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
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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
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[@MaKi-tr4cm]

Hello from Gerrmany! Thank you for sharing! I enjoyed your teaching.

[@TairyuShakuhachi]

Welcome! Happy to have you here :-)

[@danielevarelli1652]

thank you, great as usual!

[@TairyuShakuhachi]

My pleasure!

[@白云谦信]

Thanks a lot for your teaching. and please made much more lessons.such as "巢鹤铃慕"，“鹤之巢“。I learned "ha ro 八口"from your teaching .

[@TairyuShakuhachi]

I’m so happy this helped you! I will work on those

[@zaidayman7359]

Alot of thanks 🙏 for this great lesson,

[@TairyuShakuhachi]

It is my pleasure.

[@barryg9097]

At 17:35, you mention popping two on the tsu meri after the ro. Do you pop 2 before or after you first land on tsu meri? In other words, is it Ro - pop 2 - Tsu meri, or is it Ro - Tsu meri - pop 2 - Tsu meri? Thanks

[@TairyuShakuhachi]

Both are acceptable in my opinion. I believe I’m before.

[@barryg9097]

Thanks Shawn and thanks for great instructional videos on accessible honkyoku pieces!

[@elvisodemejero9647]

Please do a tutorial on how to play diatonic scale on the shakuhachi.thanks

[@TairyuShakuhachi]

There are many diatonic scales. Can you be more specific?

[@elvisodemejero9647]

@@TairyuShakuhachi thanks f major scale on the 1.8 shakuhachi

[@barryg9097]

Thanks very much for a great video Shawn! Is the notation for the piece available online?

[@TairyuShakuhachi]

I believe there is a place that has all of his scores available for download. I will have to do some digging to find it though.

[@JethroSama]

@@TairyuShakuhachi where you able to find the website? :)

[@TairyuShakuhachi]

@@JethroSama yes I have it somewhere on my laptop

[@kjell159]

I was wondering if there is a difference in meaning between 'Murasaki Reibo' and 'Murasaki Reiho', it is the same piece aparently, just a different spelling? Some suggestions: Shika no Tone and Tsuru no Sugomori. Also the komi buki and Nezasa Ha/kinpu/oie ryu style are interesting in my personal opinion. I've had a lesson on Shirabe & Sagari Ha once and the way the master (Keisuke Zenyoji) performed it was splendid. The dynamic range in these pieces are interesting through the use of that komi buki technique. I'd like to learn the technique in more depth, as I've only been quite briefly introduced to it, I don't even know if I'm doing it 'right'; although, as Kakizakai Kaoru told me after asking about my embouchure, as I have no (personal/official) teacher: "If it sounds right, it is right". Just a suggestion of course, you probably don't teach in that school/style as it's rather particular. I've read/heard that the Nezasa Ha sect was a sect located in the northern regions of Japan, where Tsugaru shamisen originated, consisting of primarily ronin/(ex) samurai? That's pretty cool. Just like Tsugaru shamisen is more of a percussive playing style, so are Nezasa Ha pieces in a way with it's expressive/dynamic komi buki. I find the origins of Murasaki Reibo also interesting, as I've always found Ikkyu a fascinating person in Japanese history. With his eccentric ways of zen practice.

[@TairyuShakuhachi]

I do actually teach all those pieces. I’m trained in Dokyoku. I’ll do the Nezasa Ha and komibuki. Thanks for the idea

[@TairyuShakuhachi]

To answer your first question, lots of pieces have multiple names.

[@TairyuShakuhachi]

In regards to Shika No Tone and Tsuru no Sugomori, those pieces are very difficult and nuanced. For my school, they are both Shihan level pieces. They need to be taught one on one but I will consider it.

[@aircombatmaneuvers]

Thanks! Just a question: for the ri ro (kan), Is it valid to play the ro kan after Ri with alternate fingering like all holes closed and the fifth hole shaded or open so we can get the ro kan from ri without closing the lips or increasing blow pressure ? Sometimes i found it to be more smooth that way. What do you think about it?

[@TairyuShakuhachi]

Yes, there is no problem with this but it does change the color of the RO slightly. So I would crack the 5 and then once I am conformtably in kan, then close the 5 fully. Thanks for watching!

[@aircombatmaneuvers]

@@TairyuShakuhachi thank you so much for your answer! Keep,the good work love your channel