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  1. Ave Regina Caelorum Marian Antiphon for Lent 4 Voices a cappella (SATB) Mode: F Mixolydian Composed: 23-27 May, 2017 Style: 18th Century stile antico closely emulating Late-Renaissance, ca. 1600 Duration: 1 minute, 30 seconds Text: Ave, Regina Caelorum, Ave, Domina Angelorum: Salve, radix, salve, porta Ex qua mundo lux est orta: Gaude, Virgo gloriosa, Super omnes speciosa, Vale, o valde decora, Et pro nobis Christum exora. Translation: Hail, O Queen of Heaven. Hail, O Lady of Angels Hail! thou root, hail! thou gate From whom unto the world, a light has arisen: Rejoice, O glorious Virgin, Lovely beyond all others, Farewell, most beautiful maiden, And pray for us to Christ. Last Sunday, the director of the Schola Cantorum of St. Mary's Cathedral here in Austin, Texas was complaining to me that he was having trouble finding settings of Ave Regina Caelorum that he liked or felt were workable, and he asked me if I had any free time to write a setting for the Schola. I got inspired and by Tuesday began composing this setting, which I just finished last night. I used sixth comma meantone temperament in the recording of the rendering to better emulate the kind of tuning a choral group would probably use in this style and mode, and I used woodwind samples because clarity is lost with the wretched choral samples I have available to me. Being self-taught in this style as in almost everything else, I'm seriously concerned that I have done this according to the rules of 16th Century polyphony, as I understand them. I hope this piece is enjoyable, but by all means, if any of you notice anything in it that I may have done wrong, I'd like to know about it. Thanks!
  2. This falls squarely under the category of "what do y'all think of this?" I here present for your consideration the charming villancico "Llegad, moradores de aqueste pensil" by Spanish-born Mexican composer Francisco Martinez de la Costa (1739-1769?). The work was composed for the Solemnity of St. Peter at Oaxaca Cathedral, Mexico, sometime between 1765 and 1769, and is scored for vocal soloists, mixed chorus, trumpet, strings, and continuo (baroque guitar and portative organ, if I remember rightly). The linked recording is of a performance of this work by the Austin Baroque Orchestra and Chorus (I am a member of both) in November, 2015 at historic Mission Concepcion (1731) in San Antonio, Texas. This work has never been published, remaining in manuscript form in the archives of Oaxaca Cathedral, and this performance was probably one of the first anywhere in nearly 200 years, and almost certainly the first in the United States. The performing edition was prepared by ABO's director, Billy Traylor. For those who may not know (most of us), a villancico is a vocal work based on a specific poetical form; it usually consists of a chorus (estribillo) followed by several verses (coplas) and a final repetition of the chorus. Villancicos were extremely popular in Spain and Portugal and their Latin American colonies from the late 15th through 18th Centuries. Some are religious, like this one, but there are many secular villancicos as well. Very little is know of the life of Martinez de la Costa. He was born and trained in Spain, and by 1765 he had become maestro de capilla of Oaxaca Cathedral in the south of Mexico. In 1769 he requested a leave of absence to return to Spain to take care of some of his father's business, and was never heard from again. It is presumed he died while at sea on the voyage home. Now that you know more about villancicos and this unfortunate young Mexican composer than you ever thought you wanted, have a listen to this delightful, quirky little piece. The writing is nothing if not unique and individual. I'll be interested to know what you think. Cheers! https://soundcloud.com/austinbaroqueorchestra/llegad-moradores
  3. Hi y'all! I'm writing this for a contest (not hosted by Young Composers). I'm a band guy by nature, but choral music has always struck a special chord (haha) with me. I've spent several months on this piece, and have made some massive progress in the last few weeks. It's at a point where I would feel comfortable submitting it, but the composer's ear is biased. What do you all think works and doesn't work? For example the aleatoric stuff...? (p.s. all I did was record myself whispering nonsense - hopefully it will sound better as a large ensemble doing it!) Thanks!
  4. media-a8d40b9f.mp3 I'm senior in high school, and I'm becoming more and more interested in composition. I've taken a couple music theory classes, but beyond that, I have no idea what I'm doing. I wrote this for an English project using the text of a poem from Charlotte Bronte's Jane Eyre. I only had 10 days to work on it, so it's far from perfect. But it's something! Poor Orphan Child (1).mid
  5. Hi folks - I was slightly active on this forum from about 2012-2014. Now that I have a little free time, I'm back to share some more music, and it's nice to see so many new members here. Although I've written extensively for all kinds of instrumental ensembles and accompanied voices, I still feel like I'm going by the seat of my pants when writing unaccompanied choir music. This is my 2nd a cappella piece, and there are still some things in it I'm not terribly fond of. In the first half of this piece, I deliberately avoided the lush, homophonic textures that seem to characterize 95% of a cappella choral pieces written today. I tried to create interest in other ways, but I'm not sure it is entirely effective (particularly the transition before letter B... does this break the piece's momentum prematurely? I can't decide). I finally gave in and wrote big, pretty chords in the 2nd half, which I'm actually satisfied with. If anyone has suggestions about making this easier, I'd be happy to hear those as well. Ideally, I'd like this to be singable by intermediate (i.e. decent high school and community) choirs. Thanks for listening! SCORE and AUDIO PS - this mockup is "performed" by Virharmonic Voices of Prague sample library. Word-building choir software is still a long way from sounding realistic, but since I don't have a live recording yet, I figure this is better than MIDI.
  6. Hello all, Here is a 2 part treble composition I wrote for Children's Chorus. The text of "When I Hear Music" was inspired by the elementary school chorus that premiered the work. Their thoughts were filled with words of hope, peace and joy. A unison version of the piece was just performed as well. Thank you all for listening! Very proud of these students!
  7. This is my first time posting on this site! Just looking for some feedback/suggestions on a few pieces. Unfortunately, all I have is a MIDI file for sound, so I suppose that will have to do. Thanks in advance for any comments! P.S. The midi recording has some strange mistakes in it. Most likely because of not wanting to double up on accidentals when different layers in each part share a note.
  8. Hey folks, This is my first attempt at composing for choir. It's obviously not a full-scale piece. It's meant for use as a short prelude. I would love some tips on how to spice up the piano part without disrupting the peaceful nature of the piece. Thanks! P.S. I know you all prefer MP3 to MIDI so sorry about that :/ How Lovely is Thy Dwelling Place MIDI.mid
  9. Olive

    LMB

    Hi, I've never composed before but I decided to give it a try this afternoon. This piece is odd I admit, but I love bizarre 20th century music. It was written based on the town I grew up in. I assigned a specific note to each letter of the town/province I grew up in by random selection and then used it as a continuous motif throughout the entire piece in the soprano line. I then based the rest of the composition on specific elements of my town ie. old French folk songs, the train, the prairie winds, change of seasons, nature, and the emptiness of prairie winters. I hope you enjoy it! *Thank you for your comment. I've temporarily taken down the midi file and will re-upload a file that is more accommodating.
  10. 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.
  11. Hi all, I wanted to share this piece with you all! I wrote this for a local competition for a community choir, and it's the first piece I wrote. I ended up showing it to my college choir director and he programmed it for us last year! I'd really like feedback on how to make this more friendly for high school voices, as it's too easy for college choirs and too difficult for high schools with all of the part splits, but I feel like the piece really relies on the open voiced chords in the climax. Any thoughts on that would be greatly appreciated! My parents recorded it with their iPhone, so the video quality isn't the best, but I figured that voices in any sense would be much better than midi. The piece starts about a minute into the video. Thanks for your thoughts! - Pat
  12. Hi all, In music class we had to compose a two minute Choral Speaking work for three voices and perform it. The following names of our classmates formed the text of the composition: Alex; Alisha; Cilia; Maarten; Simone. In the last measure ''Meneer Rouschop'' appears. This is our music teacher. . . The Dutch name for this composition is: Driestemmig Namenspreekkoor, which means that there are three voices (soprano, alto and bass) speaking names. Because there is no real pitch, when speaking, but there is a difference between low and high, we decided to write high pitches on the high F, normal pitches on the middle B and low pitches on the low E. Rythm and dynamics are the most important elements in this composition, since there is no real pitch. We tried to develop the three main themes that are introduced in the canon-like section. Feedback would be very nice! Maarten Bauer
  13. This is my first official release... What do you guys think? I'm still not sure if it could be called pop/rock/alternative... a friend sudjested "symphonic pop" but is that really a gerne? Anyway... The show went on! Spread the word and hope you enjoy this https://www.youtube.com/watch?v=NdC0Ila2Dqs
  14. Missa in Bb Benedictus.mid Missa in Bb Kyrie.mid Missa in Bb Sanctus.mid
  15. Opus 9, Madrigal no 1, written for SSATB(lyrics : Bright Star by John Keats). Full album cover and more music available here : https://www.reverbnation.com/mademoisellelilaclucrezia Opus 9.mp3
  16. This is a choral composition written for psalm 56.
  17. This a composition based on the latin version of the Wessobrunner Gebet.
  18. A simple choral piece which I was commissioned to write for my school's choral teacher,by whom it was then performed. Unfortunately, I don't have the actual recording, so this is the computerized version. Let me know your thoughts!
  19. This piece of mine was inspired by the lead melody (soprany) which I found in the Book of Evangelical Songs (149th, in Hungarian). I found the meoldy various and expressive, so I made a choral arrangement of it. The performance is available at: https://www.youtube.com/watch?v=n8Q2SE4aAqs The lyrics are in Hungarian, but I'm up to find the English appropriate of it. I think it's some variant of the well-known Oh come Immanuel lyrics but not the same. Hope you like it!
  20. This is one of my earlier choral pieces, created in 2009. It is based on a short text which Jezus Christ said to his students: Peace unto you. I do not give to you as the world gives. Do not let your hearts be troubled and do not be afraid. It is performed, as usual, by the Saint Nicholas choir where I have been singing for 10 years now. :)
  21. Re-uploading this from the archives if it's alright. I have a real recording, and a Sibelius Essentials recording of the piece. The real recording was recorded at my senior recital and there are some technical flaws, but it is still a performance I will never forget. This piece is for Choir and String Orchestra... I put that in the title because, it is more than simply a choir piece with string accompaniment, the choir and the strings are equally important and complement each other. The piece is a religious work, but stylistically it takes a lot of film music influences. The piece is set to text from Psalm 139, my favorite chapter of Scripture, and this is probably the most personal piece I've written so far. Here's a little bit more about the background of this piece (copy/pasted from the comment archives): I wrote the essentials of this piece during the summer of 2011. I'd been tweaking it since then up until April 2013 when I had my senior recital. During the summer of 2011 I was going through a lot of anxiety, and one of the reasons was, I had finished my third year of college as a composition major, and I had basically completed nothing as far as compositions. I was almost booted out of the composition department at the end of the school year because of it, but, after a day my composition professor changed his mind and decided we would give it another try. He had me going back to the basics and was sending me some exercises over the summer, cause I didn't really feel like I knew what I was doing... While all this was going on... I thought to myself that I had always wanted to try to write something set to the text of Psalm 139, my favorite chapter in all of the Bible. So I sat down, and, I thought... I wanted it to start off sounding a bit uncertain... but then when the words come in I want it to sound like coming to peace. And, well I just can't explain it, I started writing the intro and I shocked myself. It was better than anything I had attempted for string ensemble in the past by a lot... and then the "O Lord' ostinato just came to me after the intro closed, and I wrote the music up to "You perceive my thoughts from afar". So I had that much of it done, and I sent it to my composition professor along with the first exercise. He said "forget about the exercises, keep working on this." Enjoy, and please let me know what you think! Choral Fantasy For Choir And String Orchestra - A Meditation On Psalm 139 (c) 2013 Jair W. Crawford
  22. This piece is about the suffering and the passion of Jesus Christ. " Tenebrae (Latin for "shadows" or "darkness") is a Christian religious service celebrated in the Holy Week within Western Christianity, on the evening before or early morning of Monday, Thursday, Good Friday, and Holy Saturday." (Read more at: https://en.wikipedia.org/wiki/Tenebrae) With this composition, I'm trying to let pure emotions lead the melody and the harmonies. The first part is about the suffering, but from the middle part to the last (repeated) canon-like part of the piece, I tried to draw up the salvation.
  23. Regina coeli (Queen of Heaven) is a latin verse and chant for the Easter Holidays. In the spirit of 2016's Easter, I made this composition for regular SATB choir with the following syntax: The sentences of the verse before every "alleluia" are repeated twice. Firstly forte, then piano (as an echo). The "allaluia" parts are trying to follow the same harmonies and structure. I deem this piece as a minimalist-styled choral, because it's simple rhithmics, harmonies, and modesty. Recorded with Garritan Instruments' choir soundbanks.
  24. Cerddorion Vocal Ensemble 2014 Emerging Composers Competition http://cerddorion.org/2014-emerging-composers-competition/ The Cerddorion Vocal Ensemble is pleased to announce its second annual Emerging Composers Competition, designed to foster the creation and performance of new works for mixed chorus. Submission Guidelines Works must be: Scored for SATB a cappella (some divisi acceptable); or Scored for SATB and string quartet; or Scored for SATB and solo violin, viola or cello, or any combination of these instruments Approximately 3-5 minutes in length Unpublished and unperformed Submission of midi realizations is encouraged, but not required. Works will be premiered in March 2014 as part of a program entitled Language of Birds, featuring a piece by the same title for choir and string quartet by Veronika Krausas, as well as Janequin’s Chant des Oiseaux. Some preference may be given to pieces that fit this theme. Eligibility Composers should be in the early stages of their professional careers, without substantial publishing credit, national awards or commissions. There is no age limit.
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