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Jin Nyodo No Shakuhachi 05

Jin Nyodo No Shakuhachi 05

神 如道
Teichiku - XL-70138
1998

トラック番号 タイトル 漢字 長さ アーティスト
1  Play Button Kokû (Fudaiji) 虚空 10'54 尺八: 神 如道
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 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 horo-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-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.
2  Play Button Mukaiji (Fudaiji) 霧海箎 09'30 尺八: 神 如道
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."

2. Structure of the piece

There is no clear-cut division into dan, but we can tentatively divide it based, on overall melodic structure into three sections: low - high - low. A more detailed examination is as follows:

I: a (a five-breath introduction) - b
II: c (upper range section)
III: b (in the middle the melody of II is interpolated for only one breath, lowered an octave) - d (the finale section)

3. Special features of the piece:

There is little 'fluctuation in tempo and it is played for the most part in the upper range, which reaches a kind of plateau with a rather remote feeling, One can also sense a dignified, ceremonial mood.
3  Play Button Choshi (Fudaiji) 調子 03'37 尺八: 神 如道
Fudai-ji: CHOSHI

1-shaku 8-sun
3 min. 34 sec.

1. About the title:

Please refer to "Commonly Used Titles."

2. Structure of the piece

It is made up of three sections which in terms of pitch form a gently sloping mountain of low - high - low. This is the classical Shirabe or Choshi construction.

3. Special features of the piece:

It is played with kusabibuki. In this manner of playing each breath is shaped like a kusabi ("wedge"): at first the breath is blown in strongly, then as the breath diminishes the volume of sound is likewise reduced. As with kyosui, yuri is never used. Since, in playing the shakuhachi, there is no use of tonguing as with Western wind instruments, playing this initial burst of sound is a point that demands rather much practice.
4  Play Button Yobi Dake - Uke Dake 呼竹受竹(吹禅) 01'09 尺八: 神 如道
Origin unknown: YOBIDAKE -UKEDAKE

2-shaku 5-sun
1 min. 4 sec.

1. About the title:

It was customary for komuso priests, when they chanced to cross paths while out collecting alms, to greet one another with this piece. One priest would first play Yobidake ("calling bamboo"). In this way, if the first priest played Yobidake three times, and the other priest could not respond with Ukedake, he was exposed as an imposter, a bogus priest (in Japanese: maisu).

The style of playing this Yobidake-Ukedake varied with the school that the komuso belonged to, so that it was possible to distinguish where a priest came from by the style of his playing.

2. Structure of the piece

The Yobidake is played in a two breath melody which rises from the lowest tone to the highest tone within KO (the second octave). The Ukedake is the same melody played in RO (the first octave). Yobidake is played three times, while Ukedake is played once.
5  Play Button Kyorei (Fudaiji) 虚鈴 10'41 尺八: 神 如道
Fudai-ji: KYOREI

2-shaku 8-sun
10 min. 3 sec.

1. About the title:
This is on& 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 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.
6  Play Button Choshi (Myoan Shinpo Ryu) 調子 06'11 尺八: 神 如道
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 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 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.
7  Play Button Darani 陀羅尼 06'35 尺八: 神 如道
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 representation 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:

The second half begins at a tempo so different that the listener is apt to think that a new piece has begun. At last it 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.
8  Play Button Murasaki Reibo 紫鈴慕 05'08 尺八: 神 如道
Kyoto Myoan-ji: MURASAKI-REIBO

2-shaku 2-sun
5 min. 6 sec.

1. About the title of the piece:

It is said that this is a piece by the Zen priest Ikkyu, the forty-seventh chief priest of Daitoku-ji in Murasakino, Kyoto. Probably the element Murasaki ("purple") in the title comes from Murasakino ("purple field"). Reibo is one of the various Chinese character representations of that common title for shakuhachi pieces. For more information consult the section (in Reibo in "Commonly Used Titles."

This is one of the rare examples among classical shakuhachi honkyoku where the name of the composer has been handed down. That it was composed by Ikkyu is an oral tradition: 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 playing the shakuhachi and the hitoyogiri, it would not be impossible to suppose that he did indeed write this piece.

Leaving aside the issue of Ikkyu's authorship, we can wonder whether in fact this piece dates back well before recent times to an older style of music. That is to say, its straight-forward melodic structure without embellishment, its simple and lucid composition as well as other features give an overall placid feeling not found in more recent times.

2. Structure of the piece

It is formed of three dan, the middle of which is a takane using the tone pattern kara-kara. At the opening of the piece, the melody is in the middle tonal range, and throughout the piece the tone shifts from the mid-range to the upper tonal range as its focal point. The rhythm is never sluggish but maintains a distinctive beat so that the mood of the, piece is not at all heavy or somber.

3. Special features of the piece:

In the melody of this piece we can feel the kind of nostalgic yearning round in komori-uta (lullabies). Perhaps it is one of the folk melody patterns that the Japanese people have possessed since ancient times. The wandering mood of the piece cannot help but suggest the personality of Ikkyu Wako. Due to the simplicity of the melody and structure, this piece allows the player freedom to respond to his own mood: he can play in any way he feels whether it be light and happy or sad and lonely.
9  Play Button Shishi 獅子 09'29 尺八: 神 如道
10  Play Button Shirabe (Nezasa Ha) 調 (根笹) 08'19 尺八: 神 如道