Jinashi Series 61: Futaiken Sanya 鈴慕 布袋軒 Oshu Kei

Thanks as always for watching! Words Jin Nyodo 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 komuso 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"?). Jin 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 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 I 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 throughout 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. 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. 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