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Luis Hernández

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Everything posted by Luis Hernández

  1. A piece for two Bb clarinets and one Bb Bass clarinet. Transposed notation.
  2. Staying in the classic period (baroque to romanticism), I mean leaving out contemporary techniques, I think reharmonization has to be considered. This is something I miss a lot in the music many people write taking those styles as models. I don't mean that Bach or Mozart would reharmonize a phrase as if they were Bill Evans, but it's not unfrequent to see a repetition of a part where, suddenly, just a new unexpected chord (from what we had heard until then in the piece) comes around. Many times is a diminished 7 chord, other times a broken cadence (is that the term in English? "cadencia rota")..., or better deceptive cadence.
  3. @jawoodruff Many times I don't think in a tonality, or I mix tonal music with other things, so there was nothing intentional. Regarding those scales with augmented seconds and semitones I'm used to hear them all the time. I live in the Mediterranean coast and all the traditional scales around are based on those intervals, from Middle East to Spain, from North Africa to Balkans.... I didn't want an ethnic flavor. In fact, I liked that Edom means Red.
  4. You mean like s G harmonic minor? Or just the interval... I don't know, it began in a sort of Bm but it went through some layers of polychords.
  5. I'm sure a big climax with your big palette of sounds would be great. There are many many ways to modulate...
  6. Edom means "red" in Hebrew, and it was and ancient city / region next to the Dead Sea.
  7. What an adventure of sounds! I like it already. It's amazing how so many sounds and instruments fit together. I wonder how different are "musical minds" in general. I think you conceive your music as a sort of progressive piece. It has no big climax or tutti as a standard piece, but it works very well.
  8. Too difficult to make a strict canon for three voices at the unison/octave.In the example above there are lot of seconds (or equivalent) intervals. I would try to make it for two voices and additional free bass line.
  9. What I like most is how you build the part from m. 72 and the counterpoint afterwards.
  10. I enjoyed this song... Nice style.
  11. Nice how the motif overrides several harmonic changes with different tensions.
  12. @Donethur Of course. First, I appreciate the work behind any compositions. My taste, or whoever's, is another issue. I totally respect what anyone does or works on, or the style he/she uses. But it happens nothing if I express my preferences. It's not a question of your music, I apologize. I can't stand Mozart or Beethoven, not to say Haydn... and what?
  13. @Donethur Don't worry, it's just my opinion, not only is your music but with many music I hear today. When I say predictability I don't mean anticipating exactly the melody, but the harmonic, rhythmic or sectional patterns, which have been heard many many times in general. And, it's not bad. It's the way you like it and the way you understand music. On the contrary, many music I (or others) write seems chaotic or unpredictable and people don't like it at all.
  14. The piece is nice. It's easy to like it. What I don't like in this kind of pieces is the predictability. Some little changes would make great difference, for me, of course.
  15. Yes, in the end, these are methods to create new forms, better for the music they composed. Some Forms were really new in he 20th century, I particularly like the Mosaic Form, and the Cagean Rhytmic Structures (invented by John Cage, of course),
  16. Nice piece. Take a look at the notation of the chords, C would be bIII and F bVI, in A minor.
  17. Not bad at all. You begin with a good frame (a layer at the top, another at the bottom) and more things in the middle. It starts with enough tension, afterwards it seems more a music for an action movie or something like that. Without images it's difficult to say. Y would use some clusters or dissonant parts, and some eerie or odd instrument (theremin, for example).
  18. This was inspired by the double canons by Brahms for female voices. But I wanted to experiment with a tonal row.
  19. I don't think this fact has the same importance as in tonal music. With multiple tonalities is unavoidable you have clashes and those kind of intervals Check teh variation II of Lulú Suite by Berg in the form of a polytonal canon ( C / Gb / Am / Eb)
  20. @caters I suggest o read the part about polytonality by Vincent Persichetti. What you say above is a mess. When you talk about stability what do you mean? Each tonality is stable in itself. The whole can be more consonant or more dissonant. He establishes this order of intervals between two tonalities from more consonant to more dissonant BUT FOR MAJOR TONALITIES, not major plus minor. On the other hand, he explains that the most resonant (not consonant) interval for bitonality is the tritone. He talks about combining minor-major or viceversa, too. And also what intervals are more consonant when there are more than two tonal centers. It's all in his book.
  21. You're right. There are "opposite" concepts. In politonality there is tonality. In atonality there isn't.
  22. Hi The idea works well for me. The first part has a nice feeling of growing, it reminds to Ives in the unanswered question.
  23. @Monarcheon . Yes, I was sarcastic, of course. I'm sorry. I think many fields in modern harmony are mixed in real composition. But we need to have clear what is atonality and what not. And what it politonality and what is a tonal center, etc...
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