Sq1

Hi @hw1234,

I think the opening sentence is very classical and good, a clear prensentation of the theme with contrasting elements. You can strive to develop this part first to go ahead to another one! For b. 10-23 adding tremolos to the strings will make it more exciting, and that will match the semiquavers later! I would like you to end in b.30, since it's quite abrupt for me to the second violin fleeing to end on an F# without a D major chord supporting it!

Thanks for sharing and keep going!

Henry

You establish some promising themes in the opening measures, but these are unfortunately abandoned and never developed. As early as the 3rd measure, you begin to introduce new material that simply takes away from the rhythm and motion you're trying to establish. In measure 9, the tenors burst forth with an explosion of 16th notes seemingly out of nowhere, while the rest of the voices join in with unrelated rhythmic patterns. And then things just unravel from there. Perhaps you're just jotting down some musical ideas, but you need to refine things a little before posting them to the forum for feedback.

The part-writing needs significant adjustment. Both S and T are scraping the top of their ranges (A) frequently. If this is intended for human voices—and I have to assume it is since you've titled it SATB—this is simply unsingable. There are multiple issues with voice leading and crossing of voices. And the alto's part at M31... no way that's ever going to happen.

Writing for human voices is a very different exercise than writing for instruments. To improve, I recommend studying the works of good choral writers, such as JS Bach, Beethoven, Mozart, and even modern composers like Eric Whitacre, Ola Gjeilo, or Morten Lauridsen.

Happy composing!

Best,
Jörfi