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AaronForrestCoff posted a topic in Composers' HeadquartersSo tbh, I have no files to upload yet, as I have just started this project. I WOULD start a topic in the "incomplete works section", BUT encountered the following problem: because i have just started the project, and just wanted to upload some background info, Notes, etc. to comment on or share or whatever, It wouldn;t let me start a topic there. so here goes. Shir L'hodot, or "song to thanks" is a piece for concert band (with added solo bass and solo cello) which is intended to showcase some core concepts of judaism by painting them in music. Despite the title, it is in reality centered around 3 "prayers" and snippets and segments of their traditional melodies (which have been around for hundreds of years): Kol Nidre (All Vows), Sh'ma (Hear), and Aleinu (Duty). So some background information on each. Note: I am specifically leaving out the k'dushah (Kadosh, Kadosh, Kadosh hashem tzivaot - Holy Holy Holy is the lord of hosts), because it was ripped from the Hebrew about 800 or so years ago for the Catholic Sanctus. REALLY no offense intended to Christianity and Christians, I love you guys all the same, but I would like to keep as far away from those texts as possible within this piece. I really don't want this compared or contrasted to Christian Sacred music, on any level. Kol Nidre: it is a prayer that is sung only on Yom Kippur, has a main theme of judgement and annulment, and specifically represents forgiveness. This theme prevails on the cello, most times that it appears throughout the piece. it is a haunting melody, that is in a prevailing key of D Minor. Sh'ma: it is a prayer that is said every day. Some background before I go into its importance: Jews are forbidden to say blessings in vain. So... when there is a fear that a blessing or prayer is being said in vain (i.e. you think you have already said it for the situation, etc. but are not sure.) you are supposed to follow it up with the line "baruch shem k'vod malchuto l'olam va'ed" which means "bless your name and glorious kingship, which shall abound forever", which in essence annuls the blessing. However, there is one blessing that is of such magnitude, that we are unable to recite it without the additional line in our current lifetimes. This is the Sh'ma, which is a blessing for oneness and unity: "Sh'ma Yisrael, hashem elokeinu, hashem echad" or "hear o' israel, the lord is our god, the lord is one", a core concept in judaism. Aleinu: it is a prayer recited every day which details our duty. The central line/concept is the phrase "V'Anachnu Korim, U'mishtachavim, u'modim. Lifnei melech, malchei hamlachim, ha kadosh baruch hu.", or "and we bend our knees, bow, and acknowledge our thanks to the king of all kings, the holy one, blessed be he". So the way it will be organized within the piece: The piece will begin with a cello solo with a bass pedal tone, the introduction from Kol Nidre, followed by a bunch of original material inspired by traditional semitic melodies. the "flavor" of the piece will change dramatically as it approaches its apex, changing into a fanfare-ish style, where it will play out first as a low brass interlude the melody of the Sh'ma, transitioning into a full-band fanfare of "V'Anachnu Korim". It will then descend back into a flowing minor feel, followed by a decrescendo to the end, with a pedal in the 1st trumpet and polychords in the middle and low voices. A caesura, then another phrase from Kol Nidre, solo Cello, followed by a final minor chord, pianissimo. Let me know what you think of the ideas. --- Aaron Coff