New Mass setting in Latin
  • vansensei
    Posts: 215
    This is the beginning of a Mass setting I'm working on in Latin, which means it could be performed at a Tridentine Latin Mass or even the rare Latin NO.

    My thoughts while composing this (and my previous one in A) were that it isn't meant to have much pomp. That is, it could be performed on the appropriate Sundays of the year (which would exclude Advent and Lent) in comparison to the more grandiose ones.

    The tenor part, I realize, is high. Enough so that this whole thing could be SSAB, where altos take over the tenor line if choirs don't have enough tenors.
  • SalieriSalieri
    Posts: 3,177
    even the rare Latin NO.

    Or the less rare vernacular NO with Latin ordinary. ;)
    Thanked by 1CHGiffen
  • Richard MixRichard Mix
    Posts: 2,768
    SSAT rather, since the basses do not sing the bass. This is of course done occasionally but increases difficulty: it's harder to rehearse the 4 (out of 5) voices of BWV 118 than the B minor Mass' Dona nobis.

    The 3rd bar doesn't make sense to me yet and the ninth is tricky for the altos to pitch. Bar 4 (could there have been a 6/4 inversion here?) would benefit from revoicing A&T; in any case a cautionary g natural is wanted; and bars 1 & 2 need to have the tied notes respelt (q tied to e) if you don't want second-guessing about what's written elsewhere.

    Anyhow, congratulations and thanks for showing the piece. I do hope some pointed questions are what you were in fact fishing for!
  • CHGiffenCHGiffen
    Posts: 5,151
    In m.1-3 (and in similar figures elsewhere), the "-e" of "Ky-ri-e" should be a quarter note tied to an eighth note, not an eighth tied to a quarter (as in m.1,2) or a dotted quarter (as in m.3). In a duple meter such as 4/4, where the first note does not occupy half the bar, the middle beat (in this case beat 3) must be exposed, ie. given a note, even if tied from a previous note. This issue appears also in m.5-7, 14-16, 18-20.

    I concur with Richard's comments, too.
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