Chemathmusician0510

I've had this theory for ages for now. So I've been wondering if the solfège system one prefers to use affects pitch recognization. I've always used fixed solfège and had perfect pitch, but was wondering if there is a pattern. This poll could say something about that, so thanks for answering! (Any additional clarification can be posted below)

Here is a plausible cadenza based on this

for all the brass players who think they have a range to bluff about also larger range than pedal (concert) harp

First, piano: played Fantasie-Impromptu at 8, can somewhat play chopin etudes, Hammerklavier, Heroic polonaise, and the such. Second, cello: Moved around a lot with long periods of time between having lessons weekly. Can play Moses on G (on A) 24 caprice, Dvorak cello concerto. Third, most of the mallets: in middle school band, then homeschooled so haven't picked back up. Can't do 4 mallets. Fourth, clarinet: picked up because we had some spare woodwinds laying around. no teacher so not sure what level of playing.

Thanks for the suggestion! I do usually do 4 or 8 bar phrases, but bars 9-14 and the endings I really couldn't find notes to prolong. Maybe the last note of the three bar phrases could be longer.

That was mostly a practice list I have a really hard time perfecting pieces

Piano: Hammerklavier sonata, Symphony No. 9 Liszt transcription, (this is too long to print out, so I've been doing this one less) all 24 + 3 Chopin etudes, Erkonig Liszt transcription, Chopin sonata op. 35, Cello: Moses on G by Paganini, for cello on A string Hungarian Rhapsody by David Popper Caprice 24 by Paganini, transcribed by Luigi Silva Shostakovich Cello concerto no 1 Symphony-concerto for cello by Prokofiev (this one I've put aside for the time being)

This is an arrangement I did for fun a while back. I added in some secondary minor dominant ninths from the original chord progression to add some color and changed the meter to 6/8. It's based on four-part choral writing with a lot of chromaticism. I used cubase to improve the sound quality from the earlier version on my channel. Critique is welcome!

has anyone even tried Liszt's arrangements of the Beethoven symphonies (especially 9). The amount of stamina to actally play it professionally would be unimaginable. I just sight-read the 9th a couple times for fun. I have small cold sweaty hands, tough skin, and fat short blunt fingers for playing both cello and piano. For cello, as long as you don't touch violin pieces, you're safe. As soon you start, you go down a rabbit hole of playing multi stops, harmonics and notes high as A7. (any of you ever try to play a touch-4 and a touch-5 harmonic as an octave and try to be in tune?)

couple minutes (under ten) if it stays as a piano piece, but I might turn this into a string quartet which would probably be longer

I think I alternate between two modes for contrast, otherwise the rhythmic drone might get too boring after a while. (the second mode only lasts about for measures 13 to 16 and a bit on bar 21)

Added in an mp3. I'm still new to composing (especially the computer aspects), so some of the files needed to converted. Hope it helped!

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)