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
    Advanced Member
  • Birthday 09/09/1988

Profile Information

  • Gender
    Male
  • Location
    Harrison City, Pennsylvania
  • Occupation
    Stay-at-Home Dad
  • My Compositional Styles
    Classical, Romantic
  • Notation Software/Sequencers
    MuseScore, Reason
  • Instruments Played
    Classical Guitar

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  1. Hi Adrian -- Thanks for the pointers! I appreciate you taking the time to review everything with such great detail, especially if you're busy. It'll probably take me a few days to go through all the points you've made and fix up the score (again), but there's one question I can answer right now. I marked it as an electric bass because that's what I was used to from my high school marching/concert/jazz bands, so I figured that's what most ensembles had available. We also had a "bass keyboard" in our orchestra pit, doubling all the bass parts. I'd rather have an acoustic bass than the electric one if it's standard!
  2. I was planning on volunteering to be a judge this time around since I haven't done that yet, but I don't think I'm qualified re: orchestration. I'm also on the fence about entering, especially after getting whalloped in the last competition (my ego is still in recovery mode). If the entrants list still looks sparse by the beginning of May, I might give it a go just for the sake of competition.
  3. I agree with the other posters -- this is very beautiful in its use of orchestral colors and Impressionistic chords and modulations. It feels as though this should be one section of a longer symphonic poem. Maybe you could try imagining the morning from a different point of view (traffic, a hectic workday, or whatever you like) to add some contrast before reconciling the two moods. Very well done! I'll be listening again.
  4. I enjoyed it, especially the faster middle section. Fishfry is right; it's very cinematic and epic in style, and I also hear the Eastern vibe FF is talking about. The entry of the bongos/congas was surprising at first, but I liked it, and I was pleased to hear them again in the coda. I thought the cadenza felt a little out of place. It was fine, but it seemed like such a sudden departure from the straightforward, cinematic style of the rest of the piece. I'd love to see the score! PS - I'm also curious about the title. PSS - Nice touch with the video/text.
  5. This is the revised version of my piece "Baron von Munchausen, Or, Munchausen's Narrative of his Marvellous Travels and Campaigns in Russia" for concert band, which I originally submitted for the Winter Competition here. Some changes: I completely replaced the "Wild Boar," "Horse-Taming," and "Journey to the Moon" sections, replacing them with something more thematically tied to the rest of the piece; I added more "connective tissue" between the sections of the story to give it more cohesiveness; finally, I added some instruments and spruced up the score/notes quite a bit. The sound quality may be worse than the original, since this is just the raw MuseScore mp3 export, although some things (like dynamics and accents) will sound clearer. @Adrian Quince, I know you were interested in hearing a revised version -- although I know you've done quite a lot of work reviewing my pieces lately, so no pressure!
  6. Hi Maarten -- Your piece was really enjoyable to listen to! I just wanted to say the chromatic saturation in your exposition was an awesome way to modulate; I really admired that. Well done!
  7. @Monarcheon : Thanks! I'm glad you enjoyed it, especially since I can do absolutely nothing on a piano (but I do start lessons next week!). I see what you mean about the C-flat. There is a B natural in the ascending chromatic line before the descending figure, so I think I can break the pattern and tweak it into a C natural. You're right; left hand chords would be helpful there too. I like this melody, even though it's basically just a modified G major scale exercise... I may add a contrasting section and turn it into a little sonatina once I learn a little more about the piano.
  8. This is my assignment for Monarcheon's masterclass, THEORY 202: Adv. Harmonic Extensions.
  9. @Adrian Quince and @Monarcheon : You guys are awesome. Thank you so much for spending your free time to help me out with this; I really do appreciate it. After years of dabbling at computer screens, I feel like maybe, just maybe, I will have a chance to have this piece performed by a respectable orchestra someday. If that were to happen, it'd likely be because you took the time to help me eliminate weak points, strengthen the material, and polish things up. And even if that never happens, your help is still very meaningful to me. Thank you to both of you. I am working on your revisions as I type this out. :) @KJthesleepdeprived : Thank you! It's nice to get a slap on the back sometimes. I think I know how you feel about length -- I've always been self-conscious about how long my pieces are. It's almost as if there's a voice in the back of my mind saying, 'Why would anyone want to listen to your music for this long?' Full disclosure: I started working on this piece in the fall of 2015, just about a year and a half ago. Granted, only the second movement (of the current piece) survived my endless self-editing, and even that one ended up unrecognizable, but I do feel like I learned a lot just by chipping away at it day after day. And of course, the comments above prove that I have much, much more to learn, lol.
  10. Thanks, Adrian! Your compliments are much appreciated. I took your advice on the score, and it definitely looks a lot better now (updated version above). The only advice I didn't pursue yet was looking for E#, B# and any double-sharps -- I think I'm going to need a long break from this piece before I dive into that. Thanks again for taking the time to listen and go through the score!
  11. 07. Mrs. Fieldmouse, Mr. Mole.mp3 This suite of ten short movements tells the story of Hans Christian Andersen's classic fairy tale "Thumbelina," written in my best attempt at the Romantic idiom. For those not familiar with the story, find the full text here or a synopsis here. This piece is the culmination of many, many hours of work for me, and I consider it my best work thus far. It lasts about 25 minutes total. Any feedback would be especially appreciated. Thanks for listening!
  12. Hey, thank you very much. I'd really appreciate your continuing help if you're able to give it. You know your stuff. The piece definitely needs some work, so hopefully I can submit a revised version in a few weeks taking into account the judges' (spot-on) critiques. I'd be happy to tag you if you're still interested in helping me along. Also, I was remiss earlier in not thanking @Monarcheon and @danishali903 for their good work in organizing and judging. Thanks!
  13. Congratulations to all the other entrants, especially Adrian Quince, whose work was quite deserving of the win.
  14. I listened to this yesterday and got a kick out of it. It sounds like something I would've enjoyed playing in band. However, my duties as a former auxiliary percussion section leader require me to chastise you for not including mallet instruments. I think a xylophone and/or marimba would've fit right in with the pirate-y feel of the piece.
  15. Hey, I enjoyed both the story and the music. My favorite sections were the darker ones, "lento misterioso" and "allegro malinconico." I particularly liked the descending chromatic line in the fox's section that becomes harmonized with itself in sixths and sevenths, reappearing later on with the fox's retreat. Some of the writing in your darker sections, particularly the "allegro furioso," reminded me of Philip Glass' score to accompany the old silent film Dracula -- lots of repeating, ostinato-esque motifs exuding a sinister mood. (It's good; check it out if you haven't already.) I'm not really sure why the "allegro furioso" section is written in 12/8 when you used dotted notes almost the whole time. Couldn't you have used 4/4 in a slower tempo, then just used triplets/sextuplets for the falling motif at the end? Also, I would've loved a more subtle, sneaky and mysterious theme for the fox played in a quick pizzicato; from both the music and the story, it seems he's more angry (like the stereotypical wolf character in folklore) than clever and sneaky (like the archetypal fox character). Well done!