July 13, 2025Jul 13 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
July 13, 2025Jul 13 Author Well, I'm 56 and not a young composer now, but I was 28-29 when I wrote this beast...
July 13, 2025Jul 13 Author 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...
July 13, 2025Jul 13 Author 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.
July 13, 2025Jul 13 Author Comment retracted... Edited July 23, 2025Jul 23 by Churchcantor Comment retracted.
July 28, 2025Jul 28 Author 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
January 31Jan 31 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
January 31Jan 31 Author 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!
February 4Feb 4 Author On 1/30/2026 at 10:08 PM, Fruit hunter said: 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 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. Edited February 4Feb 4 by Churchcantor
February 8Feb 8 Author 10 hours ago, Musicman_3254 said: This sounds really nice. How long have you been composing scores (just curious)? 38 years or so, this was 1997!
February 20Feb 20 Firstly, You combine the symphony and the concerto, and the you add an electrical guitar. wow. i am IMPRESSED. (really! How?) And it is 4 not 3 movements long too.
February 20Feb 20 Author 1 hour ago, TristanTheTristan said: Firstly, You combine the symphony and the concerto, and the you add an electrical guitar. wow. i am IMPRESSED. (really! How?) The really! How? Is how someone would actually perform this...😦
February 20Feb 20 36 minutes ago, Churchcantor said: The really! How? Is how someone would actually perform this...😦 Yeah. It is also tremendously difficult... Let's say two guitarists somehow managed to premiere it by playing the main part together.
February 21Feb 21 Author 3 hours ago, TristanTheTristan said: Yeah. It is also tremendously difficult... Let's say two guitarists somehow managed to premiere it by playing the main part together. I would be more along the lines of giving a good classical guitarist an electric to play around with for a couple of months.
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