Catalog of Shōdan: Recitative Chants
Sashi
There are three types of Sashi : the first is the type that sits between the Issei-music and Issei-chant, sung by the shite after his entry; the second is the type that leads into a hiranori chant, and is often followed by a Sageuta; finally the third type is found among the three-part Kuse: Kuri, Sashi, Kuse. Takasago contains three Sashi, one of each type, whereas the Sashi in Kokaji is an example of the third type.
Based on arhythmic poetic text, all Sashi are sung in recitative sashinori style by actor(s), jiutai, or by both actor(s) and jiutai. In contrast to einori chant and its prolongation of certain syllables and the rise and fall of the vocal line, a sashinori chant is akin to a recitative. The non-congruent vocal line, with alternating verses of seven and five syllables and the percussion part in flexible rhythm, suggest that the text is still in the descriptive rather than poetic part of the play. The addition of the non-congruent nohkan part contributes to create a rather complex texture. In this context, it is the percussionists’ responsibility to adapt their sparse mitsuji patterns to the chant, whose tempo is in constant flux.
Singing in tsuyogin style, the shite and jiutai, accompanied by the two hand-percussion instruments and the nohkan, perform Kokaji's Sashi. The shite’s two verses divide the shōdan in two parts. His first verse is followed by six lines delivered by the jiutai, each one sung on a single accelerating pitch that comes to a concluding sustained-tone. Accompanied by the nohkan’s kuse no ryō pattern, the jiutai’s reply to the shite’s second verse has a definite melodic attribute that contrasts with the recitative quality of the first six lines.
Takasago’s first Sashi is of the second type, situated between an Issei chant and a Sageuta. It is sung by the shite and shitezure, celebrating their long-lasting togetherness.
The second Sashi is of the third type, positioned between a Kuri and a Kuse, it is performed by the shite and jiutai, praising the impressive appearance of the Pine of Takasago.
Sung by the shite describing the noble Pine at Sumiyoshi, Takasago’s third Sashi exemplifies the first type, or rather, a variation of it. It is preceded by a deha, a variation of Issei music that includes a taiko part, and is followed by a Jo nō ei, a variation of an Issei chant with a syllabic structure closer to that of a waka. Because of the presence of the taiko drum in this Sashi, all three percussion instruments are performed in a strict setting, which is exceptional since in a Sashi the two drums (kotsuzumi and ōtsuzumi) are usually performed in a flexible setting.