Abbie Betinis

Abbie Betinis (b. 1980) has written music in a variety of genres, but her greatest passion is for the human voice. Included in her catalogue of nearly 40 works for voice are commissioned pieces for Cantus, Dale Warland Singers, Kantorei, The Rose Ensemble, The Schubert Club, University of Minnesota Men’s Choir, and The Young New Yorkers’ Chorus, among others. After receiving her BA in music from St. Olaf College, where she studied primarily with Peter Hamlin and Mary Ellen Childs, she was accepted to the European American Musical Alliance composition program, and spent two summers in Paris as a student of Philip Lasser (The Juilliard School). A Minneapolis resident, she earned her MA in music composition from the University of Minnesota, under the mentorship of Judith Lang Zaimont. Betinis currently writes for the internet magazine ComposersOnline.org and serves as Composer in Residence for the Schubert Club in St. Paul, Minnesota. Read more about Abbie Betinis at www.abbiebetinis.com.


Compositions by Abbie Betinis

1: (Easy) No divisi in voice parts, accompaniment doubles or supports vocal parts, diatonic, symmetrical phrases, textures mostly homophonic, simple rhythms, stepwise voice leading (conjunct), moderate ranges, no extended techniques, and limited sustained singing.

2: (Medium Easy) Limited divisi, voices somewhat independent from accompaniment, some chromatics, phrases may be longer or more fragmented, mostly homophonic, moderate rhythmic complexity, some difficult intervals (disjunct motion), moderate ranges, extended techniques are simple, limited sustained singing.

3. (Medium) Limited divisi, unaccompanied, or with independent accompaniment (voice parts not doubled), many chromatics, phrases of varying lengths, more contrapuntal textures, moderately complex rhythms, some difficult intervals (disjunct motion), moderately difficult/challenging ranges, extended techniques are potentially challenging, and some sustained singing.

4. (Medium Difficult) Abundant divisi, unaccompanied, or accompanying instruments are fully independent from voice parts, many chromatics and/or key changes, long and/or broken phrases, potentially little homophony, complex rhythms, many difficult intervals (disjunct motion), difficult/challenging ranges, potentially difficult extended techniques, and a demand for sustained singing.

5. (Difficult) Adundant divis, unaccompanied, or accompanying instruments are fully independent from voice parts, many chromatics and/or key changes, long and/or broken phrases, potentially little homophony, complex rhythms, extreme ranges, use of challenging or unusual extended vocal techniques, abundant sustained singing.