Luis Hernández

The dark atmosphere at the beginning is well achieved with the background of the “tremolando”. The change to a much more contrapuntal part from about 2:10 is very opportune, and I emphasize here the transition from one to the other, which is something that we often neglect, but in this case is perceived without abruptness. There are super rich and very different textures, as for example from measure 95. An unexpected and pleasantly new evolution from measure 147, with some very interesting harmonies at 153..... (I had to stop to see what was really going on there!). Nice surprise with some “advanced” techniques like those beats and portamento. The truth is that the passage from one theme to another is very fluid. Good climax up to measure 197. I find the fugue very beautiful. I am always surprised by fugues based on subjects of short duration. It reminds me of those very contrapuntal pieces that I like so much (Metamorphosen by Strauss and Verklärte Nacht by Schönberg). The part from measure 754 is amazing, it sounds like an organ. Congratulations for such a huge and beautiful work.

About double flats... It's just the chord Eb dim7 = Eb - Gb - Bbb - Dbb

I wrote this for fun and exercise. Thank you.

A great piece. At first it sounded more like an oncturnoe, but the fact that the left hand pattern repeats all the time (except occasionally), eventually turns it into an ostinato or something similar. It does seem to me that the piece is long enough to rest in that ostinato for so long. Although it works very well, except perhaps in more “intense” parts from measure 32 to 41.

It is an interesting and engaging piece. It certainly has an exotic tone because of the scales and so on. I think that, in a way, you can tell that you don't have a strong base because although in some phrases and moments the quartet is well articulated, in many parts it doesn't work as such. Either there are duplications of voices (in octaves) or there are several instruments that make a harmonic support without more. The essence of a quartet is that each instrument functions as a soloist. But that's fine.

@PeterthePapercomPoser @Henry Ng Tsz Kiu I suppose that something like this has been thought of at one time or another, but maybe it doesn't fit the idea of this forum. But maybe we could use some simple system to value the works, which would be expensive, by means of a scale or something like that. And to evaluate general questions like for example: Rate from 1 to 5 these items about the work: 1) General structure and form. 2) Sense of coherence. 3) Development (contrasts, climax, etc...). 4) Originality or others Maybe this stimulates people to participate and it is always a feedback for the one who uploads the composition. Regardless of the fact that you can comment on whatever you want.

Hello The most interesting thing, from my point of view, is the modal flavor (F Lydian) which is very well treated. Thank you. Best regards.

Hello A very nice and effective piece. The motif is simple but it sticks in your memory. I like how the half phrases are linked in a kind of elision. Very interesting harmonic journey and some surprising moments like in measure 16, this makes it more attractive. Also the contrasting part is very balanced and the final repetition with its ornaments the same. Thank you. Best regards.

It's very pretty and I think there's a nice counterpoint. I would just point out that the range of the flute intermingles with the violin a bit. Although they are different timbres.

Interesting question. The truth is that, in my case, there is nothing in particular that makes me not to comment more compositions. One of the peculiarities of this forum is that there are people of all levels. Sometimes works of real professionals are uploaded, even with real orchestras or choirs. What to say there? Nothing. Just whether I like it or not. Over time, I have started to give importance not only to specific technical issues, but also to whether the work is idiomatic (for the instruments used), if it has a structure, if it is congruent between its parts, etc... I comment for two reasons: one because I like to listen to other people's stuff, and two because I like to learn from other people's way of composing. In this sense, there are times when things are uploaded without scores and I am less interested in them. Anyway, I think that it is a social forum, and that there is a great disproportion between people who “demand” even revisions, and then do not comment anything. I think that part of the training of a composer (amateur or professional) is to listen to as much music as possible and to comment on it. The opinion about a work (if you like it or not, if you think that the parts do not connect with each other, etc...) is never wrong, because it is personal.

Hello, thank you for listening. This little piece was an exercise I did in a composition course based on contemporary techniques. Later I made some modifications, really minor, especially in the pauses or prolongation of some notes or chords. I hadn't noticed that about LH..... I'll keep it in mind.

I am very sorry for the events you have shared. And please don't take this as a negative review or anything. The work you do is impressive. I love baroque and counterpoint and, when I do anything in that style, I don't get to the level you do nearly as much as you do. Of course, the expressiveness of this style is nothing like later ones, but I do think it has its own resources. For me, the interesting thing is that there are people like you (and many of us) who love music and are constantly learning. I enjoy your compositions very much, in fact I don't usually miss any of them. Greetings... and let's make music.

Hello I would like to give you an honest and loving opinion. First of all, I would like to say that I think it is an incredible and passionate work. But to sum it up, I think it lacks “passion”. You see, I have no doubt about your magnificent skills in counterpoint. But in a work of this type, the most complicated thing, from my point of view, is to develop an emotional “path”. I think that keeping a constant “full throttle” rhythm is difficult, but as a whole it is less expressive than when there are contrasts, “muted” parts, slower parts, moments of climax, etc... Therefore, as an exercise and counterpoint work it seems perfect to me, but I think that, even in this style, we can aspire to that emotional part. And with this I am not saying that it is not, but that I find that aspect a little lacking, especially in a work that seems to be worked in depth.

The piano has an “eclectic” style. The accompaniment sounds classical with alberti patterns and the like. Paro in the right hand there is melody with dense chords as in a later romanticism. There are also ornaments that sound baroque. Good mix....

It is a very beautiful work, well written and with a dreamy and romantic character. What I find is that its parts, although they develop in some variations, are similar, except for the bridge of the G part. It's neither good nor bad, it's a style. But I like better not to rest so much on the basic harmony and go out a little bit. There are some very nice nuanced moments. For example, it sounds very good in measure 17 or 65 when A# and D are played at the same time.