japanese folk songs

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sINtrNoc
PREFACE
TO THE FIRST
EDITION
Students o{ music have
on occasions atiempted to
put
the
melodies
of some of ihe
more
outstanding
Japanese
folk
songs to ihe
noiaiion
of Western music in
order to
pre-

serve ihem from
oblivion.
Frorn the literary poini
of v;ew,
ihese
folk-songs
have been translated into
English
and
co lected by
scholars since the
beginning of modern
japan.
However,
a complete col-
lection
of ihe melodies
has not been
assembled.
A rhorough
stirdy
o{ these
folk
songs wh'ch are
characterized by the
places
of iheir
origin requir€s the
effods of
specialized scholars :nd experis in music

and
liieraiure.
My
efforis in
compiling ihis
book does
noi preiend
io be such a
specialized siudy
of
lapanese
folk
songs lt
is iniended
to be
a
collection of the mosi repr€sentative
songs
ol our country and to
offer a handbook
of the
iolk-songs which
are
still
being
sung through-
Folk-songs are
disiinguished from
ihe so-called
popular

songs
which
may be in
vogue for
a
period
of iime but which
are soon forgotten.
Some o{ the
folk,songs
collecied in
ihis
book were
ai one time pcpular
songs but have developed into {olk-songs
by thei.
being
sung over half
a century though
their authors v/ere forgotten. All rhe
songs as-
sembled have been
sung before 1900
and are sii I being sung and may riehtly be regarded
as folk'songs
of
Japan.
True folk
songs have slch individual pecullariiies
and characteristics

that their nota-
iion in Western
nrusic can be
accomplished only imperfecily, for it is noi
only dl{ficult
to indicate
the
{requenty
occurring
grace
nores of
JEpanese
songs
which include
even
quafter
tone iniervals
but there is
also a rremendous difference in the manner
of singing
them
among thc
Japanese
people
themselves.
Moreover,
io isol:ie rhe
melody of
a
Japanese

song
frorn
ihe rhyihm of its accom-
pari
ment
of hayashi, lhe
orchestra
of
{lute.
drum and samisen, is io
give
only half
of the
realiiy of the
song. This is particularly
irue in songs of which the rhythm
of iis accom-
paniment
has
been emphaslzed.
and any
attempt
to notate
them in the Western siyle is not
only a violaiion
of the
sp
rii
of the songs bui also fails
to

reveal
the true melody
Again,
ihese folk
songs come to life
only
when they
are sung
in
the style
pecutiar
to the
lapanese
and especially
lo ihe
people
of ihe region from which they
originated,
and they lose nrLch
of thelr beauty
and appeal
if
they are.sung by vocalisis who
have
been trained n ihe
Western manner
of singing vibrtao.
Since these folk-songs
cont:in
ihe individual dialects of ihe various districts, it

is
ideal
that rhey
are sune by the natives
of th€ region
to
which
ihe songs belona.
The
impossibility
of adequately
iranslaiing the
catchy,
rhythmic
phrases,
which in
themselves hlve no
nreaning bui which
give
a deflniie personaliry
io the folk-songs of
Japan,
has required
me to om't
ihem in my book. These
phrases
may be compared to
ihe hi, ho. the
merry-o,
"ta

ra,ra
boom de ay,
"yo
ho,ho'
and similar
portions
of
English
songs.
Despite
these technical di{ficulties,
I have endeavored io compile
some of
the repre-
seniative tolk
songs of
lapan
because of my e:rnest wlsh to introduce
them to Western
pecpies
For these
reasons, I have h:d to
choose only ihose
folk
songs wiih simple me-
lodies
and rhyihm, avoiding those which
are
full
of irills and iurns and at the

same time
lowering
somewhat ihe
key of the melodies sung sotto voce in ihe higher register
or rais-
ing
to a certain
exteni ihose of lower tones which are us'r:lly sung by men.
ln receni years
atiempts
have been made to arrange some
Japanese
folk-songs
so
thai
they may
be sung wiih the accompaniment of a
piano
or in the
style of
iazz.
It is my hope in
cornpi ing
ihis book
that through this
colleciion of
lapanese
folk
songs which
are in the main in

ihe minor scale and are characterized by melodia lamen-
toso m:y
coniribute
to ihe birth of a new
style
of comdositions.
Tokyo.
Japan
November, 1950
4
RYUTARO HATTORI
!
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NO
.tOt ONOCTS lHl Or
lCVllUd
PREFACE TO
THE REVISED EDITION
ln the
previous
editions,
merely
33
songs out of ihe innumerabJe number
of
Japanese
folk-songs

were selected and iniroduced
which left much to be desired
so
that,
in
this Revised Edition,
I have
added five
orher
songs. In making this addition I have
sej€cted
sonSs whrch are
most
popularly
sung
by the
lapanese
today, namely,
"Bon
Songs
of Soma
,
-'Songs
of.Saitara',
Songs
of Picking
Safflowers
,
Songs of
Kokkiriko" and

>ones ot 5hrrnotsul
-
Japanese
folk
songs are
yearly
atiracting
more attention and interest by the
p€oples
of the
world as might b€ ndicaied,
In
part,
from
the correspondences addressed to the
compiler fror vafious
parrs
o{ the
wor,u.
Of ihe
growing
number
of such
persons,
fhe
one who
mrght
be consrdered as the
most
ardent ioler

of
Japanese
rolk
songs, I
shoujd like ro me4iion
ihe
narre of Vafla
Jllo Reinh.rot
a
proless,oral
+olksine;r.
of
W.sh,n8fon. D.C. LSA
Thrs
person
I
was nformed,
practiced
six
hours
daily,
such
pieces
as. for instance,
''YasuEi
Bushr", The
Mower's
Sones' and
"Ezashi
Oiwake",

whiah are
difficult
numbers
to render even for
the
lapanese
themselves.
She even
expressed herself as follows;
''My
problem
is
this: To
obtain iransliterations
of these songs so ihat I can learn
ihe
lapanese
words. I
should most like
to
learn first in the
hope
that
you
could help me
with
such transliterations
lEnglish letters equivalent
io ihe
lapanese

words.)"
There are
other
pefsons
no
less ardent
than this lady who have written me {rom
Canada and lsrael. And
it is a well-known
siory thai ihe Soviet baritone singer. Artur
Eizen,
during
his
concert tour
of
japan,
sel€cted
"Soran
Bushi
'
as one of
his
tavorite
However,
since
japanes€
folk
songs
emerged
f.om a background of

peculiar
tradi-
tions rernote from Western
countries,
one
invari3bly encouniers
diJficulties
in 'ndicating
the
music according io \ /estern
musical noiations.
The Wesiern musical notations are
inadequate to tfanscribe
the characteristic fineness of
the melodic
ornamentation of
Japa-
nese folk-songs.
Even if
perforcedly
transcribed, the transcriber himself may oft€n be
unab e
io reproduce the music
fforn the music note.
Consequently, I
should like to recomm€nd
those
persons
deeply
interested in

japa-
nese
folk-songs shouJd not, merely,
follow
the scor€ but, ai the
same
rime,
should
hear
the
songs
played
on recorded
discs. Needless
to meniion, all
Japanese
record makers have
on
sale
Japanese
folk-songs but, in the
United
Staies, ihere ;s the one set of
"Traditional
Folk-Songs of
Japan
'
selected and arranged by R.
Hattori from his
collection released from

Folkway
Record. Ishould also like
to add
rhat the
lapanese
embassies :nd consulates
located throughout the main
cities of th€ world are
prepared
to show the color movie,
"Folk Songs of
Japan"
presented
by the Ministry
of
Foreign A{fairs of
Japan
(th€
musical
dir€ction of this film is
under the supervision of R. Hatiori).
February, 1964.
No
larl
ol this
book
m.rj bc rcprodrced
rtitho
i"
per)njsslon

in wriririg lom lhe auihor
6
TNfl W
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CHERRY BTOSSOMS
(
Sakura Satula)
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h
ar
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t!
Ya-yo i Do
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,,
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n,
(
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K! su- mi ka ku
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,.
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4bl:i
Mi'wa-ta
su
la
;'
Ni oi
8
Moderato elegaftte
6
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Oerlo
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Oedo Nihon-bashi
Leaving
Nihon-bashi
of Edo
Early
in the morn
for Kyoto,
The
procession goes
on and on;
The
day dawns
at
Takanawa,
And

the lamps
are extinguished.
Climb Hakone
as
you
may,
You
have to stop at
the barrier;
Men they
disapprove,
But
women they
pass
on;
Ah, Mishima the
f lowery town
I
t"-i:tF
E4r{t L
h'iLF
Et'ffi+:.nt
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TJre_se
99ne
*'ere
very
popular
from
the
age
of Tempo
(1840)
urr l t_he
enal
of

rhe
Meljl
e!a"
The
bo, dance of Japan is of
such
unique
character that
a similar dance type
js
found
nowhere else in
ihe world. The sam€ ts also
true
of ihe Doz songs which accompany the
There is no
accurate estimate ol the time
of orjgin of these two unusual cultuml
pheno-
mena, but it
is
certain
that in ancient times
the Don dance was
perfo.med
during mass
said for shorosarrhe
spirits of lhe dead-at
the iime of the boz fesiival, the festival
of the

lanterns, That is to
say, the
predecessor
of
the t)o'?, dance vas the zembzrsr
dance: the
chantinA ol Buddhisl
p.ayers
while dancing
and lreating drums and ringing chimes at
the
So
primarily
the Don dance was
to
be
danced
by those vho had recently
losi a close .ela.
tive: sons and daughters rvhose
par€nt
had
died,
parents
suNivi.s
a child, husbands or
s'ives vhose
spouse
had
deceased-

Singing to the music of
drums and
fluies,
'h.)
Jar'.d dnd d"n."d. lo.rng
rl.em.el,FS in
remembe.ances
of their lost ones.
But
unconsciously this dance
of lamenia-
tjons was
gmdually popula.ized
to a festival
of fun
and
gaiely,
far removed f.om its
origins
as a mass for ihe spiriis
of the dead.
In
olden iimes thefe were the ?dnobata
Mots&ri-Festilal of
the Weave. {n the
sevenih day of rhe
seventh month and
the
Honen Odori-Hawest
Dance-to celebrate the

suod )ipld.
o'
r\p
au 'nn
cropc. The.F were
both
gmdually
lncorporated
into the Don
dance so that after long
periods
of history
only
the
Dor
dance
remains
as a
yearly
festi-
val throughout the country.
ln
spile of the
relaiive
smallness in size,
Japan is
pnri.hpd
r
irh nan)
rz'

"d
BeoE.aphi.
cal leatures which in conjunction vith the
many faceted history have
produced
an ex
tremely
large
quantity
of folk songs, most of
which are suited for Dor
songs
to accompany
Do, dances. This one fact alone easily indi.
cates tbe
place
of lhe ,on
festival in the heafts
of lhe
people
and lhe cultural
history
of the
August
15th is the season of the Don dance
in most
parts
of Lhe
country. As this date
approaches

evefy tovn and
village in the
cuuntry ic
h-"J bu:ld: .J h;gh ."i"ed
pla_lormc
in lhe
center of the
public grounds.
When the
night of the Don dance
iinally comes, a drum
is set on ihe
platform
and Don songs sung
to
the rhylhm of its
beating. AU lhe townspei:iple
and farmers dance around the
platform
the
whole
night thfough.
The
bon
dance takes many
forms in various
locales around
these islands but ,4udodort
of
Tokushima City ar,d Gujo

Hachlman ot Gitrr
Prefecture a.e
famous for their
grandness
of
scale,
though they are enlirely
different in
the form of
dance.
Tbe
Alnaadari is a
procession
siyle dance,
the
danc€rs
going
through
the streets dancing
'Ihe
Cujo
Eachiman is a circle dance,
the
dancers
performing
in a circle around the
platform.
Many such
dances were fostered
by the

Tano
Sana
(feudal
lords) of lhe
Tokusawa
T},e Auaadari was
pedormed
to welcome
Lord
Hachisuka lvhen he became
the Lord of
Tokushima.
On ihe other
hand
the Gujo Odort originai€d
when
the rul:ng Aoyama Clan, vho occupied
r\p
ca
rlp,
r-E
red
po
r'-sion
"nd
f-ndc or
h
s ror
i
p

a.
pflor
ro
ffomurp
on,
iti"
tion among the agriculiural, industrial and
The
bor dances and songs which came inlo
popular
favor in f€udal
times a.e still being
danced
and sung from
generalion
to
genera-
tion. But
the
greaiest
change has occurred
i1 re"enr
yea.,
qhFrein
rhe E,no
pl.re
of
rhe
bou dance reflects
the bdghiness of a new

age
in
its appeal to the
younger
generation.
T4
SI
or
.
i{Hotr
rEH
) t'.
/
,\.
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SCNOS
Y

s3
(qsng
etlll.qso
)
Songs
of
Oshima
(Oshima
Bushi)
I am of
Oshima
The
isle of
Divine
Fire;
Smouldering
in mY
heart,
the
lire
never
dies.
Azaleas
and
camellias
Light up
the
mountain;
The boat
carrying

mY lord
Brightens
the
sea
of Oshima.
ll
you are
the
man as
gallant
As tales
would
have
You
be,
I
wish
you iould
stoP
the
tide
Off
the bay
of Chiga-saki
Mountainous
waves
I see
Out
upon
the

sea;
-fhey
are
for
my beloved
To
prove
his
courage.
The
port of Habu
May be
likened
to
a
Pouch;
But alas,
it has
no string
To close
its
mouth !
j\'Ein
7
-
bt
l-,{.
,tB
MMr<Hb
t

BBl:'Eqit
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ffiif
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r
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tv
l*JrJtlt
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E l,

7
-
&i9@i&l* dr€i8]
{gUr L
L
t:tta
#ittlt-
I
am
of Oshima, 7
-
bt
l-,r
,tE
ffiF€t
I
Brought
up
among
the
waves;
€,@RL,@t*
3
#t9r.,
The dark
of
my skin
ls
part
of

my heritage.
I am of
Oshima
7
-
bt
Ur
,tH
*Eo& j
Of
single
cherry
blossoms;
'Tis
no
wish of
mine
to bloom
'^€l:gt(fi'tta
:6t:tjt-
Like double
cherry
blossoms.
Oshima
in the
province of Izu
lies in the
Pacific ocean at
a distance
of

about
erght
hours'
dde in a
steam boat-
The
tsland is noted
for its volcanic
mountain,
Mihara,
snal camellia
trees which
bloom
in season all orer
the kland'
Since
the
pleasure_boat was macle a
regular
line, the
ptace
has lost somewhat
its atlraction,
but the
song has be€n
sung throuahout
the country.
t6
9
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