Fire and Ice (Revised!)

A short composition for a short poem - Robert Frost's Fire and Ice set to SATB chorus. Still some tweaking I guess but for the most part this is the big idea. Go ahead and tear me a new one when commenting, I'd like a wide range of opinions on what to change in the piece if anything. Two things though: I couldn't make lyrics go above the staff and below the staff for the two divisis (like in the bass around m. 24 or so) but I know I'm supposed to, and yes there are parallel 5ths - they are completely intentional and functional and most importantly not changing.

So have at it like a pack of rabid wolves if you please.

EDIT: I've taken all the commentary into consideration and revised the piece thusly. A lot of it is unchanged, and yet again some parts were totally reworked. Huzzah! Score and finale audio added below:

Original: Box.net - Free Online File Storage, Internet File Sharing, Online Storage, Access Documents & Files Anywhere, Backup Data, Send Files

Revised: fireandicerev.mp3 - File Shared from Box.net - Free Online File Storage

fireandice.pdf

fireandicerev.pdf

I've seen this text, and loved it, thought about setting it, not anymore! :)

I really really loved this piece. I think the chords were fabulous, and the dissonances were strategically placed in the perfect spots. This interpretation to is really quite good. Like I said i really liked it. Would love to hear it live.

Only thing I might reconsider would be mes. 12 It felt a little heavy with that bass split.

Overall very very well done!! Thank you.

Just to comment on your ranges there, I'm really really not sure if having the bass section sing those Fs and the E(!) there near the end is such a good idea. I mean, same with the soprano singing in various parts a middle C.

That stuff isn't that recommendable unless you have a soloist choir, and even then it doesn't seem you had any real reasons for writing such extreme ranges. Same with the divisi in various parts, you have to write it as if it were 2 voices too (as you would counterpoint) rather than chord-like. But technicalities aside, a divisi in a choir thins out the voices so if you were intending to have it "fill up" the harmony you don't really need to do that unless your chords have more than 4 notes.

E2, F2, and C4 shouldn't be unreasonable for those voices. Well, MAYBE E2, but a bass should be able to hit F2 no problem.

mmm, i dont like it, sorry, is borring...

but why - that comment doesn't help me in the least

Wow, great job on this. The only thing I would be aware of in this context is cheeseyness. When you have everyone land on " is also Great!" its going to sound pretty funny to most audiences. You've got to remember the meaning of the text is not pretty and couragous it is dark and horrible and most of the music fits beutifully except for that part. I don't know if the uplifting chord at the end fits it either.

I'm not horribly familiar with the literature, but please look into this because it might not be good for you if you have this played and some elderly lady with an umbrella decides to clober you over the head.:D

On thing you might consider is altering the timing out of 4/4 and 2/4 to make it feel more organic with the holds and just place fermata's on them.

Most importantly though I would like to congratulate you for your work on this beautiful piece of music. The sus chords chill me to the bone in a wonderful way.

If I may make one more suggestion? Do more great work like this.

I shall take this into the deepest consideration

Your ranges are fine. A middle C is no problem for a soprano at all.

E2, F2, and C4 shouldn't be unreasonable for those voices. Well, MAYBE E2, but a bass should be able to hit F2 no problem.

I'm 16 and I can sing an Eb 2, and my friend he's 16 and can sing lower than me and I don't mean growl I mean beautiful note.

EXACTLY

I liked it a lot, especially the climax of the song. I think that your audience will have shivers if you ever had this preformed.

I have revised this piece - new version is linked to in the original post

I like the new version. The "also" part works so much better now. Mes. 12 still feels heavy but its growing on me. Suffice, should be seperated like this: suf-fice because as a singer im not going to sind suff-ice you sing suuuuf-fiiice. One little thing I missed before.

Very nice.

I really really enjoy this. I can understand your criticisms about my works more by listening to your pieces. I think we have a lot in common musically, although you are by far more comfortable with the use of dissonance...I'm still working on incorporating more dissonance into my music. When I first started composing I tried to do everything entirely within the confines of a particular key (no added tones whatsoever) as I compose more I feel more comfortable moving outside of that narrow scope, but sometimes I am still rather sucked into it. But bravo on the work you've done here...it's very haunting and I love the poetry selection.

Thanks - and check out all my other pieces!

By the way, regarding altered tones, I find lowering the 7th and building a major triad on it adds a nice weight to whatever note you do it to. Just a thought. I guess a more general way to say it would be, "certain altered tones carry certain feelings with them"

I liked it a lot. I think it'd sound much better with a live recording and some more contrasting dynamics.

If you get this played live make sure they take dynamics to the extreme. It'll really bring out your climax.

Dev

I am not a big fan of choral pieces, but this does show that you have talent. I do hope you get this performed and then post a recording of it.

Ron

This is very very nice! I actually registered immediately after I listened to this just to comment.

And... at that range comment... I'm a tenor, and even I can hit that low E.