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Luis Hernández

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Luis Hernández last won the day on September 17

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About Luis Hernández

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  1. Little piano songs

    Nice pieces. Romantic but not cloying
  2. Deep Breath

    Hi, I like the random drums against the guitar. Minor mood all the time, it's a nice atmosphere.

    Thanks for your dedication. Now I'm eager to read all your contributions....
  4. Techniques to deal with the "creative blocking"

    I think composition has two sides (well, many more in fact): 1. Making just nice music (at least for oneself), just for the pleasure to do it. This is relatively easy: brainstorm, improvising, developing a scale, etc... 2. Trying to express something. In this case I always have something to say (to myself). I look inside and try to put the emotions or feelings, or whatever, in music. In this case, the more resources you have for writing, the better. You'll have more vocabulary. That doesn't mean I can be writing at any time... But the second options is more rewarding, although no one understand what I'm trying to say, that's not necessary, this kind of music, as poetry is subjective. I compose also because I have that need, I don't have the necessity for a living. But I wish I had more time to do it. As Maarten says, listening to other people's works is inspiring. And finally: COPY:
  5. "Wake Up"

    I like it very much. This is like a modern lieder. Good balance: the voice just enters in a while to say something. 2:20... good climax.
  6. It was a strange night

    I love this kind of vocal pieces. You play very well with chromaticism! I'm not afraid of "dissonances" and they sound lovely here. There is only one moment I find a bit harsh, in measure 15, not because of the F-F#. It's because the soprano voices end abruptly in an eighth. Yes, it has it's effect... Nice work. And lovely interpretation (not easy, I think).
  7. Help me for writing Nocturne and Waltz

    I think it's the opposite. I understand genre (in music) as something much broader. But I don't care. Nocturne is a genre, OK.
  8. Help me for writing Nocturne and Waltz

    Well, I don't dare to tell anybody what should he or she do with the music.... Only suggestions, based on the form I understand music, or on how I write it. I think you want to do something in the romantic style. Yes, the arpeggio is important, but here it is "plain". Very even. You stick in intervals of fifths. Take a look at John Field for example, his arpeggios are very wide, that makes them expressive. Besides, you repeat the pattern in every measure and it makes it less interesting. Also, the way you wrote it is not 3/4, it fits better in 6/8 (two parts with three eighths in each one). The harmony is ecstatic. You are in A minos, but your progression is something like: Am - Em - C - Dm - Am - Em - C - Dm - Am - C - Dm - Am... There are no dominants chords, so it sounds a bit "always in rest". I mean, you need more rest-tension flow. Usually, in this style, the sustain pedal is used everywhere, and the legato (slurs) too. What I like most is the "broken" melody.
  9. School assignment

    @Maarten Bauer but that doesn't have to be a problem. I love mosaic form, you know it, it's wonderful, different and allows you to express things in other ways. Take it as an advantage. Explain why you use Mosaic Form and how many parts has the mosaic, and the different order you organize the pieces. Sometimes, when I do something in Mosaic Form, I think about it as a continuo, and afterwards, I deconstruct it: I begin exposing the parts in an order that is not the final "right" one, which comes later. That gives me the feeling I am looking for something I find in the end.... But you can find dozens of interpretations to what you compose.
  10. School assignment

    Hi @Maarten Bauer I think that you ask for a "plan" before writing. Like the script in a film. What I would do is: first, explain what you want to express or write about (the autumn, for example; or "randomness"...) I would then propose the big frame: the Form. What parts are in the form and how they interplay (contrasts, repetitions, variations), and why. What instruments you want to use and why, what kind of voice do you want to give to each one or each group. If you want to express a "story", a sequence of anything, how do you plan to fit that in your music. If you use any scales, why. Or if you stay tonal, or atonal or whatever. In summary, trying to explain how you are going to use all those tools to tell the story... Surely, this would be a starting point, when you are in the process, you'll make changes, but that's something you can explain later. For example, I work sometimes this way. I want to express something "sad" (abstractly sad, because I am in that mood) and I have lots of "tools" I've learned. And I think about how to do it: "I'll do something in three parts, some sort of ABA, and I will use some scale I feel like "dark", and I remembered one I had been experimented with: the superlocrian bb7, I use it, and for the other parts I think harmonies by seconds and sevenths could be nice because they are very different...) Etc...
  11. Help me for writing Nocturne and Waltz

    @Muhammadreza. What problems do you have? I think a Nocturne is (or comes from) a "mood". The form of it is not the most importante. Nocturne and waltz (Gm)
  12. Nocturno en Sol menor

    A little one Nocturno en Gm Partitura completa.pdf Nocturno en Gm - Nocturno en Gm.mp3
  13. Help me for writing Nocturne and Waltz

    The Nocturno is not a genre. A nocturne (from the French which meant nocturnal, from Latin nocturnus) is usually a musical composition that is inspired by, or evocative of, the night. The nocturne can be in any time signature, any key, etc... Most nocturnes are for piano solo, but there are orchestral nocturne, too. The "father" of the nocturne is John Field, although the most famous ones are by Choping. You can listen to all of them on youtube (and see the scores).
  14. What a lovely and nice piece. I like the story.
  15. Sonata for Solo Flute

    I think it's good. And nice performance. The first part is very beautiful, it seems built on intervalic patterns with elaborated manipulation of the motive. The theme and variations is also interesting (but var I as I say, a bit less) The Var. I is a bit monotonous perhaps because it relies on scales and constant figures. Var II recovers the spirit of variety and it's also nice. As it is var. III perhaps the best (for me, in terms of taste). The register is covered very well. Also the coda, which sounds a bit "pastoral" at times. The third part (presto) is a bit similar to Var I, in terms of using scales and repeated figures, not all the time, but I think it functions a bit worse. Because the meno moss (m. 244) again captures my total attention. I can't say anything bad about Tempo I (m. 287...) It's another show of beauty. Nice portamento in the beginning.