Just a video this week! Watch to see what my bachi bag looks like and where I'll be taking taiko class tomorrow :D
I'll be back with my impression of class next week and and the next Core Awareness Video.
Be copasetic,
Carrie
A place for useful tips, drills, and information about taiko.
Showing posts with label bachi. Show all posts
Showing posts with label bachi. Show all posts
Friday, September 23, 2016
What's in My Bachi Bag?
Just a video this week! Watch to see what my bachi bag looks like and where I'll be taking taiko class tomorrow :D
I'll be back with my impression of class next week and and the next Core Awareness Video.
Be copasetic,
Carrie
Friday, July 17, 2009
Taiko Drill Part 42, TAIKO SET PATTERN 2
Thanks for coming back! I'm posting today's drill from Canada.
Let's move forward with Pattern 2 for taiko set.
Focus: Form, Dexterity
Watch For:
1. Pay attention to dynamics--this is what can make a simple pattern into an interesting rhythm.
2. Probably, I don't need to say it again, but just in case:) Move from your core, not your arms!
Okay, here's a review of last week's basic rhythm:
don tsu ku do ko do ko don tsu ku do ko do ko
don tsu ku don tsu ku don tsu ku do ko do ko
Red means Right, Black means Left, bold is emphasized.
Last week, we played just the "don" on the right, high-pitched drum. This week, we'll do the same thing, but also play all of the "do ko do ko" on the right drum as well. So, essentially, only "tsu ku" should be played on the left drum.
Let's move forward with Pattern 2 for taiko set.
Focus: Form, Dexterity
Watch For:
1. Pay attention to dynamics--this is what can make a simple pattern into an interesting rhythm.
2. Probably, I don't need to say it again, but just in case:) Move from your core, not your arms!
Okay, here's a review of last week's basic rhythm:
don tsu ku do ko do ko don tsu ku do ko do ko
don tsu ku don tsu ku don tsu ku do ko do ko
Red means Right, Black means Left, bold is emphasized.
Last week, we played just the "don" on the right, high-pitched drum. This week, we'll do the same thing, but also play all of the "do ko do ko" on the right drum as well. So, essentially, only "tsu ku" should be played on the left drum.
Here's a tip in terms of making your movements fluid. At the beginning of Line 2, we play "don tsu ku" 3 times. For each "don tsu ku" only the Right hand needs to switch drums. Let your left bachi hang out at the left drum, just to the left of center of the skin. The left bachi is always moving, up and slightly faster down, just like when you play "don tsu ku" on a single drum.
If your right drum is a shime and your left drum an oke daiko, keep in mind that "tsu ku" may sound quieter on the oke daiko than the shime. You may need to play louder than you think on the left drum in order to keep a good balance. Feel free to experiment with this.
If you loop this pattern with last week's Pattern 1, here's what should happen:
Pattern 1 has the normal don tsu ku dynamics, "do ko do ko" is even in volume, not particularly emphasized.
Pattern 2 has the normal don tsu ku dynamics, "do ko do ko" is even in volume, and emphasized.
Loop these patterns daily 15-20 minutes and don't be afraid of your metronome! Back with a video demo and the last line for this drill next week.
Extension:
Try out some improvised accents when playing "do ko do ko" for Pattern 1. This is something that should be on the spot without planning, but here are some examples ("tsu" or "ku" means non-emphasized):
- tsu ko tsu ko
- do don tsu ku
- tsu ko don tsu
- tsu ku tsu ko
Friday, July 3, 2009
Taiko Drill Part 40, DOKO on TAIKO SET
Leaving Japan in 2 days! Originally I thought I'd be skipping this week's drill, maybe directing you to Kris Bergstrom's 30 Days to Better Shime lessons as a substitute... But, it got to be Friday and I realized that writing these entries is sort of what makes Friday, well, Friday for me! Glad you're here.
So you don't miss out on Kris though--30 Days to Better Shime is now available in print form! Click here for info. (Apparently, it's been in print form since sometime last year, so I guess I'm a little behind...)
So you don't miss out on Kris though--30 Days to Better Shime is now available in print form! Click here for info. (Apparently, it's been in print form since sometime last year, so I guess I'm a little behind...)
Last week we talked about core and how it's important to be aware of it, and utilize it correctly, when playing taiko. Let's move on from there.
Focus: Form, Timing
Watch For:
1. Try to hit the center of each drum.
2. Initiate movement from your core. The hips and knees will follow.
3. Flexible hips and knees are important. Be sure to stretch and be aware of how your body feels. If you notice anything strange, be sure to stop and check it out.
Today we're going to just play a simple doko doko, switching back and forth between the two drums. Certainly there are different styles and methods for this, so keep that in mind.
Okay, start by putting your high-pitched drum on the right and lower-pitched on the left. The pitch is generally your preference, but if you're using the videos below, it would be helpful to do the same as I did. Check your spacing and stance so that each arm is lifted, elbows out, bachi tips are near the center of each respective drum. Tailbone is slightly tucked and we're ready to go.
With only two drums it should be possible to keep your feet still and stable. Start by turning your hips slightly toward the left drum and play "doko" (RL). As the left hand is coming down to strike "ko", that is when movement to the right drum begins from your core. Your arms will naturally follow and be in place once your hips are facing the right drum. Then, play "doko" (RL) on the right drum.
When moving from the left drum to the right drum, it's possible for them to move separately, with a bit of space created between them. To move from the right drum to the left, the two must move as a unit in order to avoid collision. Essentially, the right arm moves in an arch, up and over. The left arm moves in an upward, diagonal line.
You'll notice in the video below that my description of how to move your arms is best understood by viewing the slower version, while the core initiation is easier to understand as I get faster.
Here's the front:
And the back:
Loop this pattern with your metronome. I didn't touch on bachi height or dynamics, so let's go there next week. Gambarimasu!
Extension:
Let's change the pattern up a little bit so that you get used to moving at any old time, not just back and forth. Try this:
do ko (Left drum) do ko (Right drum) X3
do ko do ko (Right drum, cresc.)
do ko (Left drum) do ko (Right drum) X3
do ko do ko (Left drum, cresc.)
Friday, June 12, 2009
Taiko Drill Part 37, LATERAL KATSUGI
Focus: Balance, Form
Watch For:
1. Make sure the higher pitch of your drum is at the front when you play. When you switch to horizontal form, this becomes the right side. (NOTE: in the videos, my drum is unfortunately the wrong direction)
2. When playing for a while in this position, be sure to ground yourself, but relax, keeping your weight centered even though the left foot is slightly forward as mentioned last week.
When you play with the drum sideways, there is a slight alteration in the grip. The one I use is like this:
If you're new to katsugi, take a moment to practice switching between the two stances as in last week's drill and simultaneously switch between the two grips. The original grip was explained here.
Now, check out the video for an example of form when playing the basic pattern, do ko do ko:
When striking with the right hand, it hits consistently at the center of the drum.
Notice that the angle of the left wrist changes from an outward position when hitting the left, to inward when hitting the right. When the left hand hits on the right side, it should strike just forward of the tip of the right bachi. When the left hand strikes on the left side, the hand stays closer to the front of the drum than the middle and the bachi aims back toward the center of the drum. Accomplishing this will make it easier to reach high speeds.
Now, just how do you get your bachi to hit the center of the drum when you can't see it?? It's simple, really--use your ears! Through practicing regularly, you'll soon be able to hear when you get the full, solid sound from striking the middle and your body will memorize how to get you there consistently. So--gambarimasu!
Time to practice! Use your metronome, 15 minutes a day. Increase the speed just slightly each time, but never to the point that you can't play it comfortably. Until next time...
do ko do ko!
Extension
So, you feel comfortable with all that and you want to get faster? First, remember to relax. This is important. It's also important to make sure your arm is moving in an arch forward, away from your body and close to the drum, rather than up and over. This reduces the distance traveled from side to side.
Watch For:
1. Make sure the higher pitch of your drum is at the front when you play. When you switch to horizontal form, this becomes the right side. (NOTE: in the videos, my drum is unfortunately the wrong direction)
2. When playing for a while in this position, be sure to ground yourself, but relax, keeping your weight centered even though the left foot is slightly forward as mentioned last week.
When you play with the drum sideways, there is a slight alteration in the grip. The one I use is like this:
If you're new to katsugi, take a moment to practice switching between the two stances as in last week's drill and simultaneously switch between the two grips. The original grip was explained here.
Now, check out the video for an example of form when playing the basic pattern, do ko do ko:
When striking with the right hand, it hits consistently at the center of the drum.
Notice that the angle of the left wrist changes from an outward position when hitting the left, to inward when hitting the right. When the left hand hits on the right side, it should strike just forward of the tip of the right bachi. When the left hand strikes on the left side, the hand stays closer to the front of the drum than the middle and the bachi aims back toward the center of the drum. Accomplishing this will make it easier to reach high speeds.
Now, just how do you get your bachi to hit the center of the drum when you can't see it?? It's simple, really--use your ears! Through practicing regularly, you'll soon be able to hear when you get the full, solid sound from striking the middle and your body will memorize how to get you there consistently. So--gambarimasu!
Time to practice! Use your metronome, 15 minutes a day. Increase the speed just slightly each time, but never to the point that you can't play it comfortably. Until next time...
do ko do ko!
Extension
So, you feel comfortable with all that and you want to get faster? First, remember to relax. This is important. It's also important to make sure your arm is moving in an arch forward, away from your body and close to the drum, rather than up and over. This reduces the distance traveled from side to side.
Wednesday, June 3, 2009
Taiko Center at NATC -- Free shipping!
Need new happi or other costumes for your group? Those tabi soles worn out? Did you split your favorite pair of bachi and are searching for a replacement? Need mute pads to keep your sound to a minimum? Bachi bags? Taiko bags? Fue? Chappa? Learn taiko DVDs? Taiko?
Taiko Center will be at NATC 2009. I just received an email from them saying that if you place an order by the end of June, shipping is FREE and you can pick up your goodies at the marketplace at the conference.
So, browse the Taiko Center Website to see if they have what you need.
----
FYI
Did you know Taiko Conference is on Facebook and Twitter? Get in on the updates!
Taiko Center will be at NATC 2009. I just received an email from them saying that if you place an order by the end of June, shipping is FREE and you can pick up your goodies at the marketplace at the conference.
So, browse the Taiko Center Website to see if they have what you need.
----
FYI
Did you know Taiko Conference is on Facebook and Twitter? Get in on the updates!
Friday, May 29, 2009
Taiko Drills, Part 35 WALKING WITH KATSUGI
Welcome back!
Let's move on with a bit more katsugi fun.
And, here's today's drill:
Extension:
Are you ready to put it all together? Try the pattern above while walking:
(See if you can tell what's wrong in this video. Check below it for the answer.)
If you think my criticism lies in the left hand, you're on the right track. My hands are not balanced in volume AND my do ko do kos are not even--can you tell? See if you can do better than I did!
Gambarimasu!
Let's move on with a bit more katsugi fun.
Focus: Form
Watch For:
1. Take the time to walk around with your drum for a while without hitting it. This will make the next step much easier.
2. Even though the rest of the body is relaxed (and having fun!), be sure to keep control of your sticks and their placement.
Let's take a closer look at the grip for the left hand we learned last week.
Start by grasping the bachi between your thumb and pointer finger:
Then, place the bachi between the middle and ring fingers:
Finally, be sure to relax the bottom three fingers. If these fingers are not relaxed, it will restrict movement.
The first step to walking with a katsugi okedo is, well, taking a step. It's important to practice walking! The drum rests on your leg and keeps the same point of contact. Obviously, the drum is going to move because your leg is moving, but it should not slide side to side or up and down on your leg.
When you practice walking, hold your bachi in their ready position. If you have a mirror, make use of it. Keep your left stick so that it's point is near the center of the drum and the right stick is just next to it. Arms stay relaxed and move a bit with the drum.
Have a look:
So, we talked last week about initiating the left hand from the wrist when preparing to make a big hit on the drum, and the right from the elbow. The same is true if you're making smaller hits. Check out the video:
Let's take a closer look at the grip for the left hand we learned last week.
Start by grasping the bachi between your thumb and pointer finger:
Then, place the bachi between the middle and ring fingers:
Finally, be sure to relax the bottom three fingers. If these fingers are not relaxed, it will restrict movement.
The first step to walking with a katsugi okedo is, well, taking a step. It's important to practice walking! The drum rests on your leg and keeps the same point of contact. Obviously, the drum is going to move because your leg is moving, but it should not slide side to side or up and down on your leg.
When you practice walking, hold your bachi in their ready position. If you have a mirror, make use of it. Keep your left stick so that it's point is near the center of the drum and the right stick is just next to it. Arms stay relaxed and move a bit with the drum.
Have a look:
So, we talked last week about initiating the left hand from the wrist when preparing to make a big hit on the drum, and the right from the elbow. The same is true if you're making smaller hits. Check out the video:
And, here's today's drill:
| 1 | & | 2 | & | 3 | & | 4 | & | 5 | & | 6 | & | 7 | & | 8 | & | ||
| Line 1 | don | tsu | ku | don | tsu | ku | don | tsu | ku | don | tsu | ku | |||||
| (x2) | don | tsu | ku | don | tsu | ku | do | ko | do | ko | do | ko | do | ko | |||
| Line 2 | don | tsu | ku | don | tsu | ku | do | ko | do | ko | do | ko | do | ko | |||
| (x1) | don | tsu | ku | don | tsu | ku | do | ko | do | ko | do | ko | do | ko | |||
| Line 3 | don | tsu | ku | do | ko | do | ko | don | tsu | ku | do | ko | do | ko | |||
| (x1) | don | tsu | ku | don | tsu | ku | don | tsu | ku | do | ko | do | ko |
Extension:
Are you ready to put it all together? Try the pattern above while walking:
(See if you can tell what's wrong in this video. Check below it for the answer.)
If you think my criticism lies in the left hand, you're on the right track. My hands are not balanced in volume AND my do ko do kos are not even--can you tell? See if you can do better than I did!
Gambarimasu!
Friday, May 22, 2009
Taiko Drills, Part 35 BEGINNER KATSUGI OKE DAIKO
Hi there!
The drum is going to rest on your left thigh. You'll notice in the photo below that the center of the drum lines up with my belly button and the drum is angled up only just enough so I can barely see the head by looking directly down.
Well, I just realized I tried too many new things this week, which may have resulted in an overall failure. But, I won't fail to bring you something, so my apologies.
I got a new camera. I was very very excited because it has audio capabilities. But, I failed to configure the sound in a way so you can actually hear what I'm saying. Then, after dealing with the technical difficulties, and running out of recording time, I watched the videos and immediately heard my teacher's criticism in my head: KATAI! You're too stiff--relax!
So, bear with me this week and I'll try to figure it out by next time.
Also, this is my first time teaching katsugi okedo in any form. So, please please ask questions if something's not clear. Alright, here goes...
Focus: Form, Speed
Watch For:
1. When you strike with the right hand, initiate from the elbow. When you strike with the left, initiate from the wrist.
2. Keep your weight a bit forward; I think of it as 65-70% forward.
Okay, let's start first with how to place your feet. Your heels should be in line with one another, right foot points forward and left angles outward. Mine are about 4 inches apart from one another.
The drum is going to rest on your left thigh. You'll notice in the photo below that the center of the drum lines up with my belly button and the drum is angled up only just enough so I can barely see the head by looking directly down.
The grip for each hand is completely different. The right hand is nearly like making a fist and sticking the bachi right in the middle. For the left hand, the bachi sits between the middle and ring fingers. Your actual grip is between the pointer finger and the thumb (further illustrated in the video).
Here's an example of ready position. The left bachi rests with its tip at the center of the drum, while the right is just next to it. Each stick is angled in toward the head of the drum, not parallel to it. Note that the left elbow stays tucked in to the body somewhat, while the right arm is rounded, out to the side.
Now, let's hit the drum! Think of it this way: right hand is rounded, left hand is linear. What I mean is that the right arm swoops around away from the body before striking, and the left arm moves in line with the drum in an upward motion, coming down with a relaxed wrist.
And, finally, today's drill. This drill is meant to help you increase speed when striking the drum. If you think about it, if you bring your arm slowly toward the drum your sound will be much weaker than if you strike quickly. By following a small hit with a big hit, you're forced to bring your arm quickly off the drum and back down in order to stay on tempo. This will help your body learn how to make big sounds on your katsugi drum.
Here's the pattern:
tsu don tsu don tsu don tsu don
tsu don tsu don tsu don tsu don
You'll strike twice with the right, twice with the left, twice with the right, twice with the left, and repeat!
It's difficult to get a balance between the left and right hand with katsugi, so listen carefully to your sound and aim for evenness in volume, particularly with the louder hits.
Extension:
If you've played katsugi before, then try alternating the basic pattern in this drill and really focus on keeping good form, while increasing the speed of the drill. (i.e., slightly increase your metronome pace daily)
tsu don tsu don
don tsu don tsu
tsu don tsu don
don tsu don tsu
don tsu don tsu
Gambarimasu!
Friday, February 13, 2009
TGIF, Part 21 (taiko drills)
Okay, let's put the balance practice to a bit of a test!
Focus: Balance,Timing
Watch for:
1. Don't lose the down beat; try to hear how the two rhythms fit together.
2. Relax. See if your body/mind has blurred that line between right and left--both hands are equal in speed and power as they hit the drum!
Okay, here we go. Red means Right and Black means Left. Bold is emphasized. "SU" means rest.
Please check the tips and videos of TGIF 13 if you need a "don tsu ku" review!
Find a parter and layer the two patterns. A large part of playing kumi-daiko is listening to and connecting with other players. Use this drill to practice that! One person starts with "don tsu ku", while the other person starts with "su ko do ko". Switch patterns every 4 times.
If you're practicing alone and need an MP3 of the pattern to get the layering practice, just email me the speed you're working at and I'll send you a file.
Extension
So, you've been balancing out your strong and weak hands? Give it a test here--reverse the right and left hands to the pattern, as described above.
Gambatte-yo!
Focus: Balance,Timing
Watch for:
1. Don't lose the down beat; try to hear how the two rhythms fit together.
2. Relax. See if your body/mind has blurred that line between right and left--both hands are equal in speed and power as they hit the drum!
Okay, here we go. Red means Right and Black means Left. Bold is emphasized. "SU" means rest.
Please check the tips and videos of TGIF 13 if you need a "don tsu ku" review!
| 1 | 2 | 3 | 4 |
| don | tsu | ku | |
| don | tsu | ku | |
| don | tsu | ku | |
| don | tsu | ku | |
| su | ko | do | ko |
| su | ko | do | ko |
| su | ko | do | ko |
| su | ko | do | ko |
Find a parter and layer the two patterns. A large part of playing kumi-daiko is listening to and connecting with other players. Use this drill to practice that! One person starts with "don tsu ku", while the other person starts with "su ko do ko". Switch patterns every 4 times.
If you're practicing alone and need an MP3 of the pattern to get the layering practice, just email me the speed you're working at and I'll send you a file.
Extension
So, you've been balancing out your strong and weak hands? Give it a test here--reverse the right and left hands to the pattern, as described above.
Gambatte-yo!
Friday, February 6, 2009
TGIF, Part 20 (taiko drills)
It's Friday again! Let's get started.
Focus: Balance
Watch for:
1. Two hands, one sound.
2. Really work toward increasing speed with this drill, but make sure you do not sacrifice form to do so!
Okay, back to focusing on balancing out the weak and strong hands. Ryou-te, hitting with both hands simultaneously, is a great way to continue with this. Today's pattern is simple for two reasons: 1) it allows you to jump right into it, repeating it again and again for maximum improvement, 2) it allows you to free your mind from trying to play the pattern right--you can focus on being consistent with form and sound.
Here you go:
Don tsu
Don tsu
Don tsu
Don tsu
Don tsu
Don tsu
Don tsu
Don tsu
The part in bold is emphasized. Be sure to raise your hands up and snap down quickly to accomplish this. "Tsu" is accomplished with a quick press of the three fingers placed on the underside of your bachi. (Review this by visiting the photos in Part 9 )
If you have a video camera or mirror available, turn so you can see your profile, weak hand closest to the camera or mirror. If your hands are not balanced, you'll probably notice that the kata, or form, is different.
Perhaps your weak hand doesn't come up as high as the strong one? Do your hands rock back and forth, arms pulling in after "don" and moving away for "tsu"? This means both hands are regularly inconsistent--try to eliminate this.
Make sure to take a look at your hands from your point of view as well. Is the path to the drum straight, without curving or angling? If you feel you have good control with the grip, but hear inconsistencies with your sound, this is possibly the culprit. Relax, slow down, and focus on making a direct strike.
Okay, you know how it goes, but I've gotta say it anyway: 15 minutes a day--Loop it! Enjoy:)
Extension
If you find that by day 4 or so that you're pretty comfortable with the drill above (let's say, 132 bpm, 1 don tsu per beat) you can challenge yourself by switching back and forth between "Don tsu" and "Tsu don". Here's one example, but feel free to create your own:
Don tsu
Don tsu
Tsu don
Tsu don
Don tsu
Don tsu
Tsu don
Tsu don
Make sure all your tsu's are equal in volume and your don's are equal in volume.
Focus: Balance
Watch for:
1. Two hands, one sound.
2. Really work toward increasing speed with this drill, but make sure you do not sacrifice form to do so!
Okay, back to focusing on balancing out the weak and strong hands. Ryou-te, hitting with both hands simultaneously, is a great way to continue with this. Today's pattern is simple for two reasons: 1) it allows you to jump right into it, repeating it again and again for maximum improvement, 2) it allows you to free your mind from trying to play the pattern right--you can focus on being consistent with form and sound.
Here you go:
Don tsu
Don tsu
Don tsu
Don tsu
Don tsu
Don tsu
Don tsu
Don tsu
The part in bold is emphasized. Be sure to raise your hands up and snap down quickly to accomplish this. "Tsu" is accomplished with a quick press of the three fingers placed on the underside of your bachi. (Review this by visiting the photos in Part 9 )
If you have a video camera or mirror available, turn so you can see your profile, weak hand closest to the camera or mirror. If your hands are not balanced, you'll probably notice that the kata, or form, is different.
Perhaps your weak hand doesn't come up as high as the strong one? Do your hands rock back and forth, arms pulling in after "don" and moving away for "tsu"? This means both hands are regularly inconsistent--try to eliminate this.
Make sure to take a look at your hands from your point of view as well. Is the path to the drum straight, without curving or angling? If you feel you have good control with the grip, but hear inconsistencies with your sound, this is possibly the culprit. Relax, slow down, and focus on making a direct strike.
Okay, you know how it goes, but I've gotta say it anyway: 15 minutes a day--Loop it! Enjoy:)
Extension
If you find that by day 4 or so that you're pretty comfortable with the drill above (let's say, 132 bpm, 1 don tsu per beat) you can challenge yourself by switching back and forth between "Don tsu" and "Tsu don". Here's one example, but feel free to create your own:
Don tsu
Don tsu
Tsu don
Tsu don
Don tsu
Don tsu
Tsu don
Tsu don
Make sure all your tsu's are equal in volume and your don's are equal in volume.
Friday, January 23, 2009
TGIF, Part 18 (taiko drills)
Just wanted to drop a quick note before we dig in here. Do you check out this site often and find it useful? Then, please, help spread the word: tell your friends, leave a comment (even if it's short)!! I can make this a place that is more useful to you if I hear from you about your needs and concerns. I appreciate the emails I've received, (hopefully there will be atarigane practice in the coming months!)--I respond to those, too!
Okay, moving on... How'd last week's drill go? I mentioned that I found practicing ryou te to be very helpful when you're seeking a more even balance between the two hands. It's not a skill that comes easily, so today let's focus on another way to practice it, while combining it with a past drill for review.
Focus: Balance, Speed
Watch for:
1. Make sure that when you hit both hands together, there is only one sound. Not sure if it's one sound or two? Get someone to close their eyes and listen for you. If there are two, slow down!
2. Is one hand louder than the other? Make sure the volume, height, and speed of your sticks are even.
Remember way back in TGIF 2 when we practiced DOKO? Let's use the exact same drill to practice ryou-te. First, play with both hands:
DON
DON
DON
DON
DON
DON
DON
DON
Then continue another 8 beats, alternating RLRL (or LRLR if you're left-handed):
DO KO
DO KO
DO KO
DO KO
DO KO
DO KO
DO KO
DO KO
Loop it back around to the beginning! Note that the weak hand will have to play 2 beats in a row at the end of the line. If you're having trouble with it, don't ignore it--slow down your metronome till you've got it.
After last week, this one should be no problem for 15 minutes. Good luck!
Extension:
You can practice skills consistently and eventually master them, but simply having good skills isn't enough to give a good performance. Most of what I've shared with you so far is very difficult to teach over the internet, but teaching dynamics is nearly impossible. You can begin to explore this yourself with a bit of awareness.
Take the drill above and add a gradual crescendo the first time through. The second time, make it a decrescendo, and repeat. Take the whole 16 counts to reach your final extreme. Close your eyes and listen (or even record yourself). Is the sound so gradual that every single hit is a little bit louder (or quieter) than the one before? Does the change in volume sound even? To get this right takes patience and persistence, but once you get it, it can enhance any song and take your audience along with you.
Okay, moving on... How'd last week's drill go? I mentioned that I found practicing ryou te to be very helpful when you're seeking a more even balance between the two hands. It's not a skill that comes easily, so today let's focus on another way to practice it, while combining it with a past drill for review.
Focus: Balance, Speed
Watch for:
1. Make sure that when you hit both hands together, there is only one sound. Not sure if it's one sound or two? Get someone to close their eyes and listen for you. If there are two, slow down!
2. Is one hand louder than the other? Make sure the volume, height, and speed of your sticks are even.
Remember way back in TGIF 2 when we practiced DOKO? Let's use the exact same drill to practice ryou-te. First, play with both hands:
DON
DON
DON
DON
DON
DON
DON
DON
Then continue another 8 beats, alternating RLRL (or LRLR if you're left-handed):
DO KO
DO KO
DO KO
DO KO
DO KO
DO KO
DO KO
DO KO
Loop it back around to the beginning! Note that the weak hand will have to play 2 beats in a row at the end of the line. If you're having trouble with it, don't ignore it--slow down your metronome till you've got it.
After last week, this one should be no problem for 15 minutes. Good luck!
Extension:
You can practice skills consistently and eventually master them, but simply having good skills isn't enough to give a good performance. Most of what I've shared with you so far is very difficult to teach over the internet, but teaching dynamics is nearly impossible. You can begin to explore this yourself with a bit of awareness.
Take the drill above and add a gradual crescendo the first time through. The second time, make it a decrescendo, and repeat. Take the whole 16 counts to reach your final extreme. Close your eyes and listen (or even record yourself). Is the sound so gradual that every single hit is a little bit louder (or quieter) than the one before? Does the change in volume sound even? To get this right takes patience and persistence, but once you get it, it can enhance any song and take your audience along with you.
Friday, January 9, 2009
TGIF, Part 16 (taiko drills)
So, the holidays are over, it's back to work, and it's cold (even in Japan--at least it feels that way without central heating). It's that time of year when it's tough to dig up the motivation to be creative, and also tough to do the same ole' same ole'. Well, glad you're here! I've got a new drill for you!
Focus: Balance, Timing
Watch for:
1. Really feel the waltz pulsing through this drill, but make sure that your beats are even.
2. Often, if there's time before an emphasized hit, we tend to move that arm up slowly just because there's time to do so. To use this drill as a strengthening exercise, and to work on speed, hold your stick in ready position until the last minute, bringing your bachi up and down quickly.
Okay, so you've never waltzed before? All you know about this dance step is 1, 2, 3, 1, 2, 3? Great! That's all we need to get started.
All of the drills we've done so far have been in lines that total 4 or 8. Today's drill works in beats of 3. We'll alternate RLR, LRL, RLR, LRL... Pay attention! The emphasis changes!
Remember, Right is Red, Left is Black. "Don" means emphasized. Be sure to engage your 3 fingers on the under side of your sticks to keep control of your non-emphasized hits and be sure to relax your wrists as you lift your arm for those quick, emphasized hits.
15 minutes--loop it!
Extension
Try the same pattern, but have each hand play a full line. That means each hand will hit 3 times in a row before switching to the other hand. Pay attention to the volume of your non-emphasized hits. Are they the same? If not, slow down your metronome a bit until you've got it.
Enjoy--
Please rate this drill!
Focus: Balance, Timing
Watch for:
1. Really feel the waltz pulsing through this drill, but make sure that your beats are even.
2. Often, if there's time before an emphasized hit, we tend to move that arm up slowly just because there's time to do so. To use this drill as a strengthening exercise, and to work on speed, hold your stick in ready position until the last minute, bringing your bachi up and down quickly.
Okay, so you've never waltzed before? All you know about this dance step is 1, 2, 3, 1, 2, 3? Great! That's all we need to get started.
All of the drills we've done so far have been in lines that total 4 or 8. Today's drill works in beats of 3. We'll alternate RLR, LRL, RLR, LRL... Pay attention! The emphasis changes!
| |||||||||||||||||||||||||||||||||||||||||
15 minutes--loop it!
Extension
Try the same pattern, but have each hand play a full line. That means each hand will hit 3 times in a row before switching to the other hand. Pay attention to the volume of your non-emphasized hits. Are they the same? If not, slow down your metronome a bit until you've got it.
Enjoy--
Please rate this drill!
Wednesday, September 17, 2008
TGIF, Part 1 (taiko drills)
VIDEO DEMO COMING SOON!
Welcome to TGIF!
Focus: Timing, Right/Left Balance
Watch for:
1. Pay attention to the path your sticks take to the drum--are both sticks making identical vertical lines? If either hand strikes with an angled line, focus on correcting this as you practice the following drill.
2. Listen the sound as you strike the drum. Are the two hands equal in volume and tone?
Today's drill is basic, but effective in increasing speed and encouraging balance between the left and right hand. The kuchi shoga is simple:
DON DON DON DON DON DON DON DON
Once you've got that memorized (no problem, right?), let's talk about hands. First, play the line alternating right and left hands:
R L R L R L R L
Next, repeat with double strokes:
R R L L R R L L
If you don't have a metronome there are numerous online sources. I tend to use this one if practicing at home. You can also download a light metronome if hearing it over your taiko is a problem. Using a metronome will help you realize if you have tendencies to change tempo as you play.
Practice first at a speed that's comfortable for you, 15 minutes total. Practice this drill every day, increasing speed regularly, and you'll be ready for the next drill in 7 quick days!
Comment or email if you have questions.
Carrie
Extension: It is essential to practice with your weak hand up to twice as much as you do with your strong hand. I'm right-handed, so for this drill I will practice starting with the right the first 5 minutes and follow it by 10 minutes starting with the left. This helps to feel comfortable with the downbeat on either hand.
Another way to do this is simply by alternating repeatedly throughout the drill:
R L R L R L R L
R R L L R R L L
L R L R L R L R
L L R R L L R R
L R L R L R L R
L L R R L L R R
Welcome to TGIF!
Focus: Timing, Right/Left Balance
Watch for:
1. Pay attention to the path your sticks take to the drum--are both sticks making identical vertical lines? If either hand strikes with an angled line, focus on correcting this as you practice the following drill.
2. Listen the sound as you strike the drum. Are the two hands equal in volume and tone?
Today's drill is basic, but effective in increasing speed and encouraging balance between the left and right hand. The kuchi shoga is simple:
DON DON DON DON DON DON DON DON
Once you've got that memorized (no problem, right?), let's talk about hands. First, play the line alternating right and left hands:
R L R L R L R L
Next, repeat with double strokes:
R R L L R R L L
If you don't have a metronome there are numerous online sources. I tend to use this one if practicing at home. You can also download a light metronome if hearing it over your taiko is a problem. Using a metronome will help you realize if you have tendencies to change tempo as you play.
Practice first at a speed that's comfortable for you, 15 minutes total. Practice this drill every day, increasing speed regularly, and you'll be ready for the next drill in 7 quick days!
Comment or email if you have questions.
Carrie
Extension: It is essential to practice with your weak hand up to twice as much as you do with your strong hand. I'm right-handed, so for this drill I will practice starting with the right the first 5 minutes and follow it by 10 minutes starting with the left. This helps to feel comfortable with the downbeat on either hand.
Another way to do this is simply by alternating repeatedly throughout the drill:
R L R L R L R L
R R L L R R L L
L R L R L R L R
L L R R L L R R
L R L R L R L R
L L R R L L R R
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