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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
    Male
  • 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

1,717 profile views
  1. Mondaufgang am Meer

    @Monarcheon - True, your time constraints are pretty challenging. Judging by how quickly you produced that waltz, though, I bet you could pull it off. @Maarten Bauer - Thank you, Maarten. I wish I could've kept writing. I realize it's kind of a 'First World problem' because composing is just a hobby for me, but it has been too emotionally draining to sit down and come up with nothing, night after night. On a lighter note, my house has been really clean lately.
  2. Mondaufgang am Meer

    Thanks, @Monarcheon. Really good analysis as usual. I was a little worried about the overuse of the raised fourth, but I figured it would be okay when it was balanced by other feelings in other movements (obviously that didn't happen). I wrote the little codetta in F last, and I was wondering if I shouldn't try to go back and use some of the stepwise lines in the bassoons there in the earlier passages as well to provide some more melodic material, but I thought it might interfere with the ostinato. I have a couple other little fragments and ideas that I thought were worth keeping, so I may revisit this piece someday. Friedrich really is one of my favorites. His works depict nature in this really mystical, spiritual way that I love.
  3. I have dropped out of the summer competition due to some serious writer's block. Even now, nothing I write seems to be up to par. It's really gotten me into a bit of a funk. Anyway, here is the single, very short movement of my entry that I have actually completed. It's based on the 1822 Caspar David Friedrich painting 'Mondaufgang am Meer' (Moonrise over the Sea) -- one of my favorite works by my one of my favorite visual artists. He also painted a work of the same name in 1821, but I much prefer the 1822 version. Here it is if you'd like to take a peek: http://www.smb-digital.de/eMuseumPlus?service=ExternalInterface&module=collection&objectId=959550&viewType=detailView The score may not be perfect; I haven't really given it a full dressing-down. Thoughts and comments would be very welcome. Thanks for listening!
  4. Collaborative String Quartet

    I cannot view the file at the moment, but I can say that I'm interested in this idea. Would each person be writing a movement, or a section of a movement, or some other arrangement?
  5. Three pieces from childhood

    Hey, when I was 14, I was still writing weird rock songs on the 'Guitar Pro' program. It makes me cringe to think of how proud I was to show them off to my friends. Good for you for sharing. I liked the 'March of Eagles' best.
  6. Capriccio for Viola and Piano

    Thanks for the suggestions, @Maarten Bauer! It's nice to get such a detailed review. I'm glad you liked it! The initial modulations were honestly just an experiment for me, and I ended up keeping them. You're also absolutely right about the ottava line in the right hand -- it should be a bass clef. The mysterious/dreamy part you mentioned was achieved by using Messiaen's modes of limited transposition, thanks to our friend @Luis Hernández. The E Major chord you mentioned (just beforehand) with the G-natural and B-flat in the right hand was my attempt at a chord with a split-third and a split-fifth... I felt that I needed a 'bridge' from the more classical passage beforehand to the more contemporary passage afterward. I don't know how successful it ended up being. Thanks for listening!
  7. Valse de Cirque

    Hm, yeah, I suppose that chord was just a bit too jarring for my tastes. I don't want that to be all that you take away from my earlier comment, though -- it really was a very well-written, polished waltz throughout. After listening again this morning, your main theme is in my head again.
  8. Capriccio for Viola and Piano

    Thanks, @Luis Hernández! This sort of style is new territory for me, but I'm kind of relieved to hear that someone enjoyed it. I would like to write in a more modern way eventually, and I think I'm getting there (slowly!). It was originally conceived as the first movement of a viola sonata, but it didn't fit with the other two movements I'd already written, so I just made it a standalone piece. So you're right that the piano takes the backseat to the viola; I should probably address that.
  9. Capriccio for Viola and Piano

    I don't really know what happened here, but I don't hate it. Let me know what you think!
  10. Valse de Cirque

    I just meant the horns were overpowering as in too loud, but like I said, it might have just been a playback thing. Haha, I chalk up any orchestration success I may have to dumb luck. I don't know what's the norm, so I just guess at it, pretty much. I've read over Rimsky-Korsakov's book a couple times, but I get the feeling that it's the kind of thing you need to be able to learn with real instruments as a guide.
  11. Waltz in A Major

    Thanks for the compliments, @Davison Yon! Yeah, I only have a very basic understanding of the harp. It's such a beautiful instrument, though, that I will have to read more about it.
  12. Valse de Cirque

    Really, really nice. Your knowledge of orchestration really came in handy in making the waltz come to life -- I'm jealous of that. Lots of delightful parts, and I just loved the tempo changes toward the end. The primary theme was great. I do wish the secondary theme was a bit stronger, or maybe just repeated more. Some quibbles: something sounded slightly awry with the woodwinds on page 15, but I couldn't put my finger on it; also, I think the chord in the horns on the final page may have been a bit overpowering, but that might just be a playback issue. Anyway, I'm glad my waltz inspired you to write this one. It's an improvement!
  13. The Dying Ode of Ragnar Lothbrok

    Thanks, @jawoodruff! You're right; I do tend to stick by "the rules." It's been a really slow process to try to move on toward a more contemporary sound for me, although I would like to. I think one of the problems is that there are many free ways to teach yourself how to write music in the Baroque or Classical styles, but not as much material freely available for learning how to produce Romantic, Modern or contemporary stuff. Or maybe I'm just not looking hard enough! I do think it would help to look into early music. There's not much out there on Viking Age music, but looking into medieval music might be a good place to start. Thanks for listening!
  14. [Old Piece] The Journey

    Wow, this was really well done. You clearly know what you're doing, @punintentional. I love the instrumentation and the mood of this piece. I don't really have much to offer in the way of suggestions, other than that, given the preceding complexity, maybe the final chord could be something a bit more spicy than just the simple E Major (adding a sixth, seventh or ninth might achieve what I'm thinking). Really good work! I'll have to up my game for the summer competition
  15. Waltz in A Major

    Yeah, you are correct to wonder :) ... It's probably irresponsible of me to write harp parts without knowing whether they're possible. I do love the sound of it, though Thanks for the compliments on orchestration! It's historically been one of my weak points. I have actually been trying to get away from writing large-ensemble music lately. It's almost guaranteed to never get played, so it's really an exercise in futility. But I guess orchestration is a good skill to have nonetheless. Thanks for listening, Luis!
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