theusii

Hi, I think what you have here is a promising piece of choral music. While some harmonies are very interesting, issues that pertains to performance details were still lacking. Just listening to the mp3 alone is not enough to have, at least, an idea as to what your real performance intentions are. Text affects dynamics and vice versa. Without dynamic indications, there is no way for me to know you intended dramatic effects. The harmonies are real nice; however, in my opinion, choral musicians love good melodies as well, therefore, you must also give them some parts of the melodic material or at least make their part as melodic as possible. But then, my two thumbs up for you very nice music. TheusII

Hello Bryan, Here are some of my observations when I played through the piece. It is somewhat technical. The music is yours so by all means you can do whatever you want. 1. The hymn is obviously written in common-practice harmony. However, some areas seem very vague when in comes to their harmonic identity. Taken for example b.1 of measure 3. 2. There are some spots where parallels occurred. Although there are intervening notes, it did not help in breaking the effect cause by parallels. 3. Vocally speaking, you are throwing in extra notes which does not actually enhance the text rather makes it more difficult for the singers to negotiate its tuning and blending since it only resulted on inappropriate lead for the voice. Take example the bass part on m5-6. 4. Another thing, there some spots where in your non-harmonic tones are sounding with their resolution. In this case, the effect of the NHT was nullifed. 5. It would be wise not to result into making the voices sing in unison unless there is no other option harmonically. 6. Your melody does not seem to call for the cadence you have written on the last measure. Listening to it, the melody still wants to continue to another half before final closure. I would suggest that the last measure be a whole note E then add another measure E(half)-D(half)-E(whole) to make a little amen section to finally cadence the piece. All in all, it is a wonderful and serene composition worthy of "Pagsamba". Sincerely, TheusII

Hi everyone, It has been quite a while since I posted my composition here on the board. I would like to thank the community for all the criticisms. I received a commission to write a choral piece based on our native dialect here in our country Philippines. This will be premiere on December on a cultural concert. The proceed will all to towards the scholarship of poor children here in Pangasinan Philippines. Cheers!!! TheusII Pater Noster.pdf Pater Noster_06_22_09.mid Pater Noster_06_25_09.sib

Hi, I hope this helps. From a point of view of a choir director, although the piece is theoretically good in terms of harmony, modulations and contrast, some areas pertaining to voices, cues, tessitura and other choral and technical matters are somehow overlooked. On m.9, on the entrance of the soprano melody on the D natural, this would create an intonation problem because the impression of the D# that has been sounding from the measures prior to it. One can assume that the C# on the organ part will help to secure intonation by acting as a leading tone; however, it is not on the rhythmically strong position to assert and make an impression that it is leading to the D natural of m.9, soprano. Is the Bass and tenor moving in parallel octave from E-Dd intentional? In my opinion, the E-Dd-D natural will create a wrong tonal impression. Normally, the singers will assume that it will resolved to a lower note, but in your case, it went upward to D natural on the tenor area. On the same area, the bass leap to a rather hard interval on the same direction. Normally, though not always, it is wise to balance the interval after the leap to help the singer secure a much stable intonation. But here, that the bass continued another step downward on the same direction; thereby making this area difficult to pitch. My suggestion is that, you may want to add another pitch to lessen the leap. Or you may change the Dd tenor to C# to lead it nicely to the D natural; however, you will have to respell the Dd chord. On page for, second system, on the bass entry, solo. It would be very difficult to sing the interval from the D# to the Bb. On page 5, the soprano enters on B natural, how are they going to get their pitch? Same thing on the Tutti section, the bass in B natural, the organ melody does not give any hint for the entry of the B major chord. On the second kyrie, tutti section, I suggest you put a natural sign to give precaution to the performer that the sharp is no longer in effect. Although conventionally, the accidental looses it effect after the bar line, it is also wise to give precaution to give a much secured performance. On the same system, the soprano, tenor and bass moved in parallel octave from E-D#, thereby mitigating the effect of the independence of the voices. On page.6, system 1, the first kyrie eleison could be mistaken to christe eleison because it was said a number of times before the entry. Why, because at this part of the voice, diction actually suffers. This text is not understandable. If you are going to examine some Mozart masses, he reiterated the text a number of times before singing it is the highers tessitura so that the listener will not have trouble figuring out what the text is since it is already given a number of times. On the second kyrie, the downward leap into the dissonance B natural is dangerous. Where will the voices get their pitch? there are no cues for them. Just a suggestion, please do include measure numbers on your score as it makes analyzing more easier. Hope this helps TheusII

jimmew, Thank you for the extending your expertise towards this project. This is not to make excuses about my faults, rather to explain why I needed help very badly. Although the one who commissioned me to write this piece knows that I am actually a choral musician, she want me to compose for her a piece on the piano so that she could help me generate some additional amount for the scholarship project that I have started some years back. This is my first time to compose for instruments and it is actually apparent that it has so many loose ends. Right now, I am reworking the piece according to what has been suggested previously. And by the way, what is it that bothers you regarding the first beat of the L.H in bar 44? Your experience on this will actually lessen my experimentation as to what works and what does not. In gratitude, TheusII P.S. Today, I just got another commission. This time they want me to write for solo violin and Piano. Please help me.

Thanks QM for the generous comment. I shall try too look at those messy stems. So far I still do not have the idea as to how I will be able to clarify the rhythmic grouping without resulting to those extra stems. TheusII

I was commisioned to write a piano solo to be performed by one of the most prominent pianist in my country. The proceed of concert will go towards helping the our youth in their college education. YOur comment will greatly help in this endeavor. Sincerly, TheusII Kulintangan For Piano Solo.pdf Kulintangan.mid

Hi christopher, I apologize for the delay. I have been also busy with some important matters concerning my apostolate with the young people in our parish. I will be working with the assignments you have given me tonight so as to be able to move forward. Do you have an email? I have much to tell and the forum is rather a public place to begin with. Sincerly, theusII

Hello everyone, I am doing a research about the harmonic language of morten lauridsen. Can anybody help me??

Most kind Sir, Just want to ask for some clarification. How long should each moments be? Sine I am not very familiar with atonal music, in my opinion, some general theories and terms related to atonality will be helpful. Of course that is according to your discretion. Sincerly, Rolan

Sorry, here is the attached assignment lesson 2.pdf lesson 2.sib

Hi, My apology for taking quite a while to get back for my lesson. There are some responsibilities that had taken me away from the computer. Here it goes, I tried, as far as I have understood it, to do my assignment.

"ee" indeed is a very nice vowel because of the forward resonance it creates. Moreover, it assist the squillio.However, since it is a close vowel,it needs proper vowel modification or proper covering to keep the throat open on that area of the passagio. I am not against the "ee" vowel per se, my opinion is that, it is not an easy vowel to sing without modification. Beside, one cannot sing a pure vowel on that part of the passagio without the closing of the throat. This is just my opinion as a vocal pedagogy major.

Hi, First, I would like to thank you for the wonderful comments you have made on my "Missa Solemnis. Now it is my turn to share some of my thoughts on your wonderful composition. The the piece was very nice and the harmony is dramatic. The chanting is very lovely. The ethnic music of my country is full of chants comprises of augmented intervals, whole tones and complex irregular rhythm. Somehow, I feel at home it your chorale piece. However, you have put some close vowels such as "ee" on pitches that are above the staff. This is singable, but not practical because of diction consideration. Moreover, such vowels are very hard to sing on that part of the voice. Over all, it is a very nice piece and your ideas are truly great.

Thanks tenor for the wonderful comment. You are very right, the Kyrie and the Agnus shares the same thematic material, theme and nuance. It is not actually a concert piece, as you have said it is very church friendly. In my country, the Philippines, church choir are all amateurs. Not to mention that the catholic church service does not allow a somewhat concert type of music during the service. Moreover, I thought of making each voice melodically simple so that learning it would not require so much time. As for the piano part, well, pianist are rare commodities here, that is why, making a somewhat simple yet beautiful piano part has challenged me a lot. However, I will consider your suggestion of making something new so as to make each piece somewhat related at the same time different from each other.