Catalog of Shōdan: Recitative Chants
Kakaru
Kakaru means "to initiate" or "to get into something", which in this case refers to a transition from a spoken narrative to singing and music. It can mix kotoba and singing in non-congruent mode. Text in prose either alternated with or is followed by arhythmic text set in sashinori. When switching from speaking to singing, a subtle expressive emphasis takes place in the first few sung words. Kakaru can be accompanied by the two drums in flexible mode but never by the nohkan.
Kakaru typically follows a spoken dialogue like a Mondō or Kakeai and often leads to a congruent song such as an Ageuta. Also, serving as a bridge from a conversation, it is often sung antiphonally. The shōdan that follows is frequently sung by the jiutai, who takes over from shite and waki, and speak for them in one merged voice.
There are three Kakaru in Hashitomi presented below. The second is a typical one, whereas Kakaru one and three are monologues. However, all three share the function of preparing for a dramatic shift, such as the arrival of the shite. They are all either leading to or opening a new section: Shite Enters, Shite Performs and Shite Re-enters, respectively. The transitional quality of the Kakaru is also reflected in its percussion accompaniment, which is articulated with sparse mitsuji pattern, with an increase of momentum towards the end, evidence in a switch to the pulsated tsuzuke pattern.
Delivery in kotoba is recognizable by the declamation's rising tone, identified in the video with bold syllables. On the other hand, the vibrato associated with the singing mode helps identify the switching point between the two modes.
Although the name Kakaru appears in the chanting books of most schools, the term is not normally adopted as a name of shōdan in Japanese academic context. Instead of Kakaru, the relevant segments are referred to as Kakeai (dialogue), Sashi or are given no name.
Hashitomi’s first Kakaru is the last shōdan of the first act’s Waki Enters dan. It is set for one actor accompanied by the two hand-percussion instruments.
This is a monologue presented by the waki, a monk living in Unrin-in Temple, who is performing a service for flowers as an offering to Buddha. After having made a factual statement about the flowers in kotoba, the waki switches to singing in yowagin style, as he emotionally reflects on the lotus plant, since according to Buddhism, the heart of beings is like an unopened lotus.
Hashitomi’s second Kakaru is the last shōdan of the first act’s Dialogue dan, leading to an Ageuta. It starts in chanting mode, switches to kotoba, and concludes in singing mode.
This is a dialogue between the waki and shite while the latter's identity is still unknown. (The waki is sitting further right, the shite between the waki and kotsuzumi player.) Both singing parts are in the higher range, sung in yowagin. The only spoken line in the dialogue is delivered by the shite's character, who cleverly evades answering the waki’s question about her name. The change of timbre let us understand that the shite's character is not yet ready to reveal her identity.
The ambiguity about the shite's character identity is underlined by the two percussion instruments whose material spread over five eight-beat units heavily features the mitsuji patterns whose sporadic strokes prevent the emergence of a definite pulse, creating a rhythmic ambiguity that matches the ambiguity of the shite's identity.
Hashitomi’s third Kakaru is the sole shōdan of the second act’s Waki waits dan. It is entirely sung, so it compares well with a Sashi, the main difference between them is that the Kakaru does not include a nohkan’s part.
Examples in the Play:
Hashitomi - Kakaru 1
Hashitomi - Kakaru 2
Hashitomi - Kakaru 3