Good morning. So this morning, I had planned to have us review how to chant the Japanese syllables in our chanting. And so we will proceed to do that. Yeah, we can pass out the chanting books. And also, I have some other chanting cards, which has the teaching on it. So, I don't know if there's enough of these, but we can pass these out. There might be, if you already know this pretty well.

[01:03]

Maybe you don't need one, so that someone has one that doesn't. So if you're sitting next to somebody, but most of you aren't, you can share one. Everybody that wants one has one, I assume. When we chant the Japanese syllables, we should know which ones get one beat, which ones get more than one beat. Basically, that's what we're working with. So there's a little explanation up here. It says these guidelines were designed primarily to help create the rhythm when chanting without the accompaniment of the mokugyo.

[02:08]

So such as the meal chants, well, of course, we don't chant the meal chants in Japanese anymore. But this was done a long time ago when we used to chant the meal chant in Japanese. The Sando Kai, the names of the ancestors, and they don't necessarily apply for conversational Japanese and chanting with a mokugyo. So, number one, each syllable gets one beat. Generally, a syllable is a consonant followed by a vowel, like ka, ki, ku, ke. That e is pronounced eh, or eh, ke. ko, na, ni, ne, no, pa. So those are examples of a vowel, a consonant followed by a vowel, which gets all together one beat.

[03:13]

Ka, ki, ku, ke, no, da, right? When there are two or more vowels together, each one receives one beat. So in English, we don't usually give each vowel one beat. Most languages do, but English, we don't. So we have to think about that. So here we have an example. A vowel by itself receives one beat. So the example is dai. So there's D and then an A and an I, right? So the A and the I each get a beat because they're both vowels. So dai, dai. And then the second example is uruoi.

[04:18]

This u is a vowel. Uruoi. That's four beats. U, RU, O, I. U, RU, O, I. One, two, three, four. One, two, three, four. And if you look at the example, the U is a one beat. RU is one beat together. O is one beat and the I is one beat. Now, do you have any question about that, or you don't understand it? Yes? Well, it just dawned on me that, I mean, why would you, why would you, you could say, or, I mean, why you're dividing it so that, you're making a decision of the first, you is alone rather than you are.

[05:23]

Do you know what I mean? If you just saw the word without seeing how you did it, you could have... Because there's one beat for... There's one beat for the vowel. Okay, so that... One beat for the first vowel, one beat for the constant followed by a vowel, and then the next vowel, and then the next vowel. Do you understand her question? I think she's saying that one could maybe put U and R together Is that just a convention in Japanese? Well, no. Because the R and the U is what gets the second beat. I mean, you could do it that way, but that's not the way it is, Don.

[06:27]

I didn't make up the language. Not all languages change their vowels for the presence of I don't think you want to do it any further than that. And then the third example is O-I-T, the printing here is starting to fall off the page, but when I, zero actually is O-E-T-A-E.

[07:32]

O-E-T, that's three beats. So here, you know, we have the vowel followed by the consonant, the consonant followed by the vowel, right? Whereas in u-ru-u, u-ru-u, u-ru-o-e, we have the consonant preceded by the vowel. So it's just the opposite. So we have o-i-te. O is one beat, the I is one beat, and te is one beat. Because it's the consonant followed by the vowel. O, I, te. One, two, three. Okay? And then when there's an N, this is number three, when there's an N or M, when N or M is attached to the end of a syllable,

[08:36]

or added to a seagull vowel, it receives one beat. So we have this example, nin, con, which you run into a lot. So, ni is one beat. This is the consonant followed by the vowel. And then there's an en. The N is actually a beat. Nin-con. And the K-O is one beat, and the N at the end of the word gets one beat. Nin-con. One, two, three, four. Nin-con. nin kan nam nam boku, it's four beats, nam boku honmatsu.

[09:46]

Now the honmatsu is interesting because it has two consonants together, the two m's, right? So that's two beats, nam, and Nam, bo, ku. Nam, and the bo, B-O, is one beat, and the ku is one beat. So, nam, one, two, three, four, nam, bo, ku. And homotsu is the same. Homotsu. And the two consonants together, that gets three beats. An, ni. One, two, three, ni. Yes? So, I'm thinking that there may be an additional condition on the pronunciation because... Which of what? Is followed by another consonant.

[10:50]

In other words, how is this different from namu, kara, pan? So namu has an eminent, but it's... two beats, right? Well, na-mu... Na-mu-ka-ra-tan. Well, there's two ends. Tan-nu. Na-mu. It's just na, one, two, na-mu-ka-ra-tan-nu. So, in these examples, the other thing that's happening is that there's two consonants together. Yes, yes, yes. So it's just an extended syllable, but the extension is a beat. So all vowels with long marks, I call them diacritical, I think that's what they're called, get two beats.

[11:51]

So when you see the O or any vowel, with the critical mark, it receives one beat. So to, to, zai, to plus o. The o gets an extra beat because it's got the mark. So it's to, that's two beats. Ordinarily, without the mark, it would be one beat, to, t-o. But because it has a long mark, it gets two beats. To, and then you have two vowels at the end after z. So to, zai, that's to, zai, four beats. To, zai, jo, chu. This is the second example. To, zai, jo, chu. One, two, three, four, because, do you understand that?

[12:58]

Or not? If you don't, say, I don't. My first song, I said two beats, and there was actually two expressions of the sound, like toe. Yeah, yeah. But it's not in actual expression. That's right. In length, but not expression. Yeah. You don't separate them for a beat. You just extend it. Yes. I'm noticing that the vowel sound got changed because, is it because of the N at the end? Because it's not a neem cone. Is it changed to nin-con? No, I just say con instead of cone. But it's cone, actually. Nin-con. And the I, too? Isn't the I supposed to be a long vowel? A. Nin? On D? Yeah. I is E. I probably didn't say it so well.

[13:59]

So it doesn't change the sound? No, no, no, no. Yeah, no. So it's neen? Neen, yeah, actually it's neen. But it's nice to pronounce them as they're supposed to be pronounced. Neen cone, neen cone. So number five, when a consonant is doubled, two consonants, continents, two consonants, when a consonant is doubled, the first one is pronounced with a preceding syllable and given an extra beat. So, and the second one is aspirated as in hip pocket. Hip pocket, we don't usually say hip pocket, right? We say hip space pocket.

[15:05]

In his hip pocket, or in part time, we say part time, right? And we hold the consonant silently for that beat. Hip pocket. So it actually gets two beats, but the second one is not pronounced. Yo-te. Yo-te. A-ta-te. Ra-ku. And you kind of spit out the second one. We actually pronounce the second of the consonants rather than the first one. We just stop the first consonant and pronounce the second, like hip, hip, pocket, hip, hip, pocket, or part, time.

[16:07]

And ruck, coo, ruck, coo. One, two, three. So given this, the sixth one, the following syllables are all one beat. Cha, shi, chu, cho, sa, and so forth. Those are all just one beat. Cha-shi-chu-cho, sha-shi-shu-sho, gya-kyu-kyo, ryu-ryo, mya-myo, gya-gyo, nya-nyu-tsu, et cetera. Those are just all one beat.

[17:15]

So I'm the only one that didn't get a chanting book. No, no, you give me one. Thank you. So let's look at the Sando Kai on page 14. But except the... How about the ancestors? Yeah, we could do the ancestors. Maybe we're more used to the ancestors. Page 9. So we have the ancestors on page 9. So... Bi, Ba, Shi, Bu, Tsu, Dai, Ii, O, Sho. Dai has two vowels, a consonant followed by two vowels, right? So Dai is, you hold the Dai, Ii, Dai, Ii, O, Sho. Not Dai, O, Sho. Dai, O, Sho. And bi-ba-shi is bi-ba-shi, three syllables, right?

[18:22]

That's simple. And bu-tsu is two syllables, bu-tsu. But dai is dai-yo-sho. Bipashibutsu daiyosho, shikibutsu daiyosho, bishafubutsu daiyosho, kurusan. Now, kurusan has a diacritical mark over the O. That's two beats. Kurusanbutsu daiyosho. Daiyosho. But we usually give the di-o-sho a second, the o-sho. Di-o-sho, the last syllable, we give it two beats. I was told that people used to drag it out so long that they took the diacritical mark off, even though there should be one on there. Yeah. People would make it three or four beats.

[19:25]

Yeah. So we don't want to carry it on, but it still should be two beats. Yeah, otherwise it's cut off, right? So, kuruson butsu daiyosho kunagon munibutsu daiyosho kassho butsu daiyosho shakamunibutsu daiyosho makakassho daiyosho Now that's a wonderful You know, it really swings.

[20:30]

Yeah, it should swing. So, boots in the non-dye has two dye critical marks, right? Well, yeah, you don't need it on the last part because it's two vowels, but they put it there just to remind you. Yeah. I just want to say Butsudanai once. Butsudanai by myself. Butsudanai. And that's a nice little rhythm. OK. Let's start with Butsu de Nandai Daiyosho.

[21:36]

Butsu de Nandai Daiyosho, Fujami Daiyosho, Barashiba Daiyosho. Daiyosho Anubhote Daiyosho Kabimara Daiyosho Nagaharajuna Daiyosho Daiva Daiyosho Raghurata Daiyosho Ganga Nandai Daiyosho Ayashatta daiyosho Kumaratta daiyosho Ayatta daiyosho Washubanzu daiyosho Manamura daiyosho Kakuroku na daiyosho

[22:43]

Shibo Dai, Daiyōshō Bāshashita, Daiyōshō Funyomita, Daiyōshō Hanyatara, Daiyōshō Okay, wait a minute, wait a minute. Dai I, Dai I, there's three beats. That's a little more difficult. Once more. Let's do Dai Ido Shin once more and go on. Dai ito shin dai yo shou Dai man ko nen dai yo shou Dai kan ne no dai yo shou

[24:01]

Seiken-yoshi-daiyosho, Sekito-kisen-daiyosho, Yakusan-igen-daiyosho, Un... No, wait, wait. Un-gan... Yeah, because the U The U gets a diagram. It's two beats. Un, gan, don, jo, dai, yo, sho. Yes, that's it. UN GAN DONG ZHOU DAI YOD SHOK TO ZAN RYO KAI DAI YOD SHOK UN GO DO YOD DAI YOD SHOK DO WAN DO HI DAI YOD SHOK

[25:03]

To An Kan Shi Dai Yo Sho Ryo San En Gan Dai Yo Sho Tai Yo Kyo Gen Dai Yo Sho To Su Ki Sei Dai Yo Sho daiyo shok. Fuyo dokkai daiyo shok. Tanka shijun daiyo shok. Choro seiryo daiyo shok. Tendo Zōgaku Daiyōshō Sesshō Chikan Daiyōshō Tendo Nyōjō Daiyōshō Well, then we're into something else.

[26:06]

So that's very nice. Yes, and it's timed. Now, if you want, you can keep those. Not these, but if you don't want one, you can send it back. I can't hear you. Sure, yeah, if you like. I don't know, that might confuse people. Yes, you can. You don't need to do that. No, no, yeah. No, it's just enough, just enough so they can pronounce these syllables.

[27:08]

Yeah, that's all. The problem with the Japanese class is that if you don't attend every single one, you're finished. Well, the same thing applies to the rope chant. We don't have time to do that, but we'll do that hopefully. We just have to keep doing this, you know, periodically, because it's easy to forget.

[27:44]

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