Japanese Guitar Song Book / 楽曲解説 Liner notes

1. しだれ桜 / Shidare Zakura (渥美書き下ろし曲/Newly written by Atsumi.


There are two parts; one is expressed the groove as if Shidare Zakura is dancing in the wind. Other part is expressed as if a song of Sakura is on therhythm.

2. 纏う/ Matou -Wear it- (渥美書き下ろし曲/Newly written by Atsumi.

三味線の歌い方の仕組みを、ギターに応用した旋律とグルーヴにテーマが纏う。 テーマはヒップホップビート以降のロービートに引き継がれる。このパートは4小節目の最後に ”間”の伸びが生じ5小節目にインテンポで返る9小節のループ で構成される。同時にインテンポで10小節ループにも解釈できるように”間”を捉えることで、ビートとの共存を生んでいる。

Newly written by Atsumi. The theme embraces the melody and the groove that has been applied to the guitar with the method of singing style of “Shamisen.” The theme is taken over ‘Low beat,’ which was yield after the birth of ‘Hip-Hop beat’. This part is composed of 9 measures loop, including “Ma (the space)” at the end of the fourth measure, and returns into in-tempo at fifth measure. At the same time, this gives co-existence with the beat because of this "Ma (the space)," and this gives us to interpret 10 measures loop in-tempo.

3. 六段の調 初段変奏 /Rokudan Shodan Variation

江戸時代の音楽家”八橋検校”の作と言われる箏曲の代表器楽曲。 本来この曲は’段もの’と呼ばれ、六つのパートからなる組曲であるが、その初段を変奏曲 形式で表現した。箏曲の旋律感のもつ美しさを活かすため、ギターの歌い方に箏を纏う ことに苦心した。旋律に感じるスピード感や躍動を際立たせたくてハーモニーを加え た。

This is a representative music of Koto, by a musician "Yatsuhashi Kengyo" during the Edo era. Originally, this song was called 'Danmono,' and was composed of six parts, but Atsumi made the first part as a new variation form. In order to take an advantage of the beauty of melodic sense of Koto, he struggled to carry its beauty on the guitar singing. He added the harmony to the piece to highlight the sense of speed and dynamic feeling.]

4. 日出ずるしい / Hizurushii -the Sun's dazzling- (渥美書き下ろし曲/Newly written by Atsumi.

静岡県の方言で眩しいことを’日出ずるしい’という。風情を感じる面白い表現だと思い曲にしたもの。 一小節ごとに”間”が生じる6小節の主題と展開部によって構成される。眩しさのイメージから短い曲として表現した。 Japanese Guitarのための練習曲として取り組みやすいようにと書きためている1分程の小曲集の中からの一曲。

'Hizurushii' means 'Mabushii (the sun is dazzling) ' in Shizuoka dialect. Atsumi wrote this because the expression of the word was interesting to him. It is consisted of a subject part that has 6 measures including “Ma (the space)” after every measure. This is a short song, which comes from an image of dazzling. This song is from a collection of 1-minute songs, used as etudes for “Japanese Guitar”.

5. 水龍の一滴 / A Drop of Water Dragon(渥美書き下ろし曲/Newly written by Atsumi.

一滴の水が大河から海へ流れまた巡る様を曲にしたもの。次第に変調する返変奏曲パートから雅楽の八の字を描くグルーヴの応用パートへ移行する。 古典雅楽では1拍目と3拍目に向かって間が延びてタメが生まれる独特なグルーヴがありメロディもそのグルーヴに則って伸縮する。その仕組みをモチーフ単位で 1拍と捉えて構成した。単音で徐々にスピードを上げ次の旋律に着地する音は雅楽の鞨 鼓(かっこ)という打物をはじめ、歌舞伎や相撲などにも使われている”流し”という技法を採用している。

This song expresses a drop of water going into river, to sea, and back to where it started a journey. The song starts from a part of the variation, and gradually modulates to the part where the developmental groove of the figure-eight of Gagaku. There is a unique groove generating “Ma (the space)” which extends towards the first beat and the third beat used in Gagaku music. With this groove, the melody is also extended and contracted. The song is constructed by the application of the mechanism of the groove regarding to one beat in the motif unit. The single note that speeds up gradually and then lands on the next melody is applied from “Nagashi” technique that is used in “Kabuki” or “Sumo,” and also “Kakko” drums for Gagaku.

6. 花 / Hana

日本は明治期に入りクラシック教育が導入されていく。明治の西洋音楽黎明期に誕生した”滝廉太郎”氏による 明治期の代表歌曲の一つである”花”を明治時代からのカヴァー曲として取り上げた。本来は歌詞が3番まであ るが器楽アレンジということでメロディと構成の美しさにフォーカスした簡潔な表現にした。Japanese Guitarのための練習曲として取り組みやすいようにと書きためている1分程の小曲集の中からの一曲。

In Japan, classical music education was introduced in the Meiji Era. This song is a cover song based on “Hana” which is one of the great representative songs of the Meiji era by “Rentaro Taki,” when everybody loved Western music in Japan. Originally there are three verses total, but Atsumi made it a brief music with a focus on the beauty of the melody and configuration as an instrumental arrangement. A song from a collection of 1- minute songs, which could be used as etudes for “Japanese Guitar”.

7. 閃きの花 / A flower of Sparks(渥美書き下ろし曲/Newly written by Atsumi.)


It is constructed of two parts. One is a part, which “Ma (the space)” extends and shortens with the song. The other is the arpeggio part, which includes “Ma (the space)” in every 4 measures.

8. デイドリームビリーバー / Daydream Believer (TIMERS Cover)

元々はアメリカのアイドルバンド、’モンキーズ’の曲であるが、このソロギターアレンジは”三宅伸治”さんと”忌野清志 郎”さんが組んでいた’THE TIMERS’が日本語訳でカヴァーしたヴァージョンのカヴァーとしてアレンジした。 昭和期から取り上げるカヴァー曲として敢えて洋楽曲から取り上げて、そこから繋がる日本のロック、ポップスの良さを感じた。

Originally, this song was played by “The Monkees” which is an American rock band. But this was arranged as a cover version of “The TIMERS,” a Japanese famous rock musicians, Shinji Miyake and Kiyoshiro Imawano.

9. さくら さくら / Sakura Sakura

江戸期に箏の練習曲として作られたとされる国民的な日本の歌。 明治期の代表的な箏曲家”宮城道雄”氏による五つの変奏から構成される’さくら変奏曲’のアレンジが素晴らしい。 そのオマージュとして渥美自身も’さくら さくら’に五つの変奏曲アレンジを施し、天倉正敬(ドラム奏者)と共に録音 した音源がある(現在未発表)のだが、その第一部のアレンジをJapanese Guitarのための練習曲として収録した。

This song is one of the representative etudes for Sou (Koto) in the Edo era. There are many arrangement versions, and the one of the most beautiful arrangements is 'Sakura Variations' which is constructed by five parts of the variation arranged by “Michio Miyagi” who is a representative Koto player in the Meiji era. Atsumi also arranged 'Sakura Sakura' into five variations as the homage for Michio Miyagi. Those songs have been recorded already with Masanori Amakura who is a very talented drum player in Japan (unpublished songs). The version of the first part from the five parts of variations arranged by Atsumi is recorded as an etude for “Japanese Guitar.”

10. 権現三変奏曲 / The Gongen 3 Variations(渥美書き下ろし曲/Newly written by Atsumi.)

旋律と構成がぱっと降りてきて曲になった時に吉 野の蔵王権現さんの三位一体となった姿がイメージに浮かび表題とした。冒頭に単音で 出てくる旋律が三集類の変奏曲形式でアレンジされる。最後の展開にはお囃子的イメー ジのグルーヴを導入した。

The tittle was named from Zao Gongen's trinity in Yoshino Nara prefecture, because the image came into his mind when he configured the melody and the structure. The theme by single note at the beginning is arranged in three different types of the variation form. The last part has a groove, such as “Ohayashi” played in “Kabuki.”

11. 越天楽 / Etenraku

越殿楽とも表記される。雅楽の持つ八の字を描くグルーブ感、1拍目と3拍目に向かってタメが入り、’間’が生じる。その’間’から繰り出される1拍目の打点へのスピード感と衝撃は、Black Musicでいう”On the One” と同様のエネルギーを生む。”間”を紡ぐ鞨鼓の”流し”が穿つ弓の弦張の如くそのエネルギーを増幅させている。このグルーヴと躍動にとても可能性を感じている。

This song is arranged as a solo guitar etude from the
representative Gagaku song which is the oldest orchestra in the world that has a history over 1200
years coming from China. The eight figure groove, which “Gagaku” has and “Ma (the space)”
appears towards the first beat and the third beat. The sense of the speed and impact of the note on
the first beat from “Ma (the space)” has same energy as the “On the one” that the Black Music has.
The “Nagashi” technique which “Kakko” drum weaves “Ma (the space)” amplifies the energy of
the groove as if a bow strongly extended. Atsumi feels an infinite possibility from this groove and
uplifting. Those elements were represented deeply as much as possible by the solo guitar. After the
Meiji era, the actual tempo of “Gagaku” songs slowed down but Atsumi feels a great speed on the
other hand. This feeling also is expressed by this arrangement. “Hichiriki” which carries the main
melody is the symbol of the 'Human voice,' and the bass note of guitar plays its melody. “Ryuteki”
which plays the other melody represents 'Dragon,' and its played with the high note of the guitar. I
expressed the light of the guitar, which does not have “Sho” which symbolizes 'Diffusing lights.

▶︎Title list
1. しだれ桜 / Shidare Zakura
2. 纏う/ Matou (Wear it)
3. 六段の調 初段変奏 /Rokudan Shodan Variation
4. 日出ずるしい / Hizurushii (the Sun's dazzling)
5. 水龍の一滴 / A Drop of Water Dragon
6. 花 / Hana
7. 閃きの花 / A flower of Sparks
8. デイドリームビリーバー / Daydream Believer
(TIMERS Cover)*Bonus track (JAPAN only)
9. さくら さくら / Sakura Sakura
10. 権現三変奏曲 / The Gongen 3 Variations
11. 越天楽 / Etenraku

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