Today we are going through Nezasa Shirabe.

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Nezasa-ha: SHIRABE

1-shaku 8-sun
2 min. 55 sec.

1. About the title:

Please consult the section on Shirabe-Choshi in "Commonly Used Titles."

It is possible to view this particular Shirabe of Nezasa-ha as having once been an independent piece, but of course its use as an introduction or prelude is its more important feature. That is to say, in Nezasa-ha it was attached to the performance of each piece, and became fixed as an introductory section for the "cleaning of the heart and the repose of the soul." However, the single piece Matsukaze is an exception: since it already has a shirabe-style opening, this piece Shirabe is not used with it.

2. Structure of the piece

It begins in the lower range, proceeds to the upper, and returns again to end in the lower range. This construction is shaped like a gently rounded mountain. From the point of view of dan ("steps"), we can divide it into three sections: 1. a five-breath jo, 2. a high four-breath section and 3. a four-breath closing section.

Although it is short, it has all the basic elements of composition and thus can be played either as an introduction or as an independent work. The komibuki of the initial ro-tone is said to represent the wrath of heaven and earth and thus should be played with some strength and fierceness.

3. Special features of the piece:

Pieces called Shirabe or Choshi all display the artistic styles of their schools. This piece clearly shows the artistic style of Nezasa-ha: a feeling of deep sorrow and desolation set within a rather vigorous framework. There is a theory that this is a composition by Ban Yasuyuki (1798-1875), but just as we can suppose that there is a Gen-Rokudan ("original Rokudan") behind the koto piece Rokudan-no-Shirabe, we are free also to assume that there was also another original piece behind Shirabe.

This is the first short, basic piece studied in Nezasa-ha, but it is not so easy to master completely: this is rather like the situation with Rokudan-no-Shirabe where even the most famous players find it hard to perform the piece to their own complete satisfaction.

From Komuso.com by Jin Nyodo

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