THE SHAKUHACHI OF JIN NYODO:

A COLLECTION OF CLASSICAL HONKYOKU

by Kamisango Yuko
Translated by John Tedford

Translator's Introduction:

The following collection of short explanations of shakuhachi

honkyoku is taken from the book accompanying a set of
recordings entitled "The Shakuhachi of Jin Nyodo: a Collection
of Classical Honkyoku" (released by Teichiku K.K., 1980). It
represents one section of the book called "Explanations of the
Pieces." The book includes other articles such as "Different
Pieces with the Same Title. Identical Pieces with Different
Titles" and "The Musical Lineage of Jin Nyodo" which are
referred to in the translations below and may be translated
and published at a later date.
This article describes 37 honkyoku as well as two
compositions by Jin Nyodo himself. All the works are played
as solos by Jin Nyodo and were recorded at his home in
Shinjuku, Tokyo in April and May of 1958. The recordings
were not intended to be released to the public, but were
actually made for the use of one of Jin Nyodo's pupils who
was living in America at the time. They represent the only
recorded legacy of Jin Nyodo's actual playing and style.
Preceding the explanations of the various pieces is a
section entitled "Commonly Used Titles" which explains some
of the background of much used names such as Reibo, Choshi,
etc. The following individual explanations for each piece are
arranged roughly by style or temple moving from the Tohoku
region (North) to the island of Kyushu (South). Each section
covers three topics: 1. The title, background on the name and These three pieces (Kyorei, Mukaiji and Koku) are said to
its temple affiliation. 2. The structure, analysis based on be the oldest among classical shakuhachi honkyoku and are
traditional terms such as shirabe, honte, etc., and 3. Special thus most highly regarded. Concerning the origins of these
features, including fingering, breathing techniques, etc. Since pieces please consult the separate article "Historical
each piece is described so that it can be consulted individually, Background of the Classical Honkyoku," Section III 3 "Trad
there is a great deal of repetition of explanations in the article itional Legends about the Origins of the Fuke Sect."
as a whole. Kyorei was originally called Kyotaku (kyo = empty / taku
Please note the following terms used extensively in the = a large bell) according to the traditions of the Fuke Sect,
text: but taku shifted to rei (= a small bell) yielding the altered
name kyorei. In fact, the number of pieces passed down with
Pitch Ro First octave, distinct from the note the name kyotaku was extremely small, kyorei being much
ro, also known as Otsu more common. From tradition we can also assume that this
Kyorei was the most valued among the Koten- Sankyoku. As
Ko Second octave, also known as Kan a synonym for the "Three Traditional Pieces" we also find
(ex.: Ko-no-ro, the note ro in the San-Kyorei (Three Kyorei) which probably stems from Kyorei
second octave) being seen as most representative of these three works.
In an overwhelming number of examples we find the title
Sections of Piece Literal Meaning Koku (ko = empty / ku = space) instead of the longer
Shirabe "exploring/investigating" Koku-ji (ji = a kind of ancient Chinese wind instrument).
Honte "true/main hand" The Koten-Sankyoku were especially valued in the world
Takane "high sound" of Fuke shakuhachi, perhaps even venerated as being sacred,
Takane-gaeshi "returning the takane" but we should note that according to lineage there exist quite
Hachigaeshi "returning the (begging) bowl" different pieces bearing the same name. As regards this,
Musubi "tying up/concluding" please see the article "Different Pieces with the Same Title.
O-musubi "great/large musubi" Identical Pieces with Different Titles."

Suffixes B. SHIRABE - CHOSHI

-ji / -ken temples
-ryu / -ha schools of playing Among classical shakuhachi honkyoku there are numerous
pieces entitled Shirabe, Choshi, -shirabe or -cho. No
COMMONLY USED TITLES matter whether the Chinese characters used are pronounced
shirabe or choshi, they all derive from the verb shirabu which
(A) The "Three Traditional Pieces" (Koten-Sankyoku) has the sense of "investigating/exploring" a particular tuning or
frame of mind. The famous koto piece Rokudan no Shirabe

•&.
( which is also sometimes written with the characters for
choshi ) includes this same meaning of shirabe. In the case of
shakuhachi pieces, these shirabe originally had the function of
an introductory piece, mostly in the form of maebuki, but at
present many of them are treated as independent works.
On the other hand, we also find the use of the terms
shirabe or takeshirabe to indicate the opening section of a
work. In this article we will generally distinguish between
shirabe (a section of a work) and Shirabe (a piece). In works
which have a shirabe or takeshirabe, another Shirabe is not
attached as a maebuki. In any case, independent pieces called
Shirabe can also be thought of as maebuki used in common
by several pieces.
In the independent styles of Shirabe and Choshi there is
no shortage of internal variation, and they have a structural
sense ofjo-ha-kyu or ki-sho-ten-ketsu ("thorough composition",
literally the four required sections ofclassical Chinese poetry).
We could say that they are treated as independent works for
that reason, or oppositely, that they have developed this
structural sense from having been treated independently.
In contradiction to this, the type of shirabe or takeshirabe
used as a section of a piece generally grows quietly from the
lower register and centers tonally on RO (the first octave),
barely rising into KO (the second octave). They show little
modulation and never develop beyond being introductory
sections.
C. REIBO
Among classical shakuhachi honkyoku there is an ex
tremely large number of pieces called Reibo. There are many
types simply called Reibo which have separate traditional
lineages as well as a not small number which use reibo as a
suffix to produce names in the form ... - reibo.
8
Reibo is most commonly written with the characters rei =
a (small) bell and b6 = yearning, but there are many other
variants.
When written in the ordinary way, the origin of the name
relates to the traditional legend of the origins of Fuke shaku
hachi. As regards this legend please consult Section A above
on the Koten-Sankyoku where more details are given. In
brief, however, this legend says that Fuke shakuhachi arose
from a yearning/love for the sound of the bells (taku) rung by
Fuke Zen priests. The meaning of pieces entitled Reibo is
thus explained as a yearning for the bells of Fuke Zen priests
where bell can be considered as either taku (large) or rei
(smaller).
However, if the meaning is "yearning for the bell," then
the word should be written oppositely as bo-rei, since reibo is
a little strange according to rules of forming Chinese-style
compound words. When we consider also the various other
characters used in writing reibo, it is reasonable that originally
there was a word pronounced somewhat like reibo that after
wards was given various Chinese-character spellings. We can
conjecture that the most common usage became popular
because of its link to the legend of the origins of Fuke shaku
hachi. If this is the case the origins and significance of reibo
(or renbo) remain unclear. One can suppose that it is pos
sible related to the renbo found in sangen pieces from the
early modern period such as Renbo-nagashi and Rokudan-
renbo etc., but even this is not entirely clear.
In any case, origins or meanings aside, the name Reibo
has come to be loved almost as a "pronoun" standing for any
classical shakuhachi honkyoku. In order to distinguish among
the pieces simply called Reibo it is necessary to prefix the
name of a temple to yield names such as Futai-ken Reibo or
Shogan-ken Reibo. It is possible that these pieces derived
from one common original piece, but each one has been
handed down as the unique piece of each temple. Many of
them are the one piece designated by the rule "one temple =
one melody." Oj^course within each temple the piece would
only be called Reibo. In short, Reibo was the piece for daily
use by komus6 in each such temple. However, the titles "...-
reibo" commonly found in Kinko-ryu represent for the most
part a simple suffix usage unrelated to the "one temple = one
melody" concept.
D. SAN'YA
Pieces entitled San'ya are both numerous and diverse
among classical shakuhachi honkyoku. There are also many
variations in the Chinese characters used to represent San'ya.
There are all kinds of theories as to the origin of the
word. One is that it comes from the Sanskrit samaja meaning
"assembly," whereas another regards it as a corruption of
sammai, "selfeffacement." Yet another holds that it represents
the sound of three (san) takane melodies echoing in three
valleys (ya). And other theories connect it to various place
names: the problem of origins is quite difficult to resolve.
Whatever the case, it is said to have been used for ceremon
ies in the Fuke Sect;
As is the case with any piece, the particular characters
used to write the title may alter the meaning: in the case of
san'ya the form san = birth / ya = peace or safety is espe
cially interesting, although it is not included among the pieces
found on this recording. Legends have it that komus6 priests
used to take some of the rice that they received as alms and
would pass it through their flutes, then cook it. They would
give it then to a woman about to deliver a child and play this
piece to guarantee a safe birth. The piece was played late on
the "night of a birth" (also = san'ya) as a prayer for safe de
livery as well as being played for any pregnant woman to
10
encourage an easy delivery and an abundant flow of milk.
There are many pieces with this same title, and the
existence of many variant characters for the name speaks of
how widely loved the San'ya pieces are and how they have
been passed on in many divergent forms. For further informa
tion on this please consult the article "Different Pieces with
the Same Title; Identical Pieces with Different Titles."
E. TSURU-NO-SUGOMORI
In the ninth act "Yamashina Kankyo" of the famous
Bunraku and Kabuki play "Kanadehon-Chushingura (first
performed in 1 Kan'en, 1748), the hero of that act, Kakogawa
Honzo appears on stage as a komus6 priest. In the text for
the scene there occurs the passage "In the street a komuso
shakuhachi, Tsuru-no-Sugomori..." At that point the sound of
a shakuhachi can be heard from off-stage. Although we can
not assume that the present piece is that of the opening
performance, still the presence of this passage indicates that
already in the middle of the 18th-century, Tsuru-no-Sugomori
was considered the most famous piece when discussing shaku
hachi.
As regards the general characteristics of classical shakuh
achi honkyoku, Tsuru-no-Sugomori has the usual feeling of
religious meditation and introspective mood. However, it
differed somewhat from, pieces with a primarily religious
significance in that it has a strongly descriptive or program
matic nature, its melodies are easy to grasp, its rhythms are
rich in variation and it is an extremely easy piece to become
familiar with.
There are many different pieces with the same title,
Tsuru-no-Sugomori, among classical shakuhachi honkyoku, as
well as kokyu pieces. The extent of similarity or difference
among these pieces varies, and their actual relation based on
11

shared tradition or exchange of influences is not at all clear.
However, they do possess a common content or concept as
well as more or^ less similar musical features (melody and
rhythm), so that we can assume that various similar yet dif
ferent pieces developed as variants of one original piece.
The common concept of these pieces is based on the
continuous story of the crane from its birth through the loving
care of its parents, its departure from the nest and eventually
the death of its parents. Its theme is the love of parent and
child and the concern of father and mother. As the saying
goes, "the pheasant in the burning field, the crane in the
night..." (Every mother's heart yearns for her child): so the
love of the crane for its young is felt to be deep. This piece
uses that idea as subject matter, to teach about the proper
love of human parents and children. From the viewpoint of
the Fuke Sect, this reflects the great merciful spirit of Buddha
so that a Buddhist meaning is joined to this piece. Thus,
even though this is not an obviously religious piece, it is a
piece for spiritual cultivation.
A special characteristic common to all types of Tsuru-no-
Sugomori pieces is that at points throughout the piece, musi
cal patterns that repeat and join the same note in a finely
carved way appear repeatedly to form various melodies. That
is, when repeating the same note on the shakuhachi, a closed
hole is opened and closed rapidly, or oppositely, an open hole
is tapped closed then opened to create breaks in the sound.
Or in other words, other notes are instantaneously mixed in to
create breaks in the tone. If the inserted tones are em
phasized a kind of trill results. The pitch or quality of the
inserted tone varies with the hole being used, so that various
different "tastes" can be produced corresponding to the oc
casion. Among them is the characteristic technique called
koro-koro which produces a sound like rolling (korogasu) a
ball. There are many uses for this^technique, but its most
12
distinctive use in this piece is to represent the call of the
crane or the beating of its wings. Another distinctive feature
which stands out among classical honkyoku is the frequency of
strongly rhythmical sections.
1. Nezasa-ha: SHIRABE
1-shaku 8+sun
2 min. 55 sec.
1. About the title:
Please consult the section on Shirabe-Choshi in "Commonly
Used Titles."
It is possible to view this particular Shirabe of Nezasa-ha as
having once been an independent piece, but of course its use
as an introduction or prelude is its more important feature.
That is to say, in Nezasa-ha it was attached to the perfor
mance of each piece, and became fixed as an introductory
section for the "cleaning of the heart and the repose of the
soul." However, the single piece Matsukaze is an exception:
since it already has a shirabe-style opening, this piece Shirabe
is not used with it.
2. Structure of the piece
It begins in the lower range, proceeds to the upper, and
returns again to end in the lower range. This construction is
shaped like a gently rounded mountain. From the point of
view of dan ("steps"), we can divide it into three sections: 1.
a five-breath jo, 2. a high four-breath section and 3. a four-
breath closing section.
13

Although it is short, it has all the basic elements of composi
tion and thus can be played either as an introduction or as an
independent work. The komibuki of the initial ro-tone is said
to represent the wrath of heaven and earth and thus should
be played with some strength and fierceness.
3. Special features of the piece:
Pieces called Shirabe or Choshi all display the artistic styles of
their schools. This piece clearly shows the artistic style of
Nezasa-ha: a feeling of deep sorrow and desolation set within
a rather vigorous framework.
There is a theory that this is a composition by Ban Yasuyuki
(1798-1875), but just as we can suppose that there is a Gen-
Rokudan ("original Rokudan") behind the koto piece Rokud-
an-no-Shirabe, we are free also to assume that there was also
another original piece behind Shirabe.
This is the first short, basic piece studied in Nezasa-ha, but it
is not so easy to master completely: this is rather like the
situation with Rokudan-no-Shirabe where even the most famo
us players find it hard to perform the piece to their own com
plete satisfaction.
2. Nezasa-ha: SAGARIHA ("Falling Leaves")
1-shaku 8-sun
3 min. 52 sec.
1. About the title:
W 14
Besides the Nezasa-ha piece, there are also pieces with the
same name such as Kinko-ryu Sagariha and Kyoto Myoan-ji
Sagariha (with some variations in the Chinese characters), but
these are all different compositions.
According to the traditions of Nezasa-ha, a famous member
of that school received enlightenment while listening to the
wind blowing through bamboo brush or the sound of waves,
so the piece was also called Sagarinami ("Falling Waves").
2. Structure of the piece
The piece has a two-section structure [A - A - Tsuyuharai].
From the start, there begins immediately a melody similar to
the takane section of other pieces; this high-pitched melody
lasts for ten breaths. The exact same melody is repeated again
and then the piece ends with a three-breath tsuyuharai. (In
shakuhachi honkyoku it is a principle that one phrase is
played in one breath. Even if one has to take a breath in the
middle, one should play with the sensation of one breath.) A
tsuyuharai ("brushing away the dew") is a two or three-breath
short closing melody.
3. Special features of the piece:
When it is played connected with Shirabe, there is a feeling
that, rather than Shirabe being a separately composed
introductory piece, Shirabe-Sagariha was constructed as a
single piece. That is, Shirabe fills the same role as the honte
in other pieces so that we can recognize a structure of
[Shirabe (honte)- Takane - Takane gaeshi - Tsuyuharai]. Thus
from former times Shirabe and Sagariha were linked together
not from simple routine practice but rather because together
they had an extremely natural feeling of structural unity.
15

If one can handle the playing of Shirabe and Sagariha, then
one has mastered the basics of the artistic style of Nezasa-ha,
and one can comfortably proceed to the other Nezasa-ha
pieces.
3. Nezasa-ha: SANYA SEIRAN
2-shaku 1-sun
8 min. 39 sec.
1. About the title:
For the San'ya part of the title consult the section on San'ya
in "Commonly Used Titles."
Seiran was originally one kind of performing technique used
on string instruments such as the wagon. The Chinese
characters for Seiran were generally read sugagaki and were
written in a variety of forms. In the case of this piece they
are pronounced in the Sino-Japanese style as Seiran.
2. Structure of the piece
There is a three-part structure of [First dan (Shirabe - Honte)
- Second dan (Takane) - Third dan (Musubi)].
In Nezasa-ha there is no tradition of using the terms shirabe,
honte etc. in naming the parts which form the first dan.
However, in considering the musical content of the first dan,
there are some cases where we can observe sections which
contain elements of both shirabe and honte, as well as cases
where only a honte is present. Therefore, in this and other
%
.*. 16
Nezasa-ha pieces, we will point out the sections of the first
dan using the terms shirabe-honte or simply honte
corresponding to the actual musical forms. The distinction
between shirabe and honte can be generally understood as
follows. The shirabe is played in the lower range, in a quiet,
relaxed tempo: it is an introductory section which barely rises
above the first octave. In contrast, the honte generally begins
already centered on the second octave, and its melodies
develop from that point. If we consider the following takane
to be the second developmental section, then the honte can
be called the first developmental section.
Now let us consider the structure of San'ya Seiran in more
detail:
Shirabe-Honte It begins with a low, weighty melody, having
the feeling of a daijo ("Prologue"). After a five-breath intro
duction, there begins a melody overflowing with a feeling of
desolation, and filled with the subtle profundity unique to this
piece. This melody is played first in RO and then repeated in
KO.
Takane First, repeated twice, comes a classical Nezasa-ha
takane melody centering on the hi-tone and variants of the
hatone. It is a beautiful melody filled with loneliness. Next, a
somewhat altered takane melody is repeated with the principal
melody of the shirabe-Honte inserted in the middle.
Musubi A finale section which closes the piece again in a
quiet, lonely mood, after freely expressing a modulating and
enhanced emotional intensity.
3. Special features of the piece:
17
 about the way to attain Buddhahood.
Among Nezasa-ha pieces this is certainly the most desolate
and yet dignified. The manner of playing has a feeling of com
(b) About Kadozuke:
plete composure, in the midst of great tranquility.
Among the numerous pieces called San'ya, the "three superior While engaged in religious begging, priests were sometimes
pieces" are felt to be this work, Futai-ken San'ya and Echigo asked by people in Buddhist households to perform a
memorial piece. The priest would stand three shaku away
San'ya.
from the entrance gate (kado) and perform this piece. It was
Even though this piece has virtually the same melodic known as Enmei ("longevity") Kannon no Kyoku, and its
framework as Taizan-ryu San'ya-kyoku, its performance style meaning was based on a Chinese religious text ( not
is strictly that of Nezasa-ha so that it is quite different from translated here ) praising Kanzeon ( or Kannon ), the
Buddhist goddess of mercy.
any other piece entitled San'ya.
(c) About Hachigaeshi:
4. Nezasa-ha: TORI - KADOZUKE - HACHIGAESHI
When a priest received alms such as rice, he would hand the
bowl back and then play this piece as a parting thanks. It was
2-shaku 3-sun
referred to as Kudoku ("virtue") J6d6 no Kyoku, and its sense
11 min. 42 sec.
is derived from a Chinese text ( not translated here )
describing Buddhist virtues. As a rule komuso priests did not
1. About the title:
bow when they received alms, but rather played this piece as
a substitute salutation.
These three pieces exist as independent compositions, but in
actual practice they are played linked together. Moreover,
2. Structure of the piece
because they are pieces that have an intimate relationship to
one another, all being compositions for the religious soliciting From the viewpoint of melody or technique as well as tonal
of food and alms, we will treat them as one group.
range, the three pieces Tori, Kadozuke and Hachigaeshi can
be considered to form one structural unit together. Originally,
(a) About Tori:
they may have had stronger individuality in order to
accomplish their separate purposes, but in the form in which
It is written with various Chinese characters with the sense of
they are passed down at present, they offer a structure in
"passing along or through." It was performed by komus6
which three pieces have been refined together to form one
priests as they wandered about, and was referred to as Fuke
piece. In other words, their overall feeling as individual pieces
Jobutsu ("becoming a Buddha") no Kyoku. The significance of
is rather lacking: Tori and particularly Kadozuke are so short
the piece is found in a Chinese text (not translated here)
«
» 19
18
that they only feel like sections of a longer piece. Moreover
both Tori and Kadozuke end with exactly the same final three
breaths, which lack the melodic form usually accompanying a
final mood, but*which obviously do prepare for the following
development. v
Accepting the premise that these three pieces form one unit,
and since the melody of Hachigaeshi is almost entirely
repeated, we can envision a four-part structure of [A (Tori)
- B (Kadozuke) - C (first half of Hachigaeshi) - C (second
half of Hachigaeshi) - Tsuyuharai]. In comparison with other
pieces we could restate this structure as [ Honte (A) - Takane
(B) - Hachigaeshi (CC) - Tsuyuharai].
3. Special features of the piece:
Since these pieces were designed for outdoor performance
while collecting alms, all three of them move within the upper
range and are quite free in feeling. As regards the length of
the piece, it is the largest piece in Nezasa-ha after Koku. To
keep this piece flowing and from feeling tedious a great
reserve of strength is required of the performer.
5. Nezasa-ha: NAGASHI-REIBO
2-shaku 3-sun
11 min. 29 sec.
1. About the title:
Reibo, along with San'ya, is a title found widely in each school
of shakuhachi playing. Concerning this title please consult the
section on Reibo in "Commonly Used Titles." The Nagashi in
20
the title refers to the practice of priests wandering about
(nagashi) and playing the flute while soliciting their daily rice.
2. Structure of the piece
The piece is in three sections [Honte - Takane - Musubi].
The honte begins from the KO-no-ro tone; after working
through a rather long and melancholy melody, it enters the
takane. The takane begins with a melody using all forms of
the ha-tone which alter melismatically in subtle tonal degrees
smaller than quarter tones. This is a classical takane melody
typical of Nezasa-ha honkyoku, but even among these it is
especially beautiful and full of pathos. From this highest
section which lasts seven breaths, the melody descends
abruptly and arrives at the musubi. The designation musubi
does not occur in traditional notated scores, but "finale" seems
appropriate since a clearly different mood exists.
3. Special features of the piece:
Considering the special qualities of each Nezasa-ha piece, we
could call Matsukaze a piece with great "decorum" and
San'ya-Seiran a piece full of loneliness. Tori-Kadozuke-
Hachigaeshi could be called a "sonorous" piece whereas this
Nagashi-Reibo we could truly call the most smoothly and
beautifully flowing piece. Among the numerous pieces named
Reibo, it is one of the decidedly superior versions along with
Futai-ken Reibo and Shogan-ken Reibo.
6. Nezasa-ha: MATSUKAZE
2-shaku 3-sun
6 min. 59 sec.
21
 Later, in the year 22 Meiji (1890). Nyui spent three years
1. About the title:
compiling ten Nezasa-ha honkyoku based on the oral
teachings of Ban Yasuyuki and the composition method
There is an interesting story told about the famous Nezasa-ha
passed down by Sagawa Tokugyo of Edo. Combining the
composition Matsukaze:
character kaze/FU of Matsukaze and the character nishiki/KIN
It was a late moonlit night in mid-autumn, the fifteenth day of
from nishiki-nofukuro ("brocade bag") he created the name
the eighth lunar month in the first year of Genji (1864), at Kinpu-ryu. This is why the Nezasa-ha is known as Kinpu-ryu
in the Tsugaru area.
the end of the Edo period. At the rear of the Murasaki-
Shinden ("Purple Hall") of the Imperial Palace in Kyoto, the
2. Structure of the piece
resonant tone of a shakuhachi drifted from the official re
sidence of Chief Advisor and Imperial Minister Konoe
It is structured [Shirabe - Honte - Musubi].
Tadahiro within the Imadegawa Gate. It could be heard as far
away as the Higashiyama area, and the story has it that this
3. Special features of the piece:
music soothed the troubled hearts of the people caught up in
the Meiji Restoration. The shakuhachi player was Nyui The unique shirabe of Matsukaze is about two-thirds as long
Kencho, a master of Nezasa-ha who had been dispatched by
as the separate piece Shirabe, and although there are
the Tsugaru clan to serve in Konoe's Imperial Guard. The differences in octaves, they both begin from the same note
piece was Matsukaze. When the Chief Advisor was done KO-no-ro and have many melodies in common, as well as
listening, he was deeply moved and after closing his eyes and having a similar overall flow. However, distinct from the piece
meditating a while he composed a poem: Shirabe which has a feeling of having been assembled as a
whole piece, this shirabe has the inescapable feeling of an
"Nyui Kencho's shakuhachi shirabe was most interesting, while introduction both, in its overall pitch range and its
the moon shone clearly
moderation.
The take-no-shirabe resonates...
Lucid moonbeams
Among Nezasa-ha pieces, this composition is almost as short
Fill the deepest night...'" as Shirabe and Sagariha, but with its decorous structural sense
it is an extremely refined and justly famous work.
On considering this incident, Tadahiro then proposed the new
artistic name Getsuei ("moonbeams") for Nyui. The Minister
also received the famous flute used in this performance, and
7. Nezasa-ha: SHISHI
had it returned afterwards enclosed in a bag of Yamato
brocade.
2-shaku 3-sun
8 min. 46 sec.

22
.*. 23

1. About the title:
This piece is also known as Monju-kyoku which derives from
the portrayal of Monju-bosatsu, the Buddha of wisdom, as
riding on a lion (shishi). From olden times it has been used
as a celebratory piece.
If we were to divide classical shakuhachi honkyoku into two
groups, honte and hade, we could say that the piece Shishi
more likely belongs to the hade group. It is a piece for itin
erate priests, and was played when they went begging for
food. Although it is thought to have some connection to lion
dances (shishi-mai), this piece has been quite refined in the
style of Nezasa-ha honkyoku and bears absolutely no traces of
such folk art.
Among shakuhachi honkyoku there are also such pieces as
Kumoijishi, Meguro-jishi, Sakae-jishi etc. but these are quite
unrelated works.
2. Structure of the piece
It is constructed in three sections [honte _ takane _ musubi].
In the takane section the traditional style would call for an
exact repetition of the melody, but in this performance the
repeat has been omitted.
3. Special features of the piece:
There are several places where the tsu-no-meri tone (a half
tone above the actual flute tone) is played higher than in
other Nezasa-ha pieces.-Overall the piece has a bright, free-
flowing feeling, and its mood is never profound or emotional.
24
This is quite natural considering its origins as a shishi (lion)
composition.
8. Nezasa-ha: SHIRABE - KOKU
2-shaku 3-sun flute
14 min. 13 sec.
1. About the title:
This piece is recorded with the piece Shirabe attached as a
prelude (zenso) in accordance with Nezasa-ha tradition.
Please consult the sections "Commonly Used Titles" and
Nezasa-ha: Shirabe regarding Shirabe, and the sections
"Commonly Used Titles" and "The Three Traditional Pieces"
regarding Koku.
2. Structure of the piece
It is divided broadly into two sections: a zendan ("before" dan)
and kodan ("after" dan). It is one of the longest pieces in
Nezasa-ha , and as it is so long one would naturally expect it
to have the general Nezasa-ha structure of [(Shirabe - Honte)
- (Takane) (Hachigaeshi). - (Musubi)]. However the piece
gives a somewhat exceptional impression since it has the
binary structure of [Honte (Zendan) - Takane (Kodan)].
Moreover, the whole piece has a rather back-and-forth,
swaying tone (especially in the zendan), and there is very little
of the jo-ha-kyu development generally found in the honkyoku
of Tohoku lineage which includes Nezasa-ha.
25

3. Special features of the piece:
In terms of melody, two particular melodic patterns occur
repeatedly. One is the pattern utilizing "koro-koro"; the other
consists of lowering the jaw from the position of o-kari to o-
meri linking the two in a curving melody. This melodic pattern
is unique to this piece, even in Nezasa-ha. It is repeated four
times in RO in the Honte, three times in KO and two times
in RO in the Takane giving a strong individuality to this piece.
The sentiment in the piece is one of mystery and meditation.
In Nezasa-ha it is the last piece learned in the "oku-no-kyoku".
9. Nezasa-ha: SfflRABE-SAGARMA (Urajoshi)
2-shaku 1-sun
4 min. 12 sec.
1. About the title:
The same as Nezasa-ha: Shirabe and Nezasa-ha: Sagariha.
2. Structure of the piece
The same as Nezasa-ha: Shirabe and Nezasa-ha: Sagariha.
3. Special features of the piece:
Within the ten pieces of the Nezasa-ha there were originally
four tunings (choshi) apart from hon-joshi. These are
Akebono (dawn), Kumoi (sky). Yugure (twilight) and
Taikyoku (?). Collectively they are referred to as ura-joshi
and are played in ensemble with hon-joshi. (However on this
26
recording we find a solo performance.)
The ura-joshi of the three pieces included on this recording
(Shirabe, Sagariha and Matsukaze) is in each case Akebono-
joshi. Instead of the 1.8 flute o: hon-joshi a 1.3 flute is used;
likewise a 1.5 flute replaces a 2-shaku flute. That is to say,
the flute used is a full four steps higher than in honjoshi.
The skeleton of the melody is identical with hon-joshi but
there is more detailed fingering to the articulation (kizami) of
the tones than in hon-joshi, so that compared with the latter
ura-joshi is more rhythmical and unconstrained and hence
more emotional.
When ura-joshi is played in ensemble with hon-joshi, the
custom is for the senior or more skilled musician to play ura-
joshi. This entwining of the two choshi gives an even richer
texture to the piece.
When ura-joshi is played alone it differs from hon-joshi in its
more sorrowfully subtle quality. On this recording Shirabe is
followed by Sagariha in close succession.
10. Nezasa-ha: MATSUKAZE (Urajoshi)
2-shaku
5 min. 36 sec.
1. About the title:
The same as Nezasa-ha Matsukaze.
2. Structure of the piece
27

The same as Nezasa-ha Matsukaze.
3. Special features of the piece:
Please refer to the section on Nezasa-ha Shirabe / Sagariha
(Urajoshi).
11. Jin Nyodo Shokyoku: DAIWAGAKU
1-shaku 8-sun flute
3 min. 3 sec.
1. About the title:
Jin Nyodo composed this piece in 1941 (16 Showa). The term
shokyoku was coined especially by Jin Nyodo and is based on
the concept that" good music can not be created through the
intentions of a single individual. Rather the creative process
of the universe manifests itself momentarily in one human
being so that the piece is not composed (sakkyoku) but is
born (shokyoku)-
The title derives from the ancient teaching " good manners
are the beginning of heaven; music (gaku) is the harmony
(wa) of heaven." For further discussion of the piece see the
separate article "The Musical Lineage of Jin Nyodo."
2. Structure of the piece
The piece shifts gradually from the lower register to the
upper, then returns to the lower and concludes. This structure
is like a gently rounded mountain, and is similar in format to
28
that of Shirabe.
3. Special features of the piece:
The composer has said that it was written as a basic
instructional piece for shakuhachi, and that as in the iroha
(syllabary) Poem of Kobo Daishi all the basic sounds are
utilized and their arrangement is endowed with symbolic
meaning. For more specifics please consult "The Musical
Lineage of Jin Nyodo," but as a rough guide the piece
compares and contrasts the transitions found in human life,
time and the seasons.
Throughout this piece, the technique called kyosui is used.
Kyosui is a playing method without yuri or komi where the
breath is blown in calmly and evenly and allowed to fade
away naturally. The playing techniques of each school of
honkyoku can be summarized under the five types: kyosui,
kusabibuki, yuribuki. sasabuki and komibuki. Because of its
natural quality, kyosui is the first step to proper playing, but
in fact it is a quite difficult technique to master. In this sense
kyosui can be seen as both a basis of shakuhachi as well as its
highest attainment. The fact that this basic instructional piece
is permeated with kyosui, demonstrates the great importance
that Jin Nyodo's thought placed on this particular technique.
12. Ikkan-ryu: ROKUDAN
1-shaku 7-sun flute
8 min. 33 sec.
1. About the title:
29
This piece is known either as Ikkan-ryu Rokudan or Nagashi
Rokudan. The melody of the piece Rokudan was adapted for
komus6 shakuhachi and in the process altered to the free
rhythmic structure of shakuhachi honkyoku. The form handed
down by Jin Nyodo is that of the Nezasa-ha and is played as
komibuki.
The following is a traditional story about this piece: The
seventeenth abbot of Rantei-in in Hirosaki, Tessan Yoshiki
(died 14 Tempo, 1843) inherited this piece as the disciple of
Miyaji Ikkan. However, he would not teach the piece to
anyone or play it in another person's presence. Ban Yasuyuki
asked to be taught the piece but was not granted his request.
So over and over again, late at night, he would sneak into the
temple cemetery and listen in secret to the abbot's playing. In
three years time he was able to grasp the first four dan (some
say three), but his memorization was cut short by the abbot's
death.
Although this is an Ikkan-ryu piece, there does not seem to
be any direct transmission of this work in the Kanto area.
2. Structure of the piece
Even though it is called Rokudan (six steps) there are in fact
only three dan.
3. Special features of the piece:
Although it generally follows the exact melody of the koto
piece Rokudan, ornamental tone patterns typical of
shakuhachi honkyoku are added throughout. Tetrachords of
the melody (y6'onkai) are mixed in and phrasing and rhythm
are freely altered in the manner of shakuhachi honkyoku to
% 30
the extent that the feeling of the piece is quite different from
the original.
Because it is played as komibuki in the particular style of the
Nezasa-ha, it has an unconstrained feeling quite similar to the
urajoshi of Shirabe, Sagariha and Matsukaze.
Even though the Jin family actually possesses an old notation
book (date unclear) giving four dan for this piece, Jin Nyodo
played three dan exclusively throughout his life; so this
recording only goes through the third dan. We do not clearly
understand why he did not play the fourth dan, but we can
surmise that the interest of the piece diminishes sharply after
the third dan.
13. Echigo-Myoanji: SAN'YA
2-shaku 1-sun
10 min. 22 sec.
1. About the title:
Please consult the section on "Commonly Used Titles." This
piece is called Echigo-San'ya because it was passed down
through the Myoan Temple in Echigo (Present-day Niigata
Prefecture).
Myoanji in Echigo was constructed in the Tokugawa Period
by the lord of Echigo-Muramatsu in the castle town of that
name. Later it was relocated to Shimoda, south of the city of
Sanjo. This temple held to the principle of ichi-ji: ichi-ritsu
(one temple: one melody = only one piece should be passed
down as the legacy of each temple), so that this piece was the
31
only one played; however, Reibo was also taught as a
junkyoku ("associated piece").
Jin Nyodo inherited this piece from Saikawa Baio.
2. Structure of the piece
It is constructed in the manner of Tohoku-style honkyoku:
[Takeshirabe - Honte - Takane - Hachigaeshi - Musubi]. It
has a clearly defined jo-ha-kyu structure, and the whole piece
has a flowing rhythmical sense.
Takeshirabe This is a fairly long introductory section in the
RO-range (first octave). The highly dynamic yuri-buki used in
the opening melody increases the strong emotional and
rhythmic impression of this piece. The entire takeshirabe is
played with this meandering, winding yuri-buki. In particular
there are nine spots where emphatic yuri-buki is utilized, and
three places where strong nayashi is employed (nayashi = a
technique where shaking the head accents certain tones). The
melodic forms linked to these techniques add greatly to the
emotional impression of this piece,
Honte A high-pitched section in the KO-range (second
octave). Two melodic patterns are played, each filled with
the infinite sadness characteristic of this piece.
Takane It begins with a takane melody typical of Tohoku-
style honkyoku' (i.e. a melody centering on the KO-no-hi and
ha tones), and continues the characteristic melodic pattern
already mentioned in the honte, a pattern which conveys an
acute sense of yearning. This melody is gradually modified and
repeated three times.
32
Hachigaeshi At this point the mood shifts and from the
summit of sorrow there begins a melody which includes a feel
ing of resignation. After the large "mountain" of the takane,
this is a smaller rise in a lower register.
Musubi Again the piece returns to the lower range.
However, the overall tone is a little higher than that of the
takeshirabe, so that we feel a little "afterglow" from the mood
of the takane and hachigaeshi. At the same time the
characteristic technique of yuri-buki found in the takeshirabe
reappears, so that as we feel a return toward the opening
section, the piece ends in a mood of mysterious darkness,
3. Special features of the piece:
Among the numerous San'ya pieces, this one is quite
prominent. Musically, its structure and development are
remarkable, as is its smoothly flowing rhythmical progression
in the midst of extreme emotionalism.
14. Jin Nyodo Shokyoku: MUJUSHIN-KYOKU
2-shaku 3-sun
8 min. 30 sec,
1. About the Title:
This composition was born at the time of Jin Nyodo's trip to
mainland China in 12 Showa (1937). Jin Nyodo himself did
not regard this as a "composition," but rather called it a
shokyoku ("born piece") - a sort of transcription of a work
that emerged naturally by itself. The title derives from a
passage in the Diamond Sutra: "Just at the point when one
33
has no place to dwell (muju), such a spirit (shin) is born."
For more details regarding the development of this piece
please see the article "Jin Nyodo's Musical Lineage - From
his own Writings'* which contains a section on "Sakkyoku
(composition) and Shokyoku."
2. Structure of the piece:
It has the balanced kisho-denketsu structure (a four-part
structure characteristic of classical Chinese verse): [Ki
(shirabe) - Sh6 (honte) -Ten (takane) - Ketsu]. This is a
structure that pervades honkyoku of the Tohoku style.
Shirabe.... It starts quietly with kyosui playing in a low tone.
In the second melody the playing technique called tsuzumi-
buki which is unique to this piece is utilized. In this method
of playing, the melody is blown forcefully; then in the middle
of the phrase the tone is weakened as if (echoing) in the
interior of a tsuzumi (drum). Then again the breath is blown
more strongly. This was a new technique introduced by Jin
Nyodo and is used frequently throughout this piece with the
result that it lends a uniquely strong dynamic effect to the
flow of the composition.
Next, the melody climbs to the middle range with gentle yuri-
buki. It ends quietly after descending again to the lower
range.
Honte.... This section begins with resonant blowing in the Ko-
no-re tone. The melody which follows is characteristic of this
piece in its gentle flow and abundant emotional quality. After
this melody is repeated, there is a section forcefully played in
the mid-range and rich in modulation.
-•*,
34
Takane.... It begins in a strong Ko-no-re tone, proceeds to a
beautiful melody focusing on the hi and ha tones then moves
again to the upper range. A soft re-tone in Dai-ko (third
octave) leads to the most emotional point. Just then, like a
flow bursting through a dam, a melody occurs filled with an
infinite sense of sorrow and desolation. This takane then
reoccurs once as a kaeshi (return) with some alteration in
expression by means of tamane.
Musubi.... One of the melodies from the honte is repeated in
the middle of the Ro-range (first octave), and the piece ends
tranquilly.
3. Special features of the piece:
The composition could be said to arise from elements that Jin
nyodo received from classical honkyoku and let crystalize.
Uramoto Setcho evaluates it as "the work of Jin Nyodo's
lifetime." This may remind us of the Fuke Sect saying: "One
temple = one melody." In each of the Fuke temples, there
was a tradition that in each temple only one piece was
handed down as its seikyoku (true piece). Probably it was felt
that in the case of outstanding classical honkyoku, one piece
was capable of containing infinitely deep emotion. A
composition that could contain such varied mental states was
called ichiritsu (one melody). This piece could be called Jin
Nyodo's one melody.
15. Renbo-ken / Kisen-ken: HIKYOKU (Sacred Piece)
TSURU-NO-SUGOMORI (The Nesting Crane)
2-shaku 1-sun
16 min. 40 sec.
35
 patterns A and B.
1. About the title:
TSURU-NO-SUGOMORI: Structural Patterns
For general information about Tsuru-no-Sugomori consult first
the section on it in "Commonly Used Titles." Pattern A:

In the case of this piece we may wonder whether it has been Shirabe Prelude/the cranes arrive flying
passed down with the special designation hikyoku mostly San'ya Searching for a place to build a nest
because of its extreme difficulty and great length and scale. Takane (1) Rejoicing on finding a place to build
Because it was played and taught by the renowned Jinbo a nest/Building the nest
Masanosuke in the period from the end of the Shogunate into Takane (2) Hatching the egg
the Meiji era, it is also called Jinbo Sugomori. Honte Love of parent and child
Departure of the child
Jin Nyodo studied this piece with Jinbo Masanosuke's disciple Hachigaeshi Gratitude to heaven on fulfilment
Hikichi Kozan and several others, and passed it on in the of their duty
tradition of Renbo-ken and Kisen-ken (ken = religious
house). It is an unusual example of one piece bearing the
O-musubi The parents' life draws to a close in
peace and satisfaction.
I
tiJ;
names of two temples as its lineage, but as regards this point
no reliable material has appeared as of now apart from Jin
Nyodo's oral teaching. We know that Jinbo did play and Pattern B:
•teach this piece and that for a period of time he was active at
Renbo-ken in Fukushima. But for more research concerning Shirabe Opening dan: possibly the orginal San'ya
Hikyoku - Tsuru-no-Sugomori or its original form, as well as Honte •4'

its connection with two Fuke temples, we will still have to

wait a while. So for the moment we should accept Jin
Takane I
Hachigaeshi
Nyodo's explanation as is. Honte Closing dan: possibly the original Tsuru-no-Sugomori
Hachigaeshi I
In addition please consult the article "Different Pieces with Musubi
IS
the Same Name. Identical Pieces with Different Names."

2. Structure of the piece: Pattern A shows the traditional structural analysis and the
corresponding story of the life of the crane. This is according
This piece has a large-scale, rather complicated structure. to the teaching of Jin Nyodo.
First please consult the diagram whic^h shows two structural I

36 37 I
In contrast, pattern B is based on the theory of Tsukitani
Tsuneko and analyzes the structure of the piece from a fresh
viewpoint. According to Tsukitani's theory Jinbo Masanosuke
probably blended^ together two originally separate pieces,
Tsuru-no-Sugomori and San'ya, to form this piece. For details
regarding this please consult the article mentioned above.
The explanation below is based on the structural analysis of
A:
Shirabe....A low-pitched prelude filled with vague emotion as
if it flowed from a mist-enveloped valley. It is extremely
individualistic without any comparable example in other
honkyoku. The initial melody begins with the weakest of
sounds and then gradually increases in volume in a gentle and
finely articulated manner, until an especially intense mood is
produced. This finely articulated technique is used repeatedly
in various forms to give rise to the unique mood of this piece.
The koro-koro and related techniques used in each section of
Tsuru-no-Sugomori have an imitative effect which reminds one
of the cry of the crane.
Then follows a mid-range melody taken to be the arrival of
the flying crane. It is a passage which makes the listener
think of a crane gently circling in the open sky.
San'ya....This is taken to be the section where the crane
searches for a place to build its nest. In the middle of the
opening melody, the music rises from the RO to the KO
range; and then appears a melody which resembles the
characteristic melody of Echigo San'ya. (Analysis B is a
particularly interesting hypothesis when we consider the three
facts that: 1. traditionally this section is called San'ya, 2. a
distinctive melody resembling San'ya is used and 3. it is
38
thought that Jinbo had some connection to the temple of
Echigo Myoan-ji).
After this san'ya-like melody is repeated once, a rather
emotional melodic passage follows and as a musubi
(conclusion) the same melody as in the crane's arrival section
is played an octave higher in the KO range.
Takane (l)....This section is described as"the crane rejoicing
on having decided where to build its nest." It begins in the
Ro-no-ro tone and soars in one breath to the ha (245) tone
two octaves and a half-tone above with delicate fingerwork.
This kind of individualistic melody which yields such brilliant
effects is not to be found in other works. This high-pitched
melody focusing on the enunciation of the ha (245) tone is
played twice; then the melody flows swiftly downward in a
rapid rhythm to link with another melody that is filled with
the emotion of the San'ya. After this latter melody is
repeated, the tonal range descends and the feeling becomes
more tranquil.
This ends the "building the nest" section. The piece proceeds
with a gentle, mid-range melody.
Takane (2)...."The hatching of the egg" is the idea associated
with this section. Again we find a powerful, high-pitched
melody: a hachigaeshi-type melody with u (3) as its strongest
and highest tone. Following the opening half which has a
feeling of powerful speed and which makes great use of
dexterous fingering, the second half presents a melody which
is filled with gentle emotion in the mid-range expressing the
rejoicing of the crane at the safe birth of its young.
Honte....The first part represents the "love of parent and
39
child." It depicts the voices of the cranes, parent and chick
blending together: voices filled with tender affection.
For this blending of parent's and child's voices, a famous
technique unique to this piece called taba-ne is used. It
resembles tama-ne except that it revolves around a distinctly
more gentle sound.
The melody for the parent cranes and the melody for their
young are repeated alternately several times in the manner of
gently blending voices. Gradually the intervals become closer
and finally the music depicts the unison voices of parent and
child. The melody in the Ro-range which sounds as horo -
hord - hor6, gradually shifts to koro - koro - koro in the Ko-
range. Then it rises to a high pitch and abruptly shifting the
music moves to the "child's departure" section.
The last half of the Honte depicts the "child's departure," i.e.,
leaving the nest. This section also begins with a melody for
the blended voices of the adult and young cranes. However,
whereas in the section for "love of parent and child" the
melody possessed a gentle feeling in the mid-range as if
depicting a quiet and intimate conversation, the melody in this
part is extremely powerful and in the upper range.
The parents' melody comes first: the fingering moves in a
rapid glissando up from ro to hi - ro-tsu-re-chi-hi. (The way
of playing hi with the first finger is called, imitating the sound,
kara-kara.) Next, the young cranes' melody imitates the
previous melody but stops one note lower: ro-tsu-re-chi.
As was the case with the two melodies in the "love of parent
and child" section, the two melodies here are repeated
alternately, then merge into one to produce the feeling of a
% 41
40
dan conclusion. With the lingering feeling of the blended
voices of the cranes, the melody form the earlier section,
"rejoicing on finding a place to build a nest," is repeated in a
shortened form and the mood gradually becomes more
tranquil.
This "departure of the child" depicts the young crane leaving
the nest and setting out on its own, bidding farewell to its
parents.
Hachigaeshi....This section is said to depict a mood of
gratitude to heaven: the gratitude of the parent cranes for
having safely fulfilled their duty in raising their young.
The overall mood of the piece is sustained by the use at many
points of delicate fingering and gently meandering melodic
patterns, classical hachigaeshi melodic patterns common to
honkyoku of the Tohoku tradition.
0-musubi....This closing section uses low, weak tones to give
a darker tone to the mood and sentiment of the piece,
emphasized by a gently meandering melody in the mid-range ft
hi
and careful fingering. At the end, the music rises an octave
from the o-meri of Ro-no-ro (lowest tone) to Ko-no-ro, then it
descends one note to ri where the piece concludes with a
distant, remote feeling, the effect of this closing melody
closely resembles that of Kyorei.
3. Special features of the piece:
This piece not only makes free use of almost all the
techniques used in shakuhachi honkyoku, but also utilizes
unique techniques found only in this work. Its numerous,
beautiful and individualistic melodies, and its structure which
displays praiseworthy development on a large scale, both
make this famous piece deserving of being called the pinnacle
of the musical world of classical shakuhachi honkyoku.
16. Futai-ken: SAN'YA
2-shaku 1-sun
9 min. 57 sec.
1. About the title:
Please consult the section on San'ya in "Commonly Used
Titles" and then the separate article "Different Pieces with the
Same Title; Identical Pieces with Different Titles."
Futai-ken was a komusd temple in the town of Masuda on
the outskirts of Sendai. According to the principle of "one
temple: one melody," only Reibo was passed on as its
seikyoku ("true piece"), but in addition this San'ya and Tsuru-
no-Sugomori were also handed down as junkyoku ("associated
pieces"?). Jun Nyodo received this piece from Konashi
Kinsui.
2. Structure of the piece
Broadly speaking it is constructed in three sections:
[Takeshirabe - Takane - Musubi], but it can be further
analyzed as follows.
Takeshirabe The long takeshirabe can be divided into two
parts, a ki ("opening") in the RO-range (first octave) and a
sho ("succession"?) in the KO-range (second octave). It could
be considered to have elements of both a shirabe and a
•W: 42
honte. The ki opens with a short, low prelude of three kyosui
breaths, then proceeds to low and gentle soko-yuri playing
(see Special features of the piece) which seems to flow from
the depths of the earth, all the while conveying a deep feeling
of loneliness as it climbs somberly toward the middle range.
The sho serves as a developmental section for the ki which
has risen to the KO-range: in it the sense of sorrow grows
more intense.
Takane This section can be broken down into three parts:
[Takane - Takanegaeshi - Ten]. It begins with the takane
melodic pattern common to all Tohoku style pieces which
basically centers on the Ko-no-hi and ha tones. In each
melody the breaths are extremely long and there is a
composed dignity. In the kaeshi ("return") the takane melody
is repeated almost exactly but slightly shortened, only the last
three breaths serve as a linking melody to the ten. The ten is
a short modulating (tencho) section with a koro-koro melody
repeated three times.
Musubi A short musubi of five breaths eases the weight of
the piece and ends it tranquilly.
3. Special features of the piece:
The unique playing technique called soko-yuri is used through
out the piece. This relies on spreading and narrowing the
aperture of the lips and is one type of yuri, although it is
different from the kind of yuri where the head shakes. When
the lips are narrowed the sound lowers somewhat, and
because of this wave of rising and falling pitch it yields a
special tonal feeling which swells up from the bottom (soko)
of the earth. This soko-yuri technique is employed only in the
pieces of Futai-ken and Shogan-ken.
43

This one piece can perhaps be called the highest summit
among San'ya compositions, and we can feel a deep religiosity
in the sorrow and desolation expressed in it.
17. Futai-ken: REIBO
2-shaku 3-sun
12 min. 14 sec.
1. About the title:
First, please consult the section on Reibo in "Commonly Used
Titles." Then, please see the separate article "Different Pieces
with the Same Title; Identical Pieces with Different Titles."
This piece is a seikyoku ("true piece") which is the one Futai-
ken melody according to the principle of "one temple: one
melody." It is famous and representative of Reibo
compositions to the extent that if someone refers to Reibo
one is likely to think of this piece.
Jin Nyodo received and passed on this piece from Konashi
Kinsui -who is said to have surpassed all others at playing
Reibo.
2. Structure of the piece
It is in the classical format of the Tohoku-style honkyoku:
[Takeshirabe - Honte - Hachigaeshi - Musubi]. It has an
extremely tight, compact form with clear jo-ha-kyu
development.
:*. 44
Takeshirabe The mood of the piece shares much in common
with the San'ya of :he same Futai-ken tradition in that it is
played as if gushing forth from the depths of the earth, out of
a profound stillness. In particular the three breaths of the
initial maebuki and the melodic shape of the following two
breaths are the same in both pieces. The takeshirabe of this
piece and the ki section which forms: the first half of the
takeshirabe of San'ya, as well as the general flow of the
pieces are also quite similar, but this piece has a more
profound sentiment. Moreover, whereas the takeshirabe of
San'ya combines elements of both shirabe and honte, in this
piece there is a separate honte, and the takeshirabe functions
as a complete shirabe section.
Honte At first the KO-no-ro tone is played quite strongly.
Continuing the profound mood of the piece already
demonstrated in the takeshirabe, the composure and dignity
of the entire piece then make another strong impression in
the first melody of this honte. It is the first developmental
section and proceeds from the shirabe to develop in two dan.
A characteristic melody of this piece appears in the second
dan where the KO-no-hi tone is again played strongly to form
a truly sad and lonely melody.
Beginning with this honte, the technique called shiori is used.
In this technique, the chin is pulled back in the middle of a
prolonged note so that the tone is slightly lowered; then, it
returns to the higher tone. This is not used in San'ya. This
shiori and the technique of yoko-yuri are coupled together to
strengthen the rather ghostly and dark mood.
Takane This section begins with an extreme sense of
lamenting grief. After the lonely melody that was pointed out
in the honte continues some, the second characteristic melody
45
appears. In this piece it is not repeated, but after the in
sertion of a connecting melody, it moves immediately into the
hachigaeshi. Even though this piece is extremely emotional it
does not fall into a mood of excessive sentiment, but rather
maintains a tense, compact structure.
Hachigaeshi After a modulating opening melody, the second
characteristic melody introduced in the takane is repeated, all
the while strengthening #he sorrowful mood.
Musubi A finale section, that while being quite dignified,
also floats with a feeling of distant longing. After the lead-in
melody, the first characteristic melodic form is briefly repeated
and the piece ends in a mood of dark mystery,
3. Special features of the piece:
Technically it is similar to San'ya except that the use of soko-
yuri is quite distinctive.
18. Shogan-ken: REIBO
2-shaku 1-sun
11 min. 58. sec.
1. About the title:
First please consult the section on Reibo in "Commonly Used
Titles."
Then please refer to the article "Different Pieces with the
Same Title. Identical Pieces with Different titles."
The temple name Shogan-ken can be written with various
k 46
Chinese characters (most commonly "pine - rock"), and it is
not certain which spelling is the original form. It was a
komus6 temple in Hanamaki, Iwate Prefecture. No other
pieces in the tradition of this temple are known. Jin Nyodo
inherited the tradition of this piece form Orito Nyogetsu.
2. Structure of the piece:
The structure of the piece is [Takeshirabe - Honte - Takane
- Takane-gaeshi - Hachigaeshi - Musubi].
Takeshirabe....The melody begins quietly with soko-yuri rising
from the lowest tone, the o-meri of Ro-no-ro. After this low-
pitched introduction, the two melodic patterns characteristic of
this piece are introduced, and are then repeated intertwined
with one another. Both of them are melodies filled with a
pathos of spiritual longing. The mood of this takeshirabe
suggests the mood of the entire piece.
Honte....After an introductory four-breath melody, the most
characteristic Ko-range melody of the piece appears. This
could be considered the most beautiful and sharply poignant
melody, not just among Reibo pieces, but among all
honkyoku. This rather long melodic pattern is repeated
afterwards and gives a strong emotional impression to this
work.
Takane....After a beautiful takane melody centering around
the hi and ha tones, the characteristic melody introduced in
the Honte reappears.
Takane-gaeshi....After a repeat of the serene Takane, the
Honte melody is repeated with some alteration.
47
Hachigaeshi....Following a modulating melody that beings with
tama-ne, the melody from the end of the Takane-gaeshi is
repeated.
Musubi....A short modulating melody played in one breath
continues into the Ko-range (second octave) and the piece
ends on a final ro-tone.
3. Special features of the piece:
In terms of technique, it is similar to the Futai-ken piece
especially in the use of soko-yuri.
At one time the playing of this piece was forbidden in the
Yoshiwara "pleasure district" because it was found that when
a famous player wandered through the geisha district
performing Reibo, the number of double lovers' suicides
(shinju) increased. There are, however, differing opinions as
to whether this legend refers to this piece or to Nagashi-
Reibo of Nezasa-ha. In any case both pieces are
representative of the Tohoku tradition and are rich in beauty
and depth of feeling. If we distinguish among each of these
pieces according to special characteristics, we can say that the
Nezasa-he piece has the most restrained sadness, the Futai-
ken version has a more intense, passionate sorrow and this
Shogan-ken Reibo conveys a feeling of piercing sadness, of
soulful yearning. All three pieces have a deep religious
awareness and give serene repose to the human soul.
19. Kinko-ryu: BANSHIKI-CHO
1-shaku 9-sun
4 min. 17 sec.
m
48
1. About the title:
In Kinko-ryu the name of this piece is read as Banshiki-cho;
Jin Nyodo also passed on this pronunciation. Pronounced this
way it sounds like one word, but as it was originally a
maebuki i.e. an introductory piece (according to the book
Kokin Techo), it could also be explained as meaning Banshiki-
no-Shirabe. The ri-tone on a 1-shaku 9-sun flute corresponds
to the tone banshiki (=b).
2. Structure of the piece
The form is [A (KO) - B (KO) - A'(RO) - B" (RO-KO)]. In
section A the melody climbs gradually within the second
octave from the bottom to the highest tone. Section B begins
in the midrange of the second octave, but this time the
melody gradually descends. Section A, is the same melody as
A played in the first octave. In section B', the first half of B
is repeated in the first octave and the second half of B is
repeated in the second octave. Not just in this piece, but in
Kinko-ryu honkyoku in general, entire dan or the melodies
which form their units are repeated to suit the performance,
but on this recording there are no such repeats.
3. Special features of .the piece:
The tone banshiki was traditionally the note of autumn, the
note of sadness. In Kinko-ryu this piece is also used as an
introduction for Shin-Kyorei and Shika-no-Tone.
20. Kinko-ryu: SHIKA-NO-TONE
49
 1-shaku 9-sun
16 min. 7 sec.
1. About the title:
This piece takes as its theme the yearning call of a stag for a
mate at the height of autumn. However, it is not devoted ex
clusively to depicting the way of life of deer, but expresses as
well the scenery and mood of isolated mountains in autumn.
As a representative piece among Kinko-ryu honkyoku, it is
widely known, but we should note that there is in fact a piece
by the same name in the Myoan tradition and that the two
pieces are completely different works.
2. Structure of the piece
It is fashioned in a kakeai style for two flutes which makes it
an exception among classical shakuhachi honkyoku which were
originally structured for solo performance. However, on this
recording Jin Nyodo uses a solo format, playing both
melodies. In the kakeai style where two flutes are used, as
one player's melody ends the other player's melody begins, to
create an overlapping effect; but as a composition it is still
fully capable of standing by itself even without this
overlapping of melodies.
The piece can be broadly divided into five dan:
Dan 1 This can be subdivided into two parts: an opening jo
section and an initial developmental section in a higher range.
In this latter section the blowing technique called muraiki,
which is used a great deal in this piece, is introduced. This
special feature of the piece leaves a distinct impression.
%
k 50
Dan 2 This section is the core of the work. Continuing from
the preceding dan which reached into the highest range, this
section begins with a powerful melody in the lower range of
the second octave. At last the pitch rises and enters the main
developmental section which centers on the ha and hi tones
in the KO register. Four elegant and subtle melodies are
developed, repeated, and passed back and forth between the
parts.
Dan 3 Continuing from the preceding dan, and after a
transitional melody which fills in the interval, the melody of
the first dan is repeated and gradually the heightened mood
relaxes somewhat.
Dan 4 The mood of the piece becomes tranquil again,and a
hushed feeling spreads overall.
Dan 5 A short finale section which closes the piece with a
feeling of the clear serenity of autumn.
3. Special features of the piece:
This piece is the most beautiful piece among the many Kinko-
ryu honkyoku for its wealth of variety.
21. Kinko-ryu: HI-FU-MI HACHIGAESHI-NO-SHIRABE
1-shaku 8-sun
11 min. 2 sec,
1. About the title:
This piece represents one kind of shirabe. It combines Hi-Fu-
51

Mi Shirabe and Hachigaeshi ("returning the bowl"), which was
played when a priest received his begging bowl back. In
addition it also tias an irete (interpolation) Araki Chikuo.
2. Structure of the piece
The structure is [I (the first half of Hi-Fu-Mi Shirabe) - II
(hachigaeshi) - III (the irete by Chikuo) - IV (the second half
of Hi-Fu-Mi Shirabe)]. Because Hi-Fu-Mi Shirabe does not
have any high points and has no clear cut form, the insertion
of the hachigaeshi, which begins with atakane, gives the more
stable structure of low - high - low. Therefore it is only
natural that the one-piece form of Hi-Fu-Mi Hachigaeshi-no-
Shirabe which utilizes the hachigaeshi is the one that has
taken root.
3. Special features of the piece:
As abasis of Kinko-ryu this piece is compulsory for study. In
terms of melodic pattern or the pace of the composition it is
a classical Kinko-ryu honkyoku and is representative of its
type In comparison with other schools, some special features
of melody include the frequency of that form where as the
melody ends, the chin is lowered so that the ending is played
with meri; another is the frequent use of meri-playmg with
(lowered) chin when each melody shifts from the first tone to
the second.
To continue, the following are special characteristics of Kinko-
ryu honkyoku in general:
a. In distinction from honkyoku of the Tohoku style which
have a clear-cut jo-ha-kyu structure, these pieces either have
aplateau-like structure which contains several peaks or else
*•
52
they move in a meandering manner.
b. They have little extreme of fast or slow rhythm; the whole
piece progresses quietly with a feeling of rather uniform
rhythm.
c. The melodic patterns are somewhat limited, without any
large phrase units; rather, smaller units are combined and
altered, and are repeated while undergoing variation.
As a result of the above features all the pieces of Kinko-ryu
tend to sound rather similar with a few exceptions such as
Shika-no-Tone with its rich variety of melodies, and San'ya-
Sugagaki or Akita-Sugagaki with their distinctive rhythmical
feeling.
22. Kinko-ryu: SAN'YA-SUGAGAKI
1 - shaku 8 - sun
5 min. 15 sec.
1. About the piece:
Please refer to the section on San'ya in "Commonly Used
Titles." There are two titles (in Chinese characters) both
originally pronounced San'ya-Sugagaki but these in fact are
different pieces.
2. Structure of the piece
There are no clearcut dan, but the piece can be seen as divi
ding into three sections: [Section I - Section II (upper range)
- Finale]. In the first third of section I (6 breaths) all the
53
basic melodies are introduced; then the section proceeds to
combine them. In the second section one new melodic pattern
appears in a higher range which is then combined with the
various melodies lof Section I. The musubi (finale) consists of
a short new melody.
3. Special features of the piece:
It is played as one of the most sharply rhythmical pieces
among Kinko-ryu honkyoku, and has a lucid, liberated mood.
23. Ryugenji: TAKIOCHI
2-shaku 1-sun
10 min. 36 sec.
1. About the title:
South of Izu-Ohito is found the Asahi Waterfall which is said
to be 33 jo (1 jo = 10 shaku or 3.31 yards) high. Near the
pool below the falls was the komus6 temple called Ryugen-ji
and it is said that this piece was composed there. There is
also a piece Takiotoshi among Kinko-ryu honkyoku, and it is
thought that they originally may have been the same piece
based on the fact that they have many melodies in common
and that the structure of the pieces has many coinciding
points. However, in the form in which it is taught at present,
the Ryugen-ji piece is much more classically ordered in form
and has a clearer sense of formality. Moreover, as regards
differences in artistic style, the mood of the two pieces has
become quite different, so that on first listening one would
not realize that they were originally the same piece. Jin Nyodo
learned and passed on Ryugenji Takiochi from Horiguchi
•<<%
54
*.•
Zeku of the Fudai-ji tradition.
2. Structure of the piece
This piece is in three sections: [Honte - Honte-gaeshi- -
Takane]. A more detailed analysis is as follows:
I Honte a (RO) - a' (KO) - b - c - d
II Hante-gaeshi a - a - b
III Takane a' (without the final breath) - e - d (without
the initial breath) - f (musubi)
Section II repeats the first half of Section I, but since this
section should have the feeling that the amount of water
pouring over the waterfalls increases until it finally becomes a
great cascade, the tempo is faster and the sound is blown
more strongly. Section III (Takane) represents the waterfall at
its greatest force, and so is played strongly and in a high
range. In particular, the melody which descends from the KO-
nohi tone appearing after :he highest pitched section is felt to
be the most beautiful melody in this piece. Together with an
inserted connecting melody, this is repeated three times.
3. Special features of the piece:
This piece has a feeling of extreme decorousness in form and
a structure without any useless excess. It has a lyrical quality
of great refinement that makes one think of a sumie
landscape. Among classical honkyoku it stands out as a
famous composition.
24. Fudai-ji: TSURU-NO-SUGOMORI
55
 1-shaku 8-sun
10 min. 9 sec.
1. About the,Jtitle:
Please refer to the section on Tsuru-no-Sugomori in
"Commonly Used Titles."
Fudai-ji was a komus6 temple in Hamamatsu and was an
important temple for the transmission of the Koten Sankyoku
in their finest form. Jin Nyodo learned the Fudai-ji pieces
from Horiguchi Zeku.
2. Structure of the piece
It is formed from a shirabe and honte, the latter being divi
ded into five dan. The shirabe is tranquil and relaxed in the
traditional introductory shirabe style. The five dan of the
honte are all roughly the same length. In terms of pitch, the
first and third dan are fairly low, while the second, fourth and
fifth dan shift to a higher range. At the end of each dan the
tempo relaxes, and as the music enters the new dan the
tempo gradually picks up and returns to the original speed.
We can say that there are small "hills" within each dan, as
well as the larger "mountains" within the whole piece formed
by the high range of the second, fourth and fifth dans. How
ever there is no real jo-ha-kyu development, and each dan is
constructed in a parallel manner to the others.
3. Special features of the piece:
a. Melodies using koro-koro (in the case of this piece used
from the opening of the honte), kara-kara etc. are linked
56
together and repeated throughout the piece, b. The beat is
clearly articulated.
c. It has a balanced "dan" structure, d. The mood of the
piece is not at all heavy or somber; rather it has a free and
pleasant feeling.
The above features do not apply to this piece alone but can
be said to be commonly characteristic of almost all Tsuru-no-
Sugomori compositions apart from Hikyoku Tsuru-no-
Sugomori. There are many pieces entitled Tsuru-no-Sugomori
which are different compositions, perhaps ten in all, but this
one is outstandingly beautiful in its classical structure.
Note: The end of the piece on this recording is disturbed by
the sound of thunder.
25. Fudai-ji: KOKU
2-shaku 1-sun
10 min. 52 sec.
1. About the title:
This is one of the Three Traditional Pieces (Koten-Sankyoku):
please consult the section, of that name in "Commonly Used
Titles." All of the Koten-Sankyoku have been passed down in
a superior form within Fudai-ji.
2. Structure of the piece:
It has a five-part structure. In a broad sense sections I and II
as well as sections III and IV are related as variations of each
other, repeating almost the identical theme. Suction V is
57

made up of a takane and musubi. A more detailed
examination follows:
I.... The piece opens with the most characteristic melody of
the piece which begins with the Ko-no-re tone repeated three
times. It is a transparently beautiful melody; the use of this
melody alone is common to all koku pieces and it can be said
to be the most typical melody of these works. Section I is
constructed of two large phrases beginning with this melody.
II.... This section repeats the two phrases of I with only some
alteration of the last half of each.
III.... It begins with a new melody which changes the mood,
but in the middle section the characteristic melody from the
beginning of the piece appears briefly again. Then the second
characteristic phrase is spelled out again, proceeding in a
subtly sinuous manner utilizing yuri.
IV... This begins with the same melodic pattern as the
opening of III, only transposed and with some variation.
Continuing, it moves to a melody utilizing the hor6-horo
sound pattern and after a transitional melody, the second
characteristic phrase which occurred in the latter half of III is
repeated again in a lengthened form.
V... This section corresponds to the takane and musubi.
After a resonant takane melody is repeated twice, the melody
descends somewhat. Then again reversing itself, the music
proceeds with strong blowing reflecting the exalted feeling of
a takane and then ends with a weaker tone which has risen to
the highest range. With that the mood of the piece has
become tranquil, and as the musubi, the second half of IV is
repeated. The piece then concludes with a gentle closing ro-
58
tone.
3. Special features of the piece:
This work possesses a feeling of vast and hazy infinity quite
appropriate to its title, and can be considered one of the
superior versions of koku. It has both a highly polished and
remarkable musical structure and a beauty of high quality
which conveys a spiritual transparency. Seen in either of
these aspects, it is a famous work which has deserved to
become highly valued as one of the Koten-Sankyoku. If we
suppose that there existed a Gen-Koku (gen =
original/proto-), we can also assume that the spirit and shape
of that works manifested itself most beautifully in Fudai-ji
Koku. Moreover, the Koku of Myoan Taizan-ryu is of the
Fudai-ji lineage so that it is naturally the same piece.
Likewise the piece in the Itcho-ken tradition is the same work.
It is said that if this piece is played in a penetrating manner,
all delusion will fade away and a quiet spirit of fusion with
the great void (koku) will arise.
26. Fudai-ji: MUKAIJI
2-shaku
9 min. 27 sec.
1. About the title:
It is one of the three traditional pieces Koten Sankyoku.
Please refer to the section on those pieces in "Commonly
Used Titles."
59
 2. Structure of the piece
3. Special features of the piece:
There is no clear-cut division into dan, but we can tentatively
divide it based!.- on overall melodic structure into three It is played with kusabibuki. In this manner of playing each
sections: low - high - low. A more detailed examination is as breath is shaped like a kusabi ("wedge") : at first the breath
is blown in strongly, then as the breath diminishes the volume
follows:
of sound is likewise reduced. As with kyosui, yuri is never
used. Since, in playing the shakuhachi, there is no use of
L...a (a five-breath introduction) - b tonguing as with Western wind instruments, playing this initial
II....C (upper range section) burst of sound is a point that demands rather much practice.
IlL.b (in the middle the melody of II is interpolated for only
one breath, lowered an octave) - d (the finale section)
28. Origin unknown: YOBIDAKE - UKEDAKE
3. Special features of the piece:
2-shaku 5-sun
There is little fluctuation in tempo and it is played for the
1 min. 4 sec.
most part in the upper range, which reaches a kind of plateau
with a rather remote feeling, One can also sense a dignified,
1. About the title:
ceremonial mood.
It was customary for komus6 priests, when they chanced to
cross paths while out collecting alms, to greet one another
27. Fudai-ji: CHOSHI with this piece. One priest would first play Yobidake ("calling
bamboo"). In this way, if the first priest played Yobidake
1-shaku 8-sun
three times, and the other priest could not respond with
3 min. 34 sec.
Ukedake, he was exposed as an imposter, a bogus priest (in
Japanese: maisu).
1. About the title:

The style of playing this Yobidake-Ukedake varied with the

Please refer to "Commonly Used Titles." school that the komus6 belonged to, so that it was possible to
distinguish where a priest came from by the style of his
2. Structure of the piece
playing.
It is made up of three sections which in terms of pitch form 2. Structure of the piece
a gently sloping mountain of low - high - low. This is the
classical Shirabe or Choshi construction.

61
60
The Yobidake is played in a two breath melody which rises
from the lowest tone to the highest tone within KO (the
second octave). Jhe Ukedake is the same melody played in
RO (the first octave). Yobidake is played three times, while
Ukedake is played once.
29. Fudai-ji: KYOREI
2-shaku 8-sun
10 min. 39 sec.
1. About the title:
This is one of the Three Traditional Pieces (Koten-Sankyoku).
Among classical honkyoku it has come to be considered the
piece with the most ancient origins. Please read the section
on the Koten-Sankyoku in "Commonly Used Titles" for the
traditional explanation of its derivation.
2. Structure of the piece:
The piece has an extremely unusual structure in that it is
constructed systematically from five short melodic patterns and
repetitions of them. It can be broadly divided into two
sections, an opening dan and a closing dan which could be
seen as a kind of "returning."
Opening dan .... a (3 times) - b - a - b - c (3 times) - d (3
times) - e - a.
Closing dan .... a - b - d (3 times) - e - a.
The entire piece is played in Ro (first octave), but the closing
dan can be played in Ko (second octave) according to
62
circumstances.
3. Special features of the piece:
Although the piece is assembled from extremely simple
melodic patterns, there is no simplistic feeling to it; rather, it
conveys a sense of remarkably crafted tension. As the point
of origin for classical shakuhachi honkyoku it could be said to
possess the appropriate style and fundamental quality. The
feeling of systematic order and the feeling of firm and sturdy
structure which permeate the entire piece are without equal
among other honkyoku: so much so that one is included to
believe the legend that this piece actually originated in China.
As explained before, there are several types of pieces all
called Kyorei, but considering the pre-modern mood of this
piece we are inclined to think of it as the form which best
transmits the old original form.
30. Kyoto Myoan-ji: CHOSHI
2-shaku 7-sun
6 min. 7 sec.
1. About the title:
Please consult "Commonly Used Titles." This piece is also
called Kyo-Choshi in the sense that it originated in Kyoto.
However, traditionally it is the first piece learned by novices
at Myoan-ji in Kyoto so that it also bears the "insider" (i.e.,
within the temple) titles Honshirabe and Honte-joshi. It is
valued as a basic piece and is used for ceremonies and
memorial services. The traditional format has been that when
63
 a large number of people have gathered for worship with
music, this piece is played first in unison (renkan). Even now,
at the major meetings for performing shakuhachi honkyoku at
Myoan-ji in Kyoto, it is the common practice for all
participants to join together playing this piece to match the
.^reading of sutras.
When we talk about the tradition of Kyoto Myoan-ji, we
actually mean the tradition of Myoan-ji prior to the Meiji
Restoration, that is the Meian Shinpo-ryu tradition, the first
half of this piece is identical with the entire piece Fudai-ji
Choshi. As regards the relation between the two lineages, at
present it is unclear whether one of them borrowed the piece
from the other of whether the piece was passed down in a
parallel manner in both schools from ancient times. Jin
Nyodo received each of the kyoto Meian Shinpo-ryu pieces
from Katsuura Shozan.
2. Structure of the piece:
The piece is in two sections: [Opening dan - Closing dan].
The first dan begins in a high range, gradually moves to a
lower range and ends. Because this section is identical to the
whole of Fudai-ji Choshi it has a complete Shirabe structure
in and of itself, therefore, the structure of the whole piece
resembles the Shirabe and Sagariha in Nezasa-ha.
3. Special features of the piece:
Like Fudai-ji Choshi, it is played with Kusabi-buke. Please
see the entry for that piece for an explanation of kusabi-buki.
In general, pieces called Shirabe or Choshi are constructed to
form a single, gently-rounded mountain, this piece is thus
64
exceptional as a Choshi composition in that it has a two-part
form.. It follows that we may consider the possibility that a
second dan was added to the originally independent piece
Choshi to form a new piece. Although it has the cohesiveness
of a single piece and has no specific maebiki quality, it is
often used as a maebiki for the Koten-Sankyoku, especially
Koku.
31. Kyoto Myoan-ji: DARANI
2-shaku 5-sun
6 min. 32 sec.
1. About the title:
The name Darani (in Chinese characters) is a phonetic repre
sentation of the Sanskrit dharani. The original meaning refers
to the upholding and preservation of the "way" of goodness
and the obstruction of the "way" of evil. It is a piece which
(seemingly) chants the long Sanskrit text as is. In reciting this
text one sustains one's immense and infinite spiritual duty,
overcomes all kinds of obstacles and attains various virtues, In
the tradition of Myoan Shinpo-ryu the piece is also called
Konpon ("basic") Darani or San'ya-kyoku.
2. Structure of the piece
The piece is in a two-part form, the latter half being called
Ho-no-kyoku ("Piece of the Law / Way"). This latter section is
played in a fast tempo with a marked rhythm.
3. Special features of the piece:
65
The second half begins at a tempo so different that the composition as well as other features give an overall placid
listener is apt to think that a new piece has begun. At last it feeling not found in more recent times.
returns to the tempo and rhythm of the first half. It is a piece
that has a feeling of deep loneliness in the midst of serenity. 2. Structure of the piece

It is formed of three dan, the middle of which is a takane

32. Kyoto Myoan-ji: MURASAKI-REIBO using the tone pattern kara-kara. At the opening of the piece,
the melody is in the middle tonal range, and throughout the
2-shaku 2-sun piece the tone shifts from the mid-range to the upper tonal
5 min. 6 sec. range as its focal point. The rhythm is never sluggish but
maintains a distinctive beat so that the mood of the piece is
1. About the title of the piece: not at all heavy or somber.

It is said that this is a piece by the Zen priest Ikkyu, the 3. Special features of the piece:
forty-seventh chief priest of Daitoku-ji in Murasakino, Kyoto.
Probably the element Murasaki ("purple") in the title comes In the melody of this piece we can feel the kind of nostalgic
from Murasakino ("purple field"). Reibo is one of the various yearning found in komori-uta (lullabies). Perhaps it is one of
Chinese character representations of that common title for the folk melody patterns that the Japanese people have
shakuhachi pieces. For more information consult the section possessed since ancient times. The wandering mood of the
on Reibo in "Commonly Used Titles." piece can not help but suggest the personality of Ikkyu Wako.
Due to the simplicity of the melody and structure, this piece
This is one of the rare examples among classical shakuhachi allows the player freedom to respond to his own mood: he
honkyoku where the name of the composer has been handed can play in any way he feels whether it be light and happy or
down. That it was composed by Ikkyu is an oral tradition: sad and lonely.
there are no supporting written records. However since the
collection of Chinese-style poems Kyoun-shu by Zen priests,
as well as other materials, make it clear that Ikkyu enjoyed 33. Kyoto Myoan-ji: TSURU-NO-SUGOMORI
playing the shakuhachi and the hitoyogiri, it would not be
impossible to suppose that he did indeed write this piece. 2-shaku 1-sun
15 min. 26 sec.
Leaving aside the issue of Ikkyu's authorship, we can wonder
whether in fact this piece dates back well before recent times 1. About the title:
to an older style of music. That is to say, its straight-forward
melodic structure without embellishment, its simple and lucid Please consult the section on Tsuru-no-Sugomori in
'-*>-.

66 67
"Commonly Used Titles." This piece is in the particular
tradition of the Myoan Shinpo-ryu and is one type of the
Tsuru-no-Sugomori pieces of the Kansai lineage.
2. Structure of the piece
It is in the dan style with three sections: [Shodan - Nidan -
Sandan]. At the end of each dan the tempo relaxes and the
following dan begins with various new melodic material. It is
an extremely long and expansive piece; even in the middle of
each dan the tempo slows down several times to create
smaller dan-like forms within the main dan unit.
3. Special features of the piece:
Although it is a large scale work, the individual melodies that
form its units are not at all long or complex. Rather, it is
formed through the repetition and interweaving of short,
simple melodies. The repetition of the same melodic patterns
and the never-sluggish rhythm give birth to a particularly
pleasant lightness.
34. Kokutai-ji: HORAI
1-shaku 9-sun
9 min. 53 sec.
1. About the title:
The title probably derives from Mount Horai, the mountain of
the spirits in the Eastern sea, which according to Chinese
myth is a land where holy people live, free from old age and
death. It is a keikyoku ("auspicious piece") and was
68
traditionally played on the anniversary of the death of the
founder of the sect. Kokutai-ji is a temple of the Rinzai sect,
located on the outskirts of Takaoka City in Toyama
Prefecture. Originally it was not a komus6 temple, but at
some point it became a base for komus6 priests. After the
abolishment of the Fuke sect, a group called the Myoon
("beautiful sound") Kyokai was formed at this temple (after
the war the name was shortened to Myoon-kai) which
continued to play classical shakuhachi honkyoku. Besides this
piece there are also versions of San'ya and Reibo. Jin Nyodo
learned this piece from Tahara Myogen and Takagi Myogai.
2. Structure of the piece
The whole piece proceeds with a melody that rises and falls,
falls and rises seemingly without end. Built out of this infinite
melody, its tempo is light and relaxed: there are several dan
like divisions but throughout the piece there is practically no
change in rhythm.
3. Special features of the piece:
The piece is filled with a feeling of lonely remoteness. The
smoothly flowing mood of the piece is quite appropriate for it
to be played on occasions of liturgical ceremony.
35. Miyakawa Nyozan: AJIKAN
2-shaku 1-sun
7 min. 12 sec.
1. About the title:
69
Ajikan is the most important method of religious discipline in
the Shingon Sect of Buddhism. It is the contemplation (kan)
of the first letter (a-ji) of the Sanskrit alphabet which is seen
as symbolic of the void from which all creation emerges.
There are difficult questions regarding the transmission and
development of this piece but for more details please consult
the section "Different Pieces with the Same Title. Identical
Pieces with Different Titles."
2. Structure of the piece
It has a binary structure [I(a-b) - Il(c-b-finale)]. Section c is
quite short but has a beautiful takane melody. The piece has
both straight-line and curving-line (by means of yuri) melodic
patterns which intertwine. The curving melodies have a deep
feeling of meditation while the straight melodies give a feeling
of longing for something far away.
3. Special features of the piece:
This piece mixes together feelings of mystery and loneliness
so that it is one of the outstanding examples of classical
honkyoku. It is quite marvelous in the interchange of linear
and curving melodies and serves as an excellent example dis
playing the highest level of the expressive technique of
classical shakuhachi honkyoku.
36. Itcho-ken: SASHI
1-shaku 8-sun
5 min. 18 sec.
1. About the title:
70
The sa of Sashi was originally a Sanskrit letter which was the
special symbol of Kanzeon (or Kannon) Bosatsu. the Buddhist
goddess of mercy. This sa (or satsu) eventually was written in
various combinations of Chinese characters pronounced sashi.
Therefore this piece is associated with religious austerities
connected to Kannon Bosatsu: at the dawn of enlightenment
it will be used for the redemption of all living beings
according to the divine and universal revelations of Kannon
Bosatsu. Jin Nyodo received and passed on this piece from
Saito Inokuma and several others.
2. Structure of the piece
It has a binary structure [I (a-b) - II (a-c)]. Section c is a
musubi melody.
3. Special features of the piece:
The piece is played with kusabibuki and has a tight, tense
mood. It is brimming with emotion which soars up in a
straightforward, resolute manner. The special nature of
Kyushu-style honkyoku is quite apparent, and it is one of the
representative pieces of Itcho-ken.
37. Itcho-ken: BANSHIKI
1-shaku 9-sun
6 min. 19 sec.
1. About the title:
Please refer to Kinko-ryu: Banshiki-cho. In the past this piece
71
was used on ceremonial occasions at Itcho-ken. Since the ri-
tone on a 1.9 flute corresponds to banshiki (b) and the
principal tone of this piece is ri, when this piece is played on
a 1.9 flute it produces an exact banshiki tuning.
2. Structure of the piece
It is constructed in three parts [A (RO) - A (KO) - C (RO)].
3. Special features of the piece:
The piece is played with kyosui. It has an overall feeling of
simplicity and spaciousness but also a certain mournfulness.
38. Itcho-ken: AZUMA-NO-KYOKU
1-shaku 8-sun
3 min. 21 sec.
1. About the title:
Azuma means east, so that the name can be explained as
referring to a person from Western Japan playing his flute
while yearning for someone in the East. However, this matter
is unclear since there is also another theory that this piece
adapted a melody for the higashi-goto ("eastern koto"), a kind
of wagon used in kagura.
2. Structure of the piece
It is made up of three sections. The first section begins in the
mid-range and ends on a lower tone. In the second section,
which forms the main body of the piece, the sound begins in
a, 72
the mid-range and gradually rises until half-way through the
piece the tempo becomes brighter and the tone enters the
upper range. The third section is a short musubi.
3. Special features of the piece:
Along with Kumoi-jishi, lyo-renbo, San'ya-Sugagaki and others,
this is a gikyoku ("playful piece")- Gikyoku are not used in
religious practice, and as the name indicates they are small
cheerful pieces. When the komus6 went out to beg for rice,
they played these pieces when ordinary people requested such
a lighter piece. These pieces are also called hiru-kara ("after
midday") from the idea that such music should be played after
noon rather than in the more austere morning hours.
39. Itcho-ken: KUMOI-JISHI
1-shaku 8-sun
5 min. 40 sec.
1. About the title:
It probably indicates a shishi ("lion piece") in kumoi-joshi
tuning.
2. Structure of the piece
It is formed in three sections. The first section opens in a
sonorous, high tone but ends in a quieter, mid-range tone.
The second section begins again in the mid-range, then the
tempo becomes brighter and takes on a more defined rhythm.
Around the middle of this section a rather short takane-style
melody occurs. Sometimes the whole second section is
73
repeated twice. The third section is a short, finale-style
melody.
3. Special features of the piece:
Like Azuma-no-kyoku this is a gikyoku ("playful piece") and
hence it is bright and cheerful. It centers throughout on the
KO-range and has an even more vibrant and sonorous tone
of composition than Azuma-no-Kyoku.
74
PUBLICATIONS OF THE
TRADITIONAL JAPANESE MUSIC SOCIETY
The Society also sponsors a performance group known as
the New York Sankyoku Kai (Traditional Japanese Music
Ensemble of New York). This ensemble is available for
lectures, demonstrations and concerts. Recent recordings
include:
a. Kyomono Series, Vol. I (HS 101): the works of
Matsuura Kengy6 - "Wakana" and "Sato no Aka-
tsuki." An optional booklet is available accompanying
this recording. It contains background material and
scores transcribed into Western notation by Dr. Hen
ry Horaku Burnett. (Both records and Dolby stereo
cassettes are available.)
b. Ki-Sui-An Honkyoku, Vols. I - IV (HS 210c, 202c,
203c, 204c): Zen shakuhachi music played by Ronnie
Nyogetsu Seldin. Each cassette consists of different
traditional solo pieces for the shakuhachi, which is an
end-blown bamboo flute used for meditation. (Avail
able only on cassettes.)
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Music. (Available only on cassette.)
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Seldin.
75
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Setting of a Noh Text.

•m 76 77
 Edo no Matsuri Bayashi:
The Kanda Bayashi Hozonkai
by George Durham
Introduction
Edo no matsuri bayashi is translated as Tokyo festival
ensemble music. Edo is the old name of Tokyo prior to the
Meiji restoration of 1868. Matsuri is the Japanese word for
festival(s), and bayashi (hayashi if alone, bayashi in most
compounds) is the festival music and the five-person ensemble
that performs the music/ Kanda is a district in the Chiyoda
ward (ku) and is located in the north-central part of Tokyo.
Hozonkai is translated as preservation society; a socio-cultural
organization that developed early in this century in order to
preserve traditional performing arts.2 Prior to 1927, the
Kanda ensemble was known as the Kanda bayashi.
This article discusses the history, instruments and music of
the Kanda bayashi (later, Kanda bayashi hozonkai) as a part
of Edo no matsuri bayashi
Matsuri
Countless matsuri, regional and seasonal, are held annually
all over Japan. The Japan Travel Bureau has selected and
described 271 important matsuri in a recent publication (JTB
1985). Music is an indispensable part of most of these
colorful and happy events. The music is part of one of the
major genres of Japanese traditional music.
Matsuri are S/»/tfo-oriented with ancient origins. Although
these celebrations used to be located mainly at rural Shinto
shrines and were rooted in farming activities (principally the
m 78
cultivation of rice), the biggest and most important matsuri
are now found at shrines in large cities. This development
(mainly over the last 100 years) reflects the dynamic quality of
these events.
The religious nature of a matsuri is evident in its structure.
The purpose of a matsuri is to invite deities "down" from
heaven in order to pray with them at a shrine for good
fortune and a good harvest. There are three main parts of a
matsuri: 1) Kami-mukae - a ceremony to invite and welcome
the gods to the shrine; 2) Shinko - the main public event, a
parade (or parades) around the community by participants in
costume with portable shrines (mikoshi); 3) Kami-okuri - a
ceremony to send the gods back to where they live.3 There is
music for all of these parts; shrine ritual gagaku (court music,
live at large shrines, otherwise recorded), kagura (Shinto dance
music), sato- kagura (Shinto folk dance and pantomime), and
matsuri bayashi (festival ensemble music).
Among the numerous matsuri, it is generally recognized
that three are most prominent: the Gion Matsuri of Kyoto,
the Tenjin Matsuri of Osaka, and the Kanda Matsuri of Tokyo.
Among the many Tokyo matsuri, there are three important
ones: the Sanja Matsuri of the Asakusa Jinja (shrine), the
Sanno Matsuri of the Hie Jinja, and the Kanda Matsuri of the
Kanda Myojin (shrine).
Edo no Matsuri Bayashi
A thoroughly documented history of this music and its
ensemble does not exist. Professor William Malm in his essay
"Edo Festival Music and Pantomime" has provided useful
information concerning the origins of this music. He has
written that the Kasai bayashi (located in the Katsushika ward
of eastern Tokyo) is the ensemble that established this genre
of music/ Tokyo sources confirm this (see below) including
79
Dr. Kishibe Shigeo (family name first, a retired Tokyo
University professor of music and author of "The Traditional
Music of Japan") in an interview with this writer on 5 June
1987 in TokyoV The undocumented records of the Kasai
bayashi and the Kanda bayashi hozonkai (hereafter, KBH)
attest to this fact.
According to a descriptive pamphlet prepared by the Kasai
shrine of the Katsushika ward and distributed by the shrine
and the ward office, Edo no matsuri bayashi was organized,
taught and performed by a Shinto priest from the Kansai
district (Kyoto and Osaka) named Nose Tamaki (family name
first; dates unknown). The pamphlet states that Nose's activity
began about 250 years ago (c. 1736) at the Katori-gu (Katori
shrine). The KBH "informal" history indicates that the
Tokugawa shogun (military ruler) Yoshimune (1684-1751; ruled
1716-1745) brought Nose to the Kasai area of eastern Edo
(now Tokyo) to establish the music and a hayashi to perform
it.
Nose's hayashi consisted of five men performing on two
shime-daiko (lashed barrel drums), one o-daiko (tacked barrel
drum), one kane (hand gong), and one shino-bue (transverse
bamboo flute). His ensemble was known by a number of
different names: go-nin-bayashi (five-person ensemble), baka-
bayashi ("crazy" ensemble), Wdka-bayashi (Wakayama en
semble; Nose was from Wakayama, an area in the Kansai
district), and matsuri-bayashi.,
The Kasai pamphlet states that Nose established his
ensemble to provide music for matsuri and to involve young
men in "wholesome" and productive activities.
By 1753, Nose's ensemble ,was known as the Kasai bayashi
of the Kasai shrine.6 In that year, Ina Hanjuro the chief
administrator of the Kanto district (Tokyo and its surrounding
areas) recommended the Kasai bayashi to all of the shrines
holding matsuri. The Kanda Myojin was among the many
80
shrines that adopted this recommendation and established
matsuri bayashi
The Kanda Bayashi
KBH records indicate that the ensemble was established
during the eighteenth century (date unknown) and that the
festival music was taught to the group by the members of the
Kasai bayashi By about 1800, the Kanda bayashi was well
established and performing regularly in public.
During the early years of the Meiji period (from 1868),
there was a decrease in the interest and support of matsuri
bayashi in Tokyo. Kasai bayashi actually ceased to function
for a number of years and was not reestablished until 1884.
The Kanda Matsuri suffered a community boycott of ten years
(1875-84) which seriously affected the functions of Kanda
bayashi.
In 1887, the leaders of the Edo no matsuri bayashi groups
in the Tokyo area gathered to discuss their functions and their
music. (It is known that the Kasai and Kanda ensembles were
involved in this gathering; other participants are not cited.) By
1892, the hayashi leaders had reestablished the form and
content of their music based on the Kasai bayashi models.
This "firming up" of the Edo no matsuri bayashi repertoire did
not include notation. Rehearsals and performances continued
to be executed in the rote memory method.
During the late Meiji period years (c. 1911), a movement
began in Japan to preserve the traditional performing arts.
This activity came to be known as hozonkai (preservation
society). David Hughes has documented this movement in an
article published in connection with the "International Sym
posium on the Conservation and restoration of Cultural
Property" held in Tokyo in 1980 (Hughes 1981, see Note 2).
The Kanda bayashi became a hozonkai in 1927 which gave
81
impetus to the organization. Except for a brief period during
the last year of World War II, it has been active continuously
as a performing group.
In October, 1952, the KBH was designated an "Intangible
Cultural Asset" by the Tokyo Metropolitan government. At
that time, there were thirty members in the organization.
The apparent growth in popularity of the KBH music and
the Kanda Matsuri led to a commercial recording of much of
their repertoire by the King Record Company in 1978.7 Also
during 1978, the KBH in cooperation with the Chiyoda ward,
started a school to teach Edo no matsuri bayashi to residents
of the ward, a large and populous area of central Tokyo. This
school, which is free of cost, meets weekly, and is organized in
phase with the Japanese school system (March to April),
provides the source of new members. The usual enrollment
is approximately 100 students. When a student has completed
the school and desires to become a member of the KBH,
he/she is auditioned prior to acceptance. An average of five
students are accepted annually for membership.
Currently, the KBH has fifty active members with ap
proximately fifty members who are inactive due to having
moved away from the Tokyo area.
The KBH is organized, as are other matsuri bayashi groups,
with a leader referred to as the kaicho (president or director)
and an assistant leader. Additionally, ten senior members
known as senpai (elders, seniors) function as performance
leaders and teachers in the KBH-Chiyoda ward school.
During rehearsals and performances, only the basic five-
instrument ensemble is used to perform the music. Other
members present at rehearsals and not performing in the
group, simulate the various instrumental parts along with the
performers. In that the repertoire is continuously repeated,
and performing personnel change with each repetition, all
members have the opportunity to .perform on all of the
'v 82
instruments during rehearsals.
All rehearsals and many performances take place in the
kagura-den (sacred dance hall) in the Kanda Myojin (shrine)
compound. This building, which has storerooms in addition to
the performance stage, is permanently assigned to the KBH.
During public performances, three sides of the stage are
opened for easy viewing and hearing by the audience. For
performances, members wear an organization-marked hanten
(a garment often called a happi coat) over a yukata (a cotton
summer kimono), and zori (white-thonged sandals) on bare
feet. A folding fan is carried but is used only for decoration.
Rehearsals are held weekly throughout the year; on
Tuesdays: 6:30 -10:00 p.m. Special rehearsals are held once
or twice a month on Sundays.
Public performances are frequent and include a New Year
celebration, a cherry blossom matsuri, programs for small
shrines that are satellites of Kanda Myojin, Shinto ceremonies
for Kanda MYojin, and the main biennial Kanda Matsuri.
Organizational expenses have caused the KBH to require
dues from its members. Currently, monthly dues are 1000
Yen (about $6.65; $1.00 equal to 150 Yen)
Instruments of the Hayashi
Edo no matsuri bayashi groups continue to use the in
strumentation established in the eighteenth century. These
instruments and descriptions are as follows:
two shime-daiko; alternate names: taiko and shiraber
a lashed barrel drum with two cowhide heads that
extend beyond the rim of the barrel/ shell; diameter:
35 centimeters; depth: 15-16 centimeters. They are
lashed by linen rope 12 meters long and are struck on
one head by two blunt wooden sticks (bachi); diameter:
83
1.75 centimeters; length: 31.5 centimeters. One shime-
daiko is lashed tighter than the other so as to produce
a higher pitch. This drum is called "shin" (genuine or
real, in effect leading drum). The Kasai bayashi calls
this drum "kami" (meaning upper). The second drum
is known as "nagare" by the KBH (meaning to follow)
and "shimo" (lower) by the Kasai bayashi Performers
in both hayashi refer to these drums generally as taiko.
one o-daiko; alternate name: o-do; a convex barrel
drum with two tacked cowhide heads; diameter: 40-45
centimeters; depth: 60-75 centimeters. It is struck on
one head by two blunt wooden sticks; diameter: 2.2
centimeters; length: 33.5 centimeters. It is known as
o-do by the performers.
one kane; alternate name: yosuke; a bronze hand gong
that is shaped rather like a pie plate and is the same
type of instrument used in the gagaku (court music)
ensemble; diameter: 15-16 centimeters; depth: 3-4
centimeters. It is held upright in one hand and is
struck by a bamboo beater (called a bachi, or stick)
that is tipped with a piece of deerhorn.
one shino-bue; alternate names: fue, tonbi, take-bue,
and yoko-bue;9 a transverse bamboo flute with seven
finger holes. The KBH uses two different size flutes:
the go-hon-choshi (fifth pitch) is the standard flute for
men; a higher pitched flute, rop-pon-choshi (sixth pitch)
is used by women and children. (Until recently, the
Kasai bayashi used aNo. 4flute for beginners.)70 There
is a difference in pitch of approximately one semi-tone
between the various flutes. The No. 5 flute has a range
of B-4 to F-7. Actual pitch is flexible and as a result,
% 84
it is rare to find two flutes that are able to play in tune
with each other. No. 5 flute diameter: approximately
2.2 centimeters; length: approximately 44 centimeters.
It is called fue by Edo no matsuri bayashi members.
There is one sato-kagura dance suite that requires addition
al instruments: the Shishi-mai (Lion Dance) which may
include comic male and female dancers performing the roles
of Hyottoko (male) and Okame (female; the character is also
known as Otafuku). These instruments are:
one okedo; a lashed barrel drum with two cowhide
heads that overlap the rim of the shell; diameter: 30
centimeters; depth: 45 centimeters. In performance,
it is attached to a taiko and one player performs on
both instruments. In this music, the okedo replaces the
second taiko. The okedo is also used in the Kabuki
geza-bayashi (back stage ensemble).
one daibyoshi; a lashed barrel drum with two cowhide
heads that extend beyond the rim of the shell; lashed
by a thin linen rope 12 meters long; diameter: 35
centimeters; depth: 60 centimeters. It is struck on one
head by two long and thin wooden sticks. In effect,
this instrument and performer replace the second taiko
of the hayashi. This instrument is also found in the
Kabuki geza-bayashi.
(For more detailed descriptions of all of the above instru
ments, see the two-part article by Professor Kojima Tomiko in
"The East" (Kojima 1981: XVII, 1, 2, 62-68)).
There is a standard placement of instruments in rehearsal
and performance which is shown in Figure 1. It should be
noted that all of the KBH performers and the drummers of
85
 the Kasai bayashi sit "Japanese style" (seiza) while performing;
the shinobue and kane performers of Kasai bayashi stand while
performing.

o The Music

u
(0 Edo no matsuri bayashi music is classified as minzoku geino
c
o (folk performing arts) and includes sato-kagura (folk Shinto
music and dance). The basic music for all of the contem
porary Tokyo groups is a multi-movement suite. KBH calls
this suite Su-bayashi (several pieces of music). As Linda Fujie
has indicated, this same music is known by various names
among the other ensembles, such as: Kiri-bayashi, Ji-bayashi,
<D and Hitotsu-bayashi (Fujie 1983: 38-43).
•H
•p
The titles of the eight component parts of the KBH Su-
0
CO
CO
I
i
bayashi and brief descriptions of the pieces follow:
o
1. Uchi-komi (to drive in, "as if the sun is rising"); a slow
and brief introduction.

o 2. Yatai (a float or cart); a four-wheel platform on which

X
-H the hayashi performs during festival parades (shinko);
o id
T3 variable tempo, slow to fast to slow; a major piece.

3. Shoden (to sit in front of a god at a shrine); moderately

slow; a major piece.

4. Kamakura (storehouse of a god, or seat of a god);

o lyrical and very slow; a major piece.

5. Shi-chome ("city block No. 4," or it is possibly of Noh

origin); variable tempo, slow to fast; a major piece.

Figure 1. Placement of instruments: Kanda Bayashi Hozonkai 6. Tama (a precious offering); it is performed as if it is a

87
86
 part of Shi-chome; variable tempo, fast to slow; a major
piece that is the highlight or climax of the suite.
7. Agari-Yatai (Yatai advanced or brought back); modified
(shorter) and faster than the earlier Yatai; a major
piece.
8. O-age (to rise up, ascend to the end); a slow and brief
close.
The repertoire of the Edo bayashi groups includes works
known as hikyoku (secret, or reserved pieces). The Shishi-mai
(Lion Dance) is an example of hikyoku. These works are
performed by the senpai (senior members) and are taught to
"promising" junior members. The KBH performs one other
hikyoku titled "Mamono" which is an eight-part suite that is
integrated with the Su-bayashi in performance. The resulting
music is an extensive work of over twenty minutes in length.
Additionally, there is a special piece used by the Edo
bayashi groups during festivals, particularly when portable
shrines (mikoshi) are present. The general name of this piece
is "Mikoshi bayashi" with the alternate names of "Nage-ai"
(used by the KBH) and "Nage-ari" (Kasai bayashi). "Nage-ai"
(to throw together, or join in) is a composite piece using most
of the flute melody of "Tama" (from the Su-bayashi) and
stereotype percussion patterns. During the performance of
this music, all members participate by rotating on all of the
instruments while the music is being performed. This rotation
is necessary as the music may continue without pause or break
for as much as an hour.
Learning the Music
Prior to 1978, KBH members performed all of the music
88
*•
on all of the instruments. Since 1978, students in the Chiyoda
ward-KBH school learn only the percussion parts for the Su-
bayashi and "Nage-ai"; they do not learn to play the flute.
Learning and performing on the flute is optional and takes
approximately a year of study with one of the senpai Today,
fewer than half of the fifty active members perform on the
flute in addition to performing on all of the other instruments.
The Edo no matsuri bayashi repertoire is taught by the use
of mnemonics (syllabic vocal memory aids) which tend to
represent the sounds produced by the various percussion
instruments. The KBH uses the following mnemonics:
shime-daiko - the basic stroke is ten (equal to a quarter
note); faster strokes are te-ke (right, then left hand
equal to the ten, or two eighth notes).
o-daiko - the basic stroke is don (equal to a quarter
note); faster strokes are do-do, or do-don (right, left,
two eighth notes).
kane - the basic stroke is chon, or kon (struck in the
center of the plate, equal to a quarter note, or depend
ing on the music, shorter note values); faster strokes
are chi-ki (chi: striking the rim closest to the body; ki:
striking the rim away from the body; equal to two
eighth notes, or shorter note values).
fue - although the fue is taught by imitating the
teacher/-* every note has been assigned a mnemonic
syllable from the kata-kana syllabary (see examples that
follow).
There are mnemonics for rests that are also taken from
the kata-kana syllabary. There is a variety of syllables used
89
depending on the length of the rest and where it occurs in the (fue and
(one shime-daiko)

various patterns. Beats and measures are not counted. both taiko (shin)
(left hand) (right hand)
Learning all, of the music for the five different parts is and o-daiko)

difficult and time consuming. Even though a performer does

not play the fue, he/she must know the melodies so as to "fit" (c hi) -jr (Te)
the part being performed with the fue part.
There are two additional memory aids that now ease and
(hi) tZ
speed the learning process: 1) a tablature type of notation
(mainly for the shime-daiko), and 2) the cassette tape re (Ten)

corder.
Concerning the notation, it serves only as a reminder of
the music that is already learned. The players do not use it
in performance and it cannot be sightread.
The learning process is actually a two part activity. In
addition to the music that must be learned and memorized for
the various parts, one must also learn how to perform it in the
proper style and spirit. How it is performed is as important
as what is performed.

Notation

As far as it is known, the KBH repertoire was learned by

rote memorization without notation prior to 1978. When the
Chiyoda ward-KBH school began, and it became necessary to
teach a large number of students at one time, a tablature
notation for the Su-bayashi was written. In 1984, one of the
two KBH hikyoku, "Mamono", was similarly notated. The (Dc-) p n
rationale for writing this notation was protect and preserve the (*n) v A-

music for the future - an appropriate activity for a hozonkai

(preservation society).
As an example of this notation, "Uchi-komi", the introduc
tion to the Su-bayashi, is found in Example 1.

^ 90
 Example. 1. "Uchi-komi," the introduction to the KBH
Su-bayashi suite in partial tablature and mnemonic
notation. The material is read from top to bottom and
from rightsto left. The long vertical line in Line one is
a hand guide; symbols to the right of this line indicate Mfc (17$^)
strokes by the right hand; symbols on the left are for
the left hand. Line one is performed in solo by the
mmiH J J.J J J J rN fyPj J
"shin" (lead) shime-daiko. Line two begins with the fue
(solo) with mnemonic notation from the kata-kana
syllabary. Both shime-daiko enter on the second note
of the fue. Near the bottom of Line two, the o-daiko
joins the fue. (To this point, the kane is not required.)
The tempo is approximately a quarter note is equal to
72 mm.; one Ten is equal to a quarter note, as are the
Te-Ke (two eighth notes), the Do, and the Don (the two
latter symbols are for the o-daiko). The "su" (Romani- J'49
zation of the kata-kana symbol) in Line one represents
an eighth rest. All parenthesized materials are addi J—J. A {-
tions by the writer. ( ( n
-r—(- C IT

Since 1984, a mixed type of notation has been developed tt*rfk j-j jvj>j ^m
combining a tablature for the fue with a western type of • o
t

• ®
percussion notation. This notation is for reference use only; %*&% o
•
o
•
O O o
•
o
•
o
•
o
•
it is not used in rehearsal or performance. It is an attempt to • • • • • # •
• o • •
more accurately preserve the music. Example 2 reflects the •
•
O
o
••
• • o • •
"Uchi-komF in this notation as written by Fukazawa Mikio, a • • • • • • •

senpai of the KBH and the teacher of the writer.ll

Example 2. "Uchi-komi," in "new notation." Romaniza-

tion of the Japanese and translation (as appropriate)
follows:
title line: Yatai (Uchi-komi) (Introduction to Yatai).
2nd line (in western notation with mnemonics below):
shime-daiko (shin). Example 2

92 93
 lower staff system, top line: shime-daiko
middle line: o-daiko. <••
bottom line:'jue no rizumu (flute rhythm). "Tr*
words preceding tablature: fue no hako (bu) Yubi (flute 1--

finger movement). •

Chinese characters below first line of tablature: o-kan All--

(highest octave).
—i U
4t I
«.^.

Ml- 1 *' ^:-^

Although there is no meter signature, the tempo marking
,

*-i Aw
> • Ml- M*
is furnished. Western trained musicians tend to "look" for a
"downbeat," and often perform an accent on that beat to
•""i
\— •'1
i -j
organize the rhythm. This practice is completely absent in a
o
•H
•*HU
Japanese musicians performing this music. u i- •

In Example 3, the writer has "organized" the first part of 3

2 —\
m..s I
the "Uchi-komi" so as to provide a meter and a "downbeat." u

1..
This example is a transcription of Example 2 into western G •'"r
-•\ <-hi-H \.~ 1
notation. f*
<£ ^iii
\

Example 3. Transcription of the introduction ^Uchi- 3 *

t

komi") to "Yatai" in Western notation. The common

time meter signature seems to fit the fist part of the 0 SI- * ^

piece. Further, this notation provides a hand guide for O;-- :>;• -^s"
the two drum parts. (The kane does not enter until ~* ^ilb «> «"v 5?^
part II of the suite, "Yatai," as well under way.) The *\ /•*
01 -o •o .cd fcl -bl
fue is required to perform the three highest notes, on c ^ 3
•o

the instrument upon entering - a difficult task which w

> Si
\«>
,: .3
00
+* ♦* ++ -H +H •»»

is made easier by the fortissimo dynamic mark. The .9 no

V4*
O
«
u
O j:
*} t 1
<-
I
.2
U
•*!
<>

tempo marks for the two parts are a bit unusual; «-t a
B
«)
•rt-f

•o 0
4
r<

moderately slow to very slow. i

4)
V)
v./ o
l .*
•H
E (0 V
•H 0)1 .9 •o C
r. a 1 at
"Kamakura," a major piece and the fourth part of the Su-
bayashi suite provides appropriate examples of melodic
1
V)
1 • 3
M wl -

material and the use of stereotyping in the percussion parts.

Example 3
Example 4 is a facsimile copy of„..the entire piece in "old"
95
"'-• 94
 notation.

4$ KAMAKURA
Example 4. "Kamakura" in "old" (c. 1978) notation is
read from top to bottom and from right to left. The
first line on the right is read (fue) mae fuki (flute,
prelude playing). Mnemonics for the fue prelude are
— >— jAW in the third and fourth lines which comprise the first
part of the introduction. Line five, the second part of
the introduction, contains mnemonic notation for the
taiko and o-daiko without fue mnemonics. The broken
®[H"YjL!i.tLA. line rectangle in line five indicates an optional (and not
in 5?^ ri'•*•'• often used) o-daiko part. Lines six and seven contain
o
the main body of the piece, which in effect is a "four
A by-four" phrase (four measures of four beats each).
to
The notation in the upper part of line six are mnemon
OU* V^ ^'J. ,\ IL »JL *jL A U- A ics for the fue leading to o-daiko mnemonics in the
lower half of the line. Line seven contains mnemonics
J^t^
® A U-lt. LL A v-jt'^
for the taiko and o-daiko only, even though the fue and
kane are both performing. The kane, part, which has
its own mnemonics but is not notated, begins perform
ing the piece with the fue at the top of line six. The
percussion parts of lines six and seven are performed
from four to eleven times - in stereotyped manner -
depending on the number of melodic phrases chosen
to be performed by the fue player. There is a "stan
dard" fue melodic cue that is used to indicate when it
® is time to perform the last phrase (lines nine and ten).
Line eight is read agari fue (flute return) which in
essence indicates the closing phrase. Although lines
nine and ten contain only fue and taiko mnemonics, the
o-daiko and kane continue to perform to the end of the
piece.

Example 4 A facsimile copy of the introduction and first phrase of

96 97
"kama-kura" in "new" notation written by Fukazawa Mikio (c. o ••• M O O
C; >«•••• »ooo
1984) is found in Example 5.
9
Example 5.f."Kamakura" in "new" notation. Romaniza- t;s << • •• IIOO tn: oo OOOf 1
• O OOO* J
tion and translation of the Japanese words are as i*.
OO OOOI
follows: .„ ,3MI •©OO • O OOOI
/^rp.o » • * ••OO
title line (upper left): "Kamakura" in Chinese characters "-i* • •• •OOO - ^s 00 OOOI
re; f—">r «0' OOOI
>r «0O
(above) and hiragana (below), a place name. •—t K ••'O OOOt • O OOOI
OO O OO*
upper staff system, top line: shirabe, an alternate name t «00 OQO* o«••••&>
H< N IOI #•••©- • • • IOO ••
for the shime-daiko.
o» ••••
middle line: o-daiko. i • •• • «ao «b-
oi o»»i
bottom line: fue no rizumu, flute rhythm. z • •• ♦•®o »-
words preceding tablature: fue no hako (bu) yuki, flute <c- • o«••oo
4*i 0« •••• to
— Acc;
finger movement. n «o*•••• ••••oo

Chinese character below first line of tablature: kan, Ml* •OO ooo* • • •OO 0

high octave. *2s*«o% • • ••*& OO OOO •

*i>
^> oo 4 °i.i • O OOOI
Chinese character below second line of tablature of
jC «o« ••.•• ••••oo
measure 3: ro, backbone, literally, fundamental or jr.
** • <>• Of •• K.1 •••OOO

lowest octave. rr>* • ••o

• •• »o*
o«oi
^u • •• •« o« ^•0 ••••oo

Chinese character below last line of tablature of measure *••••®o» •••OOO

ft->h • •• • oo«
( <*• ••♦•o*
3: o-kan, highest octave. i••••0O«
OO OOOI

Concerning the file tablature; the symbol indicates a « •••ooo« ^ X ^H 0 0 OOOI

i^ U *om OOO* • O OOOI
closed hole, indicates an open hole, indicates a lower
^W ••• ••oo OO OOOI
appogiatura (finger lightly and quickly "flicks" the hole),
T*->& • •• • ©oo
indicates a grace note (hole is open before the pulse of ^.-t ••• ««oo • O OOOI

the note, then closed on the pulse; see lower staff ^i'£ #00 00 0 •
OO OOOI

system of Example 2 for this symbol and Ex

ample 3 for its western application. a^i'K »«oooo« a-
—t>ir »io oooi ••
E51

Slurs are not indicated in this example, however, they are «8

used in performance (see following example). The rhythm of v

this example basically reflects a "commontime", or four-four

meter (other than the six-four meter signature of measure 2). Example 5
In performance, measures 1-3 are executed freely; from

99
98
 measure 4 to the end of the piece, the rhythm is tempo giusto.
The complete fue melody of "Kamakura" in western notation
is found in Example 6.

Example 6. "Kamakura" in western notation as per

J -44 | IV.. KAMAKURA
formed on the No. 5 (go-hon-choshi) fue. Among the
X ^ 8va seapce
eight pieces of the KBH Su-Bayashi, "Kamakura" is the
most lyrical in style and also the slowest in tempo.
Considering the stereotyped simplicity of the percussion
parts, the focus is on the fue part. In looking at the
melody and keeping in mind that absolute pitch is not
part of the system in matsuri-bayashi, several charac
teristics may be noted:

1) Pitch and tonal center. The first three measures of

the introduction seem to outline a C minor focus
5 ^ feJhfc (conveniently reflecting the supplied key signature).
However, and more importantly, a focus on nuclear
tones (kaku-on) is necessary.72 That is, there are two
principal tones a perfect fourth apart. (See measures
2 and 3 and notes G5 and C6.) Beginning with letter B
(measure 6), the nuclear tones are F6 and C6. With
the emphasis on F6, there is a hint of F minor, em
phasized by an occasional Db. In the last phrase
(beginning with letter E, measure 22), the nuclear focus
tends to weaken, even hinting at a shift. Interestingly,
(optional nets. 24) 25 y^tr* = the piece ends on non-nuclear tones. This ending,
however, C5, D7, F7, Eb7, F7, Eb7, is more a part of
the entire suite rather than "Kamakura" This collection
of closing notes is found at the end of all of the major
pieces of the suite.

2) Scale. It is tempting to impose one of the traditional

Example 6 Japanese scales (Jo, or in) or the gaped yona-nuki

101
100
 (fourth and seventh steps taken out) on this music. In
this writer's opinion, scale is not a primary concern in
this music; the nuclear tones concept (see above) is a
more likely interpretation.
3) Range. "Kamakura" has a range of C5 to F7 which
reflects the range of the No. 5 fue.
4) Cadence patterns. After the introduction (measures
1-5), there are five phrases; B to C, C to D, D to CI,
CI to E, and E to the end of the piece. One pattern,
found on the third beat of measures 9, 13, and 21 is
prominent. As mentioned above, the closing cadence
pattern is significant in that it is found at the end of
the major pieces of the suite.
The rhythm of "Kamakura" is an uncomplicated four-four
meter in a very slow tempo without beat prominence in the
fue part. The introduction is actually performed in a free
rhythm style without a feeling of meter or beat. The optional
measure 24 is preferred by some of the KBH fue performers
and it provides some variety in the rhythm of the piece.
The form of "Kamakura" is characteristic of the other
pieces of the KBH basic suite. There is a prominence of
four-measure phrases, both melodically and rhythmically. A
chart of the phrases demonstrates a typical pattern for much
traditional Japanese music; some repetition, but mostly
progressive form: introduction - B - C - D - CI - E.
Among the remaining pieces of the KBH Su-Bayashi,
"Shoden" is somewhat like "Kamakura" in tempo and style and
uses the same pattern in the kane part. The other percussion
patterns of "Shoden" include some stereotyping but more
complicated in rhythmic construction. "Yatai" and "Shi Chome"
- "Tama" are extended piece s with considerable melodic and
102
rhythmic sophistication and sharply contrast with "Kamakura"
and "Shoden." The entire suite merits further discussion and
analysis.
Conclusion
The music of the Kanda Bayashi Hozonkai, representative
of the Tokyo festival music genre known as Edo no matsuri
bayashi, is part of a living tradition. This music continues to
reinforce the ancient religious cultural traditions of Shinto
among the Japanese people. The growing popularity of this
music is clearly evident from visual and written accounts. The
repertoire of the KBH includes a specific body of music,
dance, and pantomime within a tradition that is about 1000
years old in Japan and about 250 years old in the Tokyo area.
This tradition and repertoire have demonstrated a dynamic
aspect in its codification and gradual change over the years.
Until recently, this music has been performed and learned
exclusively by the rote memory method. Since 1978 in the
KBH organization, notation systems have gradually appeared
in order to expand the pedagogical method and to faithfully
preserve the music.
Further study of this tradition is needed: its history, the
instruments, the music, the pedagogical method, its performing
practices, the various Edo no matsuri bayashi in the Tokyo
area, and, the impact of this genre on the contemporary scene.
Hopefully, additional western musicians will pursue the study
of this exciting non-western music.
ENDNOTES
1. Hayashi is the name given to small percussion and flute
ensembles such as the Noli hayashi, Kabuki geza-bayashi and
103
matsuri-bayashl
2. See the article on hozonkai by David Hughes in the
"International Symposium onthe Conservation and Restoration
of Cultural Property" (Hughes 1981: 29-45).
3. For details concerning Shinto festivals, see "The East"
(Shima 1982: 34-37; Ishikawa 1984: no. 4, 40-43, no. 5, 9-12;
Nakamura 1986: 5-9),. and the Japan Travel Bureau "Festivals
of Japan."
4. Professor Malm, who has studied matsuri-bayashi music
and instruments with Wakayama Taneo the "leader" of the
Edo Bayashi, has provided a large amount of general informa
tion about the Edo no matsuri-bayashi and many specific
details about the instruments, the music, and the learning
process in his essay. Further, he has described the Edo sato-
kagura performed by the Tokyo hayashi.
5. In addition to teaching the instruments and the music,
Nose also taught the values of wisdom, justice, and courage .
According to the Kasai Bayashi records, Nose believed that if
the young men were fully involved with all of these studies, it
would reduce their activities in the areas of drinking, fighting,
gambling, and consorting with women.
6. The Kasai Bayashi records are unclear as to whether the
Katori-gu (Katori Shrine) was renamed Kasai or that Nose's
hayashi was moved to the Kasai Jinja (Kasai Shrine).
7. Following the 1978 LP recording, a cassette edition (A-244)
was issued by the King Record Company of Tokyo.
8. The generic name for drums struck with sticks is taiko.
This term includes the lashed and tacked barrel types found
in many music genres (Noh, Kabuki, minyo, etc.). Taiko
becomes daiko in most compounds such as shime-daiko.
9. Fue is the generic name for flute. Occasionally, yoko-bue
is used as the name for flute. Normally, yoko-bue is an
alternate name for the ryuteki, a flute used in gagaku. For
further information concerning the matsuri-bayashi instruments,
104
see the two articles by Kojima Tomiko in "The East" (1980
and 1981).
10. Altogether, eleven or twelve different size fue are available
in the Kabuki geza-bayashi See Kishibe (1966: Figure 68).
11. The term sensei (teacher, or master teacher) is not used
in the KBH. Reference to one's teacher is made by using the
teacher's family name plus the term son (Mr., Mrs., Miss).
The senpai of the KBH are its teachers. A third person
reference would include the family name plus senpai or san.
12. Kaku-on is translated as nuclear tones. For details of this
term and the related tetra-chord concept, see Koizumi (1977:
73 - 79).
BIBLIOGRAPHY
Fujie, Linda
1983 "Effects of Urbanization on Matsuri-Bayashi in
Tokyo," in Yearbook For Traditional Music. New
York: International Council for Traditional Music,
v. 15, pp. 38-44.
Hughes, David W.
1981 "Japanese Folk Song Preservation Societies: Their
History and Nature," in Preservation and Develop
ment of the Traditional Performing Arts. Tokyo:
Tokyo National Research Institute of Cultural
Properties, pp. 29-45.
Ishikawa, Takashi
1984 "The Origin of the Shrine," in The East. To k y o :
The East Publications, Inc., v. XX, no. 4, pp. 40-43.
1984 "The Origin and Essence of Shinto Festivals," in The
East. Tokyo: The East Publications, Inc., v. XX,
no. 5, pp. 9-12.
105
Japan Travel Bureau
1985 Festivals of Japan (Illustrated). Translated by John
Howard Loftus. Tokyo: Japan Travel Bureau, Inc.
Kikkawa, Eishi, ed.
1985 Hogaku Hyakka Jiten, 2nd. ed. Tokyo: Ongaku no
tomo sha, pp. 210, 240, 260-261. (in Japanese)
Kishibe Shigeo
1966 The Traditional Music of Japan. Tokyo: Kokusai
Bunka Shinkokai.
Kojima Tomiko
1980-1 "Japanese Musical Instruments, Parts I and II," in
The East. Tokyo: The East Publications, Inc., v.
XVI, nos. 11 & 12, pp. 8-16; v. XVII, nos. 1 & 2,
pp. 62-68.
Koizumi Fumio
1977 "Musical Scales in Japanese Music," in Asian Music
in an Asian Perspective, Koizumi E, Tokumaru Y.,
and Yamaguchi 0., eds. Tokyo: The Japan Founda
tion, pp. 73-79.
Malm, William P.
1959 Japanese Music and Musical Instruments. Tokyo:
Tuttle. n.d. "Edo Festival Music and Pantomime,"
in Essays on Asian Music and Theater. New York:
The Performing Arts Program of the Asia Society.
1977 Music Cultures of the Pacific, The Near East, and
Asia, 2nd. ed. Englewood Cliffs: Prentice-Hall, pp.
185-7.
1986 Six Hidden Views of Japanese Music. Berkeley:
University of California.
106
Nakamura Tatsuya
1986 "The Economics of Festivals," in The East. Tokyo:
The East Publications, Inc., v. XXII, no. 2, pp. 5-9.
Shima Hiroshi
1982 "Palanquin of the Gods," in The East. Tokyo: The
East Publications, Inc., v. XVII, nos. 9 & 10, pp. 34-
37.
RECORDINGS
Cassette tapes:
"Kanda Bayashi, Edo no matsuri bayashi," King Record
Company, A-244, 1978. Tokyo.
"Edo Bayashi," Japanese National Music Series. Crown
Record Company FCT-2014, 1980. Wakayama Taneo
group. Tokyo.
"Edo no matsuri bayashi," Japan Columbia, Inc., CAK-9150,
n.d. Matsumoto Gennosuke group. Tokyo.
"The Hayashi, Edo no matsuri bayashi," Victor Musical
Industrial, Inc., VCK-984, 1986. Wakayama Taneo group.
Tokyo. "The Traditional Music of Japan." Victor Musical
Industrial, Inc., VCK-2071,1984. A collection of traditional
Japanese music which includes the "Su-bayashi" suite of the
Kanda Bayashi Hozonkai. Kishibe Shigeo, ed. Tokyo.
Compact Disc:
"O-Matsuri Bayashi," Denon America, Inc., C-33-7205,
1987. Matsumoto Gennosuke group. Fairfield, N.J.
107
 BAMBOO RUSTLING IN THE WIND
by Saito Sessarr7
(Translated by John Tedford)2
Recently on television we often see and hear shakuhachi
performing not only with sangen and koto but with Western
instruments as well. Moreover, it is quite common to hear the
sound of the shakuhachi echoing as background music. Where
are the roots of this instrument which conveys such a mysteri
ous sound? Why did the komuso priests who we often see in
historical dramas have the appearance that they did? Let us
begin by discussing the instrument itself.
A Short History of the Shakuhachi
There are various and confused theories about the origin
of the shakuhachi; in fact we could say that there is no clear
explanation and that its origins are unknown. No artifacts or
historical relics have been discovered of a uniquely Japanese
vertical flute as of yet.
Vertical flutes existed from before the Christian Era in the
Far East and India, but the relationship between these and
the shakuhachi is unclear. In the time of the Emperor Wu
(140-87 B.C.) of the Han Dynasty a vertical bamboo flute, i.e.,
the qiang flute was introduced and passed on from contact
with the nomadic people called the Chiay (Qiang) of Sichuan,
this flute was fashioned by Qiu-Zhong to correspond to the
one-shaku four-sun length of the huang-zhong ("gold bell")
pipe of the da-xiao and had four fingering holes. Later, Jing-
Fang added one hole on the back to conform with the classical
Chinese pentatonic scale. The qiang flute was later called the
dong-xiao (d6sh6) which in turn was contracted to xiao (sho).
% 108
Six hundred years after the Emperor Wu, in the Tang
Dynasty, a smaller "shaku" came to be applied to measuring
the flute so that the one-shaku four-sun dong-xiao (in the
huang-zhong mode) became a little less than one-shaku eight-
sun in the smaller shaku measurement. From the one-shaku
eight (hachi)-sun dong-xiao arose the abbreviated name shaku-
hassun flute. I think that this is the point at which the
shakuhachi emerged as a separate entity as the shaku-hassun
branched off from the dong-xiao.
In any case, it is probably correct that both the instrument
and the name shakuhachi originated in the Tang Dynasty, and
that the affinity of the shakuhachi to the xiao is as stated
above. It is interesting to note that because the beloved
princess Yang Kui-Fei also played the instrument, it was also
called the Y6 Ki-hi.
The transmission of the instrument to Japan occurred
geographically either indirectly through Korea of directly from
China, the time period was about 600 A.D., around the time
of Sh6toku Taishi or somewhat before: the same time that is
said to be that of the dong-xiao.
At the time of the Emperor Shomu, about 100 years after
the death of Shotoku Taishi, the king of Kudara (in Korea),
Giji, presented (the Japanese court) with a gift of Kudara-gaku
(music) as well as four shakuhachi which have been preserved
to this day in the Shosoin. during the Nara and Heian Periods
there was frequent contact with the Three Kingdoms of Korea
and with China, and among those who transmitted Tang
Period music there were doubtlessly shakuhachi masters. The
upper classes developed a taste for the shakuhachi, but
because it never spread among the common people it is said
to have disappeared during the Kamakura Period (1192-1337
A.D.).
Even two pieces of bamboo of the same diameter may
109

differ in the size, of the interior bore as well as in the thick
ness of the wall, its density and relative hardness and the
general shape *>f the bamboo. In this sense they possess
differences quit$ similar to those we find in two people. In
order to compensate for these variations when the shakuhachi
is played along with other instruments, the idea of interior
blocking was conceived of, and at present instruments utilizing
this concept are the general norm.
From long ago classical shakuhachi pieces have been
handed down and performed on flutes that were made from
bamboo from which only the joints have been removed: the
resonance of the natural bamboo of what is called chikuin has
an important role in creating the mood and character of the
piece. In shakuhachi that are constructed with blocking, the
chikuin is severely constricted and it is impossible to project
the true flavor of the piece. This is why Mydan shakuhachi so
strongly values the jinashi bamboo. Furthermore, in this
particular circle the shakuhachi is treated as a h6ki (religious
instrument).
Next let us consider the komus6 (Fuke priests).
A Short History of the Fuke Sect
In the middle of the 9th century (the beginning of the
Heian Period, about the time of the monk Kukai). at the end
of the Tang Dynasty, the Zen priest Yi-Xuan (Gigen) who was
the founder of the Rinzai Sect, and several Fuke Zen priests
who were acquaintances, were residing at Rinzai-in Zhenzhou,
Hebei Province. They would go out every day and beg for
alms while shaking and ringing bells (taku) and chanting a four
stanza religious verse (not translated here).
At the same temple lived the koji (Buddhist layman)
Zhang-Bo (Chohaku) who was a skilled player of the shakuha
chi. He revered and respected the unworldly manner of the
. "''*.
•m
no
Fuke priests and was drawn to the spirit of the mysterious
sound of their bells. It is said that he imitated that sound in
playing the shakuhachi and that this was the origin of the
piece Kyotaku, later known as Kyorei, the first of the San-
Kyorei.
In 1249 at the beginning of the Kamakura Period, the
H6t6-Sect Buddhist priest Kakushin (also known by the
religious names Shinji or Muhon) traveled at the age of 43 to
Sung-Dynasty China where four years later in the fifth year of
Kencho he entered the discipline of the Zen priest Fo-Yan
(author of the Mumonkan) at the Renwang temple (Nio-ji) in
Hangzhou. At that time he studied the shakuhachi in the
tradition of the Zhang family under the koji Zhang-Can (a
16th generation descendant of Zhang-Bo) who was at the
same temple. In the sixth year of Kench6 (1254) he returned
to Japan accompanied by four Sung koji, Kokusa, Risei, H6fu
and Shujo who shared his love of the shakuhachi. Looking
back from the present (1985) this was some 732 years ago.
Four years after his return he founded Saih6-ji (presently
Kokoku-ji) at Yura in Arita-gun in the province of Kishu (now
the town of Yura in Hidaka-gun in Wakayama Prefecture).
After Kakushin moved to Saih6-ji there was a gradual
increase in people who admired his lofty goals and entered the
ranks of his temple. Kakushin encouraged these followers to
study the shakuhachi with the Sung players and led in the
development of the mysterious doctrine of practicing Zen and
achieving enlightenment using suishd ("blowing the xiao") as a
convenient help in zazen. This guiding doctrine was the origin
of the koji-shakuhachi and developed into suish6-zen, the basis
of the religious alms begging of the Fuke priests of komuso.
At some point the komus6 sect of koji-shakuhachi arose and
during the middle of the Edo Period (1603-1868) this turned
into the powerful and influential Fuke Zen sect. But with the
abolishment of this sect in the 4th year of Meiji (1871) the
7!7v<.
111

religious traditions of the sect died out. However, in distinc
tion from the shakuhachi which is active at present in the
world of musical entertainment, the My6an shakuhachi
represents the continuous tradition of travel in disguise and
secretiveness of performance and it alone has preserved this
thread of existence.
There was a particularly zealous koji among Kakushin's
followers whose name was Yoritake Ry6en (later known as the
Zen priest Kyochiku). He trained in the traditional begging
style of the Fuke Zen priests, but instead of ringing abell and
chanting religious verses, he played the shakuhachi. He took
as an article of faith and enlightenment the Fuke Zen verse
My6an-S6s6 and carried his begging bowl throughout the
Ky6to-6saka area. Thus originated the begging of Fuke
priests and later komus6 who did not chant the traditional
sutras but who rather made a single shakuhachi piece into
their form of devotion. Later on Yoritake constructed a
hermitage which he called Rdan at Uji-Okamoto in the
province of Sanjo (present-day Okamoto in Uji City, Kyoto
Prefecture). He died on 28 September in the sixth year of
Einin (1298).
Yoritake's religious heir Tengai Myofu constructed a
temple at Shirakawa in Higashiyama. As the special tenet of
his temple he took the words of the Tang Zen priest Xuan-
Jian: "In the void (kyo) is found the spirit (rei); in emptiness
is found wonder," and as an article of faith for attaining
enlightenment he adopted'the My6an-S6s6 verse of the Fuke
Sect. The temple was name Kyorei-san Myoan-ji; it claimed
in its lineage the priests of the H6t6 Sect and as its founder
the Zen priest Kyochiku. Its principal image was the guardian
statue of Kannon from R6an, and a statue of Kyochiku was
enshrined as well. This d6j6 of Zensho-ho (sho = xiao)
probably dates from the end of the Kamakura Period.
After the collapse$f Kenmu Tadtfki, Masakatsu, the eldest
9$
112
son of Kusuoki Masayuki's younger brother Masayoshi, took
up the study of Zen and shakuhachi with the koji Kyofu (a
follower of Sekiyama Keigen) at My6shin-ji in Ky6to. He took
the religious name Komu ("empty nothingness") and dressed
as a Fuke priest went out to beg for alms. Because he wore
a priest's robe over his clothing, wore a short sword dangling
loosely at his waist and covered his head with a woven basket,
Fuke priests came to be known as komus6 (so = priest). As
regards Masakatsu, we find among the complete chronicles of
the Tsukuba Shrine the Chronicle of the Generations of
Kotsu-ji which states, "In the sixth generation the koji Kyosan
Mugetsu (=Komu) restored the Japanese komusd; his real
name was Kusunoki Masakatsu."
Throughout the Kamakura Period, the Period of the
Southern and Northern Dynasties, the Muromachi Period, the
Period of the Warring States and the Azuchi-Momoyama
Period, masterless samurai (rdnin) continued to become
komus6 while waiting for their fortunes to improve, and thus
the temples gradually became more prosperous. At the
beginning of the Edo Period, the ten sects of komuso encom
passed 140 komuso temples found for the most part from the
Kanto area to the Tohoku area.
From around the Genroku Period (1688-1704), the Kanto-
region temple Ichigatsu-ji (Matsudo City) cooperated with the
Shogunate's policy on r6nin (masterless samurai) and by
reaching a secret agreement of mutual benefit with the
government it consolidated the Fuke Sect and wielded great
power and influence. The temple Myoan-ji in Ky6to, while
publicly maintaining a neutral attitude toward the Fuke Sect,
in fact clung to the tenets of the komus6 and was responsible
for the control of komuso in Western Japan. Toward the end
of the Edo Period there were members of My6an-ji who were
punished for activities on behalf of the royalist cause.
Through an edict of the Restoration Government in the
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fourth year of Meiji (1871), both the Fuke Sect and the alms- Inashiki-gun, Edozaki-machi
collecting activities of the komusd were banned. The econom
K6an-ji (F) Jdshu, Niiharu-gun, Katano
ic basis of the komus6 temples collapsed and they proceeded (P) Ibaraki-ken, Niiharu-gun, Yasato-
down the path to total dissolution. machi
Only after many vicissitudes did the sect begin to recover: (B) Taitei-ji (Sdtd Sect)
it reformed in July, Meiji 23 (1890) as the My6an Ky6kai. In Niiharu-gun, Yasato-machi
Showa 25 (1950) it- obtained the independent status of
fcukuba-san Kotsu-ji (F) Jdshfl, Tsukuba-gun, Tsukuba
religious corporation as My6an-ji. At present there are two
(P) Ibaraki-ken, Tsukuba-gun, Tsukuba
annual meetings, both in Ky6to and in other areas, of the (B) Seisan-ji (Sdtd Sect)
Shakuhachi Honkyoku Zenkoku Kens6 Taikai (Shakuhachi Tsukuba-gun, Tsukuba-machi
Honkyoku Nationwide Performance Assembly). In Ky6to ikyti-san Shingetsu-in (F) Jdshfl, Makabe-gun, Shimozuma
(Shingetsu-ji) (P) Ibaraki-ken, Shimozuma-shi
these are held in Higashiyama-ku, Motomachi 15-chome.
(B) Tah6-in (S6t6 Sect), Shimozuma-shi
Komus6 Kenkyu-kai (Komusd Research Group), fearing
the scattering and loss of relics and resource materials from Anraku-ji (F) J6shti, Makabe-gun, Furugdri
komus6 temples, has researched and preserved such antiquities (P) Ibaraki-ken, Makabe-gun, Ky6wa-
and has collected and catalogued materials in order to make machi
(B) My6h6-ji, (Tendai Sect)
them available to future generations. Established four years Makabe-gun, Iwase-machi
ago, the seasonal journal Ichion Jobutsu ("Attaining Bud-
dhahood Through a Single Sound") has now reached its ninth Yuki-san Ch6zen-in (F) J6shil, Yfiki-gun, Hong6
edition; the group itself has nearly 500 members. (Ch6zen-ji) (P) Ibaraki-ken, Yuki-shi at Sumiyoshi
Shrine
(B) An'on-ji (S6t6 Sect)
Yuki-shi, Kaji-machi

SHORT LIST OF THE KOMUSO TEMPLES The following are the eight temples of Mito:
IN IBARAKI PREFECTURE (JOSHU)
Kanseki (F) JdshA, Taga-gun, Shimo-Tazuna
N.B. (F) = Former, Edo Period name of location (P) Ibaraki-ken, Takahagi-shi
(P) = Present name of location (B) Unknown
(B) = Budai-ji (Bodhi Temple) of the komusd temple
Kansha (-sai) (F) J6shfl, Taga-gun, Kami-Tazuna
"Mountain" Temple Location (P) Ibaraki-ken, Takahagi-shi
(B) Unknown
6ji-san Daihi-ji (F) J6shti, Shinta-gun, Edozaki
(P) Ibaraki-ken,Inashikigun, Tbkusan (F) Jdshfl, Kuji-gun, Orihashi-mura
Edozaki-machi (P) Ibaraki-ken, Kuji-gun, Satomi-mura
(B) Kanten-ji (S6t6 Sect) (B) Senpuku-ji (SdtO Sect)
m

114 115
 Kuji-gun, Satomi-mura

Tessui (F) Jdshfl, Kuji-gun, Onaka-mura

(P) Ibaraki-ken, Kuji-gun, Satomi-mura
(B) Same as above

Gentatsu (F) Jfishfl, Kuji-gun, Onaka-mura

(?) Ibaraki-ken, Kuji-gun, Satomi-mura
(B) Unknown (possible Senpuku-ji)

Sdzan (F) J6shu, Kuji-gen, Kozuma-mura

(?) Ibaraki-ken, Kuji-gun, Satomi-mura
(B) Senpuku-ji (as above)

Butsugo-san Eirin-ji (F) Jdshfl, Kuji-gun, Komdse-mura

(Koryu-san) (P) Ibaraki-ken, Kuji-gun, Daigo-machi
(B) Unknown

Chosen-ji (F) Yashfl, Mumo-gun, BatO-mura

(P) Tbchigi-ken, Nasu-gun, BatO
(B) Kantoku-ji

ENDNOTES

1. Saito Sessan is a Grand Master of Shakuhachi in Ibaraki Prefecture.

He is the head of the "Chikuinsha" (a federation of approximately 150
shakuhachi players) and has been teaching for the past 40 years.

2. The readings of proper names contained in the article are based on

common usage and it was impossible to check for complete accuracy
(translator's note).

+v,

116