Dekkadeci's Compositions

Started by Dekkadeci, June 11, 2016, 09:45:39 PM

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Dekkadeci

June 11, 2016, 09:45:39 PM Last Edit: September 04, 2022, 05:26:16 PM by Dekkadeci
I've got tens of compositions (and transcriptions and arrangements) stocked up, so I'll slowly be publishing them on Musescore. You can listen to my works on Musescore's website (the audio will not be mastered there). I will not be publishing my pieces in order of composition. If enough of you request downloadable files, I'll start stocking up my Google Drive.

Very nearly all my pieces are for solo piano--it's at the point where I have piano versions of songs I eventually want to transcribe for bands.

Compositions From Sept. 4, 2022 or Later
https://www.ninsheetmusic.org/forum/index.php?topic=8501.msg431228#msg431228

Compositions on Musescore
https://musescore.com/user/9996931/sets/2213611

Classical
Marche-Sonate
It's a march, complete with repeats. Wait...no...why isn't it going into a trio? No! Noooooo! It's actually a sonata-allegro! ...That really sounds like a march.

Little March
Switch from Marche-Sonate at the correct time to this song, then back, and--all of a sudden--the combined songs really are a march!

Scherzo Infernale
A blazing fast standalone scherzo and trio, this is rather heavily influenced by Alkan's Scherzo Diabolico.

Out of Strife (Comes Hope)
As seen in its subtitle, this march is strongly influenced by Elgar's Pomp and Circumstance marches, particularly his 3rd such march. But unlike that march, Out of Strife (Comes Hope) ends victoriously!
Despite being subtitled as a piano solo version, no other arrangements of this piece currently exist.

Fire and Ice Polka
Composed in the style of the Strauss family's polka(-schnell)s, this polka(-schnell) aims to be a crowd-pleaser.

Trumpet Exercise
...This is more here for the sake of completion than anything, but this exercise to improve trumpet embouchure (without changing fingering) is one of my first attempts to write for instruments other than the piano.

Bad-Tempered Dances
One of my earlier pieces, this bad-tempered rondo contains a series of dances.

Bell Carol
Named because of its resemblance to fast renditions of Carol of the Bells, this is one of the earliest pieces I composed. The central section is significantly slower than the flanking sections, though.

Piano Sonata in D Minor ("Piecemeal")
Spoiler
Movement 1: Inexorable
The weightiest of the four movements and the latest to be composed, this sonata-allegro is more than 9 minutes long counting repeats. It is stern and, while turning towards happiness, inexorably marches to its doom.

Movement 2: Rondo Oscuro
The first movement to be composed--and the only one I ever publicly performed--this rondo emerges from the shadows with a simple first theme and explores various other moods.

Movement 3
This is a simple, old-fashioned minuet with a rollicking trio.

Movement 4: Tribute
This sonata-allegro is actually a tribute to Super Paper Mario. While not actually using any of its music (as I had not listened to the soundtrack at the time), it contains leitmotifs for several important characters and roughly outlines the plot of the game.
[close]

Etude in D Minor ("Eil Ton")
This colourful piano etude depicts tumultuously flying over crashing waves. Practice your arpeggios and chords at once with this etude!

Sonatina in C Major ("Pastorale")
Another of my earliest pieces, this is soothing and cheerful fare.

Sonatina in F Major ("Classical")
If you're into thoroughly classical music, this typical sonata-allegro is for you. This is one of my earlier works.

Piano Sonata in E Minor ("Scherzando") (Unfinished)
Spoiler
Movement 1
This is an aggressive, scherzo-like sonata-allegro. It starts with a jolt to attention--stark chords, followed by a daring flurry of ascending notes. Perhaps its second theme group, which initially appears in G major, is the call of the Wild Hunt. The Wild Hunt takes an even darker turn by the end of this piece.

Movement 3
This scherzo and trio is affable and genial.
[close]

Suite in E Flat (Unfinished)
Spoiler
Movement 2: Hidden Royal
With many mood changes, this sonata-allegro depicts the story of a prince who attempts to explore his kingdom incognito, only to see his royal status exposed in front of everyone, including the lover he had met on one of his incognito trips. Eventually, he accepts both his royal duties and his strong desire for freedom (the reason he tried exploring incognito in the first place).

Movement 3: Chargers
Depicting the wild rides of a knight and his companion fairy, this is a rough scherzo with a sprightly trio.
[close]

Kids On the Monkey Bars
This experimental piece depicts children singing (badly) as they play on the monkey bars.

Piano Sonata in F Major ("Cosmos") (Unfinished)
Spoiler
Movement 1: Sun
This enthusiastic sonata-allegro depicts the sun.

Movement 2: Moon
This alien-sounding ternary-form slow movement depicts the moon.

Movement 3: Stars
This fleet-footed scherzo and double trio depicts the stars.
[close]

Funeral March No. 1 in B Flat Minor
This is a stark and tortured funeral march with a lyrical, slightly troubled trio.

Angry Dance
More of a dance excerpt than anything else, this angry dance is the result of accepting a challenge to compose something with exactly 100 notes in it.

Song Without Words No. 1
Like Felix Mendelssohn's Songs Without Words, this is a short, song-like piano piece. Its genial melodies are reminiscent of Christmas carols.

King Thrushbeard
Composed for a contest in https://musescore.com/groups/soloinstrumentchampionships/discuss/2653921, this piece for solo bass clarinet depicts the Brothers Grimm fairy tale of King Thrushbeard.

Tarantella No. 1 in C Minor
This snappy tarantella in sonata-rondo form constantly plays with its sense of key.

March of the Empire
Depicting an evil empire and a rebel force that hopes to beat it, this march boasts impressive power and emotional range, but it should be within reach of intermediate to early advanced pianists.

The Abyss
Yet another of my earliest pieces, this brief tone poem depicts the calm of the deep sea.

A Sonata-Allegro in Under 2 Minutes
Exactly as advertised, this especially swift and terse piece fits an entire sonata-allegro in less than 2 minutes, including repeats.

Rocket Piece No. 1
One of my earliest pieces, this sonatina starts off with a Mannheim rocket theme and is paired with Rocket Piece No. 2.

Rocket Piece No. 2
One of my earliest pieces, this rondo starts off with a Mannheim rocket theme and is paired with Rocket Piece No. 1.

Etude-Coronation March in G Major
This coronation march of a piano etude focuses on beat subdivision.

Going Distances Polka
This quick, snappy polka covers a lot of ground in less than 2 minutes.

On This Side of Death's Shores
This is the result of accepting a challenge to write a non-WIP piece in 10 minutes or less, this time with a custom soundfont. This piece sounds particularly good on mellow pianos and worse on bright pianos.

Etude in G Minor ("Arpeggio")
One of my earlier works, this etude helps you practice arpeggios and can be played in a wide variety of tempos.

Impromptu-Scherzo in G Minor
This vaguely improvisatory scherzo-with-the-wrong-meter conjures some highly charged emotions.

Synth Scherzando
This is the result of accepting a challenge to write a non-WIP 100-bar-long piece in 10 minutes or less. Despite the form and instrumentation, this still uses several of the melodic conventions of classical music, so I've put it here.

Furiant No. 1 in G Minor
Just like other furiants, this is a fiery 3/4 dance that uses hemiolas liberally.

Sonata-Allegro in F Minor ("Complexity Within")
Nicknamed "Complexity Within" because of its central scherzo and trio, this is a sonata-allegro of unusual scale.

March in F Major
This optimistic march happily rolls along into a sunny future.

Puck, Hobgoblin
This scherzino combines a slightly lumbering outer section with a lyrical, graceful trio.

Tarantella No. 2 in E Minor
Another snappy tarantella, this one's melody is one long running improvisation.

Prelude in C Major
This cheery prelude zips by with its many arpeggiated figures.

Waltz No. 1 in B Minor
At turns bold and melancholy, this is an emotional, many-sectioned waltz.

Deceptive Little Bagatelle
This short ternary-form piece for woodwind quartet constantly dashes expectations by using exclusively deceptive and imperfect cadences until the last bar.

Tango No. 1 in G Minor
This tango is at turns imperious and wistful, a worthy challenge for bass clarinet players.

Song on "Hippo's Hope"
Based on Shel Silverstein's poem, "Hippo's Hope", this song setting of sorts covers all 3 of that poem's endings.

Etude in C Minor ("Wilde Jagd")
Reminiscent of the folkloric Wild Hunt, complete with starting hunting call, this etude helps you hone your triplets.

Scherzo Oscuro
Another fast standalone scherzo and trio, this piece's 8th note-run-filled outer sections contrast nicely with the dotted half note-filled, lyrical melody of its inner section.

Etude in F Minor For the Left Hand ("Cross-Rhythms")
This tricky piano etude for the left hand only helps you with cross-rhythms and beat subdivision.

Piano Sonata in F Sharp Major, Movement 3 (Collab.)
Written to fit in an F sharp major collaborative piano sonata where only one of the other movements was in F sharp major, this scherzo and trio combines an amiable scherzo proper with a whirlwind trio, then foreshadows the fourth movement.

Scherzo Agitato
Yet another fast standalone scherzo and trio, this is a nervous little thing. Its outer sections are filled with staccato-note runs, while its central trio quotes the BACH and DSCH motives.

Sonata-Allegro in G Minor ("Introduction and Frenzy")
Nicknamed "Introduction and Frenzy" because of its prominent introduction and breakneck sonata-allegro proper, this sonata-allegro is heavily influenced by the 1st movement of Beethoven's Pathetique Sonata.

Scherzo Quartale
With its prominent use of quartal harmony, this scherzo gives off a modernistic and avant-garde feel.

Prelude in F Minor
Evoking the Romantic era of classical music, this prelude is passionate and dramatic.

At the Extremes
Composed for a contest in https://musescore.com/groups/competition/discuss/5040699, this piece has a prominent contrabassoon melody and a rather quartal piccolo accompaniment.

Monarch's Glory
This stirring march is composed in the vein of Edward Elgar's Pomp and Circumstance March No. 4 in G Major.

Song Without Words No. 2
Like Felix Mendelssohn's Songs Without Words, this is a short, song-like piano piece. Its heartfelt outer sections contrast with the march-like central section.

Sonata-Allegro in A Minor ("Into Ferocious Times")
The fleeting tranquility this piece has later transforms into the rage of the rest of the piece--thus this sonata-allegro's nickname.

Sonata-Allegro in B Flat Minor ("Toccata")
A more modernistic toccata in sonata-allegro form, this piece blends together multiple 20th-century toccata influences and presents a strong contrast between its quiet but restless beginning and its later eruption into rage.

Scherzo Cromatico
Still another fast standalone scherzo and trio, this one has plentiful chromatic passages, both scalar and chordal.

Ballade No. 1 in E Flat Minor ("Reminiscences of the Sealed")
Written for a contest, this ballade depicts the story of a sealed fighter and his sudden rush of memories of happier times with friends and family, only to be replaced by the realization that his sealing will never end anytime soon.

Tarantella No. 3 in A Minor
This tarantella shows a shockingly divergent sense of key as it veers into chromatic mediants.

Scherzino in F Major
This cheeky scherzino launches itself into chromatic mediants and takes itself rather lightly.

Etude in A Minor ("Quartal")
This etude helps you practice parallel suspended chords, creating quartal harmony.

Fugue in D Minor
Composed for a contest, this fugue spins off from a D-E-A-F beginning.

Sonata-Allegro in B Flat Major ("Sedate")
Also composed for a contest, this slow sonata-allegro is modelled after Wolfgang Amadeus Mozart's Piano Sonata No. 12 in F Major, K. 332, Mvmt. 2.

Galop No. 1 in B Flat Minor
This minor-key galop has a darker atmosphere than a typical galop and an agitated mood.

Violin Concerto in A Minor (Unfinished)
Movement 1
Still another piece composed for a contest, this violin concerto movement is based on Johann Sebastian Bach's Fugue in A Minor, BWV 865 from the Well-Tempered Clavier.

Prelude in D Major
With arpeggio flurries and huge leaps in both hands, this virtuosic prelude is not for the faint of heart.

Etude in B Flat Major ("Sparkle")
With plentiful rapid arpeggiated chords in the left hand and high notes in the right, this etude hopefully sparkles under your fingers.

Upstairs
This atonal piece keeps ascending and ascending, as if the music is going upstairs.

Prelude in B Flat Major
This cheerful prelude launches itself into an increasingly virtuosic series of variations.

Sonata-Allegro in D Minor ("The Wandering Hero")
With a constantly moving - or wandering - first theme group and an ambitious and heroic second theme group, this sonata-allegro earns its nickname of "The Wandering Hero". Unusually, its exposition's second theme group goes to the Neapolitan - the major key a semitone above the home key.

Polonaise No. 1 in A Major
With its steady, moderate tempo and staccato chords, this polonaise sounds assertive and imperious.

Galop No. 2 in D Sharp Minor
This swift galop provides a true challenge for violinists.

Prelude in D Flat Major
A more placid prelude, this piece thrums along with plentiful 16th-note tremolos.

Funeral March No. 2 in D Minor
With unusual chord progressions and modulations, this funeral march has a striking effect. Its trio provides a quiet and more cheerful contrast.

Miniature Cyclic-Form Piano Sonatina in E Flat Major
Spoiler
Movement 1
This sonata-allegro is soothing in mood and scherzo-without-trio-like in character.

Movement 2
This theme and variations starts quietly and ends with much drama, then a whimper.

Movement 3
A tarantella in all but name, this is a speedy and fiery sonata-rondo.
[close]

Song Without Words No. 3
Like Felix Mendelssohn's Songs Without Words, this is a short, song-like piano piece. Its refrain is varied every time it returns.

Prelude in B Flat Minor
This unusually rigorous prelude is march-like in form and texture.

Lilliputian Waltz
Composed for a contest in https://musescore.com/groups/unlimited-competition-group/discuss/5107098, this waltz attempts to make the best of its glacially slow tempo of quarter note = 5 bpm by being in 3/32 time. ...It's still very slow.

Etude in B Minor ("Off-Beats")
This etude helps you practice syncopation with its melody notes on plentiful off-beats.

Sonata-Allegro in C Minor ("In medias res")
Like some others, this sonata-allegro starts its recapitulation in the middle of its first theme group - hence this piece's nickname, "In medias res". Maybe that nickname helped make this piece sound more Latin.

Ballade No. 2 in G Minor ("Winter Sojourn")
This ballade depicts a quest to the wintry north to recover what has been lost. After a swell of hope and then plunging into hardship, what had been lost is eventually found - but the price to find it may very well be too high.

Forwards On!
This lively march is in the style of Eric Coates's many orchestral marches, including his Dambusters March.

Etude in E Flat Major For the Left Hand ("Courtly Procession")
Evoking a courtly procession, this etude for only the left hand helps you practice wide leaps and chords with that hand.

Scherzo in Miniatura
Made to be less than 3 minutes long, this miniature scherzo and trio compresses a lot of music in that short time.

A Musical Advent Calendar
24 days in December until Christmas, 24 pieces/movements in a variety of styles (actually not just classical), all 24 keys!

Sonata-Allegro in G Major ("Subdominant")
Like some others, this sonata-allegro has its recapitulation start in the subdominant key instead of the home key - hence this piece's nickname, "Subdominant".

Scherzo Intruso
This standalone scherzo and trio incorporates some particularly intrusive notes: a chromatic mediant chord in the scherzo proper and an out-of-place leading tone in the trio.

Sonata-Allegro in C Sharp Minor ("Three Keys to Perdition")
Dubbed "Three Keys to Perdition" partially because of its three-key exposition and partially because of its march to its inescapable doom, this sonata-allegro is less forgiving than most.

Concert Band & Marching Band
Percussive March
An unorthodox march in rondo form, this march is strongly reminiscent of 20th-21st-century concert band music...and ends up near-quoting 2 too many other works, IMO.
Despite being subtitled as a piano transcription, the concert band version of this piece currently does not exist.

Daring March
Another unorthodox--perhaps daring--march, this is in unconventional instrumentation and not-quite-conventional form.

Herald and Sun March
In the style of turn-of-the-20th-century American marches, this march is sure to put a smile on your face!

Circus Screamer
As seen in its subtitle, this march is strongly influenced by Sousa's marches. However, as it is a screamer, it is much faster than most of Sousa's marches.
Despite being subtitled as a piano transcription, the concert band version of this piece currently does not exist.

United We Stand March
Another unorthodox march in ABA'B' form, this march depicts an army that knows that united it must stand, because divided it will otherwise fall.
A concert band version of this piece was composed in Grade 10, but it is of an older version. Beware: that version was probably not arranged for concert band well, which is why I have not published it here.

Ragtime
Improv Rag
The first rag I ever composed (but the second I ever published), this is strongly influenced by Joplin's famous rags. ...Except for the fourth strain, which is strongly influenced by tap dance music and "This Land Is Your Land".

(Mottled) Penny Rag
The second rag I ever composed, this starts off sounding like silent film music but broadens emotionally as it progresses. Eventually, it returns to the first strain, but by then, it is broken and forever changed.

Unseelie Rag
The third rag I ever composed, this evokes images of daring, mischievous, even malicious fairies. Its incredibly fast passagework reveals influences from both Felix Mendelssohn and George Gershwin.

D-Reamy D-Rag
A slow drag, the influences on this rag are less clear than in several of my other rags...except in the third strain, which sounds like tangos and flamenco music.

The Other Ragtime March
What do you get when you cross a rag and a march? This!

Sonata-Rag
What do you get when you cross a rag and a sonata-allegro? This!

Alien Briar Rag
Beware: this rag is full of bizarre, striking, and utterly alien chord progressions.

Simplicity Rag
An easy rag for relative beginners, this is meant to be sight-readable at full speed.

Seelie Rag
Perhaps evoking images of considerate, reasonable fairies, this rag also involves incredibly fast passagework--this time in a highly jazz-like manner.

Alpha Bravo Foxtrot
This swift foxtrot conjures a slightly military atmosphere, and it even attempts to strafe the listener at one point.

Ragtime Evening
A purposeful return to old-style, Scott Joplin-like rags, this piece is a serenade of a rag.

Thopter Foundry Rag
This purposefully mechanical rag rattles along, to the point of parodying more famous rags (such as Scott Joplin's "Maple Leaf Rag").

Jazz
Took 5 to the Wing
The first full jazz piece I ever composed (but nowhere near close to the first I ever made themes for), this is rather like an improvisation on the chord progression that Ridley and Meta Knight's themes share in the style of the Dave Brubeck Quartet's "Take Five".

Relaxing Jazz
This is the result of a challenge to write a non-WIP "relaxing" piece in 31 minutes or less. It uses an unorthodox-for-jazz set-up of electric piano, trumpet, alto saxophone, and especially cello.

A Jazz Sonata-Allegro
Written for a contest, this is a sonata-allegro made entirely of energetic jazz music for jazz trio.

12-Bar, 4-Note Blues
Also written for a contest, this 12-bar-blues-using boogie woogie gets by, even though its left-hand part uses only the notes C, D, F, and G.

Premiere at the Battleship
Yet another jazz piece written for a contest, imagine this energetic jazz combo piece as the first piece played on a battleship opened to the public!

Call to All Dancers
Quick-paced and hard-swinging, this swift jazz solo piano piece is influenced by "Sing, Sing, Sing".

Rock/Metal (Includes Crossovers)
It's Only Us Together
Rock? Pop? Latin? Does this song even care what genre it's in? It struts and sways around exotic harmonies and rollicking rhythms regardless.

Toccata No. 1 in E Minor ("Alla Metal")
Beware: as a classical-metal crossover piece, this is pretty unpleasant-sounding, especially if you're not used to listening to heavy metal.

Regressive Form
The "Regressive Form" in the title is sonata-allegro form, but that's the only thing that's classical about this heavy metal piece.

Drum Solo Time!
This is the result of accepting a challenge to write a non-WIP "original" piece in 10 minutes or less. Premise-wise, think of the drummer of a Dream Theater-like band having a little time to improvise.

Avant-Garde Sonata-Allegro
This sonata-allegro is so avant-garde that its first theme group is atonal (well, because it's for solo drum kit), yet its second theme group is not (blame the glockenspiel). It has the mixed meters, key shifts, and drum kit use of progressive rock, but perhaps not much else.

Torn-Wing Butterfly
This metal ballad howls for lives cruelly cut short.

Seventh Sight-Read Failure
Conceived as a submission for a contest for unreadable sheet music that preferably sounds decent, this is a short heavy metal piece for the piano.

10-Measure Piano Metal
This is an entry for a contest to write a 10-measure-long piece with at least 10 C major chords in it. Turns out that it's another short heavy metal piece for the piano.

Toccata No. 2 in A Minor ("To the Metal Ocean")
This time, this classical-metal crossover piece is crossed over with technical death metal and was composed as a homage to the tech death band Conquering Dystopia's song "Tethys" (thus the nickname of this piece).

Pop
Low-Soaring Flight
Composed for a contest requesting a piece that uses the B-F#-G#m-E chord progression, this instrumental pop song uses both that chord progression and a version of the "Canon" chord progression extensively.

Electronic
5 By 3
Composed for a contest requesting a piece in 15/16 (or 11/8) time, this piece extensively uses both 5 groups of 3 and 3 groups of 5 per measure.

Video Game Music Loops (With Special OST Endings)
Thunder On Boss (Boss Theme)
A generic boss theme for a hypothetical video game that does not (yet) exist, this is sure to fire up all player characters in-game! (Final, bonus, and special semi-final boss themes I compose will convey some of the personality of the boss.) Bars 79-111 (everything after the repeat) are the OST-only ending.
Despite being subtitled as a piano transcription, no other arrangements of this piece currently exist.

Theme of the Light Warrior (Special Boss Theme)
A special boss theme for a fan character I made, this is the first video game theme I ever composed, which is why it sounds like classical music. Bars 45-72 (everything after the repeat) are the OST-only ending.
Despite being subtitled as a piano transcription, no other arrangements of this piece currently exist.

Out and About (Overworld Theme)
A first/Level 1 overworld theme for a hypothetical video game that does not (yet) exist, this march-like theme goes for a grand, orchestral feel. Bars 61-93 (everything after the repeat) are the OST-only ending.
Despite being subtitled as a piano transcription, no other arrangements of this piece currently exist.

Fraught Forest (Special Level Theme)
This is a dark forest level theme for a hypothetical video game that does not yet exist. This forest is supposed to make you feel tense, uneasy, and agitated. Bars 52-63 (everything after the repeat) are the OST-only ending.
Despite being subtitled as a piano transcription, no other arrangements of this piece currently exist.

10 Minutes' Worth of Stressful Racetrack (Racetrack Theme)
This is the result of accepting a challenge to write a non-WIP piece in 10 minutes or less. This is in the style of a racetrack theme from a F-Zero-like video game. ...Yeah, I wasn't able to write any harmonies or a proper OST-only ending in the time provided.

Fight As If They're Monsters (Boss Theme)
Another boss theme for a hypothetical video game that does not (yet) exist, this one may be more appropriate for fighting against people instead of monsters...but now you've got to fight them as if they're actually monsters, don't you? Bars 36-49 (everything after the repeat) are the OST-only ending.
Despite being subtitled as a synth sketch, no other arrangements of this piece currently exist.

Four Can Fight At This (Boss Theme)
Yet another boss theme for a hypothetical video game that does not (yet) exist, this one seems reserved for especially difficult bosses. Quartal harmonies may make this one stand out. Bars 75-95 (everything after the repeat) are the OST-only ending.
Despite being subtitled as a piano transcription, no other arrangements of this piece currently exist.

Summer Field (Special Level Theme)
This is a summer field level theme for a hypothetical video game that does not yet exist. This field is rather peaceful and comes with a lingering sunset. Bars 73-88 (everything after the repeat) are the OST-only ending.
Despite being subtitled as a piano transcription, no other arrangements of this piece currently exist.

Eight-Ton Showdown (Boss Theme)
Still another boss theme for a hypothetical video game that does not (yet) exist, this one seems best suited for recurring, grudge-inducing bosses. Its use of an octatonic scale makes this especially abrasive. Bars 49-57 (everything after the repeat) are the OST-only ending.
Despite being subtitled as a heavy metal band version, no other arrangements of this piece currently exist.

Victory! (Victory Theme)
A victory theme for a hypothetical video game that does not yet exist, this piece aims for majesty. Bars 44-52 (everything after the repeat) are the OST-only ending.
Despite being subtitled as a piano transcription, no other arrangements of this piece currently exist.

Double Harm (Boss Theme)
Yet again, this is another boss theme for a hypothetical video game that does not (yet) exist. Perhaps this one is for a potential ally who's currently a difficult and irritating boss to fight. The constant use of the G# double harmonic major scale ups the stress. Bars 57-65 (everything after the repeat) are the OST-only ending.
Despite being subtitled as a piano transcription, no other arrangements of this piece currently exist.

Dark Chase (Cutscene Chase Theme)
Born as a contest entry for specialized orchestration commissions, this is a cutscene chase theme for a hypothetical video game that does not (yet) exist. As a result, this ends conclusively and is not meant to be looped.

Smash Your Brother (Smash Bros. Fan Main Theme)
In the style of a Super Smash Bros. main theme, this is versatile enough to be both a menu theme and a battle theme. Bars 52-70 (everything after the repeat) are the OST-only ending.
Despite being subtitled as a piano transcription, no other arrangements of this piece currently exist.

Winter Joy (Winter/Snow Level Theme)
This is a winter or snow level theme for a hypothetical video game that does not yet exist. Bars 26-38 (everything after the repeat) are the OST-only ending.
Despite being subtitled as a piano transcription, no other arrangements of this piece currently exist.

Select on Standby (Menu Theme)
This is a menu theme for a hypothetical video game that does not yet exist. Bars 17-24 (everything after the repeat) are the OST-only ending.
Despite being subtitled as a piano transcription, no other arrangements of this piece currently exist.

8-Bit Credits (Credits Theme)
This is the credits theme of a hypothetical 8-bit video game that does not yet exist. This is one of those credits themes that does not loop.

BlackDragonSlayer

#1
June 12, 2016, 12:33:21 AM
Quote from: Dekkadeci on June 11, 2016, 09:45:39 PM(Mottled) Penny Rag
The second rag I ever composed, this starts off sounding like silent film music but broadens emotionally as it progresses. Eventually, it returns to the first strain, but by then, it is broken and forever changed.
Ooooh; that was quite an exciting adventure! I like it!
And the moral of the story: Quit while you're a head.

Fakemon Dex
NSM Sprite Thread
Compositions
Story Thread
The Dread Somber

Dekkadeci

#2
June 18, 2016, 08:32:23 PM Last Edit: June 20, 2016, 10:17:00 PM by Dekkadeci
Here goes...my first published VGM loop! ...For video games that don't exist.

Thunder On Boss is an exciting, aggressive generic boss theme. You can listen to it and view the sheet music here! Downloadable content available in Google Drive upon request.

EDIT: I just released It's Only Us Together here! While I'm uncertain about whether this is actually a rock song, and the melody is pretty much unsingable as-is (I cannot hit the highest note in Bar 77 and can barely hit the highest note in Bar 76, but I can hit all the highest notes in the first several bars, and those go lower than Low C), I find it pretty hard to NOT start sashaying to the song.

EDIT June 20, 2016: Just released Marche-Sonate, and you can view and listen to it here! One of my prime examples of musical humour, it convinces listeners that it's a regular march, then reveals that it's actually a classical sonata-allegro.
Also just released Scherzo Infernale here and the march Out of Strife (Comes Hope) here!

Dekkadeci

#3
June 24, 2016, 12:13:20 AM
I've finally released the first rag I ever composed--the Improv Rag, which you can listen to and view here!

daj

#4
June 24, 2016, 01:45:57 AM
Whoa! Didn't expect to hear what I heard.

Just took a listen to the Thunder on Boss and Improv Rag! It was a just-for-funsies thing, but there's so much substance in those two little works that I'm going to do a proper review!...after this nap. You interrupted my nap plans with good music, haiz.

I will say three things though! ^^

Your harmonies and your structural ideas are very Beethoven-esque. I will definitely elaborate more on that, but I think it's really cool haha.

You play with chromaticism really well. The Thunder on Boss is full of awesome examples. Once again more on this in the full reviews.

Um, the only thing I would criticise is the texture. You love thick chords, and I kinda began writing pieces that way too. But learn a bit of four-part writing, try a few more pieces, and suddenly you might realise that you can't throw in too many notes in an instant, especially if they're close together, and more so if they're lower in the reigster.

But these are creative tracks that deserve listening, so many wows and thanks for the music! Be back soon~

Dekkadeci

#5
June 29, 2016, 10:01:08 PM
Looking forward to your full review, dajwxp!

In the meantime, I've published my Fire and Ice Polka, which you can view and listen to here! IMO, it is not one of my better pieces, though...

Pianist Da Sootopolis

#6
June 29, 2016, 11:33:03 PM
Listening to the Scherzo atm.
Meh... Repetitive, loud and harsh, and without any particular melody... Sorry, but I'm not feeling this one, especially the middle section.
It's only us together is pretty neat.
The Marche-Sonate isn't bad, but IMO it (along with much of your work) suffers from too much texture, which, aside from being unpianistic, ends up sounding muddy by itself (to say nothing of sustain pedal use).
Idk, maybe I'm just incredibly salty rn, lol.

what is shitpost

daj

#7
June 30, 2016, 06:38:21 PM
Quote from: Dekkadeci on June 11, 2016, 09:45:39 PMVideo Game Music Loops (With Special OST Endings)
Thunder On Boss (Boss Theme)
A generic boss theme for a hypothetical video game that does not (yet) exist, this is sure to fire up all player characters in-game! (Final, bonus, and special sub-final boss themes I compose will convey some of the personality of the boss.) Bars 79-111 (everything after the repeat) are the OST-only ending.
Despite being subtitled as a piano transcription, no other arrangements of this piece currently exist.

proper review!~

Dekkadeci - Thunder on Boss
hmm, interesting name.

b. 1 to b. 16 starts the piece off fantastically. You've got the textural contrast, which is awesome - but more importantly, you introduced the theme (I'll call it 'A') right away, you repeated it exactly with more rhythmic soundness and intensity, and it worked. The transition at bb. 16 comes at a pleasant surprise too ^^

b. 17 to b. 20 just works. Hypermeter and metric displacement and all, but to heck with it - it sounds amazing. You've created lots of textural contrasts, killing the stability of the music and making it an extremely effective transition to the main section.

The main section from b. 21 to b. 36 (I'll call it 'B') has a nice and catchy melody and a nice, simple harmonic progression! But it's also here that things start getting muddy - reason being that you use textural contrast for emphasis instead of the more traditional accents...and it kinda works. In an electronic boss theme you can tweak the frequencies a lot and have an insane bass riff in tandem with the bass line. But in a piano part it's a lot less effective. Low notes in the register you chose are...muddy. You don't get the same rhythmic drive if you take them out, but you lose a lot of the mud. Eh, your call here.

Oh, cool harmonies at b. 35 to b. 36 btw! Unstable harmonies make for good transitions ^^

Breakdown at b. 37! I liked it a lot at first. Textural contrast is nice. Buuuut I think you could have left the octaves out and stayed with single notes. Because, you know, mud. It's way too thick down there for a breakdown section, aaaand when you start throwing in triads around b. 39 the break loses its effect.

I'm completely in agreement with your Beethoven harmony at b. 43 to b. 46, but I think the semiquavers...don't really sink in. Not too sure why. Think it kills the tension you were building.

b. 47 to b. 62 bother me a little...because there's not a very strong sense of phrasing/musical progression. I haven't studied the theory enough to describe this well, but I think you give us listeners too many false climaxes. The dominant A major chord carries along some expectations (to resolve to the tonic) to it, and when you don't deliver that time after time in such a short segment of the music, it kinda serves as the ultimate killjoy. It's like denying an orgasm, as an old conductor I once worked with liked to say. The part from b. 59 to b. 62 was a little cringy, hehe. I see the German 6th at b. 62, buuuut you let the music resolve to the VI chord for way too long. It felt weird. Haha.

b. 63 to b. 70 though, are really good. Harmonic instability all the way to the ic - V - i cadence. Good use of chromaticism (Beethoven would be proud), fantastic use of rhythmic variation (the triplets work), and a very smooth return to the A section.

We have a repeat here~

Return to the extension of the A theme, cross the repeat for the second time, and we reach a familiar section at b. 87  to b. 94. This one works really well. Once again, good use of chromaticism - I won't analyse all the chords, but you played with harmonic tension really well. The best surprise came at the end of this phrase - you started out really strong, you never really gave us a resolution until the end, but at the end you cut the tension. It transitions to a "soft" coda nicely.

The ending is...okay. I would have preferred something much bigger, because you never really brought back the thickness of the B section in the coda and the ending sounds smaller than the middle section. I guess it's okay to have a not-so-good ending, because a VGM loop wouldn't really need an ending...but heck.

Overall, great, creative work! Some work on the textural side, check out your phrasing a bit, and you have something pretty nice ^^


Quote from: Pianist Da Sootopolis on June 29, 2016, 11:33:03 PMListening to the Scherzo atm.
Meh... Repetitive, loud and harsh, and without any particular melody... Sorry, but I'm not feeling this one, especially the middle section.

The Marche-Sonate isn't bad, but IMO it (along with much of your work) suffers from too much texture, which, aside from being unpianistic, ends up sounding muddy by itself (to say nothing of sustain pedal use).

Since it's appropriate, I thought I'd just bring in PDS' comment ^^

Yes, absolutely. I took a listen to the Scherzo and the Marche-Sonate, took some comparisons with the Thunder, and I thought, "hmm, mud."

Texture! It's okay to have really thick passages, but you may want to consider a pretty simple move - drop some notes here and there for better contrast. You'll pick up a bunch of skills that help you mold musical texture to your will at some point...but for now, do consider that notion. It's kinda funny, because when I first started writing my composition teacher bashed me (really hard, btw) for too much texture, and I was like, "hah, screw you" buuut after a bunch of self-listenings and whatsoever I decided to cut some notes. He was kinda right. Hng.

...Okay, he was right. Frikkin' hell.

It's a little problem in the Thunder too, though less so because you did make some nice contrasts in between sections. I think the reason why you want large chords - if I may make a quick assumption - is that you want intensity. Texture was a pretty fun way to create intensity when I first started too, hehe. But over time you might realise why it doesn't work, and believe me - there are so many other subtle ways to do it. So yeah, don't mind the bashing for now; we all love you! But do explore a little.

QuoteIdk, maybe I'm just incredibly salty rn, lol.

ahaha aren't we all sometimes

Dekkadeci

#8
July 10, 2016, 10:11:09 PM
In reflection, Thunder on Boss was composed in a metal style, and I was definitely improvising sections and sticking them together. I'm actually not that fond of what dajwxp calls the B section because I think it sounds too much like Bravely Default's "That Person's Name Is".

I published two more pieces today, and they're definitely for different audiences.

The Little March here is a companion piece to the Marche-Sonate and is meant to be the theoretical trio for the older piece's first theme. While using the same tempo, time signature, and tonic, it contrasts in style.

Toccata No. 1 in E Minor here is labelled ("Alla Metal") for a reason--it's a crossover between classical and metal. Unless you're into harsh-sounding metal, I think it'll be one of the most dissonant and unpleasant songs I'll ever compose.

Dekkadeci

#9
July 15, 2016, 10:46:42 PM
I published another video game theme today! This time, it's for a fan character of mine, and you can listen to it and read more about the character here.

Dekkadeci

#10
July 17, 2016, 07:33:16 PM Last Edit: July 24, 2016, 07:05:05 PM by Dekkadeci
I published my first slow drag today--D-Reamy D-Rag, which you can listen to and view here!

EDIT: I guess I may as well mention that I've written a piece for an instrument other than the piano: the trumpet. Beware: as this is an exercise to improve trumpet embouchure, and trumpet players should play it without changing their fingering at all, it basically has only trumpet C's, E's, and G's in it.

Dekkadeci

#11
July 27, 2016, 09:50:47 PM
I'm starting to publish some of my earlier pieces (ones I completed years ago), and one such piece is Bad-Tempered Dances, which you can listen to here. I personally find it slightly repetitive, but your opinion may vary...

Dekkadeci

#12
August 01, 2016, 04:07:28 PM
Another of my earlier pieces (although I revised it today just before publishing it) is my first complete piano sonata, "Piecemeal". You can see all its movements here and read about the movements in the OP.

Dekkadeci

#13
August 03, 2016, 10:02:53 PM Last Edit: August 04, 2016, 07:27:09 PM by Dekkadeci
Yet another earlier piece (I'll publish my more recent pieces soon, I promise) is my Etude in D Minor ("Eil Ton") here. While the piece is filled with arpeggios and chords, it aims to keep listeners' interest by evoking imagery of crashing waves.

EDIT: Here's a more recent piece of mine--Out and About, an overworld theme you can view and listen to here! ...Sigh, the video game for and orchestral version of this piece still don't exist...

Dekkadeci

#14
August 07, 2016, 04:46:32 PM
The earlier piece publishing spree continues with one of my earliest pieces, Bell Carol. Resembling a sped-up rendition of Carol of the Bells, you can view and listen to it here.
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