Luis Hernández

Wow, a really moving piece with some lovely harmonic twists.

Thank you. The thing is, I never intended for this to actually be performed. I only do it because I enjoy composing and it feels like a sort of ‘natural compulsion’ to express certain emotions and so on. But I always try to ensure that what I write is realistic, for any instrument or voice—in other words, playable—and, if I can manage it, idiomatic The vocals with the lyrics are almost effortless. Thanks to a piece of software called Cantai, with which you simply have to write the notes, add the lyrics and choose the type of singer. It was tricky to set up at first because it’s very new, but now it works really well. In other words, you work in the same notation programme (Dorico in my case) without having to switch to any other. That’s why I decided to give it a go. This is a project I want to be in several parts (not too long, as I get tired). And it’s a sort of Humanist Requiem, in which there are no religious references but rather references to human beings, nature, destiny, light, etc.... The texts are a mix of Latin classics and phrases drawn from T.S. Eliot, Wordsworth, Mary Shelley, Byron, Keats, Sylvia Plath and... Joni Mitchell!! (because I adore her). The orchestra is deliberately unusual and sombre (no violins, oboes or high-pitched instruments, but others with great colour such as the celesta, which is rather ethereal). I am using 20th-century contemporary musical languages. In fact, this mini-prelude (which I have expanded slightly) is composed entirely using serial atonal technique, specifically Stravinsky’s rotational arrays (who, in turn, composed a Requiem using this technique towards the end of his life).

Another important aspect is the voice leading. Notice how, in Schubert, the accompanying chords move very little. And of course, I would continue to explore those poems....

es, there are plenty of examples. Apart from the dynamics—well, sometimes the software does the best it can—there’s a significant difference. In Schubert, the melody follows its own rhythm, independent of the fixed rhythm of the accompaniment. But anyway, everyone should write however they like.

Perhaps you haven’t quite understood what I meant. Piano writing is based entirely on vertical chords. That way of using the instrument fails to make the most of its polyphonic possibilities, and is even less appropriate in the Romantic style or any modern derivative of it. Yes, of course there are moments and compositions that use block chords on the piano, but this is for expressive purposes and in other styles (Impressionism, contemporary).

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 6.5 6.5 7 7 4 4 6.5 7 Average Score: 6 Review: Melodies/Themes/Motives - The melody is lovely; much of the piece is structured as a melody with accompaniment. Given its length, one would expect a little more development of the motifs so that it doesn’t sound too flat.. Harmony/Chords/Textures - The harmony is beautiful and has a certain modal quality. I would also have expected some kind of modulation or other change, particularly given the repetition of the motif. Form/Development/Structure/Time - The piece appears to be in ABA form. Originality/Creativity - The original touch is choosing the viola as the solo instrument. Score Presentation - The score is confusing due to the constant crossing of voices and the choice of certain clefs for the staves, etc.. Instrumentation/Orchestration/Playability Multiple stop orders are placed without considering whether or not they might actually be executed. It also exceeds the number of instruments that are supposed to be used. Execution of Given Challenge - As for the atmosphere it creates, I think it’s just right, but when it comes to the technical aspects, not so much.. Taste - Nice.

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 8 6.5 8 9 7.5 6.5 8 8 Average Score: 7.6 Review: Melodies/Themes/Motives - The piece is rich in melodies and interwoven motifs. Harmony/Chords/Textures - The polyphonic texture is consistent. I think it would have been better if the three instruments hadn’t been playing all the time. Form/Development/Structure/Time - I think the structure is fine, and the length too; I prefer shorter pieces. Originality/Creativity - Of course, the choice of these chimes—which sound familiar yet are different—is a key point. I also think that oriental sound has been recreated very well. Score Presentation - The score is correct and easy to read. Instrumentation/Orchestration/Playability In this respect, I think the dynamics and accents are missing, which makes it sound a bit flat. It would have been nice to have a brief explanation of what each instrument is. Execution of Given Challenge - I think the author has succeeded in achieving his aim. Taste - Although I think it would sound better with those instructions, I like this piece because of its exotic character.

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste - - - - - - - - Average Score: No calification Review: The truth is, I don’t think this piece can really be judged, as it’s always being compared to others in some way, and a certain minimum standard is expected. And I’m not so much referring to creativity, which is evident at times. There’s a certain rhythmic pattern, a few clichéd lines. But overall, it lacks coherence and the score defies all logic.

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 7.5 8 8 8 8 8 8 7 Average Score: 7.8 Review: Melodies/Themes/Motives - The motifs are pleasant, although one in particular dominates the entire piece and could perhaps have been explored or varied a little more. However, in the second movement there seems to be more variation, and the result is effective and satisfying. Harmony/Chords/Textures - The harmony is straightforward and seamless; it comes across as complete even when carried by horizontal melodic lines, which is a real plus. The texture is very clean. Form/Development/Structure/Time - Good. Originality/Creativity - The combination is very well balanced, featuring a bass instrument, a polyphonic instrument and a melodic instrument. All three have a melancholic character. It is a classic combination within a post-Romantic or Impressionist context. Score Presentation - There were a few moments that could have been improved, such as the bassoon’s entry in that very high register, by using the tenor clef. Instrumentation/Orchestration/Playability Here, once again, there are a few moments where I think it’s worth reviewing the characteristics of the instruments. The bassoon’s entry in that very high register will be quite difficult to play at mp (mezzo-piano). The same goes for the flute; in those registers, it either sounds forte…. Execution of Given Challenge - I think the composition captures it very well. Taste - It’s not surprising, but it’s entirely appropriate and pleasant.

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 7.5 8 8 10 9 9 8 8 Average Score: 8.4 Review: Melodies/Themes/Motives - There is a wealth of rhythmic and melodic motifs. The truth is that the piece unfolds with absolute ease, without any abrupt breaks or clumsy transitions. Harmony/Chords/Textures - The textures are really well done; I particularly like the fact that the sound never feels overloaded, even with so many instruments. Form/Development/Structure/Time - The overall structure has a somewhat rhapsodic feel to it. Yet it feels like a self-contained entity that needs no explanation. Originality/Creativity - The sheer array of tuned and untuned, traditional and invented or improvised percussion instruments is fantastic, and is utilised with great flair and skill. Score Presentation - The score is very well written, easy to follow and a pleasure to look at as a whole. Instrumentation/Orchestration/Playability As for the instrumentation, this has already been discussed. The orchestration is excellent; although one might think that a large ensemble of percussion instruments would be unable to carry off something of this nature, that is not the case here. The timbres blend and unfold, and there is scope for melodic accents to emerge from the rhythmic foundation. I’m no expert on percussion, but judging by the way the score is arranged, it seems clear that each section can be played by a single musician. Execution of Given Challenge - The description of the “soundscape” is a real bonus. And I think the composition captures it very well. Taste - I quite like the piece. I’ve always been fascinated by percussive works, ever since John Cage… provided they convey something to me.

Sorry, I am currently entering the ratings for everyone who has taken part so far.

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 8 9 8 9 9 9 9 10 Average Score: 8.8 Review: Melodies/Themes/Motives - Rather than melodies, what I perceive are sound structures that follow one another and sometimes echo one another. It’s an approach reminiscent of the work of the great John Cage. Harmony/Chords/Textures - In this respect, I think the piece is outstanding. The textures are very rich; at times they are homophonic, or almost so, whilst at others they take on a polyphonic character, with transitions that feel very natural. The combination of harmonics with more basic sounds is also very effective. At times, it feels as though the soul of the piece is breaking free and soaring... Form/Development/Structure/Time - I think the length is just right for conveying what it sets out to do. I believe that, once again drawing inspiration from those composers who created their own forms, the piece is a format in its own right that unfolds primarily through its textures. Originality/Creativity - It is truly creative thanks to the originality of its form, the judicious use of harmonics (which reveals a clear understanding of the subject) and the freedom with which it unfolds – all of which, I feel, capture this landscape very well. Score Presentation - The score is understated, yet very precise, clear and elegant. Instrumentation/Orchestration/Playability The string quartet is well suited to the requirements. The piece does not display any great apparent virtuosity, although the execution of natural and artificial harmonics requires a certain degree of mastery. Execution of Given Challenge – It fully meets expectations in terms of duration, the spirit of the challenge and implementation. Taste - It’s exactly the sort of piece I like. I love its originality and freedom of expression; the virtual sound is excellent, the presentation of the score is flawless, and the use of techniques such as harmonics is incredibly fluid. And I find it quite moving.

Melodies Themes Motives Harmony Chords Textures Form Development Structure Time Originality Creativity Score Presentation Instrumentation Orchestration Playability Execution of Given Challenge Taste 8 7 9 8 8.5 9 8 8 Average Score: 8.2 Review: Melodies/Themes/Motives - The piece makes effective use of motifs. On the one hand, there is a recognizable melody; on the other, the motifs intertwine among the voices, as this style requires. The melodies are sufficiently expansive and musical. The inclusion of the galliard adds variety. Harmony/Chords/Textures - The texture oscillates between heterophony and uncluttered polyphony. It is well suited to the sound. This texture serves as a unifying thread throughout the entire piece. One might expect something more contrapuntal from this period. The harmony is straightforward, with no changes or surprises. Form/Development/Structure/Time - The structure is very well defined, with appropriate repetitions, a contrasting middle section, and a recapitulation at the end. Originality/Creativity - The piece is highly original, as it draws on a Renaissance style and evokes a rural, bucolic atmosphere that seems to call out to that beautiful landscape. When we think of the concept of a soundscape, we often expect works with a contemporary or minimalist style. Here, I found that to be a positive aspect. Score Presentation - The score is beautifully presented. There are no indications of articulation or dynamics, which is quite consistent with the style. However, since instruments from that period are not used, it might have been enhanced with such elements. Instrumentation/Orchestration/Playability I had to look up what a sackbut is. I see it’s a predecessor of the trombone. Although the instruments blend together quite well, perhaps the score should specify which actual instruments are being played. The piece sounds sufficiently “human.” Execution of Given Challenge - I think the challenge has been successfully met. Perhaps a slightly more detailed description of what was intended would be helpful. Taste - I really like this piece, since I'm very curious about Renaissance music—and earlier periods as well—and I've delved into it a bit as a foundation for understanding what came later.

I’m trying out this software that ‘sings’, and perhaps it’s time to get started on a composition I’ve wanted to write for a long time. This is a test to see how the orchestra (with its rather unconventional choice of instruments and sections) fits in with the harmonic system I’ve used, the vocals, and the mix of English and Latin. Is it worth it? Preludio.mp3 Preludio.pdf

That sounds lovely. And well-balanced. I think that in a chamber music setting like this, the double basses can have their own independence at certain moments and in certain phrases. That’s how the great Romantic (or post-Romantic) composers did it.