All About My Instructional Videos

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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.


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.


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.


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. 


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.


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.


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.


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.


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.


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.


8 Concepts for Becoming a Better Improviser

Eien on taiko-drumset hybrid setup

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


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

Summer Taiko Institute: Edo Kotobuki Jishi with Kyosuke Suzuki sensei

North American Taiko Conference Taiko Jam performance of Edo Kotobuki Jishi

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

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


Kyosuke Suzuki sensei

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.


Shishimai demonstration after the 2011 Summer Taiko Institute

Shishimai demonstration after the 2011 Summer Taiko Institute

Shishi gashira (shishi head)

Shishi gashira (shishi head)


Bonus video

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

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

A recap of my 5-state Midwest teaching tour

Ho Etsu Taiko in Chicago

Ho Etsu Taiko in Chicago

There are a lot of great things happening within the US Midwest taiko scene. My recent teaching tour took me through five states over a two-week period and each stop was full of positive energy and warm hospitality. I worked with groups which have existed for anywhere between a few years and thirty plus years, and it seems like the region is making more and more cross-state connections - hopefully planting the seeds for a future Midwest Taiko Gathering. I especially enjoyed seeing the various styles of each group and truly appreciated the heightened emphasis on musicality. Hopefully I'll be back soon!

 


Soten Taiko in Des Moines

Soten Taiko in Des Moines

My first stop was in Des Moines, Iowa to work with my friends at Soten Taiko. The members took me straight from the airport to the famous Zombie Burger where we enjoyed great burgers and shakes while completely surrounded by everything zombie. The fun continued during the shinobue private lesson (where I was shown 2 beautiful shishi gashira they perform with) and the Soten Taiko workshop covering ensemble playing concepts. Dinner was another peculiar place where pizza was topped with Chinese-restaurant dishes like beef stir-fry and crab rangoon, all surprisingly tasty. The next day I drove north to Minneapolis in a rental car after having a fantastic breakfast at the local French bakery where I had one of the best almond croissant in recent memory. Many thanks to Ben, Mary Jane, Amanda, Tanis, and all of the Soten Taiko members!


Edo Bayashi masterclass

Edo Bayashi masterclass

I was really looking forward to returning to Minneapolis where I first met the Mu Daiko team in 2005 when I traveled there as a member of the Kenny Endo Taiko Ensemble. It was a blast seeing old photos from that time, reminding me of my initial admiration for Mu Daiko's wonderfully distinctive original compositions played at our joint concerts. This recent visit was organized by my friend Iris Shiraishi who is doing fantastic work with her projects Ensemble MA and TaikoAlive. While it was fun teaching workshops on intermediate shinobue and small drum technique, I was particularly thrilled to lead an Edo Bayashi masterclass for the class Iris runs. She and some other members have a history of studying with Kyosuke Suzuki sensei, and this session served as preparation for his visit in August following the North American Taiko Conference. It was also inspiring to get private lesson requests for shinobue, atarigane, and Edo Bayashi – things I would like to see more of out there. Happily there was some free time to check out a nice brewery, a good coffee roaster, and even a fantastic little drum shop that makes their own line of drums called Northeast drum co. I played the walnut mini kit and was shocked at how good it sounded. Thank you so much to Iris, Alex, Arlene, and all of the Ensemble MA and Mu Daiko members for the warm and enthusiastic hospitality!

Small drum technique

Small drum technique

Intermediate shinobue

Intermediate shinobue

The Drum Loft

The Drum Loft

Urban Growler Brewing

Urban Growler Brewing


My next stop, Ho Etsu Taiko in Chicago, was the originator of this tour. My interview with artistic director Jason Matsumoto covers how we met, including the newly-released joint live album with On Ensemble recorded a year and a half ago. Ho Etsu is one of my favorite groups not only because the members are a joy to hang out with but also because they are creating interesting original material that fits the group's style and vision. It's exciting to think of the possibilities to come from their forward motion, and absolutely Ho Etsu is a group we should be keeping an eye on. In addition to workshops on small drum technique and Edo Bayashi, we took some pieces from the repertoire and explored ways to make the music speak with more clarity and artistic intension. Among the many great meals, the unusual beers at Forbidden Root were especially memorable. I also finally made the pilgrimage to the old Deagan building where I met Andres, the master tuner, repair technician, and owner of Century Mallet Instrument Service. As a Deagan vibraphone owner, I have ordered parts from them for many years, and visiting this historic place was just as incredible as I had imagined. A huge thank you to Jason, Johes, Midwest Buddhist Temple, and all of the Ho Etsu members for a remarkable time together!


Initially I had planned on driving to my next location of St. Louis, but Expedia informed me that I could fly there for less time and expense than driving a rental car. When nobody in Chicago or St. Louis had heard of the tiny airline called Air Choice One, I knew there was a chance for an adventure. It turned out fine – a leisurely flight on an eight-seat prop plane with five other passengers and two pilots a few feet away. It was a windy day, causing the little plane to blow around, but having so much visibility inside made it quite an enjoyable ride. This was my second time visiting St. Louis Osuwa Taiko and I was delighted to see their brand-new shishi gashira. We covered the taiko part for Edo Kotobuki Jishi on the first day and conducted a workshop called Pulse & Ensemble Playing on the second. This is one of the few groups where I can exchange stories and share experiences regarding the original Osuwa Daiko in Nagano, Japan. Although I never had the chance to meet Daihachi Oguchi sensei, I am friends with his grandson and current leader Makoto Yamamoto, having visited their historic location in Okaya as well as presented an Osuwa Daiko concert in Vancouver, BC. Before taking my afternoon flight, I was able to visit an interesting brewery called Urban Chestnut where a self-guided tour tells about the brewery's environmentally conscious operations. Thank you very much to Andrew, Soon, and everyone at St. Louis Osuwa Taiko!

My ride to St. Louis

My ride to St. Louis

Urban Chestnut Brewing

Urban Chestnut Brewing


Great Lakes Taiko Center

Great Lakes Taiko Center

My final stop was new for me – Great Lakes Taiko Center in Novi, Michigan. For several years I had been hearing from friends about Brian Sole and his taiko school located in this somewhat unexpected location. Having earned my undergraduate degree at Central Michigan University, I was familiar with the geography and knew there weren't many taiko players in the state when I lived there, which is why I was so impressed with how much Brian has done in a relatively short amount of time. From the nice studio and quality instruments to the large-scale annual concert and student recital featuring guest artists from Japan, everything is well organized and very professional. The school's community ensemble Go Daiko and Brian's professional group Raion Taiko seem to get steady work and deliver excellent performances. It was a pleasure to teach in the clean and quiet space with plenty of drums, huge mirrors, a powerful PA system, and notation for warm-up exercises posted on the walls. I admired how everyone participated in the workshops with full vigor, and I even witnessed the single most virtuosic note-taking display in my 20+ years of teaching. (Thank you Eileen!) I also taught private and group lessons on small drum technique, shinobue, and katsugi technique. There were many good meals including the famous Detroit style pizza at Buddy's, but Bento 39 (sankyu) was the place I was eager to try as I had heard about this unlikely little spot serving amazing Japanese comfort food. My katsu curry plate easily met my hyped-up expectations. An enormous thank you to Brian, Eileen, Jianin, and everyone at Great Lakes Taiko Center for making this marvelous visit happen!

Ji playing workshop

Ji playing workshop

Great Lakes Taiko Center

Great Lakes Taiko Center

Bento 39

Bento 39

Katsu curry

Katsu curry

Maui and Oahu recap with photos


Eien at the ZD camp location

Eien at the ZD camp location

Spending 17 days in Hawaii was a great way to start my 2017. The trip began on Maui with the main event: a weekend taiko camp with the incomparable youth group Zenshin Daiko. The beautiful and remote location was idyllic, and I was equally impressed with how smoothly it all went - moving equipment, meals prepared by parents, workshops and presentations scheduled, along with fun activities like sham battle, basketball tournament, marshmallow roasting, and a talent show.

table display at Mouna Farm Arts & Cultural Village

table display at Mouna Farm Arts & Cultural Village

Following the camp I spent a week on Oahu conducting workshops for Taiko Center of the Pacific and Nakama Taiko. My most memorable day of the week was having the opportunity to work with the TCP Youth Group for six hours, delving into their repertoire pieces to offer ideas for playing tighter and boosting musicianship. There was a break between the morning and afternoon sessions so we all walked to Jimbo's (delicious house-made udon) for lunch and then played pool nearby before heading back for more rehearsing. Having so much workshop time with one group is a rare treat because it allows me to introduce exercises and concepts more thoroughly, as well as to spend extra time working with individual players.

Maui

Maui

I also taught several private lessons on shinobue during this trip. I'm always excited to see people interested in playing fue, as learning a melodic instrument helps us become better drummers and accompanists. The fue is a natural partner to taiko and this is well demonstrated by the countless festival and other traditional music forms found all over Japan. See my shinobue article and Ranjo blog entry for more detailed information.

Honolulu

Honolulu

I had one day off on Oahu and was fortunate to attend an outdoor Balinese dance performance in the leeward town of Waianae at Mouna Farm Arts & Cultural Village. The setting was fantastic and the entire staff at the farm couldn't have shown better hospitality. The dancers performed to recorded music and it was a very nice show, although having live gamelan would have truly completed the entire experience. A delicious meal was served afterward and then a bonfire was started as the sun disappeared into the red horizon.

Balinese dance performance

Balinese dance performance

Balinese dance performance

Balinese dance performance

Balinese dance performance

Balinese dance performance

Diamond Head on Oahu

Diamond Head on Oahu

My trip concluded with three more days of workshops with Zenshin Daiko where we explored different ways to approach composition. There was even time between workshops to get some incredible shave ice (Haleakala with haupia ice cream) at the famous Ululani's.

Many friends helped to make this trip possible by offering places to stay and cars to borrow, providing so many meals as well as gifts to take home, booking my workshops and lessons, and supporting me in multiple other ways. A giant thank you to Tony & Val, Kenny & Chizuko, Dee & Keith, Brock, Terri, Kirstin, and everyone else involved in planning my trip. I look forward to going back soon!

windmills on Maui

windmills on Maui

Waianae sunset

Waianae sunset