mt fuji serenades for 20 string koto solo

7/31/2019 Mt Fuji Serenades for 20 String Koto Solo

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Connor Helms

Mt. Fuji Serenadesfor 20 string

Koto Solowith an added

'0' string (21 strings)


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2

Oshide (left hand pressure): This solid arrow above a note means to raise the pitch a minor second (kari)

This hollow arrow means to raise the pitch a major second (o-kari)

This asterisk means to return the string pressure to it's open position

Ato-Oshi:

oshiobiki/hanashi: If only a line appears between the notes, simply apply oshide pressure until thenotated pitch is reached, then repluck the string. I will not always put in kariarrows as it should be obvious how far the note will be raised.

If both a line and a slur appear, simply raise and/or lower the pitch withoutreplucking the string

Bend to indetermined pitch before playing the next designated note. In later passages,the abbreviated version 'A.O.' will appear. Also take note of the glissandoline in this particular example, it shows that you are to bend up late rather than thenormal more linear approach to oshide. There are also instances of bending up early. Thisapplies to any and all oshide/string pressure techniques, not just ato-oshi

keshizume triangle noteheads. Simply place the back of your nail on the left hand index nger underneath a string,applying very little pressure so as to not completely mute the string. Instead, the string has slightly lessreverberation, in exchange for a buzzy timbre.

fuene/ notice how there is both a harmonic note and another note played at the same time (which happens to beharmonics a unison with the harmonic in this case, though not always). The diamond notehead is actually to be played

on the string an octave below this, to avoid clutter I will only note the intended sounding pitch with adiamond notehead.

Where the bridges need moved to adjust tuning, there may not be rests in the left hand notes.You would then need to adjust the bridge at the nearest opportunity in the measures before. It isup to the individual performer to mark where they personally will be making these adjustments.

hiki-iro: With left hand, tug the string to the right on the other side of the bridge, loweringthe pitch indeterminedly. Notice how the rst type on the left is more abrupt, thesecond type at r ight being more gradual and deeper. The characters above the noteswill always appear so as to be clear as to which type is intended in each case.

tsuki-iro Just after plucking, apply small indetermined amount of oshide pressure then quicklyreturn to open position. Notice the character above the notes, rather than kari arrowsand asterisks. Also notice the 'early' versus 'late' line types.

Tuning at beginning of piece:

Tune to D major diatonic from the C#.Tune '0' string to A below


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oshiawase: In this case, pluck string 13 (B) and quickly after pluck string 14(C#). While doing this, raise string 13 up to the same pitch as 14,in this instance an o-kari oshide. Sometimes I will notate the Brather than just writing a C# unison.

chirashizume: The rst is a normal scrape using the side of the plectrum. Thesecond is with the top of the plectrum. The third is a back and

forth left-right gesture on the same str ing.

surizume: plectrum scrape on two strings, using index and middle ngers

uchizume: solid upside down triangle above note, slap the strings with face of tsume

uchikaki: Glissandi plectrum scrapes of multiple strings. In this case, the right hand takesjust as long as scraping both the C# (1) and E (3) in the left hand in succession,as evidenced by the rhythmic values notated.

plucking positions: N.R., O.R., P.O. The location of the tsume are sometimes specied in order to achieve a desiredtimbre. N.R. stands for 'near ryukaku', slightly closer to the ryukaku than P.O.,'ordinary position' (which is roughly 1/8 of the length from the br idge to theryukaku for each particular string). O.R. is 'off ryukaku', perhaps 2/8 of thelength. Besides notated directions, the performer is free to adjust playing

position at will. N.R. will make the sound weaker by softening the fundamental,O.R. will produce more fundamental and less overtones, a 'fat,' rounded, andwarm timbre at the expense of some characteristic colors of the koto sound.

sukizume and kozume The downward-pointing arrowhead denotes sukizume upstrokes as opposed tothe nger in question's typical downstroke. The upright-pointing arrow iskozume, a scraping icked upstroke. Sukizume upstrokes are therefore impliedwhen you see the kozume symbol.

Only arpeggiate when the line to do so appears, otherwise play multi-stopssimultaneously with several ngers at once rather than just sweeping with one.

voix cleste: There are many things to point out here. First, thisis a technique where you tune two adjacent strings tonot quite a unison so as to achieve an audible beat of dissonance.Notice that all voix cleste notes are an x notehead, this will not be used.They are used here to make obvious which notes are normal. Notice thenaturalize or 'nat' box, ordering you to return the designatedstrings to their default tuning as specied at the tuning key atthe top of the front page of annotations.

In this instance, all strings that were set to voix cleste werereturned to their default pitch (15 and 19, D and G).Normally, I would simply put 'nat all'. There may be cases whereonly some of the strings are naturalized, in which case the'nat box' listing is of benet. Notice also how the left hand doesnot have any notes to play for a while, ensuring plenty of time toreturn the bridges to their default places.


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Copyright 2012 Connor Helms

20 string Koto pp cresc. f

q= 40

p cresc. f

mf

2

mf 3

4

dim

5

dim

mf

6

mf

94

94

#this staveright handonly

Twilight

constant gradual acceleration of tempo throughout, do notaccelerate when the moon is out (you may wish to decelerateduring night sections).

3 3

Connor Helm

Part 1: The Five Lakes1. Purple of Lake Motosu

?##this staveleft handonly

+L.H.4th or 5th nger +

#Dawn P P3

3

?##3 3 3 3 3 3 3 3 3

#

?##3 3 3 3 3 3 3 3 3

#O.R.

?##O.R.3 3 3

#

?##3 3 3 3 3 3

#P.O. P P3

3

?##P.O. 3 3 3 3 3 3 3 3 3

j

J j J

J J J

j J

J J J

J

J

J J

j J

j

J

j

j

j

J

J

Jj

J

J j J J

J J J

4


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7

8

9

mp

q= 5010

mp 11

12

13

#

?##3 3 3 3 3 3 3 3 3

#

?##3 3 3 3 3 3 3 3 3

#

?##3 3 3 3 3 3

#Noon

?##+ +

#

?##+& ? +& ?

#oshiawase

?##

#2 3

?##

j J

J J J

JJ

J

j J j J

O OO OO O

O OO OO O O OO OO OO OO OO

J J #

J J J J

#j

J J J J


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p mf

14

mf

mf p mf

15

mf p mf

16

mf p mf

17

mf

q= 6018

mf

19

#(move bridge from 12 G-G#) N.R. (right hand only)

?##++&

(move bridge 5 from G-G#)

O.R. (left hand)

?

#

?##

#?##

#

?##

>

#P.O.Dusk (move bridge 12 from G#-G)n n

P P3

3

?##P.O.

(move bridge 5 from G#-G)3 3 3 3 3 3 3 3 3

#

?##3 3 3 3 3 3 3 3 3

# J

j OO# O OO

#

# j

# # J

#

J

J j J J

J

J

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6


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20

q= 4521

rit.22

p

q= 451

p

mp

2

mp

3

4

#

?##3 3 3 3 3 3 3 3 3

#Night do not accelerate tempo anymore

?##3

#

?## g l i s s .

3 3 3 3 3

#Twilight

2. Lake Saiko, Sea of Trees

?##

#3

Dawn

?##behind bridges

g l i s s. c

#?##

#ato-oshi

j J

JJ J J

j

J

J JJ

J J JJ

j J J J

J J J


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5

6

7

8

rit.9

p mf

q= 5510

mf 11

#> > >> > >> > > >> > >> > >> 3 3 3 3 3 3 3 3 3 3

3 3 3

3 3 3 3 3

?##

#3

?##

#

?##

#

#> > >> > >> > > >> > >> > >> >3 3 3 3 3 3 3 3 3 3

3 3 3

3 3 3 3 3

?##

?##Noon

slowly drift off the ryukaku> > >&

> P.O. (move bridge 12 from G-G#)>3 3 3 3

?##O.R.

> > > >3 3 3 3 3

# > >

> > >?##

(move bridge 5 from G-G#)> > > > > > > >3 3 3 3 3 3 3 3 3

j J J

J

## #

#

# #

8


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p

q= 50 accel.1

p

2

3

4

5

mp

6

mp

#Twilight surizume

~~~~~~~~~~~~~~~~~~~~~~

3. Lava in Lake Shoji

?##

#Dawn

?##

#2 1 2 2 3

?##

# ?##

#1 2 3 1 2 3

> >2 3 2

> 3 (string 4)

?##+

# oshiawase

?##+

j j

j

j

1 1 j j

1 1


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7

8

9

mf

q= 6010

mf

11

12

13

#

#2 1 2 2 33

# c c c

#

#> > > > > > > > > > > >

?##

#Noon 3 3 3 3

?## 3

# 3 3 3 3 3

?##3

#3 3

3

3 3 3 3 3 3

?##

# 3 3

3

3 3 3

?##

J j j

J J

J

J J

12


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14

15

accel. accel. accel. accel.16

17

cresc

f

q= 7018

f 19

20

#

?##

# ? &(bridge 19 to G#)

?##

#(bridge 12 to G#)

?(bridge 5 to G#)

& ~~~~~~~~~~ ~~~~~

?## c c

#3 3

3 3

?## 3 3 3 3 3 3 3

#Dusk3 3

3 3 3

?##3 3 3 3 3 3 3 3 3

#3

3

3

3

?##3 3 3 3 3 3 3 3 3

#3 3 3 3 3 3 3 3

3

?##3 3 3 3 3 3 3 3 3

J

#

OJ OJ O

# #

#

j J #

#

# j #J J #

# # J J J

#

j # J J J j J # J J J J J


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21

q= 50 rit.22

p

q= 481

p

mp f

accel.2

f p f p

f

3

f p f p

f p

4

f p f p

f mp

accel.5

f p f

#3 3 3 3 3

?##3 3 3 3 3 3 3 3 3

#Night (bridge 12 to G)

?##

# Twilight

voix cleste: lower all E bridges to Dlower all A bridges to G

There will be a lot of 'ma' ( rests in this movement,play with a feeling of tension and spaciousness

4. Island of Lake Kawaguchi

?##

#Dawn uchikaki

?##> ># >

?## > ># ? & >?## >

?## > > ?## >

>>

# j #J J J J J J J J J

1 1 J 1 1 n

J

j j j j

j

j

J

14


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20

f mp f mp

q= 5521

f mp

f mp f mp

22

f f

f mp f mp f mp

A Temporit. rit.

23

f

f mp f mp

A Tempo rit. rit.q= 30

24

f mp f mp

f f mp

q= 60

1

p

#Move all G bridges to G#

3

?##

# Night> >3

?## > >

# >>

3

?## > >

#2 3 1> L.H.R.H.L.H.R.H.

3 3

?## >

# >?## >

3

3

#Twilight

behind ryukaku

g l i s s .

bridges back to default tuning

behind bridges

g l i s s .

>

5. Lake Yamanaka the Prodigious

?##5

5 5

5 5

5 5

5 5

5 5

5 5

5 5

53 3 3 3 3 3 3 3

j #

#

#

# J #

# j j # j #

#

j j j j j j j j j


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p mp

2

3

p mp

4

p

5

p

mp

6

mp 7

p

8

p 9

mp mf

q= 7010

#Dawn

>3

#

# >3 3 3 3 3 3 3

#3 3

3

3 3

#

#

#

#

#

#

?##

# 3 3 3 ?##

#Noon (on D >3 3

J J j

J j J j j J j j J j j j

O O O

O O O

O O O

J J J J

J j J

18


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11

12

mf

13

14

15

mf 16

f

17

f

sfz f

q= 8018

f

#c

?##

#3 3

#

#3

3 3

#

?##5 5 55

5 5 5 5 5 5 55

5 5 5 5

3 3 3 3 3 3 3 3

#c

3

c

3

c

3

c 3 c 3 c

3 3 3

?## 3 3 3 3 3 3 3 3

#3

>3

> > > >3 3

?##

> > > > >3 3 3 3

#Dusk

all G bridges to G#4:3

3 3

?##

O

J J J j J J J j

J

J

J

J

j

j

J J J j J J J j

J

# #

#


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19

20

21

22

23

mp

24

mp

mp f mp f mp f p

25

#3 3

?##+

#?##

+

#

?## 3 3 3 3

#4:3

# ?

#3 3

?##

# >3

3 3

3 3

3 3

?##3 3

3 3 3 3 3 3

?## 3 3 3 3 3 3 3

3

# J

#

# J #

# # j j

#

#

# J # j

#

# J

#

J # J

j j

#

# j j

20


21/29

f

q= 9026

27

28

f

29

30

31

rit.32

#Night G# bridges back to G

#

#c c c

?##5 5 55

5 5 5 5 5 5 55

5 5 5 5

3 3 3 3 3 3 3 3

#

?##

# > >

3

?##

#> >

3

?##

# ?>>

3

?##3

n

j J J J J

J J J j J J J j

J J J J

j j j j

J J J

j j j j

J J


22/29

mp

q= 651

mp 2

f

3

f

mp

4

mp

mp f mp f mp

5

mp f mp f mp 6

7

114114

?##

Part 2:Climbing the Mountain

?##

c cc

c c c cc

csempre, kozume til the nat. command

3 3 3 3 3 3 3 3

?##?## 3 3 3 3 3 3

3 3 3 3 3

?##?## 3 3 3 3

3 3 3 3 3

3 3

?##?## 3 3 3

3

3

3 3 3 3 3 3

#?## 3 3 3 3 3 3 3

3 3 3 3

#c

>?##

these C# and D# notes do not need to be scraped if too difficult

3 3 3 3 3 3 3 3 3 3 3

# >?##

3 3 3 3 3 3 3 3 3 3 3

b #b

b #

b #

b #

b #

b # b www#

b #

# b bb #

#b

b b b # b b #

# b

# b b b b b b

22


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mp f

8

mp f mp f

mf

q= 759

10

11

12

13

mf

mf

14

mf 15

16

#?##

nat. kozume nat.

>3 3 3 3 3 3 3 3 3

#Move all A bback to A, you can leave the D bridges at D# 5 repeat innitum until bridges are changed

{ { {

3

# > >>

#

?## ?##

#?#

#

3

3

3

#?##

#c c c c

?##3

3

#c c c c c c c c

?##

# b # b # #

O O n

j

#

J

J j

j

j j


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17

18

19

20

21

22

mf

23

#

?##

#

?##

#

?##3

3

3

3

#

?##

#c c c c

?##

#?##

#Move all A bridges to A b, 5

{repeat innitum until bridges are changed

{ {

3

j

j

J

j j j

J

O O

24


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mf

24

mf 25

f

26

f

mf

27

mf

mp f mp f mf

28

mp f mp f mf

f

29

f 30

#

?##3 3 3 3 3 3 3 3

#

?##3 3 3 3 3 3 3 3 3 3 3

#

?##3 3 3 3 3 3

3

3 3

3 3

#

?##3 3 3 3

3 3 3

3 3 3 3

#

?##3 3 3 3 3 3 3 3 3 3 3

# >?##

3 3 3 3 3 3 3 3 3 3 3

# >?##

3 3 3 3 3 3 3 3 3 3 3

b j # b b #

b J #

b #

b J J j J #

b #

b #b www#b # b

# b bb #

#b b b # b b b #

# b j b

# b b b b b b


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mp f

31

mp f mp f

f

q= 85accel. accel.

32

f 33

34

35

36

37

38

# > > 3

?## > > > >3 3 3 3 3 3 3 3 3

# uchikaki

surizume

~~~~~ glissando,other hand just after

?##

#?#

##?##

#

~~~~~

#.

do not let ring

. . . . . . . .?##. . . . . . . . . .#

do not let ring

3 3 3 3 3 3 3 3 3 3 3

?##. . . . . . . . . .#

3

3 3

3 3 3

3 3

3 3 3

?##. . . . . . . . . .

# b

# b # #

b j

b # b # b

# n b

b # b b b

# n b # # b

b j

b j # j

b #

b j j # j #

j

j j

b #

b j # J J j # j

b #

26


27/29

39

40

mf

41

mf

42

f

43

f

mf

44

mf

mp f mp f mf

45

mp f mp f mf

#3 3 3

3

3 3 3 3 3 3 3

?##. . . . . . . . . .

#3 3 3

3

3 3 3 3 3

3

?##. . . . . . . . .

#3 3 3 3

?## 3 3 3 3 3 3 3 3

#3 3 3

?##3 3 3 3 3 3 3 3 3 3 3

#

?##3 3 3 3 3 3

3

3 3

3 3

#3 3 3 3 3 3 3 3 3 3 3 3

?## 3 3 3 3 3 3 3

3 3 3 3

#

?##3 3 3 3 3 3 3 3 3 3 3

# b

b #

# b

b #

b # b b #

b #

b #

b #

b #

b #b # b # b

# b bb #


28/29

f

46

f 47

mp f

48

mp f mp f

mf

49

50

p

q= 8551

p

mp

52

mp

# >3 3 3 3 3 3 3 3

?##3 3 3 3 3 3 3 3 3 3 3

# >?##

3 3 3 3 3 3 3 3 3 3 3

# > > > >>3

3 3 3 3 3

?## > > > >3 3 3 3 3 3 3 3 3

#change D# and A bbridges back to default, repeat ad innitum until nished

repeat here once nishedwith D and A, keep repeatinuntil the two G bridges of th

next measure have been movto G#

#Now begin tuning the other unused G br idges to G# as well

#?##

3 3 3 3 3 3 3 3 3 3 3

#?##

3 3 3 3 3 3 3 3 3 3

#b b b # b b b #

# #b b # b b b b b b

# b

# b # #

# # # #

#

#

#

#

#

28


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mf

53

mf

f

rit.54

f

#?##

3 3 3 3 3 3 3 3 3 3

#?##

3 3 3 3 3 3 3 3 3

# #

#

#

mt fuji serenades for 20 string koto solo

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