Patterns and notation

Japanese music, and in particular the music of kabuki contains little by way of improvisation. In addition, until the late 19th century, the music was never committed to a score but learned by rote. This tradition is still maintained despite the development of simple methods of notation. Therefore in order for the different ensembles to be able to co-ordinate their music both internally and externally during extremely lengthy performances, there had to be a system to enable the assembly of large musical structures.

Kabuki music is in fact extremely highly organised. The music compiled for a performance consists essentially of the arrangement of a large set of standardised patterns. Each instrumental and vocal line has its own system of organisation and mnemonic aids which co-ordinate with the rest of the ensemble. Occasionally these can be interspersed with interludes that have some particular significance to the action on stage (e.g. a folk song during a countryside scene). The performers, having learned the patterns over many years, then remember the order in which they are to be played.

Shamisen

A large variety of patterns are used to assemble a melodic line which, when associated with the voice, tends to start in an upper register and drifts lower throughout the phrase. The 48 o-zatsuma patterns in particular, revived from the much older o-zatsuma bushi tradition of joururi, are used frequently and tend to be the basis of every extended transition in nagauta.

These fall into nine types: jo (used for introductory music), kakari (appear more often as the begining of a phrase within a composition), ji (used most to accompany recitative sections), te (found mostly in free rhythm sections of introductions or extended cadences), tataki (cadential patterns), sanjuu (found at the opening of compositions or in free instrumental interludes in dramatic pieces, one of the few times that improvisation is allowed to extend a pattern), otoshi (short cadential patterns), musubi (lead to cadences), dangire (used in final cadences).

The kuchi jamisen system of mnemonics is used as a memory aid, however it deals more with the manner of fingering, and style of stoke from the bachi, without detailing the pitch of the note

A number of systems of shamisen notation have arisen since the end of the 19th century. Many of them tend to rely upon a numeric system, relating each number to a graded series of points which represent a note along each one of the three strings. In the bakafu system of notation, which is often used in nagauta, the numbers are then applied to a grid which is a combination of the three strings of the shamisen, and a metric placement of bars. In some ways it is similar to a guitar chart, but with the addition of a rhythmic element.

Tsuzumi

The o-tsuzumi and ko-tsuzumi work as a team. Both share a series of patterns that support and complement the shamisen line. Whilst the patterns they use are sometimes taken from the noh tradition, more often they use a style known as chirikara-byoshi. Their pitch, timbre and timing is co-ordinated by a system of mnemonics which both groups of drummers have to learn.

Described in terms of Western notation, they are assemblies of notes, generally making up 8-bar phrases, in simple time (2/4), consisting of crotchets (1/4 notes) and quavers (1/8 notes), and with ample use of rests. Dotted notes or syncopation are seldom found. With the increase in dramatic tension, the rhythmic interest becomes more active.

Integrated within the tsuzumi patterns is a unique way in which the musician uses his voice. Kakegoe are very much a part of the rhythmic interest. They often serve as an anacrusis at points throughout the music (Perhaps in the same way as a jazz musician could start a piece! "A - one - two - three - four"!)

Hear kakegoe and tsuzumi

A simple graphic representation of chirikara-byoshi has evolved however players will normally only refer to such a book as a memory aid, and never in performance.

Below is shown an example of the tablature, with a transcription into into Western notation, and including symbols and mnemonics to mark the different types of stroke. (The discrepancy in mnemonics used in this example, when compared with the mnemonics described in the "Instrument" section, may have something to do with the source information originating from different schools of tsuzumi drumming)

Taiko

Like the tsuzumi, the taiko also uses a system of simple rhythmic patterns often eight beats long. Again they are learned by rote. They have their origin in the music of the noh theatre and often form a relationship with the music for the nohkan whose meandering line they loosely support. Their phrases also tend to start one beat behind the tsuzumi. In fact in the hayashi ensemble, the taiko is considered a separate unit from the tsuzumi.

Of particular interest is the cadential kashira pattern marking the end of a phrase. In addition to the exaggerated movements with the sticks, it is a combination of firm drumbeats and kakegoe. (Similar to the "double tap" one hears at the end of a military march).

Nohkan

The stereotyped patterns of the nohkan are constructed of short standard motives that are reordered to make larger patterns, usually of eight beats. A classic nohkan piece is made from a number of dan. It starts with a short introduction (ji) during which a basic motive is repeated several times. The subsequent sections repeat this material making subtle melismas and pitch variation. New material can be inserted which may in turn be given a similar treatment. The original melody re-occurs at the end of the piece with a short coda restating the opening line of the first tune. In many ways it could be considered a sort of rondo. As it forms a loose relationship with the taiko, its phrases also tend also to be one beat separated from those of the the tsuzumi.

As an aid to memory, whilst there is no specific notation for the nohkan, instead, a form of solmization (shoka) delineates the general line of the music.

Geza

In addition to its hayashi noh associations , and contributions of folk music from the bamboo flutes, the music of the geza consists of an almost infinite range of patterns. Many of these are known by name and are associated with a particular action, dance or play. For example: taki no oto (o-daiko pattern for the sound of waterfalls), sugomi no aikata (shamisen pattern used to depict feelings of psychological and emotional desolation), kassai nenbutsu (taiko and matsumushi pattern which imitates the sound of bell and drum used in the chanting of Buddhist prayers. Used for desolate scenes of murder and struggle at farmhouses, at embankments, and in thickets).

The order of their performance is notated in a book called the tsekechou, which is essential for maintaining co-ordination with the action on stage.

Ki and Tsuke

The ki serve the purpose of co-ordinating action and stage directions and are heard either as single clacks (cue for something to happen), or double clacks (cue to prepare cast and crew for impending action) or continuous clacks (accompanying an action to its conclusion)

They play a notable role at the opening of a play when, fifteen minutes before the start, a double clack (tomegi) stops the sound of the drum music (chakutou). This is followed approximately five minutes later by a double clack (nicho) which signals the start of the juuichicho - a series of eleven widely spaced beats slowly accelerating until the moment to open the curtain. A double click (ki o naosu) warns the cast to be in place. Then follows the kizami - "continuous pattern" - which starts loudly and slowly, accelerating and tapering in dynamic as the curtain is first opened. A similar pattern of events takes place at the end of the play

The tsuke produce a duller sound than the ki as they are beaten against a board placed upon the floor, stage left. Their sounds can be broken down into four patterns: hirote (single-hand beats), batan (a double beat - left right), battari (a triple beat - left right left) and bata-bata ( a continuous beating pattern left right left right which can accelerate or become slower). They are used to accentuate particular events (e.g. something falling to the floor), or the approach of particular dramatic moments (e.g. a hero planting his foot in preparation for a mie). In the case of the battari, it is frequently used to accentuate the upward and downward head movements during a mie pose. It also features as the accompaniment to rapid entrances and exits (roppo) when the bata-bata pattern accelerates rapidly acting independently from the other music.

These patterns can be built up into an extensive accompaniment to the action (Sukeroku: The fight between Sukeroku and Ikyuu)

Chobo

Notation for the gidayu ensemble, the chobo, is restricted to the use of the singer alone. Whilst it is beyond the scope of this project to go in depth into this style of notation, it may be interesting to see an example from a part book. It is suggested that it may be derived from the notation originally used to record the music of the biwa players

Biwa notation