Chemathmusician0510

I have small hands compared to other cello players. so if it works for me, it works for most other cellists. Just keep in mind that sometimes 8v double stops with one open string are harder to do if all the other double stops around it don't need open string. Jumps in octaves are also harder, but a good cellist should be able to pull it off. (studies in octaves in scale patterns or arpeggios are usually a staple for any good cellist) (Currently trying to compose pieces for college admissions. My cello experience consists having three teachers with years of time between first and second teacher and the last teacher is a violinist)

My reasoning goes like this: if a chord can be ended on in a cadence, then it is made up of just minor and major thirds. Both major and minor tonic, subdominant, dominant, and submediant able to do this. By necessity, the mediant is also made up of just thirds (E to G and G to B are in tonic and dominant). (all that proceed form here will be in terms of natural major and minor degrees) Now, I look at leading tones. the VII in major and the raised VII in minor lead to I, The lowered VI in major and the natural VI in minor lead to V, the natural IV in major leads to III, and the natural II in minor leads to III. They all have a consistent just minor second ratio (15 to 16) to their respective stable degree. From this observation, It seems all leading tones have this property, allowing chromaticism for our next part. The chromatic leading tones are as such: lowered II( (leads to I), raised II (leads to major III), lowered IV (leads to minor III), and raised IV (leads to V). By plotting the degrees according to interval, (degrees by a just perfect fifth are horizontal to each other and placing the third of the major chord above the middle and the third of he minor chord below) we get this chart, which is very similar to the Neo-Riemannian theory graph as it is based off of similar principles. I use this instead as a tuning principle (secondary functions complicates this) without enharmonic equivalents. Due to this, the interval between II and IV is not a just minor third. This creates problems as secondary functions to chords with non-just intervals in tuning. How would one solve this?

My way of thinking about modes is that the major modes are one coherent system and minor modes are another. this creates an extended major scale and an extended minor scale. The extended major scale contains: I, lowered II, natural II, raised II, III, natural IV, raised IV, V, lowered VI, natural VI, lowered VII, and natural VII. In C, this contains C, Db, D, D#, E, F, F#, G, Ab, A, Bb, B. The extended minor scale contains: I, lowered II, natural II, III, lowered IV, natural IV, raised IV, V, natural VI, raised VI, natural VII, and raised VII. In C, this contains C, Db, D, Eb, Fb, F, F#, G, Ab, A, Bb, B. For each stable degree (I, III, and V), there exists two leading tones. II, VI, and lowered VII in major and IV, raised VI, and VII in minor do not explicitly lead to any stable degree. Leading tones create more tension than non-leading tones Any chromaticism not considered secondary functions can fit into either extended scale, as they can both be valid at the same time as in the hip-hop scale. However, raised II and lowered IV are extended-scale-exclusive, the former resolves to major tonic and the latter resolves minor tonic. Any mode dictated by classical harmony, therefore, can be constructed. (super-locrian's Ab could be considered a stable tone, The Bbb would then lead into it. For super locrian, the supposed tonic could actually be the dominant and that dominant leads to a III. The notes could be enharmonically spelled too for more complications)

Arabian Hungarian Tango revised.midArabian Hungarian Tango revised - 完整总谱.pdf No idea how to come up with a good second theme. Don't know what style it could be.

Fast thirds require thumb, but after 4th position are easier. octaves are fine. Tenths start on 4th position (same pitch as the higher open string) as in the cello transcription for Paganini's 24th caprice. unisons (for small hands) should start an octave above the lower open string. Fifths, unlike violin and viola, are played like barre on guitar. only bad part is that double A unison, but it does exist in some cello pieces link to a sheet music video of paganini's 24th caprice played by Yo Yo Ma:

I have a piece with two low flutes (middle C to the A# above) pianissimo with harp playing high mezzo-piano to piano octaves each hand at a slow (Andante) pace. Would it be unbalanced?