In the keyboard sonatas of Domenico Scarlatti (1685–1757), we find a more daring and idiosyncratic use of tone clusters. In the following passage from the late 1740s, Scarlatti builds the dissonances over several bars: Ralph Kirkpatrick says that these chords "are not clusters in the sense that they are arbitrary blobs of dissonance, nor are they necessarily haphazard fillings up of diatonic intervals or simultaneous soundings of neighboring tones; they are logical expressions of Scarlatti’s harmonic language and organic manifestations of his tonal structure". Frederick Neumann describes Sonata K175 (1750s) as "full of Scarlatti's famous tone clusters". During this era, as well, several French programmatic compositions for the harpsichord or piano represent cannon fire with clusters: works by François Dandrieu ("Les Caractères de la guerre", 1724), Michel Corrette ("La Victoire d'un combat naval, remportée par une frégate contre plusieurs corsaires réunis", 1780), Claude-Bénigne Balbastre ("March des Marseillois", 1793), Pierre Antoine César ("La Battaille de Gemmap, ou la prise de Mons", 1794), Bernard Viguerie ("La Bataille de Maringo, pièce militaire et hitorique", for piano trio, 1800), and Jacques-Marie Beauvarlet-Charpentier ("Battaille d'Austerlitz", 1805).