I always loved the sound of the Latin phrase "adoramus te." It seemed to perfectly fit its meaning, "we adore thee." When I purchased a sample library that featured "adoramus" as a chant, I sketched out the first few measures of this piece. Then I wanted to finish the thought, but the library did not contain the "te" in "adoramus te," nor any of the other phrases commonly sung with "adoramus te" in the Gloria of the Latin mass (laudamus te, glorificamus te, benedicimus te...). Having sung a fair number of Latin masses while in choir during my school days, these phrases resonated in my soul like fond memories, and I felt stymied not being able to set them to music. What to do? I loaded East West Quantum Leap's Symphonic Choirs into Sibelius 7 using Jonathan Loving's dedicated Sound Set and began composing this piece in earnest. Rather than writing a traditional setting of the Gloria, I chose to focus on Adoramus Te, as it is used in the Liturgy associated with the Stations of the Cross on Good Friday, a section of the liturgy that so impressed St. Francis of Assisi that he adapted it into a prayer. It was from this prayer that I selected lines for this piece; however, I couldn't resist the urge to borrow one line from the Gloria often sung after adoramus te, namely glorificamus te (we glorify thee). I hope you enjoy the result! If you do, "likes," "shares," and subscriptions are appreciated. Those interested in performing this piece are invited to contact me through the YouTube email feature (by clicking on Share above and Email). Thanks for listening!
Soli Deo Gloria!
Adoramus Te (We adore Thee!)
Glorificamus Te, (We glorify Thee,)
Domine Iesu Christe! (Lord Jesus Christ!)
Benedicimus Tibi, (We bless Thee,)
Quia per sanctam crucem Tuam (For by Thy Holy Cross)
Redemisti mundum! (Thou hast redeemed the world!)
Music by August Champlin
EastWest Quantum Leap Symphonic Choirs
Jonathan Loving's EWQLSC Sound Set
Corel VideoStudio PRO X6
Image: Google Image Search
Alaskan Ballistics, it depends on your goals and budget, but the Vienna Symphonic Library Special Edition is my go-to library when working with notation software. It's expensive and has a steep learning curve, but once you learn to use it, you'll have practically everything you need to make realistic orchestral mock-ups. For decent performance, you'll want a powerful laptop with an external SSD connected via Thunderbolt, USB3, or a fast interface and 16+ GB of RAM. Processor speed affects performance, especially when using convolution reverb. RAM influences how many instruments you can load at once. SSDs help you to stream samples quickly and efficiently. I used to be a Finale user, but I switched to Sibelius, because they offer sound sets that integrate third part sample libraries, allowing you to just notate and achieve proper articulation and dynamic playback. However, you may not need to as Finale is now 64-bit (allowing you to load more than 4GB of samples, pretty much a requirement to load a full orchestra with anything but Garritan). For perhaps the lowest-price alternative, a buddy is happy with Sibelius and Note Performer. That may be the cheapest route, especially with a crossgrade pricing. And the learning curve is light. He just notates and gets great results. For solo instruments, Xsample's product line works well with Finale and Sibelius. For string orchestra, the older Cinematic Strings 2 works well with Sibelius using a Sound Set, right out of the box. I don't recommend EWQLSO as they don't have legato samples (other than that, it sounds pretty good, though). For the priciest upgrade, I'd recommend custom building a PC with a great processor, mobo, SSDs, RAM, etc. that can run VSL's Ensemble Pro, MIR, and Instruments Pro with the full version of their Cube, but the Special Edition (full version) also works for most purposes.
Alaskan Ballistics, I actually have the Gold version of Hollywood Orchestra. It's decent. However, I prefer VSL. HO is not bad if you have a powerful system and like working with large templates. If, however, you prefer to compose with notation programs, like me, it's not very accommodating. Even the sound set for Sibelius seems less notation friendly than the original EWQLSO. I guess if you compose in a DAW and don't need notation, it's fine.
Hi, 800pieds, thanks for your comment! Sorry for the late reply. You're right EWQL Symphonic Choirs doesn't have true legato samples for use with WordBuilder. I wish it did. This is a crazy idea, but I wish someone would make a Vocaloid Choir instrument, which I suspect could sing legato and pronounce any words you give it. I bought Zero-G's Avanna Vocaloid, and she can sing with correct enunciation and tone throughout her range. She lacks a broad dynamic range, but other Vocaloids have a Power Mode for loud passages. That got me to wondering if a Vocaloid Choir was possible.
August,if it is your composition, congratulations!, it seems a Contemporary Palestrina. I use Notion 6 which is a great notation sofware as well, even for EWQLSO, but the score in the screen is not "Sibelius" i think ,is it just a reference score ?
Hi! Yes, it's my composition. I can understand why it doesn't look like Sibelius; I customized the appearance of Sibelius to produce what you see in this video. If I recall, I shot it in full screen mode with only one system filling the screen, and the Sibelius GUI cropped out and only the score showing. :)
I own VOXOS, Mt. Olympus, EWQLSC, and a few "oohs" and "ahs" choirs from lesser brands. Both are VOXOS and Mt. Olympus are useful; however, as I wish to hear the choir sing the words to my choral pieces, I usually ended up meticulously programming EWQLSC.
Did you also upgrade to the latest version of Symphonic Choirs? The Symphonic Choirs update is available from the pull-down menu under the "PLAY Instruments by Products" section of http://www.soundsonline.com/Support?section=updates&article=. If this doesn't work, then we'll have to email EastWest technical support. Perhaps you can write them saying, "My version of Symphonic Choirs does not appear to have Word Builder integrated into it. How can I obtain an integrated version?" I hope this helps.
I downloaded updates samplers. It was apparently successful, because now I have files with .ewi extension. I have the latest version of PLAY, and installed. I hope it works. In your video it is that Symphonic Choirs interface has a button that connects to wordbuilder. In the interface that I have no such button.
You seem to have an early version of Symphonic Choirs. Can you upgrade to the most recent version? If so, I think you would find it works very well with Sibelius, if you use the strategies I demonstrate in the tutorial I posted on YouTube (https://youtu.be/TsJC7lHNBKs ). After I purchased Symphonic Choirs, all future updates were free. I don't know if that is true for you, too, but it might be worth exploring. First, I'd try updating PLAY on your computer. Visit the Sounds Online Support Center at http://www.soundsonline.com/Support?section=updates&article=. Try to download and install the most recent version of PLAY. After you've done that, look on the same page for PLAY Instruments by Products. From the pull-down menu select whatever Symphonic Choirs updates are appropriate for your product. One, the Word Builder Update, is only for legacy products. If you have the most recent version of PLAY, you shouldn't need it. I hope this information helps.
You're right. It is a lot of work, and there is a steep learning curve. It's not a simple or easy solution; however, if you want to create realistic choral mock-ups, I have come across no better solution than EWQLSC (I own VOXOS and SoundIron's Mt. Olympus Choir as well). I've used EWQLSC as a VST plugin within a sequencer (Sonar and Cubase) and as a VST plugin within Sibelius via Jonathan Loving's Sound Set. I prefer using the Sibelius + Sound Set set up. The results are more predictable and generally of higher quality, in my opinion. How long it would take to program 8-12 pages of text into Word Builder depends on many factors, such as, how well you know how to use Sibelius, EWQLSCs, Word Builder, the Jonathan Loving's Sound Set, etc. Assuming you read the manuals, watch the training videos, set up your system correctly, and have a powerful enough system to run all of the software, then the programming may take anywhere from a few hours to several days, depending on the complexity of the text and the language you wish to emulate. It is much more difficult to get Word Builder to sing English than Latin, for example. My workflow usually involves writing the text in World Builder one part at a time, and troubleshooting it, as I go. There are all sorts of tricks and workarounds I've learned in the process. Perhaps, I should make a video on this some day. So, yes, it is a difficult task, but I find it rewarding, and I enjoy the process.
Sure. If you use only Sibelius, then no sound will play back. You can solve this problem, by having Sibelius play the music file you create through either its internal choir sounds (oohs and aahs) or through a third-party synthesizer or sample library. That is where EWQLSC comes in. It is a high-quality third-party choral sample library. It can sing most of the phonemes (sounds) in the English and Latin languages. It can even build words by putting these phonemes together. To do so, it uses a sub-program called World Builder (which comes with EWQLSC). By entering the phonemes you wish the choir to sing in World Builder, you can program EWQLSC to sing almost any English or Latin lyric (or lyric from languages that can be approximated by using these phonemes). The Jonathan Loving Sound Set helps Sibelius to interface with EWQLSC. So for example, let's say that you wanted your choir to sing legato or staccato. You could notate these articulations, as usual in Sibelius, and the Sound Set would trigger the correct samples in EWQLSC. Without the Sound Set, EWQLSC would play every note you wrote in your score with whatever sound you loaded into the PLAY sample engine (a free program that EWQL makes to play its sample libraries), regardless of whether you wished for it to be legato, staccato, etc. Moreover, the Sound Set, to my ears at least, gets a better sound from EWQLSCs than I could achieve without it by just using PLAY and Sibelius. I hope this helps. Let me know if you have further questions.
I didn't own both at the moment. Still investigating what to get. I'm more interested in emulating how the choir would sing, of course with the instrument. I understand to get this done that there are Sibelius, EWQL Symphonic Library and now the Sound set to work with. I got the score in soft but cant see how EWQL and Sound set come in play. Do you mind elaborate it more?
Great arrangement! Sounds quite relaxing to me! :) You fully take advantage of choir, and that's great!
If you allow me a question, how did you solve the voice extention? I mean, if I'd like to get my piece sung by the choir (with wordbuilder), the sopranos has to sing low like voice d' and sometimes h. These are out of the range that sopranos "can" sing in Symphonic choirs. And of course, the program does not allow me to have high voices (like e' and f') sung by the basses. The diapason is narrow for me. Can I just say in the program, if I have a voice that is out of range, divert it to an other staff, that can handle it?
Thank you for your reply, and please continue composing music. I like your Adoramus :).
+77beton77 Hi! Thanks for your comments! I'm glad you liked the piece. I think the way I handled the out-of-range notes was to transpose the MIDI tracks up one whole tone in my sequencer (Cubase), which brought everything into line with the limited vocal range for sopranos in EWQLSCs. Then I exported an audio file of EWQLSCs performing the piece from Cubase, re-imported it, and transposed the audio file one whole step down using Cubase's pitch shifting algorithm. I had tried to use the altos to sing notes lower than EWQLSCs has recorded for sopranos; however, the timbre of the altos and sopranos was so different that this strategy didn't work well. I hope this workaround gives you some ideas for how you might creatively overcome the limits of EWQLSCs limited vocal ranges. Hopefully one day they'll release a patch that extends each voice down and/or up a bit to conform to common practice in choral writing.
+Daner Madison Hi, Daner. Thanks for your inquiry. There is not a TTBB arrangement of Adoramus Te at present; however, I suppose I could try to work one out. What is the highest note your first tenor's can sing well and the lowest note your second basses can sing. I've done a fair amount of TTBB singing, and I love that ensemble. You may also be interested in my Rhapsody on We Three Kings for solo soprano and TTBB. It's a spine-tingling combination that our TTBB choir exploited to great effect. Here is a link to it http://augustchamplin.wix.com/augustchamplin#!music/c14oo.
Dude this is awesome! Exactly what I want to do with it. I have had Symphonic Choir for a while, but trying to compose in Pro Tools using Word Builder and running 4 different instantations of Play to handle the SATB, made the creative process anything but creative. Is it really as easy as loading the sound sets and some minor set up, and then you are off to compositional races? If so...I REALLY need to spend the $20 for both this and the Symphonic Orchestra...which ALSO just sounds amazing. Great job! I have Sibelius 7.5 but I beleive the Sibelius 7 sound sets work.
+August Champlin FYI I contacted EW Tech support and they had me do some steps that corrected all those issues, so at least I can kinds of test my workflow prior to buying the Sound Set. Does the sound set take care of the issue of having to insert a "dummy measure" to input the midi CC command to make sure all voice start on the same lyric? haha...interesting hearing that when they start on the wrong lyric =) Ive also been playing with the layout for like an hour and I cannot for the life of me figure out how you got it playback with only 4 measure per page and smaller size box in the middle.
+August Champlin Well I guess Im buying the Sound Set =) I did LOTS of reading last night and it has something to do with the Multis and the way they use 6 MIDI Channels for each MULTI and if using in a DAW, each Voice requires you use 6 MIDI channels and some fancy routing. EPIC Fail on the part of EW. I think a LOT more people would use this if the documentation was better. Thanks again for your help.
+erwabo Dude! I've had similar experiences! Luckily, the sound set takes away all the headaches, assuming you read the manual and set it up properly. I tried to create a template for Sibelius without the sound set, just to see if it works, but I had the same problem. With the sound set, however, it works fine for me. I used Corel VideoStudioPro X6 to capture my screen in Sibelius. Anyways, best of luck!
I have recently acquired ewqlsc for use on Sib 7. Just wondering what sound set actually does as I am considering getting a copy. I suppose I still have to type lyrics into WB. Grateful for any help and advice.
I highly recommend Jonathan Loving's EWQLSC Sound Set. It enables you to write articulations in Sibelius and have EWQLSC's play them back with the correct samples. Without it, any articulations you write in Sibelius would not trigger the corresponding samples in EWQLSC. Rather, you would have to program them into Word Builder yourself, requiring quite a bit of time. I believe I purchased the sound set for about $20, which I think is well worth the price, compared to the hours I would have to spend programming WB without it. To my ears, at least, the sound set also helps tame the sound of SC. My only tip is to use the DYN samples for each voice, as they seem to have fewer sampling artifacts and sound better for most purposes. You still have to type the lyrics into WB with the sound set, but after a few projects, this becomes practically a second language. Another tip is to really learn VOTOX and use it. I generally type whole words in English mode first. Then I click on VOTOX, which translates them. Then I divide the words into syllables and change any vowels or consonants that need adjusting. For legato singing, be sure to elide the final consonants from a syllable with the following syllable for the smoothest results (ex. "There is a man" becomes "The-ri-za-man"--I'm using English spellings not VOTOX here to get my point across). Happy composing!
That is gratifying to hear! Interestingly, my own commentary on what I think could be improved in this performance reveals what I probably should try in my next project. :) Using Sibelius 7 with East West Quantum Leap Symphonic Choirs and Jonathan Loving's Sound Set for EWQLSC's allowed me to create this performance painlessly. If you work in Romance languages, it may be worth your while to use these programs, for English or German, the results are less convincing.
Thank you, FourPart, for your feedback. I agree that the virtual choir heard in this performance can sound a bit robotic at times. Perhaps by introducing continuous variations in dynamics, tempo, and phrasing, I could help alleviate that robotic sound to a degree that might at least mask the fact that this was a virtual choir for the untrained ear. Adding breaths would also help. Still, I am pleased that the overall impression was still a positive one for you. Thanks for your comment!
Personally I use Harmony Assistant / Virtual Singer to create Training Files for our choir. However, although this may be perfect, as far as pitch is concerned, the sound of the voices can be a bit robotic, but having listened to the quality of this file I am in awe. At first I was wondering if it was simply a real choir following the notation of the manuscript.
Thank you very much for the fast response. Your works encourage me to install my east west choir Play version and to give it a try. For some reasons I was afraid that I'm going to be lost in adjusting and readjusting words to sound decent.That's good news - at least latin is not a pain to work for.Post more !!
Hi Bogdan! It was relatively painless to make World Builder sing in Latin, a language of mostly pure vowels and simple consonants. I only had to adjust the relative volume of vowels and consonants, both globally and for a few individual notes which were too loud, in WB. Programming WB to sing in English or any language with phonemes which are not easily sung (diphthongs, triphthongs, consonant clusters) is much more challenging, requiring hours of tweaking to achieve convincing results.
A trigger is a named PL/SQL unit that is stored in the database and executed ( fired ) in response to a specified event that occurs in the database.
Overview of Triggers.
A trigger is a named program unit that is stored in the database and fired (executed) in response to a specified event. The specified event is associated with either a table, a view, a schema, or the database, and it is one of the following:
A database manipulation (DML) statement ( DELETE , INSERT , or UPDATE )
A database definition (DDL) statement ( CREATE , ALTER , or DROP )
A database operation ( SERVERERROR , LOGON , LOGOFF , STARTUP , or SHUTDOWN )
The trigger is said to be defined on the table, view, schema, or database.
A DML trigger is fired by a DML statement, a DDL trigger is fired by a DDL statement, a DELETE trigger is fired by a DELETE statement, and so on.
An INSTEAD OF trigger is a DML trigger that is defined on a view (not a table). The database fires the INSTEAD OF trigger instead of executing the triggering DML statement. For more information, see Modifying Complex Views (INSTEAD OF Triggers).
A system trigger is defined on a schema or the database. A trigger defined on a schema fires for each event associated with the owner of the schema (the current user). A trigger defined on a database fires for each event associated with all users.
A simple trigger can fire at exactly one of the following timing points :
Before the triggering statement executes.
After the triggering statement executes.
Before each row that the triggering statement affects.
After each row that the triggering statement affects.
A compound trigger can fire at more than one timing point. Compound triggers make it easier to program an approach where you want the actions you implement for the various timing points to share common data. For more information, see Compound Triggers.