Makoto Moroi, Chikuho Sakai, Syohdoh Sakai - Five Dialogues For Two Shakuhachis/Shin Mukaiji FLAC album
Title: Five Dialogues For Two Shakuhachis/Shin Mukaiji
FLAC version ZIP size: 1720 mb
MP3 version ZIP size: 1760 mb
WMA version ZIP size: 1250 mb
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Part I. B2. –Chikuho Sakai. Part II. B3. Part III. B4. Shakuhachi – Chikuho Sakai, Syohdoh Sakai (tracks: A6 to A10). Translated By – Toshio Nirazuka. Typography – Tan-En Ayamura.
Chikuho Sakai (Compiled By, tracks B1 to B4), Chikuho Sakai (Shakuhachi), Syohdoh Sakai (Shakuhachi, tracks A6 to A10) . And you can download the album in one file to your computer or tablet or phone. Attention! All audio material is presented solely for information.
Sakai Chikuho II. FIVE DIALOGUES FOR TWO SHAKUHACHIS by Makoto Moroi. While I was composing "CHIKURAI", basic ideas of a work for two Shakuhachis were being laid out, by use of 21 and half inch and 28 and half inch Shakuhachis. The actual work began in Tokyo, in spring, 1965. Shin MUKAIJI by Chikuho Sakai. A legend says that there used to live a high monk called Reverend Fuke, in "Toh", China in 8th Century. He travelled throughout Toh territories preaching with a hand-bell. Shin Mukaiji" recorded here is the traditional original, a large music composed of four chapters, as taught and descended by the 35th Master of Mei-An (Shinpo School), Shinryu Ozaki, to the 36th Master, Shozan Katsuura, to the 1st Master of Chikuho School, Chikuho Sakai (now, Old Chikuoh), down to the 2nd master, Chikuho Sakai, II. "Shin" means the oldest type of letter-writing of Chinese, hence, the oldest.
Five Pieces for Shakuhachi Chikurai - Makato Moroi. Sakai Chikuho II. And, technically speaking, this work is more of nature of my electronic compositions.
Style is Gagaku Contemporary Avantgarde. This album was released on the label CBS/Sony (catalog number 25AG 246). Chikuho Sakai (Compiled By, tracks B1 to B4), Chikuho Sakai (Shakuhachi), Syohdoh Sakai (Shakuhachi, tracks A6 to A10), More albums of Makoto Moroi, Chikuho Sakai, Syohdoh Sakai
Mukaiji Reibo 霧海箎. Kokū Reibo 虚空. a) Kokū Kaete (Ikkan-ryū) 虚空替手 (一関流) b) Banshikichō 盤渉調. Shin Kyorei 真虚霊. Kinsan Kyorei 琴三虚霊. Yūgure no Kyoku 夕暮の曲. Sakai Jishi 栄獅子. Uchikae Kyorei 打替虚霊. Sakai Chikuho I 初世酒井 竹保. Chikushinkai (Dokyoku). Watazumi Doso 海童道祖, Yokoyama Katsuya 横山 勝也.
The five finger holes are tuned to a minor pentatonic scale with no half-tones, but using techniques called meri メリ and kari カリ, in which the blowing angle is adjusted to bend the pitch downward and upward, respectively, combined with embouchure adjustments and fingering techniques the player can bend each pitch as much as a whole tone or more. A . shakuhachi produces D4 (D above Middle C, 29. 6 Hz) as its fundamental-the lowest note it produces with all five finger holes covered, and a normal blowing angle. In contrast, a . shakuhachi has a fundamental of A3 (A below Middle C, 220 Hz). As the length increases, the spacing of the finger holes also increases, stretching both fingers and technique.
These pieces were originally performed by brothers Chikuho Sakai and Shoda akai in 1971. Five dialogues for two shakuhachi. Written for the . ' and . ' shakuhachi, these piece explore the themes of confrontation, sin, struggle, fatality, schizophrenia and tragedy. They are a reflection of Moroi's own life which was guided by the composer's deep love for shakuhachi. This depth of feeling is expressed in a style that is both intense and primitive. It is comprised of three movements. The first and last are written for two . ' and a . ' shakuhachi. The second movement incorporates a shorter . '. Originally performed by Hozan Yamamoto and Katsuya Yokoyama in 1969.