António Capela

I composed a piece for choir in 4 voices. And I composed it with a single line for each voice (4 lines then). How can I transform the score in the way that I join the tenors and the basses in one single line, and the altos and sopranos in other single line (2 lines then)- in the way that I'm able to read the same piece at the organ. Is it now clear?

How can I transcript something I wrote for choir 4 voices in Sibelius, but with two lines (piao reading), and transcript it for four lines (choir reading)? Is it possible? Thank you!

Here is mine: http://www.youngcomposers.com/music/5356/theme-variations-and-fugue-in-d-major-op102/ Finally I’ve finished my Theme and Variations for the Sonataform competition. Although I spent a plenty of time on it, and although I’m very satisfied with the result, I present here the piece, but I think that it is better, that I must not run for the podium, this because my choice of the theme may not be well interpreted, then I think that is useful to present the piece, which I composed for this competition, but at the same time, it is important that this piece doesn’t compete, because I the main theme I choose is a theme by the own Sonataform, the theme from his Sonata “Winter in the Sierra.” http://www.youngcomposers.com/music/4725/winter-in-the-sierra-sonata-fantasie-no-2-in-d-major/ Once and again I hope that my choice won’t be misunderstood. And although I’m not entering directly in the competition, I challenge Sonataform to record this variations, if you like it of course! I tried in the variations to follow the maximum I could your romantic style, and mixing it a bit with mine. The first variation is the most easy. The second is more abstract, I preferred in the most of the variations to hide the theme, it is always there, but it is hidden. I tried to have a unity of character and style, but inside this unity contrasts. In the third variation, the theme starts in the bass. 4th – This variations shows clearly that I tried to take advantage from the character of the theme, although I looked to it in a completely different and joyful way. The fifth is one of the more similar to the theme, although it introduces a game between tonalism – modalism, d major – a major. In the sixth I alternate the cells of the theme between the different hands, but this one is on D minor. The war between D major and b minor is finished, although we can say that a new problem appeared – d minor. J And d minor persists in the seventh variation, which is clearly a simple choral, that has the theme minored in the alto. The eight theme, which is my favourite, is in F major, and exploits the richness of this key. D minor returns in the nineth variation, and now the appoggiaturas from the main theme, which were misused in the other variations, are now present. In the great majority of the variations I had your style in mind, and for me it is particularly evident in the tenth variation, which has also a great contrast, it is the war between D major – D minor, but in the end of this variation, D minor is the key which won. Then in the XI Variation D minor is powerful than ever, the theme is hidden in a game between left hand and right hand. Then I made an interlude – a fugue, which the main cell is based on the main cell of your theme – this fugue is a tribute for your organ fugue which you dedicated to me, when I composed this fugue I had yours particularly in mind. But the fugue is suddenly interrupted and gives place to a world of no where – a misterioso – and from the ashes appears victorious – The Theme – D Major – Maestoso! And the XII Variation (which is almost a recapitulation of the theme) works as a Heroic Coda. I sincerely hope you like it! The piece is obviously dedicated to you. Ps – I must say with no doubt that a work with such climate doesn’t beneficiated with the Sibelius sound, it need expression, pedal, rubatos, etc etc…

It is almost impossible to do these kind of lists, but I will give it a try, but I will only comtemplate symphonies after Beethoven: 1 - Brahms 3rd 2 - Beethoven 7th 3 - Brahms 4th 4 - Rachmaninov 2nd 5 - Bruckner 6th

I'm glad to comeback to this site. Just to say that my piece is almost finished and I'm very happy with it!

´Sonata form, thanks for this competition and opportunity. I will participate! I've already choosed the theme, I just want to ask, it has 20 bars, but it is in 2/4, is it a problem? Thank you!

thanks

In Sibelius 6, how can I make the statement that from one bar to the another, I want to indicate that if the eg quarter notes were the reference, now the references becomes the eighth notes, which now have the equal time value that the quarter notes had? Thanks.

Sarastro: I thank first! Sonataform: Tomorrow I will go to Alcacer, although because I still do not feel completely prepared I will play probably your fugue in Friday's concerto! And this summer I will also play organ in Viseu, and I will take advantage (and if you permit me) to perform there your fugue. Austenite: I will give attention to your revision! Luderart: Bach Chorales, are mainly for Choir, but its are for four voices, and from there you can learn not organ technique, but harmonic technique, which will be helpful to all the pieces that you will compose! Thank you all.

It was for me a great honour have all your participations in this competition! I have to confess that was also very difficult for me to find a winner, but after some reflexion I found one! It was for me very hard to be the judge! Although in the next concert which will give, I will only perform the winner piece (because I don’t have much time), I probably will record some of other pieces, because they real pleased me! (It is a pity that I didn’t remember before to do this competition, because if I had remembered I would play more new pieces). I decided to make a podium with the three best pieces. I will start by the ones which aren’t in the podium: Luderart: Thank you for your participation I am really glad with the great enthusiasm you revealed in this competition. For me, your best piece is your Solioquy number two, it has melodic potential and its character with many chords and some what medieval harmonies goes well with the organ, however this piece lacks development, it is more a sample, almost a sketch than a work with structure, beginning and end, then it wasn’t awarded. The Solioquy number 3 it is not so inspired as the second, and it would be a little strange to perform in a Church, it is a little bit weird and I simply do not understand its meaning. As for your forth Solioquy it is clearly better than your third one, this is also more developed than your second one, although this is not so inspired as the second. Your harmonic language is yet too much simple, I advise you to study Bach’s Chorales! But again I thank you your enthusiasm in joining this competition. Austenite: It was indeed an honour for me have your name in this competition, although I must say that this Toccata it is fair for being one of your best works, mainly because it clearly (as many people said before) shows your inexperience leading with the organ. I loved the entrance, which made me remember the beginning of Bach’s 1st Orchestral Suite, which is one of my favourite works from the Great master! (and it is funny because they are in the same key), the middle section was also interesting, although the entrance was clearly what impression me most. It is hard for me to not have this piece in the podium, but the other three are also quite good, then I used the organ technique excuse to not choose this one! But I don’t deny the possibility of record this piece in this summer. I think that it has really very good material, a revision in the technique and in some other details, will certainly be a great improvement to this delightful and smart piece. (which I consider more a Prelude than a Toccata  ) Now the podium, In the third place: Sarastro and its Chacona. A piece which could perfectly have won this competition. And why then it didn’t win? Only because in my opinion the other two did better! Very interesting, it has many many style, I’m a lover of modalism, and you are a master of modalism! Thank you a lot for this piece which mixes perfectly the past with the present! Perhaps a factor that helped to lead you no to the first or the second place is that this piece, although it is clearly for organ it is not completely “churchly”. But I must thank you for your participation and kind contribute with this genial work! In the Second Place: Sojar’s Intrada Picola It is very hard for me to not consider this piece the winner one, because in this explanation it is also almost impossible for me to criticize a work, which is an incredible work, which I with any problem assume that this is a work greater than me. And how may I criticize a work which is greater than me? I feel that I’m judging a work from Handel, or Bach, have I this power? Have I this capacity? No I haven’t. But I only must say, that I have commit myself to choose a winner piece, and I here confess that this was for me the most difficult decision, the best two pieces are very very close, I almost consider this second and the first place, as two first places! Then to forecast, why this is not the winner one, in the justification of the next piece perhaps you could understand me decision. This piece is simply perfect. The harmonies certainly will fulfil an entire cathedral. It is full of dissonances, but its give to this piece so much light! Yes, this piece is light, pure light in sound state! That F major in 17, uauhh! And the final coda with is indeed glorious! So much glorious. The only detail which I disagree totally with you it is the name, ok I know that you called it piccolo because the duration is very brief, although its name should be not Intrada Picola, but Grande Intrata, ou Lumine Intrata! Fantastic! Thank you, thank you very much for this marvellous piece. The winner: Sonata form – fugue! As I previous said it was for me very hard to find a winner, but after a very difficult consideration I found one – you and your fugue. In the presentation of this competition I said that “I love counterpoint, mainly good counterpoint”. And this piece indeed it is full of good, or better, great counterpoint. It is ironic that, in my opinion the transposition to F minor give to this fugue even a better colour. It is so chromatic, and in F minor, it made me remember Mozart last organ fugue in k 608! Which I simple kill only in order to listen it. Like I said to Sojar, your fugue is a work, to which I dare only to look from downside to upwards, it is greater than me. It is real fantastic, it is real a masterpiece, the theme is very dark and perfect, the harmonies are chromatic, dissonant but don’t bother the ear, by the opposite it almost tighten the soul, the counterpoint is impeccable and simply ingenious! And this piece fits perfectly in a Church concert. What a power! What an honour to premiere such incredible masterpiece! Thank you all, congrats to all, mainly congratulations to Sonata Form!

As I'm the judge I cannot enter in any partty, but I must say at least three things: 1- Luderart, dont fear my judgment, it wont be affected in any way by Sarastro, Sojar, yours, or Stravisnky, or even Mozart comments on your pieces. And this is applicable to all the competitors. 2- It is my duty to say that music is not purely subjective, pure subjectivism didnt exist, because you only have relative terms, when you have an absolute one in order to compare the others. Relativism is wrong, in music it is simply stupid, but in morality dangerous. Please do not confuse taste with quality. Technique with feeling. Mystery with arbitrariness. 3- Sojar, as I said before, it will be for me a honour your participation in this competition, and Mr. Sarastro, if you are here participating in the debate, why not participate also with a piece? Please accept this challenge. Thank you all, and I'm still always looking for more uploads!

Austenite thank you for your participation. And for all the others I want to say that in these last five days I'm still expeting more participations.

Thank you a lot. It will be an honour for me!

Sojar, it is for me a great honour your participation in this competition,and it is my duty to say that the piece which you submited is marvellous, although, it has pedals, then it is impossible to play in this organ.

Thank you!