Manus Tuas - a 3-Part, Renaissance Style [Dorico Playthrough]

In Manus Tuas - Dorico Playthrough

This is the fifth setting in the Psalm Imitations composition;
a set intended for 3-part performance (Soprano, Alto, Tenor).
I will publish it in full when a performance/ production is established. on my website.

An English translation is provided below the beginning of each phrase.

Any recommendation on improving a playthrough , or does anyone know of a way for Dorico to move with the playhead in a setting such as galley view, or even in normal view as long as it shifts systems properly?

Any comment is appreciated!

Hi Frank, congratulations on what is clearly a large but very personal endeavour. With this 5th setting I can see and hear all of your influences. Very early renaissance – much of my favourite music comes from that time. In a sense you have put a modern slant by keeping it in the major key. The choral sounds do not do your work justice (but you know that already) but my ears were yearning for some dissonance (perhaps with the use of accidentals) and less use of the perfect cadence. But, I am a modernist and dislike conventions so you must take my ears with grain of salt.

I think I understand why you used the alto clef for all 3 parts but, then again, I am confused as I don’t believe it’s necessary and modern singers may find it difficult, at first, to pitch. The sopranos, for instance, could be scared by the high looking notes despite the part only going to the high G.

Good luck with your work and I hope you can find the singers to do a decent recording.

All the best

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Hey moggs,

Thank you for your input! Yes, I agree there natursally tends to be a modern slant with the Ionian. It is also the reason for being the one to post as an online ‘marketing’ for this project. Nevertheless, with this type of composition set, I have set out to, for the most part, follow the conventions of the style. The rest of the pieces are also complete.

I have used the older clefs as it is easier to compose with for this style (mostly because I have got used to it, but also for range considerations, it just looks better to me) I have a performer copy prepared (and a transposed one as an option) that utilize the treble clefs to address this very situation, although I post in the original clefs anyways - as it is what I have composed the settings with, and to retain a measure of the authenticity.

It may take a while to get a performance/ production together, but it will be in pipeline for when the time is right. I appreciate your thoughts, and can definitely use some good luck!

Hi Frank, could I make sure I understand what I’m listening to?

You composed this in a Renaissance style from a text that I am not sure where it came from?

You created the audio using the default sounds of Dorico, sort of like what you can do with Sibelius? I don’t use either, so I’m not familiar with the possibilities here.

And, to counter Mogg’s point, it wouldn’t make sense to modernize the music, since your point is to create something in pure Renaissance style. Did I get that right?

Whatever the case, I really appreciate that you’re trying to do Renaissance music, and the view into Dorico, which I don’t have.

I hope you are able to get a performance together. I really enjoy Renaissance vocal music.

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Good points, Leon, but just to clarify, I think staying in the Ionian is the modern slant particularly with the perfect cadences. I was hoping for the dissonance I love to hear in renaissance music where modalities flow in and out and accidentals add colour.

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Hey Early21 & Moggs,

The text is a biblical setting, from Psalms 30:6 [LVB, Latin Vulgate Bible]. It is in Latin, but I have provided the phrase translations below the text.

The audio is similar to the Dorico presets - I am using Olympus Elements (I think Olympus Micro is in the presets?) through Kontakt as a VST. You can also do this with SIbelius, although Dorico I think makes this process a bit easier

It is not modernized by intent, what I meant in response to moggs is that I chose this piece out of the five to represent the rest, because the Ionian mode tends to resonate to the modern ear more. The modern ear is used to the major key /minor key common practice system, and Ionian is in essence the major key. The rest of the pieces are in the other main modes of the late Renaissance (although my Dorian piece turned out to sound very Aeolian, which can be somewhat expected if you study the style deeper).

This is a process in my style studies in counterpoint - my intention was to learn, and enjoy - not to keep it purely Renaissance, but still as much as possible in the style. I have very small deviations of mode and mixture in some of the other pieces, which I address in foot notes.

I am currently working on a 4-part motet set inspired by the Renaissance style (which gives more room for modality flow, among other things).

Thank you! I really appreciate the encouragement.

I’ll jump in on this too. I also really enjoy this older style of European music. You did a nice job with it. I enjoyed the fact that it was so formal, but obviously involved synth voices. It’s a lot of fun to open up the cookie jar to see how we can play with these soft synth voices. Guessing you might work more normally in early music settings, but to someone like me who doesn’t, it was interesting to see another avenue to pursue with the aforementioned, and in this case choral, synth voices. Nice work.

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Hey swetch,

Thank you! I appreciate your input.

Yes, not only is it an excellent way to advance in counterpoint, but the Renaissance style is so beautiful to work with. I focus on both Renaissance and Baroque in my studies, with Classical also in order (especially. when it comes to orchestration time).

I am using the Olympus Elements vst because it gives the most realistic feel (minus using a word builder) before actually hearing it performed in set.