Ave Regina Caelorum
  • sdtalley3sdtalley3
    Posts: 76
    I did this a few years ago. If any care to look as always let me know what you think.
  • sdtalley3sdtalley3
    Posts: 76
    Kuddos to Matthew J. Curtis who made the recording for me.
    Thanked by 1ServiamScores
  • Richard MixRichard Mix
    Posts: 2,118
    Really nice!
    Thanked by 1francis
  • sdtalley3sdtalley3
    Posts: 76
    Thanks Richard!
  • stulte
    Posts: 260
    Nicely done!
  • m_r_taylor
    Posts: 141
    Lovely!

    Please bump this thread in February next year to remind me when it comes time to program this text.

    One little thing, not an error but my instinct is to have the tenor rise D-E-F in m. 13 instead of going down, D-C-C. Original version works fine though.
    Thanked by 1ServiamScores
  • m_r_taylor
    Posts: 141
    On second thought I like the original just as much so never mind!
  • ServiamScores
    Posts: 259
    Lovely indeed. Sniffs of the Renaissance.
  • sdtalley3sdtalley3
    Posts: 76
    @Serviam Scores

    Thanks, and yes, I employ techniques used by that frame of time. Just a personal preference. I can’t get enough of that music.
    Thanked by 1ServiamScores
  • ServiamScores
    Posts: 259
    Nor can I.
  • Drake
    Posts: 108
    Extremely beautify setting! There are a couple places my ear wants to hear something slightly different, so this feedback is entirely subjective, if not altogether trivial. So, just for your consideration...

    At measures 25-27 the melody frequently returns to D. My ear keeps anticipating some higher notes or some melodic variation here, probably because the Ds are also prominent in the measures leading up to this.

    Also, on the final chord, while the open fifths certainly resolve, my ear wants the Soprano to move up to an A.

    Lovely motet!
    Thanked by 1sdtalley3
  • sdtalley3sdtalley3
    Posts: 76
    @Drake

    While I always welcome suggestions for pieces I am working on to get more expert advice than myself, this one is unfortunately set. The point of The "Christum exora" is more a part where dynamics should be more prevalent because it is no better than just repeating for emphasis, I only cross the tenor and soprano lines for slight variation.

    The final chord I am in a little more in agreement, except that I originally wanted to have the Tenor make a "Cambiata" and finalis on an A for a fuller sound. This can still be done as a type of diminution for any group wanting to perform this piece. For the hymn in general, I kept in mind the season this is ascribed for.

    Even though it is not a true Cantus Firmus motet, I have different sections keep parts of the chant melody throughout, and seeing as the Soprano had most of the original melody It was more fitting to have it make the step down to a finalis of "fa", as is the case for chants/motets in mode 6.

    If you wish I can revise the ending to reflect what I explained.
    Thanked by 1Drake
  • Drake
    Posts: 108
    There’s no need to revise the ending on my account. I hope I did not come across as sounding critical. My feedback is anything but; for the work, as it is, is quite impressive, and I echo the praise of the other posters. I’m certainly no expert, though I dabble in composition myself. Looking forward to hearing more of your work.
    Thanked by 1sdtalley3
  • sdtalley3sdtalley3
    Posts: 76
    Thanks Drake,

    no you were not coming across as critical. Every composer has their own little styles and takes on how they want to interpret a work, unlike people who just want to sing a piece on account of its beauty, I'm more driven by the "why" voices move and interact with each other.

    I will be posting more stuff in the future, hopefully this weekend I will put the final touches on a larger scale work that I've been sitting on.