Hi Herb,
You asked if re-writing meant re-writing the pieces in a new and
different notation. In the case of our iemoto Fuji Jidou sensei has kept
the same notation but has made stylistic changes in the pieces. In some
cases, however, it appears that when a new iemoto develops, pieces are
written in a new and different notation; I'm thinking of Chikuho ryu -- the
notation itself is quite different from the standard Kinko notation -- you
might ask Riley Lee about that as I believe he is a grandmaster of that
ryuha. Sometimes there are only minor differences in notation between
groups. Our notation is slightly different from the notation of the
Chikuyu guild (Kawase group); there are a few notes with different symbols,
but basically, it is not very difficult for a player of our Chikudosha
group to read a Chikuyushua piece, for example. I've only seen some of the
honkyoku pieces which Fuji Jidou has rewritten, and none of the gaikyoku
pieces. For the piece Shika No Tone (Call of the Wild Deer) , for example,
he has kept the same basic melodies but altered the arrangement in terms of
the places where each player in that duet play their respective parts, and
he has made some changes in blowing techniques for certain phrases. He has
also written kaite (second parts) for several other honkyoku, making pieces
which were formerly solo pieces into duets, for example. As for how large
the changes have to be in order for a group to be considered a new iemoto,
I don't know. That would be an interesting question for someone to
research, comparing the different interpretions of the same pieces among
the different Kinko iemotos; perhaps someone is doing or has done that kind
of study and may have some comment to make.
Dan
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