"In 1980 the original 39 Koten Honkyoku by Jin Nyodo was award the "Outstanding Album of the Year" award by Japanese Ministry of Education. Later on, ten more pieces were found and included in this newly-issued set of recordings, published by Jin Nyodo's son, Jin Nyosei."

神 如道
Teichiku - XL-70134
1998

トラック番号	タイトル	漢字	長さ	アーティスト
1	Shirabe (Nezasa Ha)	調 (根笹)	02'59	尺八: 神 如道
	Nezasa-ha: SHIRABE 1-shaku 8-sun 2 min. 55 sec. 1. About the title: Please consult the section on Shirabe-Choshi in "Commonly Used Titles." It is possible to view this particular Shirabe of Nezasa-ha as having once been an independent piece, but of course its use as an introduction or prelude is its more important feature. That is to say, in Nezasa-ha it was attached to the performance of each piece, and became fixed as an introductory section for the "cleaning of the heart and the repose of the soul." However, the single piece Matsukaze is an exception: since it already has a shirabe-style opening, this piece Shirabe is not used with it. 2. Structure of the piece It begins in the lower range, proceeds to the upper, and returns again to end in the lower range. This construction is shaped like a gently rounded mountain. From the point of view of dan ("steps"), we can divide it into three sections: 1. a five-breath jo, 2. a high four-breath section and 3. a four-breath closing section. Although it is short, it has all the basic elements of composition and thus can be played either as an introduction or as an independent work. The komibuki of the initial ro-tone is said to represent the wrath of heaven and earth and thus should be played with some strength and fierceness. 3. Special features of the piece: Pieces called Shirabe or Choshi all display the artistic styles of their schools. This piece clearly shows the artistic style of Nezasa-ha: a feeling of deep sorrow and desolation set within a rather vigorous framework. There is a theory that this is a composition by Ban Yasuyuki (1798-1875), but just as we can suppose that there is a Gen-Rokudan ("original Rokudan") behind the koto piece Rokudan-no-Shirabe, we are free also to assume that there was also another original piece behind Shirabe. This is the first short, basic piece studied in Nezasa-ha, but it is not so easy to master completely: this is rather like the situation with Rokudan-no-Shirabe where even the most famous players find it hard to perform the piece to their own complete satisfaction.
2	Sagari Ha (Nezasa Ha)	下り葉 (根笹)	03'56	尺八: 神 如道
	Nezasa-ha: SAGARIHA ("Falling Leaves") 1-shaku 8-sun 3 min. 52 sec. 1. About the title: Besides the Nezasa-ha piece, there are also pieces with the same name such as Kinko-ryu Sagariha and Kyoto Myoan-ji Sagariha (with some variations in the Chinese characters), but these are all different compositions. According to the traditions of Nezasa-ha, a famous member of that school received enlightenment while listening to the wind blowing through bamboo brush or the sound of waves, so the piece was also called Sagarinami ("Falling Waves"). 2. Structure of the piece The piece has a two-section structure [A - A - Tsuyuharai]. From the start, there begins immediately a melody similar to the takane section of other pieces; this high-pitched melody lasts for ten breaths. The exact same melody is repeated again and then the piece ends with a three-breath tsuyuharai. (In shakuhachi honkyoku it is a principle that one phrase is played in one breath. Even if one has to take a breath in the middle, one should play with the sensation of one breath.) A tsuyuharai ("brushing away the dew") is a two or three-breath short closing melody. 3. Special features of the piece: When it is played connected with Shirabe, there is a feeling that, rather than Shirabe being a separately composed introductory piece, Shirabe-Sagariha was constructed as a single piece. That is, Shirabe fills the same role as the honte in other pieces so that we can recognize a structure of [Shirabe (honte) - Takane - Takane gaeshi - Tsuyuharai]. Thus from former times Shirabe and Sagariha were linked together not from simple routine practice but rather because together they had an extremely natural feeling of structural unity. If one can handle the playing of Shirabe and Sagariha, then one has mastered the basics of the artistic style of Nezasa-ha, and one can comfortably proceed to the other Nezasa-ha pieces.
3	San'ya Seiran	三谷清攬	08'42	尺八: 神 如道
	Nezasa-ha: SAN'YA SEIRAN 2-shaku 1-sun 8 min. 39 sec. 1. About the title: For the San'ya part of the title consult the section on San'ya in "Commonly Used Titles." Seiran was originally one kind of performing technique used on string instruments such as the wagon. The Chinese characters for Seiran were generally read sugagaki and were written in a variety of forms. In the case of this piece they are pronounced in the Sino-Japanese style as Seiran. 2. Structure of the piece There is a three-part structure of [First dan (Shirabe - Honte) - Second dan (Takane) - Third dan (Musubi)]. In Nezasa-ha there is no tradition of using the terms shirabe, honte etc. in naming the parts which form the first dan. However, in considering the musical content of the first dan, there are some cases where we can observe sections which contain elements of both shirabe and honte, as well as cases where only a honte is present. Therefore, in this and other Nezasa-ha pieces, we will point out the sections of the first dan using the terms shirabe-honte or simply honte [corresponding to the actual musical forms. The distinction I between shirabe and honte can be generally understood as follows. The shirabe is played in the lower range, in a quiet, relaxed tempo: it is an introductory section which barely rises above the first octave. In contrast, the honte generally begins already centered on the second octave, and its melodies develop from that point. If we consider the following takane to be the second developmental section, then the honte can be called the first developmental section. Now let us consider the structure of San'ya Seiran in more detail: Shirabe-Honte: It begins with a low, weighty melody, having the feeling of a daijo "Prologue"). After a five-breath introduction, there begins a melody overflowing with a feeling of desolation, and filled with the subtle profundity unique to this piece. This melody is played first in RO and then repeated in KO. Takane First, repeated twice, comes a classical Nezasa-ha takane melody centering on the hi-tone and variants of the hatone. It is a beautiful melody filled with loneliness. Next, a somewhat altered takane melody is repeated with the principal melody of the shirabe-Honte inserted in the middle. Musubi A finale section which closes the piece again in a quiet, lonely mood, after freely expressing a modulating and enhanced emotional intensity. 3. Special features of the piece: Among Nezasa-ha pieces this is certainly the most desolate and yet dignified. The manner of playing has a feeling of complete composure in the midst of great tranquility. Among the numerous pieces called San'ya, the "three superior pieces" are felt to be this work, Futai-ken San'ya and Echigo San'ya. Even though this piece has virtually the same melodic framework as Taizan-ryu San'ya-kyoku, its performance style is strictly that of Nezasa-ha so that it is quite different from any other piece entitled San'ya.
4	Tōri	通里	11'44	尺八: 神 如道
	Nezasa-ha: TORI - KADOZUKE - HACHIGAESHI 2-shaku 3-sun 11 min. 42 sec. 1. About the title: These three pieces exist as independent compositions, but in actual practice they are played linked together. Moreover, because they are pieces that have an intimate relationship to one another, all being compositions for the religious soliciting of food and alms, we will treat them as one group. (a) About Tori: It is written with various Chinese characters with the sense of "passing along or through." It was performed by komuso priests as they wandered about, and was referred to as Fuke Jobutsu ("becoming a Buddha") no Kyoku. The significance of the piece is found in a Chinese text (not translated here) about the way to attain Buddhahood. (b) About Kadozuke: While engaged in religious begging, priests were sometimes asked by people in Buddhist households to perform a memorial piece. The priest would stand three shaku away from the entrance gate (kado) and perform this piece. It was known as Enmei ("longevity") Kannon no Kyoku, and its meaning was based on a Chinese religious text (not translated here) praising Kanzeon (or Kannon), the Buddhist goddess of mercy. (c) About Hachigaeshi: When a priest received alms such as rice, he would hand the bowl back and then play this piece as a parting thanks. It was referred to as Kudoku ("virtue") Jodo no Kyoku, and its sense is derived from a Chinese text (not translated here) describing Buddhist virtues. As a rule komuso priests did not bow when they received alms, but rather played this piece as a substitute salutation. 2. Structure of the piece From the viewpoint of melody or technique as well as tonal range, the three pieces Tori, Kadozuke, and Hachigaeshi can be considered to form one structural unit together. Originally, they may have had stronger individuality in order to accomplish their separate purposes, but in the form in which they are passed down at present, they offer a structure in which three pieces have been refined together to form one piece. In other words, their overall feeling as individual pieces is rather lacking: Tori and particularly Kadozuke are so short that they only feel like sections of a longer piece. Moreover both Tori and Kadozuke end with exactly the same final three breaths, which lack the melodic form usually accompanying a final mood, but 'which obviously do prepare for the following development. Accepting the premise that these three pieces form one unit, and since the melody of Hachigaeshi is almost entirely repeated, we can envision a four-part structure of [A (Tori) - B (Kadozuke) - C (first half of Hachigaeshi) -C' (second half of Hachigaeshi) - Tsuyuharai]. In comparison with other pieces we could restate this structure as [Honte (A) - Takane (B) - Hachigaeshi (CC') - Tsuyuharai]. 3. Special features of the piece: Since these pieces were designed for outdoor performance while collecting alms, all three of them move within the upper range and are quite free in feeling. As regards the length of the piece, it is the largest piece in Nezasa-ha after Koku. To keep this piece flowing and from feeling tedious a great reserve of strength is required of the performer.
5	Nagashi Reibo	流鈴慕	11'31	尺八: 神 如道
	Nezasa-ha: NAGASHI-REIBO 2-shaku 3-sun 11 min. 29 sec. 1. About the title: Reibo, along with San'ya, is a title found widely in each school of shakuhachi playing. Concerning this title please consult the section on Reibo in "Commonly Used Titles." The Nagashi in the title refers to the practice of priests wandering about (nagashi) and playing the flute while soliciting their daily rice. 2. Structure of the piece The piece is in three sections [Honte -Takane -Musubi]. The honte begins from the KO-no-ro tone; after working through a rather long and melancholy melody, it enters the takane. The takane begins with a melody using all forms of the ha- tone which alter melismatically in subtle tonal degrees smaller than quarter tones. This is a classical takane melody typical of Nezasa-ha honkyoku, but even among these it is especially beautiful and full of pathos. From this highest section which lasts seven breaths, the melody descends abruptly and arrives at the musubi. The designation musubi does not occur in traditional notated scores, but "finale" seems appropriate since a clearly different mood exists. 3. Special features of the piece: Considering the special qualities of each Nezasa-ha piece, we could call Matsukaze a piece with great "decorum" and San'ya-Seiran a piece full of loneliness. Tori-Kadozuke-Hachigaeshi could be called a "sonorous" piece whereas this Nagashi-Reibo we could truly call the most smoothly and beautifully flowing piece. Among the numerous pieces named Reibo, it is one of the decidedly superior versions along with Futai-ken Reibo and Shogan-ken Reibo.
6	Matsukaze (Nezasa Ha)	松風 (根笹)	07'03	尺八: 神 如道
	Nezasa-ha: MATSUKAZE 2-shaku 3-sun 6 min. 59 sec. 1. About the title: There is an interesting story told about the famous Nezasa-ha composition Matsukaze: It was a late moonlit night in mid-autumn, the fifteenth day of the eighth lunar month in the first year of Genji (1864), at the end of the Edo period. At the rear of the Murasaki--Shinden ("Purple Hall") of the Imperial Palace in Kyoto, the resonant tone of a shakuhachi drifted from the official residence of chief Advisor and Imperial Minister Konoe Tadahiro within the Imadegawa Gate. It could be heard as far away as the Higashiyama area, and the story has it that this music soothed the troubled hearts of the people caught up in the Meiji Restoration. The shakuhachi player was Nyui Kencho, a master of Nezasa-ha who had been dispatched by the Tsugaru clan to serve in Konoe's Imperial Guard. The piece was Matsukaze. When the Chief Advisor was done listening, he was deeply moved and after closing his eyes and meditating a while he composed a poem: "Nyui Kencho's shakuhachi shirabe was most interesting, while the moon shone clearly 'The take-no-shirabe resonates... Lucid moonbeams Fill the deepest night...'" On considering this incident, Tadahiro then proposed the new artistic name Getsuei ("moonbeams") for Nyui. The Minister also received the famous flute used in this performance, and had it returned afterwards enclosed in a bag of Yamato brocade. Later, in the year 22 Meiji (1890) Nyui spent three years compiling ten Nezasa-ha honkyoku based on the oral teachings of Ban Yasuyuki and the composition method passed down by Sagawa Tokugyo of Edo. Combining the character kaze/FU of Matsukaze and the character nishiki/KIN from nishiki-nofukuro ("brocade bag") he created the name Kinpu-ryu. This is why the Nezasa-ha is known as Kinpu-ryu in the Tsugaru area. 2. Structure of the piece It is structured [Shirabe -Honte -Musubi]. 3. Special features of the piece: The unique shirabe of Matsukaze is about two-thirds as long as the separate piece Shirabe, and although there are differences in octaves, they both begin from the same note KO-no-ro and have many melodies in common, as well as having a similar overall flow. However, distinct from the piece Shirabe, which has a feeling of having been assembled as a whole piece, this shirabe has the inescapable feeling of an introduction both, in its overall pitch range and its moderation. Among Nezasa-ha pieces, this composition is almost as short as Shirabe and Sagariha, but with its decorous structural sense it is an extremely refined and justly famous work.
7	Shishi	獅子	08'46	尺八: 神 如道
	Nezasa-ha: SHISHI 2-shaku 3-sun 8 min. 46 sec. 1. About the title: This piece is also known as Monju-kyoku which derives from the portrayal of Monju-bosatsu, the Buddha of wisdom, as riding on a lion (shishi). From olden times it has been used as a celebratory piece. If we were to divide classical shakuhachi honkyoku into two groups, honte and hade, we could say that the piece Shishi more likely belongs to the hade group. It is a piece for itinerate priests, and was played when they went begging for food. Although it is thought to have some connection to lion dances (shishi-mai), this piece has been quite refined in the style of Nezasa-ha honkyoku and bears absolutely no traces of such folk art. Among shakuhachi honkyoku there are also such pieces as Kumoijishi, Meguro-jishi, Sakae-jishi, etc. but these are quite unrelated works. 2. Structure of the piece It is constructed in three sections [honte -takane -musubi]. In the takane section the traditional style would call for an exact repetition of the melody, but in this performance the repeat has been omitted. 3. Special features of the piece: There are several places where the tsu-no-meri tone (a half tone above the actual flute tone) is played higher than in other Nezasa-ha pieces. Overall the piece has a bright, free--flowing feeling, and its mood is never profound or emotional. This is quite natural considering its origins as a shishi (lion) composition.
8	San'ya Seiran	三谷清攬	08'23	尺八: 神 如道