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Luis Hernández

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Luis Hernández last won the day on August 17

Luis Hernández had the most liked content!

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About Luis Hernández

  • Rank
    Seasoned Composer

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Profile Information

  • Gender
  • Location
  • 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
  • Instruments Played
    Piano, guitar

Recent Profile Visitors

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  1. La Florida Amelia

    No, I don't think so.... It's just that sometimes I only want to express something very specific, and the length of the piece is secondary.
  2. La Florida Amelia

    Why? Short.... it is. But I don't feel it incomplete. I said what I wanted and that's all.
  3. 2 Questions

    I've also seen scores in which there are measured parts and unmeasured (or what is called proportional notation) for small groups of instruments. In this case, in the unmeasured sections there is a member of the players who act as a leader marking the beginning of the marks. But for full orchestra is impossible (see The Rite of Spring, by Stravinsky).
  4. Sombre Paris - La Ville Sombre for Wind Septet (Sacred Geometry)

    Honestly, I love this music. Some suggestions: 1. The notes are overwhelming. I understand the essence and that you want to explain it and establish the relationship with all those facts. But, in the end, the musica is what matters. I like to know about how you compose the piece, but perhaps there are many data for an average listener. 2. I thing you have complicated the metric issue. Some measures could be notated easier. On the other hand, some tuplets are confusing. Take measure 2, which is 2+2+3/8. And there is a 5:6 tuplet. 6... there are 2 eights lacking, or rests ?? Aniway, nice work. I also like the instruments you use.
  5. The Mountain

    I think this piece has something "wild" because of the color and the harmony. I like it. It's also very evocative.
  6. Sketch No. 233

    Beautiful idea. You seem to explore sevenths and b9 interval. I wonder why many time (me included) want to see more or want to know if there will be some develop eme the. I think it's fine as it is. In fact, going further and further with the same idea would make it boring (perhaps).

    Thanks! I didn't know this composer, it's great. The sax is very versatile, but the piano part is also nice. I know sax solo compositions are different, I listened to some of them, beautiful pieces, but there were extended techniques. I'm eager to write something for sax, although virtual instruments are not good... I love the 2nd piece Baiao.
  8. Of Fire an Ice

    I agree. The ice has "grandeur" and majestuosity. But those pedals or ostinatos are too much. In fact the final part is quite good.
  9. 2 Questions

    About the first question. If you write unmeasured music, it's because time signatures don't work for your piece. I mean, if your music fits in 3/4, 4/4 or whatever, it has no sense to avoid bar lines. In other words, unmeasured music is expected to be "free" from a fixed rhythm. You have to bear in mind that unmeasured music is possible for a solo player (including piano or polyphonic instruments). If you have two players it's not easy that they play with coordination. Of course, if there is an ensemble or orchestra you have to avoid unmeasured music (Messiaen told that, not I). In my experience, Finale is a crap, you can't write with no measure, so you have to trick Finale and to use odd time signatures and, afterwords, hide them all. I don't know what Sibelius work. But I tried Dórico, and you can write with no measure at all.
  10. Introspection #1

    Hi, the sensation I have is of an adagio. It's nice, perhaps I miss some climax (as in Barber's)...
  11. Piano Concerto No. in F, "Short"

    Come on! Don't hate it! Of course, having listened to your current works the evolution is clear. I think this is something that happens to most of us. I wonder if the stuff I work on today will be rejected by myself in a couple of years. Anyway, the concert is fresh and has that point of ingenuity in some piano parts. I like you used only strings (which reminds me the Chopin piano concertos). Some parts sound more classic, other more Ravelian (m. 102...). Some sections are very nice (sección E).
  12. Inside the Subway

    It reminds me to some sounds used in the 70's or darle 80's.
  13. Curvetude

    I like very much the first part, a little bit ambiguous. I don't know if you follow here a sort of music form or if it is music that goes on and on. The rhythmic pattern is constant the whole piece. Although it is an element that unifies, perhaps it's too much time with the same rhythm. Several climax are well constructed. It's nice.
  14. After the death of the emperor

    It's very powerful and with nice harmony. The score is a bit messy, however. I think it fits with your idea.

    Thanks @Maarten Bauer, great idea. I am interested in writing for saxophones. These days I am listening to some works for sax with scores. You've right, it's the best way to learn. I think I'll try first something for sax solo...