▁give ▁them ▁" ex clus ive ▁rights " ▁to ▁play ▁the ▁instrument ▁and ▁travel ▁about ▁the ▁country ▁as ▁they ▁pleased . ▁In ▁return , ▁some ▁were ▁required ▁to ▁sp y ▁for ▁the ▁sh og un ate , ▁which ▁( quick ly ▁recogn izing ▁the ▁utility ▁of ▁the ▁r use ) ▁also ▁began ▁dispatch ing ▁their ▁own ▁sp ies ▁on ▁secret ▁miss ions ▁in ▁the ▁dis gu ise ▁of ▁kom us ō . ▁Nin ja ▁and ▁r ō n in ▁( master less ▁sam ur ai ) ▁were ▁also ▁known ▁to ▁travel ▁in ▁the ▁gu ise ▁of ▁kom us ō ▁to ▁avoid ▁official ▁scr ut iny ▁of ▁their ▁presence ▁or ▁intent ions ▁in ▁a ▁province . ▁ ▁Once ▁this ▁became ▁common ▁knowledge , ▁travel ers ▁we aring ▁the ▁kom us ō ▁out fit ▁became ▁subject ▁to ▁closer ▁ins pection , ▁especially ▁in ▁rest ive ▁and ▁disput ed ▁areas . ▁Several ▁particularly ▁difficult ▁hon ky oku ▁pieces , ▁e . g ., ▁Sh ika ▁no ▁tone , ▁became ▁well ▁known ▁as ▁" tests ": ▁if ▁a ▁susp icious ▁kom us ō ▁was ▁challeng ed ▁to ▁play ▁one ▁of ▁the ▁test ▁pieces ▁and ▁was ▁able ▁to ▁reproduce ▁it ▁in ▁the ▁authentic ▁su izen ▁manner , ▁he ▁was ▁accepted ▁as ▁an ▁actual ▁Fu ke . ▁If ▁he ▁was ▁unable , ▁or ▁if ▁he ▁refused , ▁he ▁was ▁assumed ▁to ▁be ▁a ▁sp y ▁and ▁would ▁likely ▁be ▁immediately ▁arrested . ▁ ▁When ▁the ▁Tok ug awa ▁Sh og un ate ▁came ▁into ▁power ▁over ▁a ▁un ified