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Luis Hernández

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Luis Hernández last won the day on September 18

Luis Hernández had the most liked content!

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About Luis Hernández

  • Rank
    Elite Composer
  • Birthday November 2

Profile Information

  • Gender
  • Location
  • Occupation
  • 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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7,585 profile views
  1. Thanks! It's all done. I went over the piece and those thins have been corrected, but I didn't change the video in order to see those mistakes, in casi any other people listen to it.
  2. I love this piece. It's as if you had brought Bach to Philip Glass. I has a baroque scent but very modern.
  3. I think it's nice. It sounds between sad and tragic, drama...
  4. Hola. Me gusta mucho la estructura y como uno espera el momento en el que se reúne toda la orquesta y después lo repite. Está muy bien el contrapunto, un poco estilo coral y como "haendeliano". Esto podría funcionar como parte de una banda sonora en usa escena de esas solemnes. Hi, I like the structure and how the whole orchestra reunited is expected, then repeated that section. Counterpoint is good, it sounds a bit "chorale" and "haendelian". It could work as part of a soundtrack in a solemn scene.
  5. Wonderful. I really notice the structure of variations, in a sort of crescendo. I don't think this kind of harmonies lead to dissonances by themselves. It's all relative. The pieces flows quite well.
  6. Don't worry. I believe the composer has total control of what he/she wants. What others say are just opinions. I don't believe in rules, at all. Unless you want to do something like strict counterpoint or things like that. Overall, your piece is fantastic. In some way, this suite makes me imagine how Iceland is, emotionally. I'd love to visit that country... Someday....
  7. I think the length is not a problem but it seems you rely most of the time in the same motif. Although it changes in shape and harmony is omnipresent. In the left hand that scheme like a chord apoggiatura becomes predictable. But that's how you wanted it to be.
  8. Nice. But this is too tonal-consonant for me. Those long slurs for legato can't be done in strings (with one bow).
  9. the opening of Mahler's 5th symphony
  10. I'm glad the system came to rescue this piece (having no reviews or comments). It deserves attention. The writing is very interesting and complementary, with nice textures. And the piece itself keeps my attention all the time. Nice work.
  11. Beautiful piece with nice modulation and figures. At first, the modulation in m. 29 sounds a bit odd...
  12. I think it's funny. Many of us try to justify our fugue or counterpoint pieces (I am the first) saying we don't follow strictly baroque rules, etc... And it's fine. Hating parallel fifths and octaves is a matter of that time. Of course, if we fill our score with those parallels, the effect is very different. Your work here seems controlled. I like spots as measure 11 where the frist E natural forms a tritone with the Bb... Spicy. The only thing I miss is some point of rest in the piece.
  13. Indeed, this is (one of) the kind of music I love. When music is tonal and predictable, I don't feel it. I like it, but it's more suggestive when you change the center and use scales or whatever you like to add color. In that sense, I don't think a melody is necessary. This piece has this things. I like when there are pedal notes as a way to establish a "home", for a while.
  14. The flute at the beginning anticipates the sleeping child, and it's also a bit disturbing, more and more. I like it and it fits in what you want. Lots of tension.
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