Catalog of Shōdan: Introduction Chants
Kuri
A high-pitched melodious and short einori chant sung by the shite, the jiutai, or both. Kokaji’s and Takasago’s Kuri are set for jiutai accompanied by ōtsuzumi, kotsuzumi and nohkan.
Kuri's text is based on a sequence of 7 + 5 syllables but is classified as an arhythmic text. This is because one must be able to hear the subdivision of a text into two hemistiches for it to be considered a rhythmic text. The overall complex rhythmic organization of the Kuri makes it impossible to hear that the text is organized into two hemistiches.
Kuri is one of the Introduction chants, although its introductory nature is rather ambiguous. Kuri's narrative introduces the story presented in the next shōdan, the Sashi, whose narrative is then fully developed in the next shōdan, the Kuse. Because the Kuri leads to the Kuse, it is classified as an 'Introduction' chant.
When sung by an actor, the Kuri often follows a Shidai Chant or Issei Chant. On the other hand, it precedes a Sashi when sung by the jiutai, as it is the case in Kokaji and Takasago. It always concludes with its signature melisma called hon-yuri.
The rhythmic organization of the percussion starts and ends in strict setting but alternates with flexible setting phrases. Because of the fast tempo it may be difficult to recognize.
The nohkan performs two patterns during the Kuri. The first one, also called kuri, is short. The longer pattern, called yuri, follows. In Kokaji, they are separated by an unnamed pattern ‘Ohya, yo ru’. In Takasago, these two patterns are separated first by the Naka no Takane pattern, followed by a variation of the unnamed pattern ‘Ohya ra ru ri ‘.
Kokaji's and Takasago’s Kuri are sung in tsuyogin style. For the most part, the melody is sung on the Medium/High tone. However, the module's name refers to the high pitch kuri; thus, the melody of Kokaji's Kuri, for instance, includes four melodic motions towards the kuri tone. They appear as part of embellishments and are highlighted in bold in the video's text. Finally, the signature closing melisma hon-yuri closes the chant on the Low tone.