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Some Guy That writes Music

Sequence (Not Finished)

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I'm currently going through a little dry stage in my composition of this piece. I think I started this like a week before the Summer Announcement but never got to finishing it. I'm not sure if I'll do a whole Requiem Mass but RN I'm planning on finishing the Sequence. It's current time is 10 mins. My expectation is for it to be 16 min. 

Feel free to make any suggestions. Even little ones like "m. 32 sounds weird but idk y" anything is really helpful.

The last 10 measures are no where near what the final result should be also. 

 

When Completed the whole Sequence should use the words 

Dies irae, dies illa 
Solvet saeclum in favilla,
Teste David cum Sibylla.

Quantus tremor est futurus
Quando judex est venturus
Cuncta stricte discussurus. 

Tuba mirum spargens sonum
Per sepulcra regionum
Coget omnes ante thronum. 

Mors slopebit et natora
Cum resurget creatura
Judicanti responsura.

Liber scriptus proferetur
In quo totum continetur,
Unde mundus judicetur. 

Judex ergo cum sedebit
Quidquid latet apparebit,
Nil inultum remanebit. 

Quid sum miser tunc dicturus,
Quem patronum togaturus,
Cum vix justus sit securus?

Rex tremendae majestatis,
Qui salvandos salvas gratis,
Salve me, fons pietatis. 

Recordare, Jesu pie,
Quod sum causa tuae viae,
Ne me perdas ilia die. 

Quaerens me sedisti lassus,
Redemisti crucem passus,
Tamus labor non sit cassus. 

Juste judex ultionis
Donum fac remissionis
Ante diem rationis. 

lngemisco tamquam reus,
Culpa rubet vultus meus,
Supplicanti parce, Deus. 

Qui Mariam absolvisti
Et latronem exaudisti,
Mihi quoque spem dedisti.

Preces meae non sum dignae,
Sed tu bonus fac benigne,
Ne perenni cremet igne. 

Inter oves locurn praesta,
Et ab haedis me sequestra,
Statuens in parle dextra. 

Confutatis maledictis
Flammis acribus addictis,
Voca me cum benedictis. 

Oro supplex et acclinis,
Cor contritum quasi cinis,
Gere curam mei finis.

Lacrimosa dies ilia
Qua resurget ex favilla
Judicandus homo reus. 
Huic ergo parce, Deus,
Pie Jesu Domine,
Dona els requiem.

Day of wrath, that day
Will dissolve the earth in ashes
As David and the Sibyl bear witness.

How Great will be the quaking
When the Judge shall come
To judge all things strictly. 

A trumpet, spreading a wondrous sound
Through the graves of all lands,
Will drive mankind before the throne.

Death and Nature shall be astonished
When all creation rises again
To answer to the Judge. 

A book, written in, will be brought forth
In which is contained everything that is,
Out of which the world shall be judged. 

When therefore the Judge takes His seat
Whatever is hidden will reveal itself. 
Nothing will remain unpunished. 

What then shall I say, wretch that I am,
What advocate entreat to speak for me,
When even the righteous may hardly be secure? 

King of great majesty,
Who freely savest the redeemed,
Save me, O fount of goodness. 

Remember, blessed Jesu,
That I am the cause of Thy way,
lest lose me on that day. 

Seeking me Thou didst sit down weary,
Thou didst redeem me, suffering death on the cross. 
Let not such toil be in vain. 

Just and avenging Judge,
Grant remission
Before the day of reckoning. 

I groan like a guilty man. 
Guilt reddens my face. 
Spare a suppliant, O God. 

Thou who didst absolve Mary Magdalene
And didst hearken to the thief,
To me also hast Thou given hope. 

My prayers are not worthy,
But Thou in Thy merciful goodness grant
That I burn not in everlasting fire. 

Place me among Thy sheep
And separate me from the goats,
Setting me on Thy right hand. 

When the accursed have been confounded
And given over to the bitter flames,
Call me with the blessed. 

I pray in supplication on my knees. 
My heart contrite as the dust,
Safeguard my fate. 

Mournful that day
When from the dust shall rise
Guilty man to be judged. 
Therefore spare him, O God. 
Merciful Jesu,
Lord Grant them rest.

Edited by Some Guy That writes Music
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I think this music needs less parts where the instruments double the voices and more counterpoint (liber scriptus...., for example; there are excellent parts in counterpoint).

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2 hours ago, Luis Hernández said:

I think this music needs less parts where the instruments double the voices and more counterpoint (liber scriptus...., for example; there are excellent parts in counterpoint).

 

I hadn’t even noticed how much I did that. It’s probably because I don’t know what to do on the intense parts that require counterpoint. For example later in the piece at the recordare (m. 255) I don’t quite know how to add parts that make the other parts more interesting, while also making the total sound very intense. Like what I wanted was ‘yo Jesus, I know I have  forsaken you and now you’re crucified and scraggy, and I’m sorry’ and that moment I wanted every word to be important. How do I use counter point in while maintaining the intense fear that’s I’m trying to create.

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Well, I don't know about your skills in counterpoint.

First, one has to learn to write counterpoint with just two voices and then increase the level.

Not all the instruments have to make different melodic lines, but there is no sense in having so many instruments that play the same. In that case you would add volume and, perhaps, color, but not dramatic interest. In fact, a true counterpoint is very nice but it would add interest that the instruments were self-sufficient, not only going with the voices.

The "vertical" or choral style is good, but for so long is tiring.

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8 minutes ago, Luis Hernández said:

Well, I don't know about your skills in counterpoint.

First, one has to learn to write counterpoint with just two voices and then increase the level.

Not all the instruments have to make different melodic lines, but there is no sense in having so many instruments that play the same. In that case you would add volume and, perhaps, color, but not dramatic interest. In fact, a true counterpoint is very nice but it would add interest that the instruments were self-sufficient, not only going with the voices.

The "vertical" or choral style is good, but for so long is tiring.

 

I think what aim gonna do is look at what some other composers did for counter point. I’m a singer first, and I usually get over focused on the words. And forget about so much how it sounds. But what they’re saying. And it often leaves me trapped in this homophonic music throughout. 

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Take a look at the confutatis. In the first page you see: tenors an bass voices in canon, organ and strings with other different line, and in the upper part of the score, other rhythmic patterns.

 

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