Hi, I'll try to make this short.
As a "composers" I try to study as many musical idioms as I can. I am very eclectic and like to use different harmonic languages.
Some time ago, I was interested in scales (exotic, artifical, etc...) and I wanted to learn HOW to use them, how to build a harmonic system with a scale (mode). I couldn't find information about it. Some textbooks mention some scales and describe them. Some people talk about how to improvise with one scale or other. But that was not my goal.
In other words, I wanted to know hoy to make a scale sound genuine, unique, distinct and away from major/minor.
With all I could find (not much) I wrote a handbook on my own. This little book deals about it: how to use ANY scale. From unitonic (one scale note) to pentatonic, hexatonic, heptatonic, octatonic... There is a theory part and I am composing lots of example (audio and score); in fact, several blocks of examples are ready.
This book is in Spanish, since it is my natural language. The book has been freely distributed in forums and other sites.
I would like to share it with other people interested in this stuff, as a composer tool or just to know what this is about.
So, I need someone to help me with this. The book is not long (less than 60 pages, many of them are figures or tables that don't need translation).
I'm not looking for a translator. I can do it, but English is not my language, and I'm sure I would make many mistake. What I need is a corrector, once the translations is done.
We can do it bit by bit....
On the contrary, translating from English to Spanish, is somethin I have done several times, it's easier.
If I don't find anybody I won't spend my time translating...
Anyway, I am looking for somebody in other sites, too.
PS: of course, this would be an unpaid work (sorry).
It's very plesant and nice. The melody is good. The piano is well used, too.
Although I'm not very fond of this style nowadays (it sounds absolutely classical) I like it.
There is only one thing I would wor over: the changes in dynamics are, sometimes, too strong: bar 23 in trumpet (from piano to forte).
This piece is in the Rondó Form. There is a main subject (tema principal) and three subordinate themes.
So the structure is ABACADA, the A part is always modified.
I have used the "classical" atonal system described by Schönberg and "friends". The dodecaphonic matrix is this:
Several series are combined to achieve the variation and to create tension and rest (they are not randomly combined, as many people think about atonality). The series are notated in the score.
I composed this Concertino for Classical Guitar and String Orchestra (in three movements), one of my more ambitious compositions, around 8 months ago. I had intended it for performance by a guitarist friend who sometimes performs with orchestras. However, that has not materialized yet. So here it is for your enjoyment. It is the first concertino I have ever written.