Book review - Peak: Secrets From the New Science of Expertise

Peak: Secrets From the New Science of Expertise

I recently read an excellent book titled Peak: Secrets From the New Science of Expertise by Anders Ericsson and Robert Pool. It was fascinating to learn about the latest research regarding expertise and human performance. The authors introduce studies of athletes, doctors, musicians, chess players, mental athletes, cab drivers, comedians, Navy pilots, and others where the relationship of practicing and improvement could be measured. As a longtime student and teacher of music, I discovered many statements which crystallized into words my own experience and philosophy about practicing and teaching. I highly recommend this book, as any discipline can benefit from these important lessons. Here are some of my top takeaways from the book:

1. "First, find a good teacher" – it may seem obvious, but with so many resources available in books and online these days, there is no question that studying with a good teacher greatly increases your potential for expertise in your pursuit.

2. Immediate feedback – the sooner you get feedback after a performance, the more impactful it will be to your improvement. Quality feedback comes from quality teachers.

3. Mental representation – visualizing your goals is important. It is crucial to have excellent examples to emulate.

4. Deliberate and purposeful practice – although most people were introduced to the 10,000-hours-to-mastery concept through Malcolm Gladwell's well-known book Outliers, it was in fact Ericsson's research which was cited. In Peak, he clarifies what he describes as a misrepresentation of his original research. The quality of practice is a major component of becoming an expert.

5. The myth of natural talent – a recurring theme throughout the book is that expertise comes from effective practice and not from genetics. The authors provide interesting explanation of why natural talent is such a prevalent belief in our society.

6. Getting out of your comfort zone – it may be an ego appeasement to sound good while practicing your instrument, but real progress can't be made unless we confront our biggest problems directly. Performance can reveal our weaknesses, which is why it can teach us so much about our ability and progress.

8 Concepts for Becoming a Better Improviser

Eien on taiko-drumset hybrid setup

I have added a new entry about improvisation to my articles page, which contains other topics such as stick selection, metronome games, ji playing, and atarigane technique. By making these free tip sheets available, it's my hope that they help you find new ways of approaching these topics. I'm always happy to take questions or any feedback so feel free to contact me. For more in-depth discussion and demonstration, check out my instructional videos. Previews are on my youtube channel. While the best way to learn involves being in the same space, I would consider online private lessons to be a great alternative option because it still allows for live feedback and in-person demonstration. Finally, I will be covering the topic of solo creation in a workshop on June 4 at Asano Taiko US in Torrance. Here is the information and registration page: 

http://taiko.la/event/solo-creation-taiko-workshop-eien-hunter-ishikawa

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8 Concepts for Becoming a Better Improviser

Improvisation is a valuable skill which anyone can develop through deliberate practice and by accumulating experience. It can create spontaneous interaction during performances and help ignite a creative spark for new compositions. Mistakes during performance are inescapable; being prepared to improvise with them can produce new avenues for inspiration. Like any skill, the specific way you practice improvisation is important. Here are eight concepts for becoming a better improviser:

1. Copy good improvisers – choose several improvisers you like and learn to play their solos exactly note for note. This can be done by ear or transcribing into notation. Analyze why you like these improvisations.

2. Focus on rhythmic accuracy – the first sign of insecurity is inconsistent rhythm. Use a metronome and start with simple ideas to focus on the quality of your rhythmic placement. Record yourself and listen back for areas to improve.

3. Self copy game – improvise a one-measure phrase and then play the exact copy in the next measure. Continue the cycle and gradually add complexity. Make it more challenging by working with two-measure phrases or with odd meter.

4. Sing what you play – simultaneously singing and playing your improvisation is an excellent way to break away from the limited ideas that are stored in your muscle memory. If this is too challenging, only sing your ideas first.

5. Incorporate space – strive to become comfortable using space, which can be used to highlight the notes and improve your phrasing. Not playing anything can be an opportunity to think about what to do next and to listen for ideas from others.

6. Explore sounds, timbers, and dynamics – practice a wide variety of ways your instrument can be played. Exaggerate contrast to expand your range.

7. Work on accompanying – being a good accompanist is just as important as developing your own improvisation skills. Listen, play mindfully, be solid, and provide energetic support.

8. Trade solos – trade improvised solos with other players. If they are better than you, your musicianship will grow more quickly.

See more articles at www.eienhunterishikawa.com/articles

Interview: Katsuji Asano of Asano Taiko US - 日本語 (translated by Julia Asano)

Katsuji Asano of Asano Taiko US

I am very excited to feature Katsuji in this interview, which was superbly translated by Julia. It has been a pleasure working with Asano Taiko US (ATUS) and the Los Angeles Taiko Institute (LATI) since they opened their fantastic facility in Torrance, California - offering workshops, co-coordinating Kyosuke Suzuki sensei's US workshop tours, and helping to make Edo Bayashi materials available on their online store. My first visit to ATUS was filled with a sense of awe at the scale and commitment to quality in every detail. The two main studios are equipped with everything a drummer could want: high-tech sound dampening in the walls, beautiful floors and mirrors, white boards, amplifiers, comfortable temperature, and of course the incredible number of amazing taiko sitting there ready to play.

Asano Taiko US

Operating out of this facility is LATI, a one-of-a-kind taiko school offering an extensive array of classes taught by some of the most experienced and thoughtful teachers I know. I especially appreciate the balance of older and newer taiko forms originating from Japan as well as elsewhere. Because of its clear significance, ATUS has quickly become a hub of high-quality workshops, hosting a constant stream of musicians and educators offering an assortment of topics in various genres. 

Katsuji helped to fund my Edo Bayashi intensive in Tokyo in October 2016 where I was able to deepen my study of this festival music through one-on-one lessons with Suzuki sensei. I'm certain that his thoughtful responses in this interview provide insight into his vision of advancing the art form of taiko, and I'm happy to be involved in this symbiotic partnership. I also want to thank Julia for making this information available in English, capturing the essence of Katsuji's answers much better than I could have.

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1. Can you describe the history of Asano Taiko and how Asano Taiko US (ATUS) was opened in Torrance, California?

Asano Taiko US in Torrance, California

私がアメリカの太鼓を初めてみたのはNATC2005年LA。この時「太鼓」が海外でこんなにも熱狂があるものかと衝撃をうけました。そして独自のコミュニティー、情報を共有するなど日本は無い形だった事に新鮮な気持ちと、このように発展してる太鼓界がとても面白く感じました。

Juliaとも出会い、アメリカの太鼓界にも少し関わったりする中、もしアメリカで太鼓屋の拠点があったらどうなのか？太鼓文化がもっともっと発展していくのでは？日本にも世界ににも良い影響が与えられるのでは？ビジネスになるのか？などたくさんの疑問から始まりました。太鼓文化の発展に関わる事ができたらどんなにやりがいのある事になるかと夢と希望が湧き、そして2011年のNATCの盛り上がりとお話を聞くなかででやろう！っと決め本格的に動きだしました。

場所の選定では西海岸、東海岸か。日系コミュニティー、太鼓チームが多い地区、日本との行き来、世界のハブ。

多方面の要素が踏まえLA近郊で決めました。LA近郊で治安問題を踏まえ探していくとまずは新しくてこれから発展していくアーバイン近郊が候補に入ってきましたが、交通の便、物件の良さがあったのでトーランスに決めました。

The first time I saw taiko being performed in America was at the 2005 North American Taiko Conference. I was surprised to see how popular taiko was and how different the U.S. taiko was from Japan. Taiko players in the U.S. are very open natured and willing to share their knowledge of taiko which was both surprising and interesting for me. 

After meeting Julia, I had opportunities to participate in many American taiko events and started to wonder, what if I started a business in the U.S.? Would the taiko community grow even more? Would Japan, or even on a larger scale, the world have any effect on this unforeseeable challenge I’m about to embark on? Can we make this a business? I started pondering many questions to myself. After attending the 2011 North American Taiko Conference and seeing the US taiko community again, I decided to take the first step and start the business.

My first debate was choosing the right location. Should I start the new business in the east coast or west coast? After researching which areas had the most taiko groups and a bigger Japanese community, I decided that Southern California is the place to be. I chose Torrance as the city due to its accessibility for commute and ideal properties. 

2. What is the Los Angeles Taiko Institute (LATI)?

Los Angeles Taiko Institute

http://taiko.la
LATI is a taiko institute housed in Asano Taiko U.S. located in Torrance, California. We opened in July 2013 (when Asano Taiko U.S. opened) and started with less than 20 students and now have over 200 students coming every week. We offer various types of classes for all levels and have 9 instructors who teach anywhere from 2 yr olds to students in their 70’s.

3. UnitOne, the ATUS taiko ensemble, consists of very experienced players. What is the artistic vision and mission for this group?

UnitOne at 2015 North American Taiko Conference

始めたきっかけ
How it started

日本の場合は島国、小民族で形成されていたので限られた音楽性（これは良い事であり、何百年と続いている伝統芸能などある）で次世代に繋がってきています。チームプレーに徹する事が日本の和太鼓の良さにもなっていると私は思っています。

Due to our country being an island nation, I believe that when it comes to musicality, the style of music becomes limited as they get passed on to the next generation (I would like to note that this is a good thing, as this is how traditional art have been continuously protected and honed over the generations). Because of its small ethnic group that Japan is based on, I believe it created strength in team play when it comes to expressing Japanese Taiko.

逆は独創がなかなか生まれにくい。持っているグルーブ感が限られている。アメリカでは色々な文化が入り混じり、様々なジャンルの音楽に触れ合う機会が多いです。そして人々の中にそういった日本にはない感性が多く入ってます。現在のアメリカの太鼓でよく見られるのは独創的な音楽性。一人一人の個性が非常に際立つ事。

However, the downside to this close-knit formation is that it becomes harder to create new and innovative music with originality. The groove feeling of the artists have become limited. But in America, various cultures and backgrounds intertwine, allowing many opportunities to interact with diverse genres of music. It from this melting pot where taiko in the U.S. have the sensibility that Japan has yet to experience. Taiko in America has its strength in originality, their ingenious musicality standing out in each and every player.

いと昔は日本と同じでチームとしての統一感があり、アメリカの太鼓文化も今まさに「変化」していっている状態だと思います。この日米のいいところを伸ばす事ができるチームが出来たらおもしろい！とおもいました。私が日本の良い所を取り入れながら、プレイヤー自身のもっているものを生かせればと。

Currently, I believe that taiko in both countries have the same sense of unity as a team which has always been unchanged, yet we are in a place where taiko culture is facing a shift before our very eyes and “transforming” into something new. Instinctively I felt that it would be amazing if we can develop a team that can incorporate the strengths from both countries!  My hope is to deliver the good components of Japanese taiko, and give life to the potentials in each taiko player here in the U.S.

また私のそばに素晴らしい太鼓プレイヤーがいる事が始めようと思った非常に大きなポイントです。基礎を大事だと思ってくれ、また自分自身を成長しようと思うプレイヤーがここには多くいます。そのような太鼓打ちを輩出していく事もこの会社の使命だと思っています。

Lastly, the major reason why I decided to start this company is because I am surrounded by amazing taiko players. Many of the players here put much respect in the foundation and philosophy of taiko, and take it upon themselves to incorporate it back into their lifestyle for their own growth. I believe it is our mission as a company to continue this cycle and produce more taiko players such as them, making a mark in the art and history of traditional Japanese music in America.

4. What are some of your observations regarding the North American taiko scene?

・コミュニティーを大事にしている
・太鼓楽しく打つ事を大事にしている（日本と違い表に出す）
・自分らしさを太鼓を使って自分なりに表現している
・ベテンランも学ぶ姿勢がある
・情報を共有している
・新しい道を探している

- They look after their community
- They value the ideal of enjoying taiko (compared to Japan, they openly express their emotions)
- Taiko is used as their way of expressing their individuality
- Even the seasoned veterans are in a humble stance to learn
- They share their knowledge and expertise
- They are always passionate and striving to broaden their horizon

5. In 2015, ATUS sponsored Kyosuke Suzuki sensei’s workshop tour of California, Oregon, and Washington. Can you talk about some other ways in which ATUS is contributing to advance the art form?

NATCへはここにある全楽器を持って行き貸し出しします。Taikoインビテーショナルへの楽器の貸出。日本からのゲストを呼んでWSを行ったり,交流と技術の習得を支援。

We lend all of our studio drums to TCA during the North American Taiko Conference, and also to Intercollegiate Taiko Invitationals. We invite artists from Japan to host various types of workshops to bridge American artists in hope that they can have more access to Japanese art forms. 

6. What products and services does ATUS offer in the Torrance facility as well as the online store?

Asano Taiko US in Torrance, California

浅野太鼓商品全般を販売しています。在庫が置いていない商品でも日本に在庫があれば１週間程で届くシステムができています。また販売に関して特注品（バチや衣装、その他の楽器、台など）も受け付けており、できるだけプレイヤーの要望に応えられるようにしています。祭り関係のお店とASANO TAIKO USが直接取引きがあるので太鼓に関わるものを大体提供できます。また太鼓の締め直しや革の張り替え。浅野の商品以外での修理も受けています、修理はASANO TAIKO USで行うので時間と費用が随分抑えられます。「太鼓の音を育てもらう」そうゆう風に楽器と一生付き合って行ってほしい願っています。Online shopも開設して全米、世界に向けて販売が可能になっています。

We sell Asano Taiko products here at Asano Taiko U.S. Products out of stock can be ordered from Japan and we will receive them in 1-2 weeks. We also accept customized orders mainly on costumes, bachi, taiko, and stands, hoping to cater to all the needs of the taiko player. Asano Taiko U.S. has direct contracts with many shops that carry festival goods, allowing us to be able to supply most items relating to taiko and we also offer reskinning and restretching service. We gladly accept repair orders even for non-Asano brand items, and since repairs are done on-site, time and cost can be reduced greatly. We have also established an online store so now customers throughout the world can place an order with us. 

7. Do you have any events coming up in the next several months?

4月バチBBQ
6月大江戸助六さんWS（予定）
7月ブリーチ祭り
8月NATC
12月発表会

April - Bachi BBQ (LATI event)
June - Oedo Sukeroku Taiko workshops
July - Bridge USA performance
August - North American Taiko Conference
December - annual recital

8. What are some long-term goals for ATUS and LATI?

より多くの人に「太鼓」に関わってもらう事。
Growth of the taiko community.

「和太鼓」という芸能の価値を高める事。
To branch out and root deep in hopes that “taiko” will become a higher valued art form.

太鼓プレイヤー全体のレベルアップ。
Improve skill levels of all taiko players.

日本では出来ない事をアメリカでやっちゃう（色々な意味で）。
Challenging many things that are possible only in the U.S.

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Katsuji Asano of Asano Taiko US in Torrance, California

Born in 1983 into the famous Asano Taiko drum-making family, Katsuji Asano quickly discovered a love for both business and the arts.  After graduating from Kanazawa Institute of Technology in 2006, Asano joined the Percussion Division of Yamaha Music Trading Corporation. 

In 2006, Asano returned to taiko (Japanese drums), and began work at Asano Taiko, Inc. in Ishikawa prefecture.  He learned both the craft of Japanese drum-making and the business side of marketing, working directly with taiko artists.  With hopes of spreading the art of taiko on an international scale, Katsuji Asano opened Asano Taiko U.S., Inc. in 2013, the first facility of its kind outside of Japan to offer an instrument store, on-site workshop, and taiko school staffed by professional taiko players.

Links
Asano Taiko US
Los Angeles Taiko Institute
UnitOne

Summer Taiko Institute: Edo Kotobuki Jishi with Kyosuke Suzuki sensei

North American Taiko Conference Taiko Jam performance of Edo Kotobuki Jishi

What is Summer Taiko Institute?
Summer Taiko Institute (STI) is an intensive course entirely separate from the North American Taiko Conference (NATC). It is typically a 3-day program that runs immediately before or after NATC. This year, there are two different STI proposals: Women and Taiko (before NATC) and Edo Kotobuki Jishi (after NATC). Because my involvement is with the Edo Kotobuki Jishi (traditional shishimai, or lion dance, of Tokyo) program, this blog post will be about that course. The shishimai STI is offered by Kyosuke Suzuki sensei, who taught the same topic during the 2011 STI in San Jose. I was there, and will be assisting and interpreting again this year. You can find the official registration page at the link below. Please note: it is not required to attend NATC in order to attend STI.

North American Taiko Conference Taiko Jam performance of Edo Kotobuki Jishi

Suzuki sensei's shishimai performance in 2015 during Wakayama Shachu's appearance in Orlando.

Summer Taiko Institute
Edo Kotobuki Jishi with Kyosuke Suzuki sensei
August 14 - 16, 2017
San Diego, CA
Summer Taiko Institute: Edo Kotobuki Jishi official page

What will be covered?
The Edo Kotobuki Jishi of Wakayama Ryu (style) consists of one shishi dancer and three musicians: taiko, atarigane, and shinobue. This STI will cover all the movements of the shishi as well as taiko and atarigane parts. Participants of all levels are welcome to attend, although having a basic understanding of taiko will be helpful. Depending on time and interest, fue players may get some instruction if they have experience with the music. The bachi used by Wakayama Shachu are 32cm hinoki. The shinobue is size 6.5 Hosei. These can be purchased through Asano Taiko US here. The Kotobuki Jishi book and CDs are currently out of print, and they are completely different from the Edo Bayashi book and CD. Suzuki sensei is also teaching a 10-hour Edo Bayashi intensive during NATC, so the book and CD would be useful for that course. You can learn more details about these traditional art forms here:

Eien's blog post about Suzuki sensei

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Kyosuke Suzuki sensei

Who is Suzuki sensei?
Suzuki sensei continues to be one of the most important teachers in my musical training. I started studying with him in 2005 and am constantly inspired by his performance and instruction, most recently during my Edo Bayashi intensive in Tokyo last October. For anyone who is unfamiliar with Suzuki sensei's artistry and teaching ability, a quick chat with someone who has experienced his instruction will help illustrate why he has so many fans. You can read more details at these links below.

Kyosuke Suzuki sensei biography, photos, and videos

Linda Uyechi's article about Jun Daiko's intensive with Suzuki sensei

Questions?
Please contact me with any questions regarding this STI and I will update this page with the new information. Thank you.

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Shishimai demonstration after the 2011 Summer Taiko Institute

Shishi gashira (shishi head)

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Bonus video

Impromptu Edo Bayashi jam with Isaku and Joe at their studio in Los Angeles, March 2017

Interview: Iris Shiraishi talks Midwest taiko, composing, teaching, and learning from Suzuki sensei

Iris Shiraishi of ensemble-MA

Recently I had a wonderful conversation with Iris Shiraishi of ensemble-MA. Iris kindly organized my Minneapolis workshops during my February Midwest teaching tour. It was a visit I was eagerly anticipating because of the opportunity to conduct a masterclass for Iris’s Edo Bayashi class. We have known each other for many years, and I feel like the rapport comes from our parallel experiences - the coalescence of Hawaii culture, music school, learning from Kenny Endo, and our ongoing study of Edo Bayashi and Edo Kotobuki Jishi with Kyosuke Suzuki sensei of Wakayama Shachu. In the interview, Iris talks about her musical start in Hawaii, earning degrees in composition and music therapy, and discovering taiko with Rick Shiomi and Mu Daiko. She also describes her own group concept with ensemble-MA, the transition of Mu Daiko under the new organization TaikoArts Midwest, and working with older adults through her outreach program TaikoAlive.

Iris provided two of her compositions for me to intersperse into the conversation: Soaring and In My Dreams. There are more videos of her original work on the ensemble-MA website so I would recommend checking them out. I also included a link to Iris’s feature in the PBS art series MN Original as well as the Mu Daiko 20th Anniversary concert and festival.

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Iris Shiraishi of ensemble-MA

Iris Shiraishi is a musician and taiko player, a teacher, music therapist and arts administrator. She has degrees in composition (BM, MA), arts administration (MFA) and music therapy (PhD) from the Universities of Hawai'i, Iowa and Minnesota, and has been studying and performing taiko since 1997. A founding member of Mu Daiko under the direction of Rick Shiomi, she left a thriving music therapy practice to pursue a full-time career as a performer, composer, residency artist/instructor and administrator for Mu Daiko in 2002, eventually becoming its Artistic Director in 2010. She has received grants to study with Kenny Endo and Suzuki Kyosuke and in addition counts PJ Hirabayashi and Chieko Kojima as her most influential role models and teachers. Iris left Mu Daiko and formed ensemble-MA in 2014, a group of taiko players and musicians which is dedicated to learning the music of Edo Bayashi and original, taiko-based work. She has composed and premiered over 20 compositions for both e-MA and Mu Daiko and has taught literally thousands of taiko enthusiasts ages 3-103. 

Links
ensemble-MA website
MN Original featuring Iris Shiraishi (PBS arts series)
Minnesota Taiko Festival