DSCH

I like the Augmented 5th but that isn't there either. And yes, it is completely different to a minor 6th!!

3! I'm doing that it at the moment :)

"Seven Brothers" is fantastic, probably one of the best works for solo cello I've ever heard! You're setting of the Agnus Dei is certainly interesting, sounds like theres a strong 'early' music / almost medieval influence here? There is only one Henryk Mikolaj Gorecki. But perhaps Mr Savickis meant 'His Majesty Gorecki' ;)

Transpose it into "F" and re-tune the viola! Scordatura! ;)

I'm finding increasingly that sibelius lacks in these departments, I presume you're writing using a synthetic scale? The short answer is Sib 6 can't do this, at least to my knowledge... perhaps you can write it in afterwards? Also I've found it can;t do irrational time signatures either, very frustrating.

Poor Shostakovich :(

its just a musical cryptogram which Shostakovich used to spell his name.. But it also fits nicely into deminished modes so crops up quite abit without being a quotation. I just thought it was such an excposed moment that it must be a qoute, oh well.. :)

D, E flat, C, B natural.... in other words Shostakovich :D

use of the DSCH motif at bar 41-42?

can be many reasons for that.. suspended tonality perhaps? Or maybe the tonal center is not the D of the scale, but F like you originally suggested? The latter would then be of course similar to the use of modes, by that i mean all modes have a diatonic key signature but begin and revolve around different degrees of the scale.

When written enharmonically with D as the root we get the notes: D, E, F, Gb, A, Bb, C#. Thus, we can see we almost have the scale of D harmonic minor but with a G flat. In essence it is just a synthetic scale based upon the harmonic minor scale of D, with a flattened fourth degree.

You arse. Your pretentious comments honestly have made me feel quite sick, not to mention your abomination that you have the audacity to call music never mind a concerto. Who are you to waltz in and decide that you're the greatest composer in history? When so many who have gone before you, and indeed many today have stuggled and worked for years on end learning what it is to be a composer; an instrumentalist; a conductor. The truth is that you cannot just decide to be the greatest, that alone is the oppinion of those who hear your music. You said that the composers mentioned by WS are not relevant to our time... yet, you chose your name to be "@TheGreat12Tones" which is something of a contridiction is it not? I mean: 1 - If your name is based up the 12 tone technique largely attributed to the music of Schoenberg, then you yourself have made his music relevant to today. Also Schoenberg did not dismiss the past as not being of relevence, he saw his 12-tone technique as the natural progression of western music. Also you'll find many of his forms are derived from those invented by composers of the past 2 - If the past is so irrelevant, why do you have 12 tones? Surely this is something invented and perfected by hundreds of years of musicians? 3 - You call your work a concerto, a form invented by other composers. "Also, my music training is of the highest degree." Surely you could tell us lesser mortals what training you acctualy have? Please do yourself a favour. Delete this work, apologise to the people of YC, and unless you wish to write some serious music rather than this ill thought through tripe the don't attempt compose again.

D3 quater sharp

awh i was enjoying the As.. Oh well, F# above that, t-t-t-tritone

A 442