Be Still My Soul

Hello everybody!

This is my super, duper, first post to this forum.

Guys ... I hate to say this, but, I'm like totally illiterate when it comes to music theory ... Well, in the sense of the level of music theory. I have the concept. I'm a primarily a piano player and thought I would take a stab at starting to arrange for my choir at church.

So ... here is "Be Still My Soul" ...

I know the dynamic markings are probably in the wrong spot, and Lord knows all the other things ... But, I'm primarily concerned with the actual "harmonies".

If you ask me "What kind of sound are you going for?" I honestly couldn't tell you... Only what was going through my brain at the time.

I know there are rules and guidelins. One particular guideline I was trying to adhere to was NOT allowing any part to criss cross ... For example, alto going above soprano and vice versa ...

So ... here tis ... IF you like it, feel free to use it in your own church ... But I sure would love to hear from those who write for choirs.... and it's definitely cool if you tell me "Uhhhhh, don't quit your day job...." I'm totally okay with that ....

Be Still My Soul.pdf

Well, there are rules to part writing - particularly for Chorale works. Allowing voices to cross is allowable given the roles and ranges of the voices are observed. I have seen choral parts where the altos rise above the soprano and others where the Tenor is higher than the Soprano and Alto. This can be done with great effect. The only thing to observe there is that the crossover is supported properly (in other words, if the alto's take over the melodic line for a brief period something has to support it). With that said, is there any way you can post us a sound file of this work?

EDIT: Tenore parts need to be written in Treble Clef. Most notation programs have the correct clef for the Tenore - and select it as a default when you select that voice from the list. For reference, though, the Tenore clef is the one that has the 8 at the bottom of the clef (next to the tail, below the stave).

Edited November 25, 200916 yr by jawoodruff

WOW!!!! That was fast!

The only reason I put the tenor in the bass clef is because my choir is used to it that way .... I don't get it because they don't read music ... BUT, yes, Finale inserts that Tenor clef. I will start using it.

I "can" upload a sound file tonight. I'm at work, at the moment. But, I should have done that, and didn't ... I apologize. Will take care of that tonight OR this afternoon IF I get out of work early.

What you said about "cross over" makes sense ... Thank you so much!

It sounds nice. Yes, a tenor clef would be more standard. I have a few technical observations.

-The second chord is a dominant 7th. It should really include the mediant (E), since usually, the whole purpose of this chord is the dissonant tritone between E and Bb, which resolves in to the F and A of the tonic chord. Also, it is standard practice to include the mediant of EVERY chord, since we need to know if it is major or minor.

-Often on this board I point out when people have used second inversion chords 'incorrectly', but you've done it exacly right (in bar 2), so that shows good familiarity with the style - but the one in bar 3 is a it bit more questionable (but sounds good, so who cares?). Same is true of bar 9

-I don't like the 3rd chord of bar 3 - it's not really in keeping with the style.

-In bar 10 there is a very large gap between the Tenor and Alto. Usually students are told to keep the gaps between voices an octave or less (except the Bass, which may be quite far below the Tenor).

Well I stopped analysing there since I'm never sure if this is the kind of responce people are after. As always its fine to ignore the rules if you have a your reasons.

Keep up the good work.

Are you kidding?????? That's EXACTLY what I'm after! EXACTLY!!!! YES!!!!! Thank you so much!!! It gives me foundation of how to approach the changes, in order to bring it closer being pleasing to the palet....

Thanks again!

Tim

Lol. In that case I'll continue:

-I'm sure you have heard of the rule against consecutive 5ths and 8ves, since you seem to have avoided them. Consecutive unisons are also not allowed (they are kind of like 8ves) - I'm talking about bars 1,5 and 15. If the alto sang F instead of A, then she could move down to E (solving the other problem I mentioned). Singing in thirds (in this case with the Soprano) for a short time is very common in this music. For too long and it disrupts the independence of the parts (like consec. 5ths), but for a short time, it sounds nice.

-An important rule, is that, the leading note, in this case E, must always rise to the tonic. It is very important for confirming the key we are in. If you change key, the leading note changes, of course. (as always there are a few special exceptions to this rule).

-In bar 13, the diminished 5th between E and Bb should 'resolve inwards'. In otherwords, Bb should descent so A. I'm not sure how much of a RULE this is, perhaps someone else could clarify. But it sounds better.

-I detect a little modulation to C in bars 11-12. You should play through some hymns on the piano to see how they treat modulation (in a 'form' sense). Often the first line will be the tonic, the second line will modulate from tonic to dominant (ending with a perfect cadence in the dominant), the third line will modulate to a more adventurous key, perhaps subdominant or relative minor of the tonic, then the fourth/last line modulates back to the tonic, with a convincing perfect cadence). Just pick up any Anglican hymn book. I would also suggest Bach's 137 chorales, but they are much more difficult to play (and compose).

Well I think there is enough to be looking at there. I have to say well done! The number of rules that you seem to have picked up subconsciously is impressive.

Thank you thank you thank you thank you! Quite a bit of stuff you talk about are going over my head for the moment... but, I am familiar with the terms ... just not so familiar with applying them in this arena of arranging ... so I have to print out the music, and then read your comments and examine while looking and reading ... perhaps it will make more sense to me.

Thanks again!