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Noah Brode

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Noah Brode last won the day on February 5

Noah Brode had the most liked content!

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About Noah Brode

  • Rank
    Intermediate Composer
  • Birthday 09/09/1988

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

3,966 profile views
  1. Thanks for listening, @Monarcheon and @Luis Hernández! You're right, Luis, the first one is very "in your face," but I did mean for it to be like that, exuberant and fun and pretty simple. Also Blaire great point about the interval stacks in No. 2. It might have been nice to have a kind of up-and-down motion in those voices. I did the planing because I thought it gave it kind of a cold, "sterile" sound (if you know what I mean). Glad you liked those triplets! I thought they sounded like a helicopter 😄 And thanks for the compliments on the last one, Luis. It's a 5/4 adaptation of something I wrote a long time ago, though I decided later it might make more sense as 6/4 + 4/4. Who knows?
  2. This is a set of three chiptune-inspired ditties that I wrote a few years back for a video game project that never really got off the ground. There are a few more that I never bothered 'producing' that I may add to the playlist at some point. Hope you like them. Thanks for listening! Listen to The Adventures of Plasmaman by MisterRaccoon on #SoundCloud https://soundcloud.com/user109484157/sets/the-adventures-of-plasmaman
  3. I'll join as a participant! Thanks for organizing this.
  4. @.Em. Thanks for listening! I'm glad you enjoyed it. It was written for a competition on this site a few years back. Gotta love the competitions 🙂
  5. I voted for "Less is More," but "Poor Form" was a close second
  6. I'm glad you're interested! I think we will be making an 'official' sign-up post once we get all the details figured out, and you can join then. I will post in the chat box when it's ready.
  7. @J. Lee Graham @Monarcheon I'm glad you two are so receptive! I really like the idea of having each challenge be quite different to showcase the composers' breadth of knowledge. We can tweak the specifics once we figure out who all the judges are. It would probably be most fair if we keep each challenge under wraps until the round begins, though. I will probably just adapt the scoring and rules from previous competitions, if that's alright. Does a moderator want to take the lead and post the sign-ups, or should I just go ahead and do it myself once I get the rules ready?
  8. @Monarcheon I'm glad youre interested! Ideally, we could have ten or twelve composers to start with, but I'm just not sure about the level of interest yet. Maybe we could say eight is the minimum? I think that's achievable. That's also true about the orchestration being very central. I think I just wanted it to get more 'epic' as it moved along. 😅Maybe we could have it based off of different types of challenges instead -- different forms, eras, moods, inspirations, etc. A different prompt for each stage. I think ideally, the most advanced composers would move forward, so we could make it a bit more challenging as we progress. Hopefully this takes off! Edit - Also it would be helpful to have the chat box to recruit people; hopefully that can be fixed soon.
  9. Hi everyone! It's been a while since our last competition, and as both a judge and a contestant, I've always found the entries to be some of the highest quality content on the site -- so I think we should do another one! I'd be happy to judge. I've been binge-watching Top Chef lately, and I thought that maybe we could have a little fun doing a similarly structured competition here (if there's enough interest, of course). [ Top Composer! ] The idea would be to have the competitors go through three rounds of composing, with the losing contestants being eliminated by the judges and the winning contestants moving on to the next round. This could take place over several weeks or months, if need be. I think we'd need a *minimum* of six composers and two judges to make it work. I think we'd have to make the first round of composition something short and simple(r), since there would be more people competing and thus more work for the judges. Hopefully, this will also entice more people to join and compete. From there, we could move on to larger ensembles and longer pieces in the later rounds. Here's my preliminary vision: FIRST ROUND: Ten composers writing a brief piece for any solo instrument or duet. Must be classically inspired, **but not necessarily in the Classical style.** Feel free to use more modern language while keeping the Classical theme in mind. Minimum one minute in length; maximum two minutes in length. SECOND ROUND: Six remaining composers writing a piece in four parts, focusing on counterpoint. Any ensemble from string quartet to choir, but no keyboards, harps, etc. Minimum three minutes in length; maximum five minutes in length. FINAL ROUND: Three remaining composers writing a medium length piece for a larger ensemble. That could be anything from a jazz band to a concert band to a full orchestra. The focus is on thematic development. Minimum five minutes in length; maximum ten minutes in length. As usual, the winner would receive nothing tangible, but the winning piece would go into the site's Hall of Fame section. Suggestions are welcome. What do you think?
  10. So, I decided to finally get around to fully orchestrating my piece for concert band, "Baron von Munchausen" -- string section and all. I was surprised that it took only a few hours of my day today. Most of the work was simply rephrasing the saxophone section as a string section, and adding some new string parts as well. The wind instruments definitely still take center stage, though. I also made some minor tweaks to the harp part and other instruments. It's a fun, adventuresome piece -- hopefully in the spirit of the Baron himself -- and I hope you'll enjoy it. I'd certainly appreciate hearing whatever thoughts pop into your head as you listen. I've attached the original program notes from 2017 along with the updated score. Thanks as always, YC.
  11. That was a fun little piece. In terms of atmosphere, it sounded a bit like a Danny Elfman movie soundtrack to me -- a bit spooky and dark, but still somewhat charming. The orchestration of glockenspiel with pizzicato strings certainly called his music to mind. It's a nice blend. That was the highlight of the piece for me. To be brutally honest, I wasn't really captivated by the primary melody, and I thought it repeated too much without being developed. The middle section was a little bit helter-skelter, too. Also, a musical score would be helpful for reviewers. I'd like to hear some of your more recent compositions to see what you've done since this was written!
  12. Wow, this was really well written and a pleasure to listen to. It kept my attention ths whole nine minutes with elegant orchestration and smooth modulations. I especially liked how your glockenspiel, harp and woodwinds worked together to create delightful flourishes and embellishments. If I had any suggestions, it might be to move the melodic line around a little more -- I wasn't really keeping track, but it felt like a lot of violin with some woodwind doubling; a few more sections featuring the cellos or horns could add some nice contrast in a lower register. There were a few places where the time signatures were doing weird things. On page 10, the rhythm switches to 3/4 with no change in notation at m. 42. The time signature finally changes on pg. 12, m. 57. The same situation happens on pgs. 40 and 41. It may be that I am misunderstanding something about the use of common time in waltzes -- those spots on pgs. 12 and 41 just threw me off. I'm also kind of astounded that your music program has the option to play back the waltz with the traditionally stilted Viennese rhythm. It added a really nice authentic vibe to the playback. One final question: is it usual to have such an extended section in 4/4 time to start off a Viennese waltz? Really great work; thanks for sharing!
  13. @Quinn - Sure, but I'm including those 20th Century guys as part of my "relatively recent" statement. I'm thinking about Western music stretching back hundreds and hundreds of years. At any point on that arc of musical history, the composers of the time could only innovate to a certain extent beyond what had already been done. Schoenberg is a great exception and a game-changer, though, however successful he was in his output. I think now, we are not only limited by the musical conventions of our time, but also by the fact that we can't change the way humans experience acoustics. As in, the Common Practice system evolved because those are the physical manifestations of sound that sound good to humans. Fifths sound nice, thirds sound nice, major chords sound nice. I think you can only stray from that so far before things get too messy and unrelatable to the average person's ear. I think now its more about finding ones own voice with the resources we have. That's just my take, though, and I'm massively unqualified.
  14. Well this is an interesting discussion, @Ken320. I'm sorry to have missed it when it was new. When I started writing 'concert music' or whatever a few years ago, I was writing in what I now understand to be a terrible perversion of the Classical style. This is mainly because I had just fallen in love with that style (cuz that's what they play on classical radio stations). Since then, most of my scraggy has taken on a more Romantic or Impressionist style (though still pretty mangled), with wider-ranging techniques. It's kind of ludicrous for me to say my music has a distinct voice, since there's so little of it altogether and my grasp of theory and orchestration is still ... in development. My audience is so miniscule that I doubt any of this matters (yet, I hope). To the point made by @Monarcheon, I'm certainly guilty of stealing techniques from things I hear and read about online. I suspect most of us are, whether that's from a website or a classroom. I think the challenge is using these techniques well and responsibly. Polychords, secundal clusters and stacks of fifths all play into my latest piece because I read about them on one website or another. I do try to fit them into places where they make sense aesthetically or dramatically. To be fair, though, the entire history of music is full of people making subtle adaptations or innovations to the existing body of music theory, and borrowing the rest from those who've come before. I think the current conception of artists and composers as solitary geniuses who must offer radically original works (or be considered worthless) is a relatively new concept in the history of art and music. I think in the past, there was a lot more admiration of technical mastery over pure originality. I'm interested to hear others' takes on this, though.
  15. @maestrowick - Thanks for listening! I'm glad you enjoyed it. You're right to point out the inconsistencies of the score. I thought it would be a nice subtle homage to Friedrich to put the tempo markings in German, but I guess I forgot about that after the first movement! Whoops 😅 Thanks again for taking the time to listen and comment. It will motivate me to clean up the mess of the score sooner rather than later!
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