Sui Zen - Blowing Meditation on the Shakuhachi - 03

Ronnie Nyogetsu Reishin Seldin
KiSuiAn
2004

Дорожка	Название	Кандзи	Длина	Исполнитель
1	Ajikan (Itchoken)	阿字観	06'59	Сякухати: Ronnie Nyogetsu Reishin Seldin
	There is some controversy about the origin of this piece, which is one of the most frequently played honkyoku in Zen temples. It is an outstanding example of classical honkyoku, conveying, as indicated by its title, a sense of both mystery and solitude. Ajikan, or Ajikwan, to use an older pronunciation, is said by some to refer to a mystic religious practice of the Shingon Sect of Buddhism, the contemplation (kan) of the first letter (a-ji) of the Sanskrit alphabet. Part of this esoteric practice included throwing small sticks into a fire, and looking for the letter "A" in the flames while chanting. One might also look into the sky to find the letter in clouds. Another translation indicates that "a" refers to a Zen priest in meditation, ''ii,'' the original sound, and "kan." to see. The letter that is contemplated is supposed to be symbolic of the immaterial void from which all creation emerges. The piece is said to represent the Zen concept of seeing with the heart, or experiencing the first, or original sound. This contemplation deals with three levels of being: the sound, the letter, and the reality. This Taizen Ha piece is attributed to Itcho-Ken Temple in Hakata (Fukuoka) on the island of Kyushu. The music is said to have been found hidden inside an old statue of the Buddha. However, some musicologists note that Ajikan's modern structure and technique suggest that it is a more modern composition. It uses modern fingering techniques, with quick repeats of the note re using the fourth finger, rather then the third finger technique usually used for Meian Zen pieces. Also, shakuhachi music has only been written down in more modern times, so the existence of an ancient music score would be anachronistic. Another argument made by musicologists against its ancient origin in Itcho-Ken is that the subject matter is not appropriate to an origin in this temple. The type of esoteric mystic Buddhist practice suggested by the title was not practiced in the Itcho-Ken temple, which did not use Shingon sect disciplines. Some say that the piece was composed for the shakuhachi by Miyagawa Nyozan, a 35th generation komuso from the Itcho-Ken is temple, based on a variant of Sashi. This piece from Kyushu called Yuri Sashi, was supposed to have been played with a wavering "yuri" style by the last abbot of the house of Futai, in Sendai, Hasegawa Kogakua. When played on a longer instrument, Ajikan is generally played in a slower manner; on a shorter flute, the tempo is faster. It is played here on a 2.1 length instrument.
2	Banji	鑁字	06'51	Сякухати: Ronnie Nyogetsu Reishin Seldin
	This Meian piece, played here on a 1.8, comes from the Dai-Hozan line of Meianji in Yamanashi-ken, Otamuru, the present-day Koshu in Yamanashi Prefecture. It has been designated an "invisible prefecture treasure." This sad and dark piece expresses the dignity of solitude. It is supposed to embody a female spirit. Inki would be the term to express this; in-yo represents the male-female duality, and is similar to yin-yang. Banji is like Ajikan in two ways; its name is related to a Sanskrit letter, and there is also controversy about its origin. As indicated by the title, his piece deals with the ''ii,'' original sound of the letter "ban." Each Sanskrit letter is symbolic of an ancient Indian god. The letters, themselves, were felt to embody godhead, so the papers on which they were written were revered. They could not be discarded, but had to be honorably destroyed by burning. There are two conflicting stories about the origin of this piece, one very romantic, and one rather prosaic. The romantic story is based on the retrieval of a piece that was lost in the 1870s, when the temples were banned and destroyed. People took parts of the one of these temples, the Kyoto Meianji temple, and rebuilt it elsewhere; today, there is only a small temple, with a gate and wooden statue remaining. The Echigo Temple, which gave us Echigo Sanya and Jimbo Sanya, is still standing, but one-third of the Meian Komuso temples in Koshu totally disappeared. Nothing remained but a document that indicates that a honkyoku called Banji was played at that temple. But nobody knew what the piece sounded like. Then Usan, a Koshu player, traveled in Wahayama prefecture, and heard a shakuhachi melody that was new to him. He asked what it was, and was told, "It is Banji, from the Koshu Temple." Usan learned the piece, and returned, playing the piece with five of his students in the 1970s on NHK television. The more pedestrian version of the story is that the piece is of relatively modem origin. The melody does sound like something that might have been composed in the early 20th century, as it incorporates the kind of melodies popular among shakuhachi players at that time. In favor of its older origin is the argument that Banji uses old-style fingerings for chi-meri, tsu-meri and imeri, and the u is played high and sharp; a "honkyoku u," rather than in Western pitch. Perhaps the truth contains a bit of both stories; with the modem transcription and interpretation of an almost lost temple treasure.
3	Banshiki (Itchoken)	盤渉	07'14	Сякухати: Ronnie Nyogetsu Reishin Seldin
	This simple, mournful piece comes from the Itcho-ken Temple in Hakata on the island of Kyushu, where it was often used on ceremonial occasions, especially funerals. Banshiki is often performed for the safe passage of a soul into its next incarnation. It can also be thought of as relevant to the journey from life's attachments and freedoms to transcendent enlightenment and freedom from worldly concerns. It is said to provide a reminder that satori comes when one does away with one's feelings. Various formats exist for its incorporation into Buddhist funerals. Played together with Daiotsu, this piece is traditionally called Kuyo no Kyoku, "Memorial for the Dead." In a formal, traditional funeral, an introductory Honte Choshi and then Banshiki are played in front of the coffin. The player then goes to an anteroom, plays the opening section of Banshiki, and then plays the next higher section in front of the monks, following the coffin down the path leading out of the temple. Today, in less traditional Buddhist funerals, Banshiki is often played while incense is thrown onto a fire or lit by mourners during pauses in the music, or it can be played as part of a memorial service, or at a gravesite. Banshiki is played here in a 1.8, but it is often played on a 1.9 flute; since the principal tone of this piece is ri; it will then correspond to the tuning of banshiki cho. The mood of the music goes from sad and stark through an emotional cry to a quiet accepting resolution. It is one of the few pieces played with kyosui, straight, unornamented breathing.
4	Darani	陀羅尼	07'37	Сякухати: Ronnie Nyogetsu Reishin Seldin
	The Meian Shirinpo-Ryu also called this piece Konpon (basic) Darani or Sanya Kyoku. Written in Chinese characters, the name of this piece, Darani, is a phonetic representation of the Sanskrit dharani, which can be translated as "Perfect Truth," or "Perfect World," and is related to the symbol of the mandala. Its original meaning refers to the upholding and preservation of the way of goodness and the obstruction of the way of evil. Darani should be played simply, using straight sounds, similar to kyosui technique, and minimal vibrato. It is played here on a 2.4 length flute. Darani is the name of one of the two holiest sutra. It is said that if you chanted it, you would be happy and healthy in the next life. Shakuhachi player Hanaya Shingyo believed it to be the most effective sutra. At times, its chanting was actually forbidden, because it was associated with black magic. In northern Japan, blind women called "gozei," would chant the sutra Darani to call the dead. These adepts were supposed to have acquired special powers by virtue of austere shamanistic training, which started at age 6 or 7, and included such practices as inducing trance states by chanting while sitting outside in the snow until a circle was melted around them. The piece gives the impression of chanting a long Sanskrit text. In reciting the Darani text, one is said to sustain one's immense and infinite spiritual duty, overcome all kinds of obstacles and attain various virtues. The musical piece Darani contains an inserted, potentially disruptive section in a different key and faster and stronger rhythm, sometimes called "The Nun's Veil" also called Ho-No-Kyoku, or Nori No Kyoku (Piece of the Law or Way). Nori means law or dharma, the best path, "the way." This section is so different that it seems as if the music had become mixed up, and part of another piece was being played. After this section, a very strong, solid focus is portrayed. Some have characterized this piece as giving the impression of the image of a large, strong Buddha. Others say it describes the meditative experience, in which a strong focus is attained, and then disturbed, and then resumed with greater strength, the distraction having been incorporated into the all.
5	Taki Ochi (Taizan Ha)	滝落	10'44	Сякухати: Ronnie Nyogetsu Reishin Seldin
	This famous classical honkyoku is in the Japanese tradition of art that portrays the spirit of nature; what Westeners call program music. It portrays a waterfall that grows in three sections from two meandering, trickling streams to a strong torrent, and eventually empties into a larger body and finds repose. When playing it, one can become the waterfall. Some teachers of sumie, traditional Japanese ink painting with a brush, playa recording of this piece, and other shakuhachi music while their students paint, to provide the proper meditative mood and inspiration. Jin Nyodo received this piece from Horiguchi Zeki of the Fudai-ji tradition in Hamamatsu, but Jin Nyodo's version has been observed to actually differ from Zeki's. One legend states that Takiochi was originally composed at Ryugenji, a komuso temple, situated at the base of the Asahi Waterfall. It is located south if IzuOhito, and was famous as a great waterfall, but was really only 33 jo high. One jo equals 10 shaku, so it is only about 3.31 yards high. The temple no longer exists, but the site is still associated with music; the temple building was converted to a workshop in which the Yamaha musical instrument empire began. There also is a Kinko Ryu piece called Takioshi or "waterfall" that has many melodies in common and coinciding structural points, but a different mood. It appears to have been taken from a koto piece, Takitoshi, which also means waterfall, upon which these shakuhachi versions are based. The first section introduces the feeling of two small burbling, laughing streams; the second section repeats the first half of the first section, giving a sense of increased excitement...in speed and force until it becomes a "white water" cascade. The third section, played strongly in the high range, portrays the greatest force. At the end, the music conveys the peaceful union with a large strong body of water. It is played here on a 2.4 length shakuhachi.
6	Kumoi Jishi	雲井獅子	03'50	Сякухати: Ronnie Nyogetsu Reishin Seldin
	This piece is also called Kumoi No Kyoku, Niagari Jishi and Akebono Jishi, and is especially popular in Kyushu. Kumoi Jishi is also the name of a koto tuning, and niagari is a shamisen tuning. Akebono refers to transposing a piece up one fifth. This may account for these other names. Several versions of this piece exist. It is said that this version, which is closer to Sugagaki style, was originally brought to Tokyo from the Itcho Ken Temple in Kyushu during the Meiji era. This temple descended from the Meian Temple in Kyoto. This version was arranged by the Kinko School grand master Yoshida Itcho, and then taken into the Kinko School. Kumoi Jishi was almost lost for a while, but Junske Kawase I, while traveling, heard an old koto player, Y oshizumi, playing the version he had memorized. Kawase's notation is considered the most original version of the piece. Japan has many forms shishi-mai, or lion dances, ranging from formal high art to children's performance at folk festivals. This, like all jishi-related pieces, retains the lively, spirited feeling of the traditional lion dance. It is a joyous piece, suited to celebrations and congratulatory occasions. Shakuhachi versions of Kumoi Jishi are not actually lion dance music meant to accompany actual dancing; instead, they are meant to evoke the mood of this dance. Kumoi refers to the sky, and may symbolize the heavens and / or the rarified heights of the imperial court. Shishi and jishi are variants of the same word. In Japanese, sounds can change for easier pronunciation when certain sounds are joined. For instance, "shishi" becomes ''jishi,'' and "kawa," river, becomes "gawa," as in Kumoi Jishi and Nakagawa. The jishi, or shishi, is a mythical beast from China; according to tradition, they lived on a mythical mountain called Seiryozan. Jishi are variously depicted as doglike lions, dragons or deer. These felicitous creatures are said to especially enjoy dancing playfully among clouds or peony flowers, accompanied with butterflies that sometimes tease them. Jishi have magical properties, and can repel evil spirits. MonjuBosatsu, the god of Wisdom, is often depicted riding through the heavens mounted on a jishi. Pairs of guardian jishi statues are often found at entrances to buildings, especially temples and banks, with the male and the female on either side of the entrance door. The male jishi has a globe under his paw, the female, a puppy, symbolizing their respective dominions, the earth and the family. Like Azuma No Kyoku, this is a gikyoku, which means a playful piece not to be played by Zen monks in the morning for meditation. Rather, performing it is reserved for the less serious afternoon times or as a performance piece while begging for alms. These pieces were called hiru-kana, "from noon." Today, this piece is played on joyous occasions, such as weddings. It is sometimes performed in a slow, stately manner, and at other times, with a very light, playful feeling. It can evoke either the majesty of the mythical lion upon which Monju-Bosatsu, the Buddha of Wisdom, rides through the heavens, or the dancing of peasant children In their costumes at a festival, or perhaps, a jishi dancing among the clouds like a kitten or puppy chasing butterflies in a garden full of blooming peonies. The whole second section may be played twice; if this is done, the second repetition is generally performed at a faster tempo.
7	San'ya Sugagaki	三谷菅垣	04'59	Сякухати: Ronnie Nyogetsu Reishin Seldin
	This piece, with its clear, light, liberated mood, is designed to convey the sense of the wind blowing through the reeds of a sedge hedge. As it is a sanya piece, it is supposed to convey the no-thought, borderless state in which attention is given to the Zen inner sound. It is easily identifiable among other honkyoku because of its uniquely melodic and rhythmic character. Almost all of the basic melodies are introduced in the initial six breaths of the piece, and then they are combined in various ways. Only one new melodic pattern, in the high range, is introduced in the second section. It is then combined with the previously introduced melodies. The musubi section consists of a short new melody. Like the next piece, Akita Sugagaki, it is extremely rhythmical, especially when compared with other Kinko School pieces. It has been suggested that the very ancient koto piece, Sugagaki, may have formed the basis for this composition. Sanya Sugagaki can also be played as a duet, either on 1.8 flutes, or on flutes of different lengths, such as a 1.8 along with a 2.3 or a 2.4. There is also a koto piece from the Ryukyu Islands in the south of Japan, called Sanya Sugagaki. The name sugagaki means a repetitive melody and actually refers to a repetitive melodic unit used in Shinto worship, played on a six-stringed zither called a wagon, accompanying singing.
8	Hi Fu Mi Hachigaeshi no Shirabe (Kinko Ryū)	一二三鉢返の調	08'11	Сякухати: Ronnie Nyogetsu Reishin Seldin
	Hi Fu Mi Hachikaeshi can be translated as "One, Two, Three, Return the Bowl." It is also called Hi Fu Mi Hachikaeshi No Shirabe, or One, Two, Three, Return the Bowl, with an opening section," since it begins with its own internal shirabe, or introductory section. The piece continues from a simple "one, two, three" melody that moves to a hachikaeshi (returning the bowl) section, such as was traditionally played when the begging bowl was returned. This is followed by an irete (interpolation) attributed to Araki Chikuo, and then returns to a repetition of the hachikaeshi. It is important to note that the priest playing shakuhachi in front of a door was not just asking for rice in a bowl. Acting as a bodhisattva or enlightened being, the priest would also request that people give him their problems, so he could take them on himself. This is actually a combination of three different pieces, one of which - the Hi, Fu, Mi, (hitotsu, futatsu, mitsu, or one, two, three) melody - is a very simple beginner's level piece. This simple melody serves as a frame, starting and ending the piece. The hachikaeshi, which begins with a takane, has a low-high-low structure, and gives form and special interest to the piece. Hi Fu Mi comes from the Fudaiji Temple in Hamamatsu, Shizuoka Prefecture. This was a branch of the famous Ichigetsuji Temple, where Kinko Kurasawa resided. Although the piece was not originally a part of the Kinko repertoire, today it is considered to be a good example of a typical Kinko honkyoku, and is the first, basic, compulsory piece. However, it is also noted that in mastering Hi Fu Mi Hachikaeshi, a student, essentially, masters the basics of all Kinko honkyoku. Its distinctive features are its three-part structure and the frequent use of meri notes and merikomi, the lowering of the head at the end of notes.