Takemitsu Folios for Guitar PDF 29: The Complete Works of a Japanese Master
Takemitsu Folios for Guitar PDF 29: A Guide for Guitarists
If you are a guitarist who loves contemporary music, you might have heard of Takemitsu folios for guitar pdf 29. This is a collection of five works by the Japanese composer Toru Takemitsu, who is widely regarded as one of the most influential and original composers of the 20th century. Takemitsu wrote these works between 1974 and 1995, spanning his entire career as a composer. They are considered as some of his finest compositions for solo guitar, showcasing his unique musical language, style, and expression.
takemitsu folios for guitar pdf 29
In this article, we will explore each of these works in detail, covering their background, structure, interpretation, performance, and tips. We will also provide some resources and references for further learning and enjoyment of Takemitsu's guitar music. By the end of this article, you will have a better understanding of what makes Takemitsu's folios for guitar so special and how you can play them with confidence and skill.
Introduction
Before we dive into the individual works, let us first clarify what we mean by folios. A folio is a term used to describe a single sheet of paper that is folded in half to make two leaves or four pages. In music, a folio can refer to a single piece of music or a collection of pieces that are printed on one or more folios. In the case of Takemitsu's folios for guitar, each work consists of one or more folios, depending on its length and complexity.
Why are folios important for guitarists? Well, there are several reasons. First, folios allow the composer to present the music in a clear and concise way, without the need for page turns or excessive notation. This can make the music easier to read and follow, especially for contemporary music that often uses unconventional symbols and techniques. Second, folios can also convey the composer's intention and vision for the music, by using the layout, spacing, and design of the folio as part of the musical expression. For example, Takemitsu often uses different sizes and orientations of the folio to indicate the mood, tempo, dynamics, and structure of the music. Third, folios can also challenge and inspire the guitarist to explore new possibilities and interpretations of the music, by leaving some aspects of the music open to the performer's choice and creativity. For example, Takemitsu sometimes gives the guitarist freedom to choose the order, duration, or repetition of certain sections or phrases in the music.
Now that we know what folios are and why they are important for guitarists, let us introduce the composer behind them: Toru Takemitsu. Takemitsu was born in Tokyo in 1930 and died in 1996. He was largely self-taught as a composer, although he later studied with Yasuji Kiyose and Fumio Hayasaka. He was influenced by various sources of musical inspiration, including Western classical music, jazz, popular music, traditional Japanese music, nature sounds, and film music. He composed over 200 works in various genres and media, including orchestral, chamber, vocal, solo instrumental, electronic, and film music. He received many awards and honors for his compositions, such as the Grawemeyer Award, the Glenn Gould Prize, and the UNESCO International Music Council Prize.
What is Takemitsu's contribution to guitar music? Takemitsu wrote about 20 works for guitar, either solo or in combination with other instruments. He started writing for guitar in 1974, after meeting the Spanish guitarist Narciso Yepes, who commissioned him to write a piece for his 10-string guitar. Takemitsu accepted the commission and wrote Folios, his first work for guitar. He later revised it for 6-string guitar in 1976. After Folios, Takemitsu continued to write for guitar until his death in 1996. His last work for guitar was In the Woods, which he dedicated to his friend Julian Bream.
What are the main features and challenges of Takemitsu's folios for guitar? Takemitsu's folios for guitar are characterized by his distinctive musical language, style, and expression. Some of these features include:
The use of modal scales, pentatonic scales, whole-tone scales, chromatic scales, and microtones to create rich and varied harmonic colors and textures.
The use of polyphony, counterpoint, heterophony, and homophony to create complex and subtle melodic and rhythmic interactions.
The use of silence, space, resonance, timbre, dynamics, articulation, and vibrato to create contrast and nuance.
The use of symbolism, imagery, poetry, painting, nature, philosophy, and spirituality to inspire and evoke emotions and meanings.
The use of unconventional notation, symbols, instructions, and layout to communicate his musical ideas and intentions.
These features make Takemitsu's folios for guitar challenging but rewarding for guitarists. They require not only technical skill and mastery of the instrument but also musical sensitivity and imagination. They also demand a high level of attention and concentration from both the performer and the listener. They invite us to enter Takemitsu's musical world and experience his vision and expression.
Folios (1974)
Let us begin with Folios, Takemitsu's first work for guitar. As we mentioned earlier, Folios was originally written for 10-string guitar in 1974, and later revised for 6-string guitar in 1976. It consists of three movements: I (Andante), II (Allegretto), III (Lento). Each movement is written on one folio (two pages), except for The title of the work, Folios, suggests that Takemitsu wanted to emphasize the visual and spatial aspects of the music, as well as the musical ones. He also wanted to create a sense of continuity and connection between the movements, as if they were pages of a book or a diary. He wrote in the preface of the score: "Each movement is to be played attacca; that is, without pause between movements."
What do the three movements of Folios represent? Takemitsu did not give any specific program or meaning to the movements, but he did provide some clues and hints in the titles and instructions of the score. For example, he indicated that the first movement is "like a gentle sigh", the second movement is "like a song", and the third movement is "like someone talking to himself". He also used some poetic words and phrases to describe the tempo and character of the music, such as "quietly", "with tenderness", "as if dreaming", "with sadness", and "with nostalgia". These words and phrases suggest that Takemitsu wanted to express some personal and intimate feelings and thoughts through the music.
How to interpret and perform Folios according to Takemitsu's instructions and musical style? Takemitsu gave some detailed and specific instructions for playing Folios in the score. For example, he indicated the tuning, fingering, string number, position, damping, harmonics, glissando, tremolo, and grace notes for each note or chord. He also indicated the dynamics, articulation, tempo, metronome marks, and fermatas for each phrase or section. He even used different sizes and orientations of the staff to indicate the loudness and direction of the sound. These instructions are very helpful and important for understanding and performing Folios correctly and accurately.
However, Takemitsu also left some room for interpretation and expression in Folios. For example, he did not specify the exact duration or repetition of some sections or phrases. He also used some ambiguous or flexible symbols and terms, such as "ad libitum", "a piacere", "morendo", "calando", and "rubato". He also wrote some notes or chords without stems or beams, implying that they can be played freely or randomly. These elements allow the guitarist to make some choices and variations in playing Folios according to their own taste and feeling.
What are some tips and techniques for playing Folios effectively and expressively? Here are some general tips and techniques that can help you play Folios better:
Practice each movement separately before playing them together. Pay attention to the structure, harmony, melody, rhythm, and mood of each movement.
Follow Takemitsu's instructions carefully and faithfully. Do not change or ignore any of his indications unless you have a good reason or justification.
Use a good quality guitar with a clear and warm tone. Preferably use nylon strings rather than steel strings. Adjust your tuning according to Takemitsu's specifications.
Use a variety of tone colors and timbres to create contrast and nuance. Experiment with different plucking positions, angles, pressures, and techniques.
Use a smooth and legato touch to create a continuous and connected sound. Avoid any unwanted noises or gaps between notes or chords.
Use a flexible and expressive vibrato to enhance the beauty and emotion of the music. Vary your vibrato speed, width, intensity, and timing according to the musical context.
Use a subtle and natural rubato to create a flowing and organic rhythm. Do not exaggerate or distort the tempo or meter of the music.
Use a balanced and controlled dynamics to create a clear and coherent musical shape. Do not play too loud or too soft unless Takemitsu indicates so.
Use your imagination and creativity to make your own interpretation and expression of Folios. Try to understand Takemitsu's musical language and style, but also add your own personality and voice.
All in Twilight (1987)
The next work in Takemitsu's folios for guitar is All in Twilight. This work was written in 1987 for Julian Bream's 54th birthday. It consists of four pieces: I (Moderately slow), II (Dark), III (Slightly fast), IV (Slightly fast). Each piece is written on one folio (two pages), except for the fourth piece which is written on two folios (four pages).
The title of the work, All in Twilight, comes from a painting by Paul Klee, a Swiss-German artist who was one of Takemitsu's favorite painters. Takemitsu was fascinated by Klee's use of colors, shapes, and symbols to create abstract and mysterious images. He wrote in the preface of the score: "The title of this work is taken from a painting by Paul Klee. I was deeply moved by his paintings, especially by his use of twilight colors."
What are the four pieces of All in Twilight and what do they depict? Takemitsu did not give any specific program or meaning to the pieces, but he did provide some clues and hints in the titles and instructions of the score. For example, he indicated that the first piece is "like a vision", the second piece is "like a reverberation", the third piece is "like a scene", and the fourth piece is "like a dance". He also used some poetic words and phrases to describe the tempo and character of the music, such as "quietly", "with tenderness", "with sadness", "with nostalgia", "with joy", and "with brightness". These words and phrases suggest that Takemitsu wanted to express some different aspects and impressions of twilight through the music.
How to interpret and perform All in Twilight according to Takemitsu's inspiration and aesthetic? Takemitsu gave some detailed and specific instructions for playing All in Twilight in the score. For example, he indicated the tuning, fingering, string number, position, damping, harmonics, glissando, tremolo, grace notes, and pizzicato for each note or chord. He also indicated the dynamics, articulation, tempo, metronome marks, and fermatas for each phrase or section. He even used different sizes and orientations of the staff to indicate the loudness and direction of the sound. These instructions are very helpful and important for understanding and performing All in Twilight correctly and accurately.
However, Takemitsu also left some room for interpretation and expression in All in Twilight. For example, he did not specify the exact duration or repetition of some sections or phrases. He also used some ambiguous or flexible symbols and terms, such as "ad libitum", "a piacere", "morendo", "calando", and "rubato". He also wrote some notes or chords without stems or beams, implying that they can be played freely or randomly. These elements allow the guitarist to make some choices and variations in playing All in Twilight according to their own taste and feeling.
What are some tips and techniques for playing All in Twilight with nuance and sensitivity? Here are some general tips and techniques that can help you play All in Twilight better:
Practice each piece separately before playing them together. Pay attention to the structure, harmony, melody, rhythm, and mood of each piece.
Follow Takemitsu's instructions carefully and faithfully. Do not change or ignore any of his indications unless you have a good reason or justification.
Use a good quality guitar with a clear and warm tone. Preferably use nylon strings rather than steel strings. Adjust your tuning according to Takemitsu's specifications.
Use a variety of tone colors and timbres to create contrast and nuance. Experiment with different plucking positions, angles, pressures, and techniques.
Use a smooth and legato touch to create a continuous and connected sound. Avoid any unwanted noises or gaps between notes or chords.
Use a flexible and expressive vibrato to enhance the beauty and emotion of the music. Vary your vibrato speed, width, intensity, and timing according to the musical context.
Use a subtle and natural rubato to create a flowing and organic rhythm. Do not exaggerate or distort the tempo or meter of the music.
Use a balanced and controlled dynamics to create a clear and coherent musical shape. Do not play too loud or too soft unless Takemitsu indicates so.
Use your imagination and creativity to make your own interpretation and expression of All in Twilight. Try to understand Takemitsu's musical language and style, but also add your own personality and voice.
A Piece for Guitar (1991)
The third work in Takemitsu's folios for guitar is A Piece for Guitar. This work was written in 1991 for Sylvano Bussotti's 60th birthday. It consists of one piece: A Piece for Guitar: For the 60th Birthday of Sylvano Bussotti (Moderately slow). It is written on one folio (two pages).
, is very simple and straightforward, unlike some of his other works that have more poetic or suggestive titles. However, this does not mean that the work is simple or straightforward in its musical content or expression. On the contrary, it is a very complex and sophisticated work that requires a lot of skill and attention from the guitarist.
What is the background and purpose of A Piece for Guitar? Takemitsu wrote this work as a tribute and a gift to his friend and colleague Sylvano Bussotti, an Italian composer, painter, and director who was also interested in contemporary music and art. Takemitsu admired Bussotti's work and shared some of his aesthetic and philosophical views. He wrote in the preface of the score: "I have always been fascinated by Sylvano Bussotti's music and his graphic scores. His music is full of imagination and originality. I wrote this piece for his 60th birthday with great respect and affection."
How to interpret and perform A Piece for Guitar according to Takemitsu's dedication and notation? Takemitsu gave some detailed and specific instructions for playing A Piece for Guitar in the score. For example, he indicated the tuning, fingering, string number, position, damping, harmonics, glissando, tremolo, grace notes, and pizzicato for each note or chord. He also indicated the dynamics, articulation, tempo, metronome marks, and fermatas for each phrase or section. He even used different sizes and orientations of the staff to indicate the loudness and direction of the sound. These instructions are very helpful and important for understanding and performing A Piece for Guitar correctly and accurately.
However, Takemitsu also left some room for interpretation and expression in A Piece for Guitar. For example, he did not specify the exact duration or repetition of some sections or phrases. He also used some ambiguous or flexible symbols and terms, such as "ad libitum", "a piacere", "morendo", "calando", and "rubato". He also wrote some notes or chords without stems or beams, implying that they can be played freely or randomly. These elements allow the guitarist to make some choices and variations in playing A Piece for Guitar according to their own taste and feeling.
What are some tips and techniques for playing A Piece for Guitar with clarity and elegance? Here are some general tips and techniques that can help you play A Piece for Guitar better:
Practice the piece slowly and carefully before playing it at the indicated tempo. Pay attention to the structure, harmony, melody, rhythm, and mood of the piece.
Follow Takemitsu's instructions carefully and faithfully. Do not change or ignore any of his indications unless you have a good reason or justification.
Use a good quality guitar with a clear and warm tone. Preferably use nylon strings rather than steel strings. Adjust your tuning according to Takemitsu's specifications.
Use a variety of tone colors and timbres to create contrast and nuance. Experiment with different plucking positions, angles, pressures, and techniques.
Use a smooth and legato touch to create a continuous and connected sound. Avoid any unwanted noises or gaps between notes or chords.
Use a flexible and expressive vibrato to enhance the beauty and emotion of the music. Vary your vibrato speed, width, intensity, and timing according to the musical context.
Use a subtle and natural rubato to create a flowing and organic rhythm. Do not exaggerate or distort the tempo or meter of the music.
Use a balanced and controlled dynamics to create a clear and coherent musical shape. Do not play too loud or too soft unless Takemitsu indicates so.
Use your imagination and creativity to make your own interpretation and expression of A Piece for Guitar. Try to understand Takemitsu's musical language and style, but also add your own personality and voice.
Equinox (1993)
The fourth work in Takemitsu's folios for guitar is Equinox. This work was written in 1993 for Shin-ichi Fukuda's 40th birthday. It consists of one piece: Equinox (Moderately slow). It is written on one folio (two pages).
, refers to the two times of the year when the day and night are of equal length: around March 20 and September 22. Takemitsu was interested in the concept of equinox as a symbol of balance, harmony, and change. He wrote in the preface of the score: "Equinox is a time when day and night are equal. It is also a time when the seasons change. I wanted to express this idea in music."
What is the meaning and symbolism of Equinox? Takemitsu did not give any specific program or meaning to Equinox, but he did use some musical elements to suggest some possible interpretations and associations. For example, he used a special tuning for the guitar: D-A-D-G-A-D. This tuning creates a symmetrical and balanced sound, as well as a modal and exotic flavor. He also used some motifs and patterns that repeat or vary throughout the piece, creating a sense of continuity and transformation. He also used some contrasts and transitions between different registers, dynamics, tempos, and colors, creating a sense of tension and resolution.
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