Happy birthday-motet

This is my first choral piece on this forum. It's a motet with elements (I couldn't make up any better word) from late medieval music and baroque music. The motet is based on the well-known melody "Happy birthday to you". I tried to harmonize it in a very unusual but tonal manner.

The melody moves from one voice to another during the whole song. It visits all the staves. Singers should hum the whole song, except for the melody notes, which should be sung with the text. I hope you understand what I'm talking about...

I'll post first the PDF, then the MIDI and the SIB-file. You can find the lyrics from Warner Chappell Music

Its nice. Very typical way to write for chorus.
What you were explaining about the text, sounds very confusing. Singers need to see the text with the music! You cant have them guess, you have to tell them what to do. In general, the idea itself sounds really confusing, with the main text switching to voice to voice on random notes and the melody weaves through. I dont think it will work, but you would have to wait for a live performance.

Looking at your age it's fine, but few things should be mentioned:
1) A motet should have sacred text (for eg. a psalm). Secular homophonic choral pieces like yours were called "madrigals" in the renaissance period (Please don't confuse it with "late medieval").
2) The key change to G minor after an imperfect cadence in E minor is very odd, but it's ok for a 20-21th cent. composition.
3) In choral pieces every ornamentation must be written out (soprano voice, bar 3).
4) The music should be composed for the text, and not in the reverse direction.
5) The rhythm is very odd, and there is no sense of direction. I suggest you to sing each melody-line and you will see why they sound bad.

máté

An intriguing piece. I didn't really get the 'happy birthday' thing (I was expecting to hear the well-known tune at some point!), but it's certainly a perfectly pleasant choral piece though. I'm not sure 'motet' is the best title however.

Originally Posted by Matthaeus

1) A motet should have sacred text (for eg. a psalm)

This isn't strictly true. Whilst it's correct that many sacred motets have been written, the only definition I'd be willing to impose on the motet would be 'a single polyphonic work employing a single text.' Grove claims the only thing which separates a secular motet from a madrigal is that motets have 'loftier intent'. Rather vague, I know, but I'd say the thing that makes this work sound un-motet-like is the fact that the counterpoint is rather uninteresting. 'Motet' comes from the same Latin word as 'motion', but there's little of that going on here.

Originally Posted by "Matthaeus

3) In choral pieces every ornamentation must be written out (soprano voice, bar 3).

I agree that turns should be written out, but almost all other ornamentation should be left in signage.