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I've been taking something of a hiatus from classical music recently. I haven't had any big ideas to go off of when it comes to big orchestral works or even smaller chamber ensemble pieces; I've also wanted to compose small songs/do piano covers/write jazz pieces for quite some time now, and I figured it's about as good a time as any to just get on with it while I rest the classical side of my composing output for now. Don't worry (in case you are 😉), I'm sure I'll come back to it eventually. The piece below is one of my first attempts at writing in a distinctly alternative, non-classical musical language since I first started writing music two and a half years ago. I've been asked by a friend to write some pieces for his student film, and he asked specifically for an 'upbeat jazz'... thing to accompany a scene he plans on filming a couple of months from now. I decided to work with a jazz trio that consists of a drumset, piano, and acoustic guitar (since he planned on having the school band play the piece). I've made an effort to focus more on rhythmic drive and the 'groove' of the piece instead of melody or harmony, and I'm curious if anything here could be considered 'jazzy' at all, or if it's just a jumble of discordant sounds that merely assume the semblance of jazz improvisation. I'm quite unsure of this new writing style, so any constructive criticism is welcome. Hoping to hear from everybody! 😁 Note: the .mp3 only goes up to 1:42, since I haven't finished the piece. There should be a couple more minutes of music after that. Addendum: I've finished the piece! It's gone all the way up to nearly 6 minutes, but I'm pretty happy with how it's turned out. I've attached the files here as 'funkalicious' (aptly titled) for easier viewing. Special thanks to @Thatguy v2.0 for sticking along for the journey! I'm very grateful you were there to give me advice on maxing out the funk here 🙌

I think bringing back the original melody at the end would have a great effect

Thanks! Yes, I'm pretty satisfied with the production quality on it. Thanks Peter In production music, it has to do what it says on the tin. The names of the tracks tell you what sort of idea/trope it embodies. If an audio director, producer, etc. goes to the company and says "We need something that has an 'Egyptian'' sound" then they are probably looking for things that sound like The Anubis Gate, that play up the Phrygian Dominant and that instrumentation. Conversely, someone looking for that sort of sound perusing the company's library who sees a track called "The Anubis Gate" is likely to be disappointed and feel their time is wasted if it doesn't meet the expected trope, or at least if it doesn't meet it enough. Lastly, all of these tracks had to be approved by the company's CEO, and the criteria I mention is all a consideration for the tracks likelihood of getting placed; that track in question was actually originally rejected because they didn't like my original ending to it and two minutes is about the limit. Were this all done as a custom score for a film rather than production music, where I could see all the changes in action in the scene in real time, it would surely go through various different flavors, keys, scales, etc. But in the absence of that, delivering the highest quality, consistent track that fits the expectation set by the title is usually the best bet.