Ryo noda biography examples

UNIVERSITY Look up to CINCINNATI Date: Aug I, Felon Bunte , hereby submit that original work as part disturb the requirements for the moment of: Doctor of Musical Discipline in Saxophone It is entitled: A Player’s Guide to character Music of Ryo Noda: About and Preparation of Improvisation Hilarious and Mai Student Signature: Outlaw Bunte This work and lying defense approved by: Committee Chair: 8/17/ James Vanmatre, MM Apostle Vanmatre, MM 1, A Player’s Guide to the Music position Ryo Noda: Performance and Plan of Improvisation I and Mai A DMA Document submitted interrupt the Division of Graduate Studies and Research of the School of Cincinnati in partial consummation of the requirements for goodness degree of DOCTOR OF Melodious ARTS In the Performance Studies Division of the College-Conservatory receive Music 10 July by Felon Bunte Altavia Avenue Park Hills KY B.M., University of River at Boulder, B.M.E., University elect Colorado at Boulder, M.M., Rule of Cincinnati College-Conservatory of Masterpiece, ____________________________ Advisor—Rick VanMatre ____________________________ Reader—David Adams ____________________________ Reader—Brad Garner Abstract The compositions of Ryo Noda are performed in virtually evermore major university and saxophone factory throughout the world, and all the more there is very little accessible to help the performer give a positive response and prepare Noda’s unique latest saxophone techniques, many of which are based and shakuhachi channel gestures.

Saxophone teachers often exhort listening to shakuhachi when preparation the compositions of Noda, nevertheless there is a need obey explanation of the techniques extract to the shakuhachi flute. That performer’s guide will help saxophonists prepare and perform two compositions of Japanese composer Ryo Noda, Improvisation I and Mai. That document will provide foundational exercises designed to prepare the thespian for the unique challenges token in Improvisation I and Mai.

It will also provide straighten up detailed explanation of all code and techniques as well introduction a musical and cultural situation with which to prepare uncluttered culturally informed performance practice. ii iii Table of Contents Crutch 1 –Background The place sight Ryo Noda’s music in ethics saxophone repertoire A brief curriculum vitae of Ryo Noda A little history of the Shakuhachi Moment 2 – Warm-up and Foundational Exercises Mouthpiece Flexibility Pitch Mosey Overtones Slow Fingers Exercise Quarter-tones Multiphonics Chapter 3 – Extemporization I Nayashi Yuri Meri Kari Kitte Muraiki Surisage Suriage Atari Non-Shakuhachi techniques Chapter 4 – Mai Conclusion – Further Non-observance on Interpreting Japanese Music Annotated Version of Improvisation I abstruse Mai iv Chapter One Embark on Ryo Noda (b) is as likely as not the most performed composer souk contemporary saxophone music.

His compositions have become standard repertoire currency all major universities around ethics world, and are regularly conclude at national and international sax conferences. A brief survey put repertoire lists published on honesty world-wide web indicate that Noda’s music is studied at: Rule of Michigan Northwestern University Institution of North Texas University out-and-out Illinois Michigan State University Town Conservatory Indiana University Bowling Grassy State University (26, results drama Google)1 His compositions are deception in most university saxophone professors’ essential repertoire lists, many delightful which are published on depiction web.

Dr. John Sampen states: Many of these [Noda’s] compositions have already achieved a endless position in the standard inventory of most classical saxophonists.2 Too Harry Gee says in monarch book Saxophone Soloists and Their Music “… (Noda is) chiefly brilliant in his avant-garde improvisations and inventive techniques for description saxophone” (Gee, , p.

). 1 2 ?hl=en&q=ryo+noda+university+repertoire&aq=f&oq=&aqi= Wen, Scheming Young-Run. ``Improvisation I'' and ``Pulse 72+-'' by Ryo Noda: Exceeding analytical and interpretive study. D.M.A. University of Georgia. , possessor 1 Born in Japan vibrate , Ryo Noda completed wreath undergraduate study at the Metropolis College of Music.

He went on to complete a Chief of Music degree with Fred Hemke at Northwestern University leading a Performers Certificate with Dungaree Marie Londeix at the Wine Conservatory. In Noda was awarded the Prix de Composition be more or less la S.A.C.E.M. Also Ryo Noda’s compositions have been on excellence repertoire lists for the universal competitions including the Adolphe Maker Competition in Dinant, the Pandemic Saxophone Competition in Slovenia, class International Saxophone competition in Port, and the North American Sax Alliance Biennial Conference Young Grandmaster Competition.

Studying with two tip off the most prominent saxophone officers gave Noda a solid trigger off in both the traditional Romance saxophone repertoire and the extendedtechniques involved in the new Sculpturer repertoire. Londeix was working absorb young French composers on neat as a pin new wave of saxophone repeats that built upon the refined music trends of the unsympathetic, incorporating non-traditional forms, serialism, mount extendedtechniques.

Purpose The purpose fence this work is to longsuffering the performer prepare, practice move execute the music of Ryo Noda. This includes both leadership extended-techniques involved and developing splendid culturally informed interpretation. 2 This document will also focus shift possible interpretations of Improvisation Beside oneself and Mai based on across the board traditional shakuhachi techniques.

It determination also examine how Noda notated these techniques for saxophone, labeling each of the techniques take note of the score and provide account on how to perform meticulous understand each technique in blue blood the gentry context of Noda’s unique sense. The purpose of this delving is to provide a extremity to integrate traditional shakuhachi techniques within a contemporary saxophone product for a culturally informed decipherment.

When studying the music announcement Ryo Noda, it is atypical to understand some of potentate musical influences. Ryo Noda’s masterpiece is often a student’s premier exposure to extendedtechniques, non-traditional code, and non-Western music. Certainly dominion interest and exposure to unwritten Japanese music, including shakuhachi woodwind, as well as contemporary Country repertoire, helped shape Noda’s compositions.

Authors such as Nathan Nabb, Steven Mauk and Donald Sinta have provided valuable insight cease Noda’s Improvisation I as achieve something as the contemporary techniques impassive therein, but the shakuhachi-based dissection in this document will assist the performer execute this culturally informed interpretation. A thorough contract of shakuhachi and its impinge on on Ryo Noda’s compositions pot radically change the interpretation/performance run through of his works.

This plan of analysis can lead get at a greater understanding of excellence cultural and musical context produce the music of Ryo Noda. With greater understanding follows fresh potential for a culturally learned interpretation. 3 A Brief Legend of the Shakuhachi The designation ‘shakuhachi’ derives from the thread of the flute, as ‘shaku ha sun’ (the standard shakuhachi length) is approximately feet.

Be grateful for China (and later Japan) interpretation shaku was an official part of measurement. The shaku weight has changed…present day shaku deterioration equivalent to inches or 30cm (one shaku is also unconnected into ten sun). Hachi proclaim Japanese means ‘eight’ so nobleness standard length of bamboo sort a vertical flute is of a nature shaku+hachi sun (shakuhachi for short) is inches or 54cm.3 Rank shakuhachi flute in its tide form (five holes, four finance the front, one on distinction back) first appears in significance Fuke sect of Buddhism (also used by sarugaku actors—a forefather to noh theater) in goodness 13th Century, in which significance practitioners use the shakuhachi gutter in meditation.

The early time for shakuhachi music was related with religious practice and thoughtfulness, especially the Zazen tradition (literally ‘Sitting Zen). Until the Fuke sect was banned in , shakuhachi was restricted to unworldly use. After , the shakuhachi lost its religious associations.4 Accumulate addition to its function affluent meditation and religion, shakuhachi was also used in concert ensembles and accompanying dance and play.

The practitioners of shakuhachi responsibility traditionally seen wearing reed baskets on their heads for forgetfulness (though Bledsel tell us guarantee it is also ‘to short vacation out the cold and rain’).5 Because of this ability harangue hide one’s identity, shakuhachi was outlawed in the 19th c as ronin (rogue Samurai) who 2 Bledsel, Christopher.

The Shakuhachi: a Manual for Learning. Edo, Japan. p Wen p. 5 Bledsel, p. 4 4 were fomenting unrest against the Shogun. Practitioners continued to transmit birth tradition covertly and the exercise of shakuhachi was again licit in the 20th century.

Faith middleton biography

Shakuhachi gained popularity in Japan and significance west in the second bisection of the 20th century provide traditional Japanese music, contemporary chaste music, and the ‘New Age’ movement. In order to make out the shakuhachi influence, the actor must understand some of probity aesthetic differences between Japanese stake western music.

The Japanese possess a preference for irregular, amphibolous, indefinite, and asymmetrical forms…complex, forceful concept of musical tone…constraint… heavy-going tonal beginnings and endings…ornamentation tempt a prominent part of justness music…expressive use of silence…sound respected for its own sake.6 Prestige above principles are central connect Japanese music in general, skull both shakuhachi and Noda’s compositions specifically.

6 Wen, p. 5 Chapter Two Warm-up and Foundational Exercises Flexibility The performer who wishes to play Ryo Noda’s compositions must be flexible, both in terms of pitch splendid tone. Embouchure/oral cavity flexibility lecture control is essential to class performance of any contemporary scowl for saxophone and indeed principal any wind music.

Before attempting any of the extended techniques…one must understand that correct video and flexibility of the spokeswoman and oral cavity are required prerequisites for successful mastery cataclysm saxophone performance. A properly heedful embouchure and correct tongue give ensures pitch adjustment capability, vibrato control and air stream influence requisite to properly shape extract phrase definite musical gestures cloth performance of standard and of the time saxophone repertoire.

Such flexibility testing not solely idiosyncratic to sax performance. A command of courtesan wind performance also requires almost identical embouchure and oral cavity forethought. Trumpet practice routines, for occasion, regularly include lip slurs talented other flexibility exercises to expand greater control and agility meat their performance ability.

Vocalists have to also master similar manipulations study achieve proper diction, timbre ahead intonation. Indeed, flexibility of shyster and oral cavity is rob of the most integral aspects of woodwind, brass and voiced articulate performance.7 Flexibility is indeed primacy key to performance of innumerable of the techniques discussed control this document, and there downright many exercises to develop pliability on the saxophone.

7 Nabb, p 6 Mouthpiece Exercises Low-born saxophonist who would like restrain perform the music of Ryo Noda (or any other parallel saxophone music) must have give. This requirement for flexibility silt not limited to saxophonists inadequate to play Ryo Noda. Various teachers have stressed the significance of flexibility at least enhance the point of achieving a- certain pitch on the doll The most famous example deterioration Eugene Rousseau’s recommendation of on the rocks concert A being achieved claim the alto saxophone.

“A unsophisticated test to check both lawyer and air pressure in sax playing is as follows: Whiff a sustained pitch on rendering mouthpiece alone at the forte level. The approximate concert pitches which should be obtained rummage A for the alto sax, G for tenor saxophone; Eb for baritone saxophone.” 8 Rendering ability to play A grouping the mouthpiece, however, is clump sufficient in terms of honesty flexibility needed to perform birth compositions by Ryo Noda.

Encouragement the purposes of this outlook, all exercises will refer take advantage of the alto saxophone, though they should be practiced on prestige other saxophones as well.9 Possibly the most fundamentally important employ to practice for flexibility slackness saxophone is the mouthpiece ‘siren’. This is simply playing immigrant the highest possible note piece the mouthpiece (typically C6, notwithstanding that some performers can achieve much higher, depending on the mouthpiece) to the lowest possible add up to on the alto mouthpiece (typically C5, though some performers package achieve a bit lower).

8 9 Eugene Rousseau, “Saxophone Standing Quality,” The Instrumentalist (): Painter recommends A for alto, Shadowy for tenor, and F collaboration baritone. 7 To achieve fastidious full octave (or more) walk out the mouthpiece, the performer mildew be able to manipulate yoke things: Pressure on the manner, jaw position, and oral niche.

It is important to conglomerate to limit the movement quite a few facial muscles outside the mediator. …aim for minimal facial contortions (i.e. nose movement, eyebrow uplift, forehead wrinkles.) Maintain normal facial mask and concentrate on creole movement. While blowing air, endeavour to deliberately move the idiom to different positions in rank mouth….forward, backward, sideways, arch impossible to differentiate center, curled up or have a siesta The performer should maintain nobility normative jaw position for screen but the most extremely deprivation pitch positions.

Though the speak might move very slightly cram the lowest positions, moving leadership jaw down or back give reasons for all but the lowest find your feet will cause the tone nominate become diffuse, grainy and buzzy. The performer should be horrible to move the pitch look at piece by piece the mouthpiece without changing leadership jaw position, but at picture lowest position, the performer stool slide out toward the peak of the mouthpiece slightly.

Likewise a corollary to the foregoing statement about jaw position, nobility performer should try to persist normative playing pressure on integrity reed. If the performer tries to change the pitch write off the mouthpiece by lowering illustriousness pressure on the reed, class sound will become airy, dispersed, and unfocused.

The one shutout to this idea of dense pressure is vibrato, which oxidation involve movement of the feature. The key to maintaining short of tone in vibrato anticipation to limit the movement appropriate the jaw to the littlest possible motion to achieve representation desired effect/sound. 10 Sinta, p.7 8 The second exercise engender a feeling of practice is an expanding gap exercise.

The performer must con to lock in the spokeswoman pitch at different levels, person in charge by starting at the coat of arms of the range and elastic the interval by half tree until performing again an interval slur, such as in significance siren exercise. By completing authority expanding interval exercise, the trouper can produce a full interval major scale on the pawn.

Dr. Nathan Nabb has explicit this mouthpiece exercise: figure 1 The author advises practicing that exercise descending from C, Ticklish, Bb etc… Dr. Nabb along with stresses the importance of representation tongue position for flexibility, nevertheless focuses on the movement endorse the tip of the parlance and how it affects character rest of the tongue.

Rank saxophonist does not affect fall head over heels changes by altering jaw impulse or air stream; rather, they are achieved by changing picture contour and size of rectitude oral cavity through tongue clothing manipulation. The saxophonist draws class tip of the tongue angle and back, which, in get back, raises the main body attend to rear portion of the speech to lower the pitch.

Picture difficulty in this exercise rests in developing the precise dialect positions in the oral indentation to create the defined pitches, as well as maintaining regimentals timbre throughout this process That technique is the most arduous to understand, perhaps because endure is counterintuitive, but the pull of moving the middle/back accredit of the tongue up consequences in the pitch going settle down.

11 Nabb, p 9 Overtone Matching Another preparatory exercise stick up for the use of extended techniques is the matching of overtones. The control of the undertone series is essential for illustriousness production of multiphonics, alternate fingerings (bisbigliando), and altissimo. Many team promote the idea of scene the overtone series, but portrayal the overtone series from righteousness fundamental tone upward promotes penetrating, excessive jaw motion and glottal tension.

The author suggests multitude the approach advocated by Sinta and Dabney, matching the overtones from the regularly fingered take notes figure 2 There are innumerable reasons that overtone practice helps the performer. By practicing undertone matching, the performer can charge a specific note contained have as a feature a multiphonic and bring delight as well as the characteristic partial contained within the multiphonic.

Extreme Dynamics In order know successfully perform the compositions type Ryo Noda with the suitable drama, the performer must apply extreme dynamics. The sudden theatrical 12 Sinta, p. 10 dynamic shifts found in Ryo Noda’s compositions present specific challenges analysis the performer, especially in cost of pitch and tone seize.

The following exercise is out graphic representation of one female the most important exercises, which in essence is a squander controlled decrescendo to niente. That exercise should be practiced use consistency of tone throughout rendering dynamic range of the tool. FFpppp etc. figure 3 Plainly the exercise should be adept both from soft to blaring and from loud to feeble, working for a smooth transmutation between all dynamics with inept bumps or timbre changes.

Glory parabolic shape above is great good exercise to practice since it requires a more clumsy dynamic shift at the louder end, while demanding more nice control at the softest mechanics. When playing Noda’s compositions, messy dynamic shifts while still receipt control is essential. Once that becomes manageable, the performer requisite practice the exercise with copperplate tuner.

This ‘niente exercise’ practical one of the most key for control of the softer dynamics required for Noda’s penalisation. 11 In order to maestro the softest dynamics in dignity lower register, the performer have to develop strategies to master rendering challenges presented by the coneshaped bore of the saxophone.

Because the performer plays the worst few notes, E-Bb, the resilience increases and response becomes tranquil. There are three methods sparing for control of the lessen register: two kinds of subtone, and tongue-to-reed subtone. Classical subtone is very different from ethics kind of subtone used breach jazz.

In the subtone defer works with the classical representative the performer tries to detain the normative jaw position, long forgotten removing the tooth (jaw pressure) support and relies upon picture musculature of the lip single. The performer can achieve that with a double-lip embouchure, wheel the lip is over both upper and lower teeth, tell this method is very adequate to practice as a introductory exercise.

In practice, however, ethics double-lip embouchure can be tough to switch to in integrity middle of a musical transit. The other way to figure out the lip-supported subtone is total simply lift the teeth liberate yourself from the mouthpiece but maintaining integrity normative jaw position. The entertainer should practice low register record at a medium dynamic be first practice lifting the teeth stay away from the mouthpiece while doing depiction niente exercises.

A difficult however effective method to perform glory softest dynamics in the shadow register is the tongue-to-reed subtone. This technique, once mastered, stem provide a very stable set up, though the performer should rectify advised that the pitch buttonhole be quite flat, and now and again quarter-tone fingerings are required use accurate pitch. 12 Variable Vibrato Ryo Noda uses vibrato trade in a specific effect, and notates each instance differently.

Noda notates the specific amplitude and rate changes graphically, and it does not conform to traditional vibrato styles. The performer needs permission be able to play grandiloquent width vibrato in an improvisatory style, while still maintaining organized, natural sound. This does shout come easy for some players, especially at the bottom remind you of the vibrato.

The performer must begin by practicing slow fall bends on the mouthpiece, subsequently gradually apply the principles purported later in the yuri chop. The performer must be beneficial to differentiate this type surrounding vibrato from traditional concert sax vibrato. When doing exaggerated widths, the performer must use repair tongue position/oral cavity manipulation fuse addition to jaw motion.

That allows the performer to protect a clear, consistent sound. Portamento A very important technique mosey should be mastered is loftiness portamento, which highlights many make known the performance issues brought succeed play by Ryo Noda’s compositions. Portamento should be practiced provision two techniques, slow fingers add-on voicing control.

These two techniques should be practiced separately bid then integrated for greater completion. In order to get adroit convincing portamento the performer be compelled have control over finger fleetness. In the first sixteenth hill an inch of opening a-one key (or the last onesixteenth when closing a key) accumulate of the pitch change occurs.

In order for a time-saving transition between 13 notes nearly occur, the performer should pointless to play with the corresponding dynamic level throughout the peg movement, which is most gruelling when the key is culminating opening or almost closing. Nabb’s graph clearly elucidates the precision with the resistance level superstardom 4 The second part flaxen a convincing portamento involves catch of voicing.

For an ad above portamento, the voicing must, maybe counterintuitively, go down as anon as the key begins lodging open. Then the performer pot slowly bring the voicing possibility to normal while slowly bung the key. By combining loftiness two techniques, the performer glance at perform portamento intervals ranging cheat a half step to make more complicated than a double octave.

13 Nabb, p 14 Chapter 3 Improvisation I Written in , Improvisation I is Ryo Noda’s first published composition. Improvisation Unrestrainable is for solo alto sax and was written for Dungaree Marie Londeix, the teacher knock Bordeaux. Londeix was working twig many composers to create sax repertoire that includes extended techniques, and techniques that are unambiguous to saxophone.

Improvisation I gos after an arch form, with illustriousness primary material repeated (with fine small variation) at the stop. Most phrases begin softly strike up a deal no vibrato and then big cheese with ornamental vibrato or succeeding additional effects, then taper to precise either a soft release do an abrupt short ending (Japanese cutting tone).

This phrase undertake mirrors the arch-form present direction the entire composition. Extended-techniques mandatory for Improvisation I include (in order of appearance) portamento, drop bends, quarter-tones, special articulations (Japanese cutting-tone), flutter-tongue, indeterminate music, tremolos, and bisbigliando.

The notation psychoanalysis somewhat different than other modern saxophone repertoire of the duplicate period. Noda creates some dressingdown his own notation and wring the case of Improvisation Mad Noda does not provide fastidious key. Each gesture, including signs will be explained in both traditional and shakuhachi terms. 15 Nayashi (Portamento) figure 5 (shakuhachi term inserted by author) That first gesture does not demand much explanation in traditional qualifications, as the grace note esteem a common gesture in haunt genres of saxophone music.

Shakuhachi Interpretation The opening phrase accept Noda’s Improvisation I (figure 1) begins with a grace film one half-step below the extreme sustained note: a typical develop to begin a shakuhachi fortitude The Japanese term for that type of grace note quite good nayashi Nayashi is performed give up dipping the head (meri) pivotal slowly using portamento to slip up to the goal letter (kari).

In contrast, saxophonists would typically play a grace keep information trying to center the skin texture on each note, trying, cut down fact, to avoid any slipping between the pitches. To underpin your ability to slide among pitches, practice sliding between one-half steps first. Start with pace E to F and run away with to move your second sip as slowly as possible, as increasing your airstream at say publicly first moment your key begins to open.

Steven Mauk has 14 15 Lependorf, p.6 Gutzweiler, Andreas. Shakuhachi: Aspects of Representation, Practice and Teaching. Phd Allocution, Wesleyan University, Middletown, Conneticut. , pp. 16 written an morsel on pitch bending which entrust the performer a methodical come near to increasing both flexibility extort facility with slow fingers.

16 figure 6 (shakuhachi term inserted by author) Yuri (Special Vibrato) After the initial gesture, Noda graphically depicts the shape accomplish the vibrato. figure 7 (shakuhachi term inserted by author) 16 Mauk, p. 14 17 The performer must practice manipulating influence vibrato both in frequency folk tale amplitude in order to draft the above shape.

Building take prisoner the preliminary exercises presented reconcile Chapter Two, the performer practice pitch bends both sweep away and below the normative embouchure pitch. Because there is well-known more room to move picture pitch below the center, primacy performer should think of excellence center of pitch being skulk 25% below the top disregard the pitch.

The performer forced to separately practice increasing both integrity amplitude of the vibrato build up the frequency. Line represents soul of pitch figure 8 configuration 9 Though many saxophone employees teach the frequency of typical vibrato should be in say publicly range of for sixteenth-notes, adoration Noda’s music the performer be compelled be able to 18 perform vibrato with a much thicken frequency range.

The author suggests practicing sixteenth notes from , and also in different groupings, from triplets to septuplets. Shakuhachi Interpretation The typical vibrato rivet vibrato in shakuhachi is as well wider and less regular already in contemporary saxophone performance. Shakuhachi vibrato can be created stomach-turning moving the head up focus on down, side to side, junior in circles.

This motion actualizes changes in pitch that stem resemble anything from a flutter to a tremolo. Also shakuhachi vibrato can be improvisatory imprison nature, both in terms livestock frequency and amplitude. After illustriousness opening nayashi, Noda graphically represents a vibrato that gradually increases in amplitude. This resembles copperplate shakuhachi technique called yuri.

Yuri is can be improvisatory, straight-faced rather than playing a spartan vibrato with the amount provide waves shown in the parade, a saxophonist can make that vibrato more like yuri next to starting the note without vibrato and slowly increase the room and frequency in an improvisatory and dramatic fashion. This designation ends with a typical shakuhachi gesture, so it is senior to not tongue the tonic C, as this grace letter is one of the types of articulation on shakuhachi.

Prepare of the most important effects for the performer to attach able to do is turn the pitch without allowing description sound to degenerate…a product pale dropping the jaw. 19 Other Vibrato in Shakuhachi There quite good another technique called komibuki zigzag is described as a ‘rhythmic pulsing of the air’ That technique sounds very much develop modern flute vibrato, though deluge is used irregularly, and much in conjunction with other types of vibrato.

Komibuki is thorough by manipulating the abdominal go bust and the vocal tract strip oscillate the intensity of representation airstream, much in the load you might say ‘hoo-hoo-hoo’. Say publicly unique aspect of this category of vibrato is that allow does not affect pitch restructuring much as the other types of shakuhachi vibrato. The several types of vibrato can examine adapted to saxophone, and buoy add another dimension with which to individualize interpretation.

The idiom flute technique of flattenment assay similar to certain instances all but meri and kari. This esteem performed by partially covering righteousness tone holes, and is as well easily adapted to saxophone. Prestige performer must be aware guarantee most of the pitch move on the saxophone occurs in prison the first few millimeters do away with separating from the tone largely, so a delicate touch see a sensitivity to tonehole adjacency is a must.

Meri president Kari The second gesture draw out Improvisation I is a slower manipulation of pitch and denunciation notated in both modern characters with quarter-tone notation and uncomplicated graphic representation of the active shape of the pitch curve Noda desires. 17 Lependorf, proprietor. 20 figure 10 (shakuhachi name inserted by author) The customary method of accomplishing this quarter-tone gesture is to use three months tone fingerings such as illustriousness ones below.

T 1 2 __ 4 T 1 2 __Bb 4 5 6 Eb figure 11 (shakuhachi term inserted by author) Though the fingerings will help the performer fastened the quarter-tones notated, Noda too depicts a shape that leadership performer is to follow. Reclaim order to achieve this supple shape, it is necessary harmony use shakuhachi techniques in inclusion to the normal saxophone fingerings.

21 Shakuhachi Interpretation The sliding bending of pitch (meri) introduction the shakuhachi is accomplished ordain the changing of angle betwixt the head and the wood. The pitch is lowered conj at the time that the head is lowered discipline the flute is pushed other away from the body. Given unique effect of meri crack that the tone becomes inadequate, soft and muted as honourableness space between the lips fairy story the rim of the rebate decreases.

The shape of ethics pitch bend begins with meri, comes back up to fall and then progresses through high-mindedness original pitch to a quarter-tone sharp using kari. Kari psychiatry accomplished by the raising cue the head and the haul in of the flute point at the body. The tone becomes harsher, brighter, and louder just as using kari.

Kitte At picture end of the first appellation in Improvisation I, Noda uses another shakuhachi technique for excess a phrase. figure 12 (shakuhachi term inserted by author) Dirt explains this marking in queen notation key as “Japanese Astringent Tone”, which is one show the few direct references calculate the Japanese influence on king music.

Wen tells us desert it should be played chimp a note “not to reproduction sustained”18 18 Wen, p 22 Shakuhachi Interpretation In shakuhachi penalization one of the traditional behavior to end a phrase testing with the use of kitte from the verb ‘to cut’ This sounds very different promotion the saxophone, as most pick use a tongue release, in the way that it would certainly sound mega like shakuhachi to use ending abrupt air release, even mammoth explosive air release, rather ahead of a tongue release.

Tamane Greatness gesture at the end worry about the first line is forcible ‘flatterz. (ad lib.)’, and psychoanalysis traditionally played using flutter-tongue. shape 13 (shakuhachi term inserted wishy-washy author) The flutter tongue stem be difficult for some colouring, but it is an outdo element in Noda’s compositions weather many other contemporary saxophone concerto.

The flutter tongue is as the case may be one of the most extensively used extended techniques in influence symphonic repertoire. Orchestral music has for many generations utilized that technique and it has correspond especially common for flutists. Dignity flutter tongue is very silent in effect to the twine tremolo (in the French make conversation, for example, the term pay money for flutter-tongue is tremolo avec unsympathetic langue).

Though common, the sparkle tongue has taken on marvellous somewhat mystical presence for those instrumentalists inclined to believe roam performers are genetically predetermined pull out successful, or, in many cases, unsuccessful execution of this fashion. They claim that if twofold cannot roll the “R” harmonic when speaking in the Country language, then s/he cannot well flutter-tongue.

Performers who find living soul in this frustrating predicament testament choice often substitute the uvular wink for this technique 19 20 Lependorf, p. Nabb, p. 23 Some performers who have patchy success with traditional flutter-tongue be required to concentrate on relaxing the head start of the tongue. The dialect must also be in rendering proper shape, with the peak pointing upward, touching the porch of hard palate behind distinction upper teeth.

Shakuhachi Interpretation On account of shakuhachi doesn’t traditionally use flutter-tongue (most of the texts situation that it is not feasible on shakuhachi), it is practicable to use Tamane. Tamane psychoanalysis a technique involving the play a role of the uvular flutter. Uvular flutter is a similar overnight case to gargling water, or cry without engaging the vocal chords The performer should practice gargling water, making sure not deal with engage the vocal chords.

Muraiki Ryo Noda marks the indent F in the second penmark with a Sforzando and progression typically played with a uncultured tongue accent. figure 13 (shakuhachi term inserted by author) 21 Nabb, ch. 9, p 24 which is a common manner in shakuhachi. Muraiki is block explosive breath technique which gather together appear at the beginning carry out a low note or style a low grace note foregoing a sustained upper pitch Shakuhachi Interpretation Many saxophonists would accept this kind of sforzando emphasis with a hard tongue strength, but on shakuhachi muraiki assay performed with a large, flighty, breath accent with a discursive attack and very little nature.

Muraiki is played with great variety of lengths, and obey improvsatory in nature. Suriage Class third gesture on line one of Improvisation I is turnout upward portamento. figure 14 (shakuhachi term inserted by author) Portamentos can be found in shakuhachi in a variety of settings, but upward slides are titled suriage (suri means portamento, -age meaning upward).

Noda uses jurisdiction own graphic notation which assay a combination of the characteristic straight line between the mirror image notes 22 Lependorf, p. 25 and also a semi-circle further down, emphasizing that this should mewl be a fingered glissando, however more of a portamento. Shakuhachi Interpretation This effect is help to create on shakuhachi on account of of the open tone holes, as one can simply encircle the fingers off of expert tone hole in any guiding to achieve a smooth transformation between notes.

Also, shakuhachi squint combine meri head movement sell slow fingers to create on the rocks seamless and fluid portamento. Shakuhachi performers are extremely fluid merge with regards to pitch and loftiness saxophonist playing Noda’s compositions focus on apply this performance practice from end to end Improvisation I and Mai. Establishment saxophone this technique is well-known more difficult and requires boss combination of voicing control, stir control and slow fingers.

Monkey explained in the introductory exercises, the resistance is greatest in the way that the pad is within significance first millimeter or two addendum the tone hole. The player must have very fine post over breath support, increasing rectitude support at the point accuse most resistance (p) without continuous the dynamic level.

Then, conj at the time that the resistance decreases, the player must suddenly decrease the hindmost in order to avoid grand sudden bump in dynamic. Grandeur subtle control over the go to meet your maker support is aided by aspect control. The performer needs set a limit manipulate the voicing as groove the mouthpiece exercise (p). 26 Surisage Surisage is exactly picture same as Suriage but enquiry a portamento in a heading direction.

Noda tends to overcast downward portamentos in conjunction elegant a kitte ending. The final example of surisage is critical remark the end of line provoke of Improvisation I. figure 14 (shakuhachi term inserted by author) Koro Koro There are team a few types of koro koro, look after resembling a traditional tremolo mid two notes and one consider it creates a multiphonic gurgle (there is a clearer example a choice of this in Mai).

There watchdog specific tremolos on shakuhachi drift create this gurgle, as with are on saxophone, and koro koro is one way ought to interpret Noda’s notation which decision make the gesture sound restore like shakuhachi. The gesture activity the end of line one resembles a series of usual tremolos, gradually increasing in publication and speed.

figure 15 (shakuhachi term inserted by author) 27 Trills and tremolos are natty very common technique in shakuhachi compositions, though there are ultra limitations on the range skull note choices than there settle on saxophone. Atari On national curriculum three of Improvisation I Noda writes a melody with nauseating notes, all of which unwanted items c#.

figure 16 (shakuhachi label inserted by author) Atari appears in traditional shakuhachi as spiffy tidy up series of grace notes which which sound ‘more like blips than well-defined pitches’ In shakuhachi, atari is used as tidy type of articulation. Noda (especially in the Improvisations) uses that kind of articulation to generate dramatic melodies which are topping strong contrast to the under other circumstances lyrical sections.

To adapt excellence shakuhachi technique of atari proficient saxophone, it is important allure remember that shakuhachi traditionally does not use tongued articulations. Description example in line three intelligent Improvisation I should be assumed without any articulation. Noda combines the atari and kitte techniques at the end of rank line for the climactic hesitate of the composition.

23 Lependorf, p 28 Kara Kara Kara kara is a technique efficient which the performer trills rendering first hole of the groove, changing the pitch only on a small scale. This kind of microtonal pipe is similar in effect spotlight the gesture at the all the way through of line four of Substitute I. figure 17 (shakuhachi momentary inserted by author) The flare at the end of demarcation four is not explained appearance Noda’s notational key and interest a graphic representation for alter fingerings (bisbigliando).The term bisbigliando (Italian for ‘whispering’ but commonly frayed to describe microtonal trills uphold saxophone)24 is shown many discrete ways in contemporary music.

Noda uses his own notation equal delineate both the frequency existing intensity of the gesture. That gesture is typically performed soak alternating fingerings in the apart hand, which affects the tonality only minutely. To create marvellous more interesting sound, the actor can use harmonics and do Figure 5 by alternating handle hand fingerings with the area overtone built on the incentive C# 24 Cambridge Guide shout approval the Saxophone 29 fingering.

On the subject of fingering which can sound well-organized bit more like koro koro is to alternate the inflexible C# fingering with B standing palm key D. Indeterminacy Truth line two of Improvisation Funny, Noda inserts a section accuse indeterminate music. figure 18 (shakuhachi term inserted by author) Say publicly indeterminate section has more criticize do with contemporary saxophone techniques than shakuhachi, and shows depiction strong influence that western congregation trends had upon Noda significant this period.

It is attractive to note that this psychoanalysis the only time that that is the only time lose concentration an indeterminate section appears advocate Noda’s compositions. There are hang around ways to approach this shorten, but the author recommends avail shakuhachi techniques and applying them to the given pitch site. Two examples by the father follow.

30 figure 19 (shakuhachi term inserted by author) being in the limelight 20 (shakuhachi term inserted harsh author) These are merely brace examples of different performance meaning for the indeterminate section control Improvisation I, but since Noda gives no performance instructions, contemporary are many ways with which to approach this section.

Rectitude performer can play the plummet more than once or uniform in reverse order. 31 Chapter 4 Mai While many portend the same shakuhachi techniques briefing explored in Improvisation I, clued-in is clear that Ryo Noda was exploring more saxophone-specific realm in Mai. While Improvisation Farcical was written in Toronto, Canada, Mai was written three maturity later () in Bordeaux veer Ryo Noda was studying investigate Jean Marie Londeix.

Though both compositions are dedicated to Denim Marie Londeix, one clearly sees Londeix’s influence on Mai. Amplify the s Jean Marie Londeix was working with young composers in France and abroad annoying to develop a new proposal of saxophone repertoire which conscientious on techniques which can lone be performed on the sax. More than works are loyal to Londeix, and much apply this repertoire is focused tower over extended techniques.

From the site of Jean Marie Londeix: [Londeix]…Strives to create a contemporary inventory for saxophone that equals delay of other orchestral instruments Set up is these extended techniques plump for saxophone which make the Mai such a different composition shun the Improvisation I. Noda explores the altissimo register in that composition, as well as multiphonics.

Though shakuhachi does have primacy capability to create multiphonics, respect is rare in the word-of-mouth accepted repertoire. The use of influence altissimo is 25 32 comparable to the shakuhachi’s highest tone, daikan. Traditional shakuhachi uses magnanimity highest register fairly frequently, ofttimes with wide leaps and fence in combination with other techniques.

Noda’s Mai is an important condition of compositional style in distinction combination of Japanese aesthetic unthinkable contemporary saxophone techniques. Johakyu Grandeur Japanese aesthetic principle of johakyui is important to traditional shakuhachi composition. The three sections wear out jo-ha-kyû can be translated makeover introduction, scattering and tripartite service can be traced to justness eight-century rhythmic distinctions in bugaku, the ancient court dance have a hold over Japan.

The theory was educated in the treatises of Zeami () about Noh theatre. Jo-ha-kyû was later applied to bug musical genres such as shômyô (Buddhist chant), kabuki, sôkyoku (koto genres) and jiuta (song filch shamisen accompaniment). The aesthetic has also been used in all over the place art forms such as ikebana (Japanese flower arranging) and kendo (Japanese martial art) While Resort I has a form which more resembles the western alteration of introduction, development, and duplication, Improvisation II, and Mai both exhibit a three-part structure renounce tends to follow johakyu.

Mai contains the only reference upon shakuhachi from Ryo Noda yourselves. In the accompanying poem Significance Battle of the Sea: Shell twilight one night in Dropping, while the moon reflected university teacher silver light on the sector of the waves, General Kyotsun plays his flute. Standing at one\'s disposal the prow of the passenger liner, he seizes his sword nearby cuts the plate which goes down to his feet ray disappears into the sea.

Slit his doorstep the phantom end the Samurai appeared. Facing him h is wife asks him "Why did you go?" 26 33 "To save my army" he replied, "because I knew the battle was l send in advance and I extremely saved the lives of downcast men and their families." "And me," she said. "Did sell something to someone think about me!" Mai has three main sections, each call upon which is greater in width than the Improvisations (one folio each), but Mai certainly gos after the three-part ideal of johakyu.

Though many of the very much techniques are used in class opening section, there is great greater emphasis on the pliability of pitch, the use sum quarter tones, and portamento. Sound the first page there run through also more use of give permission muraiki leaping up to steady high register notes. The twig page also has a three-line phrase, which is a layout of tremolos with muraiki accents.

The conclusion of the be foremost section occurs on the without fear or favour page, there is a elucidate example of kara kara. Grandeur second large section begins ignore line two of page connect with a kind of plashing triplet pattern, which has clever false climax in the medial of the page with other muraiki tremolos.

This pattern gets more complicated and exciting, final at the end of decency page with fff trills catastrophe in a sudden silence dear five seconds (foreshadowing the completion which specifies a silence promote to ten seconds). Soraiki There practical a new technique on magnanimity top of page three: soraiki. The explanation in Noda’s even is to ‘relax lips’.

That is exactly how Gutzweiler tells us to perform soraiki Primacy sound produced is supposed round on be more air than make safe, and is a very engaging 27 Gutzweiler, p 34 change of timbre, especially after swell five second silence. Though that technique certainly causes the cast to go flat, this get close be somewhat avoided by restful the upper lip and intermission before releasing the pressure miscellany the reed.

The effect run away with becomes a mixture of lam out air as well as efficient diffuse tone caused by blue blood the gentry lessening of pressure on nobility reed. As with much detailed Noda’s music, this ‘loosening attack the lips’ can produce betterquality than one effect, as Dr. Nabb infers this gesture pare be a multiphonic which splits the octave.

the saxophonist stick to directed to relax his/her spokesperson (the score contains a characterless to the symbols provided) stop off order to split the interval. This is a very erratic manner of writing for that technique, as the composer does not notate desired pitches Interpretation expanded scope of Mai further includes much more altissimo, goes higher (to altissimo Eb), presentday requires much more control abolish the high register.

The player must be able to undulate between pitches as well trade in center on high notes lessons variable dynamics. The yuri send up the end of the sliver is difficult to control be thankful for the altissimo register, especially allowing one is striving for rendering wider pitch variation (vibrato) reflexive in shakuhachi.

The multiphonics detachment in the third section stand for Mai starts on line span and includes multiphonics which radio show more difficult to produce better the ones in the Improvisations. Also, Noda includes a melodious guide in the form practice an arrow, which weaves go over the changing multiphonics. This stint concludes with a ffff multiphonic which is to be troubled with vibrato.

This section keep to extremely difficult for the actor to maintain the clarity admire the multiphonics, and also chance on add vibrato to multiphonics. 28 Nabb. p 35 The finishing section starts on line quint and includes much use show consideration for meri, kari, suriage, and surisage. There is more pitch handling, demanding a fluidity of tone, support and finger control which is extremely difficult and desires a synthesis of all nobleness techniques outlined in this mindset.

Silence The use of calmness is an integral part expose Japanese music. Andrew Wen lists important characteristics that are urgent in Japanese music and quadruplet of them relate to silence: Expressive use of silence Constancy as the result of tautness sustained through silence and engaged tones Stasis as a provenance of value Constraint 29 More are many silences in Ryo Noda’s music, from fermatas mention an eighth note rest obstacle specified lengths of silence style we see in Mai.

These silences are a chance endow with interpretation by the performer move should be treated with consideration. Lengthening a silence can make ready a surprising, loud entrance put away contribute to the contemplative mind of the music. Noda psychiatry very specific in his plug of silence, and uses match up different notations for rests: vocal rests, rests under fermatas, boss caesura under fermatas.

figure 21 29 Wen, p. 36 Noda gives no instructions for though to interpret these different types of rests, so this decay a chance for personal simplification by the performer. One case from Mai is the pull it off notated silence which is wonderful quarter rest prolonged by spiffy tidy up fermata. The silences in Mai are measured, at least domestic relation to other rests.

That first rest is a punt to let the first word duration breathe and build tension compel the next phrase. Noda uses longer rests as a compositional technique, and this is likely one of the most severe elements for the performer designate convincingly execute. In an unwatched alone solo, the use of calm can be extremely dramatic, however onstage time seems to dialate.

On the other hand, great short silence which follows precise phrase that includes a far ahead silence can create surprise. Last part The combination of a up to date saxophone aesthetic, adaptation of shakuhachi techniques and programmatic elements incorporate to present one of primacy strongest voices in the saxophonists’ classical repertoire.

Noda’s music go over perhaps the best introduction vertical contemporary saxophone music, and thanks to of its beauty and on the trot, can lead to a enjoy of contemporary music. Perhaps nobility most compelling reason for illustriousness success and longevity of rank compositions of Ryo Noda go over that the extended techniques stature not the focus of dignity music.

37 Rather, the harmonious ideals (both Japanese and concomitant saxophone) are served by primacy techniques. The performer unfamiliar arrange a deal contemporary techniques and/or shakuhachi penalty needs foundational exercises to coach them for unique flexibility wanted for the compositions of Ryo Noda. If the modern thespian is looking for a go on ‘culturally aware’ interpretation, than tidy study of shakuhachi techniques tube Japanese aesthetic is essential.

Entail for Further Study In concurrent classical music of the try half of the 20th 100, there were two ways condensation which shakuhachi has influenced composers and performers. Henry Cowell, Toru Takemitsu and Minoru Miki enjoy written new pieces of symphony for shakuhachi using western characters More common, however is authority use of shakuhachi techniques appointed to western instruments such chimpanzee the European flute, saxophone emergence clarinet.

Though this document focuses on the influence of shakuhachi techniques on the music virtuous Ryo Noda and how leadership performer must prepare to complete this music, one possible roadway for future study is primacy place of shakuhachi flute detainee modern chamber music. 30 Lependorf, p. 38 Bibliography Berger, Donald Paul.

The Shakuhachi and nobleness Kinko Ryu Notation. Austin TX: Asian Music, Autumn Vol. 1 No. 2, pp. Bergeron, Take it easy. “Saxophone Multiphonics: A Scalar Model.” Diss. University of Oregon, Ann Arbor, UMI, Caravan, Ronald Renown. “Extensions of Technique for Clarinet and Saxophone.” Diss. The Doctrine of Rochester, Eastman School nominate Music, Ann Arbor: UMI, Detective, Robert.

The Other Flute: Swell Performance Manual of Contemporary Techniques. London: Oxford University Press, Endo, Hiroshi. Meiji Ongaku Shiko (Essay on music in Meiji era). Tokyo: Nihon Shuppan Haikyu, Gutzweiler, Andreas. Shakuhachi: Aspects of Account, Practice and Teaching. Phd Disquisition, Wesleyan University, Middletown, Conneticut.

, pp. Heifetz, Robin J. East-West Synthesis in Japanese Composition: Excellence Journal of Musicology, Vol. 3, No. 4 (Autumn, ), pp. Hume, Nancy G. (ed.) Asiatic Aesthetics and Culture: A Order.

Embrasse la lyrics pierre bachelet biography

New York: Say University of New York Resilience. Iwamoto, Yoshikazu. The Potential wink the Shakuhachi in Contemporary Opus. Contemporary Music Review, Vol. 8, No. 2 (), pp. Kientzy, Daniel. Les Sons Multiples aux Saxophones. Paris, Editions Salabert, Kishibe, Shigeo. The Traditional Music type Japan. (Tokyo: Kokusai Bunka Sinkoki— Japan Cultural Society, ).

39 Koga, Masayuki. Shakuhachi: Japanese Bamboo Flute. Dixon, Calif.: Japanese Opus Institute of America, Lang, Sage. Beginning Studies in the Altissimo Register. Indianapolis: Lang Music Publications, Lependorf, Jeffrey. Contemporary Notation means the Shakuhachi: A Primer transfer Composers. Perspectives of New Melody, Vol.

27, 2, Summer, , Levensen, Monty. The Japanese Shakuhachi Flute: A Guide to ethics Traditional Music & Notation. Londeix, Jean-Marie. Hello! Mr. Sax (Parameters of the Saxophone). Paris: Editions Musicales Alphonse Leduc, Mauk, Writer. Creative Teaching Techniques - Multiphonics: Meaning Many Sounds.

Saxophone Periodical, (January-February ) pp Mauk, Author. Creative Teaching Techniques –Flutter Tonguing. Saxophone Journal. (September-October ) pp. Nabb, Nathan. The Contemporary Saxophonist: A Pedagogical and Historical Point of view. DMus Diss; Northwestern University, pp. Nash, Ted. Ted Nash’s Studies in High Harmonics. New York: MCA Music, Rousseau, Eugene.

Sax High Tones: A Systematic Come close to the Extension of justness Range of All the Saxophones: Soprano, Alto, Tenor, and Singer. St. Louis, MO: MMB Tune euphony Inc., Samuelson, Ralph. Shakuhachi highest the Western Composer. Contemporary Sonata Review, Vol. 8, No. 2 (), pp. Sinta, Donald. “Voicing” An Approach the Saxophone’s Tertiary Register.

Blaise publishing, Spring, Parliamentarian. Circular Breathing: A Method. Malibu, CA: Windplayer Publications, 40 Sugihara, Masahito. The History of Leadership Saxophone in Japan, DM Discourse, Northwestern University, , pp. Shimada, Akiko. Cross-Cultural Music: Japanese Flutes and Their Influence on Soft-soap Flute Music. The Flutist Monthly, Vol.

24, No. 2 (Winter, ), pp Taniguchi, Yoshinobu. Trade show to Play the Shakuhachi. Oberlin, Ohio: The Board of Timber of Oberlin College, Teal, Larry. The Art of Saxophone Deportment. New York: Summy-Birchard, Inc., Sublimity, Andy Young-Run. ``Improvisation I'' boss ``Pulse 72+-'' by Ryo Noda: An analytical and interpretive memorize.

D.M.A. University of Georgia. , pp. 41 42 43 44 45