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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

Profile Information

  • Gender
  • 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

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  1. 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
  2. @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
  3. Maybe a way that we could make it interesting is to add in a suggestion in the 'fears' category that people should try to incorporate compositional techniques that they're 'afraid' of when writing about their fears. That might push people outside their comfort zones
  4. Overall I thought it was really nice and very proficient. I especially liked the second movement.Your writing really shines in slow sections throughout the piece. The sonority of the tuba with those gentle arpeggiated piano chords is (somewhat unexpectedly) really nice. I was a little less captivated by the staccato section in the opening movement, but it was OK. I will say that I thought the main 'riff' of the third movement -- while it was really fun, and I enjoyed the reference to Grieg -- seemed a little disconnected from the rest of the piece in terms of mood (both internally in the movement and with the other movements). As far as form goes, from one listen-through, it sounded like both the first and last movements of the piece had a pretty simple A-B-A form to them, with gentler 'B' sections offsetting more upbeat 'A' sections in both movements. This pattern is repeated in the piece at large, with the two more upbeat movements sandwiching a slower middle section. I think there may have been an opportunity for some further explorations in form -- perhaps adding development sections and / or some unexpected twists and turns could spice things up a bit. All in all, though, I think you've done a great job!
  5. Definitely made me smile 😁 It sounds a bit like if an orchestra were to play the organ music to a merry-go-round. The upbeats are particularly delightful. I'll be interested to see where you take it. Thanks for sharing
  6. Hi, I think there are some nice elements here. I like the minimalist-esque switch-up between triplets and sixteenth notes in the beginning piano riff. The dramatic piano riff after the (kinda crazy) guitar and bass passage is nice too. But, as a whole, it seems kind of frenetic and disconnected. There are a lot of ideas happening in less than two minutes of play time. It's a little hard to judge overall without a musical score -- I think adding a score to your posts will definitely attract more reviews. Just from a practical perspective regarding instrumentation, it seems like there are a lot of instruments that are being used extraneously. I hear a harp, a piano, a string section, a flute, a horn, a human voice, a bass guitar, an electric guitar (?), and drums -- which, if the piece were to be intended for a live performance, would be a lot of musicians to get together to rehearse for a two-minute piece. The flute and the voice specifically seem to be used for only a brief passage. Just some things to consider as you move forward. I also think my comment and Monarcheon's go hand in hand -- if you were to expand this piece into a longer format with more thematic development, you'd also have a chance to spread out that instrumentation and let it breathe, rather than jamming it all into a short amount of time. Just my thoughts -- hope that helps.
  7. Hi! I think you have a good start going here. I especially like your opening passage. Generally speaking, I think your melodies here are tending to be very step-wise and linear in a single 'direction' up or down; some skips and leaps can add interest and excitement, particularly when they're used to change the direction of the melody. As for what to do next, I think it would be good to transition to a new section with a faster tempo to build some excitement. Since we're talking about a concert band, it would be great to hear some percussion get involved -- preferably both pitched and non-pitched. Just some thoughts. Well done so far.
  8. Pretty cool! I like the mix of electronic and orchestral instruments. It sounds like the music from a 'heist'-style film, or maybe a spy movie. The tempo change was a cool moment as well and helped to spice things up.
  9. Certainly there are better-sounding sound libraries than the ones MuseScore is compatible with. I just meant that you can download other options ('soundfonts') that will work inside the program itself, rather than needing to export to a different program. Often a lot of subtleties in the score do not translate from program to program, at least in my experience. It would be great -- scratch that, amazing -- if I could use my orchestral sound library straight through MuseScore, but sadly it's just not possible, forcing me (and probably many others) to do a lot more legwork to get a decent rendering 😫 @aMusicComposer -- I use a program called Reason, which is more often used to create electronic beats, etc. than orchestral music. I've just had it for a long time and I'm too cheap to upgrade! The program came with an orchestral library called 'Orkester', which is OK, but I eventually got the Miroslav library and I'm happy with it.
  10. @jawoodruff I downloaded the Sonatina Symphony Orchestra soundfont, but it wasn't any better than the orchestral VST I have with the music program Reason (Miroslav Philharmonik Orchestra). You might have better luck, though -- and it looks like they've added some new ones since I last gave ut a shot. Let me know how it goes!
  11. I just checked out the website and it looks like things are still the same.. MuseScore 3 still uses things called 'soundfonts' rather than VSTs. They have a list of free ones available for download here. I haven't really found much to like about the soundfonts that are available, so I actually export a MIDI file from MuseScore into another program to use a better sound library.
  12. I was under the impression that MuseScore couldn't use the same sound libraries as Sibelius or Finale.. I could be wrong though! I just updated to version 3 and it seems like lots of things are better..
  13. Very intriguing and exciting. I could see it being used in a film score. It's a little different than the version of 'Silent Night' they play on our local oldies station 😉, but I liked it a lot. Really nice to hear a live recording, too. Thanks
  14. Thank you all for your kind comments! @KJthesleepdeprived @Jean Szulc @Luis Hernández
  15. Wow, awesome of you to arrange this.. I may have something that applies. Would this piece be reasonable? Thanks! EDIT: I'd be thrilled to have an accompanist playing along, but a solo voice would be great too. If she's not able to do it, I totally understand. Thanks!!
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