Song for Soprano and Piano

Hi, i wrote this song for a friend long time ago but he didnt sing it yet later i made a Soprano version and maybe a nother will performed, tell me what you think about it...

RATS!! - I wrote a long response and lost it!! I'll try again but quickly this time.

Very nice - very readable and singable except for the following:

Generally speaking, FFF and louder is reserved for ensembles. I don't know if there is a hard and fast rule about this, but I am a Baritone soloist and when I see FF, I give it my all.

I know a few very very good sopranos that might have a few words with you when they see a low C at measure 11 to be sung FF, not to mention a low B at M. 19, same dynamic!

I might recommend that you scale down and compress the entire dynamic range of the peice - at the very least for the vocalist. I.e. ffff = ff, f = mf or mp, etc.

Also I would probably try to reduce the size and get it onto four pages so there are less page turns.

truth , i must do something with dinamic , with baryton was ok but i must change soprano or make transpositions , thank you

this is the original ... baryton

I am leery of French lyrics that ignore the "syllabes muettes". I haven't come across many examples where it works perfectly well (other than in pop music).

But that's a personal choice, and one that many other French composers have struggled with for the last 100 years.

That being said, it would be good if you used Finale's ability to create automatic hyphens and word extensions (if this is indeed a Finale file printed to PDF).

For example, the word nostalgie, when divided in your score reads as three words instead of three syllables. it's only a question of clarity. it would be much clearer to read "nos-tal-gie".

(for example, in a choral score, the last syllable on one page was "hum"... so the entire chorus started to hum. then they turned the page and the word was "ble", so they all sang "bleh!". If the person writing the score had put in a hyphen the chorus would have realized they were singing the word "humble". LOL)

musically, it's a pretty hard song to sing! but I like it a lot. I like how it seems to slip in and out of purely atonal territory.

there are some things I'm curious about in the notation.
at measure 46 you have 16th notes written with double stems. I'm curious why you wrote it that way. was it the convergence of 2 series?

there are some things I'm curious about in the notation.
at measure 46 you have 16th notes written with double stems. I'm curious why you wrote it that way. was it the convergence of 2 series?

In the absence of the composers comments, and assuming that's exactly what he wanted, I might think that would be the only explanation, right? On the other hand, the presence of double rests in the middle of the measure suggest the possibility that it was simply convenient to do it that way.

Qccowboy, its truth too about text , i 'll work on it , but didnt understand what you wrote about notation? right had should be one layer ?

interesting and charming piece! loved the rarefied atmosphere and the subtle harmonies.

the first beat (the two 16th notes) should be marked as one beamed group, not as seperately beamed notes. The way you have it written, by normal pianistic convention, means that two hands must play the upper part.

generally speaking, unless the rythme is complex and the voice leading needs to be clearly marked, groups of notes of equal value should be beamed together in piano music.

absolutly right i must fixe it , thank you