− | In ''gagaku'', where the term originates, ''jo-ha-kyû'' was not generally cited as a single term, but as three separate terms, referring to possible portions of musical pieces which might be combined in different ways to form a complete piece; it was not necessary to include all three, ''jo'', ''ha'', and ''kyû'' sections, for a piece to be a complete one.<ref>Shelley Fenno Quinn, ''Developing Zeami'', University of Hawaii Press (2005), 129.</ref> | + | In ''gagaku'', where the term originates, ''jo-ha-kyû'' was not generally cited as a single term, but as three separate terms, referring to possible portions of musical pieces which might be combined in different ways to form a complete piece. ''Jo'' sections were introductory sections, proceeding in a calm and slow manner, and lacking a set rhythmic scheme. ''Ha'' sections proceeded at a measured pace and featured a set rhythmic scheme. ''Kyû'' sections possessed a faster tempo, and a set rhythmic scheme. It was not necessary to include all three, ''jo'', ''ha'', and ''kyû'' sections, for a ''gagaku'' piece to be considered a complete performance piece.<ref name=sando>Shelley Fenno Quinn, ''Developing Zeami'', University of Hawaii Press (2005), 129.</ref> |