Luis Hernández

It sounds great. I think the theme is very original, and when that happens in a fugue, it's much easier to follow the developments. To my taste, but this is just my personal opinion, the tempo is perfect. Because when there are fugues with dense textures and the movement is very fast, I think you lose a little bit of that sense of knowing where things are going aurally. The layout of the video is great. And the score is very, very detailed (sometimes I think some things could be simplified), and that's a plus.

Sounds good. But here are a few observations: In my opinion, there is little use of inverted chords. So much movement of the bass in root notes is very strict and not very melodious (it is not in keeping with the counterpoint style). There are some strange twists in some modulations. In measure 7 you have Bm - E.... and then Gm!! It's true that Gm - C - modulates to F. But that jump from E to Gm is harsh in this context. Something similar happens in bar 11: F - Em(b5) -- F# (b5) - B... to go to Em. These are progressions that appear with sudden changes and make it sound very strange. I'm not saying that this can't be written, but in this absolutely tonal context, I think it's out of style. If you do this in a contemporary language, it could work.

Hello The truth is that, although I love most pop music, when it comes to writing music, I have always done so “note by note” with orchestral instruments. But I have often heard short piano pieces where a base sound or harmonic cushion is added. Sometimes excessively so. But anyway, I wanted to try something very simple and add (in some parts) a couple of basic notes of harmony. I liked the result.

Hello This music sounds fantastic. Of course, I haven't looked at what modulations there are or how many, but I do think the transitions between them are very well done, which is quite important. As for modulations, which is a fascinating subject, a couple of comments: - There are dozens of ways to modulate, some simpler, others less obvious (and more subtle). I also think that depending on the style you write in, some make more sense than others. - Especially in a work of this magnitude, but in general, I think modulations should follow, or be part of, an overall plan of tension and release. Because modulating for the sake of modulating doesn't make sense either. There are some pop songs whose goal in modulating is “always” to increase tension, which modulate “downward.” However, they achieve their goal. This is a technique I want to analyze a little better. Thanks for sharing, I really enjoyed it.

I agree. There are many ways to generate emotion, or to try to... I don't think that a sense of calm is incompatible with resources that focus on musicality and phrasing. This is very evident in vocal music, even in the great pop performers. A very simple and effective example from Beethoven: there is a first bar, which is isolated (by the quarter note rest), there is a second bar that is identical and works the same way. And then, the two simply appear without the pause. Wow, a super-effective way to generate tension, dynamism, and phrasing without changing the basics. Charles Ives' The Unanswered Question is a fantastic example. The harmony couldn't be more static, but the melody (more or less dense in texture depending on the moment) does not conform to the divisions of the harmony. In fact, the tempo of the harmonic part is fixed (Largo) and that of the other parts changes.

A beautiful piece. One observation: the accompanying pattern, where the final part of the bar consists of long notes, plus the fact that the melody is structured in one-bar “blocks,” makes it sound a little static. Also, the fact that it remains in diatonic chords the whole time.

OK In the tuning system we use, a Gb sounds the same as an F#. But of course, with that notation there is no (visual) tonic dominant relationship, which in this language is basic.

Interesting. Your version sounds great. Although for me, that Gb “desperately calls” for an F#, which is part of the dominant chord. Best regards.

Lately, I've been thinking and imagining how Ancient Greece was reinterpreted in Impressionism. And well, all of that inspired me to write something. The dawn is that moment before sunrise when there is already light. For a brief explanation of what resources I use: Aurora

I really like how it turned out. Both the sounds you used (the organ in particular, or whatever it is) and the composition itself.

A great work (movement). The shift from romantic to jazz language is quite surprising, but I think that transition is very natural and adds a lot of value. You don't notice that it moves from one place to another, musically speaking.

This is a dreamy and delightful piece, which benefits greatly from the sound of the electric piano, Rhodes, or whatever.

Me refiero a que suena como con pequeños portamentos, nada que ver con eso otro.

A delicious piece. The piano is very active and playing a very important role. It's an odd combination of piano and two violin sections, and it seems to work, although the role of the second violins seems very secondary.

Wow It sounds very intense and spectacular, with 4 voices... The truth is that it catches you in a non-stop progression. I think the shortness of it benefits it given its textural intensity. The sound of the strings sounds like it's a podo “dejado” (I don't know how to explain it.... in Spanish “dejado”). Is it some effect. Greetings, and congratulations to your mother....