Shōdan in Okina
Encounter
The performance of Okina’s Encounter features an arhythmic text set in sashinori, sung in the tsuyogin style. This is accompanied by a non-congruent nohkan part and three kotsuzumi drums played in a strict rhythmic setting.
Although Okina and the Sanbasō-to-be establish eye contact, they do not directly exchange words. Instead, the text is sung by Okina in alternation with the jiutai, who speaks on behalf of Sanbasō.
The nohkan supports the encounter with two patterns. The first, the Notare no ryō pattern, consists of five short motifs, each composed of two or three shōga: Ho-ro, Tsu-ro i-ya, Ro-ru-ra, Ho-hya, and Cho-u. This pattern is performed as the two characters remain seated. The second pattern, the Shingon no te ("mantra pattern"), possesses a melodic shape that descends from high to low and is introduced as the two characters stand.
After a two-honji introduction, the percussion section presents a one-honji pattern with strokes on every beat. The parts performed by the leader and the two other players are distinct, thereby creating a combined one-honji pattern that is rich in timbre. These two parts are identified as A and B in the figure below and alternate with each measure, as depicted:
Finally, when the two characters rise, the ōtsuzumi player introduces sparse strokes that disrupt the steadiness of the kotsuzumi’s pattern, ultimately leading to its dissolution. This procedure, performed by the ōtsuzumi, is called oshirabe, in reference to the unmetered strokes played during tuning prior to the beginning of a play.