So, I'm playing Improvisation I for a college audition, and was wondering if anyone had any suggestions as to why I could find recordings and how to interpret some of the notation. I've looked around on line and can't find much other than it's based on Shakuhachi playing. All suggestions are welcome...
Ryo Noda Improvisatin I
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The Noda is a hard piece!
Try a college music library for recordings, its your best bet.
Try and also seek some help from someone who has done the piece before, that will help immensely with understanding how some parts are supposed to be played
Try a college music library for recordings, its your best bet.
Try and also seek some help from someone who has done the piece before, that will help immensely with understanding how some parts are supposed to be played
Are you looking for actual recordings of the piece, or recordings of other pieces to help you interpret it (ie Shakuhachi recordings)? My favorite recordings of the piece is Arno Bornkamp on "Reed My Mind," and Londeix. I'm not sure what CD that is from. Keep listening to Shakuhachi playing. Good Luck!
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You can hear snippits of Jamal Rossi and Arno Bornkamp playing Noda I here:
http://www.reedmusic.com/audioindex/n.html
This piece is indeed supposed to mimic the phrasing and vibrato characteristics of the shakuhachi. A guide to some of the irregular notation should be provided in the music.
Since much of the piece is variable and unusual, try to find a recording in the library or listen to the samples and then be really specific about the parts that are still confusing. It will be easier to help you with specific sections in mind!
Edit: Just realized that those samples really don't do justice to some of the wild parts. The high C# with the Xs is indicating that you should put down other keys to change the timbre of the note (your right hand or the table keys, for instance.) The thickness of the Xs relates to the intensity -- as the contour grows, disturb the tone more.
The middle section, in which you see multiple C# grace notes, should be played fairly quickly. What the listener should hear the most is the contour of the notes you're gracing into: E E F E B A D D# E E F E B A etc.
Keep asking questions, many people on here have also played it and you'll get plenty of advice.
http://www.reedmusic.com/audioindex/n.html
This piece is indeed supposed to mimic the phrasing and vibrato characteristics of the shakuhachi. A guide to some of the irregular notation should be provided in the music.
Since much of the piece is variable and unusual, try to find a recording in the library or listen to the samples and then be really specific about the parts that are still confusing. It will be easier to help you with specific sections in mind!
Edit: Just realized that those samples really don't do justice to some of the wild parts. The high C# with the Xs is indicating that you should put down other keys to change the timbre of the note (your right hand or the table keys, for instance.) The thickness of the Xs relates to the intensity -- as the contour grows, disturb the tone more.
The middle section, in which you see multiple C# grace notes, should be played fairly quickly. What the listener should hear the most is the contour of the notes you're gracing into: E E F E B A D D# E E F E B A etc.
Keep asking questions, many people on here have also played it and you'll get plenty of advice.
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I wouldn't go audition with the Noda piece... It looks easy but to play it correctly and properly is difficult because of the extended techniques. I'd just play maybe the creston or Heiden sonata, or movemennts from Tableux De Province.
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I lip the A down and up the quarter tones, but making it sharper can be tricky -- if you need to, open your G# key to pop it up a bit more.
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which UC? I dont think any UC has a good Saxophone program.. I've heard diferent things about Masek In LA but from I know.. Cal state Long Beach has Jay Mason and doug macek teaching there, and USC and fullerton and James Rotter (LA Phil on call saxophonist). I'd apply for one of those.
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For the A, where it slides a quarter tone down and then up to a quarter tone high:
While lipping it down the quarter tone, slowly and smoothly (so that it is inaudible) press down your right hand (f, e, d). then, when you bring you embouchure back to reality, the pitch will be the quarter tone sharp, so you don't have to lip it up, cause that's a pain. Be ware though, you'll have to lip it further down, about a half step total, because lowering your right hand will raise the pitch significantly (which, after all, is the goal.)
Good luck!
While lipping it down the quarter tone, slowly and smoothly (so that it is inaudible) press down your right hand (f, e, d). then, when you bring you embouchure back to reality, the pitch will be the quarter tone sharp, so you don't have to lip it up, cause that's a pain. Be ware though, you'll have to lip it further down, about a half step total, because lowering your right hand will raise the pitch significantly (which, after all, is the goal.)
Good luck!
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You got it. Picture a samurai preparing for battle on this one, maybe.ZatSax said:
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