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Found 4 results

  1. I wrote this piece ten years ago, but just went through and made an mp3 with myself singing all the parts. (Pardon my bass line, and thank you autotune for allowing me to fake a bass part). In the last days, When the land is rolled up, And the seas are poured out, And every thing is put away, Come and sit with me, my old friend, And we'll watch are the stars are turned out, One by one.
  2. Hello, friends! I am very new to this forum, and just thought I would put this setting of Shakespeare's 8th Sonnet out here. I am open to any criticisms or feedback you have to offer. I apologize for the sub-par recording. The choir did not have overlong to rehearse, and the tenor and sopranos are especially strident sometimes. Which may be partly my fault at times, but it wasn't all my fault! Haha.
  3. Hi, everyone! After hearing some of the beautiful compositions other members of this forum have posted here, I decided to share my first choral piece, a setting of 3 Sara Teasdale poems. I'd love to get some feedback on it and answer any questions people might have.
  4. Hi, This is my entry for the summer competition, I hope you enjoy. Some notes not covered by the program notes: 1) I know there are some minor errors in the score, namely lack of "instrument names" in the second variation. I didn't notice them until too late and I do not have the files with me to correct them - so be it. I also know that the variations are not titled, that was somewhat intentional but mostly a cause of me not having enough time to properly finish the score. Actually, Lilypond is my engraver of choice but I really didn't have time for all that noise this time around so I had to use MuseScore, which is just about the only thing I hate more than Lilypond. 2) I apologize for the lackluster quality of the audio. I was originally planning to record it myself in some sense of the word but again, time constraints caught up to me and I had to rely on MIDI which fails to convey much of what is in the score. 3) This was planned to be a set of five variations but I couldn't complete the two remaining variations in time so it is only a set of three as is. I plan to continue working on them and may post this work again in its completed form later on, perhaps with a real performance. These variations would have been the very first variation and the very last. So the ones you hear here are just the middle three - If it sounds like the piece ends abruptly that's because it does. EDIT: 4) Even though I said in the program notes that the microtones shouldn't be quarter tones, the playback does indeed only have quarter tones. It's not because that's the only thing that was available to me, I actually have very tight control of the intonation, but without real overtones the effect is a little bit too subtle to be exciting. Of course, singing quarter tones is just as impossible as singing in equal temperament, so the recording should definitely be taken with a grain of salt. 5) The music is very intricately tied to the text in a literal way but there is also a philosophical connection which is so impossibly personal that I would rather not talk about it. I'll leave that to the listeners to discover, or better yet, decide for themselves what the text means to them.
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