Connor Helms

Mt. Fuji Serenades

for 20 string
Koto Solo
with an added
'0' string (21 strings)

Tuning at beginning of piece:

Tune to D major diatonic from the C#.

Tune '0' string to A below
Where the bridges need moved to adjust tuning, there may not be rests in the left hand notes.
You would then need to adjust the bridge at the nearest opportunity in the measures before. It is
up to the individual performer to mark where they personally will be making these adjustments.

Oshide (left hand pressure):

This solid arrow above a note means to raise the pitch a minor second (kari)

This hollow arrow means to raise the pitch a major second (o-kari)

This asterisk means to return the string pressure to it's open position

oshiobiki/hanashi:

If only a line appears between the notes, simply apply oshide pressure until the
notated pitch is reached, then repluck the string. I will not always put in kari
arrows as it should be obvious how far the note will be raised.
If both a line and a slur appear, simply raise and/or lower the pitch without
replucking the string

Ato-Oshi:

hiki-iro:

tsuki-iro

Bend to indetermined pitch before playing the next designated note. In later passages,
the abbreviated version 'A.O.' will appear. Also take note of the glissando
line in this particular example, it shows that you are to bend up late rather than the
normal more linear approach to oshide. There are also instances of bending up early. This
applies to any and all oshide/string pressure techniques, not just ato-oshi

With left hand, tug the string to the right on the other side of the bridge, lowering
the pitch indeterminedly. Notice how the rst type on the left is more abrupt, the
second type at right being more gradual and deeper. The characters above the notes
will always appear so as to be clear as to which type is intended in each case.
Just after plucking, apply small indetermined amount of oshide pressure then quickly
return to open position. Notice the character above the notes, rather than kari arrows
and asterisks. Also notice the 'early' versus 'late' line types.

keshizume

triangle noteheads. Simply place the back of your nail on the left hand index nger underneath a string,
applying very little pressure so as to not completely mute the string. Instead, the string has slightly less
reverberation, in exchange for a buzzy timbre.

fuene/
harmonics

notice how there is both a harmonic note and another note played at the same time (which happens to be
a unison with the harmonic in this case, though not always). The diamond notehead is actually to be played
on the string an octave below this, to avoid clutter I will only note the intended sounding pitch with a
diamond notehead.

voix cleste:

There are many things to point out here. First, this

3
is a technique where you tune two adjacent strings to
not quite a unison so as to achieve an audible beat of dissonance.
Notice that all voix cleste notes are an x notehead, this will not be used.
They are used here to make obvious which notes are normal. Notice the
naturalize or 'nat' box, ordering you to return the designated
strings to their default tuning as specied at the tuning key at
the top of the front page of annotations.
In this instance, all strings that were set to voix cleste were
returned to their default pitch (15 and 19, D and G).
Normally, I would simply put 'nat all'. There may be cases where
only some of the strings are naturalized, in which case the
'nat box' listing is of benet. Notice also how the left hand does
not have any notes to play for a while, ensuring plenty of time to
return the bridges to their default places.

oshiawase:

In this case, pluck string 13 (B) and quickly after pluck string 14
(C#). While doing this, raise string 13 up to the same pitch as 14,
in this instance an o-kari oshide. Sometimes I will notate the B
rather than just writing a C# unison.

chirashizume:

The rst is a normal scrape using the side of the plectrum. The
second is with the top of the plectrum. The third is a back and
forth left-right gesture on the same string.

surizume:

plectrum scrape on two strings, using index and middle ngers

uchizume:

solid upside down triangle above note, slap the strings with face of tsume

uchikaki:

plucking positions:

sukizume and kozume

Glissandi plectrum scrapes of multiple strings. In this case, the right hand takes
just as long as scraping both the C# (1) and E (3) in the left hand in succession,
as evidenced by the rhythmic values notated.

N.R., O.R., P.O.

The location of the tsume are sometimes specied in order to achieve a desired
timbre. N.R. stands for 'near ryukaku', slightly closer to the ryukaku than P.O.,
'ordinary position' (which is roughly 1/8 of the length from the bridge to the
ryukaku for each particular string). O.R. is 'o ryukaku', perhaps 2/8 of the
length. Besides notated directions, the performer is free to adjust playing
position at will. N.R. will make the sound weaker by softening the fundamental,
O.R. will produce more fundamental and less overtones, a 'fat,' rounded, and
warm timbre at the expense of some characteristic colors of the koto sound.

The downward-pointing arrowhead denotes sukizume upstrokes as opposed to

the nger in question's typical downstroke. The upright-pointing arrow is
kozume, a scraping icked upstroke. Sukizume upstrokes are therefore implied
when you see the kozume symbol.

Only arpeggiate when the line to do so appears, otherwise play multi-stops

simultaneously with several ngers at once rather than just sweeping with one.

Part 1: The Five Lakes

1. Purple of Lake Motosu

constant gradual acceleration of tempo throughout, do not

accelerate when the moon is out (you may wish to decelerate
during night sections).

this stave
right hand
only

## 9

& 4
q = 40

Twilight

pp cresc.

20 string Koto
this stave
left hand
only

? ## 49

+ L.H.4th or 5th nger

Dawn

mf

J
J

? ##

j
##

&
J
3

P P3 P

Copyright 2012 Connor Helms

dim

J
J

dim

j
J

j
J

J J

J
J
J J

? ##

mf

P.O. 3

mf

##
&

P.O.

?#
#

O.R.

##
&

P P3 P

J
J

? ##

O.R.
4
##

&

? ##

mf

p cresc.

2
##
&

Connor Helms

 j
##

&
J
7

? ##

##
&
9

j
J

? ##

##
&
10

q = 50

Noon

mp

? ##

mp

##
&
11

? ##

## j
& #
13

?#
#

O O O O O ?

O
O
O O

&

+ O O

oshiawase

12

O O O O O O O O
? ## &
O
O

+ O O
##
&

J
J

8
##

&

? ##

##
& # J

+
? ##

&O #O
+

(move bridge from 12 G-G#)

14

N.R.

(right hand only)

mf

O O

(move bridge 5 from G-G#)

?
O.R. (left hand) mf

##
#
&
15

mf

? ## #

mf

##
#
&
16

? ## #

mf

mf

##

& #
17

? ##

mf

mf

q = 60

##
&

Dusk P.O.

(move bridge 12 from G#-G)

n j

J
J

18

mf

P.O. 3

?#

#
mf

(move bridge 5 from G#-G)

j
##

&
J
19

P P3 P

J
3

3
j
? ##

J
3

>

J
J

 ##

&

20

? ##

J J
J
J
3

##
j

&

q = 45

21 Night do not accelerate tempo anymore

? ##

##

&
rit.

22

J J

? ##

Twilight

g li

ss.

Dawn
##
&
3

mp

?#
#

2. Lake Saiko, Sea of Trees

q = 45

##
&

? ##

g lis

s.

behind bridges

mp

##

&



3

? ##

& #

ato-oshi

>3 >3 >3 > 3 >3 >3 >3 >3 >3 >3
3
3
3
> > > > > > > 3 > 3
##
&

?#
#

##
j
&

3

? ##

##
&
7

? ##

&#

rit.

>3 >3 >3 > 3 >3 >3 >3 >3 >3 >3
ma rest
3
3
3
3
3
>
>
>
##


?
& # > # > > >
>

?#
#

q = 55

>
>
>
>
? #

&

>

10 Noon slowly drift o the ryukaku

? ##

mf

>

mf

>
>
>
>
#

?#

#
(move bridge 5 from G-G#)

#
> >

11

P.O.

O.R.

##
&

>

(move bridge 12 from G-G#)

>

>

3

> >

>
>

>

>

3

>

 ##
&
12

? ## #>

##
&

>

> >

>

>

>

> > > >

#
>
>

>

>
>
>
>
3
>
>
>
>
>
>
? ## > #>

13

##
& #>

>

>
>

>
>
>
>
>
>
? ## > > > >

(move bridge 19 from G-G#)

14

##
&
15

? ## #>

##
&

16

>

>

>

? ##

#>

17

>
> #>
>

? ## #> > > > > >

3

> > >

>
> >
> >

>
>

##
&

>

> >

>

>

>
>

>

q = 65

3
##

& n >
>

18

Dusk 3

to G mf

?#
#
mf

j >
>

>

>

>

>
>

> > n

>
to G
3

>

19
>
>
>
>
>
>
##

&

?#
#
3
##
& >

20

22

3
Night q = 50

mp

? ##

g lis

s.

behind bridges

##
&
23

mp

U
> U
>

? ##

repluck string 5

##
&

to G
## > > > > > >
&

rit.

21

? ##

(string 2 only)

> j

> 3
>

>
>
>

>
>
>
3

? ##

>

10

&#

24

##
&
25

? ##

ato-oshi

>3 >3 >3 > 3 >3 >3 >3 >3 >3 >3 >3 >3 >3 >3 >3

rit.

11

3. Lava in Lake Shoji

accel.

? ##

surizume

~~~~~~~~~~~~~~~~~~~~~~

? ##

##
&

? ##

+
?#

# mp

1 1

(string 4)

j
j

##

& 1 1
mp

3 2
3
2

> > >

? ##

##
&

? ##

3
2
1

##
&

Dawn

##
&
2

##
&

q = 50

1 Twilight

oshiawase

&

 ##
&

3
2
3
##
&
1

##
&

##
&

12

## > > > > > > > > > > > >

&

? ##

##
&

? ##

10

q = 60
Noon
mf

mf

##
&
11

12

13

? ##

##
&

3
3

## 3

&

? ##

? ##

J
3

 ##
&
14

?#
#
##
&

? ##

##
& #

O
J

O
J

?#

accel.

accel.

#c
#

&

accel.

&~~~~~~~~~~ ~~~~~

j3

17

(bridge 5 to G#)

##
&

accel.

~~~~~~~~~~ ~~~~~

? ##

cresc

## 3
& #
q = 70

18

(bridge 12 to G#)

?#
#

(bridge 19 to G#)

15

16

13

j3

Dusk

? ## #

##
#
&
19

? ## #

## j #
&
20

J
3

J
3

J
3

? ## #

J
3

 ## #
&

21

&

>

>

>

>

>

mp

>

uchikaki accel.

? # >
#
>

? ##

? #
# >

##
&

>

There will be a lot of 'ma'

rests in this movement,
play with a feeling of tension and spaciousness

? ##

##
&

voix cleste: lower all E bridges to D

lower all A bridges to G

4. Island of Lake Kawaguchi

Dawn

? ##

>

rit.

1 1 n

##
&

? ##

(bridge 12 to G)

##
&

q = 48

Twilight

? ##

1 1

Night

q = 50

##
&
22

#
J

? ##

14

>

accel.

mp

&
f

##
&

mf

?#
#

mp

.
J

? ## .

.
J

mp

## >

&

accel. q = 54

>
f
>

mp

sfz

(bend F to G)

voix cleste: nat all

sfz

>

mf

>

mf

#
& #

12

##

&

mf

?#
#

gliss.

11

O
J

mp

mp

sfz

? ##

{
J

>
>
>
>

Noon
mf

mp

? ## .

10

mf

sfz

##
&

##
&

p
gently sweep

ss.

##
& 1

>

? ## >

mp 3

g li

mp

15

>

>
> >
>
>
## >

&

13

sfz

? ##

##
&

? ##

g lis

s.

mf

mf

g lis

s.

>

behind bridges

behind bridges

O.R.
3

>

mf

sfz

? ## >

P.O.

mf

18

N.R.
>

>

behind bridges

##

&

sfz
slowly drift o the ryukaku

O.R.
3

mf

s.

mf

g lis

>

N.R.

Dusk

sfz
mf
slowly drift o the ryukaku

?#
# >

q = 60

mf

sfz

##
&
17

sfz

16

15

mf

##
&

? ##

14

##
&

g lis

s.

behind bridges

slowly drift o the ryukaku

ss.

>

behind bridges

g li

>

>

O.R.

?#

# >

sempre

N.R.

## >
&
19

16

g li

ss.

behind bridges

 ##
&

Move all G bridges to G#

? ##

##
& #
>

q = 55

21

Night

mp

mp

? ##

>

mp

>

>

f

rit.

L.H.R.H.
L.H.R.H.

mp

mp f

mp

##
& #
>

>

f

rit.

mp

mp

g lis

s.
3

5 5
j

behind bridges

5 5
j

5 5
j

g lis

s.
3

5 5
j

5 5
j

5 5
j

>
mp

#
f

bridges back to default tuning

behind ryukaku

5
? ##

q = 30
rit.

5. Lake Yamanaka the Prodigious

Twilight

mp

q = 60

mp

? ##

mp

A Tempo

rit.

A Tempo

##
&

24

mp

>

23
2
3
1
## #>
J
&

>

? ##

22

>

##
& #
>

? ##

>

17

20

5 5
j

5
j

18

Dawn

#
&#

## O
&

mp

? ##

##
&

>
mp

>
mp

##
&
p

## O
&

mp

## O
&
##
&

##
&

##
&

##
&

#
&#

? ##

Noon q = 70

mp

>(on D string)

J

#
&#

10

mf

 ##
&
11

? ##

#
&#

mf

14

13

#
&#

12

##
&

##

&

15

? ## 5
3

mf

## c
& J
16

>

>
>

>

>
>

>

>

5j

>
>

3

4:3

sfz

5 5

J

c j3

all G bridges to G#

Dusk

? ## #

5 5
J

5 5
J

q = 80

##
&

c
J

? ##

18

c
J

5 j 5

5 5

J

##
&

? ##

17

5 5
J

5 5
J

19

20

19

##
&
20

j ? #

&

3
# >

mp

25

mp

#
f

mp

mp

? ##

? ##

mp

24

##
&

4:3

? ## #

23

22

##
&

## #
&

? ## #

##
&

21

? ## #
+

##
&

? ## #
+

##
&

&

21

#
&#

26

##
&

27

q = 90
Night G# bridges back to G

##
&

c
J

28

? ## 5
f

5
J

5
J

5j 5

5
J

J
5
J

5j

##
&

? ##

29

30
##
&

? ##

31
##
&

>

>

>

>

>

>

? ##

32
##
&

rit.

> > >

? 11
4
3

? ##

11
4

22

Part 2:
Climbing the Mountain

? # 11
#4

q = 65

? ## 114 b
mp

w
#w
w

&

mp

mp

mp

b #
3

mp

mp

mp

>

b b b # b b #

##
& #

? ## #

these C# and D# notes do not need to be scraped if too dicult

>

mp

##
& #
b
? ##

b #
3

##
& #

? ##

mp

? ##

b #
3

? # b
#

b #
3

? # b
#
? ##

sempre, kozume til the nat. command

? # b
#

3
3
3
3
3
c 3c c c 3c c c 3c c
b #

mp

? ##

b b b b b b
3

 ##
& #

mp

>

? ##

13

>

>

##
c
&
15

##
&
16

?#
#

c c

mf

mf

mf

14

##
&

repeat innitum until bridges are changed

##
&

? ##

nat. 3

12

? ##

? ##

11

? ##

##

&

q = 75

10

kozume

nat. 3

Move all Ab back to A, you can leave the D bridges at D#

mf

##
&

b # # >
mp
f
mp
f
3

## O
&

? ## #

23

&

c c
c c
c c

24

##
&
17

?#
#

##
&

18

? ##

##
&

19

? ##

##
&

?#
#

22

#
& # O

23

Move all A bridges to Ab,

mf

21

c c
##
c c

&

? ##

? ##

20

## j
&

repeat innitum until bridges are changed

25

##
&

? ## b

b #

24

mf

mf

##
& b
25

? ##

J
3

#
3

#
J

j

3

b#

w
#w
w

&
3

mf

mp

mp

mf

b #
3

mp

##
& #
b

mp

mf

29

? ##

b

3

28

##
& #

b

3

mf

? ##

27

##
& b
? ##

b #
3

26

##
& b
? ##

>

b b # b b b #
3

##
& #

>

30

? # #

b b
# b b b b
3

26

##
& #

31

mp

? ##

uchikaki accel.

j
~~~~~

surizume

>

# #
> mp
>
f

glissando,
other hand just after

accel.

>

>

q = 85

>

>

##

& b

32

? ## #
b >

mp
f
3

33
## b #
b

&

# b
n b

?#
#

#
34
## b
&

b b

#
? ## n b # #
b

& # b

35

do not let ring

j

##
& b.
36

? ##
b.

## j
& b

37

38

do not let ring

? ##
b.

##
& b

j
~~~~~

? ##
b.

j 3

#

j

3

J
3

j 3

#

#. . . . .

j3

j 3

#. . . . .

#. . . .

#.

j 3

j 3 #

j

3

3
## #
b
&

27

39

? ##
b.

#. . . .

3
3
## #

b
&

40

? ##
b.

##
&
41

? ## b

42

? ##

##
& b
43

? ##

3
3
3
##
& b
3

#
3

#. . . .

mf

mf

b #
3

3
3
3
3
3
3
3
3
3
##

& b b # &
3

44

mf

b
? ##
#

mf

##
& #

45

? ##

mp

mp

mf

b #
mp

mp

mf

28

3
3
3
3
3
3
##
& #

46

? ##

>

b b # b b b #
3

##
& #

>

47

b#

?#

# # b b b b b b
3

3
3
##
& # b

48

mp

##
&

50

mf

> > mp

Now begin tuning the other unused G bridges to G# as well

q = 85

change D# and Ab bridges back to default, repeat ad innitum until nished

##
&
51

>

# #

>

>

>

>

##
&

>
f

mp

49

? ## #
b

3
3
>

>

repeat here once nished

with D and A, keep repeating
until the two G bridges of the
next measure have been moved
to G#

? ## #

p 3

##
&
52

? ##

mp

mp 3

 ##
& #
53

29

mf

? ## #
3

##
&
54

mf

rit.

? ##