" In te sperabo ( from Psalm 56 ) "

This is a choral composition written for psalm 56.

There are some fine melodic features in this composition and several sections sound nice. But your struggling with voice-leading will need some work to improve. For example: the parallel voice progression from bar 22 is weak. And inversions are much better.

There are some fine melodic features in this composition and several sections sound nice. But your struggling with voice-leading will need some work to improve. For example: the parallel voice progression from bar 22 is weak. And inversions are much better.

Thank you for listen and coment, Sojar Voglar.
But,  "struggling with voice-leading will need some work to improve", in which way?
And , "the parallel voice progression from bar 22 is weak", sounds more as personal taste than anything else. 

On 3. 6. 2016 at 5:58 PM, Denatura Sonorum said:

Thank you for listen and coment, Sojar Voglar.
But,  "struggling with voice-leading will need some work to improve", in which way?
And , "the parallel voice progression from bar 22 is weak", sounds more as personal taste than anything else. 

 

The use of parallel voice leading is always weak. You should consider that great classic composers from all eras avoided such progression. Any counter-voice leading always sounds better. It is not just a personal taste, it is a skill worthy of developing.

3 hours ago, Sojar Voglar said:

The use of parallel voice leading is always weak. You should consider that great classic composers from all eras avoided such progression. Any counter-voice leading always sounds better. It is not just a personal taste, it is a skill worthy of developing.

 

 

To expand on this, while parallel voice-leading can very occasionally work (see for example Tavener: God Is With Us), it is almost always used as an effect and not to produce a full choral sound (which I think you're striving for). More complicated voice-leading often makes the writing sound both fuller and more interesting; the so-called "rules of voice-leading" (i.e. no parallel 5^ths or 8^ves, double the root of the chord etc.) exist because they help produce a good sound in practice.

Hope this helps!

Thanks to you, Chalkwriter and Sojar Voglar , but, sincerely, I feel that your considerations are based on the personal taste around that particular effect as being an error ( which must always be  cautiously cosidered as an error ). It's no point I state here that I liked the effect, it's obvious, but there are so many examples of that use of parallel voice-leading in choral and instrumental works that I see your comments as a tendency to find somenthing that was consacrated of having a particular effect ( which one can find good or bad ) as an error.
Anyway, these matter cover a few bars on the piece.
Could you tell me more about the rest.

Thanks.