Here is the choral version.  I will appreciate any comments, specially about parallel 5ths and octaves which gave me a hell of a time.  Score is attached.



Score: Nothing belongs to you_choir_ver5.pdf

Music: Nothing belongs to you_choir_ver5_MP3.mp3

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  • What's the reason you're concerned about parallel 5ths/octaves?

    From a cursory listen, you have some pretty modern-sounding chord progressions; perhaps there's no need to worry so much about avoiding parallel 5ths/octaves?

    • Hi Tech,

      I wanted to make it as soft as possible and as sonorous as possible. A parallel movement has a distinctive effect which jumps out if used in a soft context.  I understand that as a clearly modern style element,  a parallel movement may be used for its own reason.  

      When there is no parallel movement the vertical timbre resonances easily.  Otherwise, TO ME it sounds as if the vertical depth is reduced.

      My problem is:  I try to mix the 20th cty style with classical elemnts and reach a post-modern language.

      I sincerely appreciate your frank question.  You made me think once more what I am doing.



      • I agree that avoiding parallel 5ths/octaves and other such customs of common practice music often produces a more sonorous result -- this has also been my own experience.  But my point was merely that this has to be conscious choice, you have to know why you're doing it and what you get out of it, it shouldn't be something blindly applied.  And also that whenever the music demands it, one should be able to put aside such considerations and take advantage of the special sound of parallel 5ths/octaves/etc..

        • I totally agree Tech, GRANTED.

  • Hi, I found a few parallel 5th, 8th 's. I also translated expression marks to English.

    Here is the new version. 

    Score: Nothing belongs to you_choir_ver8_Eng.pdf 

    Music: Nothing belongs to you_choir_ver8 MP3.mp3 



  • this is a rather affecting piece --- it's a shame you haven't got a better choir sound to render it. I'm afraid discussions about parallel 5th etc leave me completely cold. If you have a musical ear and know what you're trying to express, then it's correct if it sounds correct. Most of this sounds fine (there's just the occasional chord that seemed a little odd to me but when I tried to play through one or two suspects, the actual notation seemed logical). If I come across any examples that definitely seem weird, I'll let you know.

    • David, thank you so much! 


      My problem is: I have a sense of completion at one point of composing.  But after a while, something jumps out as odd and when I dig in it it is ether a parallel or an exceptional situation.  Of course this is only when I am writing something pseudo-tonal. I cannot know or guarantee whether an other point will jump out or not...  This is a bit scientific doubt I guess.  I must be more subjective as you have described very well.

      I appreciate your sensitivity.  



  • Hi, Ali

    Second try!

    Most enjoyable piece - fairly conventional but it has your hallmark twists of harmony here and there. What was noticeable and rather accomplished was your Mezzo is placed fairly low in the harmony but still stands out, even in this rendering. In a live performance the choir leader would ensure the solo was 'out front' in 'the mix'. The accompaniment was delicate and unobtrusive.

    I didn't look at the piece under a microscope but glancing through the score I didn't notice any consecutive 5ths and octaves. If there are any they eluded me. Brave to attempt this in (effectively) 5 part harmony.

    I've since read your responses to those asking about your concern for these consecutives/parallels so I won't ask again. My own view is that the harmony is full enough in 5 parts that it's amazing you avoided them but........do they matter? I agree that music such as yours here almost certainly sounds better without them - they effectively "reduce" the number of parts moving - but an occasional one, if treated tastefully, probably wouldn't be noticed. I once wrote a wordless madrigal that had a couple of unavoidable 5ths but it seemed to add to the music. 

    Another fine piece of work, then.

    All the best,


    • Yes, I agree.  I also noticed in the previous one I had a parallel at the very end chord.  There it gives a sense of strength and direction.  So, I have to keep in mind that parallel 5th 8th's CAN BE used purposefully even in a tonal choral piece and may not be treated as a tabuu.  Actuallly, I had noticed some parallels in Mozart music when I was studying in 1992.  All composers use it any way.

      I greatly appreciate your attention and careful review of my music.



      • My pleasure, Ali.

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