Abbie betinis we have come into this place

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One such canon, for example, comes with an assortment of suggested maps. Others allow the piece to build from unison to 3-part, to 5-part. In the hands of Betinis, a canon is a much more complex and aurally stimulating art form. In a related discussion, Betinis has acknowledged the canon as a source of strength amidst significant trial.

You need to sing it with other people to really hear how the melody creates its own support system of pitches and rhythms. I thought that was the perfect metaphor for getting through rough times. I think we each have our own melody in this life, something unique to us that we can offer the world — but sometimes that melody is hard to hear when life gets hard. Sometimes we need our friends to come in, one at a time, and sing that melody too, so we can hear how strong it is and it can lift us up.

Or — like the words say — it can give us wings. A few friends came over to my house and we were singing around the piano and getting all the harmonies just right… We went to the local radio station the next morning and recorded it. Three months later I was diagnosed with cancer a third time. For example, Hail, Christmas Day! SSA or SATB, begins with a unison verse, progresses into a polyphonic section, then launches into a 3-part round. A coda brings the piece to a climactic finish. In this instance, the soprano and tenor lines present the same melody two beats apart; while alto and bass lines offer a counter-melody that begins on the intermittent beat EXAMPLE 1.

A nod to Sufi mysticism, the outer voices utilize a textless sigh, connecting themselves once again with the divine power, further deepening a level of grief, while all voices engage simultaneously in thematic material not part of the original canon EXAMPLE 2. At this moment, it is clear that the choir empathetically wraps the listener in an aural blanket of comfort—soothing the grieving heart.

Furthermore, throughout her entire catalogue, one can observe a significant amount of voice-crossing—a side effect that stems from such immersive work in canon and canonic-like devices. Some of my most successful writing, I think, is just two-part counterpoint that leapfrogs, or three-part counterpoint that, in effect, braids itself across the page.

While studying on scholarship at the European American Musical Alliance in Paris, France, Betinis developed a compositional vocabulary and distinct understanding of counterpoint that particularly affects her choices regarding voice leading techniques. Composing in this manner results in frequent, intentional voice-crossings.

Since , Abbie Burt Betinis has been continuing this family tradition begun so long ago by Bates, her great-grandfather. Each new carol uses a text relating somehow to the Burt family tradition. Burt delivered in the 's. More information on the Burt Family Carols here. Burt He might have come from clouds of heav'n Heralded down by trumpets bold, He might have come in pomp and pow'r, All dressed in finest glitt'ring gold. Come, Come, He has come! Joining us by humble birth, Come, Come, Greet your King!

Christ the Lord of Heav'n and Earth! He might have come to city grand, A crown of jewels upon his head, But shepherds poor in Bethlehem Found Jesus in a manger bed, Come, Come, He has come!