This is the last part of the "qui" series. I was going to continue this series for one year.
But my "qui" world spread every day too fast.
It's not as same level as the last 49 techniques series but advanced.
So, I thought I would stop this series and I hope you could enjoy by yourself as it's not enough my
giving it to you once a month.
The last is harmonics and we use "qui" for it too.
At first, when we play ordinally harmonics, we touch both right and left fingers on the strings very lightly.
And we were satisfied with beautiful sounds.
When we use "qui", we press the strings with half force and we play in the moment.
It's not difficult but after we try it a cheerful sound appears.
"Qui" is a very important technique when we play in front of large audience in a big concert hall.
When we don't know it, we have to use microphone for making a big sound or the audience have to
listen very carefully.
I think after we use this "qui", we would listen very relaxed even for 1,000 or 2,000 audience.
I haven't tried it yet but I can understand there is no problem in a hall at least for 500 people.
When I had a concert in June this year, I got a happy remark that sound of pp were the biggest to hear.
That sound is impressive to the person even this pp is the smallest sound of all.
It's the most important praise a musician can receive.
After we use "qui" for harmonics is over, but the important thing is whether you try it or not.
When we play in front of many people, we have to use "qui" because if we wouldn't use it the sound dies.
When we play in a small space, we don't need using "qui".
We don't care even it's a poor sound.
I think the music has a premise definitely to play for other people.
"Qui" isn't needed to play in front of two or three people.
But if you want to play for 500 people, you have to use it.
That' all.
At last, it's a exaggerated talk・・・.
There are many impressive moments in nature, pictures and music for people.
I think these experiences come from not only we saw a nice view or listen to nice music but also
they agreed that we have same things with them in our minds.
When we feel " This is the sound !", it's the time of agreement with which we have had the sound.
I wanted the sound using "qui" that I have played and serched for over 50 years.
I believe the sound that I wanted to make is what you also want to make.
I hope you try it wholeheartedly.
Good by!
～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～ El Testament d'AMELIA
There is a harmonic overtone.
I play the Catalonia folk song " El Testament d'AMELIA".
At first, please check my left fingers pressing the strings by "qui".
Next, I'll chang an angle and please watch my right fingers pressing to play the harmonic sound
very hard.
Finally, please watch my hole style from the front and you can check it.
Let me play the etude of Arpeggio for biginners that composed by Aguado.
This is a result that I have practiced for a week very hard.
I'll show you how can I play fast and how can I make it until next time.
"What an interesting tune is it !" is my impression.
I can't play the tune like the way I played before.
Please try it yourself not only watching it.
You'll understand the interest in music and this qui should reply to your question that what is music.
This qui is an excellent technique a present from heaven.
I'll play parts of famous tunes・・・
It's quite a different thing between using it and not using.
We can't go back to the way before and we can't play it only beautifully or ordinarily again.
It will be an ordinary technique after trying it once or twice.
Please try it and enjoy it !
The quality and the contents of the music are changing day by day since I had found this sound "qui".
Now I am feeling I have become a beginner again.
I've never lost a great mood even I play it many times.
Please try it yourself not only listening and watching it.
You will get a great mood of playing the guitar.
* Three timings of "qui" *
Let's review the last lesson.
First, we put our left fingers on the positions where we can't make a collect sound.
Next, fingers get up to the best-position and they stand there and we make the sound.
It's the most powerful sound.
There are three timings in this sound.
It's not powerful as a sound, because our left hand then doesn't have the power
when it's at the beginning.
But we pressed the strings until our fingers come and this sound becomes longer than
the most powerful sound.
We prepared to play the most powerful sound but we make a sound deviately from there.
This is very pitiful sound but we feel very cute in the music.
There are three timings of the sound and also the volume is going to change.
Let's confirm it.
It's getting longer a little after the fingers moving.
Next, it finishes in a moment by the powerful sound when the sound went to the peak position.
And then a gentle sound comes for a while.
I want to make them as basic training but I can't do it yet.
Let me introduce you a practice method.
We can use these three timings effectively.
The peak position → the starting point → the late timing ・・・
Next, we use two timings for the present.
The starting point → the peak position → the starting point ・・・
An atmosphere comes up by a unique timing.
There is no sure way how to practice it yet.
Please make your own idea by your practice.
How is it going to change by using them.
I used them in my concert on June 17 this year.
"Magic flute" → A movement comes up.
"Prelude" by V. Lobos → Other ideas may come up.
"Astorius" → To make amazing explosion may be possible.
Is it too strong ? But there are ideas and expressions.
We can have such ideas.
How about polishing up your sensitivity by this "qui".
I have been playing it for over 50 years but I've never been satisfied in three points.
How is it going to change by using "qui" ?
It's means we play picking up each sounds newly.
A person who rules out the factor and the material of this music has made a mistake in all this tune.
There are many factors in tunes and you have to know about them.
It's important you make your own device to a music by your own idea.
Sometimes we can solve by one thing that we know.
But we shouldn't make such a conclusive music.
I have played the most important sound for me strongly by p .
Because I wanted to play the moment.
But that sound differed widely from my own image.
Next, I have thought the sounds between Toremoro and Bass were separated definitely.
There was a sound to play in a moment again.
But now I play it by i instead of p that after I played Toremoro.
And we can make a little while until we are going to play next sound by i .
When I played it by p , it become a heavy sound.
Lately, this sound is not on a sheet of music.
I wanted to make music by a grace note but it was not good by using p .
I could do it by i very easily.
When we play according to a sheet of music and we are satisfied with it, it is only reading sounds.
Nothing comes out from there. You shouldn't be satisfied with it.
We have to think about devices and polish up our sensitivity of music.
Please develope your devices even a small tune.
After we use "qui", we will have many ideas.
This is a magic sound perfectly.
Please try it. It will be fun.
Let me compare using "qui" the first play and not using it later.
Person who can't understand the difference of it, to play this music is too early in time for them.
I want you to feel the difference but you shouldn't make judgement good or bad.
" It is different ! " That's all.
Please use it for your reference.
最後に、実際のコンサートから、アラビア風奇想曲を聞いて頂きます。
～～～～～～～～～～～～～～～～～～～～～～～～～～～～～～
From "mere sounds" to "music"
We Play the guitar by right hand fingers and choose the sound by left hand fingers ・・・. Is it true?
The left fingers just choose the sounds and don't take part in "making sounds" or "making music", right?
Actually, the movements of the left fingers have the most important parts when we are "making sounds"
and "making music".
Let's make the sounds by the movements of the left fingers that nobody has never talked about it.
"Cutting the sounds" is the start.
Let's add the movements of the left fingers in the former way to cut the sounds.
Let me introduce you the specific practice method by using "Galop" composed by F. Sor and
"Capricho Arabe" composed by F.Tarrega.
Please lesten to "Capricho Arabe " from my concert.
■基礎練習の「型その７」
アルペジオの表現 Basic training. Form Seven " An expression by Arpeggio "
We play as we feel of the movement on do, so, mi, so.
We can understand Arpeggio easily , and we can practice it enjoyably
when we rearrange it in daily lifestyle.
It's a smile.
① We take a walk with our dog, there is a difference of walk.
② We exchange greetings with a great mood.
③ Hurry. We put an accent on the 3rd.
④ It's like a hiccup.
■基礎練習の「型その６」
アルペジオ 速い遅い Basic training. Form Six "An Arpeggio. fast or slow "
fast or slow is the problem.
The movement of our left hand is fundamental.
We play as we feel of the movement on do, mi, so. It's imagination of flow.
It's getting different by a position of the accent. There is the reverse of an idea.
We play by the combination of fast or slow.
We have to express our feeling clearly as we play it.
We adopt our imagination in every practice extremely.
■基礎練習の「型その５」
アルペジオ② Basic training. Form Five " Arpeggio 2 "
This is the most important play. Please watch my right hand very carefully.
Ⅰ. A relationship of stong and weak between bass and Arpeggio.
When we play the bass line strongly, the Arpeggio becomes weak.
Of course, there is the opposite way.
Ⅱ. We use the arm as we move up and down.
Ⅲ . We use only the fingers.
Ⅳ . The application of stroke. Please pay attention to my P.
Never take off the right fingers from the ①～⑥..
■基礎練習の「型その４」
アルペジオ Basic training. Form Four " Arpeggio 1 "
I will show you how to play Arpeggio by F. Carulli.
Usually, it expresses a flow of music. When there is a story, we can express it easily.
I made a ｓtoｒｙ・・・
An ordinally morning → a surprise → watching → uneasiness → a ray of light → hope → pleasure →
peace of mind.
you can make other stories, for example an encounter or an event of sport.
We couldn't play by metronome if we make a story.
■基礎練習の「型その３」
和音の押さえ方 Basic training, Form Three "Chords"
Welcome to my guitar dojo !
Form Three is the training of chords. How we play it and move it ?
The guitar is called "A small orchestra " An orchestra needs players
and a conductor.
We can understand easily that our hands and fingers are players, and
head is a conductor.
We need the premise that players can play well and after that
a conductor comes.
・How to play chords.
It's a state where the players can play beforehand.
There are three ways for conducting them.
1. The conductor gives a sign by the baton.
The players play with the sign, so there is a time differece usually.
2. The sign by eye.
The conductor gives a sign to a person who plays next.
3. The conductor entrusts the orchestra.
There is an extreme case where he stops to conduct.
How about you try the next ways when you play the movement of chords ?
・I will show you a specific way by Chord Am7.
At first, players look for a sound by the order from bass to high string.
Next, play again for conformation after playing all the sounds.
At that time we have to choose the sounds and concentrate on playing.
We relax our fingers and prepare to listen to the sounds.
Lastly, we play the sounds as we listen.
We don't need to pay attention to playing, because we prepared for it already.
Please pay attention to listen.
・How to play Barre.
At first, we hold our fingers down, the order is from bass to ④③②①.
We have to feel, the power is going to move and play after relaxing our fingers, and listen.
When we return, we can play one by one or play all sounds directly by our choice.
After we remeber the form, the conductor gives a sign by eye.
We make the next form on the position and play after the movement.
When the conductor entrusts, we make the next form in the air while moving the fingers.
Waiting after, we made the next form is the most important practice.
We can work to listen as the conductor gives a sign.
We can have pretty time this way. This is a practice for the form and practice for waiting.
Next, we play a little faster but we can recognize that we are waiting certainly by ourselves.
We play an Arpeggio by we can think of the form by ourselves.
You never count it or never think of playing beautifully.
We have to play after we fell our thought for each chords.
For example, we enjoy to play in a certain atmosphere.
４９のワザ いかがでしたか？
知っていることはいくつありましたか？
え？ そんなこと誰でも知っている？！
あらああ・・・・。 なんせ不器用な人間は、
単に弾いただけでは音楽にならない。
音楽のセンスある人には、意味のない内容かも知れません、
が。 ギターを楽しむのにはルールはない。
いかに楽しむか！ それに足を踏み入れた結果です。
見た方の好奇心が揺さぶられることを願っています。
WAZA-49 The last WAZA is ....
..... we can hear it although we doｎ't play.
I try to show you by "Recuerdos De La Alhambra " composed by F.Tarrega.
And also I try to show you by some Arpeggio.
If we can feel it ,we can understand that music is not the one-side thing.
On the other hand we can't hear the sound even we play it.
These are some of the characteristics of the guitar.
I think other music instruments doｎ't have them.
It is a great fun and I play the guitar.
How was about 49 WAZA ?
How many WAZA have you known ?
Did you know all of them ?
Oh ! I am very clumsy person and I can't play a real music by only playing it.
49 WAZA have no meaning to the person who has the musical sense.
But, there is no rule to enjoy playing the guitar.
How can we enjoy it ?
These 49 WAZA are results by my tries.
I hope they arouse the reader's curiosity.
■49の技その48 速度の変化、アクセントの位置
速さが変わることでアクセントに異変が起きる。
これも具体的にソルの魔笛を使って実験してみます。
早い曲では、特に知っておかなくてはなりません。
全てとは言いませんが、単にゆっくり弾いて
いるのを早くするだけで解決することは・・・・・・
私は知りません。
早く弾くのは魅力のあることです。
だから、自分の演奏がどう聞こえているかを知る。
この当たり前のことに気を使ってください。
だいたい早く弾く必要性というのは、本来ないのです。
走ることと一緒には出来ませんが、必死で走るなどは、
競技か、なにかから逃げる時ぐらい。
コンクールなどでは必要な要素でしょうが、
普通の演奏には特に必要ではありません。
だから、早く聞こえる・・・・・・
というのが本当かもしれません。
WAZA-48 Something happens to the accent by the change of speed.
I'm going to show you by using "The magic flute" composed by F.Sor specifically.
We have to understand this specially in the fast music.
I don't know completely, I can solve it by only playing it fast.
We are attracted to play fast and we have to pay attention how people hear our music.
Actually, it is not necessary to play fast.
I can't compare this with running.
But if we run for our life, this is a game or when you escape from something.
To play fast is a necessary factor in a contest, but it doesn't need specially for a usual play.
And we play hear it fast. It is true.
これが、ギターです！
WAZA・・４７ In Guitar music, the source of an idea is a stroke!
They are very simple movements. (play) ・・・・・・・no one play this (play)
I play a stroke ・・・・・WAZA-４７・・・・that:s all.
I play the same using the 4fingers.
At first, please watch the movements of my(P) very carefully.
I used my ４fingers. (play) ! try once more.(play)
How about this? Could you see it?
Are they the same movements?
Usually, we play like this・・(play)
After our (P) moving to the ④th string, we play by (i,m,a,) (P)seems indifferent to the playing. It isn't so?
We play by other fingers during the (P) is playing by it's own work through.
What does it mean?・・・・・
Please figure it out by yourself.
It becomes very important source of understanding the nature of Guitar itself.
I believe if you try it again and again, your guitarlife will change radically.
I play the simple etude for arpeggio, composed by F.Carulli.
Please watch my (P) carefully.
・・・・beginner's class play・・(play) next class play・・(play) at last・・(play)・・・
THIS IS THE GUITAR！
■49の技その46 右手の親指の動き 左手の音を消す
ロボスの練習曲１番 ⑥⑤④とｐが滑る。
ついでに左手の移動時の雑音を消すワザも・・
WAZA-46 "Etude No.1" composed by V.Lobos.
「P」 slides from ⑥, ⑤, ④ string, and also I will show you the WAZA for turning the noise off
the strings when we are moving the left hand.
次の音が用意出来て、５秒ぐらいじっとして、我慢して、弾くとスグに
次の用意して、またじっとして・・・・
これだけで、音楽の持つ不思議な力が伝わってきます。
頭でいくら分っても意味ナシ！
WAZA-45 You have to wait quietly...
...... about 5 seconds after preparing the next sound.
And you play after being patient, you have to prepare the next sound.
And also you wait quietly.....
It will spread a wonderful power of the music by this alone.
There is no meaning by only your knowledge.
■49の技その44 旋律と伴奏の関係
ｉとｍを同時に２本の弦で４回弾く。と同時にｐを１回弾く。
・・・・・これを４通りで弾く。
これだけのことで・・・・・たったこれだけで、旋律と伴奏が独立する。
しかも、耳が急激に良くなる。
左手が準備を完全に出来るのは至難の技です。
実際、ギターで出来ている人は、あのセゴヴィアさんだけです！
出来ている、と思っている人は全員勘違い。単なる勘違い。
だから一人で判断しないで比べる。
この映像と比べる。島崎陶人という無名のたいしたことないギタリスト
が・・・・・・たわごとを・・・・・
と思わず。お前ごときに出来ることは誰にでも出来るわい！ という
気持ちで挑戦してください。
事実、誰にでも出来る内容ですから・・・・。
WAZA-44 Play 4times i and m on the two strings at the same time
And next play P once..... try this 4 ways.
Only by this..... just by this, the melody and the accompaniment are going to be independent.
And your ear becomes very well suddenly.
It is very difficult to prepare this for your left hand perfectly.
Actually, a person who could do, it was only SEGOVIA !
The person who thinks he can do, it must has misunderstood all together.
It is just a misunderstanding and you have to compare your playing
with this movie not by your personal.
Don't think my knowledge is nonsense that he is an unknown guitarist.
But, please try my WAZA with confidence.
Actually, everyone can do my WAZA.
■49の技その43 ピアニッシモとフォルテッシモ
ｆｆは腕の力で。ｐｐは弦の上を撫でるように。
旋律が下にあって、伴奏は上の場合・・・・・・カウントしたらオシマイ！
それぞれが独立する・・・・為には
WAZA-43-49
* Lastly, the most important is the sound !
And also the left hand goes back to the preparation.
At first, put 「p」 on the ③string.
Next, set 「m」 on the ①string.
And after that, it makes distance from 「p」 by sliding away on the ① string.
On your mark, set !
And play the ②string by rest-stroke forward to the 「p」 on the ③string by cutting of the string.
( Play by only power of your wrist. Never use power of your fingers. )
It is Forte!
Next, keep that condition and set 「i 」on the ②string.
And use rest-stroke forward to the 「p」 on the ③string.
It is Piano.
The difference of volume between Forte and Piano is the players expression talent.
You have to get mezzo-piano and mezzo-forte that between forte and piano by yourself.
WAZA-43 pp and ff
You have to play ff by the power of the arm, and play pp on the strings gently.
When the melody is on the Bass and accompaniment is on the top, you should not count them.
For each of them to become independent......
付録・・・・欠点というのがどの楽器にもあります。
その欠点が好きになるのが、あなたに適した楽器です。
欠点が気になって、許せない・・・・・それは、合ってません。
ラミレスという楽器（１９７０年代まで、１９８０年以降は
似て非なるものです。）はベースが弱点と言われていました。
でも、私はその音が好きでした。しかも、しゃくなので・・・・
タッチを研究し、楽器も調整して、今は全く逆に、
その低音！が魅力となっています。 WAZA About an instrument.
WAZA are not only playing techniques.
An adjustment of instrument is also great WAZA.
We don't have the habit in the guitar world.
I want to make a new world in the adjustment.
But there are some levels in this WAZA.
There is no easy levels.
But you will like it after you start it.
WAZA-36 An adjustment level 1st.
・Select strings.
Do you understand how important it is ?
For example, it is likes your clothes.
There are certainly a well-matched ones for your guitar.
We have to start to throw away our habit, that we always decide after hearing another persons opinion.
We decide everything by ourselves on our own responsibility.
At that time, please start to hear a well-matched ones, not by the price.
( Of course, it must be the standard )
WAZA-37 An adjustment level 2
* Put in the super tips
After deciding the strings, shall we improve how to tip the strings to the instrument.
The simple tips are also sold on the Internet.
The idea is very simple, but the effect is great.
After you can understand the difference before and after installing the tips,
you will go forward to the next step.
WAZA-38 An adjustment level 3
* After understanding the effect of nut and saddle ,then let's try some more.
The ideal material is ivory, it is very expensive.... No way!
That is the common knowledge and misunderstanding.
In fact, it is cheeper than Cow bone.
Of course, ivory is very expensive which is use for decoration perpose.
It doesn't need it's beauty because the most important thing for the guitar is
how the sound spreads.
And we can use the cheap part of it.
WAZA-39 An adjustment level 4
* Changing them to ivory all the winding up parts and knobs.(machine heads)
This is very difficult to do the work by yourselves, but please ask me to do it individualy.
Because if you ask a maker or a shop it will be very expensive.
My charge is inexpensive and the effect is perfect !
WAZA-40 An adjustment level 5
* Take off the bridge ! We don't need it !
So we take it off .... It is a very natural idea.
You don't need time to understand after playing the bridge-less guitar.
I can't understand why the bridge was placed there originally.
WAZA-41 An adjustment level 6
* There is the correct direction in ivory.
There are patterns in ivory like the rings of wood.
There is the direction in it.
But the most popular ivory, nuts and saddles on the market have all opposite directions.
You can understand it by doing it yourself.
WAZA-42 An adjustment level 7
* How to select your guitar !
Actually, it have to appear the first but we can not select the guitar,
when we do not have an experience.
And the last WAZA is an instrument choose the player.
You buy a guitar and you want to think that you select the guitar, don’t you ?
But it is not. Actually, an instrument selects you.
So if your level has not improved, you would not get a really good guitar.
For example, if you are gathering instruments for only collection I am very sorry it is a sin.
So you will have a heavens judgment.
An instrument was not made for decoration.
If an instrument is not used for its real purpose, it is a very sad thing for it.
Don’t you think so ?
* Something extra
There are faults in all instruments.
But if you like the fault the instrument, fits for you.
When you can not allow the fault, it is not fit for you.
For example, people say Ramirez’s Bass is very weak.
But I like that sound , and I could not stand people say about that.
I studied my playing method and gave an adjustment to my guitar.
Nowadays, the Bass sound of it has become very charming in opposite compleatly.
■49の技その35 運指の工夫
運指で発想が分る。
運指の付け方で、音楽性がばれる。
バッハ、サラバンド。 コスト、エチュード。
WAZA-35 How to devise by moving fingers.
・We can understand an idea by moving fingers.
On the other hands, our musical talent will come to light by putting on the moving fingers.
I used WAZA in the most abustract content called an idea.
Please never deal it with playing of the words.
Do you think you can not make a word by the abstract content ?
Do you think if you say like that, it is a very correct answer ?
Do you think you can say "Keep out" ?
Not at all !!
There are nothing abstract content.
We can't express if everything are specific expression.
The sound is very specific expression and we can understand it very easily.
We can't do it when we can not understand it.
It is convenient for you.
Music is made of sounds.
We can't play music except our sounds.
We have to start it to improve our sounds.
Otherwise, it is shallow knowledge.
When we can have one sound by ourselves, we will understand WAZA here.
■49の技その34 ベースの工夫
音圧！ ベースの感じ方が音楽を決める。 ヤマカンのベースは禁止。
絶えず変化するのがベース。
音を置く感覚。 付録として、知っている道はマイナー。
知らない道はメジャー。
コスト：Ｇマイナー
WAZA-34 How to devise Bass.
・Sound wall !
Our felling on Bass decide the music.
Never pay the Bass by only guess.
Bass always changes. It is a sense that puts a sound.
The roads we know are Minor and the roads we do not know are Major with something extra.
■49の技その33 速度の工夫
ストーリー性を持たせることで、速度は自由になる。
朝（黎明）⇒予感⇒驚き⇒確かめ⇒感動⇒余韻 １つの流れ・・。
メトロノームに合わせるのではなく、メトロノームに伴奏させて演奏する
アルペジオ。
パーセルの小品にお話を付ける。
絵画的処理。（時間を止める）
風景として捉えると・・・・メロディーは道。ベースは遠くの景色。
和音は近くの様子。
WAZA- 33 How to devise the speed
・Speed becomes free when we make a story.
Morning (Daybreak), Hunch, Surprise, Confirmation, Impression, Lingering sound.
These are one tide.
How to play Arpeggio by an accompaniment of metronome.
But, we don't adjust to the metronome.
We put on the story to small pieces of music by Purcell.
How we deal with pictures?
If we think it a scenery, the melody will be the road, Bass will be far scenery
and harmony will be near condition.
■49の技その32 消音の工夫
初級の練習曲を、消音やスタカットをベースに多用して、
発想の手助けとする。
結果的になにもしなくても、そこに至るまでにした
経験の深さが音楽の発想につながる。
WAZA-32 How to devise turning off a sound.
We can play the etude for beginners by using the turning off a sound and staccato on the Bass.
It will become help for an idea.
The result of it, we are going to have an idea for the music by our deep experience what
we have done before.
■49の技その30 フォルテ・ピアノの工夫
４つの玉 絵画的な処理 感情的にならないこと。
上がフォルテなら下はピアノ。逆も同じ。 楽譜はレシピ、設計図。
しかも、これには（ｆ＆ｐ）必ず消音のテクニックが必要です。
WAZA-30 How to devise f and p
・Four balls. How we deal with pictures.
Never become too emotional.
When we play f and p on the top strings, we play p on the Bass.
The opposite is completely the same.
The music means a recipe or a plan.
These f and p needs a WAZA of turning off the sound.
■49の技その29 弾き方の工夫
ワザシリーズ 第５回目は 発想に関してのアドバイス
基本的な捉え方は、音を切る。 準備する為には音は自然に切れるのですが、それを意識的に切る。
スタカットは素早く切るのですが、これは・・・・発声音にすると・・・「ラ」にあたる。 スタカットは「パ」
試しにポンセのプレリュードを・・・・ 絶えず次の音を意識することで、発想が湧く。実践しかない。
合言葉は、工夫すること。回り道をすること。
右手を弓と捉える弾きかた。 アルペジオをメロディーと捉える。
メロディーをアルペジオと捉える。 さらにロボスの練習曲第１番の捉え方。
音圧なる感覚。音は聞きに行くのではなく、耳の横で鳴るから聞こえてしまう。
WAZA ・・・ About an idea
WAZA series, the 5th is going to give advice about ideas.
The bases method is cutting off a sound.
We can cut off a sound by preparation, but we have to cut it off by your own ideas.
We cut off a staccato very quickly .
It is "RA " by voice. It is "PA " by staccato.
For example, we can get the ideas when we always think of the next sound as in the Prelude
composed by Ponce.
There are no way except practice.
"Device" and "Roundabout route " are our mottos.
WAZA-29 Device for playing
・ How to play we think our right hand is as the bow of the violin..
I think an Arpeggio is the melody and also the melody is an Arpeggio.
And also how to think about the Prelude the 1st composed by Lobos.
We have to have a sense about sound wall.
We can hear the sound not that we try to lesten to it.
Because it developes sounds near the ear.
■技について
・型について。
・美しい、かっこいいということ。
・審美眼を磨く。
36, Intermission
・ About types.(WAZA)
・ Beauty and cool.
・ Improve your skills.
There are many types in Japanese lessons. ( Judo or The Tea ceremony and so on )
These are very beautiful.
You have to look and think very carefully about the things in front of you.
Do not hear the rumors of other people nor their thinking of worth of them.
After you think the things very deeply you will open your eyes to your skill.
Then, you can understand nonsense criterions in the world.
I hope my 49 techniques are going to help you open your eyes.
■49の技その28 共鳴
・シとラとミの音の共鳴音
・ナナと間奏曲
35, WAZA-28 Resonance
・ A sound of Resonance in B,A,E.
Sometimes people misunderstand it by harmonic overtone.
We can hear beautiful resonance in B,A,E.
Usually, we have to wait for the next sound after we play the resonance.
But when we want the sound to come out quickly we put in the force in our left fingers.
And leave them, then the sounds come out immediately.
We play light sounds after we have played beautifully you will become happy.
■49の技その27 サラバンド
・１拍目と２拍目を加速をして引っ付ける。
・バッハのサラバンド。
・組曲ニ短調（ヴィゼー）
34, WAZA-27 Sarabande
・ Stick by acceleration between the 1st count and the 2nd count.
Sarabande meens play slowly by only depending on the pieace of music.
But I play using dramatic turning off a sound and I play elegantly.
This technique has a big hint for interpretation of the music.
There are acceleration or deceleration f or p and so on in the Sarabande.
There are many kinds of f or p for sounds, phrases and so on.
I am worrying you might say " It is not Sarabande " when I play it fast.
But I think that real Sarabande meens stillness and quietness after acceleration.
■49の技その26 グリッサンド
・期待をさせる技。
・加速する。
33, WAZA-26 Glissando
・ This is the WAZA for expectation.
・ Accelerate
It is the technique Your finger slips on the frets but there is an important knack.
Do not slip only by the same speed.
It is going to accelerate as your finger slides up and you can hear well the end of the sound.
We can make expectation for the next sound because there is space between sound and sound.
■49の技その25 符点は優雅にやさしく
・ソルの魔笛。
・フォルテピアノで弾く（硬い、柔らかい）。
・優雅な表現。
・ギターの特性。
32, WAZA-25 How to play dotted note elegantly and gently.
・ Play by f and p.
・ Elegant expression.
・ Property of the guitar.
Do not play by the musical grammars rule, we try to look for the elegant expression by ourselves.
It is the basis to use hard sound and mild sound on the occasion.
Sor,Tarrega, Aguado composed music pieaces by using the guitar.
They have showed their unique concepts by their knowledge about the guitar.
We can understand these concepts were from original playing of the guitar not from piano nor violin.
■49の技その24 三連符
・１つの動作で３つの音を出す。
・魔笛の主題による変奏曲（ソル）。
31, WAZA-24 Triplet
・ Play the three sounds by one movement.
We use the wrist and make one movement like the horse running.
We have to change the playing places, speed, and loudness for the effect from practice.
We play music by playful mind.
We can play faster by one movement than we play by simple quick movement.
When we have own ideas in many scenes triplet can be solve.
We play slowly first and accelerate when we play slur momentarily.
A grace note is the same.
We can not hear it only we hit the string by the left finger.
But we can hear it very clearly when we play the sound reaching the climax.
It is very important to understand where the guitars sounds come out.
■49の技その22 ワルツ型
・ワルツの基本。
・２拍目が１，３拍目に寄る。
・アグアド ワルツの練習曲
29, WAZA- 22 Waltz
・ The basis of Waltz.
There is the specific way of the practicing this.
At first, we play the Bass near the sound hole.
Next, we play by strong sound near the bridge soon.
Lastly, we play back to the sound hole soon but never play. Stay on the strings.
and we play it by very mildly after while.
We do not need to play strictly according to the piece of music.
・ 2nd count goes near the 1st count or 3rd count.
2nd count goes near the 1st count or 3rd count and it varies the qualities.
Do not practice of a monotonous moving or rhythm.
We have to feel the rhythm by our whole body.
And we try to practice by great mood even it is a very small piece of music.
■49の技22の前に 確認事項
・左手の準備（ソル練習曲9番）。
・アルペジオ、親指と人差し指の距離。
28, Before WAZA 22-28. Confirmation matters.
・ Preperation of the left hand.
Are you completely ready?
Do not play both right and left hand at the same time.
The left fingers are moving first.
We have to ready for the next sound soon After we have played.
After we have played the strings, sounds become f to p.
And they are going to disapper.
We can not lengthen the sound.
It is the special property of the guitar.
Preperation is important both for chords and single tones.
・ Arpeggio, the distance between p and i.
Some types of Arppegio are going to change by the distance between p and i in all cases.
Pay attention to the right hand.
At first, when my p is on the 4th string all my fingers ( p,i,m,a ) are sticking.
After that, I play by the wrist it becomes the dumpling type.
Next, my p is on the 5th string it makes a small space between p and i,m,a.
After that, I play the strong sound in Bass it becomes barbell type.
Lastly, when my p is on the 6th string it makes more space.
When I play by arm firmly it becomes an explosion type.
When I cut off the 6th string and press the 5th string it becomes the hairpin type.
■49の技その19～21 アルペジオ②
・アルペジオの７つの流れ5-7（人の流れ）
５、目的もなくぶらぶら歩く
６、目的地に向かいぶらぶら歩く
７、目的地にまっしぐらに歩く
27, WAZA-19-21 How to express Arpeggio
Seven kinds of Arpeggio. ( It is like the walking of people )
1, WAZA-19
We stroll having no distination.
It is a practice for playing as we pleases.
2, WAZA-20
We stroll towards distanation.
We try to use many kinds of sounds.
For example, strong or weak, fast or slow, big or small and so on.
3, WAZA-21
We walk straight towards distanation.
Play like cutting off the strings.
■49の技その15～18 アルペジオ①
・アルペジオの７つの流れ1-4（水の流れ）
１、水が地面からぶくぶく沸く
２、水が流れる
３、水が留まる
４、水に潜る 26, WAZA-15-18 How to express Arpeggio
Seven kinds of Arpeggio ( It is like the flow of the river)
1, WAZA-15
Water flows out like a fountain.
2, WAZA-16
Water flows down.
3, WAZA-17
Water accumulates.
4, WAZA-18
We are in the water ( We become a fish )
They come from the types of how to express.....
Dumpling, Barbell, Grapes, Explosion, Hairpin and Moukorita.
■49の技アルペジオの前に
・ギターの持ち方
・ギターを抱え込まない。
25, Before playing Arpeggio
・ How to hold the guitar.
Actually, we can leave the arms, ,when we hold the guitar.
It is enough to hold it stabile that way.
・ Do not hold it tightly between your body and the right arm.
If we hold it tightly, we can not play it naturally.
■49の技その13 ヘアピン型
・右手親指の動き。
・6弦より5弦のが大きい。
・パーセルのロンド、バッハのフーガ
23, WAZA-13 Arpeggio ( Hairpin type)
・How to move p .
I play the ⑥th string toward the bridge side and play the ⑤th string toward the sound hole.
It is similar the hairpin bend.
・The ⑤th strings sound bigger than the ⑥th strings sound.
Do not play them by all the stregth.
It will give the opposite effect.
At first, we play them by large motion until we can make an image.
■49の技その11 アルペジオ（ブドウ型）
・上が大きく下が小さい（縦振動＋横振動）。
・ラブ・ロマンス、ソル練習曲３番、テデスコ 子守唄
21, WAZA-11 Arpeggio (A bunch of grapes type)
・The top is big and the bottom is small sound.
We use vertical on top and sideways on low.
We can hear the strong sound on top and chord sounds are very small.
Balance becomes nice when we use both vertical and sideways.
■49の技その８の前に(和音)
・アルペジオの前に。和音の引き方。
・親指をしならせ、上の指をばらす。
17, Before WAZA-8.
・How to play chords.
・Press the thumb and other fingers apart.
We use the skin of the thumb.
There are the common understanding of playing the chords.
・First, arpeggio is broken pieces of a chord.
We press a string by thumb and leave the other fingers quickly.
Usually, we grip the strings, but just leave them.
・Second, we use the thumb by vibrating the string vertically.
We should press hard it and it will repulse.
The strength of thumb is gone and returns to the first position,
When we leave the top strings, small sounds go out.
At that time, we use revolution of fingers.
It is not good play only same counts.
■49の技その７ 指の整体運動
・身体全体の動き。
・腕で弾く。
16, WAZA-7 Make good shape for the fingers.
・It is very important to move our whole body with the music.
We have to think common moving of it as the whole.
・Play by arm
We should pay attention to both touch by right hand and hold by left hand basically.
If we play by only fingers, it becomes a burden.
After we can use the left arm, it will change a great mood.
■49の技その６ ｶﾞｲﾄﾞﾌｨﾝｶﾞｰ
・指が弾く場所のガイドをする。
・アルハンブラの思い出。
15, WAZA-6 The guide finger.
・The finger guides a position for playing.
This finger move to the next position, while we are playing an open string.
When we are playing by all fingers, the left thumb in the back guides.
After we can use this technique, music will becomes very smoothly.
■49の技その５ 開放弦の指揮者
・左手で指揮をしながら弾く。
・開放弦を弾くときに使用。
・動きの間を作る。
14, WAZA-5, A conductor on open strings
・When we play the guitar, we try conducting by left hand.
・It is used when we play on open strings.
・Make a time during movements.
We do not have to use the shortest distance.
If we can play well by right hand, move our left hand by these techniques too.
It is very useful, when we move the positions.
We can leave our left hand from the guitar.
After we can control our left hand, the music becomes alive.
I believe something will come out from your playful mind.
■49の技その３ 遊び消音
・消音テクニックの一つ。
・遊びの消音。
・曲に締まりが出る。
12. WAZA-3 Turning off a sound for playful mind.
・One technique of turning off a sound.
Actually, it is very difficult to turn off a sound.
■49の技その１ 劇的消音
・消音テクニックの一つ。
・出した音を瞬時に消す。
・音に聞き手を集中させる。
舞台装置でいうところのスポットライト。
9. WAZA-1. Dramtic turning off a sound.
・One technique for turning off a sound.
We should learn both playing and turning off a sound at the same time.
・Turning off a sound quickly .After that, play by glissande.
Leave the top of the sound and turning off another.
■準備をして弾く（ハ長調）
・次の音の場所で待つ。
・アストリアスの最初の部分。
・フレーズで弾く。
・メヌエット（パーセル）
7. Prepare and play in C Major
・Wait on next string both right hand and left hand.
Usually, people play at the same time.
But when we play scales we should prepare play the next sound.
For example, we prepare D after play C. Prepare E after D.
・Play by phrases
At first, play slowly and have a little while between sound and sound.
■右手の具体的な弾き方
・ブリッジよりからサウンドホールよりに弾く。
・真下に弾く。
・弦を押し込んで、上に向かって弾く。
・斜め下に、弦を切るように。
6. How to play specific by a right hand
There are three kinds of play by the thumb ( We call p ).
1st, Give a string push from bridge side to sound hole.
2nd, Play to just under by the power of p.
3rd, Give a string push and play to up very quickly.
Let us play by an index finger ( We call i )
This technique like cut off the string to diagonally under and our arm into the guitar.
■ギターのレッスン1時間目
・どういう風に音がなるか。（共通の認識）
・縦振動と横振動の説明。
・準備をして弾く。
1, The first lesson of the guitar
I am going to talk about 49 techniques ( I call WAZA ) all together.
At first, I want to talk how the guitars sounds come out.
It is the very basics things.
We have to have a common understanding .
Because if we can not have it, we will misunderstand each other.
There are sideways vibrations and vetical vibrations.
You know? there are strings on the guitar and when we play them, they get vibrations.
Next, the vibrations are going to spread and the surface board getting tremble.
The last, a unique tone from the whole instrument.
Everyone plays the guitar without thinking.
But, we become interested in the sounds little by little.
And we begin to understand the different qualities of the sounds.
After that, we beginning to think how can we play well or how can we use our both hands.
At that time, we have to use the vertical vibrations on the surface board of the guitar.
Next, the strings are going to roll.
I want you to understand that is makes different of tones by playing sideways or vertical.
I play them with vertical vibrations. Usually, everyone plays them with sideways.
I push the strings against the surface board and my finger hits it.
After that, my finger returns.
When we play by sideways, vibration our finger hit the next strings.
It is not meens good or bad. I want you to accept there are two kinds of vibrations.
We do not play only open strings.
There is one reason when we hold down the strings near the fret.
The sideways playing causes the string to slide a little.
But vertical playing never moves slightly.
A right angle is the best, but actually it gets a little diagonally.
But the vibration of the surface board is going to change.
We have to ready firmly when we play it. This is the natural rule.
But most of the guitarlists never do. They always play by guess.
After we play, our fingers return to the strings.
That is all there is to it !
That is why our fingers are among from the ①st string to the ⑥th string.
That is the evidence that we can be ready.
If you can not do that, it can not be helped.
When we express our feelings by the guitar, we have to understand the property of it perfectly.
And we have to polish up our expressions or techniques.
I am very worrying people never think about it and play by guess sounds.
