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Alright, after months of working, learning, and trying not to procrastinate too much, I'm freaking done with this project. This project took wayy longer than it should but gosh darn it it's hella worth it. It's literally my first time I've done something like this, and I thought it was okay. There were some parts that definitely could've been improved but I'm really proud of the score that I've made. About the scene: Two rival, young, and new deputies on the force, DUSK and BOYD, had found themselves in an one-on-one conversation after BOYD ran off to the top of a hill because DUSK had mocked his behavior of drinking and got sent off duty after the death of his horse, Bandit. The conversation ended in an ambiguous way after they each spoke of their feelings about each other. Credits in the video description. Server from WildRP. I've provided score, just the music, and some context to some of the dialogues as well. Lemme know what you think! -Ferrum

Hi, this is part of my series about orchestration of piano pieces by composers born in what is Ukraine today. Glière, who modified his name to the French taste, was born in Kiev. Oh, if my sadness is a short piano piece. The language is absolutely romantic. Here is my recreation:

I'm composing this piece for a challenge where the challenge is to compose a romantic piece(romantic in the sense of love, not necessarily the era). What I think about when I think about romantic love is a complicated process that starts with sudden desire(pickup in momentum in the cello leading to harmonization in sixths is what I did to try to get that across), a friendly stage with exchanges, a lot like a friendship but deeper(this is what I'm at now in my piece, an exchange of 2 motives between the flute's motive from the first theme and a second motive in the cello, like 2 people exchanging ideas and seemingly a state of agreement(acceleration towards the cadence in both motives)), a state of anger and not wanting to be with the other person, and a final calming realization phase when true love is reached. This fits well with Sonata Form and so my piece is probably going to end up in Sonata Form, just unconsciously, because of the associations with the start of a romantic relationship. And Flute and Cello are 2 of my favorite instruments. I can't say that I have a favorite woodwind though, they are all great, except maybe the Recorder. But the Cello is my favorite string instrument. Yes, I know, the flute motive slowly shifts across the beats of 4/4 in the first 10 bars. That metric shift just kind of naturally arised from me developing the motive into the flute dominant First Theme. I am stuck though at the cadence in the next 8 or 9 bars. It feels like the Cello wants to continue rising in pitch as does the Flute, as well as accelerate even further to the cadence. But I'm not sure what to do. It's mainly the Cello I am concerned about. It's approaching treble register pitch and the treble register is hard, even for an experienced cellist(Eb4 is not that far off from G4, the note at which I would consider possibly putting the cello in Treble Clef). Right away you might be like: to which I would be like: So, what do you think of my piece so far? Any advice regarding the acceleration to the cadence? Are the 32nds in the Cello motive too fast?

Hi there, It has been a while since I have written any music, until recently when I have finally gotten the inspiration and motivation to continue. Here is a fifth piece in a collection of piano pieces that I am working on right now, and this is the first draft. Do let me know what you think of it. The first half was mostly written on the piano, but the second half was mostly written on MuseScore3 and I haven't played it out just yet -- will possibly need some tweaking once I have actually played it out.

Hello Everyone, I have written a short piano piece, Romance today, for a lady I love. Any comments are welcomed! Thank you. HoYin

So, @danishali903 called for solo viola pieces. Here are my 2 cents. I really hope the double-stops in the second piece are not uncomfortable to play :D In fact, all those legatures of the second piece can be ignored and substituted by whatever you think is more idiomatic and executable.

Hey, I am a Chinese, I like to compose music, I studied it by myself, I have never took a composing lesson, I would like those professionals to give me some suggestion--how can I improve my composing skills, thanks!