Missa Pascha Finished today!
  • JesJes
    Posts: 574
    Hi guys,

    so basically for Easter I want to give a gift to the Auxiliary Bishop, who knows he's receiving this gift, however he does not know quite yet in what form or when; I suspect he imagines I'm sending it in hope of it being published but I'm really just writing it for fun and to give to him to say thank you for so much encouragement over the years. Each time one of my masses has been sung he has in some way encouraged me, in an indirect way, telling someone he liked what I wrote or by talking to other people about how important music like what I've written is continually written for the Church. He doesn't know these compliments and words of encouragement have reached me over the years and that it has spurred me to write lots more.
    In addition to this, he is someone highly regarded by many for his incredible amount of wisdom, compassion and dedication to the Church. He is of particular inspiration to those who study Marriage and Family and Religious Education. The way he teaches is both extremely learned but also easily accessible. I do not quite know a man on earth with the same capacity to teach as him.

    Anyway, I figured I'd dedicate this Mass as a prayer for him that God will continue to teach us through him.

    Today I polished off the Kyrie, what do people think? Is there anything I should change?
    This may absolutely be freely used. BUT if you do use this PLEASE tell me and if possible send me a recording!!! I'd love to know how it translates to other choirs out there.
    Kyrie - Full Score.pdf
    39K
    Thanked by 1CHGiffen
  • CCoozeCCooze
    Posts: 1,259
    I do wonder, after a brief glance, how you hear the syllables in your "eleison." There are multiple instances in the tenor line where you specify "e-le-i-son," but mostly have (varying degrees of) "e-lei-son." Since you do show the "i" to be separate in some places, do you, then, infer the "i" at the last moment before "-son," in the remainder, or do you actually hear it as "e-lay-son" where it is not broken in the lyric?
    Thanked by 1Jes
  • JesJes
    Posts: 574
    Good question.
    and I don't have a concrete answer YET!
    I have two answers one which explains why I have done it this way and one which explains a part I'm still discerning.

    my first answer is:
    the melodic/harmonic changes of the parts cover the rhythm I want where it is written e-lei-son and it is therefore unnecessary to stipulate a change in syllable because I'd prefer it sung with the 'i' barely there just cos I think it sounds smoother and less glottal? I think I mean glottal yeah...
    where there is no opportunity to make this with melodic or harmonic change but I want there to be a distinct rhythmic difference in repeated notes I have used syllabic changes e-le-i-son to make the rhythm deliberate.

    my second answer is:
    I am considering typing all out as e-le-i-son just so that I'm not seen as inconsistent. I often wonder if consistent is better in these cases. It still allows repeated notes the rhythmic emphasis. BUT does this interfere with the flow in the smoother lines I want?
    Thanked by 1CHGiffen
  • CCoozeCCooze
    Posts: 1,259
    I can see what you mean. I think the slurs you have provided should prove that you want smooth transition, even with a change to "i." That, of course, is on the performer to make happen.
    Since "ay / -ei" is really "eh-i," anyway, having a specific spot for the "i" should, I think, make for a cleaner text, because it removes the individual's idea of the accents of the dipthong.

    As an instrumentalist, your slurs are clear enough instruction. You could always just add a directive "legato," "e sempre legato," etc.
    Thanked by 1CHGiffen
  • CCoozeCCooze
    Posts: 1,259
    Now, having played it (I have spring allergies, so I can't trust my head/ear without something audible), I definitely appreciate the "tranquillo," and I think it's a lovely piece.

    I don't care much for the extra/final "eleison" in the soprano and alto voices. It turns it into something else, all of a sudden, rather than a Mass part, IMHO. I think it would be wonderful for them to hold their previous eleison while the tenor completes his iteration.
    (Also, I keep wanting to hear a "D" held in the last iteration of the alto part. What would you think of an optional splitting of their part to both a B and a D? Just a thought. =) )
    Thanked by 1CHGiffen
  • JesJes
    Posts: 574
    The last three Kyries aim to build towards the end - the last eleison will make sense when the Gloria is posted. But I will adjust the le-i dipthong.
    The Gloria I'm aiming to use a scandinavian folk sound - which I've used in past masses for the Sanctus.
    But I realised I can do something else to make that convincing without changing it too much and with it staying PP at the end.
    Kyrie - Full Score.pdf
    39K
    Thanked by 2M. Jackson Osborn CHGiffen
  • SalieriSalieri
    Posts: 3,177
    Are the parallel fifths/octaves in the last bars (eleison) intentional?

    If they aren't I would suggest possibly moving the alto D on 'e-' to an F#. If they are intentional, then don't do anything.
    Thanked by 1Jes
  • JesJes
    Posts: 574
    Absolutely intentional. I have a compositional organum background so I like to show it.
    Thanked by 2CHGiffen Salieri
  • JesJes
    Posts: 574
    Gloria Just Done!
    gloria - Full Score.pdf
    70K
    Thanked by 2CHGiffen M. Jackson Osborn
  • JesJes
    Posts: 574
    Sanctus Just Done FRESH OFF THE PRESS HAHA
    sanctus - Full Score.pdf
    39K
    Thanked by 1CHGiffen
  • DiapasonDabbler
    Posts: 23
    Two brief points: you have a couple of "ladamus"'s (ladami?). The other may just be a similar oversight, but should the first few Sanctus's (ditto) have the second syllable at the end of the quaver/eighth-note runs as they appear for the rest of the piece? Either on the 4 1/2th beat or on an un-tied wholenote in the new bar. As written (only by singing it in my mind) it seems to place undue emphasis on the syllable. I've not yet played it through though to comment on the harmony, but it looks good.
    Thanked by 1Jes
  • JesJes
    Posts: 574
    Good point @DiapasonDabbler - If you look at the chant for lux et origio the tus has the exact same four notes. The subsequent sanctuses? Then have both syllables almost egalitarian in number of notes or if chant has beats then beats if you like.
    I have toyed with altering it but I wanted to try and make it obvious that I'm using the chant mass as my basis as it is a missa pasqua.

    Just curious to know what is a ladamus?
  • JesJes
    Posts: 574
    Benedictus Done!
    benedictus - Full Score.pdf
    36K
    Thanked by 1CHGiffen
  • JesJes
    Posts: 574
    Agnus Dei Done
    agnusdei - Full Score.pdf
    35K
    Thanked by 1CHGiffen
  • M. Jackson Osborn
    Posts: 8,368
    This is really good.
    I hope that you have it published.
    Interesting and nice are your references to chant liquescence in Sanctus.
  • DiapasonDabbler
    Posts: 23
    Understood re the underlay in the Sanctus - as long as it was intended then fine & well done. The Ladamus is in the Alto / Tenor in the Gloria bar 7. A typo methinks. If there is such a thing, I've never seen one!!
  • JesJes
    Posts: 574
    Haha thanks @DiapasonDabbler I mean laudamus I reckon haha. How embarrassing!!!
    I did look up ladamus on urban dictionary and it does have a meaning. Haha.

    @MJacksonOsborne thank you for your feedback. I love liquescence!!!
  • JesJes
    Posts: 574
    I should also mention, please pray for the Bishop's health over the Easter Season.
  • DiapasonDabbler
    Posts: 23
    Well I am quite happy to tell the truth & help friends, but I try to avoid making trouble - not my fault if it follows me around! You obviously have the same proof reader as me. I will print out rough copies, listen to Musescore over & over, but only find the obvious mistake once the copies have been made & handed to the choir! :(
    Thanked by 1Jes
  • JesJes
    Posts: 574
    Haha thanks yeah I wouldn't have picked that one up cos I'd be singing soprano in the performance and my mum and brother are on the other parts, they'd be chortling amongst themselves, you saved me great
  • vansensei
    Posts: 215
    Dude! An alto line with actual counterpoint! And range! Thank you!
    Thanked by 1Jes
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