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Thank you! I’m not quite sure that there is all the pdf of my compositions, but if they are not there, just let me know and I will add them!

Your piano writing is very appealing to me and it's frankly above my modest skill level as a pianist. Which is perfect because I can knock out two birds with one stone: Practice to improve sightreading and learn some fun music by a composer who isn't six feet under! I'm going to just binge through your playlist on YouTube and nab all your pdfs, ok? Ok. Nice work, keep it up!

Hi, Bryan! This is quite an enchanting opening movement to a fine Classical-style piano sonata. I really enjoyed the crisp melodies and unobtrusive harmonies! My detailed comments are below. The title, "Allegro con brio," is misleading, in my opinion. The "con brio" implies great fury and fervor, and while your piece is full of emotion, I wouldn't go so far as to call it furiously passionate. Perhaps a tempo marking of "Allegro molto" or "Allegro vivo" would be more fitting. A beginning dynamic of "mp" is considered unconvincing. Consider changing it to "p" or "f" instead. (The dynamics "mp" and "mf" are supposed to be used as transitional dynamics.) 1-11 are delicate and very enjoyable to listen to. I particularly like the differing articulations in the right and left hands; gives it some spice! The upper mordent in 4 (and elsewhere) seems somewhat awkward. It might serve you better to write it out as a triplet, as I'm not quite sure which direction the alternation needs to be in. Is it B-A-C? Is it B-C-C? Is it B-A-B-C? At the end of 9, the incidental treble clef in the bass would look better positioned after the D in the following bar. At 16, the sudden lift to A7 is very rewarding! 18, the octave C sitting atop the E7/G# is beautifully dissonant and transitions magnificently to the next Am chord. Loved the playful progressions in 21-23! The transition to the subdominant (Dm) at 24 is quite skillful. Well done! 25-41: this is my favorite section of the piece! I love the interplay between the hands, the colorful chord progressions, the chromatics, the quick "day trip" to Eb major and then ending the phrase in D minor. 42: starting the next exposition in the relative major, and on the shared note (A) between d minor and F major, is very tastefully done! I enjoyed the transpositions of previous themes from 42-56. Lots of great movement from 61-67! And those chords in 67... absolutely breathtaking! The beautiful fugato from 69-102 is musically very satisfying! You are right about the playability of it, though. 88-91 will need to be reconfigured somehow so that there's not more than an octave between any one voice. 103-106: loved the interplay between the hands! 108-114: I feel like you linger on the same dim7 chord for too long. I would suggest either truncating this section or giving it some more variation. The leading 7th at 118 and back to the original theme feels too un-nuanced. Perhaps you could incorporate something with more movement to lead back into it. The coda (137-146) is nice and fast. Again, I love the switching back and forth between the hands. However, the end came very suddenly and, in my opinion, disappointingly. I woudl suggest either getting rid of the 16ths in the bass or give the right hand some movement to match. Overall, a very enjoyable piece of work. I've definitely got those melodies stuck in my head now! 😉

I do think the left hand gets a bit repetitive, yes. I mean, the exposition, development, recapitulation, and coda, all have that staccato motive in the left hand. Also, I listened through your first movement and looked especially at the fugato. And the fugato, as it stands right now, I couldn't play it if I tried. There are a lot of 10ths in there, in both hands. If a 10th is between a right hand note and a left hand note, I can play it. But if they are in the same hand, I have to adjust it, maybe if I can, change which hands play which notes, otherwise, I tend to omit the top note of the tenth, especially in a chord and shrink it down to an octave so that I can play it with 1 hand(a great example of where I do this is in the F minor chords of the Liszt transcription of Beethoven's fifth First Movement, I get F, C, Ab in the span of a tenth in the sheet music, in practice, I play F, C, F in the span of an octave so that I still get that F minor feel without straining my hands, possibly with an Ab below the C if I desire) Somebody with Liszt size hands that can easily reach 10ths or 12ths would be able to play your fugato as written. I on the other hand, can barely reach a 9th on the piano(and even when I have to, it is a bit uncomfortable), and for some notes it is worse than others(For example, Bb, I would be lucky to reach a B natural from that note, whereas C, I can reach D from relatively easily). My maximum comfortable interval and the interval that I try to stay within in a piano arrangement or composition is an octave. I can definitely hear the Mozart inspiration in your sonata, but it doesn't sound 100% Mozart. I can hear your own style in there too.

This guy's great. He sounds like a discount politician. I'm really excited that he has recognized my inherent talent and POTENTIAL to help him out! I mean, this guy's nothing short of a goddamn visionary! He also knows we are GREAT! And above all else? He's appreciative too! Man, what more could you possibly want!!??

This is nice and energetic. I love the use of very obvious slash chords with a powerful emphasis on the bass, especially under some sort of modulatory or non-triadic arpeggio.

All of this is playable, so don’t worry on that front. As for the key changes, I dunno whether they’re lydian, mxyolydian, or, uh, pseudomeridian 😜🤯 but to me, it just sounds like A Major and later F# Minor. There’s some nice writing and nice harmonic touches here and there — nice. However, there’s an awful lot of open 5ths that just sound hollow and awkward. Mss. 1, 3, and 5, for example. Also, mss. 9-16, the L.H. bass chords are kind of leaping all over the place. I think it would greatly benefit you to learn about voice leading, and see how various composers choose to do so. I think the best part of the piece here is the trio section. It has fun scales in both the left and right hand. Thanks for sharing with us 🙂

Hello everyone, I am back, this is my new piece of music, hope you like it, and welcome your commentation.