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Really, I COULD turn this into a piano concerto, with single winds, two horns and trumpet without too much strain, but not now!

Thinking if performed, should be 3 1st, 3 2nd, 2 Vla, 2 vc, 1 db, so guitar could be heard better, but I would be open to full string orchestra, and guitar amplified!

For your consideration, a little chamber concerto I wrote in 1998, and almost forgot I had written until I found it in a closet in 2016! Concerto In E Minor For Guitar And String Orchestra-1 Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight Concerto In E Minor For Guitar And String Orchestra-2 Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight Concerto In E Minor For Guitar And String Orchestra-3 Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight

Got around to listening to this, and not much to say that seems to have not been said already, and in a way, I am still trying to scrape my brains off the ceiling! You have Jazz, Gershwin, even a measure of Liszt's B Minor! If I write a piano sonata, it will be lyrical and contemplative, certainly not so virtuosic, but damn...

Cool! Beethoven is Beethoven, but it can be good to just have it come naturally as well.

Yeah I think writing with motives is probably the easiest way for me to write! You can just copy and paste and also have coherence haha! Yeah this one is fast, since I consider this Sonata an easy piece to work on! I seldom make sketches too!

So you wrote your sonata pretty fast too? I took 4 months on my symphony-concerto for electric guitar and orchestra, but that's a symphony! I still didn't make a gazillion sketches like Herr Beethoven.

I'm getting around this morning to listening to the whole thing. You do seem to work out motives better than I do; I just vomit it out!

haha thx! In this video the audio is generated by my bro @Thatguy v2.0, but it's playable for me haha. As long as I remember, I took 2 actually composing days for each of the first 3 movements of the Sonata, and took two weeks (around 7 days?) for the last movement. I usually work really slow on my writing, like I took 2.5 yrs for my String Sextet and 6 yrs for my Clarinet Quintet! Henry

You know, quite a bit of difference in us as composers, and in our respective violin sonatas. I am in Virginia, you are in Hong Kong. You are an excellent pianist, I can hardly play the thing and have only mastered fretless bass guitar! Both your Bb sonata and my C major sonata have a lot of Beethoven in them, and I don't know how much time you took on your sonata, but I dashed my C major off in 13 days, not a sketch, not a correction, right onto paper (not into Noteflight), and I sure didn't work every day or every hour of every day! Parts of yours, anyway, seem like you took a bit more care...

hello peter, long time no see, I can see you are really delving into your experimental side. You’ve also managed to incorporate artificial harmonics and sul ponticello into your short piece, which comes across quite well. My only gripe is the main theme itself, while memorable I think there should be a lead in into the second phrase, as to maintain its momentum. great job making full use of the resources musescore has to offer. I am excited to hear how you develop your individual voice, as you dig deeper into complicated musical techniques.

I absolutely love this! Very charming, and you bring out the instruments really well. The dynamics, rhythm + microtones make this a fun and eerie melody to listen to.

This is the fourth and final movement of my Violin Sonata in B flat major, commissioned by and dedicated to Arjuna Clark (lately Archie) @expert21. This movement is in Variation form which is my first attempt on the form in a movement, though I already use quite some variations techniques in my old pieces. I choose the form because rather than another narrative sonata form movement, a variation movement exploring the possiblities of the ARJUNA motive is much more appropriate for me. Again, thx to @Thatguy v2.0 for making the audio. I try for some strict procedure in each of the variation, as I use Prime and Inversion form of the ARJUNA motive for the 1st half of a variation, then Retrograde, Retrograde-Inversion and Prime form of the ARJUNA motive for the 2nd half of a variation. Even though the motive itself is short and easy enough to achieve this kind of treatment, still I wanna use them for coherence. Because of this, this one is probably the hardest movement in this Sonata to write with. Here is the YT video and pdf scores of the movement: Violin Sonata in B-flat major 4th mov.pdf Here is the structure of the movement: 0:00 Thema: Allegretto Commodo. A rather simple and easy-going theme for later variations. 1:16 Variation I: Allegretto con moto: A funny variation. Introduces G-flat major for the 1st time in the movement. In the second half, each two bar phrase is the retrograde of the two bar phrase corresonding to the first half, e.g. b.26-27 correspond to b.17-18. 2:13 Variation II: Allegro con energico. A variation heavily inspired by the 2nd movement of Beethoven's Razumovsky Quartet no.1, which is also in the same key. End of the 1st part and begins 2nd part with variations begins in different keys. 3:03 Variation III: Andante Comtemplativo. A variation begins in D major and makes chordal usage of the ARJUNA motive. Briefly reintroduces the 2nd movement theme in 4:04. Ends with a dark transition to C sharp minor. 5:08 Variation IV: Adagio Doloroso. A variation begins in C sharp minor. I make use of the Beethoven op.135 theme again as in the 3rd movement, but this time in minor mode and all sorts of dissonances, since it reflects the dark mood I was having then. The use of ARJUNA motive is saturated here; I even use all four forms of the motive together in b.110. Ends in Picardy third and modulates to the next variation. 6:44 Variation V: Andantino con moto e tranquillo. A variation begins in G-flat major and modulates through D major before returning to tonic B-flat major. I quote a lot of pentatonics and quartals here to show the influence of my String Sextet. 8:10 Variation VI: Fugato e Coda: Allegro Vivace, con brio e energico. Even though it 's a cliche to end a variation in a fugato, I still use it here nonetheless. The fugue subject makes use of the prime and inversion form of ARJUNA motive, while the countersubject the retrograde and inversion of the motive. The episodes also make use of the motives too. I even quoted my Clarinet Quintet main theme in 8:47. Waltz rhythm gradually returns and polyphonic texture changed to a homophonic one, just like the ending of Beethoven's op.110 Sonata. More affirmations of the ARJUNA motive comes and ends the music in a high energetic way. I quite enjoy the ending not to lie. Thx for listening and hopefully you will leave some comments here! Henry P.S. Here are the previous movements posted on YC forum: 1st Mov: 2nd Mov: 3rd Mov:

Ah interesting. I mentioned the lumatone since their performers might be looking for new music from current composers... it would be cool if someone performed or recorded for you! Couldn't hurt to market it for a wider audience and all

Ah fair enough. I'm nowhere close to a historical composer such as yourself, so it's always interesting to hear the finer points of the styles, of which I'm usually unfamiliar with. I noticed you have more music here, I can't remember if I've checked any of it out but I'll dig around 🙂

Thanks! The thing is that the piece plays 2 times, one wich just the crumhorns and then the tutti. It was very common to do that in early suites like Banchetto Musicale from Schein. Or any other dance ment to be played in concertato manner (many instruments).

Heyo! Here are the first two choral pieces I’ve finished enough for feedback. I would love to hear what you enjoy about the pieces, then give any tips about what you think is high quality and how to fix anything that’s lower quality. My main desires are for feedback on the overall feel of the pieces, like the fittingness of the choral parts or the piano. I’ve never written for either before professionally, and these are kind of the test to see if I have potential to create choral music directors would actually purchase. Are these close to professional quality? If not, what could I change? The goal was to write semi-simple pieces that your average or slightly above average church choir could sing as a Motet or “Anthem” or a choir-only piece during a service. I enjoy purer, diatonic harmonies more, as well as an epic feel at times, so hopefully those come through. Thanks in advance for any comments you’re willing to give:) The Assumption: https://youtu.be/u_uR3quvWiA Come Holy Spirit Pt. 1: https://youtu.be/CTrRiL_wY_Q

Afaik a lumatone is mostly used as a midi controller (even though I think it has its own built-in sound also). There is no synth sound that I would prefer to piano that wouldn't just function as a substitute for a string ensemble. Maybe I could just write for a solo instrument with string orchestra? With this piece, I conceived of it as a piece for solo monophonic (acoustic) instrument and accompanying polyphonic (acoustic) instrument, kinda like for the Dreamscapes competition. You're welcome! I'm glad you're benefitting from it! I'm actually using microtones very lightly in this. I use some microtonal passing and neighboring tones in addition to sub-minor 3rds and sub-minor 7ths. But I definitely consider this a microtonal-lite style in that it's both easy to apply and not that complex to understand. Thanks for your reply!

Nice! I really wanna try to write more accessible music and I think this one is a good try! Yeah an advertisement on what I’m writing!

Yeah that’s the same Arjuna motive throughout! And there will be the final movement which I post today!

Very interesting stuff, Luis, I'm sorry I'm late to the party to comment! This sort of exploration is exactly the sort of thing that composition software is good for. Means you don't have to retune a whole piano to find out what it would sound like. An excellent use of modern resources to imagine ancient sounds! The introduction is beautiful and a little unnerving, and the section that begins around measure 25 is just a strange but confident loveliness. What an interesting sound world you have brought us to!

Are you happy with the microtonal piano sounds? I wonder if using some sort of E-piano or synth would give your pieces something different to offer, as you could mimic a lumatone or whatever else is out there. I know there are microtonal harpsichords and pianos, but they're so unpractical. I just checked fiverr and no one offers lumatone lol. Dang. I'm just brainstorming because you clearly have so much interest in microtonal music, I'm just trying to think of other outlets available. I've kind of vicariously lived through your microtonal studies, silently judging what I like and dislike about it's uses for my own music, so thank you for that haha 😄 The music overall felt comical and maybe slightly cheesy, but I think that's just the nature of using so many microtones within your harmonic context. That's not to say I didn't like it, it was fun 🙂 Nice job Peter, looking forward to hearing more ...or maybe something big you have brewing in the works...

Emily in Cordoba - Short Movie main theme. Now on Fetchflix Emily’s exciting career at « Candeur Advertising » brought her in Cordoba. As usual she takes selfies everywhere anytime all over the place. After the visit of Córdoba’s Mosque-Cathedral she looked at the selfies she’s been taken and found that one of the selfy she probably mistakenly took was her face but made of wood. The choir stalls where her face was pictured is located across from the altar, which was crafted during the 18th century and were executed by Pedro Duque Cornejo. Could it be that Emily’s ancestors were Spanish? “This story is a work of fiction. Any similarity to actual persons, living or dead, or actual events, is purely coincidental. And for those who did not get it, Fetchflix TV is also fictitious.” Music: Syrel Photography: Syrel, Córdoba Mosque-Cathedral, 2024 Musical notes: I am not sure if the inspiration comes from the great Al di Meola or Sergio Mendes & Brazil 66. Nevertheless, enjoy the short ride.

This music makes me ye olde happy, thanks for sharing! I love when the rest of the instruments come in about halfway through... for me you could shave off a bunch before that and treat it like an intro 🙂

The first one cannot be heard. The second one sounds good and fluid, with very clean changes in tonality to the dominant and back.