ba Free Sheet Music by Robert C. Fox for Violin and Piano/Keyboard | Noteflight

Thanks!

Here's a short study for string trio in a rather oriental mood.

Hope it will delight you.

Best regards,

Marc

01 - Conducteur - Etude pour trio à cordes n°11.pdf

For my landscape, I've chosen the mountains of Zhangjiajie, China. The first time that I saw these mountains, I was awestruck by just the sheer scale of them. Massive peaks and towers, overgrown with centuries-old moss, reaching beyond the clouds. Really just gorgeous. I wanted to try to write about them.

The piece starts off zoomed outwards, depicting the sparseness of the clouds, until eventually, a melody begins to creep towards the first real theme--which I call the garden theme. The focus is on the garden now, zoomed in, it's a sort of natural oasis along the side of one of the tall mountainous pillar. It's beautiful, lush, full, until the garden begins to die as winter comes. The harmony because sparse and vague again, with large spontaneous gusts of wind... just very dry sounding overall. That is, until months later, the clouds darken, promising a heavy storm. Anticipation builds, until eventually, rain comes pouring down, so densely that it's almost like a wall. It's the first rain of spring!!! After the rain settles down, the garden comes to life again with the re-entry of the garden theme!! The piece ends as the focus zooms back out onto the clouds, and the tension finally resolves again.

My goal with the piece was to try to represent the life cycle of the plant life out in the setting of Zhangjiajie. I hope you all like it !!!!

AmidstTheCloudsAndFlowers.pdf

Seven Sententiae for Clarinet, Op. 395.pdf

OBS: The original insturmentation is sadly not possible due to the fact that i dont have good enough virtual instruments that have a good sound, the only ones that i have are soundfonts that sound quite unrealistic and robotic...

Suddenly, my thoughts are filled with loss. It’s not painful exactly, nor is it something I want to erase. But it carries a quiet melancholy, releasing the sadness, anger, and tension I’ve accumulated over time. In a strange way, this grief becomes a kind of relief. A way to let go of everything I’ve been holding in.

Still, it lingers. It loops in my mind. Eventually, I have to let it go so I can rest. I have to keep living. I can’t stay immersed in sorrow forever. So I walk along the river, letting the sounds of the water drown out my thoughts. I walk until my legs are sore, until exhaustion replaces emotion. Then I go home, lie down, and finally sleep—my grief forgotten, at least for the night.

Also this piece was one of the few I actually (somewhat) planned ahead. This is what I had planned

"Walk to forget Bass Clarinet, Alto Saxophone, 1 Percussion, Violin, Viola, Violoncello. This piece is intended to in some way, describe my experience of grief, specifically while trying to fall asleep.

Some nights, like the night this piece is based off of, I struggle to fall asleep. Stress, homework, expectations, all pile on top of each other, and this pressure releases grief. Suddenly my mind is occupied by grief and loss. It’s not painful, or something I want to forget. But it’s melancholic, it releases the sadness, anger, and stress I’ve felt over time. This grief is actually a chance to release all my struggles. But it goes on and on. At some point, I must forget my grief again, so I may sleep. I must go on with my life, and cannot wallow in my grief. So I walk along the river, till the sounds swallow my mind. I walk until my legs are tired and that’s all I can think about. So I go home, go to bed, and have forgotten my grief, and everything that caused it, and sleep.

So how do I convey this in a piece of music? I need a theme/motif for grief: I imagine something in the alto saxophone. I think introducing it with a poking/prodding motive, like a repeated note, taken from instrument to instrument. An idea that represents the stress of life, poking my brain to the edge. This I’m not sure will work with the time constraint, and I may just begin at the next part.

Then a swell and complete change to the grief motive. In this context, I imagine something legato and sostenuto, non-triatic and lacking “home”. I think the alto saxophone should appear in the high register for the first time, everyone should be in a higher register than before, which might make the prodding motive earlier less effective, but this grief motive more effective. The grief motive must have a rhythmic element to it, so that it is recognizable as key centers change, and the pitches can be moved around functionally, to allow moments of tonal beauty amongst the quartel nature of the motive. There also needs to be a nature element, an ostinato to represent walking, and getting distracted by the wind, the stars, the river. The grief motive slowly becomes less and less present until it is taken over by the nature motives.

Then we sleep. A meditative ending."

Izaak Thoms Walk Final.pdf

1. Allegro.pdf 2. Minuetto allegretto.pdf 3. Andantino grazioso.pdf 4. Minuetto vivace.pdf 5. Presto.pdf

n100, 10 minutes.pdf

Here's my new study.

Have a good Easter 🙂

Marc

01 - Conducteur - Quatuor pour flûte et cordes.pdf

I've recently decided to take orchestration seriously.
Just as I did with counterpoint back in the day... Yes, although I study on my own, I have always been self-taught, at some point you need guidance from an expert. So I am taking a course in orchestration. It is really for a very small group (only four people), which means the feedback is very powerful, as each person's work is reviewed in depth.
I've learned a lot about the classical style (paradigm: Mozart). Why and for what purpose each thing is used.
And here I share my version (reviewed by my teacher) of the orchestration of the first movement of Mozart's Piano Sonata No. 5.
Now I'm working on Mendelssohn.

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

Original:

Quartet In A Major For Guitar And Strings-1 Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight

n93.pdf

I would also like to dedicate this fugue as a birthday present to my dear friend Julia as well, whose family has been going through exceedingly difficult times for more than one year now. Since the loss of a very special loved one has taken a severe toll on us all, my sincerest hope now is that she and her family can start anew and rebuild their lives from the ashes of their grief, even when all hope for a better future seems gone forever and endless mourning seems to be the only thing left to live for.

Bach himself was no stranger to painful, heart-wrenching losses. Even as he lost both parents at age 10, his first wife at 35, and in line with the astronomical infant mortality rates of his era, more than half of his 20 children during childhood, he was likely reassured that his dedication to God alone through his music would be worthy of a place in Heaven for all those he loved and whose safety he prayed for daily.

This key of F-sharp minor in our currently standardized A = 440 tuning always evoked in me a far greater sense of mourning in the wake of tragedy than any other. Perhaps because of this reason I felt naturally drawn to it when thinking of those precious loved ones we may have lost along the way, the precious, cherished moments that will never again come to pass, and the longing memories broken by the sudden wound their departure left forever imprinted in our hearts.

Scrolling video link (YouTube)

Fugue in F-sharp minor for String Quartet.pdf

Score erik satie.pdf

I'd really like to know how much of it needs to change in order to make it playable by a real-life String Quartet.

Track 26 - String Quartet no.1 - Score.pdf

You can also listen and read the score at Track 26 - String Quartet no.1 (Jan-March 2026) -

no.10_PetiteSonata_4Strings.pdf

Here's my original composition featuring cello and violin. I've been working on this piece for 3 days. It's very hard to write for only two instruments, because it's not that easy to form harmonies with two solo instruments. Technically it's possible, but they play broken chords and arpeggios. (Of course, both cello and violin can play double stops, but I deliberately didn't add double stops to the piece.)

So, it was challenging to create the illusion of harmonies without real harmonies. What's your opinion? Feel free to share it with me in a comment!

Acoustic guitar, DADGAD capo 7.

Once again I resurrected an old work which needed a dusting off and a new look.  It's called Mother and Son ... I describe the playful and sentimental interactions of a Mother and child as they play/interact in the park.

Mark