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[Dekkadeci]

Like boss themes? Wonder how my first time using the octatonic scale worked out? Listen to Eight-Ton Showdown, a heavy metal boss theme for that one recurring boss!

[Dekkadeci]

How difficult can a piano etude for the left hand only get? Pretty difficult! Just listen to my Etude in F Minor For the Left Hand ("Cross-Rhythms") for such an example. Yup, time to practice your one-hand cross-rhythms and beat subdivision like crazy!

[Dekkadeci]

Like turn-of-the-20th-century American marches? Then I bet you'll like my Herald and Sun March!

[Libera]

That's a really cute piece!  I particularly like the A and B sections, they feel particularly sunny!

Also just popping in to say thanks for posting your stuff here; I always enjoy listening to your new works. :)

[Dekkadeci]

Want to hear how well one of my works fits in a collaborative work? Listen to my Piano Sonata in F Sharp Minor, Movement 3 (Collab.)! (The other movements of the collaborative sonata can be found in the link.) Please tell me I did a decent job....

[Dekkadeci]

Like scherzos? Then you may like my newest composition, Scherzo Agitato! See if you can find where I sneak in the BACH and DSCH motives (well, without reading its description).

[AmpharosAndy]

Also just popping in to say thanks for posting your stuff here; I always enjoy listening to your new works.

same. i keep cumin back 4it

[Dekkadeci]

Wondering how well I can write a slow introduction? You'll sure get an opportunity with my Sonata-Allegro in G Minor ("Introduction and Frenzy")! Be aware that this is heavily influenced by the 1st movement of Beethoven's Pathetique Sonata, complete with using corresponding accompaniment textures and reusing introduction material later in the piece.

[cashwarrior1]

Wow, that sounds really cool! I wonder what it'd sound like performed? At the part where the tempo increases to 172 to the half note, I think that it should be written with sixteenth notes rather than eighth notes, which would make the tempo 172 to the quarter note. This makes is much easier to read and comprehend when learning the piece, because when I first saw the eighth notes, my initial thought was "it's not as fast as it looks", but it's way faster than it looks. You also change the key signature quite often, which is really cool and I like that, but you don't put any actual key changes in the music. That would be helpful to have, to let the player know the key is changing rather than having them look at accidentals the entire time. Overall, the piece sounds awesome and really fun to play!

[Dekkadeci]

Wow, that sounds really cool! I wonder what it'd sound like performed? At the part where the tempo increases to 172 to the half note, I think that it should be written with sixteenth notes rather than eighth notes, which would make the tempo 172 to the quarter note. This makes is much easier to read and comprehend when learning the piece, because when I first saw the eighth notes, my initial thought was "it's not as fast as it looks", but it's way faster than it looks. You also change the key signature quite often, which is really cool and I like that, but you don't put any actual key changes in the music. That would be helpful to have, to let the player know the key is changing rather than having them look at accidentals the entire time. Overall, the piece sounds awesome and really fun to play!

My use of 2/2 time and therefore eighth notes is a direct homage to the 1st movement of Beethoven's Pathetique Sonata, which also uses both of them at roughly the same tempo.

My lack of key signature changes is consistent with the sonata-allegros whose scores I've read. Those don't tend to change key signatures, either, even when they change keys at quicksilver speed. Removing the key signature from the development might be warranted, though, especially since it goes into C sharp minor at one point.

[cashwarrior1]

My use of 2/2 time and therefore eighth notes is a direct homage to the 1st movement of Beethoven's Pathetique Sonata, which also uses both of them at roughly the same tempo.

Okay, that makes sense. I'd do it with sixteenth notes, but I guess it's not too big of a difference.

My lack of key signature changes is consistent with the sonata-allegros whose scores I've read. Those don't tend to change key signatures, either, even when they change keys at quicksilver speed. Removing the key signature from the development might be warranted, though, especially since it goes into C sharp minor at one point.

If this is the case, then it might be better to just make there no key signature at the fast section, that way you don't have to have as many naturals in some sections.

[Dekkadeci]

Like John Philip Sousa's marches? Then you might also like my latest piece: Circus Screamer! ...I actually think this sounds like Sousa's "Manhattan Beach March" the most....

[Dekkadeci]

If you're a visitor here who likes quartal harmony, maybe you'll like my Scherzo Quartale, which uses quartal harmony in spades!

[Dekkadeci]

Like more passionate and dramatic classical music. Try my new Prelude in F Minor!

[Dekkadeci]

Interested in a piccolo and contrabassoon duet where the contrabassoon actually gets the melody for once? Then listen to my newest piece, At the Extremes!