RFD: Otomo Yoshihide - Cathode

ask the noise board, Sundar; you might get a better response there. I know Gygax digs on this, also JW probably does too.

This link explains the story behind his Ensemble Cathode, based on techniques he used for Cathode:
http://www.japanimprov.com/indies/imj/ensemblecathode/notes-e.html

the liner notes for Cathode do a fair job of summing it up don't they? every player should choose sounds absolutely free from the influence of any other player's contribution.

the Sound Projector interview contained the first comments of how much he hates 'call and response' improv that mimics traditional conversational exchanges. he's searching for something more essential.

I love Ensemble Cathode, prefer it to Anode even all three of these are great...

But is that all? Just that instruction? I mean, some notated material is shown. I'm interested in what's involved with the score - is there any predetermined sonic material? Are there any graphics involved? Environmental factors? Any structuring concepts?

I think one of the main structuring concepts is the one I mentioned, but I'm posting offhandedly from work... am I wrong? I remember the liners being explicit...

I think this concept in itself was a radical move, I've tried to imagine incorporating that myself in improv and it definitely gets you thinking. Not to be indifferent to the other sounds, simply not swayed by them. Automatically prompts a high degree of concentration on what you're doing.

I agree. I'm just wondering if there's anything like "Do that in this section, then in this part you want to work with these notated sounds and then in this part you build those up to a climax . . . "

well, the back cover shows a bit of the score for the first piece, which I would imagine to be largely notated along with the last piece, and the liner notes mention that the middle two pieces are studio constructions based on tapes of free improvisation. have you read the interview at the japan improv site?

now that I'm home I can see that I was actually remembering the liner notes to Anode in the above posts, which does have a largely conceptual/instructional score:

Anode is composed by imposing several conditions on improvisers. Unlike previous compositions, no rule is set for the structure other than duration.

There are three requirements for all the pieces:

1. Do not respond to the sound of others.
2. Do not form a course from the introduction to the conclusion.
3. Avoid any popular rhythm, melody, cliche etc.

I didn't quite come around to the stripped down approach of Anode until I heard Ensemble Cathode, which is sort of an attempt of performing the moods/textures of the two tape pieces on Cathode in real time using the aesthetics developed on Anode. Very interesting trilogy.

this (from the interview) is something I've been thinking about a lot this year leading up to november 2

To me, Filament's sound is very beautiful. But the experience of beauty is always linked to danger. The danger is the cessation of thought. I really want people to be aware of this.

i think sundar wants tabs if i'm not mistaken... ???

he's going to have to drop yoshihide an e-mail then

'every player should choose sounds absolutely free from the influence of any other player's contribution.'

I think keith rowe has a similar philosophy to his improvising - I'll have to check later but as I recall this wz attacked by eddie prevost in his latest bk of essays.

I'm so horribly slow on yoshihide I'll have to check this out.