November 7, 201015 yr This piece is the second movement of my Requiem. I just started the this movement about week ago as I was nearing the completion of the Introit (which is still unfinished). I caught some mad inspiration and was able to complete the Kyrie pretty quickly. This work is programatic in that it tells the story of a person searching for God (think Pilgrims Progress). In each movement I am trying capture moments of spiritual revelation that happen along a spiritual journey. In a way this piece is autobiographical of my own spiritual walk as a Christian. For the Kyrie I am hoping to capture the essence of person in reverent worship of God. The words "Lord have mercy Christ have mercy" are given many different melodic and harmonic treatments to capture the different moods that may occur in worship. The piece starts off quietly and moves slowly to represent a humble person making their first faint cries to God. The Kyrie unfolds slowly and as the piece progresses the cries grow bolder and louder until the piece hits it climax on the word Christe. This was done very purposefully to show Christ as the lord of mercy. The music immediately dies down and only builds up again on the last Kyrie where the piece's only non-diatonic chord highlights one last plea for mercy. Well I hope you can enjoy this piece no matter what your religious views are. Please leave a comment or a criticism! I need feedback!! Kyrie Kyrie
November 12, 201015 yr Okay, a disclaimer. I know my theory, but I am not really a natural when it comes to traditional Western harmony, which this piece seems to be grounded in. So I don't have much to say in criticism without killing myself analyzing it measure by measure. I will say, though, that while your parts tend to be in fairly good standing as far as similar vs. contrary motion, there are a few instances where the part writing isn't sound, a couple of direct 5ths/8ves? and quite a few instances of parallel octaves, particularly when you split into full 8 voices. Your harmonic language is 'dissonant' enough to keep from having to resort to doubling octaves or jumping in parallel motion of any sort, so I'd suggest not doing so. Also. I'm not Catholic, but from what I understand, I'm sure you're aware that the Kyrie is traditionally in ABA form, A-Kyrie, B-Christie, A-Kyrie. What I see is AAB form. ?? It's quite noticeable and a little awkward to me to have two consecutive instances of the primary music and then finishing out with a significantly different sound. Any particular reason for this? On the positive side, I love your treatment of suspensions and ritardations. Some of them last a deliciously long time until their resolution. Very expressive as a whole. Thanks for sharing! -Peter
November 15, 201015 yr Author Thanks for the reply! Most of the octave doublings were done intentionally for voice spacing purposes. Although there probably is a few that may be mistakes. Otherwise I am not too concerned with them. As for the form it was not my intention was not to have it in ABA AAB or any particular form. I see this piece in two halves the build up to measure 26 and the calm quieter music that follows, and each point in between is meant to express certain emotional qualities. My approach to form with this piece is much more Wagnerian in style than traditional. Thanks again for the critique!
