it got edited. Now I need to sing more parts to fill in these obvious gaps. But now it is done...

A new composition. As in, finished yesterday (unless my professor wants me to edit it).

A new studio recording of the first song I composed for study at Radford University. Adapting Circlesinging textures to something planned-out in advance. This is quite closer to my vision for the song... the groove could be tighter in places, but the performance is overall cleaner,

Still in the working stages, but I've decided (I'm pretty sure) that the end of the song I'm working on is going to sound mostly like this (but with a real Alto and Soprano, instead of my awful warblings).

Alright, this doesn't suck.

But, is it the close voicings, the 7th chords, or the chromaticism that's doing it?

I don't think it's the close voicings. I tried that on something entirely diatonic and mostly free of 7th chords, and it didn't make it.

Come to think of it, in the example prior to this one, there were non-diatonic notes in all the same places as this one. And that one sounded "sometimes" Jazz-Choir, often Church-Choir.

So, I'm going to do an open-voicing one (because I already figured out the notes), but I think I have to write another one that uses all 7ths and 9ths, but nothing whatsoever outside of its home key. See if that flies.

And here we are again.

I think this is still Jazz Choir. It sounds different though, I think.

I was able to use the same Bass track, and the old Mezzo track became the new Alto track. The Tenor needed just a note or two changed, so that was sung fresh; the new Mezzo and Soprano needed to be sung.

Don't ask how I got the Soprano. You would not want to know how much these exploratory tracks are the result of The Magic Of Recording Technology.

Thoughts? What's it sound like?

And here you go. Combine the three, because why not. It's fun, you can hear the contrasts in the sounds, and I save the coda for the last time through. Enjoy.

This might even be listenable.

I fibbed. One more today, then I step away from the mic.

This is a version of the very same thing, but with the chord progression changed so that there are no chromatic notes AT ALL—but every chord still has a 7th, or a 6th, and some have extended harmonies like 9ths or 13ths.

The voicing goes back and forth between closed and open.

IF this is still Jazz, then notice: it aint the chromaticism that does it (though it helps). It aint the closed voicings (though it has a particular effect). It's the 7th chords. Put 'em everywhere.

Friends! I need to know. Does this sound like Jazz Choir voicings, or am I still stuck in Church Chorale mode?

There's another step I want to take, but with this step I'm testing close voicings and non-chord tones.

I don't think it's there yet. There's like 1 moment that it takes a turn that's not conventional for a chorale in your Gray Hymnal. We'll see what happens when I go to a 5-voice choir and add in color tones to just about every chord.

same deal. An oldie that came up in my "Facebook Memories" lately that needed a trim at the end, so I slapped some mastering on it so you could enjoy it fer reelz.