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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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60 Excellent


About Noah Brode

  • Rank
    Advanced 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

4,390 profile views
  1. 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.
  2. 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)
  3. 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
  4. 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!
  5. Haha, I put in a contrasting B section with dotted-half note pizzicatos in an attempt to make them hate me less
  6. @Monarcheon ah should've mentioned tempo. Allegro, about 130 bpm @aMusicComposer -- Thanks!
  7. 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!
  8. 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
  9. 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
  10. @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
  11. 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
  12. 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!
  13. 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
  14. 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.
  15. 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.
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