Eight-Part Vocal Writing: The Pinnacle

Just as in common practice counterpoint (for two, three, or four voices), there are sorts of "species" in eight-part writing. These species refer more to the methods described here in an earlier post, rather than to specific "note against note" techniques such as those described in common practice contrapuntal laws. Also, just as in counterpoint, the final "fluid" species is the true master practice of eight-part writing, which combines the other species into one smooth method, transitioning through and complimenting all of the methods at will in any order, at the creative discretion of the composer.

This "fluid" species, or method in this case, is the greatest possible practice of all eight-part writing. As one could gather, this species is a combination of using true double choruses (even switching the dual choruses between "SATB, SATB" and "SSAA, TTBB"), imitative double choruses, driven mostly by full imitative counterpoint and free polyphony, or non-imitative counterpoint, to create a full and complex harmony to accurately reflect the ideas within a given text.

This method is a place for the true musical creative ability of the composer to be shown, almost as if unmasked. The combinations are literally endless, and as I said before, variation is very strongly encouraged. I wish, myself, to pursue a variation in which the voices are grouped in twos, SS, AA, TT, and BB, and move in similar motion with their respective partners, to form an expanded 4-part contrapuntal method. This will be a very interesting project to say the least.

This free form will yield the most interesting and creative eight-part pieces. I take my inspiration for describing this final species from the eight-part "Miserere" section of Otto Olsson's Te Deum. Mr. Olsson uses many of these methods, and of course his own ideas. He layers voices in and out and moves them either alone or in groups of two to create a lush, full, and continuous harmony.

For anyone who happens upon this blog. I would love to receive any eight-part pieces, or any pieces, for that matter, that you are working on or have finished. I will eventually post my own, but I would like to try a few more things before I do so.

I would really like to get a sort of database of pieces going (both choral or instrumental) which I could link to through this blog, so readers can download scores and recordings of pieces submitted by other readers.

Thank you for reading. May God bless you and keep you!