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.

Taiko Drill Part 36, CHANGING KATSUGI STANCE

Before you read this post, check out the Prelude with Ryo Shimamoto here.

And, here I am bringing you a drill that I have trouble with myself--again! You may know that the two most common ways to play katsugi are on a diagonal angle and then horizontally, with the drum across both legs.


Focus: Balance, Form
Watch For:
1. Don't strike the drum or think about striking the drum. Be aware of your stick placement, your grip and where your body weight lies.
2. Even though it may seem boring to practice, it's important to be able to move between these positions without the drum swinging out of control. Repeat this drill until you have control over the drum.

Let's practice switching the drum between these two positions before we aim to strike simultaneously. Starting in the basic position taught last week, the drum stays anchored on the left thigh. From there, move the left leg forward and wide so that the drum's center is lined up with your body's center.

Because the place where the drum is anchored on your thigh just to the left of the center of the drum, you must compensate for this by placing the left foot on the floor, slightly in front of the right leg. So, while the drum is directly horizontal across your body, your left leg is front and the right leg is back. Keep that right leg planted in the ground.

Last week I talked about having most of your weight forward when playing in a slant form. You'll notice in the video here that my weight doesn't seem to be shifting out of my right leg. When you're playing both styles back and forth, this keeps the drum from moving around. If you're settling in to play in the horizontal style for a while, then let your weight center and ground yourself.




Notice that the right hand moves with the drum, keeping the stick's point at the center of the drum head. The left hand switches to the left side, aiming to keep the point at the center of that drum head. We'll explore further next week how to get that stick to the center and how the grip of the left hand should adjust.

Gambarimasu!

Taiko Drill Part 36, Prelude with Ryo Shimamoto

Hi there!

I was quite a bit frustrated last week that I posted videos with terrible form. Hopefully you understand that I'm on a learning journey. Maybe I'm in a little over my head with these katsugi videos, but I'll keep trying my best!

Last week my teacher mentioned to me that he's been checking the blog out periodically. I thought it might be helpful for you to see his form and he agreed to make an appearance. So, for today's special treat, I introduce my teacher, Ryo Shimamoto to you:



So, I've a long way to go as you can see. That left hand is what I'm practicing this afternoon!

Please click here for today's drill!

A little background on Ryo Shimamoto:

嶋本龍　和太鼓講師・和太鼓奏者。和太鼓指導のほか作曲も手がけている。1976年生まれ.11歳から和太鼓を始める。疾風打太鼓のリーダーを15年経験、2008年ソロ活動開始。近藤克次氏（元 鼓童、鬼太鼓座）に師事。レッスンでは、自力整体をとり入れた入念なストレッチを行い、和太鼓に向かう時は 力まかせではなく、身体のバランスとしなりを活かした打ち方を指導している。

Ryo Shimamoto of Wakayama Prefecture, Japan is a Japanese drum instructor, performer, and composer. Born in 1976, he began playing taiko at the age of 11. His solo career began in 2008, after 15 years as the leader of Shippu Uchi Daiko. Shimamoto currently studies under Katsuji Kondo (formerly of Ondekoza and KODO).

From Carrie: He's an amazing resource for stretches and drills that will help to balance your form and ability. Most of what I write about here, I know because of him and I'm very thankful to him for that. If you're ever looking for a great teacher with the intuition to show you "how" and answer all your "whys", I highly recommend him!

Taiko Drills, Part 35 WALKING WITH KATSUGI

Welcome back!

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:

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!

Taiko Drills, Part 35 BEGINNER KATSUGI OKE DAIKO

Hi there!

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

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

Gambarimasu!

What's YOUR Vote? Katsugi or Taiko Set?

Hey there!

Last week I asked for your vote for this Friday's focus:

Katsugi OR Taiko Set

So far, with one vote in, it's looking like katsugi.

Have a preference? Leave a comment!

Taiko Drills, Part 34 SHIME ROLLS (form)

Welcome back!

Well, Golden Week is over and done with and I'm back on my regular practice schedule. I realize that I've been focusing significantly on shime daiko skills, and all the videos I've posted have been for shime. And, to be honest, I have no better reason other than I love playing shime and I find it challenging. So, as always, if you have requests, let me know. If not, then I suppose you just have to keep putting up with my shime obsession!

How's this: I'll do a taiko set drill next week OR katsugi okedo, BUT only if you tell me! Leave a comment and tell me which you're interested in. Whichever drum gets the most comments, I'll do a few drills starting next week. Don't worry, I'll start from the basics.

Today's drill is very simple and a cool trick to keep you from clicking sticks together and keeping your sound consistent when trying to play quickly. If you're new, be sure to practice the shime daiko grip here first. If you're not new, it doesn't hurt to review.

Check it out!

Focus: Form, Balance
Watch for:
1. Move your hand in a straight motion up off the drum and down again to make contact.
2. If your sound is inconsistent, either from hand to hand or from hit to hit, be sure the height your stick comes off the drum is consistent and the striking speed and grip are the same. If you've already done all that and they still sound different, this drill might be the key for you.

Okay, so there's no fancy rhythm or anything for this drill. We'll just repeat "do ko do ko" at a speed that's comfortable for you. You'll notice in the video that I play 4 "do ko"s at the edge of my drum, quietly, and 4 louder "do ko"s at the center of the drum, and repeat.

One reason for hitting close together at the center is to force your sticks to go straight up and down. If your sticks click against each other, slow it down a bit and really focus on your hands making a straight path. For me, if I think about the sticks making a straight path, my efforts become forced and I'm no longer relaxed enough to be successful. So, start with the hands and once you've got that, refine any small waverings of the sticks.

The second reason for the 2 different kinds of rolls in this drill is to help you notice if small rolls or louder rolls are more difficult for you. (then you can practice that kind more!) Be sure that all of the quiet rolls are the same volume and pay particular attention to the ones just before or just after the louder rolls.

Grab your metronome and get started!



PS: Sorry the camera's a bit lopsided. I'll spare you the details of my makeshift table...
(Do I wear those pants every Friday??)


Extension:

Change up rolls! The pattern stays the same, but you can try something like:

RRLLRRLL
RRRLLLRR
LLRRLLRR
LLLRRRLL

If someone were to listen to you play the basic drill above and this version here with their eyes closed, they should not be able to hear the difference!

Gambatte!

Remember to vote in the comments for next week's focus:

KATSUGI?? or TAIKO SET??