Gaute

Ron, I can only add my respect. If I can hazard a crude characterization, your idiom reminds somewhat of Karl Amadeus Hartmann. Are your familiar with his work? I'm thinking of his Concerto Funebre, especially. Keep it up!

Ahh... Reminiscent of Arvo Pärt and his Tintinnabuli (http://en.wikipedia.org/wiki/Tintinnabuli)! It seems to me that you are aiming for some kind of minimalism. I think you have a great texture going on here. I also like the way that the vocal unison fans out to a glittering D major at bar 14. You halt the rhythm at the same time, and I think that will have a great effect. Perhaps you could repeat or maybe revert this effect later in the piece? Or maybe it's just me who like it when choirs contract from fullblown triads to that bare and ominous unison... If I could suggest anything, it would be that you perhaps look into the possibility of a section with more rhythmic contrast. While the accompanying figure in 7/4 is interesting, for me it does grow a bit old about three quarters of the way into the piece. I find that the rising figure in the piano isn't challenged by the inverted line in the harp, and for me, the contrast and variation which could've kept the piece fresh never really arrives. Perhaps this is precisely your intention?

Hi everybody. I've learnt from various sources that voicecrossing in a choral texture is to be avoided, unless the alternative would result in more severe errors in voice leading. Yet as I study this madrigal "Si Ch'io Vorrire Morire" by Monteverdi (attached), I see him frequently crossing the first tenor and alto, first and second tenor, and second tenor and bass. What is, or was, the rationale for such voice crossing, which I presumed was to be avoided? I love the sound of this madrigal, it's so expressive with those suspensionchains from m. 15 to ca m. 25 and "Deh stringe mi" in m. 49. You should get a recording of this one, because the score is all too sparse with regards to dynamics and phrasing. But you knew that. Anyway, I'd appreciate any thoughts on the matter. Monteverdi - Si Ch'io vorrei morire.MID Monteverdi - Si Ch'io vorrei morire.pdf Monteverdi - Si Ch'io vorrei morire.mus

I agree with frantz, gentle and nice! Is there any text to this piece? I would like to comment more, could you upload a PDF as well? BTW: For chorus in Midi, I find that Vocal Ooohs are the best.

I like some of his poems and short stories and would very much like to listen to this! But I'm stuck with an older version of finale; and no score and no midi. think you could upload PDF and MID ? :)

What this is about? It's the chorus of a song, with the same name, from a musical called Sally from the twenties. Sally (musical - Wikipedia, the free encyclopedia) Perhaps most famously sung by Judy Garland (videos on youtube.com) but also by many others (Dean Martin, Liza Minelli). In the youtube video of J. Garland, she sings this standing amidst an amazing pile of dishes, as to somehow get through the day. The text is somewhat superficial, about always seeing positives even when surrounded by negatives. I've tried to contrast the "positive content" with some "negative" harmonizations here and there. Most of the chords are from the Real Book ver 6, but those of you who own a copy will notice that I have taken many liberties.

Hi everybody. This is my first posting on this forum, so be gentle! :) Seriously, please tell me what you think. Be frank and point out any errors so that I may learn. I would love to hear any kind of responses you might have to this. -Gaute Silverlining.MUS SilverliningNY.pdf SilverliningNY.MID