dorfischer

i don't think so, i think this is treated like a regular scale which makes sense because you want to have a consistent "tonality" based on a mode rather then incidental "chromatic scale"-like progressions.

it is a partial tonal context (it's just a different form of tonality), but thanks :) @charliep123: you might find that it does theoretically- wise matter how you spell, in contrary to the enharmonic approach.

Does it matter if I spell an Octatonic scale (half step diminished C) C-C#-D#-E-F#-G-A-Bb-C instead of the common C-Dd-Eb-Fb-F#-G-A-Bb-C? The main reason i chose this spelling is because I regard it with a C major "tonality" with the twist of this scale, and want to get the chord C-F#-Bb as a function of a sub-dominant with a diminished 7th. for those of you unfamiliar with the subject: Octatonic Scales Thanks Dor

so: about order: another thing I'd like to say, that from my point of view, order has a acoustic quality only if it is not perceived as an analytical approach to music, of creating order just for the sake of it, but rather as a tool for bringing the acoustic state of mind of the piece out: whether it's the fate- like recurrence of themes in Beethoven's 5th' or the meditative value of the Bach's inventions and well- tempered clavier. My point being- order is a key thing in music, but up to a point. as Schoenberg said (although i don't like his music too much currently)- "You need to love the way it sounds." --------- about god: When i say 'god', i mean the absence of random: "god does not play dice." (a. Einstein). When you identify with a certain piece of music you compare the "ordinary" world, your world, with music. "Identify", meaning you find the same pre- planned occurrence of music, in your own life. you find the god-like planning in your life.

this is a real dilemma. I have thought about this, and although I am far from a person of knowledge in music history and musicology, here are some thoughts on this: The increasing movement away from melody might be because of it's enormous order, and in a way taking speech into an art form (melodies= musical sentences). I was very confident in the notion of music as a way of expressing intense emotions, or a way of dealing with them. Recently, I've had times that i play a single note on the piano, and it seems like too much, like it can't possibly describe what I'm feeling. It sounds synthetic. A supposed synthesis of human thought. Not only that, but also thinking that maybe (god forbid) what I'm feeling is not that important. It's regular. This is parallel to the thought about all the world suddenly wondering whether life has a meaning. Think about it: music is a planned thing. It basically says that there is meaning in life. If you believe in music, you believe in god (not necessarily religious) in this form or another. Unless, you devise random music. music of chaos. which is quite hard to listen to, because it basically says that there is no logic to it. It is hard to perceive and live with chaos. To sum up, in music we search for meaning, therefore a reflection of ourselves that has meaning: helping us finding meaning in ourselves. whether it's deep emotions woken up by music's power, or a meditative order. and with all this mind turmoil, look at the link bellow with a little smile. the composer in this video, took all this heavy talk with a light head: let's take speech, and harmonize it with cute little chords! :) have a nice day Dor

hello i know that the deadline is already done, but is there any chance i could submit my compositions by email?

does anybody know about any international composer competitions which i could enter? (i'm 15 years old from *israel*...) thanks dorfischer

i want to start a project in the memory of Johann Gambolputty de von Ausfern- schplenden- schlitter- crasscrenbon- fried- digger- dingle- dangle- dongle- dungle- burstein- von- knacker- thrasher- apple- banger- horowitz- ticolensic- grander- knotty- spelltinkle- grandlich- grumblemeyer- spelterwasser- kurstlich- himbleeisen- bahnwagen- gutenabend- bitte- ein- n

first, I'm glad you liked the whole thing... i hope that this won't be the last time it happens.... well, I'm hoping that i will start to learn conducting next year, with my wind ensemble conductor.... (btw justin can you PLEASE post an mp3 of "Explosions Of Joy"?...) and last but not least: no one has ever remembered the name of Johann Gambolputty de von Ausfern- schplenden- schlitter- crasscrenbon- fried- digger- dingle- dangle- dongle- dungle- burstein- von- knacker- thrasher- apple- banger- horowitz- ticolensic- grander- knotty- spelltinkle- grandlich- grumblemeyer- spelterwasser- kurstlich- himbleeisen- bahnwagen- gutenabend- bitte- ein- n

thats very interesting to hear... we play a lot of Holst in our wind orchestra (in which i play percussion..). i like Holst ;-) your right: i was looking for a concerto for: solo cello and orchestra. BUT it really is a combination of my unfamiliarity in writing for a solo instrument, and the lack of rehearsals we had. thanks everyone for commenting! Dor

thanks! nice to hear that :-) Dor

im sorry im kind of greedy, but- what library do you use?

wow! you will be attending the Juilliard pre-college program?... that sounds so... shiny.... anyway, i would be happy to hear some of your romantic works. cheers! Dor

before i start commenting back, as you can see- I've attached the scores in PDF format. second, I'm glad you liked them. let me tell you about that night, when i got the concert with "After 2000 Years of Diaspora" was a night i will remember for the rest of my life. never was i so nervous, and never was i so red in color...:blush: but strangely- when i was standing there, on the podium- i felt like i returned home. it felt like a familiar place. anyway- the main thing i want to say to you, and who ever else who will read this post, that i am mostly self- taught. i started experimenting with finale back when i was in 6th grade. and i heard your pieces, and i must say that you have potential. just keep experimenting all the time, because not only conducting is made of a hefty dose of experience. and i hope to get better on conducting. thanks for commenting! Dor

i can hear the difference. not only did you extend your material, but you laid it out into a more uniformed piece. keep dreaming! (seriously... no sarcasm) Dor