Jinashi Series 58: Shoganken Reibo 松巌軒霊慕 Oshu kei

#shakuhachi #Watazumi #Japan Words from Jin Nyodo Shogan-ken: REIBO 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 Chinese characters (most commonly "pine - rock"), and it is not certain which spelling is the original form. It was a komuso 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 lower 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. Hachigaeshi - Following a modulating melody, which 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-ha 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. BUY A SHAKUHACHI 🔸 Yozan Shakuhachi: https://www.yozan-hikichi.shop/index.... WANT TO SUPPORT? 🔸DONATE: paypal.me/shawnheadmusic RECOMMENDED 🔸Modern Music on Shakuhachi:    • Makiri - Devil's Cut   🔸Learn Shakuhachi:    • Shakuhachi Lesson #1 How to play Honshirabe   🔸Interviews:    • Composer Interview: Omar Peracha and Gankyoku   🔸Bamboo Beats:    • BAMBOO BEATS | THE FREESTYLE FOLK   🔸Traditional Music    • 吾妻獅子 - Azuma Jishi - Lion of the East   🔸Collaborations:    • Видео   SOCIAL 🔸Facebook:   / shawnheadmusicpage   🔸Official Website: Www.ShawnHeadMusic.com 🔸Instagram:   / shawnrenzohhead   🔸Twitter:   / shawnhead5