Tetsuro Naito
Nanafushi arranged for percussion trio
by Jeffery Crowell
Nanafushi Written by Tetsuro Naito Š 1996 Otodaiku Corp. Ltd. (ASCAP). All rights reserved. Arranged by permission by Tapspace Publications, LLC, Portland, OR. All rights reserved. Printed in USA. www.tapspace.com
Notice of Liability: Any duplication, adaptation, or arrangement of any text or composition contained herein requires the written consent of the copyright owner. No part of any composition contained herein may be photocopied or reproduced in any way without permission. Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law.
TSPCE-46
Program Notes Nanafushi was originally written by Tetsuro Naito for the famous Japanese taiko group Kodo. Fascinated by the piece, I wanted to see if its spirit and energy could be distilled down from a large, authentic ensemble of taiko drummers to a small chamber ensemble of three players. Having never witnessed a performance of the piece, I worked to transcribe the music from the audio recording. I proceeded to arrange all the different sounds for two multipercussionists playing only common, western drums, plus one percussionist playing an Asian cymbal/block part. It requires the two drum players to recreate all of the Taiko parts utilizing not only their hands but both of their feet as well. Obviously, some doubled parts are lost in this arrangement, but I did my best to let no musical or rhythmic part be sacrificed - everything that’s played on the recording is represented as realistically as possible. -Jeffery Crowell
Performance notes One of the most unique things about this piece is that the “feel” (marked “Pseudo-swing”) should fall somewhere between straight interpretation and a more triplet-based “swing” interpretation. At times (when marked), a more swingy feel should be used; Otherwise players should default to the “pseudo-swing” feel. DRUMMERS (Players 1 and 3) Each drummer has an identical setup as illustrated. In tuning the drums, please note the pitch relationships in the notational diagram below. The drums should be played with wooden-headed mallets (such as wood timpani mallets). Players are encouraged to be very expressive during soloistic parts. Notes in parentheses are generally meant to be played at about half the written dynamic. al)
Player 1
°
f
/
Overall order of pitch: (high to low)
Player 3
f
¢/
o
ng
f 2) ° PERCUSSIONIST (Player /
hig
f
f
5
4
go
go
on
hb
f
low
a
or
ng
co
3
2
o hb
Player 1
f
o
ng
bo
low
1
hig
o
ng
bo
h hig
low
o ng
m
to
7
6
f
a
ng
f
9
f
co
co
f
8
a ng
n bo
bo
f
flo
d um e dr ot p ickh fo k t t se wi um ed dr play (
om
rt
o
flo or
f
flo
om
t
m ru l) s d da as pe b t t er oo nc h f co wit l l d a e smplay (
f
11
10
12
f
f
um al) l) dr al) um m d dr al) da ss ed ru t pe a umt pe p ss ed d r b t o a d k t p o o b r o ic f rt ot ick fo ce fo t k th ce fo t k th on ith se wi se d wi on with m ed ll ced w c u m a y r l e l u d pla a ed smplay dr play ( smplay ( ( (
f
f
This partOverall callsorder for medium-sized, Asian “jing” called Chappas) with9 large cup domes of pitch: 1 3 style cymbals 5(sometimes 7 11 and flat 2 4 6 8 10 12 (high to low) edges. These are normally sold individually, but the player will need a pair with straps (minimum size of 7.5”). Sizzles f f f against one another f w) for the notated should together and letting them vibrate/sizzle duration. h) Player 3 be ¢ / played by striking f r) d (lo f(hig a e l l edoes u Sizzles tied to a notesizzwithout the ‘Z’ articulation indicates where the sizzle stops but not mean to reattack the o v ) o g l ve a g a m eg l om a a g r n l n c ( d s ru l) n o l c t m pe lbso ed or cymbals together ru and co striking thenttwo s d da ba cymbals. Regular are played by letting h b sizzle indication) ed bwa m notes (withouthigthe as pe k dfoot nt u flo mlo b c u t i o cy y t o c m the point at which t k ith er foo m them vibrate, but not against one another. “Breath” (comma) markings indicate should w se cymbals ncbe h 7 m d co wit ru laye l ‚ l d d ¿ ¿ a e muted. ‚ Player 2 / (p sm ay l
(p
Due to the short time between pitches, high and low claves should be mounted and played with a xylophone mallet. As an alternative, high woodblocks with distinct pitch differences may be used as long as they closely approximate the sound of claves. d
Player 2
/
l
ba
m
cy
¿7
r)
¿
ls
ba
m
cy
g (re
ed
nt
m
ou
‚
v cla
)
low
e(
ula
zle
iz ss
ed
nt
ou
m
‚
h)
hig
e(
v cla
Nanafushi
Level: Med-Advanced Approximate playing time: 6’00”
Tetsuro Naito arranged by Jeffery Crowell
for percussion trio
Pseudo-swing q = 184
f f fj ° 7 Player 1 Œ Œ Œ ‰ Œ Drums / 4
Œ Œ
f
Œ Ó™
Œ Œ
f
f
Œ
fj
‰
Œ
f
Œ Œ
Œ Ó™
mf
Player 2 (Jing Cymbals)
Player 3 Drums
° 5
1
/ 47
∑
7 ¢/ 4
A
∑ ∑
∑
Œ Œ Œ
∑
ff ‰ ffj ff ffj ff ffj f f f ff ff f Œ Ó™ / f f Notes in parentheses should be played with less emphasis (half-dynamic).
7 / Y
Asian hand cymbals
f
3
∑ f f ff
f7
(buzz)
‰
mf
f
2
∑
¿ ¿
ΠY7
¿
, ¿ ¿ Ó™
2
• Y7
¿ ¿
Π¿
, ¿ ¿ Ó™
Y7
shape lines freely > > >> > > > > > f f f f f f f f f fæ f f f f f f f f f fæf fæ fjf f f fæ f f f f f f f f f f f f f fæf fæf f f f f f f f f ‰ ¢/
f
° 9
1
2
3
2
•
/ 7 / Y
2
¿ ¿
Œ
¿
¿
Y7
• , ¿ ¿ Ó™
Y7
¿ ¿
Œ
¿
¿
Y7
No movement. Silence if possible.
, Œ ¿ Ó™
> > > > , f f f f f f f f f fæ f fæ f f f f f f f f f f fæ f f f f f fæ f fæ f fæ f f f f f f f f f f f f f Œ Ó™ ¢/
© 1996 Otodaiku Corp. Ltd. (ASCAP). All rights reserved. Arranged by permission by Tapspace Publications, LLC, Portland, OR.
Nanafushi – Naito, arr. Crowell
2
°
B
/ ff f
13
1
ff
7 / Y
2
ff f
ff
ff Ó
j j j ‰ ff ff ff ff ff ff ff ff Œ Œ Œ Œ f f Œ f f Ó f f Œ
¿
¿
Π•
, ¿ ¿ Ó™
Y7
¿
2
f f f f f f f f f f f f f f f f f f f f f / ¢ f f f f
2
•
hi bongo = softer than melodic part
3
‘
‘
ff
°
1
•
3
/ 7 / Y
2
Π¿ ¿
, ¿ ¿ Ó™
Y7
¿
°
C
j j j / f f f ‰ ff ff f f f f Œ mp
R
/
2
Ó™
R L
L R
R
L
f f
j j j f ‰ ff ff f
R
R L
¢/ °
> >, f ffΠf ff f ffΠ> >
Ó™
Œ
L
∑
∑
> > f f f ffŒ Œ Œ Œ ‰
∑
j Œ Œ ‰ fffffffff
espress.
f
mf
j j j / f f f ‰ff ff f
‘
‘
(4)
/
∑
∑
∑
R L
∑
L R
R
‘
3> > > > > j f f f f f f f f f f f f f f ‰ ff f f f f f f ‰ ff‰ fff‰ fff f Œ f‰ fffff f f / ¢ Soloistic, emphasized shaping
3
> f f f >
∑
R
2
R
f
> f f f >
> >, ff ff ff Œ f ffŒ > > j Œ, ™ ¿ ¿ ¿
∑
25
1
L R
f f
> f f f >
> ff f >
∑
Notes in parentheses should be played with less emphasis (half-dynamic).
3
> f f f >
ffffffff f f fff fffffffff Œ Œ ffffffff Œ f fff f ff f f fff f f f ffffffff f f f ff f f fff ¢/ f f f f f f f f >>>>> 21
1
j j j > > > ff ff ff ‰ ff ff ff ff ff ff ff ff f f Ó f f Œ f f f > > > Y7 ¿ ¿ Œ ¿ ¿ Y7 ¿
2
17
f f f f f f f f f ΠΠf f f f f f f f f f f f f >>>>>
f
TSPCE-46
Nanafushi – Naito, arr. Crowell
°
29
1
2
3
3
/
‘
‘
‘
(8)
/
∑
∑
∑
∑
‘
>> f f f f f f f f f f f f f f f f f f f f ffffff Œ Œ ‰ Œ ‰ Œ Œ f f f f f f f ¢/ molto espress.
°
33
1
2
3
sub p
/
‘
‘
‘
(12)
/
∑
∑
∑
∑
‘
> > > > f f f f f f f f f f f f f f f f f f f f f f f f f f f f f f ‰ Œ f f f ff Œ f f f f f f ff‰ f ¢/ f mf
°
37
1
2
/
‘
‘
‘
(16)
/
∑
∑
∑
∑
> f f f f f f ¢/ fff ‰ fff ‰ fff f 3
3
3
3
3
3
°
41
1
2
/
‘
/
∑
3
3
3
f
cresc.
‘
‘
∑
∑
f f f f f f f f f f f f f f f f f f ffffff ¢/ fff ‰ fff ‰ fff ‰ fff ‰ fff ‰ fff ‰ fff ‰ fff ‰ fff ‰ fff 3
3
> 3 3 3 3 3 > > > f f f f ‰ f f f f f ‰ f f f f f ff f f f f ‰ f f f f f ‰ f f f f f f f 3
3
‘
mp
‘
p
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
cresc.
TSPCE-46
Nanafushi – Naito, arr. Crowell
4
D
> > > ° f f f f >f ,Ó™ 1 / f f f f f f f f ff 44
/
3
∑
∑
ff
/ ff ff ff f ‰ f ff
48
/
2
3
f f fff ¢/ f f f f f °
/ f f ff Π/
2
3
E
ff Πf
Πff Πf
f
fΠf ff
2
3
/
Œ Œ
∑
"Hi!"
mf
"Hi!"
Heavy Swing
f ‰ f f ‰ jf f f f f f f f f f ‰ f f ‰ jf f ff ff ff f f ff fffffffffff ff ff ff f f f f ff f
∑
/ f ff ff ff f Œ ‰ fj ff f ff
(shout)
> f f f f f f f f f f f f f f f f f ‰ ‰¿ f f f fff ff‰f ‰ ff
>>>>> f f f f f f f f f f f ff ff ff ff ff ff ff ‰ ff ¢/ °
"Hi!"
∑
f
1
fΠf ff
(shout)
> ‰ ¿j
ff ff ‰ ff
(shout)
∑
56
> ff ‰ ¿ Œ ff Œ f f f
f‰ f Œ f ff f f f f
∑ ff ff ff
∑
j ff ff ‰ ff ff ff ff ‰ ff ‰ ff ff ff ff ff ‰ ff ff ff ff ‰ ff ff
Pseudo-swing
∑
52
1
∑
ff ff ff ff ‰ ff ff
ff
1
f‰ f f ‰ jf f ff ff ff ff ff
ff
> > > >, f ff ff f f Ó™ ¢/ °
f‰ f f ‰ jf f f f f ‰ fŒ ff ff ff ff ff f f ff ff ff Solo
ff
2
Swing
∑
∑
‘
ff ff ff ff ff ff ff ff ‰ ff
2
Pseudo-swing
f f Œ f f ‰ f f ‰ ‰ jf f f f ff f ff f f f ff f f fff
∑
∑
∑
•
f
∑
∑
>> >>>> > > > > > > f f f f f f f f f f f f f f f ff ‰ ff f f f f f f f f f f f f f f f f f f f ‰ ‰ ‰ ‰ ‰ f f ff ff f f ff f f f f ff ff f f ff ¢/ f f mf
TSPCE-46
freely espress.
Nanafushi – Naito, arr. Crowell
°
/ f ff ‰ f ff f
61
1
mf
/
2
3
∑
> f ¢/ f °
ff ff f ‰ f
> ff f f f ff ff ‰ ff
ff
‘
‘
∑
∑
‘
‘
f f ‰ f f f ff ff
> ff ff ff
/ ‰ fj ff f ff ‰ f ff f ff ‰ f ff f ff ‰ fj ff f ff ‰ f ff /
2
∑
ff f ‰ f f ff ‰ f ff f ff ‰ fj ff ∑
>>>>>>>> > f f f f f f f f ff
ff
p
ff ff ff ff
ff
∑
f ff
cresc.
mp
∑
66
1
5
f
j ‰ ff Œ
F
> > ff f f f cresc.
> ff ff ‰ ff
f f f f f fæ f fæ f f f f f f
f
∑
∑
> > > > > > >> >> > > > >>>>>> æ æ ff Œ ff ff ‰ ff ff ff ff ‰ ff ff ff ff f f f f f ‰ f f f ff f f f f f f f f f f f f f f f f f f f f f ¢/ Ó™ f Œ Ó ff > f
3
fff
°
>> > fæ fæ f f f fæ f f f fæ f f f f fæ fæ f fæ f f f f f fæ f f f f f fæ f f f fæ f f f f f f
70
1
/
2
3
/
°
∑
f f f f f f f f f f f f f f / f f f G
subito p
2
3
‰
> f
∑
>> > fæ fæ f f f fæ f f f fæ f f f f fæ fæ f fæ f f f f f fæ f f f f f fæ f f f fæ f f f f f f
¢/ 73
1
∑
‰
> f
/ Œ ¢/ Ó
Œ
high/low claves (mounted) play with mallet
‚
Œ
p
f
Œ
subito p
∑
Ó™
Œ
‘ Œ
∑ ‰ f™
Ó
‘
f Œ
∑
Œ
‰ ‚j Œ
Œ
‰ f™
> f f f Œ Œ ‰ Ó f Œ
Œ
‚
Œ
Ó™ Ó™ Œ ‰ f™
BD = p sempre
TSPCE-46
Nanafushi – Naito, arr. Crowell
6
°
76
1
2
/
(4)
‘
‘
‘
/
∑
Œ Œ ‚ ‚ Œ ‚ Œ
‚ Œ ‚ Œ ‚ Œ ‚
Œ Œ Œ ffffffŒ / ¢ Ó f Œ Œ ‰ f™ p
3
°
80
1
2
3
/
(8)
/ ∑
‚
2
3
Œ
Œ
Œ
‘
‘
Œ
‚
/
(12)
/
∑
Œ
‘
3
cresc.
‘ Œ Œ ‚ Œ Ó™
Ó
ffffffffffffff / ff f f f f f f f ff f ff f f f / Œ
Œ
‚ ‚ Ó™
>>> fæ fæ f fæ fæ f fæ fæ f f f f ¢/ Ó f Œ Œ ‰ f™ > > cresc.
TSPCE-46
Ó
p
‘
Œ
‚
‘
Œ
‚
Ó™
‘
‘
> > f fæfæf fæfæf f f f f f fæfæf fæfæ f fæfæf f f f fæfæ f Ó Ó ¢/ Ó f Œ Œ ‰ f™ f Œ Œ ‰ f™ > > > > cresc. °
Œ Œ ‚ Œ Ó™
‘
∑
‘
(16)
‘
‘
j ‚™ ‚™ ‚™ ‚™ ‰ ‚ Œ ‚ Œ Ó™
fæfæf fæ fæ f f f f f Œ Œ ‰ f™ > >
‘
∑ ‘
> > fffffffffffff æ >> ffffffffffffff ffffffffffff‰ f f f f H Solo
‘
‘
∑
∑
‘
‘
gradual cresc.
2
Ó™
(4)
89
1
∑ f Œ Œ ‰ fJ Œ
‘
84
1
Ó
pppp
>Bongo = >gradual cresc. > to Reh. > H. f fæfæ f fæ fæ f f f ‰ f Ó f Œ Œ ‰ f™ > > pppp
‘
¢/ °
mf
‘
f
∑
>> fæ fæ f fæ fæ f fæ fæ f f f Ó f Œ Œ ‰ f™ > >
∑
ffffffffffffff f Œ Ó f ‰ f™ f
Nanafushi – Naito, arr. Crowell
°
> > > > j> ‰ ‰ f f f f f f f f f /
94
1
2
/
3
¢/ °
7
> > > > > f f f f f f f f f ‰ f ‰ f f ff‰ ff‰ ff‰ fff ‰ f ‰ f
∑ ‘
∑
∑
‘
(4)
‘
> > > > > > > > > > > > > j Œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ f f f f f f f f f f f f f f f f f f f f f f f f f f f f f ‰ fæ / fffff
97
1
2
/
∑
∑
∑
∑
¢/
‘
‘
‘
(8)
3
°
‘
> > > > > > > > > > > j > ‰ æj > æ f ‰ fæj f ‰ fæj f f f f ‰ fæ f ‰ fæj f ‰ fæj f f f ‰ fæ æ ‰ ‰ f f f f f f f f /
101
1
2
/
∑
∑
∑
3
¢/
‘
‘
‘
°
> > j > ‰ æj > æ ‰ f f f f f f Œ / f
104
1
2
/
3
¢/
> > > > > > > > æ æ æ æ æ æ æ æ æ æ ‰ f f f f f f f f f f f f f f f f f f f ‰ f ‰ f
mp
∑
∑
∑
(12)
‘
‘
‘
mp
TSPCE-46
Nanafushi – Naito, arr. Crowell
8
°
> >> >> æfæf f fæfæf f f ‰ fj Œ f /
107
1
2
/
3
¢/ °
> > > > > > > > > > > > fæfæf fæfæf f f ‰ f ‰ f f f ‰ f f f ‰ f f ‰ f ‰ f f f ‰ f f f ‰ f f ‰ f ‰ f
∑
∑
∑
∑
‘
(16)
‘
‘
‘
> > > > > > j > j > j > ‰ ‰ ‰ ‰ ‰ ‰ ‰ f f f f f f f f f f f f f f f f f f f f f f ‰ f / f f f f f f f f f f f
111
1
f
2
/
∑
∑
¢/
‘
(20)
3
‘
∑
f f f f f f f f f f f f f f f Œ Ó f ‰ f™
f
°
cresc.
cresc.
> >>>>>> > > > > > > æ f f f f f f f f f f f f f f / f f f f f f f f f f ‰ f ‰ f f f f f f f f f f ‰ f ‰ f
114
1
/
∑
∑
¢/
‘
‘
2
3
°
ffffffffffffff / ff Œ Ó Œ Œ ff > > ff , Œ Œ Œ Ó ¿ / ¿
117
1
2
I
ff
3
ffffffffffffff ff ff Ó Œ Œ ff > > > , ¿7 ¿ Œ Œ Ó ¿
∑
f fæ f f f f f f f f f f f f f Œ Ó f ‰ f™ ffffffffffffff ffffffffffffff ff Œ Ó Œ Œ ff ff Œ ff Œ ff Œ ff ff ff >> >>> > > > , , Y7™ ¿¿ Œ ¿ Œ ¿ Œ ¿¿¿
ffffffffffffff ffffffffffffff ffffffffffffff ffffffffffffff ¢/ f Œ Ó Œ Œ f f f Ó Œ Œ f f Œ Ó Œ Œ ff Œ f Œ f Œ fff >> >>> > > > > > > > > ff
TSPCE-46
Nanafushi – Naito, arr. Crowell
°
9
ffffffffffffff ffffffffffff f f f f fff f fff f ffff ff ff ff Œ Œ Œ ff ff / ff Œ Ó Œ Ó Œ ff Œ Œ Œ ff ff >> > > > > > > > , , Œ Œ Œ Œ ¿7 ¿ ¿ ¿ ¿ Œ Œ Œ ¿ Y7™ ¿ ¿ / ¿
121
1
2
3
>> >>>>>>> æf f f f f f f f f f f fff f f f f f f ff f ff f ff fffff Œ f Œ ¢/ f Œ Ó f f f f > > > > > > > > > > °
ffffffffffffff / Œ ff Œ ff Œ ffffff > > >>> , , , Œ ¿ Œ ¿ Œ ¿¿¿ /
124
1
2
3
J
f j ff ff ff ‰ ff ff f f f
ff
Y7
ff
°
/
°
K
f f fff f fff f f ‰ ‰ ff / ff f f > > > > / Y
¿
mp
ff ¢/ f f 3
3
2
•
2
•
•
2
2
> f f f f ff ffff ff f f f ff fff f f f f ff f ff ff ‰f ff ff ff f f f fæf ff ff ff f f f f fff f f f f ff f f f f f ¢ / ff ff f f f f f f f f f >f ff >>>>>>
mp
2
, ¿ ¿ Ó™
•
ffff ff f f ‰ >
133
1
•
2
/
2
3
Y7
2
> f f f f fff f f f ff f f f f f ffff f f Œ f f f fffff f ff ffff ffff ffffff f f f f f ff f f f f ff f f ffff f ff ff ff fff fff ff f ff fffff f ff ff ff ff fff f f f f f f f f f / ¢ Œ f Œ f Œ fff f f f f f f f f f ff f f f f f f ff f f f ff > > >>> ff > > > > >>> 129
1
ffj ff ffj ff ff ff Πff ff ffΠff f f f f ff
Œ ¿ ¿
¿ ¿
>3 3 3 ffff f ffff f ffff f f f Œ Ó Œ Œ ff f >> >
mp
¿
f fff f 3
Y
¿
ffff 3
f
f
‘ ‘ ‘
‘
(4)
‘
‘
(4)
‘
‘
(4)
‘
•
> ff f f f f f f ff fæff ff ‰ ff ff ff f f f f f ff ff f > ff f f f f >> >>>
f f f f f f f f f f >f f f >f F F f
hands mp cresc. feet pp sempre
Y
¿
¿
ff ff f f > F
Y
>3 >3 3 3 f f f f f f f f ‰ f f ‰ ffff Œ Œ f Œ f Œ 3
hands mp cresc. feet pp sempre
¿ > f f TSPCE-46
Nanafushi – Naito, arr. Crowell
10
°
f f ff f f f ff f f f f f F F f
138
1
/
‘
/ Y
2
¿
cresc.
Y
¿
¿
Y
¿
cresc.
f f ff f f f ff f f f ff f f f > f f f F F F f
f ff f F
Y
¿ ¿
Y
¿
>3 >3 3 >3 >3 3 > 3 3 3 ff‰ f ff‰ f ff f ff‰ f ff‰ f ff ¢ / Œf f f fŒ f f fŒ f Œ f Œf f f fŒ f f fŒ f Œ 3
3
cresc.
f f f
f >ff
f f f
ff f f f f ff
ff f f f f ff
f f f
f >ff
f f f
ff f f f f ff
ff f f f f ff
f f f
/ ¿
Y
Y
¿ ¿
¿
Y
Y
¿ ¿
¿
Y
Y
¿ ¿
f f f ff / ¢ ff f
f f f ff f f f
> 3 f f f f ff f f f f f
f f f ff f f f
f f f ff f f f
> 3 f f f f ff f f f f f >
f f f ff f f f
f f f ff f f f
> 3 f f f f ff f f f f f >
3
cresc. al fine
3
3
3
3
3
f / f f
ff f f f f f f
ff f f f f f f
f f f
f >ff
/ ¿
Y
Y
¿
f f f f f
f f f f f f f f
3
144
3
3
cresc. al fine
mf
°
3
cresc. al fine
mf
2
>3 >3 3 > 3 ff‰ f ff‰ f ff f ff ff ff Œ Œ f f Œ f Œ 3
ff f f f f ff
2
1
> f f
ff f f f f ff
mf
3
¿
f / f f
°
141
1
Y
¿
f / ¢ ff
TSPCE-46
f f f f f
3
f f f
3
3
3
ff f
ff f
¿
¿
Y
> ff f >
f f
fff
fff
fff
3
3
3
ff ff
ff f
3
ff f
ff f
Y
¿
f f f f f f f f f f f f f f f f ff f f f
3
3
3
3
3
f >ff
ff f
ffff
> ¿
ffff
ff f
ffff