Rock Garden is the most challenging piece of music that I had to learn under such short time frame. The process was frustrating and difficult, but the rewards were, without a doubt, worth every rehearsal.

The biggest challenge for me was gaining enough confidence to play the melodies of the firstKoto. The first Koto, which performed the melody most of the time, was pressuring as it does not harmonize with the rest of the ensemble. I wasn’t used to be ‘on the spotlight’, so it was a struggle for me to learn how to play apart from others. Like always, practice proved to be morethen useful; it helped me to play out because I knew I was better prepared. At first, it was difficultto play as group, because we were all learning our own parts. But through much time and patience, we were able to put the pieces together. Part of our determination came from knowing that we will be performing Rock Garden in a few, short months, if that isn’t pressure enough, I don’t know what is!

At first, the piece didn’t meet my expectations; I missed playing Josho no Kanata and its intense dynamics. However, after about a couple hundred of rehearsals, I started seeing the beautiful, intricate patterns that flowed one after another. I stopped feeling bored, waiting for my part to begin, and listen to the gradual build up, the harmony of parts, and accents and dynamics. Even though we played at a slower pace compared to the recording, I still felt the intensity of the piece, especially when we reached the climax of the piece (at measure 144).

If I had to describe Rock Garden in a phrase, I’d say it is ‘ever flowing’. From the gradual build of the harmonies of Kotos 2, 3, and bass Kotos, the melody may grow softer, but the intensity never waivers. The meter doesn’t change except on measure 84, and measure 98, when the melody changes pattern and temple, and lastly at measure 241, where there is an accelerando, which provides a dramatic build-up followed with the finish. The build-up was definitely one ofthe easier parts with its simple pattern and technique; however, it took concentration from everyone to keep the rhythm upbeat and lively.

The rest of the piece is repetitive, and the different patterns are often layered and staggered with different Koto and bass Koto parts. The transit between different patterns with different techniques and temples was a big challenge for the whole group, such as in measure 132. We had to practice individual parts before playing all together; it was a challenge to have 7 Kotosand 2 bass Kotos in sync.

Beside the more challenging components of Rock Garden, the form and structure of the pieceturned out to be quiet simple. The temple, for instance, stays consistent throughout the performance, keeping the music upbeat and lively. Similarly, the dynamics used in this piece helps to create tension in the build-up as well as giving variation to the music, and allows the music to transit through slow and gentle to loud and rich. The other dramatic verse, which leads up to the climax, is the changing and staggered staccato verse. This section is quick and fun to play, as if we are actually enjoying ourselves in a rock garden.

Rock Garden, hopefully, will not be the last piece I perform on Koto. Even though it presented me difficult challenge Pressure, I feel that I have grown to be a more confident musician. The piece also reminded me that practice plays a huge role in improving technique and confidence.

On the 26th of April, our 10th grade koto ensemble performed the minimalist piece Clouds for Alma by Hiroshi Yoshimura.

Since we had limited time between the Koto rehearsals and Spring Concert, we had to overcome many hurdles before the performance. Clouds have a total of four movements, but we played only the first 3 movements since the 4th movement is very difficult. The 9 of us split into two parts; 4 in the first Koto and 5 in the second Koto.

Clouds of Alma is unlike any other piece I’ve ever played. Instead of playing with your picks, ‘tsume’, the piece is played entirely by your exposed fingers, ‘yubi’. At first, we had difficulty playing the first movement as the long movement gave us painful blisters. Moreover, the intricate and repetitive pattern made it hard for us to know when to change. This was the biggest challenge we faced, as we couldn’t was finish 1st movement together. It was often frustrating when we would finish before or after the first koto because we lost track.

One of the peculiar things about this piece is the fact that we had to prepare ourselves mentally and physically for the concert. Since we have to use our fingers the whole piece, first, we had to endure the pain and let the calluses harden so we would be able to play the entire piece in the concert. Second, we had to build mental stamina. This was the hardest, because it meant that we had to focus on focusing even when we are tired.

However, this challenge really helped me on a daily basis with focus and concentration. It also brought us together as an ensemble as we have to listen to each other and mentally understand when we need to change patterns. The pattern move in a sequence of 8 to 1, and over the rehearsals, the motion of changing became second nature and we were able to play by ear.

Since I recently had a formal Koto concert, in comparison, the Spring Concert was a smaller scale. However, I still felt nervous and felt the need to perform well. Reflecting on the performance itself, I think we agree as an ensemble that we could have done a better job with the dynamics. Since we focused so much on playing the right notes and patterns, we didn’t have time to add on dynamics and make the show more interesting for the audience. From a video of our performance, I think the 3rd movement dragged a bit when we played softer. This section has always been a challenge when we become quieter, we often slow down.

Just as how we slow down in the 3rd movement, I think that the second koto also needs to work on listening to the first koto. The first koto and second koto almost always have interlocking melodies. Therefore it’s especially important that we play together seamlessly. This is especially true for the 3rd movement where the 2nd koto has to play strong, accented notes.

Before Clouds for Alma, I had little exposure to minimalist music. Now, I feel that I can compose interesting music by using the contrast of minimalist music and rock music such as Josho No Kanata.

Overall, I enjoyed playing Clouds for Alma very much. Its steady tempo is very soothing and calming, and demonstrates that even minimalist music can be fun to play and is just as significant as those of Rock Music. Even though many people would think this piece is very, or too, repetitive, I feel that the intricate pattern demonstrate the ensemble’s ability to harmonize and play the melodies. I feel that now I know how to play an upbeat koto piece such as Josho No Kanata and Yume No Wa as well as the minimalist Clouds for Alma, it demonstrates my ability to perform diverse compositions, and I feel more well-rounded as an musician.

Josho No Kanata (上昇の彼方)

During the arts concert, my ensemble performance was at the level of proficient. The only errors we made were in the second repeat of chirashi-zume. The first time we played it, it was of good temple and togetherness, but the second time, we couldn’t pull it together. Fortunately, we came together after the turn of the page.

I was satisfied with my professionalism, because even when I heard wrong notes, I made sure I did not show it. (I signaled for the final notes of the ending, but someone came in early; that was unexpected as we were very good during rehearsals.) I had a good posture and I always watched and listened to the people around me so it would be the best ensemble performance it could be. I didn’t make mistakes and was always on my part, I paid attention to the dynamics as well as the rhythm change. During rehearsals I played some wrong notes, and played wrong parts and come in at the wrong time; however, during the real performance I showed my best by making no mistakes and being able to blend in with the group.

Overall, our performance went well. Our Kotos were accurately tuned, and we played with professionalism. The entrance of the piece was well done; we began softly and played the dynamics. The ending of the first movement was great, as we all played at the same time with Daniel’s head nod. The entrance of the second movement was very impressive and strong with the base Koto. However, we were not very together at the ending, because someone came in early. The performance of the ensemble was very good; everyone played the right notes and followed the rhythm changes as well as the dynamics. I thought that we looked very good as a whole; the movements were somewhat synchronized and we played fluidly (when we needed to and vise versa).

If I could re-perform Josho No Kanata, I would’ve wished to play the chirashi-zume part again, because I know that we can play it, and we just need to work better together. I would like to work on our sense of beats so we can ensure that if we ever work on something similar in the future, we can eliminate this deficiency.

I am really fortunate that I practiced extra on the nights before the performance. I thought practicing only ensures that you can play better and be familiar with the music. But it was more than that. Practicing helped me to relax and not be so nervous. Because I knew that I could play it, I was less tense, and could play all the notes correctly. And by having my hand familiar with the Koto, I knew where the strings were and exactly how I could make it sound soft or loud. Usually performing is nerve racking and stressful at times, but because of me just practicing a couple hours in the days before, I really enjoyed the experience and played really well.

From the beginning when we first worked on Josho No Kanata, we have come a long way. One of the things I feel really accomplished is how well we can play the beginning as an ensemble. From not being able to play the right notes to being able to play flowingly as a group, all our hard work has not being for nothing. But most of all, I feel that our best improvement is in learning how to play the chirashi-zume. At first, it was hard having all three parts play at the right temple of chirashi-zume. However, we have come to a point that we hum it for leisure, and can play most times successfully, which makes me very proud of our ensemble.

Josho No Kanata (上昇の彼方) is a music piece written for the Koto, an Japanese Instrument. The piece was composed by Hikaru Sawai (沢井比河流) in the March of 2003 for an ensemble or quartet of 3 parts; two 13-string Koto with a 17-string base Koto.

Hikaru Sawai, son of Sawai Tadao, is a Japanese composer who features in Koto, Japanese Metal, and guitar.

Sawai is now the head of Sawai Sokyokuin School (Sawai Koto Academy), as well as a member of the Contemporary Japanese Music Composer Federation. He leant the Shakuhachi from Katsuya Tokoyama, flute from Masao Yoshida, and self-taught the Koto. He composed numerous songs, not only in Japanese instruments but in Western ones as well. As a young player, Sawai often played in metal competitions. Hikaru Sawai is also renowned for his Grand Prix Award winning song of “Bevel’ (斜影) in 1992.

One of his numerous renowned works, Josho No Kanata (or Rising to the Other Side, Beyond the Ascent in English), is a quick paced, on and offbeat piece of music. Like its name, Josho No Kanata uses the accenting notes to give the feel of going up the stairs, or that feeling of the build-up and explosion.

Josho No Kanata composes of two movements of an aggregate of 11 minutes long. The First Movement starts very softly with the harmony of the first and second Koto. The Kotos play in an interactive, repetitive pattern. The melody grows and falls a number of times until the base Koto joins in. The music rises through a crescendo, and two Kotos use presses to create an up and down feel. The two parts then join and the pitches go up and down, like the name of the piece, Beyond the Ascent. The second Koto and base play in harmony before switching to the harmony of the first Koto and base Koto, than the segment ends with the harmony of the Kotos. The final segments of the piece is a repeat of the previous sections, and before the movement ends, it goes back to the melody of the beginning with a twist of finale played by the Base Koto.

The Second Movement starts off strongly with the Base Koto in a jerky motion, which is then joined by the second Koto, then the first Koto. The ensemble then plays in an unusual technique of ‘shu’. The rubbing of the sting gives off a ‘swosh”, or “sha” sound along with the note of the string. The ensemble plays consecutively from the Base to second to first Koto seamlessly. After four measures the notes and order of play changes. The notes ascend and the lead changes from Base to second to first Koto. The piece flows as the notes grows high and low. In the middle section of Second Movement, the Kotos take turn with the melodies while the base Koto keeps a steady beat. In the next section, the Kotos plays Pizzicato with high notes alternative while the base Koto slowly fades away, then rejoin. The Pizzicato changes to the picks, and the music goes from soft to more distinct. Near the end, the ensemble repeats the ‘shu’ in the exact pattern and finishes the piece with a long ascend up the stings, and a dynamic finale.

The piece, like many others, is common in the form of instruments, 2 higher pitched with one base. The Kotos together form a very positive, harmonious sound. Adding the base Koto to the first and second Koto, it creates a structure that has beat, and melody. In this piece, the Kotos don’t play together all the time, so the different notes and the changes in the parts make it very high-energy.

The special techniques, or the timbre of this piece are numerous. From the Pizzicato to the “shu “or “chirashi-zume”, the techniques make the composition very fresh. The background of the composer, Hikaru Sawai, may have something to do with it. Sawai’s metal background could have influenced him to write this bright, powerful, quick paced song. The Pizzicato created softness, and the “shu” created a quick flowing energy. The dampening or the Keshi made staccato notes that brought an abrupt feel. Not only did the change of technique bring a relaxed atmosphere, it could also bring in a nervous one.

The melody does moves smoothly most of the time in Josho no Kanata, where the music crescendos up from soft to strong. Sometimes, to avoid the piece being jumpy, the changes occur with the parts playing melodies that over-lays. One of the notable ‘jumpy’ parts of Josho No Kanata is the transition into the chirashi-zume. Where the technique and play is quite different than the part before. The melody over all ascends throughout the whole piece. At the ending of each segment, the notes and pitch ascend.

The meter of the First Movement is presented in 4/4, even though it is written as 3/4. However, the meter changes in the Second Movement in about 2 pages in, where it changes to 5/4 for four measures then goes back to 4/4. In the 24th page, the meter changes from 4/4 to 6/4 to 5/4, the pattern goes from 6/4 to 5/4 about 3 times then changes to 3/4 for eight measures then to 5/4 for a measure then back to 4/4 for the last 3 measures. It seems like the composer changed the meter the first time to show and put in a transition. The second time, however, he may have tried to signal change for the ending, and fit in the triplets.

The dynamics of this piece is strong and evident. From the soft melody to the ascending segments, there are always dynamics, especially crescendos and decrescendos. Hikaru Sawai also uses a range of notations from forte to piano. The dynamics help him to convey a sense of movement, in the idea that he piece, named for Beyond the Ascent, has a lot to do with the flow and movement of music. The increase and decrease of volume convey to the feeling of going up and down the stairs, as if by listening to the music, you are really going up and down.