Tsunangari (TTBB)

. s g n i d r o c e r d n a s e c n a m r o f r e p y n a r o f m o c . t c e j o r p n a m e s i w . w w w m r o f n i e s a e l P . e t a d t a h t l l i t e l i f s i h t m o r f f f o s e r o c s e c u d o r p e r y a m u o Y . 2 1 0 2 , 1 3 / 3 l i t n u E E R F R O F E L B A L I A V A s i e r o c s s i h T

 

  

                                                                                             

                                     

               

                                   

            


 

This work was composed for the 35th All Japan High School Cultural Festival 2011 in Fukushima.

- Tsunangari (Connection) -

         

Text and Music by Kentaro Sato (Ken-P) 5/27, 2011

- to the Victims of the 2011 3/11 Earthquake and Tsunami in Japan -

for Utao NIPPON Project

    Calmly and Honestly

1 Ten. 2

* "Oo..." = [u]

Ho - n - to - no

Ko - to - wo

Mi - ru - no - wa

Ho - n - to - no

Ko - to - wo

Mi - ru - no - wa

1 Bas. 2

Piano (opt.)

rit.

7

a tempo

ro.

T. Na - n - te

Mu - zu - ka - shi

-

no

-

da - ro.

Ho - n - to - no

Ko - to - wo

O - mo - u - no - wa

Na - n - te

Mu - zu - ka - shi

-

no

-

da - ro.

Ho - n - to - no

Ko - to - wo

O - mo - u - no - wa

B.

Pno. (opt.)

11

wa

na - n -

T. Na - n - te

Hi - to - ri - bo - cchi - na - no - da - ro. da -

Ho - n - to - no Ko - to - wo

Tsu - ta - e - ru - no -

wa

Ho - n - to - no Ko - to - wo

Tsu - ta - e - ru - no - wa

ro.

B. Na - n - te

Hi - to - ri - bo - cchi - na - no - da - ro.

Pno. (opt.)

The 35th All Japan High School Cultural Festival Executive Committee of Fukushima Prefecture will hold the copyright of the work until March 31st, 2012. edition Kawai Tokyo Japan has been granted to distribute the work in Japan. The composer and its publisher are responsible for the international distribution and representation of the work.

1/4

visit: www.wisemanproject.com


- Tsunangari (Connection) 15

te

T. Ah,

Na - n - te

Yu

-

ki - nga

I

-

ru

-

no - da - ro.

So - shi - te

U - so - no Mu - ko

-

de

Ka - na -

Yu - ki - nga

I

-

ru

-

no - da - ro.

So - shi - te

U - so - no Mu - ko

-

de

Ka - na -

Te - wa

Na - n -

B. Na - n - te

Pno. (opt.)

18

3

T. shi

Ka - ze - ni

Na - mi - da - su - ru

Hi - to - ni

Sa - shi -

no - be - ra - re - ta

Hi - to - ni

Sa - shi -

no - be - ra - re - ta

3

B. shi

Ka - ze - ni

Na - mi - da - su - ru

Te - wa

3

Pno. (opt.)

21

A - ta - ta - ka - i - no - da - ro.

te

T. te...

Na - n - te

Ah,

Na - n

-

te

A - ta - ta - ka - i - no - da

-

ro.

B. Na - n - te

A - ta - ta - ka - i - no - da - ro.

A - ta - ta - ka - i - no - da

-

ro.

Pno. (opt.)


2/4



- Tsunangari (Connection) 37

3

T. Ko -

no

So - ra - no Shi - ta So Ko - no ra - no

de

Yo - ri - so - i,

Na - ki,

Wa - ra - i,

U - ta - u,

Do - n -

3

B. Ko - no

So - ra

-

no

Shi - ta - de Yo - ri - so - i,

Na -

ki... Na - ki,

Wa - ra - i,

U - ta - u, Do - n -

Pno. (opt.)

40

Slower rit.

T. na - ni

Ha - na - re - te I

-

te - mo.

Ko - no So - ra - no

Tsu - na - nga - ri - wo, wo... Tsu - na - nga - ri - wo,

Ko - no

Ko - ko - ro -

na - ni

Ha - na - re - te I

-

te - mo.

Ko - no So - ra - no

Tsu - na - nga - ri- wo,

Ko - no

Ko - ko - ro -

B.

Pno. (opt.)

rit.

45

T. no

Tsu - na - nga - ri - wo

Ka - n - ji - te

Ku - da - sa

-

i.

no

Tsu - na - nga - ri - wo

Ka - n - ji - te

Ku - da - sa

-

i.

B.

Pno. (opt.)


4/4



by Kentaro Sato (Ken-P)

There are 5 vowels in the Japanese language and they are alphabetized as “A” “E” “I” “O” and “U.” Consecutive vowels belong to separate syllables, and there is virtually no diphthong when it comes to music. 

Singing Japanese “A” is always “Open A []” as in “father.” You may use [ ] in softer passage.



Singing Japanese “E” is always “Open E [ ]” as in “fetch.” Do not use [e].



Singing Japanese “I” is always “Close I [ ]” as in “fe t.” However, it can be modified toward “Open I [ ],” when it provide unified vowel sounds, or in softer passage.



Singing Japanese “O” is always “Close O [ ]” as in “foe.” Do not use diphthong like [o ].



Singing Japanese “U” is always “Close U []” as in “fo d.” However, it can be modified toward “Open U [ ]” as in “fo t,” if it provides ease of pronunciation for singers in upper resister and/or



forte passages.

Japanese “N []” often makes an independent syllable.

B

[]

BY

[]

CH

[]

D

  (boy)

N

[]

(nod)

NG

[]

(son )

*or [ ] as in (c eese)

NGY

[]

[]

(dot)

NY

[]

(new)

F

[ ]

(food)

P

[]

(pot)

FY

[fj]

(few)

PY

[]

(puke)

G

[]

(gut)

R

[]  ]

GY

[]

(gas)

RY

[  [

H

[]

(hit)

S

[ ]

(sing/tos )

HY

[]

*or    (human)

SH

[]

*or [    (s ed)

J

[d]

*or [d   (jet)

T

[]

(tea)

K

[ ]

(king)

TS

[]

(let )

KY

[]

(cute)

V

[]

(victory)

L

[]

(leap)

W

[]

(water)

M

[]

(mall)

Y

[ ]

(you)

MY

[

(mute)

Z

[d]

(zebra)



“F” “L” and “V” are only used for foreign-origin words.



If “NG []” and “NGY []” (aka Bidakuon) are difficult to produce, it is acceptable to use “G [ ]” for NG and “GY [ ]” for “NGY.”



One M

use “English R [ ],” “Rolled R [ ]” nor “German/French R [] for “Japanese flipped R,” but M

use “L []” if

s/he cannot produce []  ]. 

Doubled consonants (EX. “a-t a,” “a-c

i” and “i-s e-i”) indicate small stops between proceeding vowels. In my music, they

can be sung without doubled consonants (EX. “a-ta,” “a-chi” and “i-se-i”) because they are already articulated by rests or staccatos .

So please do observe and execute such rests and staccatos correctly.

©2008 Kentaro Sato (Ken-P) www.wisemanproject.com

update on 5/15, 2011


Tsunangari (TTBB)

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