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Luis Hernández

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Luis Hernández last won the day on February 9

Luis Hernández had the most liked content!

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About Luis Hernández

  • Rank
    Elite Composer
  • Birthday November 2

Profile Information

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

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  1. Hi freinds I've been reading that in terms of timbre, Bb and A clarinet are a little bit different but nothing to become a handicap, at least in an orchestral (no solo) set. So, the choice of between Bb and A clarinet should rely on the tonality tof he piece. Two or more sharps would call for A clarinet. Also, changes from Bb to A (or viceversa) are possible (as doublings). What do you think about that. Or Bb clarinet always?
  2. A little piece I've been working on... I keep on exploring que orchestra.
  3. Very beautiful sonata. I love the style, tonal but modern.
  4. Yes, when I had absolutely no idea, I waned to fill the score with all instruments all the time. I wasn't ready and, in fact, I didn't write for orchestra for that reason. But I began to study the orchestra half a yerar ago, or so.... I have many things to learn... Yes that was a mistake, thanks, I'll fix it.
  5. I wrote these (and some more) just for fun and to learn....
  6. Well built crescendo at the beginning. Nicely melody taken by the oboe and reinforce with basson and the remaining winds. Good climax again from 44 to 52, although the ascending scale in the two final measures is a bit "standard". It goes on with the strings and timpani adding winds in other theme, very nice. It changes to a quieter manner with contrast. Beautiful rising and fall with the vibraphone taking part. Final rich part, rhytmically. I like this piece very much.Tension-relief..., perfect. Interesting melodies and rhythm Why is the clef in "contrabajo" (double bass) with that "8". I think the strings are overused a little bit (the never stop playing), sometimes it's part could be transferred and adapted to the brass section. Nice nice job.
  7. @Quinn Thanks I new about that mess with Bruckner's works. I found the Gutmann edition (1885) and Jochum with Berlin Philarmoniker on youtube matches...
  8. @Quinn It seems you don't like Mahler, I do. But I also love Bruckner and I never thought his style is linked with Mahler. Although both had wagnerian influences. I think I'll try Bruckner... 7th symphony?
  9. Hi, I know there is expert people here. I want to study some big score to learn orchestration. I'm interested in romantic-postromantic and modern orchestration. Any suggestions? Perhaps Mahler is too much to start. I thought about Tchaikovsky's Pathethique Symphony.... I love it and I've listened to it many times... Holst, The Planets? Thanks.
  10. Hola colega, esto sí me ha gustado mucho. Es mi gusto personal pero prefiero esto que suena romántico sí pero con riqueza armónica, con tensiones. Tanto arpegio y tanto dominante-tónica lo he oído miles de veces (hablo en general), y algo por en medio es mucho más creativo. Es una pieza muy muy bonita, e interesante. sorry, in English Hi friend, I like this one a lot. It's my personal taste but I prefer this style, romantic but with harmonic richness and tensions. Too many arpeggios and dominant-tonic has been heard thousand times (I speak in general), and putting something in between is much more creative. Very very nice piece, and interesting. Keep writing!!
  11. Many times, I don't feel the need to expand my scores. The music is what is, and if short, I don't mind, If I feel it is "complete".
  12. @TCGCoolio Yes, I think there are long parts with quick 16ths or even 32nds that are impossible, it happens the same with some chords and arpeggios. But you can write for MIDI software, not for human, take a look at Conlon Nancarrow Inserting such different parte (regarding the "pop" one) is possible and not bad.... But you need to make a convincing transition from where you were to the new sound. Otherwise, the listener can think you're music is wrong.
  13. Is this intended for human playback? Some parts are; I think, nearly impossible (superfast, wide chords, octaves....). The part in Mov. I that comes from m. 47 doesn't fit very well, it's like a pop ballad in the middle of chromatic and contemporary style. I like more the second movement, it has more contrast of textures. What I don't see is the parts that, suddenly become totally tonal. I feel it's complete. But if I had to expand it, I would write a slow movement.
  14. I think this is absolutely arbitrary and subjective. What you propose for "Sunny" doesn't bring the idea of Sun to me. Yes, it's good to take this ideas to compose suites, etc... But I should take resources from whatever origin. Describing things in music is impossible (except perhaps for Wagner ¡?), but you can make an interpretation of what Sun is for you and translate into music, no matter if it's major or minor. For me, composing in that way is like being in "a jail of tonalities". Meny times the glue of a suite is just the theme, the general style probably.
  15. It's a different choice to have the sections in several styles. Many times the phrases are too long (it needs breathing pauses). Sometimes there are sudden changes as harmony by fourths that, I think, need some transition-preparation. The feeling is a bit tiring because all the time the notes are quick and the melody jumpy.
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