After a brief conversation with Kris Bergstrom a couple weeks ago, I realized that I need to challenge myself more. I need to challenge myself to be more creative, more motivated, more focused. And, even when time is scarce, these things are possible.
So, I will make a small goal for myself here:
Every morning at the start of my day, 7 days a week for 3 months, I will practice a drill for 15 minutes. Every week will the be same drill--a roll--with slight variation, so each week is really never exactly the same. I will experiment with tempo, layering, counting... Who knows what I'll come up with to create 12 variations of the same drill?
Do you want in? I'll be here every Friday from September 9 to tell you about the next week's variation. Feel free to pipe up along the way if you have suggestions of your own!
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.
Whoa--I don't know about where you live, but it's suddenly turned from sunny Summer to cloudy Fall around here. Hopefully a little taiko will bring some sunshine to your day!
Focus: Rhythm Watch For: 1. Check-in on whether or not you have an even balance between the left and right hands.
Today's drill is simple in explanation because I'd like you to be comfortable with it before we add the next step. So, play the following pattern through 10 minutes every day and I'll add the challenge next Friday!
1
&
2
&
3
&
4
&
5
&
6
&
7
&
8
&
don
tsu
ku
do
ko
don
do
ko
do
ko
don
tsu
ku
Don't worry about any emphasis for the hits, just get the pattern in your mind and body. Remember Red means Right and Black means Left.
Here's the video version on my drum pad (info video coming soon):
Next week, I'll be posting from the Pacific Northwest. Check back to see if I'm lucky enough to capture some taiko action on video there!
The last few weeks we've been talking about how understanding rhythms can help to really make a song tight. I'd like to take a step back (or forward?) and take two simple rhythms we already know, layer them with a partner (or in a group) and use them to listen to each other. Really try to hear how they fit together and form an entirely new sound.
Focus: Timing, Listening Watch For: 1. Be aware of both your part and the part played by the opposite group/person. 2. Don't get lazy about form as the tempo increases. If it's too fast for you, play it at half-time for half the time!
Let's get started with the first part: "do ko". If you're playing the first part of this drill, play "do ko" 16 times, starting on the right hand. Simple enough, no?
Next, play "don tsu ku" (right, right, left) 8 times, which equals the same length of the 16 "do kos". Then alternate back and forth.
Probably you get the picture already, right? The opposite group will start with "don tsu ku" and then switch to "do ko" and alternate from there.
Start at a reasonable pace for all players, check the clock, and gradually increase the speed for 10 minutes. This part takes practice.
Don't designate a leader for this--the point is to stay together as a group. If you're not listening to the other people in the group, it's tough to keep the rhythms together. Also, if one person speeds up too fast, and everyone follows, well... it'll be a bit tough at the end.
So, try it yourself, experiment, and take it to your group for practice! You can even try facing away from each other for an additional challenge.
Extension:
Both of the above rhythms can be switched to a left-hand start at any time. Try this for "do ko":
do ko do ko do ko do ko do ko do ko do ko do ko do ko do ko do ko do ko do ko do ko don . .don
From there, start the following line from the left hand!
Counting while playing taiko is not a strength of mine.
During Shippu Uchi Daiko's warm-up we often do a set of speedy paraddidles and each person solos over the pattern. Then it repeats and the solo passes to the next person. I love the challenge of a solo, but I can only seem to keep it together if I let my whole mind and body get lost in the rhythms, kind of like dancing. Unfortunately, if I don't count while I'm soloing, I inevitably overlap with the next person's solo or get stuck with an odd number of dead air beats because I didn't complete the specified number of measures.
I grew up playing the flute and singing and can read sheet music. But, I also grew up dancing which is where I was taught to understand rhythm by listening and feeling, in a less precise or technical way.
How one understands rhythm is affected heavily by the way the teacher chooses to or can explain it to them. What's the best way to understand rhythm? I say, ask lots of people how they understand it! The wider perspective you have, the deeper you can truly go with it. Reading sheet music made me a better taiko player, taiko made me a better tap dancer, and dancing helped me to understand sheet music in new ways.
So, here's today's drill from Summer Taiko Institute 2009 with On Ensemble!
Focus: Timing, Counting
The drill continues on to 2, and then 3 hits for every count. If you really want it, I can probably dig up the video somewhere--email me!
Extension: The next step with this drill is to apply it to the songs you're practicing. Take the time to go through beat, by beat, and break down the rhythms so you can really understand when the hits should occur. Then, play it at 25% the normal speed to practice counting. Try this with your whole group and notice the difference in timing!
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.
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!
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!
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
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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!
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 dontsu 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)
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:
I hope you're enjoying the spring season wherever you are. It's a great time to practice taiko! (Okay--anytime is, really.)
Let's get back to rolls and timing--
Focus: Timing, Balance Watch for: 1. Keep those elbows up and out! Don't let your elbows drop--this will force you to bend your wrists in order to hit the drum and we don't want that. Check out the video from 3 weeks ago for a refresher: Part 30 2. If you've gotten lazy about the metronome, you'll need it for this drill.
Okay, this drill is basic to do, so let's take the opportunity to be picky about a few things. Make sure the sound of the right and left hand are the same. I think I've said this a few times before, but the first step to fix this is to check to make sure your form is the same. If they're not, slow down the drill to focus on this, and do everything twice as long for the "wrong" hand. Keep in mind that sometimes when it sounds like your timing is off, it could be the balance!
I've written out the rhythms below, Redis right and Black is left. Note that Lines 1 and 2 are played twice. Line 3, which is twice as long, is played just once.
1
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2
&
3
&
4
&
5
&
6
&
7
&
8
&
Line 1
don
do
ko
don
don
don
do
ko
don
don
(twice) Line 2 (twice)
don
do
ko
don
do
ko
don
do
ko
don
don
ko
Line 3
do
ko
do
ko
do
ko
do
ko
do
ko
do
ko
do
ko
do
ko
do
ko
do
ko
do
ko
do
ko
do
ko
do
ko
don
don
If you know my style, you know why there's a double right at the end--repeat again from the beginning, starting with the LEFT hand!
K, loop it! 10-15 minutes daily, gradually increasing speed but never going faster than is comfortable. Gambatte!
Here's a bit of audio help:
(These clips are to aid in understanding the rhythm and are not representative of what your actual playing should sound like.)
Extension: I really find that drills that use one hand as a base beat are invaluable to increasing good timing and balance. Once you're comfortable with the drill above, try playing the base beat (right hand) for the same length of 6 lines of 8. The left hand will improvise when to hit on the up beat. Be sure to count so that the final two beats are "don don" with the right hand, freeing up the left to begin from the beginning.
This is a fun way to come up with new rhythms--maybe you'll even get a new song out of it!
Good timing certainly doesn't come overnight, so it's still been a focus of my practice recently. Of course, this skill is easily combined with others, so I'd like to move on from the Fraction Drill but keep the overall theme of 'timing' in mind.
A friend of mine recently asked me how to get better at rolls. My immediate response was, "Practice!" Since then my teacher brought out the basic line from KODO's shime daiko piece Monochrome at one of my private lessons and I've had to consider on a more in-depth level how to produce efficient, controlled rolls. Needless to say, Monochrome is far out of my reach, but certainly motivating.
Focus: Timing, Balance Watch for: 1. Do your arms/hands feel different? They shouldn't, so if they do, take the time to consider how they feel different, determine which hand is correct (Check out the tips and videos below for possible ways to do this), and focus on bringing the other hand up to par. 2. Take it slow until you have the balance we're aiming for. If you need ideas on how to reach this goal, review any of TGIF 11-18!
In this first video you'll see today's drill. Alternate RLRL with an even beat for 8 counts using the basic shime daiko grip taught here. Then keep the same feeling of the grip, but lift from the upper arm as well for 8 counts, double time. Loop it!
It's not easy to combine the grip and form, so by isolating the grip and then adding the form and repeating, your body will gain a gradual sense of what you're teaching it to do.
Notice that my elbows are out, but not locked, and shoulders down. The bachi are at the same angle and rise off the drum at the same height to produce an even roll.
In this second video, you'll see me playing a roll at 3 tempos, slow to moderate pace. I tried to give you an idea here of how even though as you get faster and there is not time to lift the arms up and down, the feeling of the lift is still present. My elbows don't drop and my wrists don't break, keeping the sound consistent.
Gambatte, ne!
PS: One of these days I'll get a camera that captures audio...
