Selected Nohkan Patterns
Takane
| Shōga | o-hya ra |
Takane hane
| Shōga | o-hya |
| ro ru ra | |
| ri ya ri |
Hishigi
| Shōga | hi pi-u hi |
The 'hi ', stands for the highest (‘shrilling’) sound, also called hishigi
The pattern often functions as an opening of a shōdan, as seen in Issei and Shidai music.
Hishigi takane mi kusari
| Shōga | o-hya ra |
| o-hya hi-u hyu i | |
| hi-hyo ru ri |
Here, the shōga 'hi ' is used for two different sounds: the highest shrilling sound called hishigi, and the standard high-pitched sound. In the example, the hishigi sound appears in the middle of the second line, while the standard one is at the beginning of the third line.
Roku no ge
| Shōga | hi-u ri-u i-ya |
| ri-u hyu-i | |
| hi-hyu i-ya ra ri-(u) ro-i | |
| tsu-ro i-ya |
The bracketed shōga 'u ' was traditionally part of the pattern, but it is not performed anymore.
Mi roku no ge
| Shōga | hi-u ra ri-(u) ro-i |
| tsu-ro i-ya |
The bracketed shōga 'u ' was traditionally part of the pattern but in our example and in recent times it is not performed.
The following examples illustrate the distinct expressive inflection given to basic patterns in different contexts. The Naka no takane, Takane mi kusari, and Tome no te patterns are first heard in their ‘generic’ form, and then performed in Kuse of Kokaji, involving a male deity, and in Kuse of Hashitomi, showcasing a young maiden. The stronger attack and faster speed of the former, fitting in the context of a divine being, contrasts in the latter with a softer attack and slower speed appropriate for a maiden.
Naka no takane
| Shōga | hi-hyo ru ri |
| hi-hyo i-ya |
Takane mi kusari
| Shōga | o-hya ra |
| o-hya ro-i | |
| hi-hyo ru ri |
Tome no te
| Shōga | o-hya ri ya ri |
| hi-hyo ru ri |
The pattern is used to mark the end of a shōdan or play.
Hashitomi's Tome no te slightly differs from the 'generic' pattern, since the bright last 'ri ' of the first line is not played. This is shown in the video with parenthesis '(ri)'. In Hashitomi the Tome no te pattern leads to the high and shrilling hishigi pattern, not included in this video. Thus, one could stipulate that it is to save the higher range for that last pattern, that the 'ri ' is left out in the Tome no te's first line.