Kyrie (SATB)

Hi,

I hope this helps. From a point of view of a choir director, although the piece is theoretically good in terms of harmony, modulations and contrast, some areas pertaining to voices, cues, tessitura and other choral and technical matters are somehow overlooked.

On m.9, on the entrance of the soprano melody on the D natural, this would create an intonation problem because the impression of the D# that has been sounding from the measures prior to it. One can assume that the C# on the organ part will help to secure intonation by acting as a leading tone; however, it is not on the rhythmically strong position to assert and make an impression that it is leading to the D natural of m.9, soprano.

Is the Bass and tenor moving in parallel octave from E-Dd intentional? In my opinion, the E-Dd-D natural will create a wrong tonal impression. Normally, the singers will assume that it will resolved to a lower note, but in your case, it went upward to D natural on the tenor area.

On the same area, the bass leap to a rather hard interval on the same direction. Normally, though not always, it is wise to balance the interval after the leap to help the singer secure a much stable intonation. But here, that the bass continued another step downward on the same direction; thereby making this area difficult to pitch. My suggestion is that, you may want to add another pitch to lessen the leap. Or you may change the Dd tenor to C# to lead it nicely to the D natural; however, you will have to respell the Dd chord.

On page for, second system, on the bass entry, solo. It would be very difficult to sing the interval from the D# to the Bb. On page 5, the soprano enters on B natural, how are they going to get their pitch? Same thing on the Tutti section, the bass in B natural, the organ melody does not give any hint for the entry of the B major chord.

On the second kyrie, tutti section, I suggest you put a natural sign to give precaution to the performer that the sharp is no longer in effect. Although conventionally, the accidental looses it effect after the bar line, it is also wise to give precaution to give a much secured performance.

On the same system, the soprano, tenor and bass moved in parallel octave from E-D#, thereby mitigating the effect of the independence of the voices.

On page.6, system 1, the first kyrie eleison could be mistaken to christe eleison because it was said a number of times before the entry. Why, because at this part of the voice, diction actually suffers. This text is not understandable. If you are going to examine some Mozart masses, he reiterated the text a number of times before singing it is the highers tessitura so that the listener will not have trouble figuring out what the text is since it is already given a number of times.

On the second kyrie, the downward leap into the dissonance B natural is dangerous. Where will the voices get their pitch? there are no cues for them.

Just a suggestion, please do include measure numbers on your score as it makes analyzing more easier.

Hope this helps

TheusII

I changed some things, some intervals are better to sing and the organ pedal and left hand is higher. Thank you all for advice!

Kyrie

Kyrie.MUS

Kyrie.pdf

Kyrie.MID