Mujitsu and Tairaku's Shakuhachi BBQ

thanks edosan

but i didn't put that link because there's a sankyoku piece that people won't see if they use that link...and you can't get back to the homepage to find it.  i didn't want people to miss out.  they're hard enough to find already... LOL

jacques

jaybeemusic wrote:

thanks edosan

but i didn't put that link because there's a sankyoku piece that people won't see if they use that link...and you can't get back to the homepage to find it.  i didn't want people to miss out.  they're hard enough to find already... LOL

jacques

Direct link to the Sankyoku PDF (download): http://sound.jp/mujuan/Manzai.pdf

Tairaku wrote:

Couple of interesting questions. I wonder why Kurahashi Sensei bothered making these on the computer when he could just use his father's or Jin Nyodo's notation?

And he has also transcribed them into Tozan, but I thought one of the main identifying characteristics of Tozan is that they don't play traditional honkyoku? You'd think if they want to learn they would just study Kinko or Myoan and then they wouldn't need to use Tozan notation. Nevertheless I suppose it's nice if Kurahashi is teaching a group lesson for the Tozan players to be able to play along. Or maybe he's trying to indoctrinate Tozan players into honkyoku.

At Kurahashi's group sessions in NY he uses these sheets and I have heard him say he uses them because there were some inconsistent and unclear notation practices in his father's notation.

Kino, Tozan, European Do-Re-Mi, Xiao 1-2-3, String Tab, Shape Notes, Mensural Notation, etc.. I would opine that the notation one finds easiest to read is the notation one has been exposed to/chosen to become fluent in. It's an exact parallel to "Which clef do you find it easiest to play." If you're fluent, they're easy, if you're not they aren't.

later...

My Tozan teacher is Kurahashi's friend : )  Morita sensei.

edosan wrote:

Tairaku wrote:

Kurahashi learned Kinko first but lives in Kansai, which is Tozan turf. He interacts with a lot of Tozan people so obviously he communicates with them in Tozan. He reads both fluently. It is said that "professional" shakuhachi players should be able to read Tozan, Kinko and Western. If they want to be journeymen.

And of course, Chikuho [entered on behalf of Riley Lee !]

I left the opening for Riley............but you jumped in!

Does anybody know what software/program that he used to make this notation?  and maybe where you could get it?

thanks

jacques

thanks alot for link- i had no idea he had these posted! perfect timing- i recently got a cd with manzai on it and don't have the  score!
it is invaluable to be able to read all 3- tozan, kinko and western. western is by far my weakest- those lines and dots all look alike! i started w/ kinko, but was obliged to learn tozan(and staff as well) because so many modern pieces are not in kinko.
chikuho is very interesting indeed. since Riley sensei is visiting Princeton I've been auditing the class he is teaching with Tom Hare, and been using the excuse to learn chikuho notation. i hadn't known before that the katakana used(フ、ホ、ウ、エ、ヤ rather than　ロ、ツ、レ　チ　リ） are from the older hitoyogiri notation.... Prof. Hare included a reconstruction of an old hitoyogiri folksong in one lecture. fascinating. i agree, all 3 of the shakuhachi-school  systems are equally doable, one just has to come to each with a blank slate and not compare it too much to the 1st one learned.

Last edited by Glenn Swann (2009-04-20 22:25:30)