Luis Hernández

I will survive.

A very interesting work. Perhaps it is a bit too “intellectualized”. Let me explain: there is a succession of modes and tonalities, some a bit “infrequent” that, given the strong character they have, the transitions between them sometimes don't work too well. For example between the second theme in Bb acoustic (Bb Lydian dominant?) and E minor. Then abruptly one ends and the other begins. At other times it works much better. The first part has a strong sonority because of the phrygian question (what is Dorian Eb phrygian? maybe Eb phrygian with sixth?). From measure 60 on there are a lot of chords in the bass part that make it sound heavy and undefined. Especially because they are sounding for a considerable period of time. There are “rules” for using chords in that part of the tessitura, in general, but the main thing is to open-lighten the chords. The truth is that the piece is an intense work and the most remarkable thing, from my point of view, is that the counterpoint sounds very good. One observation is, also a personal matter, there are octaves for almost all the development. I don't know, Liszt used them everywhere, but he knew very well what he was doing and when. To me it sounds excessive and in the end there is no contrast. In other words, except for the beginning, the texture is very dense all the time.

Nice work, which I forgot to listen to. For this type of work I like the harpsichord sound better. The initial theme or subject is quite “catchy”. I think the second theme comes in at measure 32? I was pleasantly surprised by the “cadenza arpeggiata”, I think it also has a role of a more rested section. And it sounds chromatic. When talking about Double Fugue, I understand that there are two subjects. I suppose you can work by exposing them separately, or sequentially. Is it also possible to then overlay one on top of the other? Best regards.

@FILMSCORE I don't know... When I've tried to orchestrate something I've done for the piano..., I almost never get to the end. I prefer, if it's for orchestra, to do it thinking about it from the beginning. But well, it can be a challenge...

@FILMSCORE Ah yes. Although everything is generated with a virtual instrument, I try to take care as much as I can of the dynamics, rubato, etc... Thank you.

Thanks, but it's not human execution, it's all with software.

Hello, how are you? I hope you are well in this Easter period (wherever it is celebrated). In my country there are many holidays, so a little time to do things. Back to the music... After delving a few months into the compositional resources of Chopin, I have decided to go into a composer that I find more difficult, to see if I learn something: Brahms. Attending only to solo piano music, I have read, analyzed, and above all listened to, many pieces. I have tried to write something, much simpler, incorporating some of its characteristics as for example: -Melodies mainly by continuous degrees. -Several melodic planes (with internal melodies). -All conglomerated in counterpoint as a base. -Wide arpeggios -Harmonization in thirds / sixths. -Polyrhythm and use of hemiola. -Harmonic sequences based on conduction of voices (measures 11 - 16). -Omnibus progression (measures 25 - 29). Etc. I do not try to imitate Brahms, it would be impossible for me to reach 10% of his level. Only to include his resources in the music.

Hello All three pieces are very good and beautiful. What I have no idea is if they are suitable for children? I guess it will depend on the age and level. There are big chords and a lot of chromaticism. I also think the expressive level required is quite high.

Hello Great music! The impressionistic mood is very well noted. Some things lead to Debussy like setting a Tonic with pedal on low notes or the “la cathédrale engloutie” style chords. But also those continuous arpeggios remind me of some of Henry Cowell's techniques (although he did it inside the piano). It's a harp-like effect. The fourth harmonies here sometimes lead to unexpected harmonic cadences and I quite like that.

An interesting piece. But my main quibble: a lot of material that follows one another and in the end doesn't create a sense of unity. Yes, I think that, partially, the goal you raise is achieved. There are a multitude of “modern” techniques here and there. Some things I think are excessive (like pizzicato chords, that has to sound like arpeggiated). But in many other moments, most of them, the piece sounds tonal. Not that I'm wrong..... But, believe me, knowing how to get out of the cage of tonal and functional music, successfully, is not easy at all. I think that, whatever you want to do, the overall structure of the work is essential, and it's something we must consider from the beginning.

Today, harmony in fourths is considered dissonant, except perhaps in contemporary music. But in ancient times, fourths were consonant, so they have an ancestral air.

Hello... Whenever I see Nocturno, it always catches my attention. Although it is not a totally defined genre, I like very much to hear how everyone interprets this question. One impression I get from the piece is that it has a lot of different material and could be used for more than one nocturne. But the choice is always up to the composer. To me it seems like a rhapsodic nocturne..... In this sense, I think it loses a little bit the formal or organizational sense of a nocturne. These usually have very defined structures of parts. Which does not prevent it from being equally enjoyable. There are some issues that seem original to me and that, I think, work well, like not giving any note in the bass at the beginning of the first beat.

Hello... It's fine to write short things as ideas, but they can also be thoroughly worked out and result in something on their own. Here's what happens here. I don't value a work less or more for its length. In fact, I always prefer to dispense with exactly the same repetitions etc. This Poème has a polyrhythmic language very well embedded. Apart from making good use of the piano's latesitura in that little time. I also think it has a great sense of melody. It is very good.

I have listened to the whole thing again with the score. True, you can tell it comes out of Cubase, but enough to see a lot of things. I really like the vocal lines and the harmonies sometimes sounding like “old”, for intervals today considered less consonant. I also saw better the role of the violin, pity that the sound is only passable. It is also emotional.

Of course, it is very different... It's the kind of vocal treatment that reminded me of that opera. The Window of Appearances