Joker, Character Transformation Scene — Hellenic American College | 100/100

Assignment:
Your task is to compose a score that follows Arthur’s internal transformation. Following his first act of violence, he retreats to a public restroom. This is not a scene of panic, but of metamorphosis. The music must represent the “birth” of the Joker persona. You will use a single Motif and evolve it across the scene’s Narrative Structure, ensuring Coherence from start to finish.

Full assignment text is available at https://www.dropbox.com/scl/fi/c21r7vuysc6t15axdjeyf/Assignment-1-MU440.2.pdf?rlkey=x5temfh239yunwyeeruyiey6d&st=28zug8hp&e=1&dl=0

Submission:
After extensive exploration and brainstorming, I chose a simple but effective main theme to represent the Joker’s personality, which combines both melody and sound design. At the very beginning of the film fragment the audience hear classic guitar getting gradually detuning, but not only that. Each string instrument has doubled notes, for example in our case the guitar has F# note on the 4th fret of the D string and the same F# on the 9th fret of the A string.

Full submission text and timeline are available at https://www.dropbox.com/scl/fi/8rcyed3hv4zuv7s3jnxjv/Joker-George-Tretsyakou-Savich.pdf?rlkey=li57ukpnx1wkm7s5b11kk1ab7&st=ycbpt9va&e=1&dl=0

Professor’s overall feedback:
The sound design, although not a mandatory part of this assignment, is of a very high standard. In terms of the musical material, there is a clear sense of structure, and the composer makes effective use of retuning techniques as well as dissonant intervals, which are appropriately connected to the unstable character of the Joker.

Emphasis has been placed not only on how the music enhances the visual atmosphere, but also on the audience’s overall listening experience. There is no sense of randomness in the musical language; instead, the structure of the score is grounded in expressive tools such as polyrhythms, specific chord progressions, and the fluid alternation between tonal and atonal material. The orchestration choices follow and support the narrative elements in a highly engaging manner, with each decision being clearly justified. While the musical result is particularly compelling, even more important is the conscious and deliberate control over every musical parameter.

The commentary accurately captures the composer’s choices in relation to the elements of the plot. The musical material is described in detail throughout every part of the composition, always mapping back to the narrative. The presentation timeline, together with the accompanying descriptions and notes, is particularly valuable and demonstrates both consistency and professionalism.

The Matrix (1999), The Lobby Shootout — Hellenic American College | 100/100

Assignment:
This sequence is a high-kinetic, synchronized combat operation. The music must not only drive the physical energy of the scene but also reflect the digital and calculated nature of the Matrix itself.

Full assignment text is available at https://www.dropbox.com/scl/fi/jhkomjnh3xhiqy2lshbdo/Assignment-2-Action-Percussion-Electronics.pdf?rlkey=0a2vf5ly3dj0ojpm2qz5x85od&st=w03afl3v&e=1&dl=0

Submission:
The lobby shootout fragment is one of the most iconic scenes ever created in film history, so that was extremely challenging to support all its details, such as slow motion, gunfire, fight choreography, scene transitions, character emotions and many others.

As the main instrument I chose the electric guitar, playing catchy and groovy riff in D Phrygian mode. Throughout the scene I changed effects, articulation and slight variations of the riff during the recording session. Another obvious choice was the bass guitar, which supports the electric but at the same time performing an independent chromatic line filled with tension and dissonance at the end of each contrapuntal phrase. While the electric and bass guitars perform closely related parts, the drums create contrast by emphasizing and supporting the action on screen.

To make music more powerful and energetic I used arpeggiators, synthesizers, and atmospheric pads to match the spirit of the film. For all these elements I created my own sound design using various combinations of automation and effects, such as reverb, delay, filters, layering etc.

At the very beginning of the scene the audience hear only pads accompanied by rhythmic synthesizers, creating the feeling that something is about to happen. The main theme begins together with the shooting sequence, and when it ends– all the music stops to reinforce the idea that the main characters do not perceive the situation as a major challenge. They simply walk across the lobby toward to the elevator, as if nothing serious had happen.

Professor’s overall feedback:
Overall, this is a particularly well-executed approach. The musical material is built upon a strong structural foundation and develops gradually throughout the cue.

The energy emerging both from the rhythmic elements and the orchestration choices effectively reinforces the on-screen action and narrative pacing. Strategic moments of silence heighten the suspense, while specific compositional choices, such as the riff in D Phrygian mode, instrument articulations, and the brief pause at 00:02:24:00, are particularly impactful.

From a production perspective, the overall mix and sonic clarity are of an exceptionally high standard.

Zootopia (2016), The “Popsicle” Scene — Hellenic American College | 100/100

Assignment:
The music must support the narrative structure through purely melodic means, avoiding traditional harmonic reinforcement.

Full assignment text is available at https://www.dropbox.com/scl/fi/phmi3b3s7z0987n3eq1rv/Assignment-3-MU440.2.pdf?rlkey=ukjmivaawnxrzqq7lfdsmwwss&st=z63corah&e=1&dl=0

Submission:
For this cartoon fragment, I chose option D – the “Independent Theme and Bass Line” type of melodic stricture. It represents the main dialog of the scene between the first rabbit officer Judy Hopps (flute) and an Elefant (trumpet). Later, when the red fox Nick Wilde joins the conversation, the flute smoothly transitions to the oboe.

The main melody and bass line are based on a chord progression in C Lydian mode in the beginning – C/G/D/D. This harmonic progression repeats twice with slight melodic imitations while maintaining similar rhythmic patterns. The harmony then continues following a circle of fifth progression C/G/D/A, and as the climax approaches – the progression expands further C/G/D/A/E/B/F#/C#/G#. At the end of the scene, when Nick with his “son” are about to leave the store without an ice-cream, the harmony smoothly transitions from G# major to C minor by changing only a single note, G# to G. This serves to supports dramatic climax of the scene. Later, when Judy decides to pay for them – C minor chord gracefully resolves to C major, again changing a single note Eb to E.

The choice of instruments is especially important because of their timber, which is intended to evoke associations to the characters. Throughout the scene, both the melody and bass line include several pauses and transitions to emphasize the most significant lines of dialogue, ensuring that the audience’s attention remains focused. A subtle fade-out concludes to scene and smoothly transitions into the following dialogue between Judy and Nick outside of the store.

Professor’s overall feedback:
For this underscore theme, the orchestration choices and the conceptual use of these instruments are particularly interesting, as they are connected to the characters (Judy Hopps – flute, Elephant – trumpet, Nick Wilde – oboe).

Elements such as the rhythmic pattern, the circle-of-fifths progression, and the harmonic transitions are particularly effective and strongly support the character of this distinctive cartoon scene. The restrained use of music during 00:01:04:08 – 00:02:17:00 is another highly effective compositional choice.

Sigh of Relief

• Social Impact - selected as opening music for a 2026 Athens public event on addiction prevention and recovery, accompanying a reading of K. P. Cavafy’s “Πρόσθεσις.”
  

This composition was written for a theatrical performance in the style of a rock opera, combining dramatic orchestral writing with the energy and intensity of rock music. The arrangement develops alongside the scene, supporting its emotional and narrative progression while maintaining the distinctive character of the genre.

KNUS — Mental Health Support Service

This project was particularly meaningful to me was composing music for KNUS, a UK non-profit organisation providing free and confidential mental-health peer support. The composition was created for use within their telephone support service.
The project required a particularly careful balance: the music needed to feel calming and reassuring without becoming repetitive, distracting, or emotionally overwhelming. It also needed to remain engaging enough to help listeners feel comfortable while waiting to be connected with support.
I was honored to learn that my composition was selected from hundreds of submissions. Knowing that the music would accompany people while they were reaching out for support made this project especially meaningful to me and remains one of the most rewarding commissions I have received.

Medea Preparing a Magical Potion (Greek Mythology)

Inspired by Greek mythology and my experiences in Greece, this composition depicts Medea preparing a magical potion to help Jason obtain the Golden Fleece. I imagined the music as part of a theatrical performance, accompanying a scene change while the actors prepare for the next chapter of the story.
The piece begins with a magical and enchanting atmosphere, gradually building tension and anticipation as the scene develops, before reaching a satisfying and dramatic resolution.

New York Minute (Includes original lyrics, chords, tabs & instructional material)

“New York Minute” combines my experience as a songwriter, music producer, and guitar teacher. I wrote the music and lyrics specifically for a guitar-learning environment, while providing the accompanying chords, tabs, and instructional materials. The song was designed to help students develop practical skills including power chords, fretboard movement, string muting, the relationship between rhythm and lead guitar, and the use of chord tones in melodic playing. My teaching experience helped me approach the composition from both a musical and educational perspective, creating a piece that remains engaging while introducing specific technical and musical concepts.

Wild Nights (Includes chords, tabs & instructional material)

“Wild Nights” was commissioned for an educational guitar-learning platform, with the composition designed for beginner and intermediate students. Based on the poetry of Emily Dickinson, the piece combines a rock-oriented approach with a structured educational purpose, accompanied by chords, tabs, and instructional materials.
The song introduces students to triplets and swing feel, while also incorporating techniques such as chromatic grace notes and rhythmic variation. The outro uses a groove that deliberately avoids the strong beat in every second bar, encouraging students to explore rhythmic displacement and musical phrasing. The project required balancing songwriting and production with the technical abilities of each learning level, while introducing new concepts in an accessible and musically engaging way.

Music for Interactive learning

This project was created for Reading Genius, a U.S.-based learning platform focused on reading speed, comprehension, memory, and concentration. I composed and produced music specifically for an interactive exercise in which visual elements dynamically change speed, color, and movement.
The music was designed to respond to these changing visual patterns through corresponding changes in tempo, arrangement, texture, and melodic development, creating a synchronized audiovisual experience that supports the exercise while maintaining the listener’s engagement and focus.

Integrated Video Demo

This video demonstrates the integration of my original music into a Reading Genius interactive reading exercise. As the visual material changes in speed, color, and movement, the music evolves accordingly through changes in tempo, arrangement, texture, and melodic development. The project was designed as a synchronized audiovisual experience supporting focus and engagement during the exercise.

Adventure

This composition combines orchestral writing with modern electronic production to create an adventurous and engaging musical atmosphere. Written for educational content aimed at children, the arrangement balances cinematic orchestral elements with contemporary sounds while maintaining an accessible and playful character.

Upliftly Resilience App - Be Rising at Work

For Upliftly, a positive-mindfulness platform, I composed and produced music designed specifically for focused work and concentration. Rather than simply creating background music, I considered how rhythm, texture, repetition, and gradual development could maintain an engaging atmosphere while allowing the listener to remain focused on the task at hand.

Meditation Instrumental Music

• Extended-form composition
  

This project involved composing and producing an extended three-hour meditation and worship track designed to create a peaceful and immersive listening environment. The main challenge was sustaining a sense of continuity and subtle musical development over an extended duration while avoiding unnecessary repetition or distraction. The music required careful control development, texture, and dynamics to remain peaceful and consistent while providing enough subtle variation to support extended listening.

Trailer Music

This piece combines orchestral elements with rock instrumentation to create a dynamic and cinematic sound. The arrangement uses layered textures, contrasting sections, and increasing intensity to build anticipation and maintain momentum throughout the piece.