Luis Hernández

It seems to me a very beautiful work. What stands out to me is that it’s conceived more as melody with accompaniment—sometimes quite elaborate—rather than in a contrapuntal style. The second movement is gorgeous.

It’s very beautiful and reminiscent of Brazilian harmonies.

It’s a composition that sounds very harmonious and sweet. I haven’t taken the time to analyze it, but that middle section caught my attention (the key signature change).

If you mean this note... Yes! Better a D.

Oh, I didn’t know the story behind all this. I suppose it’s because Beethoven’s variations overshadowed everything else over time. Your version is very good — I find it has personality and is easy to listen to.

In this case it was about orchestrating the sketch in the image; I might even make a collection of mini orchestral studies with these kinds of things.

A beautiful piece. It doesn't seem very complex, but it's very well structured (which, for me, is one of the biggest challenges). And the dynamic control is exquisite.

@Wieland Handke Apologies, I didn't think anyone would be interested in seeing the score. In any case, here it is. SCORE.pdf AUDIO.mp3

Hello, I really liked it. I don't find it “difficult” to listen to at all. You just have to open your ears and let yourself be carried away. I'm not usually very fond of such high-pitched instruments as soloists, but here I think everything sounds fantastic. Movement III is very lyrical. So is V. That gives a lot of balance to the more frenetic rhythm of other parts.

The first composition is very beautiful, both the melody and the accompaniment, which I find very romantic in style. What I am not quite sure about (as I am no expert in this field) are the bowing indications in some bars (such as bar 12).

Apologies, I thought that this type of thing, where there is no intervention, would be better suited to other subforums...

Apologies, it's just that I'm very “meticulous” and I like to leave the scores as “clean” as I can. One thing I learned about orchestration is that the bass, apart from being essential for setting the harmony and rhythm at times, is what the human ear perceives the least, since our ears are tuned to mid-range frequencies and also reacts immediately to high frequencies. Therefore, especially when the orchestra becomes denser, it is advisable to reinforce the bass. The usual practice is to double the double basses with cellos, in unison or an octave. The double bass can play only the strong notes in pizzicato and the cellos can play sustained notes. You can also add the bassoon to your ensemble, whose low range is more comfortable. The timpani can also reinforce the bass at times. And then there are other instruments that are not in this style: the tuba, par excellence. And others such as the contrabassoon, bass trombone, etc.

This is an orchestration exercise, and my solution.

How did this go unnoticed? It's a really good piece, in a style that, to my mind, is like neoclassical. The writing is very refined. The recurring motifs give it a lot of coherence.

Nice song. But this subforum is intended for music composed by us...