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This is my latest piece, created based on Hemingway's "The Old Man and the Sea". I write various types of music that may be in demand primarily in the film industry, for soundtracks. If anyone is interested, please write to me. My music is also released on vinyl records. 1.⁠ ⁠Overture 00:00 2.⁠ ⁠The Old Man and the Boy 03:19 3.⁠ ⁠Hope 06:54 4.⁠ ⁠The Fish 10:56 5.⁠ ⁠The Sharks 12:24 6.⁠ ⁠Despair 14:22 7.⁠ ⁠Unbroken, Dreaming of Lions 15:57

Romanza- B major.mp3First time posting here. ive never really shared my music to random people so this is a first. any feedback or thoughts are welcome, though this is a older piece. about the romanza: the underlying harmony isnt anything special, though i feel it allows a more expressive and disconnected melody without overwhelming the listener. the B section is pretty cool if anyone wants to try learn it id be delighted as im nowhere near good enough myself, but i do have to say good luck... this was not composed for playability, and the left hand arpeggios dont have especially consistent patterns. im too lazy to change it. -enjoy the music Romanza- B major.pdf

Thanks for the welcome, Lithl! Glad the Saariaho suggestion hit the mark.

Thank you so much guys for your suggestions - they help me a lot. @Grant Weep, I checked "Echoes of Time and the River" and immediately really loved it. That is what I love—creative, and it sounds interesting. Also, the score is well-crafted and beautiful. Thank you so much - I will definitely dive into his works more. @PitchTempoAndriy, thank you for your suggestions. Your suggestions are exactly what I wanted to hear. I especially love Kaija Saariaho. Thanks a lot, PitchTempoAndriy and welcome to the YC forum :) I want to give you guys the "Gentlefolk badge," but have I given it to members too many times? If it's OK, moderators, could you give them that? These replies in this topic are definitely helpful to me. Thank you as always, moderators :) Best, Lithl.

Hello I’ve really enjoyed this piece. It’s no wonder people have been reluctant to comment – if they’re generally reluctant to do so anyway – when they come across something like this… which is even worse. It begins deceptively, presenting only the stable part, but soon you start to hear dissonances and elements that stray from the foundation. For most people, who are steeped in the harmony of the Baroque period, that’s the turning point where they might think, ‘This bloke’s a terrible composer’. But in other cases, as is the case for me, it’s the point at which my interest is piqued and I want to know where it’s all heading. The trick – or the skill, in this case – is to create a coherent piece, in which those dissonances no longer sound like mistakes but rather an integral and essential part of what is being heard. I believe this has been achieved. I’ll just make one observation, and it’s something you yourself have pointed out. The arpeggio in the left hand is like an ostinato, and it would be good to break it up (apart from the isolated bars) with another pattern. Best regards.

“This is the score for the first movement (the overture). Please note that the strings are not divided into first and second violins, violas, and cellos (that is, in the table they are printed under a single name and given together, because technically I don’t need that at this stage, before a live orchestra performs it). Also, for example, there are two harps because they are recorded on different tracks, so that when I use the faders the sound comes out the way I want. For example, I also haven’t set up the alto clef (viola clef), and so on. And naturally, there is a lot of work to be done in the program to separate out the faders, which I also don’t need at this stage, before there is a live orchestra, and so on. In short, this is practically just the notation score. What’s more... I live in Georgia, and everything I’m writing now, I’m writing with Google Translate, because I practically don’t know English. If Google translated anything in a confusing way, I apologize on its behalf :)” The old man and the sea.pdf

This is a short étude from my third album, "Triptych"

Of course I have one. I work in Studio One with MIDI files, and I can print out the score as well. This evening I'll export an excerpt and drop it in here

I originally wrote the first version of this piece for a Cello Quartet, during a very dark, and sadly extremely depressive time period of my life. I decided to rewrite it into a symphony-style work a few months ago, expanding its one minute original version into a fully developed piece that captured and added a new perspective it hadn't had before. Currently, this symphony version is 7 minutes long from start to finish. I am curious to hear the world's thoughts, especially in regards to transitions, structure, and the arc of the piece. For some very simple context for my goals with structure, it is meant to not be "easy" flowing and clear. It's interpretive and dynamic, each section usually adding a little bit more context to the last time that variation was played. It's meant to symbolize the return of event-specific previous positive and negative emotions, how they shift over time, and that usually no matter what, thoughts of a previous time inevitably come back to remind you of it. However I worry that I emphasize the dynamic type of relationship too much that it could be negative and have an unclear arc perhaps...? Note: I am submitting this to a composition contest in a few weeks, so my goal is to have it fully understandable and clear by then. Edit: The quote weirdly didn't come out on the PDF, but it says, "'So we beat on, boats against the current, borne back ceaselessly into the past.' — F. Scott Fitzgerald" Homage to a Longing Memory.mp3 Homage to a Longing Memory.pdf

There is certainly nothing wrong with making intelligibility of the text your primary concern, and letting that place some restrictions on how you set it. The church actually prescribed that approach at certain times historically when they felt that composers were having great musical fun, but no one could understand the mass. Thinking about an amen for works like this is a great idea!

haha thanks your translator makes a lot of sense and I was always wondering if other people did stuff like this, and yes ,your translator works

Good morning, my dear friends! I’m happy to present to you once again my latest work, Binary Sonata No. 28. It is personally one of my favourite sonatas, and I hope you will enjoy it as much as I do!

Dear Daniel, Thank you so much for your kind words and for taking the time to listen to my sonata. I’m truly glad you enjoyed it! Interestingly, this sonata was completed in just a few hours. It was one of those special moments when inspiration takes the lead and the music seems to find its own way onto the page. If you ever find the time to explore my other Binary Sonatas, I would be absolutely delighted. I would be very happy to hear your thoughts and impressions, as your opinion would mean a great deal to me. Regarding Pianoteq 9, it is actually one of the things that helps inspire me as well. It is incredible to have such a plugin at home — in my opinion, it is the ultimate piano emulator! I have purchased almost all of its available piano models and have spent a great deal of time studying them, particularly the fortepianos, which I absolutely adore. I have also made several recordings using fortepianos, which you are very welcome to listen to on my channel if you ever feel curious. Thank you again for your kindness and support. I’m very happy to welcome you as a new subscriber! Warm regards, Vasilis

Hi Vasilis! It was indeed very pleasant to listen to. I do enjoy a lot these works "alla Scarlatti". The whole work seems to have been crafted with great care, both engraving-wise and musically speaking. It breathes, and does it very well in my humble opinion. I believe I have not listened to other binary sonatas of yours; this is probably, or as far as I remember, my first one, but you got a new subscriber! P.S: Pianoteq9 is great. Kind regards, Daniel–Ø.