Video: Five Study Tips for Taiko Players

A few months ago I was asked to submit a video for the Taiko Community Alliance Taikothon 2018, a one-day online event where videos from taiko artists and groups are broadcasted for public viewing. Typically, the videos contain live performances, discussion on a topic, or even skits (I especially enjoyed the creativity and production quality of Zenshin Daiko’s submission). Two years ago, I made a video explaining my approach to the rules of rhythm by breaking down the notion of pulse and subdivisions. This year I decided to contribute my top five tips - practices which have most significantly helped my development as a taiko player. Below is the video, which covers these tips and demonstrates them in an example where I play a hip Edo Bayashi atarigane transcription along to a cool funk tune. My top five study tips for taiko players are:

1. Think like a drumset player - good drumset players prioritize consistent timekeeping and being good accompanists. This means that we are always working on tempo control and playing with appropriate dynamic levels. Listening and flexibility are crucial ingredients for good accompanying.

2. Transcribe music - students of jazz commonly transcribe and learn to play the solos of their favorite musicians. Not only does this practice teach you what kind of notes to play, it provides invaluable insight into why those notes are played and the phrasing (inflection) used to bring them to life.

3. Study traditional music - there is no substitute for experiencing the depth of an art form with centuries of history. When healthy, traditional music is full of life, constantly changing due to the cycle of practitioners keeping the best parts and removing the worst parts. There is a reason for everything contained in traditional music, and this is powerful.

4. Focus on your sound - the sound of your instrument is the most uniquely personal part of playing music. Trying to emulate your teacher’s sound or your favorite musician’s touch on the instrument is the path that will lead you to improving your sound.

5. Take private lessons - just like the clear difference between rehearsing with your group and practicing on your own, studying privately with a good teacher will greatly accelerate your development compared to learning in classes or workshops. Private lessons should have a laser focus on your goals, and a good teacher will provide the tools for you to reach them as long as you put in the work.

When I was asked to submit a video for the TCA Taikothon 2018, I decided to present these five ideas for improving musicianship. Find more ideas here: https://www.eienhunterishikawa.com/articles/

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Interview: Kenny Endo talks Edo Bayashi and Wakayama Shachu

Photo credit: Toyo Miyatake Studio

Recently I had the pleasure of talking with Kenny Endo about Edo Bayashi and Wakayama Shachu. Kenny needs no introduction among taiko players, as he is one of the most important artists and teachers in the development of the North American taiko scene. I could have asked him about so many different topics, but this interview was focused on Kenny's experiences while living in Japan and his insights into the growing interest in Edo Bayashi (traditional festival music of Tokyo) and Kotobuki Jishi (traditional lion dance of Tokyo) outside of Japan. 

I had known Kenny as a kid growing up near Tokyo in Saitama. He was studying hogaku hayashi (classical Japanese music, such as noh and kabuki) with Saburo Mochizuki, and I was part of a youth taiko ensemble taught by Saburo sensei. In the interview, we talk about one memorable performance at the Maruki Bijutsukan (museum of internationally acclaimed artists Iri and Toshi Maruki) where my youth group shared the stage with Sukeroku Daiko's Saburo sensei, his wife, Kenny, and Yukihiro Miyauchi in a presentation of Edo Bayashi and other pieces. Many years later, I moved to Honolulu to study with Kenny and perform as a member of his ensemble. When I mention to someone that I also got a master of music degree from the University of Hawaii on the side, it sounds like a funny joke but it's true. Kenny was my reason for being there, and I was lucky that the UH music program had a no-thesis degree option where I could present a one-hour recital instead.

It was especially interesting to hear Kenny's stories about Wakayama sensei, Maru sensei, Suzuki sensei, and the early days of introducing this music to North America. Whether you are into Edo Bayashi or not, hearing Kenny's thoughts about taiko, traditional music, and learning perpetually is invaluable. Our conversation was on a specific and narrow topic so some readers may want to do some additional research to fill in the contextual holes. A good place to start would be my content relating to Suzuki sensei at the links below. Kenny kindly provided some of his music to be included in the interview. The tracks are Forest Festival, Spirit of Rice, and Symmetrical Soundscapes, which are on his albums Jugoya, Hibiki, and Eternal Energy. We chose these excerpts because they highlight the influence of Edo Bayashi on Kenny's compositions. I have always noticed a distinct and unique quality in all of Kenny's albums. It's hard to describe in words, but I hear a combination of an exceptional concept of sound and an artistic vision expressed purely from the inner self.

https://www.eienhunterishikawa.com/kyosukesuzuki/

https://www.eienhunterishikawa.com/blog/2016/4/2/edo-bayashi-shishimai-expert-kyosuke-suzuki-sensei

https://www.eienhunterishikawa.com/blog/japan-trip-part-1

https://www.eienhunterishikawa.com/blog/summer-taiko-institute-kyosuke-suzuki

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Photo credit: Kenji Yamazaki

About Kenny

Photo credit: Shuzo Uemoto

One of the leading personas in contemporary percussion and rhythm, KENNY ENDO is at the vanguard of the taiko genre, continuing to carve new territory in this Japanese style of drumming.  A performer, composer, and teacher of taiko, he has received numerous awards and accolades, including very special recognition in Japan—he was the first foreigner to be honored with a “natori,” a stage name, in Japanese classical drumming. Kenny Endo was a featured artist on the PBS special “Spirit of Taiko” in 2005.  He has performed for such musicians as the late Michael Jackson and Prince, opened for The Who, performed a duet with singer Bobby McFerrin, and is featured on the soundtracks for Kayo Hatta’s film “Picture Bride”, Francis Ford Coppola’s “Apocalypse Now”, and worked on James Cameron’s “Avatar”.  He has had a day named for him in by the Mayor of Honolulu “Kenny Endo Day”, and was honored by the National Endowment for the Arts for American Masterpieces. He has released 10 CDs of original music. Kenny is a consummate artist, blending Japanese taiko with rhythms influenced by his jazz background and by collaborations with artists from around the world.  Kenny's taiko are provided courtesy of Miyamoto Unosuke Shoten. 

www.kennyendo.com

New Conversation with Bachido's Kyle Abbott

Delicious pour over of Kyle's home roasted coffee

During my recent working vacation trip to northern California, I was able to squeeze in a visit to hang out with Kyle Abbott in Santa Cruz. I first met Kyle in February 2016, and on that day I had the very impromptu idea of recording our conversation for my new blog. Part of the reason for my initial visit was to ask Kyle about his experiences selling instructional videos on his excellent website Bachido because I was preparing to start producing my own videos. In the almost two years since, I have posted numerous interviews on my blog and uploaded ten instructional videos in my store. This new frame of reference made our recent conversation especially fun and meaningful for me. It was a fun day of recording, drinking Kyle's fantastic coffee, tasting local beers in town, and cooking a great dinner on the grill late into the night.

Last year I provided some percussion for Kyle's album Frosty: a retrospective Christmas. Full of unusual arrangements of traditional Christmas songs, I always describe this album as the most uniquely interesting material on your holiday playlist. With shamisen, taiko, throat singing, shakuhachi, and various other instruments, it's bound to turn heads and prompt inquiries at your next party. You can contact me for a copy or visit the Bachido store to purchase.

Earlier this year, Kyle and I also collaborated on the planning of "Tataki," a weekend workshop series where taiko and shamisen players gather to try out each other's instruments and to discover how to play together effectively. Unfortunately we had to postpone the event due to not reaching the enrollment minimum and being declined on our grant application. We predicted that it would be a great event, but perhaps our idea was too progressive and ahead of our time? It's difficult to know if the timing was off (March 4-5, 2017) or the interest is not there, but we will be trying again in the future. Subscribing to our newsletters is the best way to stay updated for future event announcements like these. 

We talked long enough that Kyle split it into three segments. The first two are posted on his website's Bachi On The Horn series, and the third is below. We delved into a handful of topics including the importance of feedback from your teacher, hierarchy of ways to study, the value of current technology, and the small world of musicians where interesting connections are constantly being discovered. We started talking indoors, but that room needed to be vacated so we continued out in the back yard. It was a beautifully sunny late afternoon - ideal for recording a podcast except for the dozens (or hundreds) of crows gathering right above us. Hopefully this audio reminiscent of a certain Hitchcock film won't be too much of a distraction. I would definitely encourage everyone to check out all three parts, especially where we discuss the similarities between coffee tasting and music. Kyle and I are both home coffee roasting enthusiasts and this topic came up on our 2016 conversation as well.

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After concert photo in Santa Cruz with Robbie Belgrade, John Kaizan Neptune, and Kyle Abbott

Links

Bachi On The Horn podcast Parts 1 & 2

Frosty: a retrospective Christmas album

Kyle Abbott interview from February 2016

Tataki - Shamisen and Taiko Workshop

Mike Penny interview

Alvin Ryuzen Ramos interview

Kyosuke Suzuki sensei information

After concert photo in Los Angeles with John Kaizan Neptune, Mike Penny, and Kojiro Umezaki

John Kaizan Neptune documentary film

Kenny Endo interview

Monty Levinson website

Eien's instructional videos

All About My Instructional Videos

How does it work?
When you select a video, you will arrive to the description page. From there, you can "add to cart" and then pay with a credit card or paypal through the secure online payment system Stripe. Then you will receive an email with a download link for the PDF document which lists the video URL (hosted on Vimeo), the password required to view it, and the exact timestamp of each topic so you can easily revisit specific demos and explanations. There is no limit to the number of times a video can be viewed and the link will never expire.

Who are these videos intended for?
These videos will help anyone looking to boost skills and gain knowledge on the topic of choice. Most of the exercises are designed for individual practice but they can be translated for group rehearsal situations. For example, some of the ji playing exercises can be introduced to your ensemble and used during a warm-up routine. Another idea is to rehearse the improvisation interaction exercises with various soloist and accompanist combinations.

What is the difference between the videos and online private lessons?
The videos cover a lot of material which should be practiced in progressive steps. The advantage of instructional videos is that you can watch them over and over as each concept is internalized. The timestamps for each sub-topic will help to quickly find the exact point you are looking for. In contrast, online private lessons feature live one-on-one private lessons where you can ask questions, I can demonstrate examples, and you can receive detailed feedback on the material you are working on. The strength of private lessons is being able to get deeper into the topic through live interaction. For both learning methods, I am always happy to answer any follow-up questions and provide further clarification.

Why make these instructional videos?
Through my 20+ years of teaching, I have noticed that the concepts I introduce in workshops and lessons seem to help students approach their practicing in new and fresh ways. Because of my diverse musical training, my inclination is to freely borrow the best ideas and methods from other disciplines in order to come up with the most effective solutions. It's my hope that by sharing my somewhat unusual perspectives, others will find new ways to be creative in their own areas.

Do you have video samples?
Most videos have previews on my youtube channel.

Below are the currently available instructional videos. Click on any photo to learn more about the lesson.

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The shinobue, also called fue, is the most common horizontal bamboo flute in Japan. It is often combined with taiko and other percussion instruments to provide music for the many festivals and folk traditions found around the country. The shinobue is also featured in taiko ensembles and other contemporary settings where the western-scale tuning of the 'utabue' are used. Due of the lack of English-language information about this instrument, I wanted to create this resource to encourage everyone to learn about the shinobue. This video will help you get a big running start.

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Jazz musicians spend countless hours working on improvisation. There is a long lineage of improvisers to learn from, and many teachers have very specific approaches to guide students. In this video, I talk about learning rhythmic improvisation by comparing music to a foreign language. By breaking it down to a step-by-step process, the topic becomes less of a mystery and provides a clear way forward.

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Practicing with a metronome is crucial for developing tempo control and consistent subdivision placement. This video guides you through exercises to first be able to play with a steady pulse, and then to develop independence so that your internal timekeeper becomes more solid. I also demonstrate the use of the random mute function in a metronome app as well as the subdivision mode on a regular metronome. 

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The ji, or underlying groove, is the most important part of an ensemble's sound and feel. This video introduces several ji patterns commonly found in taiko repertoire and suggests variations to improve your technique. There are also exercises to develop better dynamic control as well as how to use the voice in learning how multiple parts fit together. A demo of playing with my piece Ties shows an example of my practicing approach.

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Improving your small drum technique is one of the best ways to boost your skills on all other drums. This video starts with a detailed discussion on different bachi materials and sizes. The most impactful topic here is how to practice holding the stick, which applies to all stick sizes. There are also stick control exercises and a breakdown of the four major types of strokes. Everything is demonstrated, and I provide suggestions for how to continue your development after this material is comfortable.

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Atarigane playing is one of my most requested topics for instruction. This introductory video provides everything you need to know in getting started: instrument selection, body position, hitting and dampening, kuchishoga system, exercises to develop technique, common patterns, and notation. I started to develop teaching materials for atarigane after realizing that this instrument was getting almost no attention compared to the other common metallic instrument, chappa.

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This video provides a seamless transition into the next level of atarigane playing. I introduce new patters that build on the foundation from the first kane video. There is a play along demo to one of my pieces (June) as well as tips for learning how to improvise on the instrument. Odd meter concepts are also introduced, and the download includes photos showing the proper way to hold the kane and shumoku.

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This video introduces the western notation system of writing music. The most common rhythms are written out and explained so that anyone new to it can become proficient at reading and writing music accurately.

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Part 2 of this video series continues with explanation and demonstration of ties, dots, and triplets. There is some challenging practice material that will be benefit your concept of pulse and subdivisions.

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Making Fermented Corn Relish

Fermented corn relish

Grilled corn on the cob is one of my favorite summertime treats, but this fermented corn relish is equally delicious. Like many fermentation-related projects, I learned about this technique from Sandor Katz's definitive fermentation guide The Art of Fermentation. On page 215, Katz describes the traditional Native American method of fermenting corn on or off the cob in a brine. April McGregor, a Cherokee folklorist quoted in the book, recommends using a 5% brine (about 3 tablespoons salt to 1 liter water). For the last few years I have roughly followed Katz’s recipe from a 2012 New York Times article. Just like my sauerkraut, kimchi, and dill pickle method, I prefer to use percentages with weighed ingredients for precision, consistency, and control in adjusting to my personal preference. But this would be easy to make without measuring anything and simply adding salt to taste, and there is a lot of room for variation with herbs, fruits, other seasoning as well as the salt, heat, and acidity level. Of course, the highest quality ingredients will provide the best results. Here is the basic recipe from my first batch of 2017 using only things from my garden and the farmers market.

Fermented Corn Relish
5 ears corn (680g)
1 peach (170g)
1 red onion (120g)
2 jalapeno peppers, seeds included
2 serrano peppers, seeds removed
15g sea salt (1 tablespoon)

1. Cut kernels off corn cob. It’s easiest to invert a small bowl inside of a large bowl as a stand for the corn cob. Use a sharp knife to cut kernels, then scrape the pulp with a spoon or back of the knife. Chop peach and onion. Mix with salt and let sit at least 1 hour, then squeeze to release juices. I used 1.5% salt of the total weight of 970g.

2. Mince peppers and add to corn mixture. It’s important to taste chiles due to their variation in heat level. This time I decided to keep the jalapeno seeds and remove the serrano seeds. You can also just use sweet peppers.

3. Stuff into a jar and press down to submerge in juices. This batch didn’t all fit into a 1 liter mason jar so I used a second 1 cup jar. The airlock is not required. I fermented for 2 days at 75 - 80 degrees F room temperature, resulting in a good balance of salt, heat, acid, and fermented flavor. Colder temperature might need more time for fermentation so always taste to check progress. It will keep in the refrigerator for weeks and months, though I always eat it up before that.