Lovely, can't wait for the next two parts :)

ever thought of making videogame music?

your works are pretty impressive :3

Hah, there isn't a day when I don't think about it xD. I plan to look into it once I'm out of college. As it stands now I can make cool sounding stuff, but I can't make it playable for live instruments, for the most part. Gotta get me some classes first, but yeah it's always been my dream to compose for video games ^^

you must >:3

Stuff sounds great, it's definitely performable, too! What's the extent of your composition training? Do you perform this or is this a midi playback?

I have no formal training in composition at all, but I start music theory classes in the fall. This is a midi playback, though I've just started sight reading it, so in a while you might just hear a live performance ^^
Also thanks for the watch =D

Any chance you'd be willing to send a copy of the sheet music? I was particularly fond of the third movement.

I have to say, your lack of formal training -does- show... but you've got a definite style. As it has sometimes been said... Education is the quickest way to kill creativity.

Sure I could send you the sheet music. Just give me an email address. I ought to warn you though, the notation is a bit sloppy since I really only made it for my own purposes. That and there's some odd things I had to throw in for the synthesizer to come out right.

The sudden burst of clarity at 1:20 after the atonal descent is brilliant, but it doesn't quite close off. That 6 bar phrase is bery strong for the first 4; but the sixth seems out of place. I appreciate there is supposed to be a sense of it trailing off back into the chromatic and away from the melodic, but it feels more anti-climactic.

The passage at 2:30 seems to come out of nowhere, fresh from a Final Fantasy battle sequence. This made me think that the whole piece was meant to have that fighting feel which doesn't come out untill that point (especially with the drop of tempo before it). I think the fact the right hand is always playing something up to that drop in tempo makes it difficult to distinguish what is 'theme' and what is just flavour.

One specific comment i have regards the melody at 4:12; why do you end the melody on the third beat of the bar? I feel that given the content preceding it suggests it should end on the second beat. While it may be to create a sense of discord and suspense, I think the gentle nature of this section (the high pitch right hand, the ornamentation) suggest we're having something more traditional.

The chromatic shifts at 4:40 are very exciting, especially when echoing the themes from the exposition. One of my greatest difficulties when writing sonata form is making the bridge between the exposition and the development, I think you handle it masterfully here.

6:00 is very dynamic, the sudden introduction is powerful due to rising trills being abrubtly severed between the first and second beats of the bar starting at 5:59 (I think it is the only time you use this device in the whole movement up to that point before using that rhythm repeated on the left hand to give it some vitality).

7:17 is beautiful, following into 7:30 where we hear that wonderfully clear melody transposed (what interval have you gone to there? Sounds wonderful).

Overall the VGM influence is very clear. The hybridisation between classical forms and VGM forms is something I am keen to explore myself. I think the use of dynamics and rhythm is very good, but the melody suffers from almost perpetual action on the right hand. Of course this is just my opinion now, but I think using longer rests between runs and phrases could help to clarify the content, some of it seems cluttered at times - this is characteristic of Baroque keyboard music though, which isn't to my taste, so forgive me if that's what you were emulating.

I look forward to hearing the next two movements.

I think that the problem at 1:20 is not so much the music as the synthesizer. That needs to be played in a very stylized way for it to come out right, and when it is I'm sure it'll be more clear what the intent was. It's not really meant to be climactic, it's actually going down into a softer part for some dynamic relief.

At 2:30 the transition back into the exposition is more or less a repeat of what was at the beginning. If you listen again, that rising run is what lead the piece in at the start. Though admittedly I cannot always hide my video game upbringing, nor would I want to. You may be right in that I don't distinguish the themes and "flavour" so well in the exposition, but that's what the development is for, to develop the themes, so that in the recap you get a final clinching sense of the recurring themes, especially the slow bit sped up at the end.

I'm not sure what you mean about the melody ending on the second beat. It ends on the third in the content proceeding, though I may be misinterpreting what you're referring to.

I'm quite fond myself of how the transition to the development turned out, so thanks.

The section at 6:00 gave the piece new vitality and flavor, that is carried on in the recap. Furthermore you may notice that those rising trills make a return in the third movement. It acts as a subtle reference to that unique part of the development. I do my best to make my pieces such that you gain new insight every time you listen.

I believe (too lazy to check the score) that that's the major 5 chord in second inversion.

And yes, I love the moving baroque keyboard. You should hear Harpsichord Lunacy