Requiem - Introitus and Kyrie

A retooled version of the Introitus and Kyrie I posted a few weeks back. I'm still working on integrating the text into the music.There's a fairly long (perhaps too long) instrumental opening followed by the Introitus in C minor. Then there's a brief string transition to the Kyrie which is in G.I've struggled with this piece for quite awhile, so any criticisms are welcome.

Requiem - Introitus and Kyrie

A retooled version of the Introitus and Kyrie I posted a few weeks back. I'm still working on integrating the text into the music.

There's a fairly long (perhaps too long) instrumental opening followed by the Introitus in C minor. Then there's a brief string transition to the Kyrie which is in G.

I've struggled with this piece for quite awhile, so any criticisms are welcome.

Requiem - Introitus and Kyrie

I think you've done a wonderful job with this piece! I like the theme, however, I believe it wouldn't fit as a piece for a requiem (IMO). I get more of a feeling of the God Pan (Roman Mythology), rather than the Christian God. This piece reminds me of a forest, streams, birds and deer and the morning dew. I don't acquire an omniscient, or omnipotent feeling.

It's still a good piece. It could use more development in each of the variations on the theme (they seem to repetitive at certain points of the piece, e.g. the opening strings), but after more work, I think it'd be ready for a performance. Good job! :D

I quite like this in terms of the orchestration and the way the chords progress and how they're voiced.

I think that you do maybe wait a bit too long to introduce the choir into it. Though the introduction is very interesting when following the score, people listening in the concert hall may get a little bored waiting for the choir to come in.

Overall though, it's very nice. Good job!

Thanks for the input!

I'm not sure what to do about the opening.... I like it overall, but I agree it's probably too long and feels a little out of place. Perhaps in later movements, I'll reuse some of the themes, to give a more global coherence to it.

Good orchestration with romantic character, well done.

But the coral is very extreme, high notes of the sopranos are for the treble and tired of this human. The contralto you should bring it into the treble clef. The key is used to do or Renaissance instrumental music, but human voices the key of C is in disuse.

Soprano for your convenience should sing among the note E in front of pentragrama and A above the staff. If you wish to use other notes, should be casual.

For the Tenor is equal to the soprano, but in eighth floor.

In the alto in the treble clef, note A below the staff for additional online, and to the note D in the fourth line of the staff.

For men low voices (bass clef) an E below the staff and a D above the staff.

For solo voices is more likely because they use more technical resources and have more freedom to sing.

Greetings comrade!