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Luis Hernández

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Luis Hernández last won the day on November 11

Luis Hernández had the most liked content!

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About Luis Hernández

  • Rank
    Elite Composer
  • Birthday November 2

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  • Gender
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  • Interests
    Animals, Photography
  • Favorite Composers
    Now: Peteris Vasks
  • My Compositional Styles
  • Notation Software/Sequencers
    Finale, Dorico, Logic
  • Instruments Played
    piano, guitar, bass

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  1. Brass is one the more potent sections. To achieve that (some ideas): -Keep brass for big moments. -Double melody unison/octaves in winds / strings -Use horns, which are softer, for thinner moments -Don't use all the brass instruments as background Reducing the volume in general for brass is tricky and false. Instead of that we should try to "orchestrate" that (or other) way.
  2. @Aiwendil . Thanks for your comment. Yes, those pauses are on purpose, of course. The cadences are there. I think the whole piece without rests is "too much". The pauses are written when there is a change of mode, and after m.22 goes back to the beginning. Well, it's a way to reinforce the structure.
  3. Very nice. It sounds as a dance. Good start with winds as en han emergido with strings sections al 1:00 and Melody with strings then. The textura thicknens andina color and direction. Countermelodies are everywhere in this part, with spicing winds. Really, a beautiful work.
  4. A little and quiet piece for this month. November.pdfNOVIEMBRE.mp3
  5. Having good ideas, the main issue is that the music runs in parallel all the time: melody (doubled or not) and rhythm. For a while it's nice, but on the long term it's not very idiomatic for the piano.
  6. Hi, thanks for your work. Would you be so kind to add the pdf file to the post. I cna't open it. I can try to do it for you, but I would not edit your post without permission. Edit: don't worry, finally I could open the file.
  7. I listened to it before (youtube). Wonderful piece.
  8. It sounds nice. I think one issue is the chosen ensemble. Taking the flut as the leader (melody) puts the violin in a lower register as second instrument. I agree that the cello is too gross to carry all the arpeggiated part, because in the original the left hand of the piano is not so low in register (and much more agile). Anyway, when doing transcriptions or arrangements like this one is important to make the new instruments idiomatic. On the other hand, depending on the set of instruments you have to figure out how to represent the most important without necessarily writing every note that is in the original, which lead to those unsecure double-triple stops.
  9. What a wonderful piece. "Risky" combination harp + piano + vibraphone, but it works well. The works flows nicely between the most agitated parts and the others. Very beautiful score. It's great the deatiled pedal marking for the harp, even other marks for mute, etc...
  10. @Tónskáld @Monarcheon Agree. In fact, from my point of view it's a good point that what comes after the shared initial part be related to it. Transformation/development is a blurred frontier. Also, the material can be inspired in the style, for example, of the initial part, and in this case, smooth and natural transition should be in mind. Perhaps a graphic representation is the branches of a tree where the trunk is the shared material and the main branches are the parts, and the little branches internal development. In some way everything is related to the trunk. (Off topic: tree branches follow the fibonacci series pattern, often used in contermporary and even in previous periods of music. But that's another story.)
  11. @KJthesleepdeprived Yes. As Monarcheon said, this is dealing with development and transformation. All the great works of the great composers have this mechanisms and tools inside. The spirit of this challenge it working with these processes in a strict or fixed way, with two goals: make it a challenge, and learn (all of us, because I'am, too) how to develop material. If we let our imagination fly there are many ways to work with material, according to the style you use. Baroque has it's tools based on counterpoint and motivic transformation. Late romanticism focus on harmony, many times the melody is fixed but the harmony changes from one part to another. In contermporary music development touches color, changes of modes, textures, mosaics.... Atonality relies also in transformation of series, etc.... Well that's how I see this challenge.
  12. In my opinion, exact repetition of the beginning (shared material) should no be present in the rest of the movement. However, by means of any transformations that make it sound different is OK.
  13. So far, I think this artificial intelligence generated music is based on all the previous music. What it can't do is innovate. Can we innovate? I hope some composers do it. Regarding using it as a tool for writing, why not? Depending on how you work with the material it could be fine (for me). It's like composing with random methods. Sometimes I do it to see what happens, and I found several levels of controlling the results.
  14. I can't help about multiphonics. Focusing on the musicality of the piece, I find it interesting and beautiful. The language is not rough at all, and the piano counterparts quite well to the trumpet. I encourage you to go on with other pieces, but you shoud check the issue of multiphonics. In other instruments I know one must be careful when writing them.
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