《Considering how to Guitarplay～fingerings and positions/運指、ポジショニングなどの考察》
※I use ``exploration/consideration/practice'' to learn harmony from classical music, and technique and fresh finger movements from violin and piano pieces.
If you're copying a classical piano or violin song, your fingering will be different because you'll need to make finger movements that aren't common in rock music.(※This is still a basic example)
・この部分、３小節目が弾きにくいのでこのようなアレンジでも良いと思う。
This part, the third measure, is difficult to play, so I think this arrangement is fine.
If you play the song exactly as the original song is, for example, if you select a position like ⇩, there are two possible picking options...Practice and consideration expand
これ以外にもいくつかのポジショニングが考えられるがそれは工夫次第・・
There are several other positioning options, so it's up to you
・ここの和音は曲中では分散して弾かれているが、このようにコードでとらえ、かつ「進行」を考えると
とてもメロディアスで勉強になる。ロック畑からしたら「とてもクラシックらしい？」と感じる和声の展開
In reality, these chords are played in a scattered manner, but if you look at them in terms of chords and consider the "progression," it's very melodious and educational. From a rock field, I feel it's a very classical-like harmony (development).
※ケーデンス/カデンツ(Kadenz/Cadence)の勉強にもなる
You can also study cadence/cadence.
・とりあえず「２通り」の運指パターン。「指使い」と「弦移動」が探求のポイント
``Two ways'' fingering patterns. ``Fingering'' and ``string movement'' are the key points of exploration.
Ⓐ
Ⓑ
・ヴァイオリンをコピーしていると「よく出てくるフレーズ」。
This is a phrase you often come across when practicing violin pieces.
でも聴いた印象とは違い「16分音符”１個分”ずれている」のでギターの場合ピッキングがやりづらい。
However, unlike what I thought when I heard it, it is difficult to pick the guitar because it is off by one 16th note.
(If you think about it in terms of alternates, "down" and "up" will be different.)
（オルタネイトで考えた場合「ダウン」と「アップ」がずれてしまう）
Phenomenon where down picking and up picking are out of sync
実際は⇩のようにアタマに休符があるので「それをちゃんと感じて演奏する」ことにこだわるのであれば
このように（ダウンを空振りで）アップから始めたいところ・・ただテンポが速いので難関
Actually, there is a rest at the beginning like ⇩, so if you are particular about a "proper performance feel",
It would be better to start with up-picking...
However, it is difficult because the tempo is fast.
・左手のポジションを少し簡単にするならば、このような弾き方も考えられる
If you want to make the left hand position a little easier, you can also play it like this.
・さらに「オクターブ下げて」解放弦も使うと、このようなカタチも生まれる！（かなり弾きやすくなる？）
Furthermore, if you lower the octave and use open strings, you can also create shapes like this! (Does it become much easier to play?)
However, I personally don't like the ``6 string'' because it creates a lot of friction when picking. (As a guitarist, I think the ideal is to be able to create shapes using open strings around the 3rd to 4th strings.) ,)
・ここはみんなが「あれ？」となるポイント⇩
This is the point where everyone wonders, “Huh?” ⇩
参考にした譜面ではⒷのように”E♭音”だったがスケール的にはⒶではなかろうか？・・という箇所
In the music score I referenced, it was an "E♭ note" like Ⓑ, but wouldn't it be Ⓐ in terms of scale? The part where...
他の楽譜を調べてみたところ、E音に（♮）とかっこ付きで臨時記号が表記されていた
When I checked other music scores, I found that an accidental symbol (♮) was written in parentheses on the E note.
おそらく”発見された古い自筆楽譜”が劣化で確認できず現代の研究者の見解で「この音がE♭は変なので
♮記号の付け忘れ？劣化で消えてしまった？」などの推測で後から付けたもの説？、、
Perhaps the ``old handwritten sheet music'' that was discovered could not be confirmed due to deterioration, and modern researchers speculated that ``Did they forget to add the ♮ symbol because the E♭ was strange?Did it disappear due to deterioration?'' Is not it?
What is the truth...? Is the E note in this one measure a ♮ or a ♭? I have heard that this kind of problem is common in the world of classical music (is it the same as in archaeology?). Unlike in modern times, there are no records left of the composer's performance, and the music scores of the past were handwritten on paper and ink, so it is natural that something like this would happen.
Is it a bit of an exaggeration to say that it is similar to the mystery of the Egyptian pyramids and has a sense of romance?
I think this is a very beautiful part of the song (it's so frustrating that I can't feel the harmony when I play alone! (I seriously wish I had 6-8 hands)
・サイド（ハモリ）/Harmony part
・オクターブ下げて弾きやすく&コードネーム/Easy to play by lowering the octave&Code name
・解放弦を使用＆ベース音をアレンジ/Use open strings & arrange bass sound
※（⇧ここの譜面には書いてないが）ビオラ・パートで「４小節目のE♭音」が気になった
(⇧ Although it is not written on the score here) I was interested in the "E♭ sound in the 4th measure" in the viola part.
※⇨動画参照/refer video
クラシック音楽に”そこまで精通”していない元ロック畑出身の者としては
ここは「E♮音」の方がスムーズに感じてしまうのだ・・
As someone who comes from a rock background and is not ``that familiar'' with classical music, I feel that the ``E♮'' sound is smoother here.
another position. There's a big difference in feel between playing on the 1st and 2nd strings and playing on the 3rd and 4th strings, so you'll want to check multiple positions even for a single phrase.
・ここは参考としてピックではなく指で弾くポジショニングの例
For reference, here is an example of positioning when playing with your fingers instead of a pick.
・見せ場の一つであるここのフレーズはギターではとても原曲通りには弾けない箇所だ
This phrase, which is one of the highlights, cannot be played exactly like the original on the guitar.
（”原曲通り”にこだわるのであればDの開放弦はオクターブ低くなってしまうので使えない）
(If you try to play the original song, the open D string will be an octave lower, so you can't use it.)
動画では（やむなく）低いポジショニングで表記したが、高いポジションで弾くことを考えてみる⇩
In the video, I indicated it in a low position, so here is an example of a high position.
インターバルが開きすぎてしまうので途中でアンダーノートをオクターブ上げる
ただ☆区間だけは⇩のように”あえて同弦上で弾く”ことを選択してみる
The interval is too wide, so raise the undernote by an octave in the middle.
However, for the ☆ section, I chose to “daringly play on the same string” as in ⇩.
・もうひとつ、このように⇩15フレットから2弦を使う手段も考えられる
Another option is to use the 2nd string from the 15th fret like this ⇩
※考察は記事の後半⇩ / Discussion is in the second half of the article ⇩
※違う弾き方（ポジション）のTABなど後々気がついたものは最後⇩の《追記》に追加してます/Anything I noticed later, such as a TAB with a different playing method (position), is added to the ``Addendum'' section at the end.
※運指、指番号・・追記しました/Fingering, finger number...added
高中正義「TROPIC BIRDS」(Guitar cover)
【ギターTABと弾き方補足/Supplement on how to play the guitar】高中正義「TROPIC BIRDS」(guitarpractice)
【ポジション確認用TAB譜】
※チョーキング、スライド等の記譜は割愛（チョーキングの箇所は押さえるフレット数を表記）
※Bending and other notations are omitted (Bend indicates the number of frets to be pressed)
※文末⇩に追記あり（There is a postscript）
～この部分多少割愛～I'll leave this part out a bit.
V Π V (Π) V Π (V)
Π V (Π) V Π (V) Π V (Π) V Π (V) Π V (Π) V Π V Π (V) Π (V) Π V
Π (V) Π V Π (V) Π V
4 1 1
(Π) V Π V Π (V)
(Π) V Π V 4 1
4 1 3 4 1 4
1 3 1 3
Π (V) (Π) V (Π) (V) Π (V) (Π) V (Π) (V) Π (V) (Π) V
(Π) (V) Π (V) (Π) V (Π) (V) Π (V) (Π) V (Π) (V) Π (V)
(Π) V (Π) (V) Π (V) (Π) V (Π) (V) Π (V) (Π) V (Π) V
Π (V) Π V (Π) V Π (V) Π V (Π) V Π (V) Π V
(Π) V Π (V) Π V (Π) V Π V Π V Π V Π V
Π (V) Π V Π (V) Π V Π (V) Π V Π V Π V
(Π) V Π V Π (Π) V Π V Π (V) Π V (Π) V Π (V) Π V (Π) V Π
