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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 is
up to the individual performer to mark where they personally will be making these adjustments.
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
oshiobiki/hanashi:
If only a line appears between the notes, simply apply oshide pressure until the
notated pitch is reached, then repluck the string. I will not always put in kari
arrows 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 without
replucking the string
Ato-Oshi:
hiki-iro:
tsuki-iro
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 glissando
line in this particular example, it shows that you are to bend up late rather than the
normal more linear approach to oshide. There are also instances of bending up early. This
applies to any and all oshide/string pressure techniques, not just ato-oshi
With left hand, tug the string to the right on the other side of the bridge, lowering
the pitch indeterminedly. Notice how the rst type on the left is more abrupt, the
second type at right being more gradual and deeper. The characters above the notes
will always appear so as to be clear as to which type is intended in each case.
Just after plucking, apply small indetermined amount of oshide pressure then quickly
return to open position. Notice the character above the notes, rather than kari arrows
and asterisks. Also notice the 'early' versus 'late' line types.
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 less
reverberation, in exchange for a buzzy timbre.
fuene/
harmonics
notice how there is both a harmonic note and another note played at the same time (which happens to be
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.
3
There are many things to point out here. First, this
is a technique where you tune two adjacent strings to
not 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 the
naturalize or 'nat' box, ordering you to return the designated
strings to their default tuning as specied at the tuning key at
the top of the front page of annotations.
voix cleste:
In this instance, all C# strings that were set to voix cleste were
returned to their default pitch (1,8, and 15).
Normally, I would simply put 'nat all' if all notes are to be returned.
Notice also how the left hand does not have any notes to
play for a while, ensuring plenty of time to return the bridges
to their default places
oshiawase:
In this case, pluck string 13 (G) and quickly after pluck string 14
(F#). While doing this, raise string 13 up to the same pitch as 14,
in this instance a kari oshide.
chirashizume:
The rst is a normal scrape using the side of the plectrum. The
second is with the top of the plectrum. The third is a back and
forth left-right gesture on the ssame string.
surizume:
plectrum scrape on two strings, using index and middle ngers. can
either be tremolo'd back and forth, or slowly dragged all the way across
the strings. I will usually not specify which type, it's up to the performer.
uchizume:
solid upside down triangle above note, slap the strings with face of tsume
uchikaki:
plucking positions:
Glissandi plectrum scrapes of multiple strings. In this case, the right hand takes
just as long as scraping both the C# (8) and E (10) as evidenced by the
rhythmic values notated.
The location of the tsume are sometimes specied in order to achieve a desired
timbre. 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 bridge to the
ryukaku for each particular string). O.R. is 'o ryukaku', perhaps 2/8 of the
length. 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, and
warm timbre at the expense of some characteristic colors of the koto sound.
q = 40
Twilight
17 string Koto
? ## 49
? ##
Dawn
n
p
n J
sfp
sfp
mf
? ## n
j
> > > >
3
ma rest
Connor Helms
j
> > > > > >
3
mp
J
J
sfp
mf
sfp
mf
J
move bridge 15 from C# to C
mf
sfp
mf
sfp
mf
mp
repeat gure
ad innitum
? ## n n n
J
J
J
J
J
J
string 1,8,15 to C#
repeat gure
ad innitum
? ## # #
J
#
J
string 1,8,15 to C
sfp
mf
sfp
mf
sfp
mf
? ##
mp
repeat gure
ad innitum
? ## n n
J
n
J
J
string 8,15 to C#
repeat gure
ad innitum
? ##
J
J
J
J
J
string 8,15 to C
repeat gure
ad innitum 5
? ## n n
J
n
J
string 1,8,15 to C#
sfp
q = 50
10
? ## #
Noon
mf
? ##
11
A Tempo
>
? ##
12
? ##
13
>
>
? ##
16
? ##
sfp
>
cresc.
mp
mf
mp
mf
mp
>
mf
pp
mp
15
? ## j
mf
mf
mp
14
accel.
mp
sfp
oshiawase
string 12
mf
mf
3
accel.
rit.
accel.
rit.
A Tempo q = 58
accel.
rit.
mp
mf
accel.
rit.
? ##
17
accel.
rit.
accel.
rit.
>
mf mp cresc.
q = 60
? ##
J
J
J
>.
>.
>.
>.
>.
>.
>.
>.
>.
18
Dusk
? ##
>.
.>J >.J
>.
>.
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19
? ##
J
>.
>.
20
21
? ##
>.
J
J
J
>.
>.
.> >.
>.
>.
>.
>.
>
>
>
>
>
>
> >
> >
>.
>.
>.
>.
>.
>.
>.
? ##
J
J
J
> >
>.
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>.
>.
>.
>.
>.
>
>.
>.
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>.
>.
22
? ##
J
J.
J
J
.
.> >.
.
> > >.
>.
>
>.
>.
23
? ##
J
J
.
.> >.
.
>
>
>
>
>.
>.
>.
24
? ##
J
>
>.
>.
>.
>.
>.
>.
>.
>.
25
q = 70
? ##
26
Night
mp
repeat gure
ad innitum 7
? ##
J
string 5,12 to G#
27
repeat gure
ad innitum
? ## #
J
J
J
J
J
string 12 to G
28
? ## n
29
sfp
mf
sfp
mf
sfp
mf
repeat gure
ad innitum
? ##
J
J
J
J
30
? ##
31
>
q = 45
? ##
Twilight
pp
? ## 3
mp
mf
? ##
mf
? ##
mp
mf
mp
mp
mp
sempre
mf
mp
mp
mf
mf
mp
mf
mf
mp
mf
mp
mp
3
3
3
3c
3
3 c
3
c
c
3
3 c
5
? ##
3
3
3
3
3
3
3
3
3
mp
mf c
3
3
c
c
3
? ##
snap pizz.
left hand
mp
? ##
mf
? ##
>
mf
mp
mp
mp
? ##
n
>
#
>
q = 55
? ##
Noon
gliss.
? ##
12
? ##
j
? ##
#
13
gliss.
gliss.
gliss.
mf
oshide
#
pp
mp
#
f
mp
mf
#
#>
#
#>
gliss.
#>
pp
mp
gliss.
gliss.
mf
mf
pp
mp
>
>
gliss.
gliss.
n
#
>slide string 1 to C >slide string 1 to C#
>
c c
mp
>
11
mf
mf
10
O
gliss.
? ##
14
15
? ##
mp
16
? ## j
? ## j
17
? ## j
18
3
c
? ##
J
J
3
19
? ##
21
22
? ##
g lis
.
g lis s
>j
s.
.
g lis s
.
g lis s
gliss.
ss.
g li
.
g lis s
s.
g lis
sempre
mp
mf
3
3
3
3 c
c
3
3
c
3 c
J J
q = 75
? ## 3
Night
20
f
slap strings
with left palm
>
>
mf
q = 65
Dusk
3
3
3
3c
3
3 c
3
c
c
3
3 c
23
c
? ##
3
3
3
3
3
3
3
3
3
mp
mf c
3
3
c
c
10
>
>
3
3
c
3
3
3
c
24
3
3 c
>
c
? ##
3
3
3
3
3
3
3
3
3
mp
mf c
3
3
c
c
>
? ##
>
25
? ##
Twilight
? ##
O
J
mp
? ##
A Tempo q = 53
mp
rit.
mf
mf
accel.
rit.
accel.
rit.
O
J
mp
accel.
mf
? ##
mp
Dawn
mp
? ##
mp
>
q = 50
1
>
? ##
mp
11
mf
fp
? ##
accel.
mf
? ##
>
A Tempo q = 57
mp
? ##
mf
q = 60
? ##
10
Noon
accel.
>
mp
#
? ##
11
? ## #
12
? ## #
#
13
? ##
#
14
12
? ## #
15
? ## #
16
? ## #
#
17
q = 70
O O O O
? ##
Dusk
18
O
#O
O
? ##
19
20
? ##
#O
? ## # n
21
accel.
q = 75
22
? ##
n
p
f
Night
? ##
q = 55
Twilight
Dawn
5
5
J
.
5
5
5
? ##
. .3 .
5 5
. .3 .
5 5
5
. .3 .
5 5
mp
5
5
. .3 .
j
b
uchizume
p
5
5
sempre
? ## (P.O.)
N.R.
(P.O.)
O.R.
O.R.
. . .
. . .
.J 3
13
5
5
.
3
5
5
.
3
5 5
5
5
3
5 5
5 5
5 5
5 5
5 5
5
5
? ##
J
J
J
J
J
> 3
> 3
> 3
3
3
3
55
5 5
5 5
55
mf
3
3
3
3
3
5
5 5
5
? ##
pp
mp
5
5
5
? ##
. .3 .
5
5
. .3 .
5
7
? ##
mp
mf
5
5
3
5 5
5
.J 3
5
mp
5 5
5 5
5 5
5
? ##
5
5
. .3 .
5
5
5
3
.
3
mp
5
5
J
.
mp
5
5
5
. .3 .
3
5
5
mp
.
3
5
5
5
5
5 5
5
5
3
5 5
mf
55
55
5 5
mf
3
3
14
3
3
5
5
5 3
9
? ##
pp
mp
q = 65
accel.
mf
A Tempo
q = 66
3
j
? ##
10
? ##
mp
12
? ##
13
? ##
11
? ##
j
J
15
mp
16
? ##
17
? ##
string 5, 12 to G#
3
14
? ##
Noon
j
J
nat: 6, 13
3
3
3
3
3
3
repeat as needed
q = 75
3
3
#
? ##
j
18
Dusk
f
mf
15
3
3
j
? ## 3
r
r
#
j
3
3
19
3
3
3
3
3
#
? ## j
20
? ##
21
? ## #
22
# 3 3 3 3 3 3 3 3
? ##
23
? ## #
3
3
3
3
3
3
24
rit.
repeat til
done
voix cleste: A to A
string 5,12 to G#
3
? ##
25
q = 85
16 Night mf
? ## n
n
26
J
3
mp
? ##
3
3
.
3
3
3
mf
27
mp
3
3
.
3
mp
mf
mf
? ##
28
rit.
3
3
3
3
3
3
3
3
3
3
29
? ##
R
3
mf
pp
mp
? ##
>
f
q = 60
? ##
mf
? ##
Twilight
30
wavy glissando
behind the ryukaku
O.R.
pp
>
3
? ##
O.R.
pp
Dawn mp
pp
>
? ##
_ { _
p
mfp
mp
{ _
{ _
pp
{ mp N.R.
5
>
mf
>
pp
mf
mf
~~~~~~~~~~~~~~~~~~
N.R.
>
? ##
p
mf rubato ad libitum
mp
? ##
? ##
mp
? ##
J
? ##
10
? ##
Noon
mf
? ##
mp
j
J
? ## j
13
q = 70
11
12
mf
? ##
mf
pp
mp
17
keshizume
18
? ##
14
15
? ##
mf
16
? ##
17
mf
? ##
j
J
mp
mp
? ##
18
mp
q = 80
? ##
19
Dusk
mf
? ##
20
21
? ##
22
? ##
19
j
j
j
? ##
23
mf
? ##
24
? ##
25
j
? ##
26
? ##
27
? ##
29
q = 90
? ##
Night
30
? ##
31
? ##
28
2
4
Part 2:
Climbing the Mountain
20
q = 30
accel.
A Tempo
? ## 42
>
uchikaki
? ##
OO OOO
O
O OO OO
? ##
? ##
OO OOO
O
? ##
17
mp
21
? ##
? ##
mp
25
O OO OO
mp
>
#
? ##
#
#
#
>
J
3
#
>
>q = 344
string 5, 12 to G#
29
behind bridges
muted
>
>
N.R.
A Tempo
13
muted
rit.
O OO OOO
#
#
>
>
q = 120
? ##
? ## #
39
43
47
? ##
51
? ##
q =80
q =80
q =120
? ##
59
q =120
mp
? ##
R
J.
>
>.
mp
>.
? ##
r
j
67
? ##
>
>
71
mf
string 5,12 to G
>
.
.
J
R
>.
>.
>.
mf
63
molto rit.
q =80
q = 40
? ##
55
21
r
j
22
? ##
? ##
75
79
? ##
83
? ##
87
? ##
91
? ##
95
? ##
99
rit.
accel.
rit.
accel.
mf
mp
rit.
? ##
103
? ##
>
A Tempo
q = 344
107
Ouse right
O hand only
O
mp
#
>
#>
113
accel.
rit.
string 5, 12 to G#
A Tempo
mp
accel.
mf
mp
mf
114
? ##
>
120
? ##
q = 120
117
23
mf
fp
124
? ##
? ##
132
? ##
? ##
154
? ##
? ##
158
138
#
#
mf
string 5, 12 to G
133
? ##
#
148
fp
#
#
? ##
144
128
140
#
#
#
#
24
q = 45
159
? ##
mf
? ##
163
167
? ##
? ##
? ##
179
? ##
>
? ##
? ##
>
>
>
>
rubato
N.R.
mp
behind bridges
>
.
muted
O OO OO
mp
q = 110
mp
>
183
187
muted
OO OOO
O
q = 86
O OO OOO
O
O
O O O .
175
171
O OOO
O
O
>
191
? ##
195
? ##
199
? ##
? ##
? ##
Coda 3
>
p
q = 130
mp rubato
mp
203
207
25
? ##
211
mp
? ##
? ##
? ##
215
219
223
mp
sempre
26
? ##
? ##
227
231
235
? ##
3
>
? ##
247
? ##
251
? ##
>
? ##
243
239
>
molto rit.
rit.
>