I agree with Richard. And this is not the only trouble spot with syllabification. There are, to be sure, some oddities of syllabification that are idiosyncratic of English anthem literature of the Tudor era - and even more recent times. Were you wishing to follow them?
Jackson: Would you mind pointing the errors out explicitly so that they might be corrected. I appreciate your input, since you are obviously more experienced in the Anglican tradition than I am.
These look good and you have avoided most of the pitfalls, particularly in the 3-part writing. The problems can occur when you have the Bass & Sop sorted, but so often the Altos either get 1) an "interesting" (frantic?) line to sing, dotting back & forth to sing the "ideal" harmony note, but losing a sense of musical phrase or 2) end up doubling the root of the chord. (e.g. the chord ends CCE to provide a smooth transition whereas CGE may sound better.) My only criticism of the timing (and this is intended as constructive) is a trap into which I have fallen in the past with "Because..." Putting the first syllable on the last beat of the bar can lead to and unintended emphasis - BEE COZ. I avoided this on one occasion by starting on the second quaver beat & then using three quavers for "because there". You almost feel the stress on the rest - "(oomph) Be cause there ..." Anyway, as I said, nicely done & I might well borrow these.
Salieri - Congratulations. You've made some significant changes since I viewed these yesterday. I have no complaints at all. I think these deserve to be used by those of Anglican use, as well as those of Roman rite who are closet Anglicans (at least musically!).
The 'thy' at the beginning of your work has been treated to that very English quaver plus crotchet on a weak beat and sounds lovely. This typical Englishism would likely make a typical American composition professor unhappy, but it has a far more respectable pedigree than he or she.
I really like what you have done. Bravo!
You might be tempted to avail yourself of the typical 'sal-va-ti-on' treatment on the 'and grant us...' response. Perhaps suspending the treble's e on 'sal-' into a following crotchet 'va-', then a crotchet d# for 'ti-' and back to the minim e for '-on'. Varying the rhythm in each of the lower two parts would add interest as well.
Thank you, Jackson and DiapasonDabbler for your kind words.
And thank you Richard and Jackson for pushing me to amend the opening verse and the Gloria Patri. I should probably have mentioned that with this set I wrote the final 'Amen' first (as a Great Amen for OF Mass) in 2012, specifically in mimicry of Preces settings. I then decided to write such a setting and set the other two 'Amens' and then first verse and the first half of the Gloria (up to 'Holy Ghost') and then forgot about it for four years. I took it up and completed it on Saturday night, and then amended it Sunday. The only two preces setting I am very familiar with are Radcliffe and Smith, so I am glad that I got the feel right!
And D.D. - feel free to use these, just be sure to give me credit, and let me know how they turned out. I'll probably post them of CPDL after tweaking some layout issues.
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