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.

The post “Katoubushi Shamisen, Yamabiko Senko” Stylish Edo style music first appeared on NIHONMONO.

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.