António Capela

I composed a piece for choir in 4 voices. And I composed it with a single line for each voice (4 lines then). How can I transform the score in the way that I join the tenors and the basses in one single line, and the altos and sopranos in other single line (2 lines then)- in the way that I'm able to read the same piece at the organ. Is it now clear?

How can I transcript something I wrote for choir 4 voices in Sibelius, but with two lines (piao reading), and transcript it for four lines (choir reading)? Is it possible? Thank you!

Here is mine: http://www.youngcomposers.com/music/5356/theme-variations-and-fugue-in-d-major-op102/ Finally I’ve finished my Theme and Variations for the Sonataform competition. Although I spent a plenty of time on it, and although I’m very satisfied with the result, I present here the piece, but I think that it is better, that I must not run for the podium, this because my choice of the theme may not be well interpreted, then I think that is useful to present the piece, which I composed for this competition, but at the same time, it is important that this piece doesn’t compete, because I the main theme I choose is a theme by the own Sonataform, the theme from his Sonata “Winter in the Sierra.” http://www.youngcomposers.com/music/4725/winter-in-the-sierra-sonata-fantasie-no-2-in-d-major/ Once and again I hope that my choice won’t be misunderstood. And although I’m not entering directly in the competition, I challenge Sonataform to record this variations, if you like it of course! I tried in the variations to follow the maximum I could your romantic style, and mixing it a bit with mine. The first variation is the most easy. The second is more abstract, I preferred in the most of the variations to hide the theme, it is always there, but it is hidden. I tried to have a unity of character and style, but inside this unity contrasts. In the third variation, the theme starts in the bass. 4th – This variations shows clearly that I tried to take advantage from the character of the theme, although I looked to it in a completely different and joyful way. The fifth is one of the more similar to the theme, although it introduces a game between tonalism – modalism, d major – a major. In the sixth I alternate the cells of the theme between the different hands, but this one is on D minor. The war between D major and b minor is finished, although we can say that a new problem appeared – d minor. J And d minor persists in the seventh variation, which is clearly a simple choral, that has the theme minored in the alto. The eight theme, which is my favourite, is in F major, and exploits the richness of this key. D minor returns in the nineth variation, and now the appoggiaturas from the main theme, which were misused in the other variations, are now present. In the great majority of the variations I had your style in mind, and for me it is particularly evident in the tenth variation, which has also a great contrast, it is the war between D major – D minor, but in the end of this variation, D minor is the key which won. Then in the XI Variation D minor is powerful than ever, the theme is hidden in a game between left hand and right hand. Then I made an interlude – a fugue, which the main cell is based on the main cell of your theme – this fugue is a tribute for your organ fugue which you dedicated to me, when I composed this fugue I had yours particularly in mind. But the fugue is suddenly interrupted and gives place to a world of no where – a misterioso – and from the ashes appears victorious – The Theme – D Major – Maestoso! And the XII Variation (which is almost a recapitulation of the theme) works as a Heroic Coda. I sincerely hope you like it! The piece is obviously dedicated to you. Ps – I must say with no doubt that a work with such climate doesn’t beneficiated with the Sibelius sound, it need expression, pedal, rubatos, etc etc…

It is almost impossible to do these kind of lists, but I will give it a try, but I will only comtemplate symphonies after Beethoven: 1 - Brahms 3rd 2 - Beethoven 7th 3 - Brahms 4th 4 - Rachmaninov 2nd 5 - Bruckner 6th

I'm glad to comeback to this site. Just to say that my piece is almost finished and I'm very happy with it!

´Sonata form, thanks for this competition and opportunity. I will participate! I've already choosed the theme, I just want to ask, it has 20 bars, but it is in 2/4, is it a problem? Thank you!

thanks