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I love chamber music... First Movement Guitar Quartet Arranged For Piano Quartet Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight

String Quartet in D Minor-1 Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight String Quartet In D Minor-2 Free Sheet Music by Robert C Fox for Various Instruments | Noteflight String Quartet In D Minor-3 Free Sheet Music by Robert C Fox for Various Instruments | Noteflight String Quartet In D Minor-4 Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight

N.B. Williams himself doesn't follow this rule. He quite often has chords of 6, 7 or more pitches spread across several octaves. Especially when he's using complex polytonal clusters. He also doesn't tend to write in chorale form, not that I've noticed.

Oh yes; I never get tired of stealing my brother's unfinished song, and using it in my own compositions! Sabrina Fair Free Sheet Music by John Tyler Fox, arranged by Robert C. Fox for Voice and Piano/Keyboard | Noteflight The song upon which this Mass is based...

Missa Sabrina Fair-Kyrie Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight Missa Sabrina Fair-Gloria Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight Missa Sabrina Fair-Credo Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight Missa Sabrina Fair-Sanctus Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight Missa Sabrina Fair-Agnus Dei Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight

First Movement of your Ab, #2, nearly made me cry; usually only a Gout attack can make me do that!

Hello, thank you very much for listening! You are right that the tension and release in the composition are not built up directly harmoniously, but perhaps that is a specific feature of this music? It's hard to say. In any case, I'm glad you liked the composition!

if you liked this song, you might like my other songs Serious and Energy Discharge because they are also made out of deltarune instruments.

Thanks for your reply! Here's what measure 29 should look like if the beats were aligned properly according to the correct placement of strong and weak beats in your piece: It makes a very small and barely noticeable difference in the recording. But, especially if you ever gave this to real performers, it would bother a performer to read the music feeling like the strong and weak beats are in the wrong places in relation to the bar lines. In 4/4 beats 1 and 3 are strong beats and beats 2 and 4 are weak, but here you in measure 29 you had them switched. But sometimes composers do do this deliberately as in Tchaikovsky's Symphony No. 4 Pizzicato Ostinato or Stravinsky's Last Piano Etude (in F#) from his 4 Etudes for Piano. I hope this clears up any confusion! Thanks for asking.

Oh, I don't know about the long silence, must have accidentally included it when rendering the WAV. Uh, I couldn't find the pickup you were talking about, also could you clarify what the metric alignment is? I never studied music theory yet (I'm not in high school yet).

Editing; YUCK! Eight minutes even.

Done. 38 hours.

it's because i used an organ used in the ost of Deltarune which is greatly inspired by earthbound. if you like earthbound i think you should play Deltarune or Undertale.

Should be about nine minutes.

hey @Marius_, thank you for your detailed comment, brother. I appreciate your comments on harmony since I am attempting to explore a new language in this work. Naturally, sounding authentically jazz is still out of the question since I am only mildly familiar with this genre. As for the improvisation bit, I’ve had the chance to work with the performers themselves, and suggested that they add a few grace notes/rhythmic alterations to the existing melody. This is probably more appropriate considering they are classical musicians, who aren’t as well versed in improv. A few ppl have told me to change the sax instrumentation to tenor saxophone. When I have the time, I will definitely give it a try in muse and change it to concert pitch too! thanks again.

Maybe finish today, then put it on some Kraut forum! Three variations and decided on a variation-long coda, to go!

hey man @therealAJGS, thank you so much for your kind comment. I’ve just replied to you on youtube as well.

Hello @therealAJGS and welcome to the forum! I think this music reminds me of the OST to "Earthbound" a classic SNES RPG that I played as a kid. The organ sounds remind me of the vibe of that game. So, to answer your question - I think the genre could easily be VGM because this sustains a certain mood/vibe throughout the whole duration of the piece. It certainly doesn't fit in "Orchestral and Large Ensemble"! So I'll move it to Incidental music. Thanks for sharing!

Hello @InterstellerApex and welcome to the forum! I like this chamber piece! It's simple and melodic and wears its heart on its sleeve. Thanks for sharing! Just some nit-picks - why is there a long silence at the end of the piece? Also, in measure 29 I perceive the metric alignment of the music to shift by one beat. So beat 2 becomes beat 1 (I perceive the Bb in the Clarinet and Piano in the beginning of that measure to be a pick-up note). The same thing happens again in measure 44.

@PeterthePapercomPoser Thank you so much for your reply! If I can get better recordings of these pieces I’ll send them, that aside: - I think you’re right about the “wacky/quirky” quality to this “Danse.” I certainly don’t think it could be called anything else. It was actually meant as an homage to Poulenc, something shared throughout the set. This whole partita is more or less a tribute to Les Six (and to a lesser extent, Ravel). When I hear this piece, though, I start to imagine one of the evil muppets (like Animal, or the bomb guy) just staring at you. Bare eye contact. No looking away. Just that muppet, and this music is the illustration of that moment. (The italian tempo/expressive indication literally translates to “Fast and a little bit evil.”) - This truly is the fault of poor audio rendering. When played on an actual instrument, even my fairly poor keyboard skills yielded interesting results. This is a very personal piece. There have been some difficult things going on around me and I needed an outlet. For a long time I’ve had something of a block when it comes to just creating music out of emotion; I always create in abstraction, or at least, tend to. That’s been breaking down a little bit recently, and this was the product of it. It was the first piece completed in the set. - This Pavane is a revision of a much earlier piece. It was in my first year of composing, I joined this forum and this was one of my “Nocturnes” (I have not written any nocturnes I would consider part of my works, aside from a secret project I may reveal later). Anyway, it was very repetitive, and dull. The former quality was kept in this piece, but reworked with a more mature understanding of counterpoint and rhythmic theory. Honestly, I consider this to be nothing more than a real, true-to-vision version of that little piano piece. I just didn’t have the technique to write it the way I wanted to back then.

Hello @Petr Kopuletý and welcome to the forum! I see you've submitted two pieces here before, but I have not had the occasion to review them yet. I like this piece! There's definitely a musical ebb and flow and gradual building and resolution dynamics wise. I think the only thing I have to complain about is that the piece to me lacks harmonic tension and release. It accomplishes its building and resolution through adding and subtracting instruments and having them play louder or softer (or having the piano play thicker chords or more complex rhythms which definitely have their charm!). But then again, your harmonic approach is individual and anything but ordinary. There's even some imitation between the flute and piano at 8:53 which is a great feature! The piece slowly winds down and comes to a well deserved but unusual conclusion - one that I perceive as quite divergent from a traditional tonic resolution! It'd be interesting to look at a score. Thanks for sharing!

Hi @HoYin Cheung! This one is quite contrapuntally complex! The motivic ideas and counterpoint are sound. And there is a clear hierarchy of importance and different elements are brought in and out of the foreground dynamically like a kaleidoscope. There is a natural ebb and flow and a sense of flourishing at every moment of the piece's duration. It is surprising how thematic the piece actually is once I listen again and pay attention, despite the challenging harmonic language and sometimes cacophonous orchestration, with elements seemingly chaotically interrupting each other. The reduction in instrumental forces towards the end really helps to bring the piece towards its conclusion. And it looks/sounds like your harp writing towards the end is quite possible and even easy for the harp to play! Looking back over the score, I notice that the 16th notes runs in measure 28 - 30 in the winds don't seem to be audible (at least I couldn't hear them). Presumably you rendered this score with NotePerformer? Thanks for sharing - I enjoyed it!

Hi @mercurypickles! Danse - I love the wacky/quirky nature of this Prokofiev-esque piece! The parallel b9's in the melody also add a lot to the character of it. Makes it sound like a dancing clown or something! Haha. Also - I think if there were 4 8th note pick-ups to this it could easily be considered a Gavotte. Or if it had a quarter note or two 8th note pick-ups it could also be a Bourree. But since it doesn't have either of those just calling it a "Danse" certainly fits! Ricercar - for me this is perhaps the most formless and indistinct part of the suite. In the beginning, when listening with the score it looked like maybe it had more of a resemblance to a canon than a ricercar, which I presume to be a slow/early form of a fugue. I find it really difficult to hear any independent voices in this piece which I think is supposed to be a display of contrapuntal knack. It just sounds like the top voice gets the emphasis making it seem like a homophonic piece rather than polyphonic. Pavane - This one also has some very interesting harmonic inflections! The recurring motif is easily identifiable throughout the piece and there's actually more voice independence here than in the ricercar imo. I also think this might fit under the description of an instrumental version of a dance that has kind of lost some of its dance-like sprightly-ness. Thanks for sharing these! I hope to eventually hear the whole suite - overall I definitely found these enjoyable!

I am a firm believer that the Alain Mayrand video up top is the single best video on orchestration on the internet right now, no joke.

Hello @PaavolaPyry and welcome to the forum! Very interesting piece! I have a limited (some) amount of experience with guitar playing as well as microtonality. From what I understand in your tuning indications the G string should be tuned slightly sharp, and the B and E strings slightly flat. Since the piece is in drop D tuning as well and basically using D as the tonic, this tuning puzzles me. If you were trying to achieve intervals closer to the ones found in the harmonic series, I'd think that you'd want the G string slightly flat as well (bringing your G#'s in this piece closer to the idealized 11th harmonic and a "purer" tritone sound). Although when I write microtonal music, I have vacillated between different goals, sometimes deliberately going for an "out of tune" sound to create a warped sense of tonality (using 24 tet). Other times I do try to get closer to the intervals in the harmonic series with justly tuned intervals though (using 1/3rd and 1/6th tones). What is your intent with microtonality? Thanks for sharing and I'd be stoked to hear more!