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Here is what I use: https://8dio.com/instrument/requiem-professional/ Its a real investment I think you'll enjoy. The choirs here sound real, have many different tones, certain words you want the choir to say, and it even comes with a phrase builder. In the link there is a sound player you can listen to to check out how it sounds. In case you decide to buy it later. Here's are two pieces I wrote using this software. I wrote this as soon as I bought this so my choir isn't as good as others lol: I don't mean to advertise in your post but I hope I'm able to inspire you from one composer to another about using choirs.

The use of -> i - i <- as a phrase builder is tension-diminishing, as it settles from one place, only to grow from a decayed place. I teach that it's like trying to grow plants on a nuclear wasteland. It's very effective in very specific circumstances, but I think it's used too much here. The countermelody in the cello was effective in use, comparatively, but could feel like its own thing more. The section at 2:25 feels like a buildup to a big final section, rather than what it's actually used for which is the big section. This is why the Nolan Batman movie scores are, at times, ineffective.

Sure. Depends on what organ you are playing (writing for.) You cannot count that each organ will have those stops, nor have them in the same configuration and style. IF you write stops, write them as indications of the type of sound you want, rather than something concrete. Yes. Modern organs are built for this with lots of stop combination change buttons and so on. Unless you're writing for a historical organ which has the stops away from the organist, then this isn't a problem. Depends on the organ style and construction. Modern organs can couple everything with everything else, but a 18th century German baroque organ maybe can't. Also, coupling is best left to the discretion of the organist. Instead, write which stops you want and let them figure out how to play them together (or if possible at all.) No. You have two choices when it comes to dynamics. Either you use the swell box (Vierne was pretty fond of this effect) or you simply act out your dynamic in terms of stop changes. Remember: The organ's construction does not allow for keyboard-activated dynamics like in a piano. The other much much less common third option is to use an organ that can "half activate" stops. Some modern organs can do this, but also many older ones too. You need to check for yourself if this is possible where you're playing. I wouldn't count on it tho in writing, but you can write it anyway just in case someone can do it. If unsure, just write normal dynamic marks and let the organist deal with how to do them! That's probably what will end up happening anyway. I've seen this done in different ways, but often you can just stick that information above the staff. Name of the stop is enough, as you don't know which manual that stop can be at, or if the organist can couple it, or whatever other organ-specific thing may happen. Remember: Organs are annoying to write for because almost each instrument is unique. Don't give information that's too specific, such as which manual. It's much better to just write what your idea of dynamic/timbre should be like and let the organist deal with it. If you can write stops, that should be good enough. Yes. If you have further questions, I'd rather you went and looked at organ scores from Louis Vierne as he's pretty good at it, I'd say. He often writes what registers should be on what manual/pedal directly above the staff and then indicates inside the staff where the changes should happen.

Very jazzy. I disagree with Willibald, I don't think the first phrase is weak at all, in fact I think it sets up the loop pretty well. Although I would recommend extending it past 21 seconds before you loop. It just gives the crowd more to listen to. Nice work!

I agree with Luis, the piano work is beautiful. I can see a choir singing this. Good job.

Jazzy and relaxed. Probably too relaxed for a school ring, but what do I know about school rings from other countries. I have to say that the partial repetition of the first phrase is harmonically a bit weak, and the ten seconds from 0:11 to 0:21 the better, more fleshed out part (in my purely subjective opinion!). The small forms are often incredibly difficult to write.

Not easy to imagine the voices (as they sound like the piano) but there's beauty in the music. Some modal flavor, too.

As a computer engineer by day (and a musician by night :D), I prefer writing small parts and then, connecting them together. Like "modular programming". In my personal opinion, it doesn't matter where you start. When I started writing music for a group of instruments, I just started writing metal music. Metal is easy, specially when you don't know music theory, you only read tabs from great bands (i.e. Metallica) and then, start copying them. But when I learned music theory (the right way, of course) I wrote metal songs again, because now, I didn't need to copy metallica or any ther famous band. But why it's important? When you write a metal song, the most difficult parts are bass and guitars. When you wrote them, everything else is written by itself (I call this "Black metal logic"). Imagine the orchestra is your band. Which part is the most difficult for you? Of course, it is! So, the way I write orchestra is : 1. Writing for bass instruments It helps a lot. specially when you have the ideology "one chord per bar". Even if you want to use more than one chord in a bar, it will help. But why? Because in every bass instrument, I add the root notes. sometimes in "double bass" section, I add the fifths. 2. Writing for Viola and Clarinet The second part I start writing. I just add thirds of the chords. When I finish this part, I have idea about what chords I used. For example, I have "C" in Cello section , and "E" in Viola section, then I know I have a C major chord there. 3. Writing for Other Instruments I just write some melodic lines, which includes main notes of the chords (depends on the chord type), for every other instrument, but melody isn't written yet. 4. Writing Melody It depends on you, but I prefer trumpets or violins playing my melodies. Sometimes, I may even write this part for a solo guitar (Have you heard Yngwie Malmsteen's Concerto Suite?) and make my orchestra a concerto for solo guitar. I hope I could help!