In noh, first-category deity plays begin with a shin no shidai, except when the play follows a performance of the ritual piece Okina. (In that case, the distinctive entrance music shin-no-netori featuring long flute and shoulder drum solo passages is used.) The shin-no-shidai has a strong, brisk feel suggesting the high rank of the waki and the importance of his task. It has five sections which often are abbreviated to three: kakari no dan, the introduction before the waki entrance; maku hanare-no-dan, the waki enters through the curtain to stand along the hashigakaribridgeway; and hayamegashira-no-dan, the 'quick head pattern section' in which the tempo quickens and the waki enters the main stage. This may be abbreviated even further by leaving out the first division (Bethe & Emmert, 1996:11-12). After shin-no-shidai entrance music, the jitori following the shidai song is sung by the chorus in standard match rhythm rather than in free rhythm, and is followed by a repetition of the shidai, called sanbengaeshi ('third return').