How to Play Your First Shakuhachi Honkyoku: Kyorei (虚鈴)
To embark on the path of Honkyoku, the most revered pieces of shakuhachi music, we begin with a unique arrangement of Kyorei (虚鈴) by the master Jin Nyodo (1891-1966). His particular version of Kyorei serves as an ideal first pieces because it remains in the lower fundamental first register Otsu. This simplifies the initial learning process because the higher second register Kan is more challenging.
This score below has been meticulously prepared by me in the notation style of the Seien Ryu (西園流), reflecting its origins from Fudaiji Temple (普大寺). If you’ve yet to discover how to interpret this unique notation, you’ll find a comprehensive guide here. (Instruction continues after the score further down below.)
Just like our note charts, Honkyoku scores are traditionally read from right to left and top to bottom. As you delve into the score, observe the following elements:
- Breath Lines (Takoashi fu): The diagonal lines extending from the notes are known in Seien Ryu as Takoashi fu (or ‘octopus [leg] breaths’). These unique markings indicate the general duration for which you should sustain each note.
- Pauses of Silence (Ma): The enso ‘o’ circles positioned between breaths are moments of stillness where you’ll pause and inhale. These are known as ma (間) or ‘space’ and are vital to the piece.
- Dynamic Meri (Line 1, 3rd Breath): On the first line, the third breath or ‘phrase’ which begins with ウ holds a special instruction. When the breath line sharply turns downwards it signifies a rapid, deeper meri which further drops the pitch. For example, on a 1.8 shaku a standard ウ is an Ab/G# while deepening it will bring it to the pitch of G, equivalent to レ (Re).
- Repeating Phrases (Line 4, Breaths 4 & 5): On the fourth line, breaths four and five, you’ll encounter large bracket or arrow-like symbols ( ⧼). These are shorthand indicating that you should repeat the preceding breath. For example, you’ll repeat the third breath of line four two more times.
- Rising from Meri (Ro Dai Meri): Following these repetitions, you’ll arrive at ロ大 (Ro dai meri). Notice how the breath line takes a sharp turn, but this time upwards. This indication instructs you to raise the pitch back to a normal ロ (Ro), coming up and out of the meri position to your regular upright head position. After this, you’ll perform an atari on ロ as you normally would.
- Applied Technique (Next Line, 2nd Breath): On the subsequent line, the second breath illustrates the same principle, but applied to ハメ (Ha meri).
