Notes on the concert pieces

Dear Guitar Ensemble memebers,
These are some write-ups of the pieces that you are playing that has been translated from the preface of the score. Pardon me for certain weird sentence structures or expressions as it is not professionally translated. If there should be any terms mentioned in these write-ups that is not clear to you, please check with Kevin.
Thank you all for your hard work today.
Mr Soh

Doraemon:

Bar 3 for 2nd guitar is probably difficult to play. When playing this part, practice hard the sequence of placement of the fingers in their respective frets and strings, without removing the first finger from its position. As for the right hand, use a plucking pattern that you are already proficient at. In the case of having more than 2 players playing this part, you can follow the “div” sign shown in the example (refer to the “preface” page of the book) and split up the parts. By doing this, it serves not just to make the playing technically easier, but has the effect of producing a musical expression that cannot be achieved by just one player.

As the piece consists of 2 parts having dialogue with each other, please carefully decide, for each part, how volume and sound quality should overlap one over the other. When the main phrase appears on each part, if they can be played with the same volume, it (the main phrase) will stand up and be heard with clarity. The song will sound impressive even if the “takekoputa” part is omitted.


Kibo no merodei (melody of hope)

Because this song was composed in showa 60 year, it is a nostalgic folk song-type melody. Although it is a simple tune, each part has been arranged to play the melody in this ensemble piece. As the second half of the 3rd guitar part requires stroke and cutting, it should be assigned to a competent player, who is able to bring out the effect of it. This piece has been influenced by poet Samuel uruman’s poem “youth”

The way we were

This piece has been arranged into many different types of arrangements and performed. As this is a four-part arrangement, we cannot adopt a soloistic style of playing. At the beginning, start slowly (leisurely) with a 4/4 rhythm, but along the way the piece increases in rhythmical importance, and finally adlib phrasing appears as “obligado”. At the ending (second last bar), the semi-quaver portions by the 1st and 2nd guitar part can be played in free time.

Close to you

At the point when every part have just finished (their intro?) and that the melody at (2) is entering, if the first guitar parts have multiple person playing it, they should practice their synchronizing in entering together through head gesture at one another. Halfway where there is a change of key, the melody is passed on to the 3rd guitar part, at this point, do not slow down, but ensure that the tempo is maintained to ensure smoothness and continuity.

In a childhood

This is a piece which meekly brings out the pure and nostalgic feeling of childhood (something which every person has experienced).

At the beginning where the bass plays the pizzicato part, its rhythm should be played in a calm and laidback manner and at the same time projecting only the rhythm of every note.

Six bars after C, where the semi-quavers are being played at a high speed, as it is only possible to play in one position, the fingers should not collapse when stooping the string, but be firm and have consistency in the stopping.

At D, Guitar Part 3 plays the accompaniment that also contains a counter-melody. At the points where the notes are supposed to be connected like a melody, the “tenuto”sign (dash) is placed above the notes. These notes should be well connected with smoothness.

White love

The melody line (without lyrics) is beautifully arranged for the musical instruments which aims to bring out the beautiful atmosphere / ambience.
The rise and fall of the melody should be well blended and connected, with the tie notes lightly accented. The harmony should not surpass the melody (in terms of volume?), with the low notes supporting the whole music solidly, and each part should try to understand the role that it is playing in the music while performing.

La Camparsita

This is a famous Argentinian Tango composed by “Rodorigu” of Uraguay. “Camparsita” means costume parade. In the past, this piece has been played by guitar ensembles of many universities.

Guitar 1: Chords of parts “A” and “E” can be played with “rasgueado” stroke. Sometimes there will be fast passages, and for these fast passages there may be other good alternative fingerings. The first beats should be accented and timing be accurate.

Guitar 2: For the Arpeggio of part “C”, the fingering is the same as the “practice piece no 1” from Villa lobos.

Guitar 3: Part “C” is tremolo. With the index finger and thumb (of the right hand) in the manner of holding a pick, move down and up. When doing this, movement should be from the wrist.

Guitar 4: Chord and bass cutting is the main thing. Bass staccato should be hard / solid. Strong accent should be placed on the 4th beat of the chords.

Haruyo Koi

Because the chord progression of this music is surprisingly simple, the pattern of this music is not complicated. Where the basic rhythm of the piece is concerned, players must constantly bear in mind to keep a constant sense of rhythm.
The intro at “A” has each guitar part playing completely different things, on top of that, much syncopation is also included. In order to match the arppegio accompaniment of the 3rd guitar, everyone must ensure that their rhythms are in sync.

For 2nd and 3rd guitars, at D, practice coordinating the syncopation and at the same time taking note of the expression markings and playing it out perfectly, with expression and syncopation well co-ordinated. An important point is to pay attention and listen to the sound made by each other while negotiating the second half (presumably of part “D”) of the music.

While the whole of part I is to be played “forte”, the expressions accompanying the rise and fall of the melody is to be adequately played out. Especially for 1st and 2nd guitars, the expression can be played out more.