Two months of lessons and I sometimes wonder if I am making significant progress. It doesn't get any easier as time goes on. I am still enjoying myself immensely and still look forward to practicing every day. However, I sometimes wonder if my instructor thinks I am a worthwhile pupil because of my slow progress, but I keep trying.
No new notes or techniques were taught in this session. However, a second song was introduced that uses close to 100 percent of all the notes learned so far. The transitioning is hard as you jump from note to note utilizing everything I have learned so far. I have to interpret the note, move my fingers to the correct sao position, then strike the ito and move on to the next note and repeat. It is frustrating how slow I sometimes react and the many mistakes I make. Patience.
My instructor has gone to Japan on a concert tour. I will not have any lessons for the next three weeks. To keep this blog consistent as a weekly expose on learning the sangen, Weeks 9, 10, and 11 lessons will not be recorded or posted as such. The next weekly blog post will be for Week 12 in late June. However, I will be posting the new song, some additional lessons, and some other information that hopefully will prove useful for any of you following along in learning the sangen on your own.
Tuesday, May 28, 2013
Tuesday, May 21, 2013
Shamisen Week 7 Lesson
As the lesson begins, I am still having some difficulty holding the bachi consistently for any length of time. It continues to get out of position in my hand as the lesson (or practice for that matter) progresses. Maybe my hand is built wrong! I am seriously considering investigating making my own bachi with plastic resin and a custom mold to fit my hand better. I'll let you know if I pursue that.
In addition, the positioning of the sangen often needs correction. I hold it one way at the lessons and another way at home during practice. I need to be more consistent in how the sangen is held along with the height of the sao in relationship to my body. Frustrating.
My instructor has determined we need to go on to new material and we do so in a big way. A little overwhelming. I'm a bit slow on the uptake so I think it has taken me longer than the instructor would have liked for me to have some kind of consistency in playing the sangen, especially in regards to transitioning the notes. It has taken me a long time to get any better at strumming an ito at the same time my finger has been placed into the right position on the sao. By no means have I mastered this technique, but I am getting better.
Although briefly introduced in Week 6, we go headlong into the back strumming of the san and ni no itos. This technique is known as "sukui bachi." As mentioned in the last post, it is where you back strum the ito with the bachi. Gives you a completely different sound.
The sukui bachi technique is introduced using the san and ni no itos. In addition, we move on to 1/16 notes where the sukui bachi technique is used very quickly on the itos with an initial downward stroke and then backward with a rapid flip of the bachi edge. Going slow is easy--going this faster speed is not.
Next, we tackle a new position--position 4 on both the san and itchi no ito. I get confused at first because I assumed we would first learn the number 2 and 5 positions on the itchi no ito before moving to the number 4 position--like we did with the san and ni no itos. My confusion is apparent and so I ask my instructor why the jump to the 4 position before exploring the number 2 and 5 positions on the itchi no ito.
My teacher explains that with the open string notes, the number 2 and 5 positions on the san and ni no ito, the sukui bachi technique, and now the number 4 position on the san and itchi no ito, I will be able to play a lot more songs--with the addition of one more technique. That's when I am also introduced to hajiki, the plucking of the itos on the sao with the fingers.
The ito plucking with the fingers sounds easy but it's not. For now, the hajiki is done only on the san no ito, in the open position and in position 5. I keep missing the san no ito in the open position as the technique requires you to open your left hand completely, your thumb anchored against the sao, and then curve downward all four fingers catching the san no ito with your first finger.
Hajiki is a bit easier in the number 5 position on the san no ito because you use your third finger (ring finger) to strum the ito. You wouldn't think plucking some strings with your fingers would be tough, but the special technique you have to use complicates matters.
With the positions and techniques now learned (but definitely not mastered), the ability to play many more notes is possible. Surprisingly, I am having an easier time with the number 4 position on the san no ito than I did when first introduced to the number 5 position. Maybe this is because of the previous practice with number 5 or perhaps it is just simpler to locate. The number 4 position is halfway between the number 1 position and the number 5 position on the sao.
The number 4 position on the itchi no ito is a little more difficult because you have to reach all the way over to the top string with your index finger. Remember, at this point in the sangen instruction, you are using only one finger, your index finger, to play the notes on the sao.
In addition, the positioning of the sangen often needs correction. I hold it one way at the lessons and another way at home during practice. I need to be more consistent in how the sangen is held along with the height of the sao in relationship to my body. Frustrating.
My instructor has determined we need to go on to new material and we do so in a big way. A little overwhelming. I'm a bit slow on the uptake so I think it has taken me longer than the instructor would have liked for me to have some kind of consistency in playing the sangen, especially in regards to transitioning the notes. It has taken me a long time to get any better at strumming an ito at the same time my finger has been placed into the right position on the sao. By no means have I mastered this technique, but I am getting better.
Although briefly introduced in Week 6, we go headlong into the back strumming of the san and ni no itos. This technique is known as "sukui bachi." As mentioned in the last post, it is where you back strum the ito with the bachi. Gives you a completely different sound.
The sukui bachi technique is introduced using the san and ni no itos. In addition, we move on to 1/16 notes where the sukui bachi technique is used very quickly on the itos with an initial downward stroke and then backward with a rapid flip of the bachi edge. Going slow is easy--going this faster speed is not.
Next, we tackle a new position--position 4 on both the san and itchi no ito. I get confused at first because I assumed we would first learn the number 2 and 5 positions on the itchi no ito before moving to the number 4 position--like we did with the san and ni no itos. My confusion is apparent and so I ask my instructor why the jump to the 4 position before exploring the number 2 and 5 positions on the itchi no ito.
My teacher explains that with the open string notes, the number 2 and 5 positions on the san and ni no ito, the sukui bachi technique, and now the number 4 position on the san and itchi no ito, I will be able to play a lot more songs--with the addition of one more technique. That's when I am also introduced to hajiki, the plucking of the itos on the sao with the fingers.
The ito plucking with the fingers sounds easy but it's not. For now, the hajiki is done only on the san no ito, in the open position and in position 5. I keep missing the san no ito in the open position as the technique requires you to open your left hand completely, your thumb anchored against the sao, and then curve downward all four fingers catching the san no ito with your first finger.
Hajiki is a bit easier in the number 5 position on the san no ito because you use your third finger (ring finger) to strum the ito. You wouldn't think plucking some strings with your fingers would be tough, but the special technique you have to use complicates matters.
With the positions and techniques now learned (but definitely not mastered), the ability to play many more notes is possible. Surprisingly, I am having an easier time with the number 4 position on the san no ito than I did when first introduced to the number 5 position. Maybe this is because of the previous practice with number 5 or perhaps it is just simpler to locate. The number 4 position is halfway between the number 1 position and the number 5 position on the sao.
The number 4 position on the itchi no ito is a little more difficult because you have to reach all the way over to the top string with your index finger. Remember, at this point in the sangen instruction, you are using only one finger, your index finger, to play the notes on the sao.
Sunday, May 12, 2013
Shamisen Week 6 Lesson
I STILL don't have the holding of the bachi down. I keep on trying, but... The plectrum is not an easily handled item. Not like a small guitar pick to be held with the thumb and forefinger or the picks used with Okinawan shamisens where they fit over the fingers. This is a BIG piece of wood or plastic that must be held with the entire hand AND in a semi-awkward position IMHO. Will be working on that a lot this week in practice!
Sliding up and down the sao so I can get into the number 1 and number 5 positions correctly is improving. Not quite there yet but the coordination between plucking the ito at the moment my finger gets into position is much better. Again, without frets, getting into the same position consistently where the note will be played correctly is difficult. I can sometimes replicate it two or three times in a row, but invariably the fourth or greater time I miss the right point.
The instructor reminds me once again NOT to rely on looking at the mark on the sao that indicates position 5. It will become a crutch I will never be able to get rid of once I get proficient in playing the sangen. Looking at the sao mark while playing any of the numerous finger positions speeds up progress, my teacher says, but invariably holds you back because if you go with a different sangen, you will not be able to play it. The teacher had a student like that and it was sad. So long as the student had her own sangen, she played well--because she looked at the sao for all the different finger positions. When she borrowed another sangen, disaster. She could not play the instrument. I don't want that to be me.
We are finally onto a new musical notation--the back plucking of the ito. The teacher gives me the name of this musical notation and I quickly forget it. I'll mention it in a future post. Regardless, this notation tells you to pluck the ito with the back end or backward motion of the bachi with whatever note precedes it. That is, if the note that precedes it is a number 1 position for the san no ito, than the following marker tells you to strum the same string (in this case, the san no ito) with a backward (upward) motion of the bachi. Completely different sound comes out of the ito when you do this.
This is only introduced late in the session since we have concentrated on the note transitions I have already learned and not quite mastered.
Sliding up and down the sao so I can get into the number 1 and number 5 positions correctly is improving. Not quite there yet but the coordination between plucking the ito at the moment my finger gets into position is much better. Again, without frets, getting into the same position consistently where the note will be played correctly is difficult. I can sometimes replicate it two or three times in a row, but invariably the fourth or greater time I miss the right point.
The instructor reminds me once again NOT to rely on looking at the mark on the sao that indicates position 5. It will become a crutch I will never be able to get rid of once I get proficient in playing the sangen. Looking at the sao mark while playing any of the numerous finger positions speeds up progress, my teacher says, but invariably holds you back because if you go with a different sangen, you will not be able to play it. The teacher had a student like that and it was sad. So long as the student had her own sangen, she played well--because she looked at the sao for all the different finger positions. When she borrowed another sangen, disaster. She could not play the instrument. I don't want that to be me.
We are finally onto a new musical notation--the back plucking of the ito. The teacher gives me the name of this musical notation and I quickly forget it. I'll mention it in a future post. Regardless, this notation tells you to pluck the ito with the back end or backward motion of the bachi with whatever note precedes it. That is, if the note that precedes it is a number 1 position for the san no ito, than the following marker tells you to strum the same string (in this case, the san no ito) with a backward (upward) motion of the bachi. Completely different sound comes out of the ito when you do this.
This is only introduced late in the session since we have concentrated on the note transitions I have already learned and not quite mastered.
Tuesday, May 7, 2013
Shamisen Week 5 Lesson
I got my butt kicked in this session, figuratively speaking. I thought I was moving forward, albeit slowly, but I have not made enough progress such that we are still stuck on the seven notes I have learned on the sangen.
There are four problem areas I am having: Bachi holding, sao sliding, stable wrist, and coordinating movement from position 1 to position 5 on the ni and san no ito. The correct holding of the bachi is constricted because of the size of my hand and the size of the jiuta bachi. The teacher and I have made a compromise such that I will not hold the bachi in the absolute correct position but a make-do situation because of my hand. I believe this will work in the long run without major issue.
The sao sliding is proving much more difficult. When you hold the sao by the left hand, you are supposed to be able to slide up and down unencumbered, holding the wrist in a relatively stable position. The yubikake, a small knit mini-glove for the thumb and forefinger, allows the sliding to go easily. However, the yubikake I have is a bit large. The yubikake should be somewhat taught across the thumb and index finger--some bounce in it--so that the yubikake does not completely rest or curve downward into the space between the thumb and forefinger.
Because mine is a bit large, the knit material rests on that aforementioned space and thus has no tautness to speak of. What happens then is that I have a tendency to grip the sao with the thumb and forefinger and prevent the smooth sliding up and down the sangen neck. Without that smooth sliding, getting into the correct finger position in a speedy manner is difficult. You grip the neck, thus artificially restricting the sliding movement. Yubikake are not expensive but the only two sources for them are in Canada and Japan. I'm tempted to wash it in hot water and dry on high to shrink it, but not sure if that will work.
Stabilizing the left wrist as it slides up and down the sao is critical. If you get the wrist out of position you are out of position for placing the forefinger correctly on the string. Unless you concentrate on it, the wrist naturally moves and is bent one way or the other as you slide up and down the sao. I keep on bending the wrist and thus get out of position for a correct finger placement/pressure on the sao.
The teacher has suggested taping a chopstick to the base of my wrist to restrict the movement, thus helping me "train" the wrist not to move. I don't have a chopstick but modern wrist stabilizers for injuries to the wrist are available. I purchase a "mild" one and hope this helps. If not, I will go back to my local drug store and look for an even more restrictive wrist brace.
Finally, the coordination of the movement of the index finger to a new playing position and the simultaneous striking of the bachi on the appropriate ito is extremely difficult for me. You would think this involves good eye/hand coordination--which I am atrocious at. However, that can't be because the majority of early 17th century jiuta sangen players were blind monks. Thus, it takes coordination but no eyesight to do this.
As hard as I try, I am at a loss as to how to move the left hand into the proper position AND at the same time strike the ito at exactly the moment the finger is in that position. My instructor has told me to begin striking the ito FIRST and then move the finger into position. It is not optimal and it is definitely not the correct way to do it, but it is an attempt to improve the coordination of the two movements.
I practice that after the session and it does improve both the sound and the coordination of the two movements (finger sliding, striking bachi), but I am concerned it will take me longer than I feel is necessary to master this technique. My teacher is patient, but says we cannot move on to new notes (positions on the sao) until I have mastered that technique. It may be a long time.
There are four problem areas I am having: Bachi holding, sao sliding, stable wrist, and coordinating movement from position 1 to position 5 on the ni and san no ito. The correct holding of the bachi is constricted because of the size of my hand and the size of the jiuta bachi. The teacher and I have made a compromise such that I will not hold the bachi in the absolute correct position but a make-do situation because of my hand. I believe this will work in the long run without major issue.
The sao sliding is proving much more difficult. When you hold the sao by the left hand, you are supposed to be able to slide up and down unencumbered, holding the wrist in a relatively stable position. The yubikake, a small knit mini-glove for the thumb and forefinger, allows the sliding to go easily. However, the yubikake I have is a bit large. The yubikake should be somewhat taught across the thumb and index finger--some bounce in it--so that the yubikake does not completely rest or curve downward into the space between the thumb and forefinger.
Because mine is a bit large, the knit material rests on that aforementioned space and thus has no tautness to speak of. What happens then is that I have a tendency to grip the sao with the thumb and forefinger and prevent the smooth sliding up and down the sangen neck. Without that smooth sliding, getting into the correct finger position in a speedy manner is difficult. You grip the neck, thus artificially restricting the sliding movement. Yubikake are not expensive but the only two sources for them are in Canada and Japan. I'm tempted to wash it in hot water and dry on high to shrink it, but not sure if that will work.
Stabilizing the left wrist as it slides up and down the sao is critical. If you get the wrist out of position you are out of position for placing the forefinger correctly on the string. Unless you concentrate on it, the wrist naturally moves and is bent one way or the other as you slide up and down the sao. I keep on bending the wrist and thus get out of position for a correct finger placement/pressure on the sao.
The teacher has suggested taping a chopstick to the base of my wrist to restrict the movement, thus helping me "train" the wrist not to move. I don't have a chopstick but modern wrist stabilizers for injuries to the wrist are available. I purchase a "mild" one and hope this helps. If not, I will go back to my local drug store and look for an even more restrictive wrist brace.
Finally, the coordination of the movement of the index finger to a new playing position and the simultaneous striking of the bachi on the appropriate ito is extremely difficult for me. You would think this involves good eye/hand coordination--which I am atrocious at. However, that can't be because the majority of early 17th century jiuta sangen players were blind monks. Thus, it takes coordination but no eyesight to do this.
As hard as I try, I am at a loss as to how to move the left hand into the proper position AND at the same time strike the ito at exactly the moment the finger is in that position. My instructor has told me to begin striking the ito FIRST and then move the finger into position. It is not optimal and it is definitely not the correct way to do it, but it is an attempt to improve the coordination of the two movements.
I practice that after the session and it does improve both the sound and the coordination of the two movements (finger sliding, striking bachi), but I am concerned it will take me longer than I feel is necessary to master this technique. My teacher is patient, but says we cannot move on to new notes (positions on the sao) until I have mastered that technique. It may be a long time.
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