Watari-byoshi
It is one of the rhythms used in Noh and Kyogen. In a narrow sense, it refers to the rhythm ends slowly following the watari-byoushi rhythm and the song that is continuously become slower following the ending of rhythm. It is featured that the chanting which follows the watari-byoushi rhythm is sung as hira-nori and the drum becomes mainly and takes the lead of hayashi musical accompaniment; the chanting is stated chanting from the second beat. But it is more spacious than hira-nori songs and is used for Noh plays such as “Shojo” ang “Arashiyama”. In addition, the flute also has a score that rides on the rhythm and it is characterized by blowing from the first beat. It is correspond to “Sadari tan (slower end)”, “Gaku”, “Shojo midare”, “Sagi midare”, “Shishi rion”, etc. but usually, when we talk or think about the watari-byoushi we refers to “lower end (Sagari tan)”.
Haya-tsuzumi (fast drum)
It is hayashi musical which is played to describe the Noh’s Ai interrogator who plays Noh as a quick hit (a messenger who informs suddenly) and appears hurriedly. Usually, the drum is played from the end of the first half, and when the shite or waki leaves, the tempo is suddenly played rapidly and Ai interrogator appears. Small drum and large drum frequently paid in, while the small drum is hit “po po po” in a slightly slower manner, the large drum to make sounds, follow that it will made atmosphere to you feel like something is really happening. It is used for “Hashibenkei” and “Hachi no Ki” play.
Haya-fue (fast flute)
It is the hayashi musical accompaniment to be played when the back shite , back tsure, etc. appear. It is played in a sudden and brave manner when the ghosts of dragon gods, devils, and warlord’s spirits run and appear. Officially, it is a two- step, three- section , but when used in a short form or for the Tsure appearing case, it is a one- step, two- section . Flute, small drum, large drum and drum are also played together but the drum only is not played play is in plays such as “Hachi noki” and “Youchi-Shouga” play. In addition, a deformed haya-bue may be played depending on the song. Kyogen’s haya-fue is a simplification of haya-fue of Noh, and is the place where it is played in scenes that crucian carp spirit in “Kanjin Sei” play (Kae-Ai of Noh “Shirohige” play) appears.
Raijo
It is one of Noh’s hayashi musical accompaniment (the part of a song where hayshi musical accompaniment is the main part). Small drum, large drum and drum is played the flute is mixed. A place where incarnations such as Shintai and Tengu leave quietly, and the role of Kyougen as subordinate shrine appears in turn. The first half is called “nakairi chujo” and the second half is called “Kyougen-raijo or Setsumatsusha (subordinate shrine). “Nakairi-raijo” is played with long shout kake-goe to make majestic atmosphere and “Kyougen-raijo” is played as a nice and light rhythm. In addition, there is a raijo which is played a place where the Tang dynasty emperors such as “Tsurukame” and “Queen Mother of the West” appear proudly. This is especially called “Ma no raijo”. In the Kyougen, “Tang Sumo”, there is a scene in which the emperor appears with many of his vassals, and in here the Kyougen is quietly played.
Hayashi mono
It is Kyogen that is sung with a unique rhythm so that it floats brightly. Small drum, large drum and drum is often the accompaniment is turned on and the performers themselves also beats with a fan, performs with his feet’s rhythm and hits a musical instrument to liven up the atmosphere. Most of them are used by the Waki- Kyougen’s Shite as lucky fellow, among them, in order to get the mood of the master in “Sue hirokari”, the Tarokaya make hayashi music, is a typical. In addition, there are also the hayashi musical accompaniment that are played and chanted in a good mood when Mr.Yuntaro got on a woman’s hand car in “Duntaro” play and when Shinto ritual float (festival car) is chanted in “Senjimoto” play. It is said that the performing arts performed at medieval festivals were incorporated into Kyogen.
Mai-bayashi
It is a performance format in which the main highlights of the Noh song, such as the movements and dances of the Shite, are extracted and danced in a kimono decorated with one’s family crest and hakama style (sometimes in a hakama style。The Shite dances alone with about five people of Jiutai local songs and hayashi, and one of the local songs sings the lyrics of performers other than the Shite, such as Waki and Waki-tsure. They use a large fan called Shimai-fan and don’t wear a Noh mask or costumes. In principle, props are not used, but naginata halberds may be used. Because it is a simplified performance format, so it is perfect for watching the skeleton of the dance. Even in Kyogen, the dance of Kyogen “Tsuen” is also performed in the form of a mai-bayashi dance.
I-bayashi
A performance format in which the main part of a Noh song is sung with a hayshi musical accompaniment. Perform the format that sitting and perform with crested and hakama (sometimes is kamishimo (an old’s samurai costumes)). The verses of performers other than Shite, such as Waki and Waki-tsure are sung by one Jiutai person and the ma kyougen is often omitted. Because of the simplified performance format with no standing movement, you can appreciate the charm of chanting and the hayashi. When Shite’s actions and dances are added to i-bayashi, it becomes “mai-hayashi”, and when performing through Noh songs in the form of a hayashi musical accompaniment, it is called “ban-hayashi”.
Notto
It is sometimes written in kanji to mean “祝詞-norito (Shinto prayer)”. It is sung when praying for God in the front of God by the roles as priest or shrine maiden. It is said to resemble the congratulatory words of the main performance, and sings mainly in the bass range without matching the rhythm. It is found in Noh plays such as “Tetsuwa,” “Kokaji,” and “Maki Nuki”. Further, the Hayashi musical accompaniment which is played when “notto” song is sung, called “Te-gumi”, and it is characteristic that the small drum is kept beating like a beat; the flute and large drum is also played. Even in Kyogen, notto chanting is sung in ” Yamabushi ” play, etc.
Seme
In Kyougen, It is a work that shows how Enmaou and demons blame the dead for hell. The flute, small drum, large drum and drum are played as hayashi musical accompaniment. It starts with the demon’s “How sinner, hurry up”, and when the dead begin to move, there are actor’s lines such as “Hurry up and hurry” that start inserting in between. The demon moves around the stage with a bamboo cane, and shows how he does his best, such as stepping on the beat. There are cases where the original roles of demons such as “Asahina” and “Yao” are played, and there are cases where humans such as “Shinjin” are set to practice the festival’s offerings.
Netori
One of Noh’s special hayashimusical accompaniment (the part of a song where the hayashi musical accompaniment is the main part). In the Noh plays as Noh with old man and old women, etc., the flute is blown in the beginning of a song (mainly the appearance of Waki). Because, it is also played together with small drum as oki-tsudumi, so we call it is netori oki-tsudumi. Depending on the mark music of song, there are divided a lot of types as “ma no notori”, “ka no netori”, etc. In the Waki Noh which play with the old man, netori is always played; but in the old days, netori is also played in Kajira Noh with the Okina-tsuki(the old man). In addition, it is also played in “Kiyotsune” play when small book is attached as “koi no netori”, etc. In the case, netori is a special sound of the heavy learning of flute that is played by one learning person. This is an unique thing that the Shite appears quietly on the stage as if it is attracted by the sound of a single ikaan flute and the flute’s person goes out in front of the stage more than usual and plays facing the curtain.
