Beautifully conceived and done.
I especially like the five-voice structure. I've always thought it a pity that this rich procedure gave way to the less satisfying, somewhat arid, four-voice standard.

Your counterpoint and rhythmic sense are admirable. The digital recording does not, I think, do it justice at all. It sounds almost boringly ponderous and without that life-giving rhythmic interplay which the score implies.

This ought to make your tomorrow to boot -
When I was reading your score I could easily imagine that it had a definite Byrdian or Gibbonsian provenance!

Engraving note: I'd suggest putting the incipit in stemless modern notation or neumes. It's a bit difficult to read right now, and it would also make clear that it's not a metrical line, but to be sung freely as chant.


As is, the recording sounds very nice.

How neat. Lovely piece, based off of the digital rendering.
The video was confusing because of the playback line not matching the sound, and so not showing the next page, when needed, but that's not too big of a problem.
I'm glad you removed the stems of the incipit line - it was a good suggestion by Ben.


I'm not sure what instrument you chose as the "voices," but it sounded almost like a beautiful percussion (marimba, vibes, maybe a bit of xylophone with the right mallets) ensemble piece.
I wish I was in college again, solely to pitch this piece to the percussion instructor.

CCooze, thank you for the feedback. The voice is "Silvery Choir" from the Garritan instruments that come with Finale. I like the sound better than Choir Oohs or Choir Aahs, but it is so soft, I have to amplify it with Audacity after exporting the score as an audio file. I made the screen recording separately and tried to merge them together, which is why the two are a bit out of sync.

bumping because the Immaculate Conception is right around the corner.

Kevin,

Of course it is, so one wouldn't use this in place of the Marian antiphon in the coming season.