Daisan Fudo

第３風動

[ジャンル]	現代音楽
[作曲様式]	N/A
[対象楽器]	杵屋正邦 - 尺八 - 1970

発祥 (横山勝也):

Kineya Seiho, who composed this piece, was born in 1914 and is representative of composers in the Japanese traditional music circles of this time. He started his musical career as a nagauta shamisen player, but since World War II, composition has been the main focus of his work. He has published many masterpieces, some combining various Japanese traditional musical styles in an unconventional way, while others interweave techniques of various styles or master players as constructive elements in the composition. This piece, "Fudo No. 3", is for shakuhachi trio, composed in 1970. Three shakuhachi of different lengths are combined. The construction is that each shakuhachi sings a basically metric structure, and the three voices interweave, but some of the elegance of classical music is added too, as heard in the non-metric part and in the agogic changes which appear in the middle of the piece. The piece requires the players to have the ability to precisely reproduce pitches and lengths of notes prescribed by the composer.

第３風動は下記のアルバムに収録されています

	アルバム	アーティスト
	Shakuhachi - The Art of Yokoyama Katsuya	尺八 : 横山勝也
Kineya Seiho, who composed this piece, was born in 1914 and is representative of composers in the Japanese traditional music circles of this time. He started his musical career as a nagauta shamisen player, but since World War II, composition has been the main focus of his work. He has published many masterpieces, some combining various Japanese traditional musical styles in an unconventional way, while others interweave techniques of various styles or master players as constructive elements in the composition. This piece, "Fudo No. 3", is for shakuhachi trio, composed in 1970. Three shakuhachi of different lengths are combined. The construction is that each shakuhachi sings a basically metric structure, and the three voices interweave, but some of the elegance of classical music is added too, as heard in the non-metric part and in the agogic changes which appear in the middle of the piece. The piece requires the players to have the ability to precisely reproduce pitches and lengths of notes prescribed by the composer.