Hahaha not welsh, just a typo… but the dd at the end lends itself to welsh. I’m not sure what to welsh is for suspension I think it’s ataliad, though we use that for bridges which makes sense I guess 
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Nice. I’m a bit of a Welch/Celtic mythology/history buff. Would love to take a trip someday.
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You’d love it, so much history and outdoorsy stuff to do over here. The weathers very mild so there’s a lot of rain but on a good day the whole country light up beautifully. Been abroad to a few places and still haven’t found anywhere quite like Snowdonia.
I may be biased but a lot of other people outside of the U.K. say the same . I’m very blessed to live here. It’s just a shame that in comparison to England we don’t get funding from the gov, as they’re always biased to England… don’t get me wrong, England is a nice place to visit (for cities that are extortionately expensive), but it a bit bland in most areas. At least we have Merlin and the tales of old 
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Well, I live in a boring part of the US, so all of Britain is interesting to me. Had a practice piece I wrote years ago called “Dal Riata” (Scotland, I know.)
Here’s a quick question. Trying to write a piece with a bit of a G Mixolydian sound to it. Starts with an ostinato in the II Vn and doubled in Vla, just playing around with G and C so as to not make it real harmonically specific, but the end of the phrase goes F-G to give it that b7 Mixolydian sound, but problem is that F seem to be dissonant with with everything else going on.
Then I have a quick F#-G come in on the horns while the ostinato is back to G-C. Even though I prepare it with a G beforehand, the #4(C F#) and b2 (F#-G) still stick out noticeably. Any way to fix that without changing the horn melody?
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When working with mixolydian be careful with that flat 7… it Will clash with the third of the scale… in this case the B natural (the interval between that is a Dim 5 so very classy… I personally like that note but some may not.
You can rectify this by just making sure your voicings are strategically placed to deal with it. You can use the F if your playing a G major as it creates a G dominant chord which is a nice extension that gives it that mixolydian feeling. Adding the B7 in G major Mixolydian will actually pull you away from that mode… B7 has an F# and a D# which actually pulls you more towards Phrygian (but with a #7) 
this is known as Phrygian Dominant.
So if your trying to create a B7 sound in G major you’ll need that flat 5 and sharp 7 to get that otherwise I’d stick a G natural in the bass which will solidify G major Mixolydian as the home key and give you the G7 sound you might be looking for.
Alternatively you can sharpen the 4th and 7th in the mixolydian scale giving you a C# and an F# to give more of a Lydian feel… then you’d be able to use harmony ascociatex with A major or F#m (or even Bm).
Tried to make that as palatable as possible haha. Let me know if I succeeded 
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I just edited and added something above
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Yeah, I think you’re spot on. 
I actually had a sustained B in the 'bones when the horns come in (the melody there is G-F#-G-D-C) because I was thinking G7 when the ostinato hits the F natural, but the problem is the C in the ostinato; it’s middle C so it clashes with that B and then the B clashes with the F natural.
Thanks a bunch! Going to try out a few things. Maybe if I can get it finished, I’ll use this piece for this month’s contest–I have the ending worked out already and I think a few people here would enjoy it 
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Ah fab. When you have a draft, inbox me I’d love to hear!
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Btw. Phrygian Dominant chords are more ascociated with Em because there’s more ascociated between semitone movement (thinking of G Phrygian Dom) between the Eb and E natural it’s a really cool change Em-B7… this is known as a modal shift as your moving from Dorian to Phrygian Dom.
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Cool tip. My fav guitarist, HIZAKI from Versailles, uses Phrygian Dominant scales a lot in his soloing to give it that dark, Baroque type of sound.
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