That’s tough. That’s very tough. See, it all works in layers. I slowly get better at this over time, but there are certain markers that I consider to be really great for a while until I reach the next one, and those are usually my favorites.

Want You Gone would have to be the first major one for me. It’s a simpler piece with a slightly off tempo, but it wound up being elegant, as opposed to Still Alive which, I think, turned out too crowded. That’s a big pet peeve of mine; I hate when music becomes so busy it winds up congested.

I think the next one was Lower Brinstar, and considering it has 200 listens, I’m evidently not the only one that liked it. It was my first time with an interesting experiment I’ve done a few times now. Play the first time with one sheet, then a second cycle with adjustments, either based on how the track sounds, my own preference, or a second sheet. I believe I stopped doing that after Mystic Cave Zone. I realized that, rather than ending on a high-note, I was putting ponies off with a less-than-stellar opening. I think the reason Mystic Cave doesn’t have as many listens is because ponies didn’t like the first half and didn’t make it to the second, which itself is only decent.

I’ll always like Wolfduck and Moon Theme. Not that either of them were jaw-dropping performances, I just really liked the originals, they were a pleasure to work on, and I felt did the source material justice.

I had a lot of hopes for a lot of tracks after that, and that’s not to say I don’t like them, but I felt like I was mostly stuck in the same bracket. Like I’d plateaued. Then, Metal Harbor. The sheet music turned out to be so crap halfway through and I was so depressed. But I sat down and, over the course of several hours, listened to the track over and over again and composed the missing half of the piece by ear by myself. I feel that was my first major accomplishment. Not that it’s perfect, but thus far I’d never been able to do that. I was entirely at the mercy of the sheet and that was the first time I broke away.

I really like how both of the Maridias came out. I felt they kept their original mood, which is vital for ambionic pieces like the pair. In fact, those two would be the inspiration for doing Lavender Town, easily one of the best tracks I’ve ever recorded, and the first time I heavily relied on Audacity to manipulate the sound of a piece, to give it that eerie warble effect.

Another stretch with a lot of things I wish turned out better than they did, then bam! Scary Monsters and Nice Sprites, which freaking exploded! After such a long stretch of mediocre receptions, and to an unedited, solo lyre piece no less! I was blown away!

After that is recent times, Tal Tal Mountain and Serenade of Water; easily the best work I’ve uploaded to this page. To be honest, not sure how they weren’t received better than they were. Not only some of my best work, but some great help from others as well. Tal Tal is just perfect; exactly what I envisioned. And Serenade is my first foray into incorporating a synthesized instrument into a track, and I think it came out perfectly as well, better than I could ever have hoped.

I like pretty much every track I’ve ever uploaded, to a degree, but those go beyond just sounding good. They’re special to me. A sign that I really have grown as a performer. Lot of room to grow still, but it feels good to know that I can sit down and play this if I feel like it. More so that somepony, somewhere, might be listening to it as well.