視聴室 掲示板




島崎加代 物語












"qui" その5


From "Sound" to "Music" No.5

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.

Please make sure of it as I play slowly.

             *************** ****************

qui を使ったハーモニクス、カタロニア民謡 ”アメリアの遺言” をゆっくりと弾きます。



"qui" その4


"qui" その4

Andantino / F.Sor

Adagio / A.Cano

Preludio / M.Carcassi

Allegretto / D.Aguado

練習曲 / F.Carulli

"qui" その3

"qui" その3

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 !



この "qui"は天からの授かり物、素晴らしいものです。



"qui" No.1
"qui" No.1

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".





最高点 → 出始め → 遅れたタイミング ・・・
出始め → 最高点 → 出始め ・・・
  (仮の名前 ソフト・サウンド   エックスプロージョン!  プリティー・サウンド)

”魔笛の主題による変奏曲” → 動きが生まれてくる。
”ロボスのプレリュード”    → 別の発想が出ますよ。
”アストリアス”         → 驚くほど爆発させることも可能。


"qui" No.2
"qui" No.2

Using as an " Recuerdos De La Alhambra "

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.


”アルハンブラの思い出” を使って。




小さな曲でも工夫を凝らして欲しい。 "qui" を入れるといくらでも発想が湧く。

"qui" No.3
"qui" No.3

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.


「違うんだ!」 それで良い。どうぞ参考にして下さい。

■2011年6月17日 芸術文化センター 島崎陶人ギターリサイタルより

Prelude/Henry Purcell

Menuet/Henry Purcell

A new Irich tune/Henry Purcell

Jig/Henry Purcell

Rondo/Henry Purcell








〜〜〜〜〜〜〜〜〜〜〜〜〜〜〜〜〜〜〜〜〜〜〜〜〜〜〜〜〜〜 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.





  ■テデスコ:ギター協奏曲/Andress Segovia



■アルペジオ 左手の練習
■アルペジオ 左手の練習

第29番ト短調 第13番イ短調 第9番イ長調


Basic training. Form Seven-part2 "An expression by Arpeggio"

We play as we feel of the movement of each two type on do,so,mi,so.

 @ 1st finger, 2nd one and 3rd, 4th. → As an elegant walking.

 A 1st, 3rd and 2nd, 4th.      → Positive feeling in a great mood.

 B 1st, 4th and 2nd, 3rd.      → The gap between appearance
                      and the inside mood.

 C 1st, 2nd, 3rd, and 4th only.   → It's like tug-of-war.
                      We have to be patient after we have
                      And we play repeating it.


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.

 @ We take a walk with our dog, there is a difference of walk.
 A We exchange greetings with a great mood.
 B Hurry. We put an accent on the 3rd.
 C It's like a hiccup. 

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.


Basic training. Form Five " Arpeggio 2 "
 This is the most important play. Please watch my right hand very carefully.

 T. 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.

 U. We use the arm as we move up and down.

 V . We use only the fingers.

 W . The application of stroke. Please pay attention to my P.
    Never take off the right fingers from the @〜E..


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.


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 CBA@.
 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.



■Napoleon cost Pieces
 (ナポレオン コスト)
■Napoleon cost Pieces
 (ナポレオン コスト)

 アルペジオ Aマイナー続き
■Continue Arpeggio Etude A Minor Aguado
 (アグアド/アルペジオ Aマイナーの続き)

 アルペジオ Aマイナー
■Aguado / eight lessons(A Minor)
 (アグアド/アルペジオ Aマイナー)

■Granados, Enrique / Spanish Dance No. 10


■49の技その49 弾いてないのに聞こえる音
その他、いろいろなアルペジオで実験。 これが感じると、音楽が一方的なものでないことが解る。
これらはギターの持っている特長の1つ。 他の楽器にはないと思います。

49のワザ  いかがでしたか?
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、
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。
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
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.

■49の技その47 ギター音楽の源、ストローク


 もう一度弾きます(ストローク)  これが全てです、ワザ47.!?!?

   どうですか? 同じ動きをしていませんか?


  この、なんでもない練習を重ねることで・・・   あなたのギター人生が根本的に変わると信じています。



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 Cth 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)・・・

■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 EDCとpが滑る。
WAZA-46 "Etude No.1" composed by V.Lobos.
「P」 slides from E, D, C string, and also I will show you the WAZA for turning the noise off
the strings when we are moving the left hand.

■49の技その45 左手の基本の動き
E5f(1) C7f(4) B6f(3) A5f(1) に用意Cの音だけを
E5f(1) C6f(3) B6f(2) A5f(1) 
E5f(2) C4f(1) B6f(4) A5f(3) 
E5f(1) C6f(3) B6f(2) A5f(1) 
E5f(1) C7f(4) B6f(3) A5f(1) 

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
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
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
* Lastly, the most important is the sound !

And also the left hand goes back to the preparation.
At first, put 「p」 on the Bstring.
Next, set 「m」 on the @string.
And after that, it makes distance from 「p」 by sliding away on the @ string.
On your mark, set !

And play the Astring by rest-stroke forward to the 「p」 on the Bstring 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 Astring.
And use rest-stroke forward to the 「p」 on the Bstring.
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......

■49の技その36-42 楽器の調整

ワザ36 調整レベル1・・・・弦を選ぶ

ワザ37 調整レベル2・・・・スーパーチップを付ける。

ワザ38 調整レベル3・・ナット、サドルの材質考&イロイロ試してみよう・・

ワザ39 調整レベル4・・糸巻き考&つまみも・・全て象牙に替えます。
     思っているより・・・数段安いです! しかも効果抜群です!

ワザ40 調整レベル5・・・・ブリッジを取る!
     ブリッジは要らない! だから取る、自然な発想。

ワザ41 調整レベル6・・・・象牙には方向がある。

ワザ42 調整レベル7・・・・ギター選び!


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
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。
音を置く感覚。 付録として、知っている道はマイナー。
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
朝(黎明)⇒予感⇒驚き⇒確かめ⇒感動⇒余韻  1つの流れ・・。
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
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31 フレーズの工夫
自由とは? 例として、バッハのプレリュード
ソルの練習曲第6番。 5番。 グランソロ。 など
WAZA-31 How to devise a Phrase
・Never decide how to feel.

What is freedom ?
For example the Prelude by Bach, etude the 5th and 6th by Sor and so on.

■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。
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。
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。
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.

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
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
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
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
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
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.

■49の技その23 スラー
30, WAZA-23 Slur
・ Accelerate to playing.

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
・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
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A
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@

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.

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14 もうこりた型
24, WAZA-14 Arpeggio ( Moukorita type )
This is an idea from Chinese writing.

・ I played one part of music by these strings before...

string E D C B A @ B
finger p p p i m a p

・ I played under this now...

  string E D C A @ B
finger p p p i m p When I am playing i and m, I make acceleration.

It is just a playful mind, but it will become useful someday.
Especially, it will become a big technique in the Spanish music.

■49の技その13 ヘアピン型
23, WAZA-13 Arpeggio ( Hairpin type)
・How to move p .
I play the Eth string toward the bridge side and play the Dth string toward the sound hole.
It is similar the hairpin bend.

・The Dth strings sound bigger than the Eth 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12 アルペジオ(爆発型)
22, WAZA-12 Arpeggio (An explosion type)
・Sound of Bass is very strong.

・We explode the low sound and omit the top sounds.

You may omit the top sound if you do not make a mistake how to use it.

It is one of the techniques to make good music effect.

■49の技その11 アルペジオ(ブドウ型)
・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10 アルペジオ(お皿型、波型)
20, WAZA-10 Arpeggio (Dishes or Waves type)
・We use it for practicing Arpeggio.

・We play like waves come and go.

At first, we play the Bass and after that play the chord.

It is similar to falling asleep.

■49の技その9 アルペジオ(バーベル型)
19, WAZA-9 Arpeggio (Barbell type)
・It is one of how to play Arpeggio.

Play very strong sounds on the Bass and the tops.
But play weak on the middle sounds.

■49の技その8 アルペジオ(だんご型)
18, WAZA-8 Arpeggio(dumpling type)
Play an arpeggio by a lumping condition.

I always change its speed, size, quality, volume and so on.

You can hear I play very fast, but I only play lumping condition.

It is very useful.

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
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 ガイドフィンガー
■49の技その6 ガイドフィンガー
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
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4 フレーズ遊び
■49の技その4 フレーズ遊び
13, WAZA-4 A play in phrase.
・We can play by changing a phrase.

・Changing a expression of music.

・f or p, long or short, smooth or staccate.

We can use them depending on the occasion.
When we use these factors, it will produse infinitely.

We have to keep away from personal assumption.
We can play the guitar just like a conversation.

■49の技その3 遊び消音
■49の技その3 遊び消音
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.

・It is only for playful mind.

・A sound getting very sharp.

■49の技その2 不滅の三度
■49の技その2 不滅の三度
11. WAZA-2 An immortal third.
・Play the top sound gorgeously.
We feel it hard.
・Play the lower sound softly.
We feel it gentle.

・Play two types of sounds at the same time.
When both sounds are strong , it become an argument.

・We express an orchestra like effect.
The top sound likes a brass instrument and the low sound likes a woodwind instrument.

・When it is third, we can use all of them.
It is very wide application.


10. Example of turning off a sound.
(Please check by movie)

■49の技その1 劇的消音
■49の技その1 劇的消音
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.

・We make a listener concentrate on the sound.

・It is like the spot light on the stage setting.


・サンスのパバーナ  Pavana(G.SANZ)

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.

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.

Let us make own touch by our an idea.

5, How to play the strings vibrating them sideways
Please check by the movie.

4, How to play the strings vibrating them vertically

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 @st string to the Eth 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.


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