Ryochukan
Mai dance is a small tune with eight beats (one kusari), and the basic Noh Ji such as ” Chuuno mai “, ” KamiMai ,” ” Haya-mai”, ” Jono-mai”, are played by flute with four kusari. The Noh-Ji is different for each kusari and the names are respectively “Chuu”, “Kan”, “Kan no Chuu”, “Ryo”. The form of Noh-Ji is called “Ryouchukan no Ji” and a dance that repeats this process and takes a “step” at a turning point in the middle is called “ Ryochukan style dance” .
Ranjo
It is one of Noh’s hayashi musical accompaniments (the part of a song where hayashi musical accompaniment is the main part). At the beginning of the backstage of Noh “Ishibashi”, when the lion appeared , small drums , large drums , and drums were played brilliantly, and the flute softened. The middle stage of Ranjo, small drum and drum is played uniquely by the Hayashi musical with a long silence called “Ro no te or Ro no byoushi (expressing step or expressing rhythm)”. This is said to represent the sound of dew dripping into the deep mountain valley. After that, the lion appeared in a magnificent state, as soon as it entered the main Noh stage and the disorder was over, it became a lion mai dance.
Yubi-duke
It is one of the notations to put finger in the flute. The flute of musical notation, was replaced by the play character song there is chanted “Yohya Raa Ihiu Ya” and the like, for example that showed how to deal with finger holes at the time of the “Yo” finger. It is a yubi-duke the way to put finger in the flute. The notation describes seven finger holes, such as “close”, “open”, “half open”, and “hit with a finger”. For example: “●●● ｜ ●● ○ ●” (in order from the left, the index finger, middle finger, ring finger of the left hand, and the index finger to little finger of the right hand are represented). In the actual performance, based on the Yubi-duke, various tones are created by devising ornamental sounds by “played finger” and breathing.
Tsuduke-utai
It is one of the ways to chant Hira-nori songs. A dynamic singing style that emphasizes rhythm, singing with almost even beats. When Tsuduke-uta is chanted, small drum, large drum and drum are often hit tsuduke(continuously) or hit something similar and the name also comes from it. There is ” Mitsuji-Utai ” as a pair.
Mitsuji-utai
It is one of the ways to chant Hira-nori songs. It is not strongly tied to the rhythm and it is easy to deal with the expansion and contraction of the lyrics, so you can sing by making the best use of the lyrics. When Mitsuji-utai is chanted, small drum is hit as Mitsuji so the name come from it. There is ” Tsuduke-utai ” as a pair.
Hyoushi-awazu
When a song rides on the rhythm, it is called hyoushi-ai, and when it does not ride, it is called hyoushi-awazu. The chanting of byoushi-ai has ” Shidai”, “shita-uta”, ” ue-uta”, ” kuse” etc. single of one of the eight beats as one unit, and it is chanted with a strong awareness is what beat to hit what character of singing chants will be. There are three types of hira-nori, chuu-nori and o-nori, in principle that the hayashi musical accompaniment entering to take rhythm. In addition, byoushi-awazu in the chant has ” kotoba “, ” sashi “, ” issei “, ” Waka ” etc.it is not tied to the beat but there is an appropriate tempo and singing method depending on the part. Hayashi may or may not be included.
Byoushi-ai
When a song rides on the rhythm, it is called hyoushi-ai, and when it does not ride, it is called hyoushi-awazu. The chanting of byoushi-ai has ” Shidai”, “shita-uta”, ” ue-uta”, ” kuse” etc. single of one of the eight beats as one unit, and it is chanted with a strong awareness is what beat to hit what character of singing chants will be. There are three types of hira-nori, chuu-nori and o-nori, in principle that the hayashi musical accompaniment entering to take rhythm. In addition, byoushi-awazu in the chant has ” kotoba “, ” sashi “, ” issei “, ” Waka ” etc.it is not tied to the beat but there is an appropriate tempo and singing method depending on the part. Hayashi may or may not be included.
Meru
It is term that describes the state of the sound of a song or hayashi. It is used for “Haru” and indicates that the pitch is falling and. Humidity greatly affects the tone of small drums and drums , the fact that the leather is loose due to the high humidity and the sound is not taut and sinks is called “Metteiru”. On the contrary, it is dry and the sound is high and hit. The state in which the sound does not feel deep is called “haru”.
Hishigi
It is Nohkan- Noh flute at the highest range of sharp tense sound. There are two types of blow ways in hishigi such as blowing kata-hishiki “Hyi” and blowing moro-hishigi “Hiyashi-“. Moro hishigi is blown beginning of hayashi when Issei or Shidai appears; or blown at the end of Noh. Kata-hishigi is blown at the beginning of the flute and Kyougen, and at the end of some dances. It is also referred to as “Hiyoshi”, “Hifu”, “Nichi” play, etc.
Banshiki cho
It is a name that indicates the tone of a flute. Originally banshiki-cho is one of the six tone of Japanese court music Gagaku, Banshiki (Western music , modal to the tonic of b sound), because the Noh of the flute ( Nohkan ) does not tuned, so the pitch is slightly different for each tube and the tone is determined by how to make seven finge holes. Specifically, the melody that ends by opening the sixth hole from the bass is the banshiki-chou. The tone of the flute is normal, one tone which bass is Oshiki-cho, but banshiki-cho is used for hayashi musical (the part where the hayashi accompaniment is the main part) and in the mai dance, there are “haya mai”, “banshiki yonomai”, “banshiki gaku”, etc.
