Shenandoah

I wrote this some ten years ago. Just recently, a choir I'm in recorded it. Unfortunately, it was the last thing we recorded at the end of a grueling session. Time for one take only. It was kind of an afterthought. We were concentrating on accompanied works for the bulk of the session. Anyways, it's not bad, but not good enough for a CD. We'll probably record it again at the end of next season. Nevertheless, I thought I'd post it for folks. Here's a chance for those of you who are participating in the Choral Competition to judge one of the judges.

Here's the MP3.

If you care to follow the score you may notice a discrepency or three. I had made some changes and updated the score for a recent concert (and this recording), but right now all I can find on my hard drive at home is an older version in pdf.

The designated baritone soloist was sick, so guess who filled in? Even my voice was fatigued after singing more than a few low F's for 2+ hours, but I managed to pull it off.

Real nice. I'm not really into the americana/folksy aspect of it by I like it nonetheless. You packed a mean solo there as well.

The only comment I can make that I could possibly think of(I'm thinking about what I would do with it as if it were my piece) is that I can't discern a clear climax.

The only comment I can make that I could possibly think of(I'm thinking about what I would do with it as if it were my piece) is that I can't discern a clear climax.

Good point. I'm quite sure that I was at least sub-consciously aware of this ommission when writing it. My first excuse is that well.., it's your rather basic folk song - with your uber-basic verse, verse, verse, verse form. What that elicited from me was a theme and variations treatment. So essentially, I treated each verse independently; giving each its own "mini"-climax. If there is a "moment" in the piece, I guess I'd have to say that it's torwards the end of the last verse around measures 43-45, but I really wouldn't call it a climax. Your point does bring up an interesting thought to ponder.

Does good writing require a climax? The obvious answer is no, but in most cases, surely a well rendered climax can strongly enhance a piece. Something to always keep in mind when writing.

Thank you for your comments

Does good writing require a climax? The obvious answer is no, but in most cases, surely a well rendered climax can strongly enhance a piece. Something to always keep in mind when writing.

Thank you for your comments

You may be right. However, just so we're clear on this point: a climax doesn't really have to be obvious, big, and loud with tutti brass blaring at you in the face. It can be the exact opposite; only one or two voices playing in triple pianissimo.

I very much enjoyed this rendition. It has gorgeous harmonies. I'm curious, though, why you chose to have the baritone solo only sing for half a verse, when using a solo can really bring out the depth and range of a choir when extended.

Really enjoyable piece. I really liked the nice added splash of harmonic color during the solo at
1:32. The Jazz approach with the melodic and hramonic writing is very nice as well.

Beautiful....the harmonic adventure is superb. Sounds like you had a great time composing it. Agree that it doesn't need a climax - made up for by the variations in the verse harmonies. Beautiful coda and... well, a good recording given the circumstances you spoke of.

What were you recording it on?

M

I'm curious, though, why you chose to have the baritone solo only sing for half a verse, when using a solo can really bring out the depth and range of a choir when extended.

I'm somewhat embarrassed about my answer this question. When I wrote this arrangement, I was thinking of myself as the soloist, and a part of me said. "Now, Mark, this isn't about you ." So I turned it into what I thought would be a quick cameo. As it turned out, someone else really wanted to do the solo, (or perhaps I wasn't picked, I can't remember), and I ended up not being the soloist (except for this recording because of his illness).

However, I think, in all honesty, there's another reason. As you can see, I change textures almost every two phrases. In part, I'm sure this was a conscious decision, but I think another reality was that, at the time, I didn't have the discipline, or maybe just the fortitude to really develop one style any more that what you see. This was one of my first forays into serious choral writing, and I guess I was one of those young composers (in my thirties at the time) who was so excited about what I was doing that I just couldn't wait to dip my paint brush into a different color.

Beautiful....the harmonic adventure is superb. Sounds like you had a great time composing it. Agree that it doesn't need a climax - made up for by the variations in the verse harmonies. Beautiful coda and... well, a good recording given the circumstances you spoke of.

What were you recording it on? [/b]

Thank you, M. - as for the recording, we hired a guy who just hung a stereo pair in the college chapel where we recorded this. He went direct into one of those portastudios. Normally, I would have wanted to use some of my equipment, which would include a few nice mics and a good stereo pre-amp, a big old honkin G4 and my Paris rig (of dedicated recording hardware), but I've learned from experience that it's much too stressful to be involved with the recording AND be a performer.

From there, we got a CD with wave files and I take it to my studio for mastering. As of right now, I have not put much of any work into mastering because we haven't fully evaluated the tracks to determine where the keepers are, etc.

I very much enjoyed this rendition. It has gorgeous harmonies. I'm curious, though, why you chose to have the baritone solo only sing for half a verse, when using a solo can really bring out the depth and range of a choir when extended.

Christopher,
I've been thinking about your comment. What would you think if I extended the solo by continueing it by stealing it from the tenors? I could have the tenor's simply drop out, leaving a three part accompaniment to the second phrase, and breaking up the dense jazzy chromatic writing of the first phrase. - This would leave things structurally similar to what happens in the next verse when the soprano's sing the second phrase over a more concerted three part accompanyment - but it'll let the baritone part settle a bit. It's kind of a down and dirty fix to your observation. What do you think? -or anyone for that matter..