Minyo Lesson | Nambu Tawaratsumi Uta 1st & 2nd Verse -- 民謡レッスン | 南部俵積み唄 1番2番 (Patreon)

This video covers a Minyo (folk song) from Aomori Prefecture, ‘Nambu Tawaratsumi Uta’ (Stacking Rice Bags in Nambu Song) the 1st and 2nd verse. Since this song is quite long, let's start by having its structure memorized.

[Intro → Taiko → 1st Verse → Taiko → 2nd Verse → Taiko → 3rd Verse → Outro]

Please make sure to firmly grasp this structure in your head. You will understand it well by watching the demonstration video at the beginning of this lesson in which you can see how the song goes with the singing and Taiko. Understanding which section you are playing now will also make it easier to remember similar phrases. Let's start by playing the first and second verses!

-------------------------------------------今回は青森県の民謡「南部俵積み唄」の1番2番のレッスンです。

この曲はとても長いのでまずは曲の構成を覚えましょう。

【前奏→太鼓→唄（1番）→太鼓→唄（2番）→太鼓→唄（3番）→後奏】

という構成をしっかり頭に入れましょう。動画の初めの唄いり、太鼓入りのお手本動画を見るとよくわかると思います。今どのセクションを弾いているのかを理解することで、似ているフレーズも覚えやすくなりますよ。今回はまずは1番2番を弾いてみましょう！-------------------------------------------Vocabulary List

Tuning - to adjust the pitch of the Shamisen

Niagari - the tuning with the first string in C, the second string in G, and the third string in C. The base note on the first string can be other notes than C, but the balance between the three strings remains the same

Bachizuke - to create rhythm by using Maebachi and Ushirobachi

Maebachi - to strike bachi at upper shamisen body (closer to neck) to produce a change in sound dynamics and rhythm 

 Ushirobachi - to strike bachi at the lower part of shamisen body (closer to the Koma)  to produce a change in sound dynamics and rhythm

Urama - the unique concept of beats in Minyo (folk music). Urama always comes after Omotema.

Oshibachi - to slide/push bachi across two strings next to each other, for example from the 1st to 2nd string or the 2nd to 3rd string to produce sound

調弦 - 三味線の音程を調整すること

二上り - 一の糸をドにしたときに、二の糸がソ、三の糸がドになる調弦。一の糸をド以外にすることもあるが、三本の音の関係は変わらない

バチ付け - 前撥・後ろ撥を使ってリズムを出すこと

前撥（まえばち） - 三味線の胴の前の方 [棹（さお）に近い方] で音を出すこと

後ろ撥（うしろばち）- 三味線の胴の後ろの方 [駒（こま）に近い方] で音を出すこと

裏間（うらま） - 民謡にある独特の拍の概念。表間の後に来る拍

押し撥 （おしばち） - １の糸から２の糸、または２の糸から３の糸というように、隣り合わせいる糸から糸へバチをスライドさせて音を出すこと