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Noah Brode

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Noah Brode last won the day on September 15 2016

Noah Brode had the most liked content!

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About Noah Brode

  • Rank
    Advanced Member
  • Birthday 09/09/1988

Profile Information

  • Gender
  • 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. 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.
  2. 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!
  3. Just a quick note that I have revised the score to my submission thanks to the extended deadline, but have made no changes to the audio file. Thanks!
  4. What day/time this weekend? Sunday at midnight?
  5. Hi @Adrian Quince -- Thanks for such good advice! Your comments will be a big help to me when I do a revision on this piece. It seems there are lots of stylistic differences between wind band and orchestra (plus other things I was just plain ignorant of). Would a soprano sax part be preferable for those higher passages? Also, I'd meant for that 'x' snare part to be played on the rim alone for a kind of clicking sound. I guess I should notate that, haha.
  6. Bkho - Thanks for the compliments! The Munchausen stories are so vivid and fun, it seemed like a shame that there weren't any musical interpretations of them (that I know of). To be honest, I had to kind of rush out the production of the 'boar' and 'horse' sections, because I knew I wouldn't have time to finish them before the deadline if I didn't complete them by this weekend. They're probably my least favorite parts too. Seni-G - Thanks! That's an especially nice compliment, since I've always thought of orchestration as one of my big weaknesses. I did kind of fall in love with the saxophones as I was writing this. Rimsky-Korsakov is one of my all-time favorites, so Sheherezade may have shined through unknowingly!
  7. Guess I'm the first:
  8. BRODE - Baron von Munchausen - Program Notes.pdf BRODE - Baron von Munchausen, Or, Munchausen's Narrative of His Marvellous Travels and Campaigns in Russia.mp3 BRODE - Baron von Munchausen - Revised Score.pdf Here's my submission for the Winter Competition. It's a playful take on the German tall tales of Baron von Munchausen, written for concert band. It's my first serious attempt at writing for this ensemble. Any feedback is always welcome. Enjoy! EDIT: A revised score has been added; many thanks to Adrian Quince for the pointers.
  9. Well done! I really like the Eastern European feel. I agree with Monarcheon in that the end sounded a bit inconclusive, but that added to the sense of mystery in some ways. The scale itself appears to be equivalent to a mode of the harmonic minor scale beginning on the fourth, which may be the source of the inconclusiveness of what should be the tonic note. I've thought about using Eastern European scales and rhythms in my own works, but haven't gotten around to it. There are some strange time signatures in some of the traditional dances. I believe the 'bucimis' dance is sometimes played in 15/16, with a sixteenth note omitted in the third beat of the measure! Again, good work!
  10. I love this concept! I'm in as an entrant. Not that I think it would necessarily help me win or even come close, but would it be unethical to use something programmatic that I've already been working on for a while? I would love to share it because I think it's higher-quality than some of my other competition submissions, which are generally hastily assembled, but I recognize that others who have no such programmatic piece in the works would be put at a competitive disadvantage.
  11. Thanks! That's high praise. I am a bit fuzzy on whether to use an augmented second or a minor third sometimes.. I have usually been spelling it as a minor third resolving into a major third, but I'm guessing that's wrong and it should be an augmented second resolving to the major third. Thanks again for listening! It's great to get feedback.
  12. This is my second attempt at a divertimento in the classical style. It's meant to be a light and enjoyable work for a small string ensemble (I tried to make it possible for either a quartet or a larger section). I'm primarily doing these divertimentos as exercises in improving my four-part writing. One of the unifying factors between the movements is a consistent emphasis on weak beats throughout the piece, although I may have gotten a bit carried away with this aspect. I also sneaked a few bVII chords in to a couple of the movements. Let me know what you think! Thanks for listening.
  13. That would be extremely helpful! I for one really hope you can find the time to do it. Did you mean violin and viola?
  14. Congrats to everyone! Well done, all. I personally thought every one of the entries turned out well, and I completely agree that the three winners deserved the highest scores. Bravo. Here's to the next one. In the meantime, it seems I need an in-depth tutorial on how to write for string instruments... EDIT: And a huge thank-you to the judges for their hard work; I am already beginning to obsessively read over the comments to the point of absurdity
  15. Thanks, everyone, for your comments. It's so great to be able to be back on this site regularly and get such good feedback! I think one of my major problems when trying to compose in sonata form is thinking up an engaging development section that doesn't sound too random and crazy (starting at Rehearsal G here). There's not really a lot about this subject available online. I also agree with Danish in that the current coda is a bit out of the blue, sounding more like contemporary film music than the period music I'd been trying to create. I'll try to sharpen my thematic development skills and put out a revised version soon. Thanks again all.