Luis Hernández

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Luis Hernández last won the day on April 16

Luis Hernández had the most liked content!

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About Luis Hernández

  • Rank
    Seasoned Composer

Contact Methods

  • Website URL
    armonias1.webnode.es

Profile Information

  • Gender
    Male
  • Location
    Spain
  • Occupation
    Physician, Haematology
  • Interests
    Music, of course. Pets. Reading. Opera.
  • My Compositional Styles
    Romantic, minimalist, atonal, modal, exotic scales and alternative harmony, impressionism.
  • Notation Software/Sequencers
    Finale
  • Instruments Played
    Piano, guitar

Recent Profile Visitors

2,186 profile views
  1. OK that's what I thought.... If you try quartal/quintal/secondal harmony it will be different...!!
  2. It sounds nicely bluesy. But what do you mean with extended tertian background? It sounds tonal harmony to me....
  3. Thanks. I'll fix that enharmonic note...
  4. This is a mixture of tonal music and Messiaen mode 7 with additions on my own. NOCTURNO copia - SCORE.pdf
  5. Technically, I say nothing. I love this Suite. It sounds contemporary and quite beautiful. Every part has its own distinct motives (melodic and rhythmic). Nice harmonies, too.
  6. That's one of the most important issues for the beginner (me). But OMG, after seeing scores by Ravel for example, for harp, this is "nothing". I've been going over the score. The effect you mention could happen here. E natural and F natural cannont be put at the same time, but there is a whole measure to do it. When F natural has to be activated, the F# in the bass voice is finished. Well, perhaps it can resonate a bit, but lowering the sound from F# to F while the first is still sounding is not bad in this situacion (I think). There are other solutions, for example make the G shorter and writ ea damp mark.
  7. Still getting familiar with harp writing (and pedals). A classic canon Part A in G minor at the seventh (or second + octave) Part B: D min at the fourth down motu contrario Part A': the same A but inverted counterpoint. harp canon - SCORE.pdf
  8. I'm not an expert in this things, but some specific points sound odd to me. For example in m. 11: B - C# - D - G .... a bit dissonant. Is it good to double two notes of a chord and omit the other one? m. 10 B-B-D#-D# Some times the voices cross, which I think you can avoid it: m. 13 the tenor voice The ending... Why that B - Bb - C#.... Also, if the style is looking at Bach... I wouldn't end in Bm7, but in Bm. In general it sounds good to my ears, but if it's an exercise perhaps you can improve it.
  9. It has all to sound epic. Nice changes and crescendo. In specific parts I think it's a bit saturated of music elements (1:15 on...)
  10. They are only the parts of the score. The piece doesn't follow a tradicional form, it is a Kindle of mosaic form.
  11. Wonderful... it's great to listen to your work live. Congrats to you all...
  12. Very nice!
  13. Two Bb clarinets and one Bb bass clarinet, all transposed. In some spots I could have used bass clef, but players didn't like it. Using several materials: Messiaen's modes combined, add rhythms, atonal series, interval sets, secondal, quartal, quintal harmonies, canon, etc... Meter is odd, but I think necessary here, otherwise the three clarinets wouldn't be coordinated. That's what Messiaen says: when there are more than one player, use meter... MOVING - SCORE.pdf
  14. It's quite beautiful.
  15. I also like it . Beautiful.