for the next round?

Yes yes, I don't doubt it..

It's just that I've been a bit absent from the forum and I have a religion that doesn't allow me to write music in Latin

One does not discuss the contents of sacred text; I think every choice is respectable. Anything else would be uncalled for.

Regarding the language... well, the worst things circulate in Latin. Therefore, I hypothesize that it is the sacred text acting as a deterrent... rather than the language.

Otherwise, it would be enough to use the version translated into Italian

cristiank83 wrote:

Yes yes, I don't doubt it..

It's just that I've been a bit absent from the forum and I have a religion that doesn't allow me to write music in Latin

for the next one we will try to do it with an Italian text.

As long as it's not boring, for me it could even be in Persian. Anyway, we would propose it in due time

Update, 5 interested:

- Frank

- AbateFaria

- IlChitarrista55

- RaffaeleB

- OscarP

One has just delivered

I am here too

i will deliver by the deadline.

Compliments on your consistency, I envy you!

Update, 6 interested:

- Frank

- AbateFaria

- IlChitarrista55

- OscarP

- RaffaeleB

- RStrauss

2 delivered

Ok, you've decided to finish before the holidays

I just received the third one ... I suspect that if I don't move, I won't arrive on time

.

I have uploaded the first files:

http://www.pianoconc...2012-elaborati/

I stopped at the introduction, which is very beautiful but insufficient. First of all, time issues.... aided by a slight reluctance to write, at least during this period.

In compensation, Geppino is participating; his work will arrive in a few days.

RaffaeleB will provide news; I think he is on vacation but won't be long before he makes himself heard.

I have no news regarding others who wanted to join or who will join later.

let the dancing begin ... strictly in order of publication :

Elaborazione 1 - ilChitarrista55

I know I am repeating myself, but I return to the recommendation regarding the writing of scores for a potential performance.

In this case:

- Aside from an MF and an MP, dynamic indications are completely missing.

- Slurs for the choir are completely missing, specifically those on prolonged syllables e.g., bar 2

- Practice dictates that dynamic markings for voices should be indicated above the staff (instruments instead below, depending on available space)

Two things regarding the text

Bars 4 and 5 at T.

dire two times in a row 'quae' - 'quae' I won't say what it sounds like.

It would have been enough at bar 5 to put the syllable 'per' on the long C in 3/4

Bars 29 and 30 voices T. and C.

The accent of the word postèrius is on the second syllable, which you place on the weak beat.

The correct syllabification would have been :

bars 28 bars 29

t1 t2 t3 t4 t1
ac po-ste-e-ri- us

Now let's come to the music.

Good idea starting in unison and then opening up, but the fact that you chose practically 3 voices penalizes the beginning a bit.

Bars 2-3

to avoid fifths things aren't working ... with three voices singing, if only 2 are doubled there isn't much left; in fact, at 2 it is unclear if you want to go to C major.

or it is simply a deceptive cadence, due to the missing leading tone.

Bar 3 too much space between T. and S.; by missing the alto, there is a void in the middle.

In less than 9 bars you have already massacred the tenors (poor things) ... perhaps it would have been better at bar 7 to give the part to the C. and let the T. continue in a low register.

Then you let them rest, okay, this partially saves you.

Bar 10

The theme ends in the bass and this is very positive; it creates variety and the distance from the female voices is felt less.

Bars 18-19

I am not convinced by the E major resolving to A minor ... if that was your intention.

the preparation is missing, and as written it goes F major - E major ... then I would expect F major again, or at worst the bass descending to D for a V in 3rd inversion.

the presumed A minor then disappears immediately and it seems you want to go to C major since there is an F natural.

Bars 26-27

everything would suggest you want an A major, but then at 28 there is the fundamental D minor, so it's unclear where you want to go.

Listening, A major would come naturally, but on paper it looks like D major, yet it lacks at least the natural G (7th of the V of D major).

Bar 29

You are not in D minor, so the B flat has nothing to do with it. I don't see the diminished chord on C# as very suitable here, especially because then at 30

you use A in 2nd inversion which resolves to D major.

Bar 32 and following

It could have worked if you hadn't returned to D major (already seen a moment before) at bar 36.

No one was stopping you from leaving it suspended and starting the coda in key.

The ear would have been satisfied regardless, as it is the home key.

Bars 37 and following

Finding altos who can sing this part is very difficult. It is at the limit of their low register.

You could have brought back the T. and divided the part, so you could flourish the S. a bit.

The reprise of the bass theme is good.

Final considerations:

Probably you were afraid to use 4 voices all the time and, not wanting to make a mess, you preferred to use 3 with all the usual consequences.

You had started a 2nd theme with the alto at bar 10, but then you abandoned it.

It could have been an excellent opportunity for a development, even if brief.

In my opinion, you could have modulated more, even to distant keys ... in the end, you are always circling between G-D-A major.

Overall, the piece seems a bit thin and there are too many episodes with long notes without any counterpoint

(even simple) in the accompaniment voices.

You are too worried about mistakes and this clips your wings right at the start.

I would say there is still work to be done.

Thank you R.Strauss for your valuable comment, to my partial justification I point out that the first theme from measure 1 to measure 9 is taken verbatim from Dubois, page 43.

If I stitched the text poorly... mea culpa; as for errors I wouldn't know, he is a ... "esteemed theorist indeed", but I take note of your reports

Just a quick clarification

IlChitarrista55 wrote:

Dubois

him ..."esteemed theorist ie"

In reality, he is first and foremost a composer (there was even a recent festival in Venice dedicated to him) ... who also wrote several theory treatises

The composer Dubois is very different from the Dubois of the manuals; he was aware of this and said it without shame; he maintained that his models were (and are) abstract and oriented toward teaching techniques, making students practice within "cages" ... in order to be more free afterwards.

IlChitarrista55 wrote:

Thank you R.Strauss for your valuable comment, to my partial justification I point out that the first theme from measure 1 to measure 9 is taken verbatim from Dubois, page 43.

If I stitched the text poorly... mea culpa; as for errors I wouldn't know, he is ... "an esteemed theorist indeed", but I take note of your reports

I hadn't noticed, even though I had studied Dubois.

Wouldn't a theme of yours have been better?

comment on piece 1 (guitarist)

direi che se volevi cimentarti con regole e regolette all'interno di un contesto creativo e non solo di esercizio, il tutto funziona abbastanza. Certo di cose da migliorare ce ne sono e il colpo d'occhio da un'impressione piuttosto da principiante, ma non c'è niente di male e sei riuscito a portare a casa un pezzo dignitoso in quell'ambito

non ho fatto un'analisi approfondita, ma ti segnalo quello che ho notato:

- pochi respiri, nel procedere del pezzo sembra che ti sia dimenticato che i coristi devono respirare

- ma tra la 20 e la 23 in che tonalità sei? la- ??? non si capisce mica tanto sai ....

- batt 19 e altre, guarda che il ritardo non si sente se non forma una dissonanza: la/re non è un ritardo, a meno che non si senta anche il mi.

- a 2 voci privilegi un po' troppo 4e, 5e e 8e, mentre sarebbe meglio sui tempi forti avere le consonanze imperfette.

- armonicamente è molto semplice, ma comunque un po' confusa, ci sono tanti passaggi con collegamenti strani (x l'ambito in cui ti sei cimentato), come se le esigenze del contrappunto ti avessero fatto sacrificare la chiarezza dei collegamenti armonici. Io direi che come prima cosa dovresti concentrarti su questi: fai dei bei collegamenti che filino, coi loro rivolti giusti, le cadenze e i pedali quando servono, etc. Il contrappunto lo usi nel fiorire gli accordi.....

Certo coi pochi accordi che hai usato sarebbe povero, ma se ti applichi a variare di più l'armonia (dominanti secondarie, prestiti dal minore, progressioni, etc) puoi ottenere molto anche senza andare sul difficile.

rstrauss wrote:

I hadn't realized, even though I had studied the Dubois.

The point is that the music (I am referring to the theme) should speak for itself... and instead, I have a feeling that ...

rstrauss wrote:

Wouldn't a theme of your own have been better?

True, certainly a demonstration of little maturity, but then again I haven't studied for 10 years... it will be the second year that I am studying "seriously" or at least with commitment. A given theme gave me many guarantees... then I ruined everything

AleGozzo wrote:

Of course, with the few chords you used it would be poor, but if you apply yourself to varying the harmony more (secondary dominants, borrowed chords from the minor key, progressions, etc.), you can achieve a lot even without going into difficult territory.

...let's go for something sophisticated; there is no way Dubois would make you use the solutions you are indicating. Everything must flow with simple chords; listening back, it didn't seem that disgusting to me... evidently I still need to develop a taste

I spend a few comments, it is evident that I do not have the ability to make criticisms or give suggestions but I can give opinions of taste.

AbateFaria: I listen to tostarello, it might be well written... but I struggle

OscarP: I like it, even though I didn't understand a damn thing it has its own charm

RStrauss: very suave and light