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Noah Brode

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Noah Brode last won the day on April 6

Noah Brode had the most liked content!

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About Noah Brode

  • Rank
    Intermediate Composer
  • Birthday 09/09/1988

Profile Information

  • Gender
  • Location
    Harrison City, Pennsylvania
  • Occupation
    Stay-at-Home Dad, Radio Host
  • My Compositional Styles
    Classical, Romantic, Impressionist
  • Notation Software/Sequencers
    MuseScore, Reason, Noteflight (when necessary)
  • Instruments Played
    Piano, Classical Guitar

Recent Profile Visitors

1,522 profile views

    As a reporter and journalism major, I'd be very interested in contributing and/or editing (and also reading). What would the articles be about? Technique? Music history? Anything music-related? Also, would the magazine be published for the world outside of YC?
  2. The Dying Ode of Ragnar Lothbrok

    Thanks, @markstyles -- that's a really interesting story about Bernstein. From the videos of his I've seen, he seems really likeable. Not knowing any musicians is one of my main problems... I need to find some way to connect with local musicians. Using these computerized sounds is going to drive me crazy eventually.
  3. How to notate this?

    I'm not really sure I understand the problem completely, but I'll give this riddle a shot. What I see is a half-note pentuplet figure with the fifth pentuplet tied to the first two beats of a following half-note triplet. In the next measure, you could potentially just change it to a half-note sextuplet figure, with the final two sextuplets tied to the first two beats of the following half nite triplet. The half-note sextuplets would be equivalent to quarter-note triplets, and I think they'd also be more consistent with both the time signature and the style of the preceding measure. I hope I understood the issue correctly!
  4. The Dying Ode of Ragnar Lothbrok

    @Alamo Thanks for the compliments! It looks like I should read up more on the mechanics of singing -- I'm new to the vocal genre. I have mainly been treating the voice as an 'instrument with lyrics,' but, judging by your comments, it seems much more complicated than that. Yeah, some of the topmost notes in those piano runs are non-chord tones thrown on top for some added flair. I thought it sounded almost Impressionistic; it was meant to give a nice contrast to the straightforward CPE style of the 'march' section.
  5. Selling music online

    Hi Maarten, I haven't used this website personally, but I've heard it's free to post your music on Sheet Music Plus (https://smppress.sheetmusicplus.com/). I think the maximum you can earn is 45% of the sale price, judging by their website. You could also bypass a publisher altogether. You could sell music using PayPal on your own free website (wix.com allows free web hosting), and then print and mail each piece yourself when an order comes in. The trouble with this is that not as many people would be able to find your music. Either way, it's great that your music is in demand. Congrats!
  6. Fantasy on "The Little Mermaid"

    I already feel a little more comfortable writing for piano since I started lessons, but I do tend to write things I'd have no hope of playing myself. :/ Very interesting about the name! I'm sure the International Secret Society of Noahs will grant you emeritus status.
  7. Fantasy on "The Little Mermaid"

    I listened to it last night and have been meaning to share my thoughts ... I absolutely loved the sweeping main theme in the Romantic idiom, and I thought the final statement in major turned out very well. I also really enjoyed the introductory part, which set the mood very well. Each passage was very well done in its own way, although I felt there could have been a bit more connectivity between them -- it sounded almost episodic due to the sudden stylistic changes. All in all, a very enjoyable work; it makes me want to attempt to write something for piano and orchestra. If you're interested to hear how another composer tackled The Little Mermaid, I'd recommend the score to the Studio Ghibli film "Ponyo." It's very charming and magical. One last thing -- is your name Noah, as it is at the top of the score? I feel like I should've caught that, if so.
  8. I don't think it's a matter of them "not getting it," which seems to imply that they wouldn't understand jazz-funk if they lived in modern times. All of the composers listed were generally writing on commission for specific audiences, as someone mentioned before. If the audience/patron didn't approve, they wouldn't get paid, and they'd descend into poverty and debt. Their livelihood depended on them writing artistic, expressive music that either fit within the expectations of their audiences or pushed (gently) against the borders. Another phrase to consider is "standing on the shoulders of giants" --- later composers, including those who developed jazz and funk, were able to do so with the benefit of centuries' worth of musical knowledge built brick-by-brick by those who came before. So not only did audience tastes change to allow for the profitable publication of jazz-funk, but artistic expression became more and more refined (and fragmented) as composers progressively exhausted the possibilities of their historical genres, freeing up each subsequent generation to explore in other directions.
  9. harmonize melody

    I think that would be something that'd be easier to figure out by looking at the bass and the overall harmony, or even just listening to whether the 'character' of the mode sounds major or minor. However, in Classical harmony, if the melody has moved from a major scale to its relative melodic minor scale, you'd probably be able to tell by looking at the melody alone from the addition of a new leading tone that leads into the new minor root note. So, if you were in C major and you started seeing lots of G-sharps (and F-sharps) in the melody, they may be there because you've switched to the relative melodic minor of A. I think the best way to tell if you've moved to the relative minor would be to determine whether there was a perfect cadence ("V --> i") into the minor key. In our C major / A minor example, this would mean an E major chord (E-G#-B) leading into the new "i" chord, A (A-C-E). In my experience, Classical composers tend to shift between the two pretty freely. It's fairly easy to get into the minor mode by a perfect cadence and use another perfect cadence to return to the major key. You could have something like this: I - IV - I'6/5 - V - I - IV - V - III - vi (Here we switch to the minor key: 'vi' becomes 'i.') i - iv - i'6/5 - V - i - V - i - V/III - III (Just as before, this is where 'III' would become 'I' again.) [ At the end, the term V/III just refers to 'the fifth of III' in your minor key. In the C major / A minor example, going from V/III to III in the key of A minor is simply G major to C major. ]

    Great competition idea! Mark me down as an entrant. However, I wouldn't be opposed to judging if you wind up having a need for judges at the deadline.
  11. melodic minor scales or chords

    Ah yeah, I forgot about the difference when descending! Good catch, @Monarcheon.
  12. melodic minor scales or chords

    Sorry I'm so long-winded!
  13. melodic minor scales or chords

    You're right; the only difference from the C melodic minor scale to the C major scale is the minor third, E-flat, instead of the major third, E-natural. I think it's best to do this by learning the reason why the C melodic minor scale is the way it is: C-D-Eb-F-G-A(natural)-B(natural)-C. The reasoning behind the melodic minor scale is the desire to use the leading tone, B-natural, rather than the B-flat you'd find in the C natural minor scale. The leading tone makes cadences sound much stronger. So the B-flat moves up a half-step and becomes a B. At this point you have C-D-Eb-F-G-Ab-B(natural)-C, which is known as the harmonic minor scale. It's used for the inner voices providing the harmony, hence the name. The A-flat is useful for harmonizing in lots of subdominant chords. But with the melody, the A-flat raises another issue: it's frowned upon to use the interval of an augmented second (three-half steps) in a melody. In the C harmonic minor scale, that would be A-flat to B-natural. Therefore, in the melodic voice, it's much smoother to simply raise that A-flat to an A-natural. This allows for easy upward stepwise movement in the melody: G-A-B-C provides much more "punch" than G-Ab-Bb-C, although you can find the second one all over today's popular music. It also avoids the awkward skip of A-flat to B-natural. So usually, you'd use the melodic minor scale for the melody and the harmonic minor scale for the backing chords. You'd just need to remember not to have any clashing tones of A-natural in the melody vs. A-flat in the harmony when you decide to use it. Obviously, this works the same way with all melodic minor scales, not just C!
  14. Café Suite No. 3

    Really nice. I love the second movement. Something about the backing chords in the accordion with the melody in the piano, all in the minor mode, just creates a wonderful vibe, like a rainy day. Also, great accordion writing in the third movement. I think your more classical background shined through in that movement -- not only with the polyphony and counterpoint, but I thought the more straightforward structure was almost like the traditionally 'square' final movement of a concerto.
  15. Competition Poll

    I suppose the poll will tell the tale better than I can, but my guess is that most people would rather create original works than arrange another person's music, which drove down interest this time. That was certainly a secondary factor for me, although I was more just trying to avoid getting licked twice in a row after finishing last in the prior competition. On another note, I hereby make myself available as either a judge or a participant in the next competition --- whatever is needed most.