Shōdan in Okina
Mominodan
This instrumental dance comprises six sections, each demarcated by the nohkan’s patterns. The duration of each section, measured in honji, is indicated in parentheses following the section and pattern names:
Kakari (2)
Section I (30): 4 x Ji (5) – Shote (3) – Te (7)
Section II (16): Ji (5) – Ninote (3) – Te (8)
Section III (14): Ji (5) – Sanote (3) – Te (8)
Section IV (15): 3 x Ji (5)
Tome (8)
Apart from the Kakari and Tome, the nohkan initiates the other four sections with a ji pattern comprised of five phrases (A, B, C, D, and E). The opening motif’s sound register for each phrase is illustrated below, outlining an arch-shaped melodic Contour: the line moves from the instrument’s high register to medium-low, before returning to the high register.
| A | B | C | D | E |
| high | high low | medium low | medium high | high |
The sequence of the sound registers of the opening motif for the eight Te phrases (F, G, H, I, J, K, L, and M) follows a different trajectory: it begins in the medium-low register, descends to low, and finally rises to the high register:
| F | G | H | I | J and K | L | M |
| medium low | low medium | low | low high | medium low | medium high | high |
Throughout these six sections, Sanbasō progresses through a sequence of eleven distinct rounds across the stage. Each round features a variation on two fundamental movements: stamping steps, focusing energy on the lower body, and sleeve swirling, which shifts energy towards the upper body. Some rounds combine both movements, while others consist solely of walking. The dynamic stamping sequences are often supported by Sanbasō’s kakegoe ‘iya’ on beat 8.5 and ‘ho’ on beat 4.5. Conversely, the quieter walking motions are usually performed without any kakegoe.
These rounds traverse Squares 8, 3, and 5, and vary in duration: some extend to approximately 13 honji, others to around 8, and some to roughly 4 honji. The chart below summarizes the nohkan’s sequence of patterns in relation to each round, detailing the path in terms of visited squares, featured kata, and duration in honji. The duration of each pattern or round appears in parenthesis besides its number.
| Nohkan | Dance | |||||
| Honji | Section | Pattern | Honji | Round | Squares | Kata |
| 1-2 | Kakari (2 | - | 1-13 | 1 (13) | 8-3-5 | Stamping & Step |
| 3-7 | I (30) | Ji-a (5) | ||||
| 8-12 | Ji-b (5) | |||||
| 13-17 | Ji-c (5) | |||||
| - | 14-19 | 2 (6) | 8-3-5 | Walking & Swirling both sleeves | ||
| 18-22 | Ji-d (5) | |||||
| - | 20-23.5 | 3 (3.5) | 8-3-5 | Walking & Swirling both sleeves | ||
| 23-25 | Shote(3) | |||||
| - | 23.5-26 | 4 (3.5) | 8-5 | Walking | ||
| 26-32 |
Te-a (7) (25, 26, 27, 28, 29) |
|||||
| - |
27-38.5 (27,28,29) |
5 (11.5) | 8-3-5 | Stamping, Step & Swirling both sleeves | ||
| 33-37 | II (16) | Ji-e (5) | ||||
| 38-40 | Ninote(3) | |||||
| - | 38.5-42 | 6 (4.5) | 8-3 | Walking & Left sleeve reset | ||
| 41-48 | Te-b (8) (41,42,43,44,45) | |||||
| - |
43-53 (43-44-45) |
7 (11) | 8-3-5 | Stamping, Step & Swirling both sleeves | ||
| 49-53 | III (14) | Ji-f( 5) | ||||
| 54-56 | Nanote(3) | |||||
| - | 54-57.5 | 8 (4.5) | 8-5 | Walking & Swirling both sleeves | ||
| 57-62 |
Te-c (6) (57,58,59) |
|||||
| - |
57.5 -69 (57,58,59) |
9 (12.5) | 8 - 3 - 5 | Stamping, Step & Swirling both sleeves | ||
| 63-67 |
IV (15) Tome (8) |
Ji-g (5) | ||||
| 68-72 | Ji-h (5) | |||||
| - | 70-76 | 10 (7) | 8-3-5 | Walking | ||
| 73-77 | Ji-i (5) | |||||
| - | 77-85 | 11 (9) | 8-9 | Stamping, Step & Swirling both sleeves | ||
| 78-85 | - | |||||
As the chart demonstrates, most rounds involve a path linking Squares 8, 3, and 5. The three shorter rounds that do not—rounds 4, 6, and 8—can be interpreted as cadential markers, which help to divide the choreography into four groups, as indicated by the thicker lines in the chart. Furthermore, the first round of each group is of longer duration than its companion rounds. In addition, the third honji of the first round of each group involves stamping in synchronization with the nohkan’s , Te phrase that starts with the shōga -Ohya- . The corresponding honji number for to these synchronized moments are shown in bold in the chart.
The performed kata also helps articulate the dance’s form. The first round of each part is typically characterized by stamping, with or without sleeve swirling, while walking, again with or without sleeve swirling, characterizes the companion rounds. The closing eleventh round constitutes an exception, concluding the dance at center stage (Square 9) with maintained momentum, featuring both stamping and sleeve swirling.
Percussion support is centered around the kotsuzumi’s one-honji pattern, first introduced in Okina’s second Dance-to-text. The pattern includes a stroke every second beat, with each one preceded by a kakegoe: “iya” for the first, and “ho” for the second and third. The stroke on the seventh beat, however, is preceded by a pick-up “po” stroke, rather than a kakegoe. As for the ōtsuzumi, while its function in the Momidashi was to interact with the kotsuzumi’s steady pattern, here the emphasis is on supporting the dance. Therefore, its pattern is steady, with “chon” strokes on most even beats -1, 2, 4, and 6- complementing the kotsuzumi’s strokes on odd beats:
