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Luis Hernández

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Everything posted by Luis Hernández

  1. Listen to and see examples. See how Brahms (when the violin enters in 2:50) lets the orchestra to a minimum and writes soft and spicy countermelodies:
  2. It sounds nice and with some mediterranean flavor. You should make clear how many instruments you are using, and bear it in mind. I saw a chord of three notes in the trombone (m. 39-42). And the French Horn 2 has two pitches somewhere (m. 22-24).
  3. Brass is one the more potent sections. To achieve that (some ideas): -Keep brass for big moments. -Double melody unison/octaves in winds / strings -Use horns, which are softer, for thinner moments -Don't use all the brass instruments as background Reducing the volume in general for brass is tricky and false. Instead of that we should try to "orchestrate" that (or other) way.
  4. @Aiwendil . Thanks for your comment. Yes, those pauses are on purpose, of course. The cadences are there. I think the whole piece without rests is "too much". The pauses are written when there is a change of mode, and after m.22 goes back to the beginning. Well, it's a way to reinforce the structure.
  5. Very nice. It sounds as a dance. Good start with winds as en han emergido with strings sections al 1:00 and Melody with strings then. The textura thicknens andina color and direction. Countermelodies are everywhere in this part, with spicing winds. Really, a beautiful work.
  6. A little and quiet piece for this month. November.pdfNOVIEMBRE.mp3
  7. Having good ideas, the main issue is that the music runs in parallel all the time: melody (doubled or not) and rhythm. For a while it's nice, but on the long term it's not very idiomatic for the piano.
  8. Hi, thanks for your work. Would you be so kind to add the pdf file to the post. I cna't open it. I can try to do it for you, but I would not edit your post without permission. Edit: don't worry, finally I could open the file.
  9. I listened to it before (youtube). Wonderful piece.
  10. It sounds nice. I think one issue is the chosen ensemble. Taking the flut as the leader (melody) puts the violin in a lower register as second instrument. I agree that the cello is too gross to carry all the arpeggiated part, because in the original the left hand of the piano is not so low in register (and much more agile). Anyway, when doing transcriptions or arrangements like this one is important to make the new instruments idiomatic. On the other hand, depending on the set of instruments you have to figure out how to represent the most important without necessarily writing every note that is in the original, which lead to those unsecure double-triple stops.
  11. What a wonderful piece. "Risky" combination harp + piano + vibraphone, but it works well. The works flows nicely between the most agitated parts and the others. Very beautiful score. It's great the deatiled pedal marking for the harp, even other marks for mute, etc...
  12. @Tónskáld @Monarcheon Agree. In fact, from my point of view it's a good point that what comes after the shared initial part be related to it. Transformation/development is a blurred frontier. Also, the material can be inspired in the style, for example, of the initial part, and in this case, smooth and natural transition should be in mind. Perhaps a graphic representation is the branches of a tree where the trunk is the shared material and the main branches are the parts, and the little branches internal development. In some way everything is related to the trunk. (Off topic: tree branches follow the fibonacci series pattern, often used in contermporary and even in previous periods of music. But that's another story.)
  13. @KJthesleepdeprived Yes. As Monarcheon said, this is dealing with development and transformation. All the great works of the great composers have this mechanisms and tools inside. The spirit of this challenge it working with these processes in a strict or fixed way, with two goals: make it a challenge, and learn (all of us, because I'am, too) how to develop material. If we let our imagination fly there are many ways to work with material, according to the style you use. Baroque has it's tools based on counterpoint and motivic transformation. Late romanticism focus on harmony, many times the melody is fixed but the harmony changes from one part to another. In contermporary music development touches color, changes of modes, textures, mosaics.... Atonality relies also in transformation of series, etc.... Well that's how I see this challenge.
  14. In my opinion, exact repetition of the beginning (shared material) should no be present in the rest of the movement. However, by means of any transformations that make it sound different is OK.
  15. So far, I think this artificial intelligence generated music is based on all the previous music. What it can't do is innovate. Can we innovate? I hope some composers do it. Regarding using it as a tool for writing, why not? Depending on how you work with the material it could be fine (for me). It's like composing with random methods. Sometimes I do it to see what happens, and I found several levels of controlling the results.
  16. I can't help about multiphonics. Focusing on the musicality of the piece, I find it interesting and beautiful. The language is not rough at all, and the piano counterparts quite well to the trumpet. I encourage you to go on with other pieces, but you shoud check the issue of multiphonics. In other instruments I know one must be careful when writing them.
  17. I 'm sure there is not a unique way to work on this challenge. The way I see it is that we have to focus not primarily in the raw material but in the process of transforming or developing it. That is why exact repetitions or putting one part after another or a sort of "pastiche" is not expected. Instead, having a specific and short/simple musical material (a single melodic line was suggested), a series of pieces should be written by processing that. How? There are many ways: motivic transformation, changing harmony, rhythm, color, modes, ... So, taking the same material as a starting point we can arrive to many different places in each part of the work. The final movement, following this idea, would take those processes ("branching processes") and use them in combination to resume the work. I other words, I would approach to this as a work of processing or development. An example. I can take as a starting point a phrase made of a Pitch Class Set. This first part could be done using only this set. A second part would start in the same way, and I would try to transform this set into harmony by fourths/fiths, it's possible, that's a branching process. In the next part, I would try to transform the set into triadic extendend harmony. I the next, in polychords.... In each part, my challenge would be to make it coherent, to make the transitions fluent. And in a final movement, I would take all those processes and try to make something new, but related by means of the processes themselves. Well, many of you know I'm very fond of contemporary issues. But this can be applied to classic languages. If not, how did Bach manage to write a series of canon and counterpoint pieces starting with the same phrase in the Musical Offering? He used a different process in each piece. And finally he wrote a monumental Ricercar combining many of the things he had used.
  18. Beautiful prelude, almost like a "musical murmur". The quasi left hand ostinatos with pedal make it.
  19. This is quite satisfying.... the essence of baroque is here, lovely "restrained" taste of music.
  20. This piece sounds modern because of a variety of harmonic "oddities". Just in the 3rd measure we habe an unresolved C-F# tritone and a C plus C# in the upper voice, etc... Although, at first sight, it seems that the subject (¿two first measures, I think?) is not the base of the piece, in fact the rhythmic structure of the motif is in many many places, with a series of transformation. In that sense, I see why you called it invention. I like the turn of the screw you did with baroque.
  21. The beginning (and first part) reminds me of the French songs. The progression is standard in this part and similar to other songs. On the other hand I feel it's quite well built in terms of form. From 1:45, in the repetition, I would expect a richer left hand work, because it's just what we heard before. Well, it's my way to see "repetition and variation", it's not the only truth... It's evocative and beautiful.
  22. Yes I agree. The effect you get is that of nostalgia. I don't inow exactly why, perhaps the combination of sounds, the soft pad plus the punchy piano.... But it's an idea of 4 chords... The pattern in 00:45 is a bit sharp.
  23. Beautiful piece. The counterpoint is so natural an elaborated, difficult with 4 voices.
  24. I think you invest time and effort in scheduling a detailed form and harmonic structure. But you set aside the rhythm (left hand) more tan 7 minutes with that pattern (even in the final part it's doubled in duration) is too much. I think, at risk of becoming boring. After all, adding sections or changing the harmonic building is your choice, according to the effect you want. The most you know how tonalities are related or not, you will get more or less surprising effects with modulation. Also, woriking a little bit with motives, with manipulation, can improve the musica a lot. 12/8 would be better.
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