Shakuhachi Lesson #8 How to play Murasaki Reiho (Reibo) скачать в хорошем качестве

Shakuhachi Lesson #8 How to play Murasaki Reiho (Reibo)

Shihan, Shawn Renzoh Head goes through Murasaki Reiho/Reibo line by line. He is using the notation by Jin Nyodo. Recommended length for this work is 2.2 For private lessons, please go to ShawnHeadMusic.com and send a message through the contact form at the bottom. More about the work from komuso.com Kyoto Myoan-ji: MURASAKI-REIBO 2-shaku 2-sun 5 min. 6 sec. 1. About the title of the piece: It is said that this is a piece by the Zen priest Ikkyu, the forty-seventh chief priest of Daitoku-ji in Murasakino, Kyoto. Probably the element Murasaki ("purple") in the title comes from Murasakino ("purple field"). Reibo is one of the various Chinese character representations of that common title for shakuhachi pieces. For more information consult the section (in Reibo in "Commonly Used Titles." This is one of the rare examples among classical shakuhachi honkyoku where the name of the composer has been handed down. That it was composed by Ikkyu is an oral tradition: there are no supporting written records. However since the collection of Chinese-style poems Kyoun-shu by Zen priests, as well as other materials, make it clear that Ikkyu enjoyed playing the shakuhachi and the hitoyogiri, it would not be impossible to suppose that he did indeed write this piece. Leaving aside the issue of Ikkyu's authorship, we can wonder whether in fact this piece dates back well before recent times to an older style of music. That is to say, its straight-forward melodic structure without embellishment, its simple and lucid composition as well as other features give an overall placid feeling not found in more recent times. 2. Structure of the piece It is formed of three dan, the middle of which is a takane using the tone pattern kara-kara. At the opening of the piece, the melody is in the middle tonal range, and throughout the piece the tone shifts from the mid-range to the upper tonal range as its focal point. The rhythm is never sluggish but maintains a distinctive beat so that the mood of the, piece is not at all heavy or somber. 3. Special features of the piece: In the melody of this piece we can feel the kind of nostalgic yearning round in komori-uta (lullabies). Perhaps it is one of the folk melody patterns that the Japanese people have possessed since ancient times. The wandering mood of the piece cannot help but suggest the personality of Ikkyu Wako. Due to the simplicity of the melody and structure, this piece allows the player freedom to respond to his own mood: he can play in any way he feels whether it be light and happy or sad and lonely. ~Jin Nyodo BUY A SHAKUHACHI 🔸 Yozan Shakuhachi: https://www.yozan-hikichi.shop/index.... WANT TO SUPPORT? 🔸DONATE: paypal.me/shawnheadmusic RECOMMENDED 🔸Modern Music on Shakuhachi:    • Makiri - Devil's Cut   🔸Learn Shakuhachi:    • Shakuhachi Lesson #1 How to play Hons...   🔸Interviews:    • Composer Interview: Omar Peracha and ...   🔸Bamboo Beats:    • BAMBOO BEATS | THE FREESTYLE FOLK   🔸Traditional Music    • 吾妻獅子 - Azuma Jishi - Lion of the East   🔸Collaborations:    • Video   SOCIAL 🔸Facebook:   / shawnheadmusicpage   🔸Official Website: Www.ShawnHeadMusic.com 🔸Instagram:   / shawnrenzohhead   🔸Twitter:   / shawnhead5