Kamigata Music and Edo Music

Katoubushi is a leading school of Edo Joururi, which is recognized as an Important Intangible Cultural Asset of Japan as a group. It was established in 1717 by the founder, known by the name Masumi Kato, who had served as an apprentice under Edo Handayu, said to be the founder of Handayu bushi. The strong sound of the stylish narration captivated the hearts of the Edo people.
Noh and Kyogen are both art that was derived in the Kamigata area: Kyoto and Osaka. In Kamigata, a type of music called Ichhubushi was born along with Gidayu style singing, which later came to Edo. From this, various types of music branched out, such as ”Tokiwazubushi”. Then the Edo-born, Edo-bred people made a Joururi style especially for Edo, which became Katoubushi. The Katoubushi shamisen is known for its high stringed pitch, whereas for Noh, the basic sounds are ”low pitch”.

Edo Joururi Expressed by High Pitch

The musical scale is expressed by something called “Kan” and “Otsu”. “Kan” are the high pitch sounds and “Otsu” the low pitch. The Kamigata region places importance on the Otsu pitch and that is where the Japanese expression “It is Otsu (It is fine)” is derived. However Edo music used a lot of high pitch notes. This was a new trend of music created in the fields of Musashino. There was a great influx of people, and people had to use high pitch for the sound to be heard.” Takeuchi from the Kokyokukai Foundation explained.
This is the music loved by the Edo people with its vibrating sounds, a good match for the bustle of the city.
Kamigata Gidayu Bushi uses a very wide-bodied ”shamisen”, the Kiyomotobushi uses a moderately wide-bodied ”shamisen”, and the Katoubushi uses a thin-bodied ”shamisen”. The ”bachi” pick is thin and flexible.
Yamabiko Senko, recognized as a Living National Treasure for Katoubushi Shamisen, played us a tune. “Another characteristic of Katoubushi Shamisen is that you use the ”bachi” as though you are scooping up the string. You strum the string and let it vibrate by holding it up from the ”shamisen”. And then, you give a call, “Hauu” which is another characteristic.” Yamabiko played us a part of “Sukeroku” from ”Kabuki”, producing a splendid sound, which resonated to our soul.

Delicate Movements

We asked Yamabiko about ”tuning”. The strings are tightened or loosened before a performance. We witnessed Yamabiko doing this.
“The strings are silk, so the pitch is affected with the slightest change in environment, such as the stage light hitting them. Sometimes it loosens on stage, so we need to tune it.” she explained. If the adjustment can’t be done while on stage, she changes the positioning of her fingers on the strings. ”Shamisen” requires delicacy of the ears as well as the fingertips. Nakata also experienced for himself how difficult this can be.
The ”shamisen” is placed on your right thigh and the ”bachi” pick is held with your left hand. The ”bachi” is held ever so lightly by balancing it with just one pinky from the back.
“Then you use your right elbow as the support for the lever, and strum the strings.” Those were the instructions, but the center string is terribly difficult to reach. When playing the ”shamisen”, the left hand is constantly moving around, adding to the difficulty. However, Nakata commented, “When you’re actually able to make a sound, it gives you great satisfaction!” Yamabiko smiled and replied, “Yes, see what I mean?” ”Shamisen” has many different methods and schools based on the region, each with its own sound and expression. It was another encounter with the profound depth of Japanese cultural music.

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Kiyomoto-bushi, with 200 years of history

Kiyomoto-bushi was originally a part of the Joruri school. It began when Kiyomoto Endayu appeared in kaomise at the Kabuki Ichimuraza, and introduced himself by that name. It developed later as music accompanying ”kabuki”. It has a lyrical elegance deriving from Bungobushi.
It became widely known to the point that Kiyomoto represents Edo Joruri.
Although it is officially an accompaniment for stage performances, it is also enjoyed as music during ”kabuki” dances, even gaining a following for the Kiyomoto himself.
That is the sophistication and elegance of the 200 year-old Kiyomoto-bushi melody.

Allowing the songs to shine

We talked to Eizo Kiyomoto of Kiyomoto-bushi, who was designated an Important Living Cultural Treasure in 2003 for Kiyomoto shamisen. Being attracted to the tone of Kiyomoto shamisen he heard in his childhood, he entered apprenticeship under Kiyomoto Eijiro the 3rd (later Kiyomoto Eijuro) at the age of 15 in 1951. Two years later, he made his first stage appearance. He has been awarded the Arts Award Festival and numerous other awards.
At the beginning of our conversation about shamisen, he told us ”I believe Kiyomoto shamisen makes the songs stand out. Therefore it is quite different from nagauta, where shamisen is the focal point. It is also different from Tsugaru jongara bushi. The Kiyomoto shamisen is played to bring the songs to the forefront. That’s what we always keep in our minds as we play.”

Shamisen and Song Communicate with each other

We had an opportunity to hear a performance. Eizo Kiyomoto invited his younger brother, Kiyomoto Yoshijudayu to join us in the interview. Yoshijudayu, as can be seen from his name, is a dayu, or a singer. We were treated with the opportunity to hear a live performance of the program ”Michitose Shinobiai Haruno Yukidoke”.
We were stunned by the graceful music.
”The story itself is the Kiyomoto specialty,” he said as he explained the setting. We were completely taken in leading Nakata to comment, ”You mentioned earlier that ”shamisen” makes the songs stand out, and I understood what you meant by this. It sounded like a dialogue.”
””Shamisen” plays along with the song, but it can also create the right mood for the song. For instance, the ”shamisen” plays a certain phrase, and the song will reply by in a way to match that phrase. So it really is a dialogue.” Eizo Kiyomoto explained.

The post “Kiyomoto-ryu, Eizo Kiyomoto” Edo Vogue first appeared on NIHONMONO.

Stage debut at 8

”The hayashikata of Noh are seated within view of the audience, so we always have to be careful.” These were the words of Nohgaku Hayashi Ohzutsumikata, Tadao Kamei. His father was the Kadono-ryu expert, Toshio Kamei and he was taught this artform that has continued from the Edo period since he was 5.
”I have simply been awed by my father’s performances since my childhood. He would teach me, but never in detail. He would never preach and would just instruct me by saying ”louder” or ”yes”. He taught with his actions.”
He studied under his father, who was designated a certified holder of an Important Intangible Cultural Asset; and Kawasaki Kyuen, then Kadono Ryu family trustee, and performed his first stage at 8. He had already decided this was his destiny by the time he was in the 3rd grade.
”We were all suffering from the losses of the war at the time. Yet I was determined to continue. There was something strong that motivated me.”

Collaborating to create the performance

Kamei specializes in ohzutsumi in the Nohgaku hayashi. Just like his father, he was designated an Important Intangible Cultural Asset holder in 2002. ”Ohzutsumi is a lot of hard work,” he told us. As mentioned earlier, hayashikata of Nohgaku sits in view of the audience, so even a slight change in expression is visible to the audience. Just as the shitekata dances and the Noh chorus sings with a low tremor, Ohzutsumikata also need to convey the music with their entire body. ”Tsutsumi is so simple, it is a rudimentary sound. You go on stage and somehow create a sound that links the scenes with just the sound produced by the tsutsumi.” Kamei told us. Unless the kozutsumi, ohzutsumi, taiko, jiyou, and the performers all harmonize, the world of Noh will not be complete. Taiko has another role to signal hayashikata. It plays an important role in creating this unique world of Nohgaku.

Playing the Basic ”Sanji”

We observed the practice. Kamei acts as the instructor, taking on the singing and the kozutsumi, while his son Hirotada Kamei strikes the ohzutsumi. The call ”Yo” and the sound of the ohzutsumi vibrates in perfect timing with Kamei’s song.
”Do you want to try?” Nakata was invited to play the ohzutsumi. He was taught the basic actions of hayashikata called ”mitsuji” which combines the ”striking sound”, ”the voice calling out”, and ”komi (the silence of ”ma”). Nakata held the ohzutsumi on his side and used his right hand to strike it, but was only able to produce a dull sound.
”You need to snap your wrist to produce a good sound. Otherwise you’ll hurt your hand.” With this advice, a good sound with tension resonates. ”That was splendid.” An appraisal was given with a smile.

Movements with Elegance

Once you’re able to produce good sound, then you need to pay attention to ”how you look”. ”How you appear and present yourself is important too.” Additional advice was given.
The right arm should be held a little lower than the shoulder, not directly by your side, but diagonally forward. The ohzutsumi should be hit from this angle. This movement will create a unique moment of tension, an instant before hitting the ohzutsumi. After the lesson, Nakata looks at his palm which had turned bright red. ”This hurts. Now I understand what you meant.” Nakata laughed.
Sitting up straight, striking the ohzutsumi, and giving signal calls. We now understood the basics of Noh performance.
Kamei shared words of encouragement as we continued our travels. ”Please continue your journey so that you can discover more wonderful things about Japanese culture that can be shared with the world.”

The post “Nohgaku Kadono-ryu Ohtsuzumikata, Tadao Kamei” The Sound that Creates the World of Nohgaku first appeared on NIHONMONO.

How he got started

Hozan Yamamoto was born in 1937. He is a master of Japanese music, a ”shakuhachi” player and a composer, who was designated as Important Intangible Cultural Asset holder in 2002. He was always exposed to the ”shakuhachi” music played by his father, Hozan Yamamoto the 1st. He started to play when he was 9, and has been thoroughly enchanted by the mystic world of ”shakuhachi” to this day.
The basics to shakuhachi is how interesting it is, he told us. ”The official story is that I studied under my father, but I actually got started just playing with the instrument.” His grandmother and mother were ”okoto” players, and so he learned about the basics of Japanese music from them, but Yamamoto’s background shows that he didn’t just follow a easy path.
”I asked many performers to allow me to play with them.” When he first came out to the city, he worked part time jobs to make ends meet. At times he would play in hotel lobbies, play with classical or jazz musicians. He says that his ”shakuhachi” is self-taught, since it was developed through his interaction with other musicians.

The space becomes the instrument

Mr.Yamamoto looks back to his younger days and says, ”I always used to love jazz. It was a way to relieve stress.”
”I was lucky I found jazz. By learning to perform impromptu, it helped me write music that I would never have been able to if I had just been involved in traditional Japanese music.”
Nakata commented ”I’ve never heard shakuhachi jazz!”
”Then, let’s give you the opportunity. One of the things that amazed me is that with jazz, you use a microphone. With ”shakuhachi” or other traditional Japanese music, that’s never done. That’s why we need the music to resonate to every part of the venue. If the music is being played in this room, the entire room has to vibrate and become an instrument.”
With that, Yamamoto picked up his amber-colored ”shakuhachi” and played a melody. The clear, vibrant melody filled the room. The sound that we hear comes from the instrument, yet it seems as though it fills the room and blends in with the space. The charismatic tone of the ”shakuhachi” is so powerful it turns the entire venue into an instrument.

Thinking I’d leave without being able to make a sound…

Similar to the trumpet and clarinet, one is lucky to be able to make a sound on a ”shakuhachi” on the first try. ”Yamamoto told Nakata, ”I’d say you’re cut out for it if you get a note out on your first try.” Nakata gave it a try but gets nothing. As Yamamoto had pointed out, it was not an easy task. But not being one to give up, Nakata kept trying with instructions from the master. ”This is the correct angle, and this is how to blow it.” Yamamoto guided him patiently.
Then all of a sudden, there was a sound. While Nakata looked up in surprise, Yamamoto was even more surprised. He said, ”To be honest, I didn’t think you’d be able to produce a sound while you were here. This is wonderful.”
Nakata’s expression changed to pure delight upon being praised by the master. This may be the ”amusement” Yamamoto had referred to. Encountering something for the first time. Producing the first note. The whole process is a succession of happy experiences, motivating you to keep trying for more. ”Enjoyment is fundamental. Then comes the love for the instrument. It’s the same with sports, isn’t it?” Yamamoto said with a smile.

The post “Shakuhachi Player, Hozan Yamamoto” Powerful, crystal clear tone of shakuhachi first appeared on NIHONMONO.

A Japanese flute with a Western musical scale

It is said that 90% of Japanese flutists as well as members of the traditional music entertainment group ”Kodo” of Sado Island use Ranjo’s flute. The secret to his popularity with first class musicians, is that the flute has a range that can accommodate various scenarios, and a tone that is a product of being selective about the material that is used.

Ranjo told us, ”The rhythm of the ”ohayashi” flutes from ancient times is specific to Japan, and does correspond to that of Western music. In short, the flute used for Kabuki or Noh has a scale specific to Japan.”
A flute with the unique Japanese scale is not suitable to Western music. But Ranjo changed the internal structure, made it correspond to the Western scale of ”Do Re Mi”, and created a flute which is also suitable for modern music.
”It made of Japanese bamboo. Yet it also plays the Western scale, so it can be used worldwide.”

As a child, Ranjo was attracted to the sound of flutes used at festivals. When he was in the 3rd or 4th grade, he was already making his own flutes.
”The local festival was not held for a long time, and I also was working in Yokohama for a while so I was away from home. When I returned to my hometown at 26, the festivals started again. So it was a ’good opportunity’ for me to participate with a flute that I made myself. The next thing I know, I was immersed in this world. (laugh)”

Creating a flute that performers desire

Surprisingly, Ranjo is a self taught flute maker.

”It used to be that only 1 out of a 100 flutes were considered a success. But that is not acceptable. All 100 should be successes.”
Ranjo says.
After thoroughly studying the structure of the flute, he figured out how to structurally create a good flute.
”In my case, it was important that I was self-taught. Over repeated trial and error, I learned from my mistakes. If you study under a teacher, you will only learn one way to do things.”
Because of Ranjo’s tenacious curiosity, he has been able to fulfill the needs of performers with different preferences or musicality.

Starting with ”what kind of sound will it make?”

Nakata tried blowing into Ranjo’s flute.
On a previous occasion when Nakata had an opportunity to play a Japanese flute, it was difficult to make any sounds. But this time, with gentle guidance from Ranjo, he was able to make a sound.
”Athletes have good intuition.” Ranjo complimented.

Usually, a flute is made entirely of either Japanese timber bamboo or regular bamboo, but Nakata was curious and asked ”I wonder what kind of sound would be created with a flute made with half timber bamboo and half regular bamboo?”
”That’s a good idea. I’ll give it a try.”
Ranjo’s curiosity is sure to continue to play a large role from here forward.

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Making Contact with Kozutsumi

Nakata learns how to hit a kozutsumi. Lifting a kozutsumi on one shoulder and striking it with a nice sound, ”pong”. Nakata tries as well and hits it with his hand, but is unable to produce a nice vibrating sound like Hiroshi Sowa. Kozutsumi is a traditional musical instrument essential to Noh and other traditional Japanese art. It is quite different to a wood-made drum that uses drumsticks, but is a lacquer coated cylinder with horse skin covers, tied with strings called ”shirabeo” on both sides. The tone is adjusted by pulling on this ”shirabeo”, which would tighten or loosen the horse skin. The structure is simple and more the so it relies on skill and intuition to play.

Kozutsumikata Affects Stage Production

Today, we had the opportunity to talk to Living Treasure Hiroshi Sowa and his grandson, Naoyasu Sowa. Nakata finds out that Naoyasu Sowa had been on stage playing the kozutsumi during the dedication performance to Kasugataisha which Nakata had been watching during his visit to Nara. Hiroshi Sowa still appears on stage as a member of the musical performers. On stage, he strikes his kozutsumi and calls out, ”Yoh!”, He explains how he changes his tone of voice for each production, as each scenes require different expression, ”He explains, ”For us professionals, there is not one performance that we regret. Regret is a word that does not exist for us.” Hiroshi Sowa’s son, also Naoyasu’s father, Masahiro Sowa currently performs in Tokyo as a performer, and simultaneously teaches kozutsumi at the National Noh Theater and the Tokyo University of Arts to nurture successors.

Conveying the Attractiveness

Sowa too strives to spread knowledge and nurture successors to kozutsumi in between their performances. They have numerous students, young and old, beginners and veterans, across the country in their ”practice workshops”. Information regarding the ”practice workshops” are uploaded on the homepage that Sowa has, called the ”Petite Kodo”. The naming is interesting. ”Kodo” is taken from the So was’ first generation ancestor, Kodo Sowa. ”Petite” is taken from the French word meaning cute. In fact there is more to this, as kozutsumi has a musical scale, which is ”Pu” and ”Tite” and these 2 notes that Naoyasu cherishes, happen to be where the word ”Petite” derives from. How cute the names of these two notes sound. That itself makes you feel closer and familiar to traditional art. Traditional art should be enjoyed, being rid of tension.

The post “Hiroshi Sowa, Naoyasu Sowa, Koryu Kozutsumikata” Masters of Music Accompaniment first appeared on NIHONMONO.