Come, Everyone Who Thirsts

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  • #2390

    Lynn Martin

    A handy XML viewer can be found here.

  • #2393

    Lynn Martin

    And here’s an mp3.

  • #2396

    Lynn, I love the Early American feel of this! Good work.

    Two minor thoughts I had after a quick listen:

    Changing the fourth note from the end in the bass to a C would eliminate the parallel octave (though with folk type music that is slightly less of an issue.

    Measures 11-12 felt slightly problematic to be, because of the sudden change in harmonic rhythm.

    • #2404

      Lynn Martin

      Thanks for the feedback! So you’d suggest not having as much movement on the off beats in measures 11-12, if I understand correctly?

      I am a little unsatisfied with the ending, it’s true. I’ll have to look at ways of rewriting it.

  • #2409

    Yes, I agree with Lyndon. This is a very nice melody and the open 4ths and 5ths throughout fit the mood well! I think the main thing that bothered me in 11, 12 was the downbeat of 12. Maybe consider keeping the bass on the do and moving tenor up the the mi on beat 1… I also felt like the music lost some momentum in m. 5 with the dotted-half note. I will attach an image of a possible change.

    I wasn’t sure what I thought about the voice overlap in m. 10 between tenor and bass and 15, between alto and soprano. But I don’t think about the one in 15 as much, and I kind of like how it feels in 10, so don’t take that too seriously. Solid work here, Lynn. I don’t feel super qualified to be doing this, so take it all with a grain of salt. thanks for sharing this!

    • #2411

      Lynn Martin

      Those are good ideas, Benjamin. I think I’ll try them.

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