Danawase - Danawase

Japanese: 段合せ - だんあわせ

A term in Japanese music. One of the ensemble forms of jiuta and sokyoku. (1) In jiuta, as in "Kyokago," different players would play interludes with the same number of beats in a single shamisen kumiuta piece. In particular, in early tegotomono pieces, such as "Naniwajishi" and "Kajimakura," the interludes were composed in several sections with the same number of beats (64 beats, the same as in so kumiuta), and each section was played together, which was called "danawase." Note that "dan-gaeshi" refers to repeating danawase once more with a change of players. In "Zangetsu," the first and second sections, and the third and fourth sections played together in "danawase and dan-gaeshi," and the fifth section and chirashi played "ji" or "kae-te" together, but later it developed into a form of all-section kae-te ensemble. (2) Since most danmono pieces in sokyoku are composed of the same number of beats (52 beats), it was common to play a piece from the first and sixth dans at the same time, as in "Rokudan no Shirabe" (also called "Gyakubiki Rokudan"), or to play "Kudan no Shirabe" and "Kumoi Kudan" together. This was also called "danawase", but later it also gave rise to a form of playing specific alterations. When "Hachidan no Shirabe" was added to "Hiroshishi" in Kyoto and other places, "Rokudan no Shirabe" was sometimes played with the first dan, and in this case different pieces were played together, but originally in sangenkyoku, the playing of different pieces together or the use of different pieces as "alterations" or "ground" was called "uchiawase", and like the playing of "Rokudan no Shirabe" with the "introduction" of "Akikaze no Kyoku", these are a kind of "uchiawase" and not "danawase".

Source: Encyclopaedia Britannica Concise Encyclopedia About Encyclopaedia Britannica Concise Encyclopedia Information

Japanese:

日本音楽の用語。地歌箏曲の合奏形式の一つ。 (1) 地歌では三味線組歌の一曲中で，『京鹿子』のように拍節数の同じ間奏部を異なった奏者で演奏することに始り，特に初期手事物では，『浪花獅子』『揖枕 (かじまくら) 』のように，その間奏部が同一の拍節数をもつ幾段かに分けて作曲され (箏組歌と同様に 64拍子) ，その各段を合奏させることが行われ，これを「段合せ」といった。なお奏者を交代してさらにもう一度段合せを繰返すことを「段返し」という。『残月』では初段と2段，3段と4段とが「段合せ・段返し」で合奏，5段とチラシは「地」または「替手」を合奏させていたが，のちには全段替手合奏の形式へと発展した。 (2) 箏曲の段物はほとんど同一拍節数 (52拍子) から構成されているので，『六段の調』のように一曲を初段からと6段目からと同時に演奏したり (『逆引六段』ともいう) ，『九段の調』と『雲井九段』とを合奏したりすることが行われた。これも「段合せ」といったが，やはりのちには特定の替手を合奏させる形式を生んだ。『八段の調』に京都などで「平調子」の替手をつけるときには，初段に『六段の調』を合奏させることもあり，この場合は異なる曲を合せることになるが，本来三弦曲では異曲同士の合奏や，「替手」または「地」として異曲を利用したものを「打合せ」といい，『秋風の曲』の「前弾き」に『六段の調』を合奏させることと同様，これらは一種の「打合せ」で「段合せ」ではない。

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