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Hello all! For those that don't know me, I am a high school senior, graduating in a couple of weeks, and I have nothing to practice over the summer before I go study composition at Lawrence Conservatory. This summer, I really want to improve my playing 10-fold, my plan is to double my practice time and to improve so much, I'll have a really strong start when I start school in the Fall. Just to give you a picture about where I am performance wise I was 1st chair oboe at District band I have also done numerous college auditions, and every school that required an instrumental audition, I got accepted to with the exception of the Cleveland Institute of Music, which I was waitlisted to. So, basically, I'm a strong oboist with a good tone who wants to play good music. To do that, I'm going to need your help. I love new music, I don't care what style it is, I just care that it is good. I have an array of pieces I want to record this summer, but I also want to add to that, 4-6 original compositions. Let me repeat that. 4-6 compositions. That's where you come in. Basically, I am asking you to write a 3-7 minute piece for Oboe with or without accompaniment (if w/out please stay on the shorter side, my endurance is not that great). You may do whatever you want with the composition, you can include multiphonics, altissimo (I can play up to a high A, I can probably go higher, but I've never tried). As far as difficulty, please keep in mind that I'm doing other things this summer, I'm playing with a Wind Ensemble, and possibly a symphony orchestra, along with 2 jobs. I can handle if it's difficult, just don't make it insane. Basically, if you know your oboe literature, I can handle Mozart and Vaughan Williams, but nothing like Corigliano, if that helps you understand a bit more. If you're not sure, just ask me, I'll be glad to help. So, as far as a deadline goes, how about June 25? and I would give results on July 1, and will give you all feedback, so everyone will know why they did or did not make it. Rules: must be between 3-7 minutes favor towards accompanied works, unaccompanied will be accepted, but they have to be 2-4 minutes accompaniment must be piano (nothing else) must be complete by June 25 ok, I'm really hoping I get some responses to this, I will do my best to give you guys the highest possible quality recordings, and if I end up performing solo at a recital (another thing I'm looking at), I will very likely play one of your pieces. I may not be a professional, but I definitely don't sound like a dying duck. I'm good friends with people from Interlochen, I've performed in just about anything, I can do this, and you can write this! So, don't let anything prevent you from submitting (what have you got to lose?) Go ahead and give it a try! Don't fail me my composition brethren!

I'm mostly talking about the chord (G)BDbF, acting as V (instead of Fr 6th). An example is the ending of Schubert's quintet To this basic "frame" one can add 9ths and 13ths, creating a chord "family". Scriabin even uses b5th + #5th You can use whole tone, octatonic, and acoustic scales with that (usually still as V). Check out the finale of Rimsky's concerto or anything by T. Monk. In Scriabin's middle period there are tons of examples of this chord family, in tonal contexts. As his style progresses, the chord becomes more "static" (and it's used w/ the scales I said). The Mystic chord belongs to this family. As I said the chord can resolve to many different things, so you cand do whatever you want. Oh, and you can treat the Db as a C#-appoggiatura to D (creating a normanl V7), as in the 2nd chord of Wagner's Tristan

I'm surprised no one has posted here, lol. Here is my submission: http://www.youngcomposers.com/music/4734/parody-for-wind-quintet

You seem to be talking about the dominant chords with a flattened 5th. Those became very common at the end of the 19th century. Eg., in the tonality of C you can have things like G-B-Db-F, G-B-Db-F-A, G-B-Db-F-Ab, etc. They're usually in 2nd inversion (the Db in the bottom), and resolve to tonic chords conventionally: Db-F-G-B --> C-E-G-C The interesting thing is that G-B-Db-F contains a minor 7th (G-F), an augmented 6th (=7th), and 2 tritones, and it's a synthetic chord. The other interesting thing is that it's very ambiguous and can belong to different keys at the same time: G-B-Db-F = altered dominant in C, but also, French 6th in F C#-E#-G-B (enharmonic equivalent) = altered dominant in F#, French 6th in B An almost equivalent concept is the jazz term 'tritone substitution', in which the V7->I cadence (eg. G7->Cmaj) is substituted for IIb7->I (Db7->I). It's the same thing: and augmented 6th: Db7 = Db-F-Ab-Cb = Db-F-Ab-B

I think made a generalization and an opinion, not a conclusion. Your examples are correct. But consider the usefulness of such a broad definition that encompasses any sort of repetition of any length with any and all musical elements. Add to that phrases like "may or may not have" and Wiki's definition loses precision. I have always thought of ostinati as predominantly rhythmic, usually obvious and not synonymous with every type of "repetition." Probably the way I was taught. Similarly, If an Eskimo asks you what the weather is like outside, and you say wet, he might look at you funny and say, Yes, but what kind of wet? Same with repetition.

nothing about the term ostinato suggests it shouldn't be the melody itself. on a trivial level perhaps, where the phrase lasts no more than two beats and where the rhythm primarily forms the basis as in your example, can your conclusion be applicable. a passacaglia uses as support what a chaconne uses as melody. the opposite may be true; opinions differ among theorists. ostinato being the generic name for ground/lead/subject of the respective genre that uses a repeated figure. for examples look up the genres. http://www.youtube.com/watch?v=_9S1wTuRdgw&feature=player_detailpage#t=448s here the ostinato switches voice at practically every restatement. inner to bass to melody.