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Symphony-Concerto In A Major For Electric Guitar And Orchestra-1 Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight Symphony-Concerto In A Major For Electric Guitar And Orchestra-2 Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight Symphony-Concerto In A Major For Electric Guitar And Orchestra-3 Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight Symphony-Concerto In A Major For Electric Guitar And Orchestra-4 Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight

just checked this out and damn the orchestration rocks. Keeps that cute vibe from the original but makes it way bigger and emotional. Solid work!

MP3 Play / pause DDLC Your Reality FINAL 0:00 0:00 volume > next menu DDLC Your Reality FINAL > next PDF Your Reality just checked this out and damn the orchestration rocks. Keeps that cute vibe from the original but makes it way bigger and emotional. Solid work!

Hallo @Frederic Gill! I have read the thread about your „2-part invention in counterpoint“ and since there had already been lively discussions I decided to take a look on another piece which has not got a review yet. I like the motif (or „subject“) which is indeed somewhat „stubborn“ because of its repeated notes (but there are many famous fugues with repeated notes in the subject). And so, your decision to vary the motif sometimes to avoid that repeated notes is quite a good idea. The counterpoint is well chosen rhythmically, giving the entire piece a continuous flow and its „funny“ character. As far as I remember from the other thread, there were some dispute about „parallels“ and „octaves“ which was – also in my opinion – somewhat „overteaching“ (I couldn’t follow all arguments or „issues“ without going into detail too deep), so that I can understand that you’ve deleted most of the posts. But to be honest, after listening to your E minor invention, I can understand what the other commenters meant: Not „parallel octaves“ (or „parallel fifth“ as to be avoided in counterpoint generally) are problematic, but only the occurrence of the same note (in an octave) on a strong beat that makes the piece sound something „thin“ at that particular note. This is the case in a two-voice counterpoint only. If you had a third or fourth voice there would be enough harmonic material overall (and that might be the reason that writing a two-part fugue is much more challenging than a three- or four-voice fugue and why there are so few of them). I think, you can solve the problem, for example by varying your counter-motif in that places where it creates the octave. You will then lose the smooth motion at these points and have to insert a leap, but that might emphasize the humorous character of the entire piece!

38 years or so, this was 1997!

This sounds really nice. How long have you been composing scores (just curious)?

You call the first theme folk melody...that's a compliment; I thought of it as a fugue subject in disguise! There are romantic-era nods as well. In the first movement, the slow intro sounds a bit like Tchaikovsky, and the final cadence is a direct rip-off (well, tribute to?) of the final cadence to C.M.V. Weber's Der Freischütz first act! Different key. It has always been my favorite opera!😉 It is not postmodern, but could that be true in a way? Basically a Nineteenth Century symphony, but has Baroque elements, even some Classical ones. We LIVING composers have the luxury, especially today with everything on the Internet, to be eclectic.

I saw the viola in the bass clef thing; just a Noteflight glitch, it likes to change things! It was on a measure rest so didn't make a difference in the sound, but of course I corrected it!

A lot of voice leading things that are weird. Very postmodern sounding to. I somewhat appreciate the dissonance. OK, I like the change to pace. I appreciate the different folk aspects of this piece. And I definitely like that electric guitar cadenza. A mixing issue with the winds burying the main theme. We are back at measure 59 with the folk melody There may be some difficulty at 83 and before that with the double tongue in the brass. I also like how some of the other instruments double the guitar with the runs. Why is the viola in the bass clef. I like the rhythmic interpretation and variation around 111. I enjoy the guitar solo and also the irregular variation with the rhythm although that the playback may not support this make sure you write some slurring around. At 179 a previous theme returns. Along with the folk melody running after that. Some of the guitar material had returned. And I like the end. Good job and I appreciate the amazing structure and the cool material that you have given throughout the first Movement

scraggy!!!🤣

One more thing orchestral I can post, an opera overture from 1995. If I enter any of the opera, probably extract a suite or something if I don't feel like working myself to death! Overture to the Opera Hypochondria Free Sheet Music by Robert C. Fox for Various Instruments | Noteflight

Comment retracted...

No; two weeks ago: how time flies!

Chew on this, until I get an actual reply: Waltz in A Major Free Sheet Music by Robert C. Fox for Piano/Keyboard | Noteflight I simply LOVE A Major! And this was written a week ago or so, not in 1997-1998 like the symphony.

At least this site seems to be at least alive; a moderator seems to have removed my clumsy double-post, and I have a follower after 20 minutes! Glad you like my one and only symphony; too much work, I prefer chamber music, songs, piano pieces, etc...

Well, I'm 56 and not a young composer now, but I was 28-29 when I wrote this beast...