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Noah Brode

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Noah Brode last won the day on November 22 2019

Noah Brode had the most liked content!

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About Noah Brode

  • Rank
    Advanced Composer
  • Birthday 09/09/1988

Profile Information

  • Gender
    Male
  • Location
    Harrison City, Pennsylvania
  • Occupation
    Market Research
  • My Compositional Styles
    Classical, Romantic, Impressionist, Overwhelmingly Amateur
  • Notation Software/Sequencers
    MuseScore, Reason, Noteflight (when necessary)
  • Instruments Played
    Piano, Classical Guitar

Recent Profile Visitors

4,510 profile views
  1. @Jean Szulc Great, yes, I was thinking of submitting even just a sentence or two.
  2. I think it would be neat to have it done privately, but I'm OK with whatever. How detailed should the topic we send be?
  3. So am I understanding this right if I say @jawoodruff, @Left Unexplained and I are the people composing (as of now) and @Jean Szulc is the one we're sending our ideas to?
  4. Thanks @maestrowick! I think you're right -- a muted trumpet or clarinet might fit in nicely for that. Thanks for the suggestion!
  5. Best orchestrator of all time, imo. I don't know if it's gauche to include a film composer, but John Williams' film scores are always impeccably orchestrated to my ears. Those might be harder to get a hold of, though.
  6. I am self-taught, so I have not had a great deal of instruction on this topic, but the most helpful book I've read on this subject is Nikolai Rimsky-Korsakov's Principles of Orchestration. He uses orchestration excerpts from his own works as examples, so you won't have to peruse through an entire score to understand what he means by a certain passage. The style is Romantic, of course. You could always use it as a companion to the score to Scheherazade (or Capriccio Espanol, which I think is better orchestrated). Hope that helps. Edit: Here is a link to the text. https://imslp.org/wiki/Principles_of_Orchestration_(Rimsky-Korsakov%2C_Nikolay)
  7. I would say to think about what parts of your music you're truly happy with, and think about why. Analyze them and consider what makes them sound different from the composers you mentioned. Then, as Monarcheon suggested, expand on those ideas that are uniquely yours. Explore them from as many angles as possible. And, when possible, use the basic elements that you consider to be uniquely yours to create new material. Of course, nothing's really original. Hardly anything, anyway. But I look at the making of music as one big conversation, and while what you have to say may be similar to what others have already said, the point of view is uniquely yours. Sincerely, Someone Who's Not That Great At Composing
  8. I write mostly schlock; sometimes garbage. I'm not well-trained enough to give this any serious thought, and I don't think it would matter if I did. I would say, though, that the Late Romantic and Impressionist composers have the most influence on me, and that's the kind of music I try to emulate. It's not current, but that's what I like, so it's all good!
  9. Haha, I put in a contrasting B section with dotted-half note pizzicatos in an attempt to make them hate me less
  10. @Monarcheon ah should've mentioned tempo. Allegro, about 130 bpm @aMusicComposer -- Thanks!
  11. Hello. I'm writing a minimalist-inspired piece in which each of the instruments of the string quartet repeats a figure while passing through the harmonic progression. I'm pretty confident in the "playability" of the upper string parts. However, I'm wondering whether 1) it would be possible for an intermediate-level cellist to play this figure in a single stroke, and 2) whether it would be tiring for a cellist to repeat this figure over and over, bar by bar (among different chords) over the course of a 2- to 3-minute piece with minimal / no breaks. Example is in a PNG file, attached. Thanks!
  12. If I'm not mistaken, plagal cadences are used often in choral music. You might find some examples in that literature as well. In fact, I might go so far as saying that any use of plagal cadences has the potential to recall memories of / associations with choral and / or folk music in the audience. When I've used plagal cadences, I've found that the most pleasing way to pull it off (for me) is to have the bass remain in a tonic pedal with the other instruments resolving the rest of the tones from the IV chord (4th and 6th) to the I chord (3rd and 5th). It invokes a "cozy" sort of feeling for me. Just some thoughts
  13. I once composed a piece in a loose somata form format in which the first B section was in the dominant key and the second B section was in the dominant minor key; I thought it sounded really interesting. After some development, I then offset the dominant minor with a brief tonic minor before finally returning to the tonic major. Just something to consider
  14. @Quinn -- Sure, I just meant it as a way to encourage people to work outside whatever compositional paradigm they tend to work in (while word-playing off of the theme of the challenge). I have too little at stake in composition to be 'afraid' of any techniques in a literal sense (since I don't work in any music-related industry), but I do tend to write music that fits neatly inside of certain stylistic boundaries that I'm pretty comfortable with. Since the challenge itself is pretty straightforward, it might be good to encourage people to venture into unknown territory
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