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Ive Created a few Russian Vodka's before, but never a Russian Waltz Quite Intoxicating, I forgot to add the Choral-Choirs. https://www.youtube.com/watch?v=vauo4o-ExoY&list=RDvauo4o-ExoY  

Depending on the type of boss or fight sequence, there are many approaches. Regardless of the fighting scale, I think you already have plenty of knowledge to make this closer to the epics we love in video game soundtracks. 1. Percussion! If you were to add a driving pulse with a bass drum, timpani, or taiko drum, it would add a sense of pulse and "epicness" behind the music. It can match or "dance" with the rhythm the guitar is doing. 2. Add BASS! You have a pulsing gesture that is driving forward, but giving us some bass guitar or keyboard would help warm everything up. Up to you if the bass sustains or is separated like the melody. Thinking as a composer, you can be strategic by design. If the "melody" is fast, driving and energetic, then maybe pair the accompaniment as long sustains or longer pulses versus the same quick notes in the 8-bit. Maybe alternate the melody to be long note sustains and have the percussion and bass be driving instead. It will help give direction in the fight. 

[INFO DUMP] Hello! It's been a few days, but I feel I also want to put my two cents. I am a professional Pianist and have been for a few years going so far as getting my Masters Degree, and hopefully soon a doctorate in this field. I can understand Peter's approach with a few caveats in my opinion. I want to share my views as a pianist versus a composer: When I read the title "Sonatine," I immediately think of the Ravel's piece of the same title. I have yet to do an harmonic and structural analysis of your work, and on the first listen, it is very much classical in style versus the impressionistic tone of Ravel. Simply an observation on this point. In terms of playing, what will stop anybody from playing this is the raw notation. It is my opinion that some decisions with the music came purely for playback purposes versus how it should be notated. After playing... probably at least 300+ pieces in my life (i've lost count...), you find there are standard notations for tremolos, trills, runs, embellishing passages, etc.  MVT 1: Measure (mm) 25: What is the left hand? I am confused if it is meant to be a triplet or quarter note on 1 with two eighth notes. However, that doesn't fit the beats in the bar... Same at mm. 34. mm.45, why are the trills suddenly tiny? Are they meant to be played exactly, or are they only a suggestion? mm.64 is a little weird in the right hand with such quick thumb hops. It would be better to alternate constantly than hitting the thumb twice. It's asking for tension. mm.125, the left hand is still confusing and a little more so than before. MVT 2: Pianist's do not always need pedal markings to know when to pedal. Since you notated the pedal for the same rate, you can write it for the first few bars and at.. bar 5 for example, write "Ped. Simile". This tells us that you want the pedal to be the same the entire time. It also de-clutters the score and makes it easy on our eyes. To the clutter point, there are too many systems on one page sometimes. It makes it overwhelming for our eyes. You can shorten the systems to 4 measures as a way to help or limit the mvt to 5 staves per page. It will make it really nice to see on the page.  mm.11 is confusing in this movement as the left hand notation is broken and feels misplaced. MVT 3: mm.59... we... can't do piano-fortes on a single note... A piano cannot crescendo on a single note once it's been struck. So.. is it piano, or forte? mm.74, I think it is better to write it as a 6-tuplet versus two triplets. Same at mm.90 mm.98-129. Be careful here, you keep the rhythmic pattern the same, but the interval sizes change all the time. This means the hand is constantly changing size and expanding and contracting. It will make it hard to play well, fast and consistent. It would be more comfortable if you kept the same intervals for longer.  mm.146 onward: please just use the regular arpeggio sign. The one with the arrow is redundant and just means the same thing. It is uncommon notation for standard piano repertoire.  mm.234: most likely, it will be played a little slower for clarity when done live.  mm.386, yeah.... unlikely to be played that fast. Even with normal arpeggio fingerings, It will be played slower. mm.396-397 will be played as a glissando. Better to write that in too for clarity.  Overall, it is very difficult and more importantly very uncomfortable for the hands. Specifically, you start the movements in a fine capacity, yet, it gets really hard to play near the ends of MVT 1 & 3. Please do not let this comment discourage you and I only wish to shed light into how a pianist would tackle this. It has potential to be programmed into a recital, and if you were to sit down and work out the kinks, I think the product will be swell.

Nice and comforting!  What piano sound? Also there are musical markings to indicate playing 'freely' such as rubato and expressivo, etc  

I've listened to it now at least 3 or 4 times because I like it a lot!  I like the dynamic 'pause and go' flow throughout and full use of piano range.  While it sounds difficult I would think any decent pianist could play it.  Nice piano sound. What piano sound was it made with?