Jo-ha-kyū (序破急) is a concept of modulation and movement applied in a wide variety of traditional Japanese arts.
Though eventually incorporated into a number of disciplines, it was most famously adapted, and thoroughly analysed and discussed by the great Noh playwright Zeami,[1] who viewed it as a universal concept applying to the patterns of movement of all things.
Zeami, in his work "Sandō" (The Three Paths), originally described a five-part (five dan) Noh play as the ideal form.
Takemoto Gidayū, the great jōruri chanter, was the first to describe the patterns or logic behind the five acts, which parallel as well the five categories of Noh which would be performed across a day.
[3] He described the first act as "Love"; the play opens auspiciously, using gentle themes and pleasant music to draw in the attention of the audience.