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By idiomatic I mean using more of the piano's capabilities, like pedaling. Or by using open chords instead of block triads. Or just letting the notes sustain. I realize there is no expression in these types of renderings so I can use my imagination and hear someone who can breathe life into the part. But still, there are things you can do regardless, like playing a bass note, holding it with the pedal and playing less repetitive lines in the right hand. Then you don't have to keep re- striking the note, unless of course you really want to. Basically the part just needs more variety. Open chords are not strictly idiomatic to the piano, as you know. I would use them for strings or brass or anything else.You might also put more melodic material in where the piano is solo. If you do nothing else, just opening up the chords would make a big difference, and your pianist will thank you. I would think it would blend in better with the choir too. Btw, how often are organs available? This would sound nice with an organ.

Well, this is really nice, all around. About the piano part. It's not particularly idiomatic, is it? I mean mostly it's metronomic, sort of like the dishwasher in the ensemble. Maybe you could give this accompaniment a little more thought in terms of varying the repeated notes into lines with simple leading tones on the weak beats? If you were to orchestrate this, I could hear a slower tempo with a small string ensemble playing sostenuto chords. As timekeepers they would have more expression than a piano, and it would seem appropriate. But I really like the basic chord progression throughout. Maybe you could explain why you chose to leave in the one or two notes that might cause your audience to scratch their heads. Is it really worth it?

Nice thoughts on it, @punintentional. One small nitpick. Sometimes your suspensions fall on weak beats, which used to be straight up wrong in the Renaissance era, but now, while it is fine, still carries some weird tonal qualities when prolonging the dominant or the tonic (i.e. 73).

For the most part, I thought it was a good composition. They were a few small moments where I thought the harmony felt a bit off. For example, in bar 44 the C# sounded like a wrong note; C# against D is a very strong dissonance - especially when compared to the harmony in the rest of the piece. I also think it would be nice to vary the crochet rhythm in the accompaniment as after a while I think it gets a little tiring. Even just changing it to minim, crochet, crochet like you have in bar 61.