Korean Taiko

A couple months back I was at the Shanghai World Expo 2010. On my last day there, my friend and I were wandering around trying to find a pavilion line that was short enough for the time we had left. It was then that we stumbled upon the Korean Pavilion.

The Pavilion for Korea was quite large and the line was winding around the building, but it wasn't the 6-hour wait that Japan's was, so we jumped in. After waiting 20 minutes in line, they let us in to what (surprise to us!) was NOT the Korean pavilion, but a Korean drum performance! Very impressive--check it out below.

After the videos, leave a comment: Can we call this taiko? Why or why not?

Visit my Youtube page to see the 2 dance pieces before the drumming started.

Happy Feet, Part 2

If you missed out on Happy Feet, Part 1 I recommend you backtrack and check it out first. Once you've completed those stretches, we can go a bit deeper into the foot muscles. If anything here seems to hurt, please stop. Go back to doing Part 1 every day for 3-5 days and then come back to try this one again.

Ever needed to squat down during a taiko song and found that your feet couldn't handle it? Or that you could only last a few seconds before they started aching? Try this stretch out:

1. Sit on your knees, with toes curled under so that there is space between your ankles and the floor.
2. Place your hands on the floor in front of you, as far forward as you can go without lifting your butt off your knees.
3. Lift the knees slightly off the ground, supporting your body with a tight core and, keeping them at a level height, take them from side-to-side.

4. To deepen the above stretch, sit up and shift your weight gently from the hips, side to side. Again, remember to hold the core tight in order to keep movements stable and balanced, which reduces the chance of unplanned movement or injury.

Thanks for visiting and let me know what you think in the comments! Anyone interested in hand stretches? Let me know!

Happy Feet, Part 1

I love my feet. They keep me stable, provide shock absorption, allow me to drum and dance and do most things that I love. There was a time when I took my feet for granted, yes, but I've learned how to please my feet. In the end, we both get to be happy.

Meet my feet's best friend:

Try this--it's the best massage ever. Get an old tennis ball--not one that's falling apart, but one that's moved beyond its stiff newness.

1. Take off your socks and shoes and set the ball on carpeted floor. If you're not the best at balancing on one foot, make sure to have a chair or table nearby to grab onto when needed.

2. Place your foot over the ball, so the ball fits in your foot's arch and press down, putting all your weight into that foot.

3. Press and release for as long as it feels good.

4. Next, you can roll the ball forward, backward, side-to-side. Release verbal sounds of pleasure when necessary... I'm sure I don't need to mention it, but be sure to switch feet.

Everything in the previous section can be done in any order, but this next step will lead into another foot stretch:

1. Set the tennis ball on the floor in front of you.

2. Spread your toes as wide as you can, and place them lightly on the ball. Try to pick the ball up with your toes. If you can't actually pick the ball up, keep repeating the motion. This will warm up the foot muscles for the next stretch.

Fingers and Toes Work Together:

1. Sit down with feet flat on the floor, knees pointing toward the ceiling. If you can't sit upright without support, do this with your back against a couch or wall.

2. Place your 4 fingers in the spaces between your toes on each foot.

3. If the muscles feel tight, this may be enough for you. Try to work up to the point where you can gently rotate your wrists in small, and then larger circles, loosening up the muscles.

Stay tuned for Part 2!

Tam Kung Festival

Every year on the 8th day of the 4th month of the lunar calendar in Shau Kei Wan of the Eastern District in Hong Kong, there is a celebration of Tam Kung. Local residents, particularly fisherman, worship this god of the sea at the Tam Kung Temple, also located here.

This year, on May 21, I attended the festival celebrating Tam Kung. A parade of most (maybe all?) of the lion dance groups in Hong Kong wrapped around the neighborhood for 3 hours. The weather was hot, thick, and sticky, the streets packed with people all trying to get a glimpse of the lions.

After an hour or so, I needed a break from the mayhem and my friend and I slipped into a small dim sum restaurant. Taking away the visual aspect, I noticed that each group had their own distinct drum rhythm during the parade, and soon I could guess which group was about to pass the restaurant. I snapped a few shots and caught a little footage, check it out:

Waiting for the show to start.

Children posing with the lion heads.

----------------------------------------------------------

It was tough to get the lion dancing on video with so many people around, but this is the best I could do:

Watch this one for a taste of the drumming:

Taikoforum.com June 14th!

Below is the email I just sent out. Note that we're starting out with groups in North America and plan to expand naturally according to the needs of the users--so anyone's welcome to join the community. Welcome!

Dear Taiko Family,

Please share this email with members of your taiko group.

Join us for the launch of Taikoforum.com on the morning of June 14th with moderator Kris Bergstrom!

You'll find 3 sections within the site: Forum, Wiki, and Group Map. The Forum is for discussion and also where you'll find the Featured Topic guided by the current moderator. The Wiki has informational pages on taiko. And, the Group Map shows where taiko groups are in North America.

As you explore please keep this in mind: Taikoforum.com is created to allow for maximum user participation! This means that we've gotten things started, but it's up to you to help make Taikoforum.com accurate and complete. So, once you register, we encourage you to:

1. Check out the Forum! Add your own comment or question; help keep the space active.

2. Check the Map to see if your group is represented and that all information is current. If not, follow the instructions at the bottom of the map for corrections.

3. Search the Wiki pages to see if one exists for your taiko group. If not, consider making one! Let your group members know so they can help create it.

4. Find the video page within the Wiki and edit it to include a link to a video of your group, if one does not already exist.

Please create a new Wiki page on any topic of your choice that you feel is important to the community, however we encourage you to first search the current pages to see if it already exists and also consider whether or not your topic could simply be added to another page.

Featured Topic, June 14th

Moderator: Kris Bergstrom

Kris began his taiko career as a member, composer, and leader of the university group, Stanford Taiko. He then spent 3 years in Japan where he studied and performed traditional dance within the Wakayagi school, kumidaiko with Nihon Taiko Dojo, and nagauta shamisen with Kineya Katsuyukie, one of the world’s most respected shamisen players. An artist of many talents, Kris maintains an active teaching schedule of taiko technique, turntable scratching, and shamisen, and currently serves as mentor to a small group of dedicated apprentices. In 2008 Kris received his natori (professional stage name) for nagauta shamisen from the Kineya School where he is known as Kineya Katsukoujyu. He is one of only a handful of musicians in the United States who have achieved this status.

Kris' Topic

Masturi Aces is a project to create a deck of 52 playing cards each with its own bon taiko (matsuri) move/rhythm. I will eventually be looking for move submissions from the community, but there are still lots of questions and tasks before that. Once complete, a series of games would involve players choosing cards and using their movements. The goal in the project is to move toward better form and innovation in bon taiko. I have a number of general questions for the taiko world about the project, and maybe a few specific ones too...

Please join Kris for discussion beginning June 14 and help us launch Taikoforum.com!

Thank you!

The Taikoforum Team

Carrie Carter (carrie@taikoforum.com)
Ben Pachter (ben@taikoforum.com)
Matt Tom-Wolverton (matt@taikoforum.com)
Adam Weiner (adam@taikoforum.com)

Lis Testa (lis@taikoforum.com)

I Want to Study Taiko in Japan!

A reader recently emailed me for suggestions on how she can study taiko in Japan for a short period of time. Thought I'd share the info with the rest of you and see if you know of anything else lingering out there! Email me if there's something to add!

KasaMix

When: September 5-16, 2010

Where: Sado Island, Kanazawa, Tokyo

Deadline for application (extended!): May 31 (it is possible to submit an application late if you notify Toni if your intent to apply by June 5)

Contact: Toni Yagami (taikotoni@yahoo.com)

Website: http://www.kodo.or.jp/kasa/frame.html

Inadani Taiko Drumming Course with Art Lee

When: June 14-19 or June 21-26, 2010

Where: Nagano Prefecture

Deadline for application: May 21

Website: http://www.wadaikoworld.net/japantaikocourse.html

Taiko Fukui

When: April 5-9 or April 10-16, 2010 (past!)

Where: Fukui

Deadline for application: N/A

Website: http://www.worldspirit.org.uk/taiko_tour.html

Oedo Sukeroku Taiko Workshop

When: August 20-24, 2010

Where: Nagano Prefecture

Deadline for application: July 31

Website: http://www.oedosukerokutaiko.com/htm/top_english.html

KODO Juku

When: October 7-11, 2010

Where: Sado Island

Deadline for application: June 30

Website: http://kodo.or.jp/ws/juku_eiichi_en.html

Tam Kung Festival

Every year on the 8th day of the 4th month of the lunar calendar in Shau Kei Wan of the Eastern District in Hong Kong, there is a celebration of Tam Kung. Local residents, particularly fisherman, worship this god of the sea at the Tam Kung Temple, also located here.

This year, on May 21, I attended the festival celebrating Tam Kung. A parade of most (maybe all?) of the lion dance groups in Hong Kong wrapped around the neighborhood for 3 hours. The weather was hot, thick, and sticky, the streets packed with people all trying to get a glimpse of the lions.

After an hour or so, I needed a break from the mayhem and my friend and I slipped into a small dim sum restaurant. Taking away the visual aspect, I noticed that each group had their own distinct drum rhythm during the parade, and soon I could guess which group was about to pass the restaurant. I snapped a few shots and caught a little footage, check it out:

Waiting for the show to start.

Children posing with the lion heads.

----------------------------------------------------------

It was tough to get the lion dancing on video with so many people around, but this is the best I could do:

Watch this one for a taste of the drumming:

National Marathon 2010

My recent frustrations with trying to find a practice space in DC have often led to suggestions by friends that I just go play outside somewhere, maybe at Dupont Circle. I've never really had the guts to do it myself, but there is strength in numbers--besides, taiko is more fun with friends.

So, last Saturday, March 20, 2010, Joe Small, Elizabeth McDonald, and I met at my apartment at 5:30AM. After some water and nourishment, we strapped on katsugi okedo, filled a backpack with chappa and chan chiki, and headed out to lay claim to a street corner.

It was the morning of the Sun Trust National Marathon, and what good place to make noise! The crowd was not large, so we had no trouble finding a spot. As far as what to play... well, the 3 of us had never played together before, and we definitely had our struggles. But, the experimentation & great weather made for a fun 2.5 hours together.

Some of you know that I love to layer rhythmic patterns and, most recently, I've been thinking a lot about taking one polyrhythm and breaking it apart or combining it with a different polyrhythm. So, I played 3 against 4 while Joe played 2 against 3 on top if it, double time. I think it turned out pretty cool, but let me know your thoughts in the comments!



You can hear a breakdown of each polyrhythm we used on the Polyrhythm entry on Wikipedia.

And, here's an ATT drill on polyrhythms, including a fun Extension for groups!

Part 61, 2 Against 3

Great Lakes Taiko Center

Had a nice time, as always, practicing with Raion Taiko in Michigan yesterday. For years I've been in the habit of checking online to see if there were any developments in the Michigan (my home state) taiko scene. I fell upon the Raion Taiko (Great Lakes Taiko Center) blog while I was living in Wakayama-ken, Japan. Brian and Mayumi have brought back their experience training with Asano Taiko in Kanazawa to the Detroit area and my habit has now become that of stopping by for a visit now and then.

Back in November I was able to join one of their practices, and again yesterday. Check out their website to learn about the exciting things they have going on!

O Yasumi

Hi there from Michigan!

There's no drill this week because I'm busy with other exciting taiko-related things, which I promise to write about soon! But, I just wanted to give you a simple, relaxing, activity for your ATT day off.

One of my favorite things to do on a crisp, Fall day is take a walk and enjoy the foliage. While my mind wanders with the breeze of the trees, my feet find a steady rhythm. This is a great opportunity to practice taiko.

So, go outside today, invigorate your senses with the fresh air and skat your favorite taiko song to the base beat of your step.

I'll be back with stories from this week and a new drill, next week. Have an enjoyable weekend!

Taiko Drill 58, Bachi as a Metronome Extension

It's pouring! Wish the sunshine would come out--that always sparks my creativity.

I've been working with last week's drill and added a section to it. If you're practicing with a metronome, try using different different rhythms to play along with as an added challenge. I noticed that if I was playing on eighth notes every day and switched to quarter notes, my tempo wasn't quite as steady as I had thought.

Focus: Timing, Rhythm
Watch For:
1. Anticipate the double stroke to switch the leading hand. If you're getting off-tempo here, slow down the speed, or practice just one hand for now.

I have found that, for me, the best way to improve my inner metronome is to play a repetitive pattern over and over again with an actual metronome. While last week's drill is great for this, I thought I'd add one more line (and if you know me, you've probably guessed what it is already!).

Here we go:

Line 1: don X8 (with one hand. this is the downbeat)
Line 2: do ko X8 (alternating hands)
Line 3: repeat Line 1
Line 4: don tsu ku X4 (RRL or LLR, depending on your starting hand)

You decide which hand to start with and when to switch. I try to reach 60% left hand lead and 40% right hand lead. If you're not used to starting with your left hand at all, then aim for twice as much practice for that side than the right.

Here's the video:



Next week I will be in Michigan working with an amazing non-profit youth performing group called Heritage Works. So, no drill next Friday, but I'll try to get some more NATC '09 stuff I've yet to post in between now and then.

Extension:

It was easy enough to add another line to this drill. In fact, you can add any 8-ct. line to change things up. Experiment to create your own version. The goal is something that is simple enough for you that you can consistently play on tempo. You should feel comfortable enough playing the line so that your mind and ears are free to really notice the moments when you stray ahead of or behind the metronome.

Taiko Drill Part 57, Bachi as a Metronome

Welcome back! Let's keep going with the timing theme...

Focus: Timing, Rhythm
Watch For:
1. Is the bachi (or arm) that's keeping the downbeat moving around, or steadily in one place?
2. Pay attention to volume--both hands should sound equal!

Here's the pattern:

don (X8 with one hand)
doko (X8 alternating hands)

You can choose to switch the base hand each time, or just practice with one. In the video, you'll see me alternate by finishing the pattern with a double stroke.

Taiko Drill Part 53, Trying Improvisation

Hi there! I'm excited to be leaving shortly to catch the Khoomei Taiko Ensemble performance this evening! Check out the website to see if it's coming near you. Those of you lucky enough to be in Seattle will even have the opportunity to take workshops from these talented performers. (email me if you need info!)

If the show's not coming to your area, you can watch today's performance live at 6PM Eastern through the Kennedy Center's website.

Let's get back into improvisation!

Focus: Counting, Improvisation
Watch For:
1. Even when you are comfortable enough to not have to count, do it anyway--it's good practice!

Okay, so last week we learned 4 basic patterns and practiced by looping them together. Today let's use those same patterns in a more relaxed way to begin experimenting with improvisation.

We're going to layer on top of the paradiddle pattern taught here, but you can really use anything. The reason I chose the paradiddle pattern is because after the first line it gets tough to determine where the beginning of the line is and if you don't count, you won't know when to stop. Counting while improvising is a great skill to have.

If you've never improvised you can start in this simple way:

1. Play 4 of the basic patterns.
2. Repeat.
3. Repeat steps 1 and 2 a total of 5 times.

If you would like to focus more on counting:

1. Play 5 sets of 8, totalling 40 beats.

In this video, you'll see the first option, followed by the second option. Of course, yours will sound completely different!




Want to see Tanaka Sensei do a little improv? Stick it out through the video in my last post and you'll see it at the end!

Want an MP3 of the paradiddle pattern? Click on my profile to access my email address and I'll email it to you in a jiffy! Gambarimasu!

Extension:

You may have noticed that when I improvised the second time, there were some patterns included that we didn't use last week. Try letting new patterns come out--that's what improvising's all about!

Taiko Drill Part 41, TAIKO SET PATTERN 1

Well, it's been a crazy week of transition, and I'm writing to you today from my temporary location of Cleveland, Ohio!


K, let's get back to taiko set.


Focus: Form, Dexterity

Watch For:

1. Keep elbows out and arms lifted, even when you move between drums.

2. Remember to begin movement from your core before it's time to initiate a strike on the other drum. This is important for good timing when playing faster.

Okay, let's start with today's basic rhythm:

1

&

2

&

3

&

4

&

5

&

6

&

7

&

8

&

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

PLEASE SEE COMMENTS FOR CORRECT PATTERN. I'll fix the issue as soon as I can, thanks.


Try this rhythm on a single drum to start. Make sure your hits are consistently in the same spot, at or near the center. This will reduce the chance of "clicking" the rim when we add another drum. When you're ready, let's play it on taiko set.

Set up 2 drums, like last week, higher pitch on the right. Check your stance, as we did 2 weeks ago.

For the first pattern in this series, play every "don" on your high-pitched, or right drum. All other beats are played on your low-pitched, or left drum.

Remember that "don tsu ku" has a rather cyclical feeling. "don" should be the loudest, "tsu" the quietest, and "ku" right in the middle. Be sure that "tsu" doesn't get lost in the shuffle--we still want to hear it! You can review "don tsu ku" here.

Gambarimasu! Grab your metronome and get started. We'll continue with a variation on this pattern next week.

NOTE: Next week's drill may be a little bit late (Saturday or Sunday) because I won't have access to a computer, but it's all written and ready to go!

Extension:

Make it fun with dynamics!

Keep the don tsu ku dynamics the same, as described above. But, let's change up the "do ko do ko". First time through, play do ko do ko as a crescendo, going from quiet to loud. Second time, do the opposite, with a decrescendo. Alternate, and loop it!

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...)

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.)

Taiko Drill Part 39, POSTURE TAIKO SET

Happy Friday!

So, katsugi was a bit of a fail, I guess. It seems not many people are interested in reading posts about it, perhaps because you don't have your own drum or maybe because it's less common. Either way, for those of you who were into the katsugi, check out the extension for a new rhythm to practice. If you want more, email me!

But, for now, I'm moving on. Next stop, taiko set!

Note: You don't have to use the same kinds of drums I'm using. Any upright taiko is okay if they're approximately the same height.

I am, for the time being, without a practice space. I do have some old videos stored that will work for later on in the coming weeks until I have a practice space, but for today we'll have to go back to the old-fashioned non-video teaching method.

Focus: Form
Watch For:
1. Take care if you have any knee issues. Knees are extremely important to keep flexible and basic stretches typically do not consider this. Please email me if you need stretching ideas.
2. Activate your core; this helps keep everything in line.

To begin with taiko set, let's take a look at incorrect posture:

This is WRONG.



Activate your core muscles and tuck the tail bone to bring yourself into natural alignment, protect your back and encourage stability, like this:



If your drums are the same size, your body's center will line up with the place where the drums meet (but don't touch). If one drum is significantly larger than the other, find your standing place by reaching your arms out so the bachi point to the center of each drum and your form is balanced. Adjust your feet, as needed. Arms stay lifted, as always.

To get used to hearing two different tones when playing, today's drill is to play the paradiddles taught here, on two drums. Keep your right hand at the right drum and the left hand at the left drum, nothing fancy yet, let's do this right.

Until next week--Ganbatte!

Extension:

You can hear the extension (katsugi) pattern here. Sorry... my tempo gets a bit slower as I go on--don't do that!

don tsu ku (8X) do kon ko (8X) One time
don tsu ku (4X) do kon ko (4X) Two times
don tsu ku (2X) do kon ko (2X) Four times
don tsu ku (1X) do kon ko (1X) Eight times
do ko do ko (X16)

Taiko Drill Part 38, LATERAL KATSUGI DON TSU KU

Hi there! Thanks for coming back.

Just a quick note that I hope to continue posting as my living situation is in a bit of a limbo, but thanks for your understanding in advance if I have to skip a week or post late. I know I need to get these drills organized in a way that you can find the ones you like, but it'll have to wait a couple months--sorry!

Alright, we've got a couple weeks left of basic katsugi information, and then it's on to taiko set basics, as requested by Joy. I really like practicing taiko set, so I'm excited for that. As always, I take requests, so drop me a comment!

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 lateral form, this becomes the right side. (NOTE: in the videos, my drum is unfortunately the wrong direction)
2. If you have a mirror, it's really helpful when first starting to play katsugi. Because our weight is centered, but feet uneven, it's common to think shoulders and body are leveled when they're not. Check this.

Okay, we'll start with the pattern today. It's one you've heard before, but I hope you never get sick of: don tsu ku.

When we practiced don tsu ku for shime daiko the pattern was:

RRL or LLR

When you play don tsu ku on lateral kastugi, alternate hands like this:

RLR LRL RLR LRL

In addition, every left hand hit will alterate sides of the drum. I love how this pattern sounds on the drum because there's a tonal pattern, too. One of my favorite things to do on a Friday afternoon is play don tsu ku on lateral katsugi until I hit a sort of mental peace, and playing the pattern becomes part of my being at that moment.

Anyway, here's an example:



Listen to your tone. If you don't hear a repeated pattern, then perhaps you're not hitting the center of the drum. Take a moment, slow it down until your form and tone are consistent.

Extension:

Try playing 8 don tsu ku while walking with your drum (RRL RRL x4), then stop walking, switch your stance to lateral and play 8 don tsu ku (RLR LRL x4).

It takes some practice to get the timing right and to keep the drum from bouncing around. You'll notice that you need to initiate the change in stance while simultaneously finishing up the final don tsu ku.

Questions? Email me or comment!

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.

2009 TOKARA Wadaiko Bootcamp

Are you looking for an alternative summer taiko experience to NATC? How about going to rural Japan!


From http://www.tokara.net/ArtLee/

Art Lee first began the study of taiko in 1993 from the Sacramento Taiko Dan with whom he later became a featured performer and instructor. He later joined one of the world's most famed taiko groups, Za Ondekoza, for their U.S. and Japan Tour, which culminated in a landmark concert at Carnegie Hall.

Art Lee became a solo performer after moving to Japan in 1998.
And on November 14th, 2001, Art exploded onto the world scene
when he became the first person in the world ever to be granted an
unsponsored artist visa from the Japanese government to teach, perform, and lead the life of a Professional Taiko Artist in Japan.

Art Lee's Taiko Bootcamp will be held this August:

August 10-15, English (Course B)
August 27-30, Japanese (Course C)

You can get more information on the Tokara website, but here's a short excerpt below.
Online application due June 1.

The TOKARA Wadaiko Camp is an intensive taiko training session during which participants will have the chance to be taught in the energetic performance style of TOKARA by Wadaiko Artist Art Lee. Participants to the 2009 Wadaiko Camp will spend intensive taiko study of all original drills and composition. In the evenings, paritcipants will be able to enjoy the festive atmosphere of Iida City and Achi Village during Obon festival season, as well as join TOKARA for their 2009 Hirugami no Hibiki showcase at the outside Hirugami Onsen Mountain Theater in Hirugami Onsen Resort. On the fifth day, Course B participants will have the opportunity to perform an original piece written by Art Lee at the Hirugami Onsen Mountain Theater. All drills and compositions are originally created by Wadaiko Artist Art Lee.

Want to Buy a Taiko?

Hi there! I mentioned in my last post that I've had quite a few taiko visitors lately. I'm sure that many of you have heard of TAIKOPROJECT's song, Omiyage. Perhaps even a few of you play it! Well, I thought I'd try to have a bit of a "cultural" exchange here in Wakayama. I invited Yuta Kato to teach Omiyage to my taiko group, Shippu Uchi Daiko, last week.

After the workshop, which went quite well, Yuta stayed with me and my husband for a couple of days. I know his father makes taiko, but wanted to get the scoop. Yuta highly recommends his dad's drums, so I decided to contact Mr. Kato directly and ask a few questions:

Q: What kinds of taiko does Kato Taiko make?

A: Kato Taiko makes naga-do (chu/o-daiko), hira-do, and oke-do. Upright, slant, and o-daiko stands are available. I also provide taiko repair/rennovation services and can engrave your drum for you.

Q: Do you sell taiko-making supplies, tacks, or kan?

A: Actually, I don't do this normally. Tacks or kan might be possible, but could take up to 2 months because I order these from Japan.

Q: How much do Kato Taiko drums cost?

A: Naga-do start at $750 (plus shipping, if required). Hira-do start at $725 (plus shipping, if required). You can find specific information about the prices and drums available on my website, www.katotaiko.com

Q: Will you be at NATC this year selling drums?

A: Yes! I'll be there.

Q: Can participants of NATC order drums and pick them up from you at the conference? If so, how far in advance is an order required?

A: Yes, this is possible. It's difficult to anticipate a deadline because this really depends on how many orders I have to fulfill. Certainly, earlier is better and probably by mid-June at the latest. Please have anyone interested contact me directly through my website.

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I recommend you browse Mr. Kato's website for information if you're considering buying taiko. It's fun to read about how he got started in the business and you can also read about how his taiko were involved in the movie, Memoirs of a Geisha.


Enjoy!