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Post by Dave Dexter on Sept 4, 2019 18:09:43 GMT
Hey all - I've written a choral SATB piece, similar to my other choral pieces. It's pretty much based around Cm, Fm, Gm, Ab, Bb and Eb, making it Eb - if I drop by a semitone then it's Bm, Em etc and key becomes Dmaj. Given it's for a good choir, should I worry about key signatures or transposing to reduce accidentals?
The other advantage to Dmaj is that it reduces the strain on the tenors, who have a few high-range notes, but again that shouldn't be a problem for this choir.
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Post by driscollmusick on Sept 4, 2019 18:17:13 GMT
Hey all - I've written a choral SATB piece, similar to my other choral pieces. It's pretty much based around Cm, Fm, Gm, Ab, Bb and Eb, making it Eb - if I drop by a semitone then it's Bm, Em etc and key becomes Dmaj. Given it's for a good choir, should I worry about key signatures or transposing to reduce accidentals? The other advantage to Dmaj is that it reduces the strain on the tenors, who have a few high-range notes, but again that shouldn't be a problem for this choir. I would only consider it if you are in a key with 5 or more accidentals or to avoid using double-flats or double-sharps. But it doesn't sound like you're in that situation. Compared to instrumentalists, singers are much more able to adapt to weird keys (in a choral setting, many are learning by ear anyway)
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Post by Mike Hewer on Sept 5, 2019 7:01:21 GMT
Yeah, as John says. If your parts have a high tessitura then a transposition down is advisable for semi-pro and amateur choirs. Other than that no prob.
Hello again all btw.
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Post by Dave Dexter on Sept 5, 2019 18:34:57 GMT
Thanks both. I made some decisions that may have shot my chances for this contest anyway, but obviously I want it as legible as possible. Not having to change key is a bonus. If anyone has the time to glance at a fairly short score, I won't complain - I let the setting dictate the rhythm a bit, and that led to some time signatures I'm not 100% confident over.
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