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Figure 1: From left: Tuning fork – Onsa and a round turner – Fue.

Figure 2: Today’s tuning instruments

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26.)$6+$DJ$237#2#.,+$34$,"# Ji$0+ San Ju Sou$*-0,,#.$%)$Koyama Kiyoshige.

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2.1 The Strings are Played with the Right Hand Tilted and Its Fingers Pointing Towards the Tail End of a Kot/

(*,!#'*0'!"..&)&,0'*,21&#'./)'*'8/)&'$)&*0"+&'4&)./)8*,$&5':(&')"2(0'(*,!'/)'0(&'41*6",2'(*,!'"#'0"10&!'",'#%$('*'7*6'0(*0'0(&'Tsume'4/",0'0/7*)!'0(&'Ji'/)'0(&'0*"1'

Figure 3: The right hand is tilted and its !ngers pointing toward the tail end of a Koto.

2.2 Harmonic Playing Techniques

0(&'#0)",2#'8"!;7*6'-&07&&,'0(&'Ji'*,!'0(&'Ryugaku5':("#'"#'./11/7&!'-6'0(&'41%$<",2'/.'*'#0)",2'7"0('0(&')"2(0'0(%8-5'=/)8*116'7(&,'*,'/4&,'#0)",2'"#'41%$<&!'"0#'&,0")&'

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Figure 4: Illustrate the use of the middle !nger, index !nger, and thumb of the left hand to touch the marked positions on the strings while playing the string with the right thumb.

Figure 5: Playing the strings with the left hand’s little !ngers and thumb.

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2.3 Uji Zume Playing TechniquesUji Zume Tsume!"#!$%&!

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2.4 Vibrato Playing Techniques +%&!Vibrato %*,-!(,!$%&!)*.&!/*0!*)!$%&!Tsuki Iro Tsuki Iro

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Vibrato3(&9&);!$%&!Vibrato)$1(,4)6!<"/&=&1!(,!,&/!>"$"!.2)(9;!$%&!Vibrato3255(,4!"1!31&))(,4!"#!)$1(,4)!:0!$%&!5&#$!%*,-!*#$&1!:&(,4!35*0&-!:0!$%&!1(4%$;!/%(9%!91&*$&)!$%&!=(:1*$"?)!")9(55*$(,4!%(4%!*,-!5"/!3($9%&-!$",&)6

2.5 Hitting the Strings with the Palm of the Left Hand While the Right Wrist is Swayed so that the Tsume on the Right Hand’s Index and Middle Fingers Scratch Rather Than Pluck the Strings.!

3*1$!"#!$%&!)$1(,4)6!@($%!&*9%!)$1(7&!*$!5&*)$!$%1&&!)$1(,4)!*1&!%($!*$!1*,-".!3")($(",);!:2$!($!2)2*550!#*55)!",!$%&!5&#$!)(-&!"#!$%&!Ji!/%&,!$%&!5&#$!%*,-!()!2)&-6!8".&$(.&)!$%&!1(4%$!3*5.!()!2)&-!(,!*!)(.(5*1!#*)%(",!*,-!)".&$(.&)!:"$%!%*,-)!*1&!2)&-!)(.25$*,&"2)50!*$!=*1("2)!)&9$(",)!"#!$%&!)$1(,4)6!@%&,!$%&!1(4%$!%*,-?)!3*5.!()!2)&-;!$%&!)$1(7(,4!3")($(",!2)2*550!#*55)!",!$%&!1(4%$!)(-&!"#!$%&!Ji6!@%&,!

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Figure 6: Brushing or hitting a string with the middle !nger.

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Figure 7: Illustrate the use of the base of the left palm on the strings.

Figure 8: Illustrate the use of the right hand’s index and middle !ngers on various positions of the strings.

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Figure 9: Illustrates the placing of the left-hand’s middle !nger and the right-hand’s small !nger to play on the left hand side of the Ji.

2.6 Plucking or Scraping the Strings on the Left Side of the Ji

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Figure 10: Position for the technique of plucking outside the Ryugaku.

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!2.7 Plucking the Strings Outside the Ryugaku

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2.8 Hitting the Strings with a Wooden Stick to Create Certain Sounds

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Figure 11: Holding and hitting positions of the left hand. Figure 12: The left hand hitting the stick to initiate sympathetic vibrations in the strings.

2.9 Hitting the Koto Body with the Palms to Create Special Sounds

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Figure 13: Hitting the outermost edge of a Koto body next to the !rst string.

Figure 14: Hitting underneath the Koto body next to the player.

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