Luis Hernández

I think it's a well-written, idiomatic little piece for the piano, moving and effective. Perhaps it has little development or, rather, relies on a theme repeated quite a few times. But given the length of the piece, it does not become tiresome.

It is a beautiful piece. It sounds totally Debussy. I think the treatment of the piano all the time in quasi-percussive mode, except at some points like at the end, detract a bit. It reminds me a lot of Cathédrale Engloutie. A different matter is the violin. I guess you have mastered its possibilities... Those glissandos with harmonics and glissandos in opposite directions...., are possible. I imagine they are. Regards.

I liked it very much. Within its apparent simplicity, the motifs, phrases and variations are well elaborated.

@Markus Boyd Yes.... The point is that it sounds very coherent both stylistically and for the transitions between parts, which are always fundamental. To me it reminds me of what Bellini did with the melodies, he prolonged them, lengthened them....

Sounds interesting. But with this improvisation thing.... You have to see if they have a background, if they are something to develop or just what they sound like.

It is a work that I liked quite a lot. Although this style close to classicism is not my favorite, it has caught my attention. One thing I've noticed, or it's my perception, is that the format is rather free, it sounds like a little fantasy. The beginning has a 4 bar phrase, then another one with a similar response, but it starts to evolve without stopping until the second part. This one is also very free. All in all, it sounds very good.

Despite the digital instruments, it sounds great. Before listening to it I thought that adding a fifth voice to a counterpoint didn't make much sense in principle. But in this case it does add content. Very clever to start with such dissonance, one on top of the other, as it works well as a delay. I liked it very much. Feliz Navidad.

@Thatguy v2.0 Yes, Pärt it's fantastic. It seems to me that this technique has many expressive possibilities.

Dorico 5 + Moddart Pianoteq. Virtual instruments are not the same as those actually played. But they can be worked on a bit to get the sound you want. It is also important to work on dynamics, accents, tempo changes (rubato). In this case that part is less important because in this style there are usually no changes of that kind.

It's a good start, it sounds nice. Surely everyone would have taken other solutions at certain times. But essentially it sounds good to me, consonances in place and some dissonance in strong time as a passing note.

I can't tell you exactly. The Giga is a fast dance in 6/8 usually. The correnda, originally sung, is composed of four heptasyllabic lines with “square” rhyme (abba, abab, abcb). I believe that many of these dances are, in their roots, related, and that they took different formats, and evolutions according to the geographical area. The corranda has many names, depending on the area of Catalonia and the Valencian Country (further south): ball de córrer, remenadilla, cobla, cantarella, even follia.

Thank you! I have already fixed the two errors. Yes, there was a section VI which is indeed interesting (adding complexity).

Since I have recently delved into this topic, I want to share my blog posts (Spanish/English) about this fascinating method developed by Ärvo Pärt. I always try to write these posts from a simple and practical point of view. In English there are some videos available on you tube, and also the text by Paul Hillier, but in Spanish there is nothing. Tintinnabuli. (I): Essentials Tintinnabuli (II): T voice Tintinnabuli (III): M voice Tintinnabuli (IV): Adding T voices Tintinnabuli (V): Adding M voices Tintinnabuli (VI): Adding complexity Tintinnabuli (VII): Addendum Example:

An interesting work. I don't know if you mean it's going to be a concerto for harpsichord and orchestra, or as is. I liked it very much, especially the middle movement. The end of the Prelude I find a bit out of style because those big, fireworks-like arpeggios are more of late romanticism than the style that comes out here. In the Chaconne there are some chords that sound a bit harsh, as in measure 11 and following. They sound more like clusters than chords with a baroque feel. For although the work is chromatic in some parts, it is still tonal and very classical. Thanks for posting.

I really like the first piece “I don't know”. It is very meditative and calm. You can feel the improvisational nature. The phrase at 1:10...., is good, those parallel notes are original, the only thing is that at the end, rhythmically it goes a bit out of the general mood of the piece. The second “I got it wrong” is in the same line. Very nice part from 00:30 that sounds very delicate. I think you do well to bring these improvisations forward. Maybe they will evolve in the future some pairs into something else, but if not, they are also fine as they are. Writing music helps me a lot of times. Best regards.