Does anyone among you have familiarity with Latin?

Yes, but what is the text?

First I had to check whether someone could or not, shall I send it to you via private message?

Sorry, but through workshops etc., Latin texts have been dealt with several times (also with translation), and with the contribution of several people, the correct accentuation will surely be found. I remember that in several cases Zedef, Frank, RStrauss, TheSimon, Thallo, etc. intervened.

Post the text and we'll see

Yes I remember, but there it was specifically about workshops, this is a curiosity of mine, here it is:

An Albino Song

An albino song, ventures steps into the lair of reason and madness.

Doubts and guilts are blind bottlenecks.

On incestuous walls pure and blood, they give way.

The beast climbs the steps, without references in body, claws at everything.

That time mints, only one is wise currency, conscience.

Maurizio Marcozzi

That albino ... mmhmm (in Latin), how do you want to understand it?

Canticum albino audet ambulant in cubile razio et insanimus.
Et sunt caeci bottlenecks dubitationes culpa.
Et in parietibus illius puri sanguinis incestum, dare.
Gradibus conscenditur bestiae non dicuntur in corpore, circa unguibus.
Ut tempus nummorum pecunia est intelligens, ut exanimaretur.

Anyway it is just a starting point, one who has studied the classics is needed for appropriate corrections/integrations

Gianburrasca, did you use an automatic translator?

The translation of 'bottlenecks' as 'colli di bottiglia' seems very modern English to me and not very Latin.

Very fast, thanks for the translation in the meantime (even if you say that it is a non-definitive base).

By 'albino' I mean (the text is meant to signify a profound discomfort in relation to sensations that are difficult to explain, but I wanted to use specific terms to help imagine something that comes from within and is actually not visible, not even to me, although it is devastating; that is why I used the word "albino"; "rational" and "mad" are antitheses, then "blind bottlenecks" indicates a sensation with no way out, but I won't dwell on it, the meaning in the end is that. Metrically, however, it is already clear to me that it won't work for the piece I am writing; the text results in being longer than the Italian version, which instead feels a bit too "short" in certain parts, and therefore I am forced to stretch syllables and use vocalizations.

In fact that term seemed strange to me, come on.

Eh yes, with Google Translate this is exactly the text that comes out.

TheSimon wrote:

Gianburrasca, did you use an automatic translator?

The most obvious thing

Piccinesco wrote:

Very quick, thanks for the translation in the meantime (even if you say it is a non-definitive base).

By albino I mean (the text signifies a profound discomfort in relation to sensations that are difficult to explain, but I wanted to use specific terms to help imagine something that comes from within and is actually not visible, not even to me, although devastating; that's why I used the word "albino"; reason and madness are antitheses, then "blind bottlenecks" indicates a sensation with no way out, but I won't dwell on it, the meaning in the end is that. Metrically, however, it is already clear to me that it won't work for the piece I am writing; the text results in being longer than the Italian version, which instead feels a bit too "short" in certain parts and therefore I am forced to stretch syllables and use vocalizations.

If you already have the music, in my opinion, it's an operation that doesn't work; languages are difficult to interchange and even in films, dialogues are adapted to "work."

I almost always do things the opposite way (at least I am consistent), but in this case, it was the text that was late.

I agree with Gianburrasca, you start from the text to write the music and not vice versa. Setting to music a text written in different languages but with the same meaning can lead to very different results. Then, by settling, compromises can be found, but it is almost impossible to have the same notes for two different texts....

Choose the text, mark the tonic accents and write the music that respects the text, the accents, and the sense and meaning you want to give it

The text is mine, I wrote it specifically, but as often happens with what I do, I have several ideas that sometimes don't align; so it is concise and (for me) conveys the sense of what I want to express well, I cannot modify the musical part because metrically it works well enough, I am in trouble. At least in my case, the music and text were not born at the same time, I will try to find a solution with Italian.

As soon as I finish the score I will publish it; I already know that the text does not respect the tonic accents in some parts, but I must find a compromise; the fact remains that, physically speaking, it is not impossible to perform and there are no passages that exhaust the singers, it is just that the accents do not always align.

I was thinking about "Happy Birthday to You"... it's square in more languages or am I wrong?

Personally speaking, I do not feel capable of correctly translating the text proposed by Piccinesco from Italian to Latin.

Expressions such as “colli di bottiglia” (bottlenecks) are difficult to find a literal translation for in Latin; if I were to make a suggestion, I would say to start from a “paraphrase” rather than the text itself, so as to bring the language closer to what is an archaic language—I don't know if I made the idea clear. After this operation, one can reason "better," although I do not understand the need for a translation if the text was born in modern Italian... why this change of course?

Regarding the compositional implications, on one hand, even if the choice is to use the entire text in a melodic/harmonic context, facing translations with a high probability of bending the melody, the harmonic sense can be preserved. Obviously, this is not the only choice; the text could also not be used or used partially; in this case, the strong relationship to tonic accents would weaken, to the point that the text could become "irrelevant"... if not in relation to the sound. In this regard, I would then understand a choice towards a translation, perhaps because, according to one's taste, the phonemes of a certain language are preferred to those of another; in this case, the meaning of the text would be safeguarded in favor of the sound. But even this is just another one of many possibilities.

I would first make clear choices and move accordingly.

Thanks for your input Frank, as you know my choices are never (unfortunately) very clear; sometimes everything happens with a delay, but this time it is almost a miracle that I have practically finished a piece like this (not complex, but not immediate either in terms of writing approach, precisely because of the use of multiple instruments), trying to give it a certain coherence, certainly more rhythmically refined, dividing it into several (small) sections in order to achieve a certain homogeneity. The piece in question is an idea from 2008 if I remember correctly, sketched and left there waiting for a suitable moment to develop it, which happened at the end of 2013 (always late, me, at least in music; if any appointment were scheduled, I would arrive early as always), then I stopped at 70% and recently resumed defining the entire structure; there is very little left and I am finished. The intent (always declared when I spoke about it) was (because I like how it is structured, except for the finale, which remains very difficult for me) to write a piece for choir and small ensemble that resembled and brought to mind Bach's cantata BWV 25, something that I think succeeded (obviously I do not mean in terms of impact, compactness, mastery, part-writing, or importance, but on a rhythmic level). I thought of a line to follow consisting of dyads, played by both strings and winds, performing an important (characteristic) part, but which seems almost to "escape" at certain points, all supported by other instruments that imitate its development. I already imagined the choir part, the rhythm helps, but the text had to reflect a precise feeling; for this reason, I preferred (as I often do) to write my own, but coming after the writing of the instrumental part, I still encountered difficulties with the accents; I have "resolved" them in part, even if the result will not be as I wanted. The choice of language was mandatory; the problem was "shortening" the length of certain words, and by replacing them with others, I would have lost the impact.