Kyokubiki -- 曲弾きとは (Patreon)

In this post, we will finally cover Tsugaru’s… “Kyokubikii”!

“Kyokubiki" is the prelude part of what is known as… Tsugaru Godai Minyo (the five major Tsugaru folk songs) that has been lengthened and is now played as a customized solo piece by each shamisen player.

*Tsugaru Godai Minyo : The five major Tsugaru folk songs that include;

Tsugaru Jongara Bushi

Tsugaru Yosare Bushi

Tsugaru Ohara Bushi

Tsugaru Aiya Bushi

Tsugaru Sansagari

They are the most difficult Tsugaru folk songs as well.

It may be confusing at the start, but the definition of “Kyokubiki” varies, as Tsugaru Jongara Bushi that you often hear/played on Tsugaru Shamisen alone is called Kyokubiki.

Or, in some cases is the performance piece used for  Tsugaru Shamisen competitions.

In this case it can be called Kyokubiki, and even Tsugaru Godai Minyo. ‘Kyokubiki’ can also include renditions of Tsugaru Aiya Bushi and Tsugaru Yosare Bushi.

Since Kyokubiki are made up of various playing techniques, many people aim to master it as a part of their regular repertoire.

This year, we will start Kyokubiki lessons here on Learn Shamisen.

So, before we do... let's take a moment to deepen our knowledge!

Basically Everything Is Improvisation

In the days when the style was not yet called Kyokubiki, the prelude to a song was the only place where the shamisen player could stand out. Players packed their own techniques into the prelude and improvised. Even today, there is no fixed length or phrase, players improvise songs as they see fit.

Of course, it is difficult to improvise right from the start, so it is a good idea to kick off by learning many short phrases (and the general flow of the song) first, and then assembling them like a puzzle to make a piece of music.

As we go through the “Kyokubiki” lesson series, we will be helping you do exactly this!!

Building Your Original Kyokubiki (Limiting Imitation of Others)

What is very important in playing Kyokubiki is to understand and master the basic Tsugaru shamisen techniques, and then to express your originality. The originality can be expressed, for example, by the speed of playing, the phrases used, the tone and intensity of the sound, etc. Shamisen players pursue what they call "their own Tsugaru shamisen” through learning and developing their Kyokubiki.

When several of us take turns playing Kyokubiki at a concert, we try to avoid playing the same phrases as the person who played before us, and try to give a performance that is as unique as possible.

When you find your best technique or the phrase "I want to play this one", you will be able to express your originality more through Kyokubiki.

It is one of the interesting points of Kyokubiki that there is no "right answer," so please watch and listen to the performances of various players to learn what kind of originality there is in their playing. Pick up phrases and sounds that you like, and use these examples to build your own style and phrases.

Follow The Rules Of The Song

Saying that "there is no right answer" does not mean that you can play whatever you want. It is very important to have the basic Tsugaru Shamisen Techniques in place (being able to produce a solid sound, having proper technique of Bachizuke, etc.), and to follow the rhythm and scale of the piece. Learning and feeling/understanding each part of the song is key in doing this!

It is also important to keep in mind the characteristics of each Tsugaru Godai Minyo, so you will be able to distinguish the songs.

Usually, Tsugaru Jongara Bushi will be the first song that you learn, when you learn Kyokubiki, so maybe you can start listening to the song and pay attention to the following points:

• What kind of rhythm do you hear?
• What kind of phrases are used with Bachizuke?
• Which Tsubo are used?

Let’s set a goal of  finding your favorite phrases or techniques and working them into your Kyokubiki. In doing this, you will exponentially grow your enjoyment of Tsugaru Shamisen!

WATCH & LISTEN HERE:

https://www.youtube.com/watch?v=RcqO0zkyQRo  

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みなさんこんにちは！今日は「曲弾き」についてご紹介します！

「曲弾き」とは、津軽五大民謡（津軽じょんがら節、津軽よされ節、津軽小原節、津軽あいや節、津軽三下りの5つの民謡のことで、津軽民謡の中でも難しい曲）の前奏部分が長くなりソロ曲として演奏されるようになったもののことです。

みなさんもよく耳にする津軽じょんがら節の津軽三味線だけの演奏も「曲弾き」、津軽三味線の全国大会で演奏されているのも「曲弾き」、五大民謡なら津軽あいや節でも、津軽よされ節でも津軽三味線のソロ曲で演奏されれば「曲弾き」と呼ぶようになります。

さまざまなテクニックを詰め込んだ演奏なので、いつかは自分も演奏してみたいと憧れる人も多いはずです。

今年は、このLearn Shamisenでも曲弾きのレッスンをスタートしたいと思いますが、その前にちょっとだけ知識を深めておきましょう。

基本的にアドリブ

まだ「曲弾き」というスタイルではなかった頃は、唄の前奏が三味線弾きが唯一目立てる場所でした。奏者は自分の持つテクニックを前奏部分に詰め込んでアドリブで演奏しました。その流れを組み、曲弾きになった今も長さやフレーズに決まったものはなく、演奏者がその時々でアドリブで曲を作っていきます。

もちろん、初めからアドリブで演奏することは難しいのでまずは色々な短いフレーズをたくさん覚えて、それを取捨選択しながらパズルのように組み立て一曲にしてみるところから始めるといいと思います。

唯一無二の曲弾きを弾こう（人の真似をするな）

曲弾きを演奏する上でとても大切なことは、基本的な津軽三味線のテクニックを理解し、身につけた上で自分の個性を出すということです。それは例えば演奏する速さ、使うフレーズ、音色や強弱などで表現することができ、奏者達は曲弾きを学びながら「これが自分の津軽三味線」というものを追求していきます。

コンサートで何人かで並んで順番に曲弾きを演奏する際は、前に弾いた人と同じフレーズは避けてなるべく個性が光る演奏をするよう工夫しています。

自分の得意な技や、「これだけは弾きたい」というフレーズを見つけるとより曲弾きが自分のものになっていくものです。

「これが正解」というのがないのが曲弾きの面白いポイントなので、色々な奏者の演奏を見て聴いてどんな個性があるか探してみましょう。

曲のルールは守ろう

「これが正解がない」と言っても、何を弾いてもOKというものではありません。あくまでも、津軽三味線の基本的なテクニック(しっかり音が出せる、撥付の技術がちゃんとできている、など)がきちんとできている上で、曲の持っているリズムや音階を守ることはとても大切です。

五大民謡のそれぞれの曲の特徴を押さえておくことも重要になってくるので、曲を聞き分けられるようになりましょう。

まずは津軽じょんがら節から入って行きますので

・どんなリズムで演奏している？

・撥付けが出てくるのはどんなフレーズ？

・使っているツボはどこ？

というところに注目して予習しておくと良いと思います！お気に入りのフレーズや技を見つけて目標にすると練習も楽しくなりますよ♪

輝&輝のじょんがら節曲弾き:

https://www.youtube.com/watch?v=RcqO0zkyQRo