There Will Be Rest

A song that I wrote for my Fiancee. SATB a Capella, Poem - There Will Be Rest by Sara TeasdaleThere Will Be Rest

You have some amazing chords in this piece! I love the voicing of the AM9 chord in measure 16. I think my only issue with this piece is the constant shifting and inverting within a single chord. This is not inherently wrong to do per se, but it will dampen some feeling of movement and motion. The fact that you specifically ask for movement at the beginning of the piece seems rather ambiguous when you then write it in a way that restricts that movement.

Don't get me wrong though, I really enjoyed the piece. I was concerned with a few voice crossing/overlap issues in a few places, but they grew on me. I assume you knew what you were doing and purposefully included these elements for balance and a certain sound (if it was an accident however, please remove them immediately :)

Great job on this though! I really liked it. Thanks a lot!

The file won't play for me. :( Forever buffering...

Thank you, pianoman216. I honestly appreciate the feedback, very much. I response to your comments. Yes, I do use a lot of shifting and inverting within a single chord. Now, it is hard to hear with this electronic recording, but when being performed by a live choir, there is movement occurring. The shifting (with live voices) creates an air of movement in the same harmonic sound blocks, kinda similar to what you might hear in a New Age electronic soundscape. About the crossing/overlap issue, yes they are in there for a reason, actually, for two reasons. First, again with live voices, the sounds of the notes are not as balanced as you hear in this electronic recording, so the sounds which are being sung and the notes that are written is not the same as what the audience hears and experiences. Secondly, each line and voice of this piece was written independently of the others, so each line is it's own "melody", you could say. So when I wrote the piece all of those notes a just the natural flow of each melody as I heard it in my head. The fact that each vocal line is crafted that way makes the performance of the song a lot more enjoyable for the singers, especially the altos and basses. If you can sing, one of the moderators of this forum created a thread for me on putting together a virtual choir to do the World Premiere Performance of this piece on youtube. several of the moderators and members have already volunteered. If you are interested, we would love to have you.

I had the same problem as Peter_W. I went ahead and played it out on my piano so I never heard you're midi version (and we all hate crappy renderings of our pieces...few things frustrate me more). I also sang through each part and I noticed what you were saying about each part being somewhat independent. And I appreciate the fact that you understand how written music translates to a live performance. It is very clear from your writing that you didn't just sit down, drop in some random notes and move them up and down until it sounded good on the computer (one of the biggest mistakes I see in unpublished composers...and the biggest reason they stay unpublished).

I think one of the best ways to make a piece sound good is to make each part enjoyable for the performer. It can be simple and theoretically perfect, but if its boring you will loose pitch constantly. On the other hand if it breaks every "rule" in the book, but its fun, it will land right where you want it. I really enjoyed singing through each part and would love to help out on a virtual performance of the piece. Keep me posted!

The file won't play for me. :( Forever buffering...

me too :hmmm:

here, guys. here is an alternative link it should download faster.

There Will Be Rest.wav

Thanks again, painoman216, for your eloquently phrased thoughts. you really should hear the record for the second download link I've posted. while a completely agree with you, wholeheartedly about midi renderings of pieces, this recording is from my sibelius 6 notation program which simulates real voices. Although it is not perfect of course (there are still many nuances in both rhythm and dynamic that I cannot capture with software and there are no words, just ahs), the recording does do a pretty decent job of capturing some of aspects of a live performance. I think if you hear it, you might be able to imagine what I'm talking about. I see, some of those crossings/overlaps are designed to make the chords on certain words......"shimmer or sparkle" ....I guess, is the best way that I can describe it.

I also appreciate your ability to see how the lines for each voice are indeed independent,...well, I think that "somewhat" independent, as you said, is probably more accurate. There is a certain cohesion that has to be maintained. Otherwise, a work is "no fun" to listen to or sing. Singers have a particular thing about dissonance. Certain types at certain times is like a drug to them, lol, you know, they get all HIGH ON IT. However, other types at other times is like rotten meat or oysters; It makes them sick to their stomachs. And I mean this literally. I've seen it!

here, guys. here is an alternative link it should download faster.

There Will Be Rest.wav

Not that I don't trust you, but is there any chance you can download a free wav->mp3 converter and convert this sucker to a smaller size? Google doesn't scan files that large for viruses.

I'm just a bundle of needs sometimes. I'm interested in hearing this and my piano chops are far from good enough to play an SATB score preview.

I think if you hear it, you might be able to imagine what I'm talking about.

I can imagine that already...I've been doing that for years :)

Singers have a particular thing about dissonance. Certain types at certain times is like a drug to them, lol, you know, they get all HIGH ON IT. However, other types at other times is like rotten meat or oysters; It makes them sick to their stomachs. And I mean this literally. I've seen it!

You know, that is probably the best description of dissonance I've ever heard! Though I think the drug reference covers it all. Some people have less tolerance for that sort of thing and any kind of drug makes them sick, others are straight up addicted to the high. I for one am addicted to dissonance...It is more vital to my life that breathing :)

Not that I don't trust you, but is there any chance you can download a free wav->mp3 converter and convert this sucker to a smaller size? Google doesn't scan files that large for viruses.

I'm just a bundle of needs sometimes. I'm interested in hearing this and my piano chops are far from good enough to play an SATB score preview.

I just downloaded it and didn't get a virus...I think you're good :)

I cant seem to hear it either. Darn technological Flaws! Well, hopefully they will go away soon because i would love to hear this piece. It sounds wonderful!!

NT, consider this my Christmas gift to you. :lol: I fixed your upload. Converted it to an mp3 and it's fine.

Okay, listened once for overall, ignored text setting (will do that next).

1st of all, I hope you don't intend to take this piece that briskly in your real life rendering. 2ndly, why on earth did you put this in the Jazz font??

I like the major 2nd 'crunches' and wrong bass notes that you put in. I have a feeling that this overall sound that's so hip won't be in vogue for too terribly much longer (I actually feel it started to slip a few years ago), but it's still in right now.

I have to point out, though, that you basically stole Lux Arumque and Sleep from Eric Whitacre with this setting. :P What I think you missed of his sound is his use of minor 2nd crunches that don't resolve (you have a few that resolve, and it's not the same). I think that's something you will want to consider adding to your bag of tricks when writing in this style.

It's an atmostpheric piece that I feel maintains interest even though the harmonies are pretty basic and don't go many places. I feel exactly what you're doing. It's not adventurous, but it works. I could use more contrapuntal lines. You start doing a little of it here and there and I was like "Hey, that's cool" and then it immediately dissolves back into homophony.

Text setting:

1-put in your slurs.

2-got a lotta arguments between accented and naturally accented syllables here. =/ I'm not digging most of your choices on the introduction of just about every line. But there's not much you can do about it at this point. For future reference, especially when you introduce a set of words for the first time, they really should sound natural. When you go expanding on the music with repeated lyrics, it feels better to move it around because at that point it's about the NOTES not the lyrics.

My opinion.

Thanks for sharing!

-Peter

NT, consider this my Christmas gift to you. :lol: I fixed your upload. Converted it to an mp3 and it's fine.

Okay, listened once for overall, ignored text setting (will do that next).

1st of all, I hope you don't intend to take this piece that briskly in your real life rendering. 2ndly, why on earth did you put this in the Jazz font??

I like the major 2nd 'crunches' and wrong bass notes that you put in. I have a feeling that this overall sound that's so hip won't be in vogue for too terribly much longer (I actually feel it started to slip a few years ago), but it's still in right now.

I have to point out, though, that you basically stole Lux Arumque and Sleep from Eric Whitacre with this setting. :P What I think you missed of his sound is his use of minor 2nd crunches that don't resolve (you have a few that resolve, and it's not the same). I think that's something you will want to consider adding to your bag of tricks when writing in this style.

It's an atmostpheric piece that I feel maintains interest even though the harmonies are pretty basic and don't go many places. I feel exactly what you're doing. It's not adventurous, but it works. I could use more contrapuntal lines. You start doing a little of it here and there and I was like "Hey, that's cool" and then it immediately dissolves back into homophony.

Text setting:

1-put in your slurs.

2-got a lotta arguments between accented and naturally accented syllables here. =/ I'm not digging most of your choices on the introduction of just about every line. But there's not much you can do about it at this point. For future reference, especially when you introduce a set of words for the first time, they really should sound natural. When you go expanding on the music with repeated lyrics, it feels better to move it around because at that point it's about the NOTES not the lyrics.

My opinion.

Thanks for sharing!

-Peter

But seriously, tell me how you really feel about it. :lol: J/K. Honestly, I sincerely appreciate your taking the time to respond. I did find one or two of the things that you said to helpful and for that, I thank you. However, respectfully, there are a few things you have stated that I do take issue with. Politely, of course. First of all, "STOLE"?!?!? I assume that you are referring to measures 96-102. Yes, they are "somewhat" a paraphrase of Eric. The help, guidance, and inspiration through the many correspondence between Eric and myself, years ago when I was just 17 yrs. old and the talks about music and composition we sat and had have left a major impact upon me and my writing, still to this day. So, I don't think "STOLE" is the correct term. Also, while, as I've said, his advise and music have been an influence upon my own flavor of writing, my "style of writing" is and always will be my own. (And believe me, I was writing major 2nds long before I met Eric).

I am guessing that you are not a choral 'singer'. Are you, Peter? I mean no offense by that statement. It's just the 'beauty' of this piece with all its harmonies that "are pretty basic and don't go many places" is that it is fun and enjoyable for the singers to sing. Especially for the basses and altos, who normally almost never get anything close to a melody line to sing. Some of the best and timeless songs are ones that are simple. In addition, I don't really write from a structural standpoint. I literally just focus on crafting each line of each voice as its own somewhat independent melody. Look, I took one course in music theory a long time ago and I got a C- in it. I don't care about the "rules" which, btw, according to Arnold Schönberg, where it comes to harmony in this century, there are none. I wrote this piece in about 48 hours. I wrote it to express something to someone that I deeply love. If feeling comes across at all, that is all that matters. And, well, I just kinda like jazz font. That's all.

With this piece, as with every I think: If you dig, then you dig. If you don't, then you don't. All I do is transcribe what I hear coming through my head, I don't even create the music. I just transcribe.

Again, I do want to let you know that I deeply appreciate the time that you have taken to listen to the piece and comment. All things are taken into consideration.

Regards,

J. Glenn Wright

J:

Cheers! :) You've done no less than I could expect of you. In the end, it's your piece. My feedback is just that: feedback.

But allow me to clarify a few things. Firstly, I didn't mean "stole" in the literal sense. Haha. The flow and feel of it is extremely reminiscent many of his works is what I meant by it. What drove the similarity home was the ending. ;) But you're right, this by far isn't a style copy and I didn't mean to suggest it was. It just happens to sound a lot like him.

Also, I am not a singer, but I have sung in academic choirs (back when I cared, I was a French baritone). I understand that this kind of thing is fun for singers to do. But there comes a point also where you have to submit not only to the singers but to exploration of the music. It's okay that this piece isn't too adventurous! I simply made the comment that it is. No value judgment in that statement.

All I do is transcribe what I hear coming through my head, I don't even create the music. I just transcribe.

:cool: Cool.

But there's also a place for exploration. This piece isn't it. But if you only write what you know now, you'll never grow. True in composition, true in life.

Anyway, you take care. And as I said, thanks for sharing. I look forward to the real life rendition!

-Peter

It is very clear from your writing that you didn't just sit down, drop in some random notes and move them up and down until it sounded good on the computer (one of the biggest mistakes I see in unpublished composers...and the biggest reason they stay unpublished).

I think one of the best ways to make a piece sound good is to make each part enjoyable for the performer. It can be simple and theoretically perfect, but if its boring you will loose pitch constantly. On the other hand if it breaks every "rule" in the book, but its fun, it will land right where you want it.

Quote word for word

Frank

Nice work, NT. I hear a lot of Whitacre in your style of writing. But, having read some of your later post, you apparently studied with him or were mentored or personally knew, so, I suppose that it to be expected. Still, you clearly do have your own style, that does come across. I really enjoyed the piece. Can't wait to see what you write.

-John :cool:

This reminds me of something Eric Whitacre would write.

This reminds me of something Eric Whitacre would write.

Hi, Dustin! thanx for the comment. Eric is actually a friend of mine, though recently we haven't kept in touch. Back when I was about 18 years old and just starting to compose, I sent him an email and ended up having a long correspondence and then many sit-down talks about composing music. His teaching and guidance and suggestions have been a profound influence on my musical style, so I suppose there are certain musical elements that he taught me that do contain some of his sound and style.

I like this song a lot. What I don't like is the way you flaunt your relationship with Whitacre. I mean it's cool that you guys met and everything, but making such a big deal about it makes you come off as a bit pretentious. Just a thought. Anyway, I think this is a really nice piece and I'd love to see more of your work! I mean if Whitacre did say that he was "deeply and profoundly moved by your utter passion to compose and evolve," then you must have tons of other wonderful pieces.

--Miggy Torres

I like this song a lot. What I don't like is the way you flaunt your relationship with Whitacre. I mean it's cool that you guys met and everything, but making such a big deal about it makes you come off as a bit pretentious. Just a thought. Anyway, I think this is a really nice piece and I'd love to see more of your work! <img src="http://network.youngcomposers.com/elgg/ipb/public/style_emoticons/default/biggrin.gif" alt=":D" /> I mean if Whitacre did say that he was "deeply and profoundly moved by your utter passion to compose and evolve," then you must have tons of other wonderful pieces.

--Miggy Torres

Thanx for the comment, miggy. I deeply appreciate and value your input and opinion. I want to be clear that I neither had nor have any intention of trying to 'flaunt' anything. I did mention some things about my personal relationships and my past because I thought it was relevant to my response to the comments posted. I do however, (reading back through all my posts) see how some of my posts could be seen as an attempt to 'flaunt' my personal connections and for that I apologize to you and to anyone in this forum who has read and interpet my posts that way. Nothing could be further from the truth. I hope I have been able to clear up any misunderstanding.

Warmest Personal Regards,

Joel Glenn Wright

Oh, come on. :P There's a thing called "name dropping," and that was it. It was certainly not flaunting. If you want to be a professional in the realm of the arts, you gotta get good at name dropping.

You're good, Joel.

Thanx for the comment, miggy. I deeply appreciate and value your input and opinion. I want to be clear that I neither had nor have any intention of trying to 'flaunt' anything. I did mention some things about my personal relationships and my past because I thought it was relevant to my response to the comments posted. I do however, (reading back through all my posts) see how some of my posts could be seen as an attempt to 'flaunt' my personal connections and for that I apologize to you and to anyone in this forum who has read and interpet my posts that way. Nothing could be further from the truth. I hope I have been able to clear up any misunderstanding.

Warmest Personal Regards,

Joel Glenn Wright

Oh, come on. :P There's a thing called "name dropping," and that was it. It was certainly not flaunting. If you want to be a professional in the realm of the arts, you gotta get good at name dropping.

You're good, Joel.

Alright. It's cool, it's cool, lol. If you wanna name-drop who am i to stop you? just be careful not to do it too much, or be to "buttery" with it, haha. anyway, as i said before, the song's pretty beast, cant wait to see more of your pieces. esp. choral stuff.