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Let Me Hear of Your Loving-Kindness in the Morning


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I thought it would be a nice challenge to write something that alternates between solo, trio, and full chorus.  In order to follow the natural rhythm of the text, the meter varies a bit.  I'd love to hear any thoughts you care to share, particularly about my piano reduction.  I'm definitely not a pianist.  Are there any notes you'd want to put in the other hand?  Thanks!

Let me hear of Your loving-kindness in the morning,

for I put my trust in You;

show me the road that I must walk,

for I lift up my soul to You.

Deliver me from my enemies, O Lord,

for I flee to you for refuge.

Teach me to do what pleases you, for you are my God;

let your good Spirit lead me on level ground.

Revive me, O Lord, for your Name's sake;

for your righteousness' sake, bring me out of trouble.


Edited by pateceramics
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Hi @pateceramics


A lovely piece, I also really like the text you have chosen.

The contrasts between solo, trio and tutti are really interesting to me, and I think you've done well to handle the various types of texture this throws up. I would maybe have liked a reprise of the solo or trio texture nearer to the end, as this could perhaps tie the structure of the work together nicely. Maybe even a reprise of the opening lines? Another thing: have you thought about the position of the solo voices? Are they all standing together in a group; in their normal places; spaced across the stage or even around the church/hall?

I particularly enjoyed the section from Bar 32-59 with the metric changes. It flowed very well despite the irregular phrase lengths and successfully followed the patterns of speech, thus it was very soulful!

On 4/8/2021 at 1:13 AM, pateceramics said:

particularly about my piano reduction.

After a quick glance, it looks okay. The hand that a pianist will play a particular line with is really due to hand shape, size, dominant hand etc. so is unique to each pianist! Unless it's an etude or similar where it really matters which hand plays what, us pianists will usually just play whatever feels comfortable to get the notes in. Is the part for rehearsal only? If so, I wouldn't worry about changing anything. EDIT: after actually looking at the score, I see that the piano is specified for rehearsal. You're fine to leave is as it is!

Well done, this is a beautiful example of choral music!

Edited by aMusicComposer
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Thanks for your thoughts, aMusicComposer!  I did consider getting back to the solo and/or trio at the end.  A return to the first line seemed a bit too pat an ending for this particular text, and the difference in the way the stressed vs. unstressed syllables of the first and last lines fall made it a challenge to fit the last line to the first line melody without it being a bit forced, so I didn't want to tie things up that way.  I really struggled with the ending on this one.  To set this particular text when we were in the middle of the worst of the pandemic made me very sensitive to trying to strike the right tone for people who might hear or sing this piece who have lost a loved one this year, in spite of all their heartfelt prayers to God or the universe.  In the year 2020/2021, It was hard not to hear the text as a tempered and resigned plea for help instead of a particularly hopeful one.  If someone is nice enough to program this piece and I get to hear it, there is a good chance I will reevaluate my ending.  I tried a few different endings with different levels of hopefulness, and I'm still not sure that I'll keep what I've got.  

I was thinking it would be nice to have the soloists and choir separated from each other, the two altos standing together, the soprano a little apart, and the choir as its own separate block.  In a big sacred space with balconies, for an evening service, I'd take a hard look at the possibility of using the balconies if I were the choir director, either soloists up above and choir down below, or soloists and choir facing each other from opposite balconies.  

Thanks for your feedback on the piano reduction.  I know reductions are never as idiomatic to play as music originally written for piano, but I still want to be sure the pianist doesn't take one look at it and think, "amateur."  Even though I marked it "for rehearsal only," there is always a good chance that some group will not quite have gotten themselves together confidently by the time they are supposed to perform and they will decide to keep the piano in to help hold things together, so I don't want to make life difficult for the accompanist.  I was hoping to write something that feels special, but is also accessible to a reasonably wide variety of choral groups, so there may be some compromises made, and that's fine. 🙂 

Thank you very much for taking the time to let me know your thoughts!

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