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Luis Hernández

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Everything posted by Luis Hernández

  1. Very nice! In some points the lines are a bit ecstatic (repeated notes). I suppose it's because of the difficulty of writing for 4 voices. It reminds me the calling in that big square in Prague.
  2. Supossedly atonal melodies harmonized with tonal progressions are not atonal music. Because you are harmonising the melody. I think this is unreal: If you do that, .... how? How can EACH NOTE be in a different tonality? Impossible. Or that mixture of chords (some of them undefined) would lead you to a non functional system, perhaps. There are many many resources to give a feeling of chaos. However, ..., with that idea I would use music by chance, using some random method. But if you are in a forever tonal world, I would do this: harmony in a tonality, melody (flute) in another one. To make it effective, the melody needs to draw the guide tones of each chord in the other tonality (it works best with not too short notes), arpeggios, etc... Which tonalities ? It dependes on the clash you want. Besides, you could be changing them. Finally resolve in a common tone of the tonalities. This technique is called SUPERIMPOSITION, and, in short, is a sort of bitonality.
  3. When you are in modal music, forget about circle of fifths. Don't think of dominants and subdominants. Stick to the characteristic note of the mode and CADENTIAL chords. Always avoid progressions that reminds to major mode, that is V-I, V-iii, V-iv. In lydian mode use II and bVIIm as cadential chords: in C lydian = D - C, or Bm - C.... don't use (or take it with care) D7 - C because D7 "wants to resolve" in G and that may confuse the ear to the major mode. In myxolidian mode use bVII - I as cadential: in C myxo = Bb - C You can eve write in pure ionian mode (not major) if you use Dm - C as cadential chords. Locrian mode is, of course, possible nowadays. Inmodal music insist in the tonic all the time, even as a pedal note with other chords. Just examples
  4. I wrote some pieces with a jazzy feeling. Hope you like it.
  5. Nice piece. However I find the middle part less interesting ( I think it is repeated ) in terms of melody - motifs. Anyway, very beautiful.
  6. Strange combination, but nice. I like this piece. Good counterpoint. I would have put the tuba down in the score, but I don't think it's important.
  7. Apart from the result, it seems you don't follow the main rule in dodecaphony: avoiding parallel octaves. This is difficult when writing atonal polyphony. I particularly like the adagio.
  8. This is moreromantic than impressionistic, but nice.
  9. I didn't enjoy a piece like this for a long time. I love it. The sound of the organ is beautiful but clean. I love the prelude, but the fugue is also amazing.
  10. Oh, I don't know why this piece has no comments. It's a wonderful piece, nice counterpoint and texture. Very good blending. Evocative and modern. Good work. And beautiful performance.
  11. I think there might be a problem of concept. If you want to write baroque counterpoint you must follow its rules. You can do any kind of counterpoint, but don't pretend to write in baroque style being out of it. I don't mean it's wrong, just a matter of what you want to do and .... doing it. One thing I see in this example is more parallel than contrary or oblique motion.
  12. Prelude I sounds delicate and well built on counterpoint. Beautiful. Prelude II sounds modern and neo-romantic (to me). Nice ostinato rhythym in the first part, and repeat. Prelude III is my favorite (so far, I am listening to them now). Introspective and a bit of Satie influence? Prelude IV seems to go back to Bach inventions (first part). This is as if you were modernizing the styles. Prelude V nice ideas here, it's very pleasant. Prelude VI again I hear different influences that, finally, combine in your own style. Prelude VII sounds more contemporary. As a whole, I think your writing is careful and inspired. I love taking counterpoint, baroque, etc..., and bring them to more modern sounds.
  13. I like the counterpoint here. I don't care about the title. A Fantasia is whatever you like.
  14. Yes, interesting, but when a piece is as fast, chromatic and built-on-scales like this, I feel it as an excercise.
  15. I focus on the first part. I like the feeling of calm and uneasiness at the same time. Also, the change at 2:55.
  16. Some kind of cadence in the middle of the pieces is missing.
  17. This is nice, I like textures. But the sound doesn't do justice to what it could be.
  18. I think the left hand should change in some parts.
  19. Some short pieces. Six Piano Pieces.pdf 01 Aeolian (Winds).mp3 02 The Hummingbird's Phrygian Flight.mp3 03 Quick Diminished Changes.mp3 04 Can We Be Friends.mp3 05 Longing Worlds.mp3 06 Gemini II.mp3
  20. It sounds nice, although those big chords are out of place (I think). I wonder why people find it exciting to imitate Haydn or Mozart or whoever. I'm respectful, but "with all there is, why settle just for a piece of sky?".
  21. This is powerful and a bit sad. I love it. This is music my heart "understands",.... Thanks!
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