In another tip I proposed some reasons why everyone should learn at least some of the classical repertoire for shakuhachi with koto, and with koto, shamisen, and voice. But if you are on a self-imposed gaikyoku-restricted diet, here is a list of what I consider the eight absolutely essential pieces.
- Rokudan - because every koto player knows it, and they'll expect you to know it, too. It's also a very pretty tune.
- Chidori - this piece introduces the sankyoku form with a minimum of technical difficulty.
- Yachio Jishi - lively introduction to the syncopated rhythms of sankyoku without much fingering difficulty. Also, if you want to play weddings this is a good one, as is Shin Takasago.
- Iso Chidori - great rhythmic practice on the slow rhythms of the beginning and ending uta (songs). Get these rhythms solid and you'll have a much easier time with the more advanced sankyoku.
- Midare - good for finger dexterity, working with irregular phrasing and rhythms.
- Hagi no Tsuyu - like Iso Chidori, this is very good rhythm practice. Also great breathing practice.
- Zan Getsu - great practice in phrasing and in constructing musical shapes, as well as in tempo flexibility. I believe this is the most beautiful of all sankyoku.
- Yaegoromo - the ultimate exercise in finger dexterity, tempo flexibility, breathing, and endurance. In the Nyokai-An dojo, students must become very proficient at this piece before reaching jun shihan level. If you can play Yaegoromo, you can do OK with any sankyoku.
Of course other teachers may have a very different list. Here are a few of my runner-ups:
Kurokami (keeping a steady slow rhythm, Yuki (sustained tone, breath control - and it's a totally gorgeous song), Shiki no Nagame (beautiful melodies, one short difficult passage where the tonality shifts), Ma Ma no Kawa, Shin Takasago, Haru no Kyoku, Tama Gawa, Hachidan (most koto students know this), Sasa no Tsuyu, Shin Musume Dojoji, Sho Chikubai, Aoyagi, Azuma Jishi, Sue no Chigiri...