O vos omnes in fa minore

Hello.

This is my first post here, presenting hopefully the first of many sacred solo motets and religious pieceso vos omnes sheets.pdf. I am very inspired by the italian masters Antonio VIvaldi and Federico Maria Sardelli.

This is a sacred solo motet for soprano, strings, and continuo based on the Latin Vulgate translation of Lamentations 1:12. I really wanted to capture the raw and shocking horror of the suffering and death of Christ, the Son of God for the sins of men. The same shock that Dell'Arca captured so masterfully in his statues of the Lamentation for the death of Christ. Hopefully my work has served that well too.

O vos ómnes qui transítis per víam, atténdite et vidéte:

Si est dólor símilis sícut dólor méus.

Atténdite, univérsi pópuli, et vidéte dolórem méum.

Si est dólor símilis sícut dólor méus.

English Translation: O all you who walk by on the road, pay attention and see:

if there be any sorrow like my sorrow.

Pay attention, all people, and look at my sorrow:

if there be any sorrow like my sorrow.

Edited 55 minutes ago55 min by MiguelangelM

This piece confuses me...

Why are there 3 violin parts and not just 2? 2 violin sections, 1 viola section, 1 cello section, and 1 bass section is the norm. Writing for nonstandard ensembles is fine, but using a standard ensemble, in this case string orchestra, but with minor ordering differences just 1. makes it look like you don't know what you're doing (and you demonstrably don't) and 2. makes it significantly harder to have your piece performed. Who's going to have a string orchestra with 3 violin sections? No one.

Why are there numbers all over the page? Roman numeral analysis is for... well, analysis. You don't include it in a score, and the other numbers I guess might be for figured bass, but that's not how you do that? Learn how to do something before doing it is generally a good rule of thumb.

The instruments are not written for idiomatically. Those leaps in the violin in the middle of the piece are way too big. The soprano part is also WAY too hard, even for a professional soloist. It has super technical and absurdly fast extended passages in the very high range. If you gave this to a soprano, she'd would absolutely refuse to do it.

Some of the harmonic choices are also odd. You seem to be wanting to do an imitation of a renaissance style, but it's just not achieved very well. It lacks the right harmonic language. I'd expect more raised leading tones, piccardy 3rds, etc etc. There are people on here that are much more familiar with this style that may be able to provide more specific feedback, but it sounds very messy to me, not elegant like the music of the time.

Finally, the music doesn't match the text at all. The text is beautiful, solemn, contemplative, and the music just isn't. Why? I sing gregorian chant for a TLM parish, I'm very familiar with motets and liturgucal/sacred music, and this just isn't something I would choose to include at mass. I wouldn't even include it in a secular program. It's just not that well put together or though out.

I would take more time to study the ensembles and instruments you write for, including vocal ranges. Also look into studying counterpoint, doing species counterpoint exercises, and harmony of the period. Studying galant schemas might also be beneficial for you. And most importantly, study scores! If you don't know how to notate something, reference a (modern print) score.

Clearly you are amateur and young (young composers, haha) so don't worry. You will improve, probably quickly, but you need to spend more time studying theory and practicing with study pieces and exercises.