Today was better. I put in something close to an hour. I think if I want to do what I’m saying I want to do this should go up to about 2 hours a day. Right now I’m building endurance. So I don’t know when I’ll get to the 2 hours a day, but that would be pretty legit – I’d get a lot done assuming the two hours are focussed and productive.

“Fire” is turning into a pretty big thing. (Much bigger than Be Still) I was thinking Fire was a few days away but now I see that I am likely a few weeks away. And it’s not that long of a piece. It’s just rather complicated. And it’s not in major or minor – it’s some other sort of scale so that makes certain things, particularly the imitation sections, just plain hard to write.

And…

Here’s something that is going to be tricky. The piano now, when the choir is singing, is just an oom-pah sort of thing in the left hand. I am still uncertain about what to do with the right hand. It’s not used at all in the choral sections, and that’s not OK for this piece. I could use it to double some of the voices in the choir but not all of them so that creates a issue. Plus I don’t know if I want any doubling in most sections. Maybe I could put the right hand way up on the piano and have it coordinate with the really low left hand and let the choir fill in the middle. One thing about doing this is that I would have no ability to play it on the piano because I don’t have four hands. I could ask a pianist friend to play it with me – that might be good. I’ll see. I also can rely on the computer playback but that is the low road for me at least. But the sad truth is that it is likely going to just double voices. We shall see.

Maybe I could have an a cappella section – the Db portion is still really undefined.

My fugue / imitation is just plain wrong starting about 2/3’s of the way in. I don’t like this! Fixing this is likely going to be pretty hard – I actually can’t remember the last time I wrote four part polyphony (independent voices in this case in imitation.) In fact maybe I never have. Maybe I should make this a two part fugue where the sop and ten sing together in octaves and the Alt and Bass sing in octaves. This might make life better not just because it’s going to make that section better, but also because then when I have other imitation passages I can go to three or four voices.

I might have mentioned this but I do have the very end figured out. It can be dangerous to do this but this is safe because I know it needs to end on a C Major chord if I want this to have any real closure, which I do. So I’ve figured out how to deal with this chord. I”m going to do high up on “fi-” and then drop an octave for “-re.” I’ve seen similar things done and it works well. Then after the voices and doubled piano drop that octave I hit the low C in a particular way that I’m hiding because I don’t want it stolen(!)