However, as the Edo period drew to a close, each part of a tune became closely linked with another, and this was particularly true when Mitsuzaki Kengyo, Ikuyama Kengyo and Yoshizawa Kengyo (being the highest rank of Todo-za) were active, because in most cases they would create two or three parts for their own pieces.
ただ、幕末になるほど、特に光崎、幾山、吉沢の各検校らの作品の多くは2～3パートが一人で作られており、各パート間の関連が緊密になる傾向がある。