TTBB a capella arrangement...

So here is a TTBB arrangement I've written about 20 bars of, in the style of famous composer Randall Thomson, it is reminiscent of the ttbb arrangement of the pasture. any suggestions on further musical additions, as well as source lyrics would be greatly appreciated.

~Rob

TTBB @100.MUS

may I make two comments?

first: I would discourage you from writing music BEFORE finding a text to set. I am a fervent believe in the music serving the text, and not the other way 'round.

second: the "first tenor" part is set much too high. Most men's choruses will never have a 1st tenor section capable of singing C sharps, and the overal "lay " of that part is just too extreme.

recommmendation: Find a text to set FIRST and foremost. Write the music to SERVE that text.

Trust me, Randal Thomson did not start with the music and fit the text onto it afterwards.

If you have the ability to write some decent lyrics, starting with the music isnt all bad. But, if you plan on finding previously written music, I totally agree with Qccowboy.

Just a couple quick things. First of all: Your base line. Its ok to have it drift from the root occasionally (more than that if you really know what your doing), but you hardly ever establish that basis of each chord. The bass line is key. Its not simply a low harmony, it keeps the piece together. Dont be afraid to use successive leaps in the bass; the low male vocal chords are large and loose which makes it easier to hit leaps than for most voices. Keep it on the root for now (as much as possible) or at least a tone to support the upper voices.

I also noticed a few incomplete chords. Basically, you can do without the third occasionally (but try to keep it in as it sets the quality of the chord), but you can almost NEVER get away with leaving out the fifth. For example: Measure 2, first chord: You have written an A major chord in two octaves with no fifth in either. Not only is this hard to tune, it will sound out of balance. The solution: simply move the baritone part up to the E. This fills in the missing fifth, leaves the root still doubling between the basses and the second tenors and removes the over emphasis you have on the third. I a nutshell: The root is the most important note, if you have to double (which, without 7ths and clustering, you'll have to do in 4 part harmony) double the root first if possible. If not possible, or if a second doubled note is needed, your second option is to double the fifth. If neither the fifth nor the root can be doubled (while keeping to proper voice leading), change your music so that you can. Doubling the third (or seventh) is bad (unless you REALLY know what you're doing.....for now, just dont do it).

Thats all for now. Let me know if you have any questions. I started composing in choral music, and it is definitely one of my best fields. Keep it up!

Basically, you can do without the third occasionally (but try to keep it in as it sets the quality of the chord), but you can almost NEVER get away with leaving out the fifth.

If we're talking about traditional four-part writing (which we ought to be), then, really, no. Although doubling thirds is rarely desirable, open fifths are not better. Fux, for instance, while often doubling the third, allows pretty much no empty fifths (except on the final note) in writing in more than two parts.

Yeah, eldkatt is totally correct. That came out wrong on my part. I simply meant doubling a root and a fifth is better than doubling a root and a third. In a single octave it is a different story.