Yesterday, Shippu Uchi Daiko had a combined practice with Iki Daiko from Kyoto who I mentioned here. In November, we went up to Kyoto and this time they came down to Wakayama.
No time is wasted during our usual Sunday practices which run for 7 hours (9-5 minus 1 hour for lunch) and I appreciate the focus because my time here is limited and I have many years of things yet to learn. Yesterday was a break from the routine but, there's nothing else like the sense of community created by uchi komi in a room with 25 taiko players!
The word uchi means "hit". The basic meaning of komi is "inclusive of" but it can be used in a few different ways. So, the way I like to think of the phrase uchi komi is to hit the drum in a way that involves your whole being and focus to the point that the rhythms fill your body and you, in a sense, become the act of playing wa-daiko.
We usually spend some of Sunday's practice doing uchi komi but with only 4-7 people. Sensei was nice enough to allow breaks and rotations yesterday. So, in our small practice space, we set up stations where people cycled through playing "do ko do ko" as loudly as possible for a total of 40 minutes. It's a bit complicated to explain as there is some overlapping, but if you had a group of 4, you would play 3-8 counts and rest for 6-8 counts and repeat. Call me weird, but this is part of the reason why I love taiko:
A room full of people sweating, yelling, encouraging, focusing, grimacing, supporting, feeling, absorbed, aching... All playing the same beat with our bodies, all feeling the same assortment of emotions at perhaps different times, all the same amongst our differences. Community.
A place for useful tips, drills, and information about taiko.
Monday, March 30, 2009
Thursday, March 26, 2009
Taiko Drills, Part 27 DON TSU KU VARIATION
It's Friday again--Welcome back!
As I get to the point of thinking about leaving Japan, I've been reflecting on what is it about my practice habits here that I really appreciate and hope to keep with me. Naturally, this has brought me to consider my teacher and what he has given me, and how I can continue to move forward once I don't have access to him on a regular basis.
I'd like to share with you one of the things I most appreciate about Shimamoto Sensei:
It's always different.
I don't mean that he's always teaching me new things, though this is true as well. Rather, the process of learning never comes to an end. While some drills/patterns are repeated regularly, it's never the same from one practice to the next. For the most part he's always changing things up.
It's not possible to let my mind become absent and leave the body to do all the work. That's not wa-daiko anyway, right? My mind and body are constantly challenged, and he often accomplishes this by making slight changes to a drill that my body has already memorized. So... guess what we're going to do today??
Focus: Balance, Dynamics
Watch for:
1. Keep the exact same dynamics for don tsu ku as before, except when the left hand is emphasized, as shown below.
2. And, in case you missed it last week: Don't let the line of your wrists break! You can see an example of this in a previous entry, Video B. Correct form is shown in Video C.
Red is Right, Black is Left, Bold is Emphasized.
Notice that there is a double right hit before each emphasized hit with your left hand. This gives plenty of time to lift that left hand, gracefully, before striking. This pattern sounds really great when played well and fast. So, start slowly, check your form and dynamics and gradually increase your metronome speed daily, but make sure it's never faster than you can actually play it well.
Here's an audio version in 3 speeds:
(My apologies for the wavering tempo and the tinny sound. I recorded this a couple of weeks ago with my new mic, but didn't check it...oops)
As I get to the point of thinking about leaving Japan, I've been reflecting on what is it about my practice habits here that I really appreciate and hope to keep with me. Naturally, this has brought me to consider my teacher and what he has given me, and how I can continue to move forward once I don't have access to him on a regular basis.
I'd like to share with you one of the things I most appreciate about Shimamoto Sensei:
It's always different.
I don't mean that he's always teaching me new things, though this is true as well. Rather, the process of learning never comes to an end. While some drills/patterns are repeated regularly, it's never the same from one practice to the next. For the most part he's always changing things up.
It's not possible to let my mind become absent and leave the body to do all the work. That's not wa-daiko anyway, right? My mind and body are constantly challenged, and he often accomplishes this by making slight changes to a drill that my body has already memorized. So... guess what we're going to do today??
Focus: Balance, Dynamics
Watch for:
1. Keep the exact same dynamics for don tsu ku as before, except when the left hand is emphasized, as shown below.
2. And, in case you missed it last week: Don't let the line of your wrists break! You can see an example of this in a previous entry, Video B. Correct form is shown in Video C.
| 1 | & | 2 | & | 3 | & | 4 | & | 5 | & | 6 | & | 7 | & | 8 | & |
| don | tsu | ku | do | ko | don | do | ko | do | ko | don | tsu | ku |
Red is Right, Black is Left, Bold is Emphasized.
Notice that there is a double right hit before each emphasized hit with your left hand. This gives plenty of time to lift that left hand, gracefully, before striking. This pattern sounds really great when played well and fast. So, start slowly, check your form and dynamics and gradually increase your metronome speed daily, but make sure it's never faster than you can actually play it well.
Here's an audio version in 3 speeds:
(My apologies for the wavering tempo and the tinny sound. I recorded this a couple of weeks ago with my new mic, but didn't check it...oops)
Sunday, March 22, 2009
Taiko Center Kyoto
I just got back to Wakayama from Kyoto for the weekend and thought I'd post a quick note.
I've been to Kyoto many times, but I've yet to make my way to Taiko Center Kyoto. When I was in the US, I frequented their English website for things like tabi, ideas for making happi, et cetera. While the international shipping prices are outrageous and sometimes equal to the cost of what you're buying, I suppose most of you out there don't have easy access to tabi, instructional videos, or mute pads (though I've heard these only help minimally).
Are you looking to purchase something but don't know where to find it? Let me know in the comment section and I'll tell you what I know!
Carrie
I've been to Kyoto many times, but I've yet to make my way to Taiko Center Kyoto. When I was in the US, I frequented their English website for things like tabi, ideas for making happi, et cetera. While the international shipping prices are outrageous and sometimes equal to the cost of what you're buying, I suppose most of you out there don't have easy access to tabi, instructional videos, or mute pads (though I've heard these only help minimally).
Are you looking to purchase something but don't know where to find it? Let me know in the comment section and I'll tell you what I know!
Carrie
Thursday, March 19, 2009
Taiko Drills, Part 26 DON TSU KU BALANCE
Hi there! The frogs and birds are chirping here in rural Wakayama and spring is here. It's a good day for practicing taiko!
This week's drill is early because I'll be in Kyoto on Friday.
Okay, to check in first, we've been focusing on don tsu ku a lot as it is a staple rhythm in wa-daiko. I'd like to continue to look at the dynamics of the pattern this week by contrasting it with some do ko do kos.
Focus: Balance, Dynamics
Watch for:
1. Pay attention to the dynamics of don tsu ku. "don" is the loudest, "tsu" is the quietest (but we still want to hear it!), and "ku" is right in the middle.
2. Really listen for, and feel, the driving sound of don tsu ku and the evenness of doko doko.
3. Don't let the line of your wrists break! You can see an example of this in last week's entry, Video B. Correct form is shown in Video C.
Alright, let's start with the rhythm:
As always, Red means Right. Emphasis is not represented here, but pay attention to the dynamics of don tsu ku as we've been practicing. Do ko do ko should be even in timing and volume!
Loop this for 15-20 minutes every day and you'll be ready for next week's drill!
Extension
If you feel like your don tsu ku dynamics and form are consistent, let's take a look at making this drill more musical.
While I've asked you above to keep the do ko do kos even in volume, this actually has a bit of a stiff feel to it. The reason to do it that way initially was for the sake of building distinction between the two rhythms and increasing ability to play two rhythms with different dynamics continuously.
Okay, so the dynamics of do ko do ko were plain and even. Let's play with that a little bit. Instead of keeping the volume equal, make it a crescendo. The final sound should lead nicely into the following don tsu ku.
Take a moment to consider the beats before and after the crescendo. What volume should your crescendo finish at? Try to make it just quieter than the beginning of your don tsu ku, so they fit right together. Here's an example:
Questions? Comments? Post 'em. See you next week!
This week's drill is early because I'll be in Kyoto on Friday.
Okay, to check in first, we've been focusing on don tsu ku a lot as it is a staple rhythm in wa-daiko. I'd like to continue to look at the dynamics of the pattern this week by contrasting it with some do ko do kos.
Focus: Balance, Dynamics
Watch for:
1. Pay attention to the dynamics of don tsu ku. "don" is the loudest, "tsu" is the quietest (but we still want to hear it!), and "ku" is right in the middle.
2. Really listen for, and feel, the driving sound of don tsu ku and the evenness of doko doko.
3. Don't let the line of your wrists break! You can see an example of this in last week's entry, Video B. Correct form is shown in Video C.
Alright, let's start with the rhythm:
| 1 | & | 2 | & | 3 | & | 4 | & | 5 | & | 6 | & | 7 | & | 8 | & |
| don | tsu | ku | do | ko | don | do | ko | do | ko | don | tsu | ku |
As always, Red means Right. Emphasis is not represented here, but pay attention to the dynamics of don tsu ku as we've been practicing. Do ko do ko should be even in timing and volume!
Loop this for 15-20 minutes every day and you'll be ready for next week's drill!
Extension
If you feel like your don tsu ku dynamics and form are consistent, let's take a look at making this drill more musical.
While I've asked you above to keep the do ko do kos even in volume, this actually has a bit of a stiff feel to it. The reason to do it that way initially was for the sake of building distinction between the two rhythms and increasing ability to play two rhythms with different dynamics continuously.
Okay, so the dynamics of do ko do ko were plain and even. Let's play with that a little bit. Instead of keeping the volume equal, make it a crescendo. The final sound should lead nicely into the following don tsu ku.
Take a moment to consider the beats before and after the crescendo. What volume should your crescendo finish at? Try to make it just quieter than the beginning of your don tsu ku, so they fit right together. Here's an example:
| 1 | & | 2 | & | 3 | & | 4 | & | 5 | & | 6 | & | 7 | & | 8 | & |
| don | tsu | ku | do | ko | don | do | ko | do | ko | don | tsu | ku |
Questions? Comments? Post 'em. See you next week!
Friday, March 13, 2009
Taiko Drills, Part 25 DON TSU KU QUIZ
This entry has a problem. The audio files are missing. I am working to remedy this as soon as possible. Thanks for your patience.
Don tsu ku has the power to add great feeling and carry a song if played well. But, if dynamics are not considered, it has just as much power to make a song feel flat and monotonous.
I've been talking about don tsu ku a lot lately and wonder if I've been explaining myself in a way that lets you actually apply these tidbits to your own practice. So, I created a don tsu ku quiz!!
Here's how it works. There are 4 videos below, followed by 4 audio clips. The videos have no sound, but only one of them shows don tsu ku as I have described in previous drills. See if you can match the sound to picture.
The video:
VIDEO A
VIDEO B
VIDEO C
VIDEO D
The Audio:
All done? Then check out the answers here. Let me know how you did!
Here's a recording of the "correct" don tsu ku as I've described it here. I think this one works best with wa-daiko songs (and it's the way my teacher says to do it:))
Practice your don tsu ku dynamics this week. We'll expand next Friday!
Note: I have friends coming into town this weekend, so next week's drill might be a bit early or a bit late. Apologies and Happy Weekend!
Don tsu ku has the power to add great feeling and carry a song if played well. But, if dynamics are not considered, it has just as much power to make a song feel flat and monotonous.
I've been talking about don tsu ku a lot lately and wonder if I've been explaining myself in a way that lets you actually apply these tidbits to your own practice. So, I created a don tsu ku quiz!!
Here's how it works. There are 4 videos below, followed by 4 audio clips. The videos have no sound, but only one of them shows don tsu ku as I have described in previous drills. See if you can match the sound to picture.
The video:
VIDEO A
VIDEO B
VIDEO C
VIDEO D
The Audio:
All done? Then check out the answers here. Let me know how you did!
Here's a recording of the "correct" don tsu ku as I've described it here. I think this one works best with wa-daiko songs (and it's the way my teacher says to do it:))
Practice your don tsu ku dynamics this week. We'll expand next Friday!
Note: I have friends coming into town this weekend, so next week's drill might be a bit early or a bit late. Apologies and Happy Weekend!
Thursday, March 12, 2009
North American Taiko Conference 2009!
The NATC website is up and going! If you've never been to an NATC, I highly recommend checking it out. It's a great way to network, learn new drills and techniques, see some amazing taiko, and meet some amazing people!
2009 NATC Website
2009 NATC Website
Tuesday, March 10, 2009
Don tsu ku Quiz Answers
This entry has a problem. The audio file is missing. I am working to remedy this as soon as possible. Thanks for your patience.
Okay, let's go through the videos first and then I'll give you the answers:
Video 1: The left wrist is breaking every time the left hand strikes the drum. This means the sound will be louder, and perhaps a different pitch than the other hits.
Video 2: The right wrist is breaking, making it louder and perhaps a different pitch, and the 2nd and 3rd hits seem equal in volume.
Video 3: Neither wrist breaks and the dynamics seem right.
Video 4: All hits seem to be loud, perhaps equal. Movement is stiff.
ANSWERS:
Video A & Audio 2
Video B & Audio 4
Video C & Audio 3
Video D & Audio 1
So, which one is correct? I bet you got this part right--Video C, Audio 3! Even my posture is different.
Listen to the fast version again:
Okay, let's go through the videos first and then I'll give you the answers:
Video 1: The left wrist is breaking every time the left hand strikes the drum. This means the sound will be louder, and perhaps a different pitch than the other hits.
Video 2: The right wrist is breaking, making it louder and perhaps a different pitch, and the 2nd and 3rd hits seem equal in volume.
Video 3: Neither wrist breaks and the dynamics seem right.
Video 4: All hits seem to be loud, perhaps equal. Movement is stiff.
ANSWERS:
Video A & Audio 2
Video B & Audio 4
Video C & Audio 3
Video D & Audio 1
So, which one is correct? I bet you got this part right--Video C, Audio 3! Even my posture is different.
Listen to the fast version again:
Friday, March 6, 2009
Taiko Drills, Part 24 ANOTHER DON TSU KU DRILL
Hi there!
Okay, I admit it. I have kind of a don tsu ku obsession, but with good reason! Don tsu ku is a very common taiko rhythm, but it's difficult to play correctly because each hit is a different volume. Please jump back to review form and the dynamics (explained in the extension) before getting started today because it won't be reviewed here.
Focus: Balance, Counting
Watch for:
1. We often use our ears to determine if something is being played correctly, however, try to use your sense of body awareness as well. Do your hands feel the same when you strike the drum?
2. I challenge you again to keep those sticks hitting the same place on the drum. Probably there are a couple of little spots on the drum you can use as markers until you're consistent with this. Watch your hands to make sure they hit them every time.
Alrighty then. Here's what I've been playing around with the last few days:
So, you have the basic don tsu ku pattern, 4 times, followed by the same sticking pattern with a different rhythm. The second rhythm is very basic, hit on every beat, but it might be tough at first because your body is used to playing don tsu ku a certain way (hopefully!). Be sure to keep the same dynamics even though the rhythm is different.
Okay, actually, the real reason that 3rd line is there? Well, I bet you can guess... You finish with a double right so that leaves the left hand free... You got it! Repeat starting with the left hand and loop away.
Oh--and count!! It will help later with the extension :)
Extension
Line 4 above can be played more than once. But, when you're working in counts of 4 (or 8), you can't just repeat it any old number of times. For example, if you were to loop it here's what you get:
You'll see that if you play it through for 4 lines, you finish in the same convenient double right as if you play it 1 time. If you play for 2 lines, it's also a convenient place to switch to the left hand for the next set of 4 basic don tsu kus (as above). Switching after 3 lines isn't so smooth, but you're welcome to do it if you want to.
So you have 3 options to finish on the right hand: repeat through 1 line, 2 lines, or 4 lines. Go back to the original drill and adlib this part of the drill, alternating or deciding on the spot if you'll play for 8 beats, 16 beats, or 24 beats. Try to keep with the tempo--counting will help.
See you next time!
Okay, I admit it. I have kind of a don tsu ku obsession, but with good reason! Don tsu ku is a very common taiko rhythm, but it's difficult to play correctly because each hit is a different volume. Please jump back to review form and the dynamics (explained in the extension) before getting started today because it won't be reviewed here.
Focus: Balance, Counting
Watch for:
1. We often use our ears to determine if something is being played correctly, however, try to use your sense of body awareness as well. Do your hands feel the same when you strike the drum?
2. I challenge you again to keep those sticks hitting the same place on the drum. Probably there are a couple of little spots on the drum you can use as markers until you're consistent with this. Watch your hands to make sure they hit them every time.
Alrighty then. Here's what I've been playing around with the last few days:
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |
| don | tsu | ku | don | tsu | ku | ||
| don | tsu | ku | don | tsu | ku | ||
| don | tsu | ku | don | tsu | ku | don | tsu |
So, you have the basic don tsu ku pattern, 4 times, followed by the same sticking pattern with a different rhythm. The second rhythm is very basic, hit on every beat, but it might be tough at first because your body is used to playing don tsu ku a certain way (hopefully!). Be sure to keep the same dynamics even though the rhythm is different.
Okay, actually, the real reason that 3rd line is there? Well, I bet you can guess... You finish with a double right so that leaves the left hand free... You got it! Repeat starting with the left hand and loop away.
Oh--and count!! It will help later with the extension :)
Extension
Line 4 above can be played more than once. But, when you're working in counts of 4 (or 8), you can't just repeat it any old number of times. For example, if you were to loop it here's what you get:
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 |
| don | tsu | ku | don | tsu | ku | don | tsu |
| ku | don | tsu | ku | don | tsu | ku | don |
| tsu | ku | don | tsu | ku | don | tsu | ku |
| don | tsu | ku | don | tsu | ku | don | tsu |
You'll see that if you play it through for 4 lines, you finish in the same convenient double right as if you play it 1 time. If you play for 2 lines, it's also a convenient place to switch to the left hand for the next set of 4 basic don tsu kus (as above). Switching after 3 lines isn't so smooth, but you're welcome to do it if you want to.
So you have 3 options to finish on the right hand: repeat through 1 line, 2 lines, or 4 lines. Go back to the original drill and adlib this part of the drill, alternating or deciding on the spot if you'll play for 8 beats, 16 beats, or 24 beats. Try to keep with the tempo--counting will help.
See you next time!
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