My time has come to an end with the weekly Sangen (shamisen) blog postings. I started in late April of 2013. I was going to go one year but the final weeks in March and April of this year will be devoted to practicing Hana No Uta as we will be performing this piece in late April. Thus, there will not really be any news regarding my Sangen saga except for continuing to practice this song.
The Good, The Bad, and The Ugly
Many highs and lows with learning this instrument. First, based on my experience, it is a real handicap not to have a solid foundation in Western music (the general concepts and principles). I started with no knowledge whatsoever. In many cases, as the instructor tried to relate Japanese notation along with basic music terminology (like counting, rhythm, timing, upbeat, downbeat, rest, full note, half note, etc), I felt like I was learning three languages at the same time.
True, with no prior background, I could concentrate on Japanese notation and not worry about converting notes to Western notation in my head. But I have struggled not with the notation but with general music concepts of which I had no knowledge.
Second, the instructor is teaching me the same way past Sangen students have learned. Most of the pieces are concert pieces. That is, most of the music I have learned so far is to be played not as a solo but as accompaniment to the Koto and Shakuhachi.
I understand the reasoning behind this approach. However, I did not take up the Sangen to play with other instruments or to play before other people (outside of my immediate family). I wanted to learn the traditional Jiuta style of slow, melancholic, solo pieces that were played by Geishas as they entertained their guests. I wanted to entertain myself, not anyone else. Selfish? Perhaps. But this is what I desired when I began. This has been a huge disappointment.
As I continue with the Sangen in the future, I know I will have an opportunity to explore those types of pieces on my own. Why? Because when I retire, I will be moving out of state and thus will have little opportunity to continue lessons with my current instructor or anyone else. Sangen Masters are few and far between.
My disappointment is just as great with myself. After nearly a year playing, I have learned exactly four songs. When I say "learned," that is, I can read the sheet music and play it, after a fashion. I am not very good--even after a year and hundreds of hours of practice.
My instructor tells me that every person learns at their own pace. The Master is extremely patient and always encouraging. But frankly, my "pace" is just too darn slow. Too often I just don't get it. I want to get it, but I don't. I have kept this frustration mostly in check, but sometimes it overwhelms me.
On the upside, I love the instrument and the sound it makes WHEN I play it correctly, which, as mentioned above, is not very often. It is challenging and makes my old brain do things it is not used to doing. Practicing daily brings a peaceful consistency and normalcy to my life; Zen-like meditation, if you will.
The Sangen, along with the Koto, are the only musical instruments I have ever wanted to learn. And so, with continuing faith in the future, I will start learning the Koto in about a month.
I will not be giving up the Sangen, but learning the Koto concurrently. This will definitely slow me down on both instruments, but I like challenges. Will I do any better with the Koto? I doubt it. Those people blessed with musical abilities can usually transfer those to another instrument with ease. Those with limited musical talent (that's definitely me), often find other instruments just as challenging as the one they first learned on.
So why learn the Koto? Again, because of the sound it makes and the way it makes me feel inside when I hear it played. As I near retirement, I will have plenty of time to play the only instruments I truly love. Play them well? Probably not. But if we only did the things we excel in, we would soon grow bored and too self-content.
So, this is the end of the Sangen blog. I will begin a Koto blog soon. Look for it in the future and join me in the journey. But as for now, goodbye. Thanks for coming along for the ride.
Wednesday, March 5, 2014
Sunday, February 23, 2014
Shamisen Week 47 Lesson
Nothing much new happened during this week's lesson. I had practiced Hana No Uta diligently this week but found that I was not understanding completely the tempo changes. This is the first piece that I have practiced that has any real tempo changes to speak of.
The piece starts out at an 80 tempo for 56 measures; moves down to 66 for 24 measures; shoots up to 108 for 40 measures; then really hauls at 116 to the end (88 measures). One tempo is hard enough!!! Getting those changes right is a real challenge for me. More work on that is needed Big Time.
No lesson next week as the Master has a performance commitment. So we will be skipping Week 48 Lesson and going straight to Week 49 Lesson when it comes.
The piece starts out at an 80 tempo for 56 measures; moves down to 66 for 24 measures; shoots up to 108 for 40 measures; then really hauls at 116 to the end (88 measures). One tempo is hard enough!!! Getting those changes right is a real challenge for me. More work on that is needed Big Time.
No lesson next week as the Master has a performance commitment. So we will be skipping Week 48 Lesson and going straight to Week 49 Lesson when it comes.
Wednesday, February 19, 2014
Shamisen Week 46 Lesson
Well, there wasn't one. I was involved in a personal move and so had to cancel my sangen lesson this week. However, I continued to practice the song Hana No Uta.
The song is 9 pages, 208 measures long. The longest song to date that I have studied.There are a few difficult measures that require speed; some measures that use an off beat (playing a note on the upbeat instead of the downbeat); and, of course, the ubiquitous troublesome transitions of 5, 7, 8 and Octave 1.
If I can ever master those particular positions I will be sitting pretty. As of now, I ain't sitting very well. Oh, well. Back to fingering the sao.
The song is 9 pages, 208 measures long. The longest song to date that I have studied.There are a few difficult measures that require speed; some measures that use an off beat (playing a note on the upbeat instead of the downbeat); and, of course, the ubiquitous troublesome transitions of 5, 7, 8 and Octave 1.
If I can ever master those particular positions I will be sitting pretty. As of now, I ain't sitting very well. Oh, well. Back to fingering the sao.
Wednesday, February 12, 2014
Shamisen Week 45 Lesson
The
new song to learn is a modern piece written for the koto, bass
koto, shakuhachi,
and sangen. It is called Hana no uta or Song of Flowers. It is more
difficult than Wakamizu as to beat. It is 2/4 time but with lots of
measures with the note being played on the upbeat instead of the
downbeat.
I still have not mastered counting when getting the rhythm and beat of the music I practice. With Wakamizu, there were no
upbeats in the music. In this song, not only are there plenty of
upbeats but it is a faster tempo with plenty of 7, 8 and Octave 1
transitions. Since I have not mastered the 7, 8, or Octave 1
positions, even after months with Wakamizu, this piece is a real
challenge.
The Master chose this song (before I begin learning classical
pieces) so that I can get better at counting and to be more
consistent in finding the 7, 8, and Octave 1 positions. Need to work hard.
Tuesday, February 4, 2014
Shamisen Week 44 Lesson--I'm on to New Material
After 18 continuous weeks, 15 hours of instruction, and 70 hours of practice, I finally DO NOT master the song Wakamizu written by Michio Miyagi (circa 1661-1673). However, I do it well enough to move on to new material! Whew. I thought I would be playing that forever.
As you can tell from the above, I ain't no speed genius when it comes to musical accomplishment. It is slow going to the extreme. But I love the music. I love the sangen. I enjoy it so much that soon I will be learning the koto concurrently.
Playing Japanese music is like therapy for me. It helps me relax and concentrate at the same time. I find peace in the music where I do not in other aspects of my life. It is truly a calming, zen-like experience every time I take up the instrument. I had no idea playing music would have that effect on me. I'm sure this calming ability of playing a musical instrument is shared by many.
During our time with Wakamizu, I expressed an interest to the Master in also learning the koto. The master approved as the instruments complement each other and are often played together in many Japanese pieces. The timing of taking on the additional duty of learning the koto I have left to my instructor.
One blessing is that the Master could not find a suitable instrument for me and so has graciously allowed me to acquire one of her own kotos. It will need to be restrung and I will need to acquire some other necessary accessories. But soon the sangen will be joined with the koto. When that happens, I will start a separate koto blog of my first year experience learning to play that instrument.
My blog for the sangen will soon be coming to an end. I started learning the sangen in April of 2013. I said at the beginning of this journey that I would write the blog for one year. In only two months, my one-year anniversary will arrive. When that comes, I will bid farewell to this blog.
In the meantime, weekly updates are back since we are on new material with many challenges. I will be posting more information on the current song I am learning in the future.
As you can tell from the above, I ain't no speed genius when it comes to musical accomplishment. It is slow going to the extreme. But I love the music. I love the sangen. I enjoy it so much that soon I will be learning the koto concurrently.
Playing Japanese music is like therapy for me. It helps me relax and concentrate at the same time. I find peace in the music where I do not in other aspects of my life. It is truly a calming, zen-like experience every time I take up the instrument. I had no idea playing music would have that effect on me. I'm sure this calming ability of playing a musical instrument is shared by many.
During our time with Wakamizu, I expressed an interest to the Master in also learning the koto. The master approved as the instruments complement each other and are often played together in many Japanese pieces. The timing of taking on the additional duty of learning the koto I have left to my instructor.
One blessing is that the Master could not find a suitable instrument for me and so has graciously allowed me to acquire one of her own kotos. It will need to be restrung and I will need to acquire some other necessary accessories. But soon the sangen will be joined with the koto. When that happens, I will start a separate koto blog of my first year experience learning to play that instrument.
My blog for the sangen will soon be coming to an end. I started learning the sangen in April of 2013. I said at the beginning of this journey that I would write the blog for one year. In only two months, my one-year anniversary will arrive. When that comes, I will bid farewell to this blog.
In the meantime, weekly updates are back since we are on new material with many challenges. I will be posting more information on the current song I am learning in the future.
Tuesday, November 19, 2013
Shamisen Week 33 Lesson
I'm back from successful (so far!) surgery but I have not left behind Wakamizu!
I originally was going to write this blog once a week for 52 weeks then end it. For the last, what seems eternal weeks, I have been practicing Wakamizu. I still have not mastered it although I am getting better weekly if not daily.
However, I believe I shall place the blog in Pause mode until I forge ahead to new material other than Wakamizu. The blog makes for dull reading every time I just say "we are still on Wakamizu."
For the one faithful follower, I appreciate you! I will return to this blog, with the appropriately correct week, once I move on from Wakamizu. When will that be? Who knows?!
I originally was going to write this blog once a week for 52 weeks then end it. For the last, what seems eternal weeks, I have been practicing Wakamizu. I still have not mastered it although I am getting better weekly if not daily.
However, I believe I shall place the blog in Pause mode until I forge ahead to new material other than Wakamizu. The blog makes for dull reading every time I just say "we are still on Wakamizu."
For the one faithful follower, I appreciate you! I will return to this blog, with the appropriately correct week, once I move on from Wakamizu. When will that be? Who knows?!
Sunday, November 3, 2013
Shamisen Week 31 Lesson
No lesson this week or the following week (Week 32) because of some health problems. I will be undergoing a medical procedure this week. Hope to return to lessons on Week 33 (November 16, 2013).
Tuesday, October 29, 2013
Shamisen Week 30 Lesson
Yes, still on the ole Wakamizu. Love that song (really). Just wish I could master it.
Still working on the position of Octave 1 San no ito, followed by Octaves 3, 4, 7, transitioning back through those, then finding Octave 2 and for an added bonus challenge, Octave 1 with the index finger and with the second finger.
You would think that once Octave 1 is found with the index finger that finding it with the second finger would not present a problem. Well, if you are me (and obviously you are not!), it is like a whole nother country.
What did they used to say in the days when the carnival challenge called High Striker (Strongman game) was popular? You hit the metal plate as hard as you could with a huge hammer to send a small metal puck up to a bell at the top. If you rang the bell, you won. If you did not, the carny guy would say "Close, but no cigar." Well, it's close but no cigar on the Octaves.
The master insists that without mastering this song, the following songs we will learn will be more troublesome. Master Wakamizu, and it will not be hard.
I have to trust the sensei.
Still working on the position of Octave 1 San no ito, followed by Octaves 3, 4, 7, transitioning back through those, then finding Octave 2 and for an added bonus challenge, Octave 1 with the index finger and with the second finger.
You would think that once Octave 1 is found with the index finger that finding it with the second finger would not present a problem. Well, if you are me (and obviously you are not!), it is like a whole nother country.
What did they used to say in the days when the carnival challenge called High Striker (Strongman game) was popular? You hit the metal plate as hard as you could with a huge hammer to send a small metal puck up to a bell at the top. If you rang the bell, you won. If you did not, the carny guy would say "Close, but no cigar." Well, it's close but no cigar on the Octaves.
The master insists that without mastering this song, the following songs we will learn will be more troublesome. Master Wakamizu, and it will not be hard.
I have to trust the sensei.
Tuesday, October 22, 2013
Shamisen Week 29 Lesson
Wakamizu Redux.
That's it. Nothing new to report. This is sounding like a broken record (of course, most people alive today don't know what a record is, let alone a broken one, or why it is apropos for my comment. Such is life!).
In any case, the master insists we continue with Wakamizu until I master all of its parts--particularly Octave 1 and its transitions, getting Position 7 san no ito EVERYTIME, and understanding the timing of the piece.
I am getting better at finding Ocatave 1 and the timing. Trust me...
That's it. Nothing new to report. This is sounding like a broken record (of course, most people alive today don't know what a record is, let alone a broken one, or why it is apropos for my comment. Such is life!).
In any case, the master insists we continue with Wakamizu until I master all of its parts--particularly Octave 1 and its transitions, getting Position 7 san no ito EVERYTIME, and understanding the timing of the piece.
I am getting better at finding Ocatave 1 and the timing. Trust me...
Tuesday, October 15, 2013
Shamisen Week 28 Lesson
Wakamizu is not going away any time soon. My sensei says that we must continue playing this until I get it right because it will help me in the next song that we will undertake. Unfortunately, I don't believe that we will move on to that song, whatever it is, anytime soon.
I love Wakamizu, thank goodness. Otherwise, I would have gone crazy by now. Three weeks plus on this song, an hour every day, can grate if it is something you dislike.
I am doing better in finding Octave 1, but it's still hit or miss, with a lot of misses vs. hits. Same goes for Position 7 which I had hoped I would have mastered by now. Position 5 is finally a lock. I find it every time. But Position 7 is not always as easy because that position floats a bit more as the san no ito gets out of tune.
I do believe there is such a thing as over practice. After a while, I'm not sure I'm getting the full benefit of my practice sessions going over the same material time and time again. With another musical piece to mix it up, I would think that when I went back to it (Wakamizu) I might improve. This is just my subjective opinion.
On the equipment front, I received my ivory itomaki from Japan and they are now installed. I did not notice more itomaki slippage with the ivory as compared to the kokutan wood as some sangen players have observed. The ivory itomaki originally came with this sangen when it was made in the '50s. Thus, they have had many years to "mate" the surfaces involved compared to the newer kokutan pieces. The ivory itomaki have a nice, yellowed aged look to them and although some experts dispute this, I believe I do hear a tonal quality difference between the ivory and the kokutan itomaki. It's probably just a placebo effect, but...
In addition, I purchased a bekko bachi from Japan and it also came at the same time as the itomaki. Bekko is SO much better than plastic! Flexibility on the blade of the bachi makes a big difference in control and sound. One thing I noticed right away is that the scrapping sound I sometimes made on the strings with the plastic bachi has disappeared completely.
I love Wakamizu, thank goodness. Otherwise, I would have gone crazy by now. Three weeks plus on this song, an hour every day, can grate if it is something you dislike.
I am doing better in finding Octave 1, but it's still hit or miss, with a lot of misses vs. hits. Same goes for Position 7 which I had hoped I would have mastered by now. Position 5 is finally a lock. I find it every time. But Position 7 is not always as easy because that position floats a bit more as the san no ito gets out of tune.
I do believe there is such a thing as over practice. After a while, I'm not sure I'm getting the full benefit of my practice sessions going over the same material time and time again. With another musical piece to mix it up, I would think that when I went back to it (Wakamizu) I might improve. This is just my subjective opinion.
On the equipment front, I received my ivory itomaki from Japan and they are now installed. I did not notice more itomaki slippage with the ivory as compared to the kokutan wood as some sangen players have observed. The ivory itomaki originally came with this sangen when it was made in the '50s. Thus, they have had many years to "mate" the surfaces involved compared to the newer kokutan pieces. The ivory itomaki have a nice, yellowed aged look to them and although some experts dispute this, I believe I do hear a tonal quality difference between the ivory and the kokutan itomaki. It's probably just a placebo effect, but...
In addition, I purchased a bekko bachi from Japan and it also came at the same time as the itomaki. Bekko is SO much better than plastic! Flexibility on the blade of the bachi makes a big difference in control and sound. One thing I noticed right away is that the scrapping sound I sometimes made on the strings with the plastic bachi has disappeared completely.
Tuesday, October 8, 2013
Shamisen Week 27 Lesson
Been practicing Wakamizu all the past week thinking we would move on like we have done so many times before. Not this time. I guess because this piece is one that I will have to master, the master wants me to master it now before moving on. It may be a long time!
The Octave notes are the problem. Replicating them consistently is a challenge. However, Position 7 on the san no ito is also problematic because of the constant stretching of this thin string. As soon as I can consistently hit Position 7, the string stretches a bit and I have to re-tune. That takes time and is a pain, but nothing can be done. It is part of the nature of the instrument.
So, I practice and practice Wakamizu. Sometimes it's okay; most times not so much. If I can ever nail down Octave 1, I might have a chance at Octaves 2, 3, 4, and 7. I get IT once in a while, but if I miss Octave 1, of course, everything else that follow is also off.
On the good side, I am not getting so frustrated as I have in the past. Why? It has finally dawned on my puny brain that this is not a sprint but a marathon. I am not going to "get it" tomorrow, the next week, or even next month. If I keep practicing, I hope to get better--over the long haul. So, it's not a 100 meter dash, but a long-distance event when considering learning the sangen. It has taken me a while to realize this. And once realized, the frustration and pressure has lessened measurably.
My ivory itomaki have arrived and I should be using them by next week. Some other sangen players have said that the slippage of ivory itomaki is much worse than kokutan itomaki, so I should not get too excited. It's more for looks than practicality. We shall test that theory shortly. In addition, after looking diligently for over six months, I have found a bekko jiuta bachi to purchase. That should be arriving from Japan in the next few weeks.
The Octave notes are the problem. Replicating them consistently is a challenge. However, Position 7 on the san no ito is also problematic because of the constant stretching of this thin string. As soon as I can consistently hit Position 7, the string stretches a bit and I have to re-tune. That takes time and is a pain, but nothing can be done. It is part of the nature of the instrument.
So, I practice and practice Wakamizu. Sometimes it's okay; most times not so much. If I can ever nail down Octave 1, I might have a chance at Octaves 2, 3, 4, and 7. I get IT once in a while, but if I miss Octave 1, of course, everything else that follow is also off.
On the good side, I am not getting so frustrated as I have in the past. Why? It has finally dawned on my puny brain that this is not a sprint but a marathon. I am not going to "get it" tomorrow, the next week, or even next month. If I keep practicing, I hope to get better--over the long haul. So, it's not a 100 meter dash, but a long-distance event when considering learning the sangen. It has taken me a while to realize this. And once realized, the frustration and pressure has lessened measurably.
My ivory itomaki have arrived and I should be using them by next week. Some other sangen players have said that the slippage of ivory itomaki is much worse than kokutan itomaki, so I should not get too excited. It's more for looks than practicality. We shall test that theory shortly. In addition, after looking diligently for over six months, I have found a bekko jiuta bachi to purchase. That should be arriving from Japan in the next few weeks.
Sunday, September 29, 2013
Shamisen Week 26 Lesson
The sensei and I go over Wakamizu. Of course, I thought I was nailing it in practice but when I actually have to play it, I suck. The Octave notes are difficult to locate by sound. My transitions up the sao to Position 7 and 8 on the san no ito are still not where they should be. Sometimes I'm not even close. I'm still pressing too hard on the strings and sao. My tempo is better, but this is a relatively easy piece regarding that.
I mentioned this in an earlier post, but it is so frustrating when I believe I have had a good week of practice to come to Lesson time and find out that I am not doing as well as I would hope. I don't know if it's because I'm nervous or if I have just not practiced correctly at home. I want to do well for my instructor--perhaps I am trying too hard when we play together.
The sensei says I am doing much better, but it is hard to get excited when I feel I am blowing it every time I go to a lesson. Plus, I don't think I am progressing as fast as I should. I realize that every person's progress is relative. I just don't think my progress is relatively good!
I mentioned this in an earlier post, but it is so frustrating when I believe I have had a good week of practice to come to Lesson time and find out that I am not doing as well as I would hope. I don't know if it's because I'm nervous or if I have just not practiced correctly at home. I want to do well for my instructor--perhaps I am trying too hard when we play together.
The sensei says I am doing much better, but it is hard to get excited when I feel I am blowing it every time I go to a lesson. Plus, I don't think I am progressing as fast as I should. I realize that every person's progress is relative. I just don't think my progress is relatively good!
Tuesday, September 24, 2013
Shamisen Week 25 Lesson
I practice a number of San Sagari and Ni Agari pieces that have 1/8 notes in combination with 1/4 notes in a single or an immediate following double measure. I do this in preparation for the week's lesson as I assume we will be playing the pieces my sensei has asked me to practice.
Surprisingly, I do much better this week with the tempo issues associated with those note combinations when playing the new instrument. My errors, as predicted by my sensei, are more obvious for sure. When I miss a note, it sticks out like a sore thumb now. But somehow the new instrument gives me renewed confidence. I believe a light bulb has gone on regarding how I need to approach playing 1/8 notes that are not consistently through an entire measure. Still errors abound, but I am getting better. The sound of the new sangen is incredible and reminds me of why I took the instrument up in the first place.
The lesson for the week does NOT go over the previous week's practice but goes on to learning a new song called "Wakamizu." Translated that means fresh or young water. This piece is one of the five I will have to master before I can get my beginner's certificate in sangen.
The song is in Ni Agari tuning, 3/4 time, and straightforward. There are a number of new notes (Octave 2, 3, 4, 7) which go way down the sao and are not easy to find. However, there are no intricate transitions and absent the new octave notes, the music consists mostly of san no ito positions 3, 5, 7, and 8 with a smattering of ni no ito parts.
The problem is I am still having difficulty finding Position 7/8 on the san no ito when I have to move from the lower part of the sao to the upper part. I am hitting Position 5 on the san no ito about 90-95 percent of the time within one cm. Not perfect, indeed, but much improved since I began the sangen six months ago. And finding 7 (and of course 8) is normally not a problem when I can move from the top of the sao downward. In that case, when there is a rest in the music, I have time to briefly pause at 5 and then lower the finger onto 7 or second finger on to 8.
Coming from below, when I am playing notes below (higher) than 7 or 8 (like all of the octaves!), is problematic. If there is a rest involved after a higher note (as noted earlier), again I can move to the top of the sao, slide down, pause at 5, move to 7 and/or second finger 8 with some consistency. I don't do this with the consistency of when I need to play Position 5, but still okay. When I have to come up from below, it is murder.
I know it takes time for motor memory to lock in, but it is a hit-miss situation moving to 7/8 when I don't have time to transition to the top of the sao and try to locate the notes using the anchor position of 5. I am attempting to use hand/finger/body positioning to help, but this often does not work. Wish there was some handy-dandy trick to finding those notes when transitioning from below them, but somehow I doubt there is one. Practice, practice, practice.
Surprisingly, I do much better this week with the tempo issues associated with those note combinations when playing the new instrument. My errors, as predicted by my sensei, are more obvious for sure. When I miss a note, it sticks out like a sore thumb now. But somehow the new instrument gives me renewed confidence. I believe a light bulb has gone on regarding how I need to approach playing 1/8 notes that are not consistently through an entire measure. Still errors abound, but I am getting better. The sound of the new sangen is incredible and reminds me of why I took the instrument up in the first place.
The lesson for the week does NOT go over the previous week's practice but goes on to learning a new song called "Wakamizu." Translated that means fresh or young water. This piece is one of the five I will have to master before I can get my beginner's certificate in sangen.
The song is in Ni Agari tuning, 3/4 time, and straightforward. There are a number of new notes (Octave 2, 3, 4, 7) which go way down the sao and are not easy to find. However, there are no intricate transitions and absent the new octave notes, the music consists mostly of san no ito positions 3, 5, 7, and 8 with a smattering of ni no ito parts.
The problem is I am still having difficulty finding Position 7/8 on the san no ito when I have to move from the lower part of the sao to the upper part. I am hitting Position 5 on the san no ito about 90-95 percent of the time within one cm. Not perfect, indeed, but much improved since I began the sangen six months ago. And finding 7 (and of course 8) is normally not a problem when I can move from the top of the sao downward. In that case, when there is a rest in the music, I have time to briefly pause at 5 and then lower the finger onto 7 or second finger on to 8.
Coming from below, when I am playing notes below (higher) than 7 or 8 (like all of the octaves!), is problematic. If there is a rest involved after a higher note (as noted earlier), again I can move to the top of the sao, slide down, pause at 5, move to 7 and/or second finger 8 with some consistency. I don't do this with the consistency of when I need to play Position 5, but still okay. When I have to come up from below, it is murder.
I know it takes time for motor memory to lock in, but it is a hit-miss situation moving to 7/8 when I don't have time to transition to the top of the sao and try to locate the notes using the anchor position of 5. I am attempting to use hand/finger/body positioning to help, but this often does not work. Wish there was some handy-dandy trick to finding those notes when transitioning from below them, but somehow I doubt there is one. Practice, practice, practice.
Tuesday, September 17, 2013
Shamisen Week 24 Lesson
This was an exciting and frustrating week combined. The excitement came when the sangen I purchased from a friend of the sensei finally arrived from Japan.
The instrument was made sometime in the 1950s in Japan. It was used professionally by the friend's mother before the mother passed the instrument down to her daughter (at about the age of 10). This individual then used the instrument for the past 50 years (also professionally). When my sensei was in Japan for a concert tour, she contacted this friend to see if she had any sangens to sell. The friend graciously consented to sell me this instrument.
The sao is made of Kokutan. Kokutan (ebony) is from the native Okinawan tree Ryukyu Kokutan or Ryukyu Symplocaceae. In olden times, this tree was often used to make ebony saos for sangens. Unfortunately, for the most part, this is way too expensive today. There are not many sangens now being played that have solid ebony saos. In fact, the only ebony sao on a sangen that I have seen is the one my sensei plays and some pictures of sangen museum pieces.
Additionally, the sao has gold inlay where the joints of the three pieces fit together. The cut lines are so fine and the joints so tight you have to hunt for them--they are not easily discovered. A new dog skin covers the dou. Pre-ban ivory itomaki finish this work of art.
I don't wish to sound corny, but I am surely not worthy of playing this fine instrument. However, I will try my best. At the very least, I can admire both its sound and beauty.
The frustration came with understanding playing on the "off-beat" and understanding the musical notation of 1/8 notes on the beat and on the off-beat. I wish I could explain it better or that the sensei could explain it better. I am struggling with this. Let's just say I don't completely "get" the right tempo and timing of one practice piece we have been playing (Lesson 19 on this blog). Timing, tempo, pauses, etc. are everything (obviously) in music. So this lack on my part is disheartening. But I keep on trying.
The instrument was made sometime in the 1950s in Japan. It was used professionally by the friend's mother before the mother passed the instrument down to her daughter (at about the age of 10). This individual then used the instrument for the past 50 years (also professionally). When my sensei was in Japan for a concert tour, she contacted this friend to see if she had any sangens to sell. The friend graciously consented to sell me this instrument.
The sao is made of Kokutan. Kokutan (ebony) is from the native Okinawan tree Ryukyu Kokutan or Ryukyu Symplocaceae. In olden times, this tree was often used to make ebony saos for sangens. Unfortunately, for the most part, this is way too expensive today. There are not many sangens now being played that have solid ebony saos. In fact, the only ebony sao on a sangen that I have seen is the one my sensei plays and some pictures of sangen museum pieces.
Additionally, the sao has gold inlay where the joints of the three pieces fit together. The cut lines are so fine and the joints so tight you have to hunt for them--they are not easily discovered. A new dog skin covers the dou. Pre-ban ivory itomaki finish this work of art.
I don't wish to sound corny, but I am surely not worthy of playing this fine instrument. However, I will try my best. At the very least, I can admire both its sound and beauty.
The frustration came with understanding playing on the "off-beat" and understanding the musical notation of 1/8 notes on the beat and on the off-beat. I wish I could explain it better or that the sensei could explain it better. I am struggling with this. Let's just say I don't completely "get" the right tempo and timing of one practice piece we have been playing (Lesson 19 on this blog). Timing, tempo, pauses, etc. are everything (obviously) in music. So this lack on my part is disheartening. But I keep on trying.
Monday, September 9, 2013
Shamisen Week 23 Lesson
I return from the long, football infused Labor Day weekend ready to go. I have had one additional week of practice for the previous lesson and for the song Sakura. I've played ahead a bit in anticipation that we will move from what we have done the previous two weeks into new material.
New material, yes. What I expected, no. Instead of advance fingering in some new practice pieces with the ni agari tuning, we switch gears yet again and take on the new tuning of San Sagari.
San Sagari means "lowered three" or "lowered third" wherein the honchoshi tuning is taken (D-G-D), but the third string (San) is lowered a whole step. Thus, the tuning of the instrument now becomes D-G-C.
Going from D-A-D to D-G-C is a dramatic change in the sound. It is much mellower with the third string not so "strident" in the playing. This third tuning (combined with the other two) covers about 85-90 percent of the music for jiuta sangen. There are some additional tunings in the future, but my sensei says they are less important than the major three: honchoshi, ni agari, and san sagari.
The new material is challenging although there is not much new as to string positions. The transitions and the tempo of the practice pieces are always a challenge for me, a "counting challenged" individual. But I look forward to new material. My sensei always seems to know when to move on with new material or new challenges. Thus, just at the point where I have about "played out" in practicing, we go to new material.
New material, yes. What I expected, no. Instead of advance fingering in some new practice pieces with the ni agari tuning, we switch gears yet again and take on the new tuning of San Sagari.
San Sagari means "lowered three" or "lowered third" wherein the honchoshi tuning is taken (D-G-D), but the third string (San) is lowered a whole step. Thus, the tuning of the instrument now becomes D-G-C.
Going from D-A-D to D-G-C is a dramatic change in the sound. It is much mellower with the third string not so "strident" in the playing. This third tuning (combined with the other two) covers about 85-90 percent of the music for jiuta sangen. There are some additional tunings in the future, but my sensei says they are less important than the major three: honchoshi, ni agari, and san sagari.
The new material is challenging although there is not much new as to string positions. The transitions and the tempo of the practice pieces are always a challenge for me, a "counting challenged" individual. But I look forward to new material. My sensei always seems to know when to move on with new material or new challenges. Thus, just at the point where I have about "played out" in practicing, we go to new material.
Friday, August 30, 2013
Shamisen Week 21 Lesson
We continue the same material as we did in Week 20. We go over the latest practice piece along with the song Sakura. I am doing passably well, but nothing to write home Momma about. After we go through Sakura a few times with the sangen, the sensei pulls out the koto. A real treat as the instructor is a master of the koto as well.
We do a duet of Sakura. I butcher it in a few places, but the added sound of the koto makes the piece come alive. It is these moments, when I can "hear" the music, that keeps me going.
Next week is the fifth Saturday of the month and also Labor Day weekend. The master normally gives everyone a break when a month has a fifth Saturday, so we both take the following week off. As has been done since I started this blog, the 22nd week will be "counted" but the next blog entry will have Week 23 as the title.
I have some space here to do a little rant on the vagaries of practice. This past week is a typical week of practice. I warm up a bit doing the major positions on all strings (open, 2, 5, 7), kokis, and then some other string transitions. After a bit, I practice the current material (in this case, Lesson 15 as contained in the Lessons tab of this blog), along with the song Sakura.
The practice goes well. I hit around 90 percent of the positions and the tempo is mostly maintained. After an hour, I put the sangen away, satisfied with the session.
The very next day, same hour of day for practice, same place in my home, no difference in my temperament, weather, whatever, and the hour-long practice is a disaster. I can't buy a Position 5 and 7 is no where to be found. My transitions on the other notes are horrific. I can't get comfortable with the bachi and even the sangen does not seem to want to rest in its normal position.
What gives? I'm a former teacher and the research shows that you should study (practice) the same time of day in the same place every day to get the most out of your efforts. Yet here it is, everything replicated, nothing more than the next day, and the practice session is crapola.
I'm sure I am not the first one to experience this, whether it is someone playing the sangen, guitar, drums, or practicing football or tennis. But although I acknowledge that this is not a new phenomena, it is frustrating nonetheless that a perfectly good practice session is followed up with one that bombed.
It would be fun to see if any research has been done in this area of why one practice differs from another so dramatically when the conditions are as near to identical as possible.
We do a duet of Sakura. I butcher it in a few places, but the added sound of the koto makes the piece come alive. It is these moments, when I can "hear" the music, that keeps me going.
Next week is the fifth Saturday of the month and also Labor Day weekend. The master normally gives everyone a break when a month has a fifth Saturday, so we both take the following week off. As has been done since I started this blog, the 22nd week will be "counted" but the next blog entry will have Week 23 as the title.
I have some space here to do a little rant on the vagaries of practice. This past week is a typical week of practice. I warm up a bit doing the major positions on all strings (open, 2, 5, 7), kokis, and then some other string transitions. After a bit, I practice the current material (in this case, Lesson 15 as contained in the Lessons tab of this blog), along with the song Sakura.
The practice goes well. I hit around 90 percent of the positions and the tempo is mostly maintained. After an hour, I put the sangen away, satisfied with the session.
The very next day, same hour of day for practice, same place in my home, no difference in my temperament, weather, whatever, and the hour-long practice is a disaster. I can't buy a Position 5 and 7 is no where to be found. My transitions on the other notes are horrific. I can't get comfortable with the bachi and even the sangen does not seem to want to rest in its normal position.
What gives? I'm a former teacher and the research shows that you should study (practice) the same time of day in the same place every day to get the most out of your efforts. Yet here it is, everything replicated, nothing more than the next day, and the practice session is crapola.
I'm sure I am not the first one to experience this, whether it is someone playing the sangen, guitar, drums, or practicing football or tennis. But although I acknowledge that this is not a new phenomena, it is frustrating nonetheless that a perfectly good practice session is followed up with one that bombed.
It would be fun to see if any research has been done in this area of why one practice differs from another so dramatically when the conditions are as near to identical as possible.
Wednesday, August 21, 2013
Shamisen Week 20 Lesson
I continue to practice Lesson 15 as contained in the Lessons tab of this blog. The transitions are brutal and my fingers are misplaced 90 percent of the time. An added problem is that I have now removed the white markers that denoted the number 5, 7, and Octave 1 positions on the sangen.
When I acquired my current sangen, those marks were on the instrument from the previous owner. They are initially used to ease the learning of the instrument. Sangens, as you recall, do not have frets and there are no markers, signs, or other distinguishing marks to indicate the specific note positions of the sao. Thus, the notes played on the sangen must be memorized using muscle memory and tones. Learning to play the guitar, even though it has more strings, is a walk in the park compared to learning jiuta sangen. Why? Frets!!!
My teacher has allowed me to continue to use the marks as a learning tool (crutch) for the past 20 weeks. No more. I removed the marks as instructed by my sensei. Easy to do; hard now to remember exactly where those base positions are without my constant peripheral eyeball check on the white marks. Thus, it is two steps forward, one step back--or maybe even two back--with Lesson 15.
I struggle with it in the previous week's practice. I continue to struggle the entire current lesson with the instructor until we rest a bit. I wonder why we are stopping since I have clearly butchered the practice material and need tons more work. Then the sensei pulls out a new song. It is Sakura, a famous and oft played song for the sangen in Japan. The title translates to Cherry Blossom. The song, however, has a new twist.
Instead of the usual jiuta tablature learned so far, it is in a new format. Individual notes (or combination of notes) are placed in single boxes. There are four boxes per measure and four measures per line (4/4 time). New markings are there as well indicating when to repeat notes or complete sections of the song. There is also new nomenclature showing which finger to use to play the note (first, second, third finger).
My instructor tells me that this tablature is equally as common as the tablature we have been learning these past five months. The instructor wants me to learn both tablatures so that if I wish to play a particular song, I will not have to hunt down a specific tablature form in case I come across the song in the other format.
The song, as mentioned, is in 4/4 time with a slow-medium tempo. No difficult notes or transitions to learn, but learning the new nomenclatures is enough.
I have included the song under the Songs tab in the blog. Since it is a recognized song, I have not also included it in the Lessons material.
When I acquired my current sangen, those marks were on the instrument from the previous owner. They are initially used to ease the learning of the instrument. Sangens, as you recall, do not have frets and there are no markers, signs, or other distinguishing marks to indicate the specific note positions of the sao. Thus, the notes played on the sangen must be memorized using muscle memory and tones. Learning to play the guitar, even though it has more strings, is a walk in the park compared to learning jiuta sangen. Why? Frets!!!
My teacher has allowed me to continue to use the marks as a learning tool (crutch) for the past 20 weeks. No more. I removed the marks as instructed by my sensei. Easy to do; hard now to remember exactly where those base positions are without my constant peripheral eyeball check on the white marks. Thus, it is two steps forward, one step back--or maybe even two back--with Lesson 15.
I struggle with it in the previous week's practice. I continue to struggle the entire current lesson with the instructor until we rest a bit. I wonder why we are stopping since I have clearly butchered the practice material and need tons more work. Then the sensei pulls out a new song. It is Sakura, a famous and oft played song for the sangen in Japan. The title translates to Cherry Blossom. The song, however, has a new twist.
Instead of the usual jiuta tablature learned so far, it is in a new format. Individual notes (or combination of notes) are placed in single boxes. There are four boxes per measure and four measures per line (4/4 time). New markings are there as well indicating when to repeat notes or complete sections of the song. There is also new nomenclature showing which finger to use to play the note (first, second, third finger).
My instructor tells me that this tablature is equally as common as the tablature we have been learning these past five months. The instructor wants me to learn both tablatures so that if I wish to play a particular song, I will not have to hunt down a specific tablature form in case I come across the song in the other format.
The song, as mentioned, is in 4/4 time with a slow-medium tempo. No difficult notes or transitions to learn, but learning the new nomenclatures is enough.
I have included the song under the Songs tab in the blog. Since it is a recognized song, I have not also included it in the Lessons material.
Saturday, August 10, 2013
Shamisen Week 19 Lesson
The previous lesson and practice hours were difficult. Again, my instructor felt I had mastered it enough within one week that we move on to new material. I am a bit surprised but enjoy pushing on even though I don't have it perfect. Remember what Coach Sabin of the Alabama Crimson Tide says: "Perfect prevents you from getting good."
In this week's lesson, many new notes are once again introduced along with the first piece that is in 3/4 time:
Position 3, San
Octave 2, San
Position 10, Ni
Position 9, Ni
Position 8, Ni
Position 7, Ichi
My head is swirling with all the new notes and combination of notes that are contained in the last two lessons. I gulp and push on.
In this week's lesson, many new notes are once again introduced along with the first piece that is in 3/4 time:
Position 3, San
Octave 2, San
Position 10, Ni
Position 9, Ni
Position 8, Ni
Position 7, Ichi
My head is swirling with all the new notes and combination of notes that are contained in the last two lessons. I gulp and push on.
Sunday, August 4, 2013
Shamisen Week 18 Lesson
When it rains, it pours.
For the past three weeks I have been practicing Lesson 12 (in the Lesson tab of this blog). Simple piece, 4/4 time, about 60 beats per minute tempo. As noted in previous posts, I have struggled with the playing of notes that go beyond one beat and those that are shortened to a half-beat to maintain the four beats per measure. If each note only has one beat, I can usually maintain the correct tempo for the piece. Not so much when you introduce longer and shorter notes. That messes me up often. It sounds silly and probably is way too easy for those of the musically inclined to replicate, but for me (the musically challenged), it continues to need work.
Although I have not mastered my above tempo issues, my instructor decides it is good enough to move on to new material. However, since I am not ready for the more challenging pieces in the current music book, we are changing books.
The music instruction book I began with on this journey was in the honchoshi tuning. This is the base tuning of the jiuta sangen. It is D-G-D. The first string is tuned to D; the second string to G; the third string to D. The new music book has the ni agari tuning. That tuning is D-A-D. In addition, the two new lessons my instructor introduces has six new notes with two new kokis:
Ichi, second position
Ichi, fifth position, koki
Ni, fourth position
Ni, sixth position
Ni, fourth position, koki
San, seventh position
San, eighth position
San, first position, one octave higher
As noted in previous posts, it is difficult to tell you exactly where the above notes are located on the sao. Different lengths of sao give you slightly different distance reference points. However, for the san, seventh position, if you place your index finger on the san fifth position, then stretch out your third finger about as far as you can go without pain, that will be position seven on the third string. Eight position is a little beyond that.
As for the one octave higher note for the san (which is signified by a small dot immediately to the right of the standard nomenclature for this note--the numeral 1) it is beyond position 10 (designated by "X" in Japanese tablature). In other words, it's way down there on the sao!
The practice material is much more difficult with the introduction of so many new notes and the new koki. Plus, sometimes you play Position seven on the san with the index finger; other times you play it with your third or ring finger. Finding the one octave higher san position 1 note is really hard to do.
With the new tuning on the second string, the sound coming from the sangen has a lighter, less melancholic flavor than with the honchoshi tuning.
For the past three weeks I have been practicing Lesson 12 (in the Lesson tab of this blog). Simple piece, 4/4 time, about 60 beats per minute tempo. As noted in previous posts, I have struggled with the playing of notes that go beyond one beat and those that are shortened to a half-beat to maintain the four beats per measure. If each note only has one beat, I can usually maintain the correct tempo for the piece. Not so much when you introduce longer and shorter notes. That messes me up often. It sounds silly and probably is way too easy for those of the musically inclined to replicate, but for me (the musically challenged), it continues to need work.
Although I have not mastered my above tempo issues, my instructor decides it is good enough to move on to new material. However, since I am not ready for the more challenging pieces in the current music book, we are changing books.
The music instruction book I began with on this journey was in the honchoshi tuning. This is the base tuning of the jiuta sangen. It is D-G-D. The first string is tuned to D; the second string to G; the third string to D. The new music book has the ni agari tuning. That tuning is D-A-D. In addition, the two new lessons my instructor introduces has six new notes with two new kokis:
Ichi, second position
Ichi, fifth position, koki
Ni, fourth position
Ni, sixth position
Ni, fourth position, koki
San, seventh position
San, eighth position
San, first position, one octave higher
As noted in previous posts, it is difficult to tell you exactly where the above notes are located on the sao. Different lengths of sao give you slightly different distance reference points. However, for the san, seventh position, if you place your index finger on the san fifth position, then stretch out your third finger about as far as you can go without pain, that will be position seven on the third string. Eight position is a little beyond that.
As for the one octave higher note for the san (which is signified by a small dot immediately to the right of the standard nomenclature for this note--the numeral 1) it is beyond position 10 (designated by "X" in Japanese tablature). In other words, it's way down there on the sao!
The practice material is much more difficult with the introduction of so many new notes and the new koki. Plus, sometimes you play Position seven on the san with the index finger; other times you play it with your third or ring finger. Finding the one octave higher san position 1 note is really hard to do.
With the new tuning on the second string, the sound coming from the sangen has a lighter, less melancholic flavor than with the honchoshi tuning.
Thursday, August 1, 2013
Shamisen Week 17 Lesson
Nothing new this week because I am still struggling with the music piece that is Lesson 12 under Lessons in this blog. My counting the beats is still slightly off. My instructor always wants you to master the material before forging ahead to new stuff. So, I'm still plugging away on that piece.
Nothing else happening. We may move onto new material next week. We'll see.
Nothing else happening. We may move onto new material next week. We'll see.
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