Two pieces for fagot and piano

Sweet pieces. I especially enjoyed the Andante. At first I thought you had messed up and forgot to say it was for cello -but I think that's just the sample used. Good work!

Why do the hairpins look so weirdly thick?

For pedal markings you should use a continuation line instead of consecutive ones.

Have you tried playing both instruments as a piano reduction? You have some spots were they are fighting each other either harmonically or registrally.

2 hours ago, bryla said:

Why do the hairpins look so weirdly thick?

For pedal markings you should use a continuation line instead of consecutive ones.

Have you tried playing both instruments as a piano reduction? You have some spots were they are fighting each other either harmonically or registrally.

 

I don't know, the hairpins seems good to me. Perhaps I'm used to them.

I prefer this way of writing pedal markings.

There are parts where the instrument crash, it's not a mistake. Quite a different thing is you don't like it...I assume that.

1: hairpins are twice as thick as they should be

2: not a question of preference

3: It's not a question of whether I like it or not. I understand intentional clashes. If they however are undeserved or out of place they don't really belong or you have to make it deserved by bringing us in to it. In the Andante bar 5, 6th 8th-note the bassoon is playing an F on the pianos D-major. Either write an F# (which is probably not what you want since the melody is what it is) or change the supporting harmony to either support or at least not obstruct the melody. Now if this was a more atonal or 'sharp' (for lack of a better term) setting this would be fine but you haven't invited us in to that kind of setting to deserve that kind of tension.

This is how you do it.

Thank for your observations @bryla

But I insist it's a matter of how you see and understand music. 

I don't think anything is wrong in music. That example you talk about (F/F#) I was aware of it. There are more, as C natural with Amaj. And what? 

The same happens with pedals, of course I know that way of notation (and some more). Is there any law to write them one way or another?

About the hairpins, it' the software. I don't know if there is, again, any conventions about it. There's nothing new in this software, it's been working that way for years.

5 hours ago, bryla said:

This is how you do it.

 

@bryla is awesome. 

About the pedal markings: Use the alternative notation Led and *. The star indicates when you want the pedal to be lifted. It's an older method of notating pedal usage -and one I prefer anyway as it looks a lot cleaner then the line and carrot notation in the example. 

@jawoodruff  There are more options:

3 minutes ago, Luis Hernández said:

@jawoodruff  There are more options:

 

LOL!!! Technically, you can use any type of notation these days... with performance notes!

Very nice pieces.

I like the shift in vocabularies in the first one, as it gets the listener hoping for more but without what exactly.

The second one is also very pleasing. It is quite direc (it does the job without too meandering too much), which I like.

Hi Luis, lovely pieces. They have and intetresting rythm and sound fresh to me. I like specially the Allegro. I have no critic, since I write more classic music, as you know :)

feliz año!

On 12/31/2019 at 8:46 AM, Luis Hernández said:

I don't think anything is wrong in music. That example you talk about (F/F#) I was aware of it. There are more, as C natural with Amaj. And what? 

I don't mind the F/F# in that measure, since the onset of the F# is displaced from the F, so it sounds like D7(#9), because of the timepoint interval. I take far more issue with the F# and G clash in beat 3. It doesn't fit in the slightest.

@Monarcheon

It's OK.

But, for me, there is no problem. I don't need theoretical reasons to justify something like this. Although it could be explained.

 I know the rules of tonal music, but I don't see why you can't surpass them. 

As I said, I assume people say it's wrong, it doesn't fit, etc, etc... Does it mean you don't like it? Why? Because it sounds very bad, for you? Because it doesn't follow a expected "rule"?  I can accept and understand the first, but not the second reason. And if someone doesn't like it because it sounds bad, I'm sorry to say it sounds fine for me.

Agree to disagree there, I guess. You can do whatever you want, yeah, but without a reason you fail to engage in any meaningful discourse. You haven't proved to me that you wanted it there; you've given me no evidence. 

On 1/2/2020 at 7:43 PM, Monarcheon said:

Agree to disagree there, I guess. You can do whatever you want, yeah, but without a reason you fail to engage in any meaningful discourse. You haven't proved to me that you wanted it there; you've given me no evidence. 

 

The difference is I don't need any reasons to write whatever. 

If you need it, that's fine. But I don't.

What more evidence do you need ? I wrote it.