Noda Improvisations

[Clark Rice]

Is anyone familiar with the Improvisations written by Ryo Noda in the '70s? The use of multiphonics is pretty strange and I'd like to hear some other peoples' opinions on these pieces.

[Minatar12]

A friend and fellow student at my university did Improvisation #1 by Noda for his junior recital this semester...it was a stunning piece of music. From that, and the little else I've heard, Noda's work is brilliant...really a great way to explore the different ranges and possibilities of the saxophone. I love avant-garde music, and Noda is a great composer of it.

I sat down with my teacher yesterday planning out what I want to play for next semester...I considered Noda's Improvisation #2 or Phoenix, but instead opted for trying my hand at Prelude, Cadence et Finale by Desenclos. Time will tell if I made the right decision :)

[singlereed]

I did no 1 in a masterclass thingy, several of us each played part of it, having hear the prof do it first and it was a lesson in extreme dynamics etc. You can do almost anything you like with it. Is it music, do I like it....? hmmm, not sure!

[Agent27]

I performed Improvisaton I last year for my junior recital. It's a very interesting piece. I think it's a good piece if only for the fact that it uses lots of effects that aren't all too common in classical literature. Variable vibrato, quarter tones, false fingerings, flutter tounging, and the "japanese" articulations in my experience isn't used all that ofter in standard Western classical music. If the performer isn't taught directely about some of these effects (ie. false fingerings, quarter tones, and alternate fingerings for the glissandi) it really forces them to explore the saxophone in ways they haven't before in an attempt to play the music as intended. I loved playing this piece. I don't know how great it would be to listen to it but I still like it.

[KSQ]

The Improvisations are probably as good an introduction to extended techniques (for the player) as exist, as far as repertoire goes. The third is my favorite; I've performed it more times than I can count.

The key to understanding these pieces, as far as I'm concerned, is becoming acquainted with music played on the shakuhachi, a Japanese end-blown bamboo flute. If you're going to play one of the Improvisations and you've never heard a shakuhachi, check out some recordings immediately. You'll find that most of the effects in Noda's pieces are adaptations of techniques and sounds employed by shakuhachi players. Hearing "the source," the inspiration behind Noda's works, should give you some real insight into how to approach these compositions.

[Clark Rice]

Thanks for the responses everyone. I'm excited about this piece now. It may be that I'm getting used to playing the multiphonics in Improvisation 2, but I'm pretty excited about this piece.

I ought to get some of that shakuhachi music going. It has always been my philosophy that a good way to learn a piece of music or a certain style is to listen to it a lot. Thanks again.

[Clark Rice]

Whoops, I was just playing Improvisation 2 and I came along something that confused me. Three staves down there is a note (Bb) with a fermata about it, and then a fingering chart and about 30 x's to the right of it. They are arranged in vertical columns with a lot of x's in a column on the right dwindling down into a point. What the heck is this?:dazed:

[Agent27]

It's false fingerings. Use overtones and other fingers to still sound the Bb and just switch back and forth really fast. It's kind of like a trill but staying on the same note. The number of x's basically indicates the amount of activity going on.

[Clark Rice]

OH THATS WHAT THAT IS! Thanks, I've been having trouble decifering the meaning of that one!:)

[Steve P]

I love Noda's compositions. The 3 improvisations, Mai, Pulse 72+/-, they are all brilliant. Its hard to believe that Noda is a baker, and not a full time composer!

As for performance practices, I find these pieces to be very theatrical as well. As in traditional japanese music, the performers are very precise in their body movement, and I think this is to be considered when playing these pieces. I have seen them performed with very violent body movement, which may seem justified with what the is being played, but I feel there should be a stillness in the performer; just like the Japanese would do- play with little movement.

I discussed this with a fellow saxophone player who is from Japan, and she said this was what she had been taught while doing her undergraduate work in Tokyo.

Either way, its brilliant music.

Steve P

[robhallot]

Which do you prefer out of mai and improvisation 1 out of interest?

[Steve P]

I prefer Mai personally. Though it is harder, I find it more rewarding.

Steve P

[Rick]

Its hard to believe that Noda is a baker, and not a full time composer!

I played this for Dr. Hemke this past month and he told me Noda is currently one of Japans leading musical therapists. Maybe he does both? http://missbehavin.pair.com/Conferences/Noda.R.html

[J.Max]

I did #1 and #2 in my undergrad studies...I love 'em, they're two of my favorite pieces. They're both supposed to evoke a type of Japanese puppet theatre, with the saxophone providing voices for all the action. They're also some of the most musical uses of extended techniques I've ever seen. (Too many pieces use extended techniques because they are there, and not for any musical reason, IMO).

I actually wrote a couple of my own improvisations as an homage. One of them involved taking the mouthpiece off of the horn and buzzing your lips on it like a trumpet!