Does the tuning of a shamisen affect its playability?

Playing/Techniques
#1

So, I know there’s not really a standard tuning as far as absolute pitch, but it seems like most players that you hear on youtube use C tuning. Is this common among professionals, or is it more of a personal preference thing? The reason I’m asking is because I’ve been experimenting with different tunings on my shamisen, and I’ve had some very odd and interesting results.

I had been using C tuning since I got my shamisen last summer, and I hadn’t really gotten a feel for some of the positions. I was able to play, and I knew roughly where my fingers needed to go, but I couldn’t hear a note in my head before I played it. Often I would play a note and it would be slightly off from the note I wanted to produce.

Then, for some reason, I switched to A tuning, and the effect it had on my accuracy was amazing. Suddenly, I was hitting notes perfectly without any trouble. It’s the strangest thing. Not only that, but after playing for a while in A tuning, I switched back to C, and my accuracy went right back to the way it had been before I tried A tuning.

The only conclusion I can draw is that the tuning of my shamisen was actually affecting my ability to play. Whether it’s something to do with the shamisen (resonant frequencies of materials, maybe?) or with my own ability to perceive the notes, there seems to be certain tunings that are better or worse than others, at least in this case. Another thing I’ve noticed is that the sawari effect from the sawari yama is particularly noticeable in A tuning.

Is this a phenomenon that others have experienced? I’m interested to hear your thoughts on the matter.

#2

Thanks for sharing that I have had very similar experiences on my improvised shamisen like instruments for sure so I would also be interested in some thoughts about this topic as outlined in your post from other serious players using shamisen proper :slight_smile:

(although I wouldn’t say string tension in general affected my anyway questionable accuracy it did change for example the force needed for making hajikis sound the same and somewhat of an overall slightly different sound and general playing feel of which I ended up enjoying both the feel of looser and tighter strings and would occasionally switch between considerably higher and lower absolute while always niagari tunings)

#3

That’s a new take on the matter that I haven’t heard yet, but that’s cool to hear about your experience.

What I find most people say in regards to tuning and playability is more about string tension and how that affects things. My old teacher said that the Tsugaru shamisen’s effective range was low F# to high F# (sorry, don’t have the exact frequencies on me right now), so C/C# pretty much falls right in the middle there, and that’s where most players tend to solo. Anything lower and the strings start to get loose, which slows down the response time on the bachi and the fingers of your left hand, which can throw off timing. Plus, the sound starts to take on a dull, wet kind of quality. Anything higher and the strings start to get tight, which means it takes more energy to get the strings going and so your hands can tire more quickly. Plus, the sound starts to get very sharp and intense.

Of course, it’s all about preference, but most people seem to enjoy the balance that C/C# gives.

#4

I actually have had very similar experiences. For as long as I’ve been playing Shamisen I can’t shake my love for the tuning B-F#-B . basically Ni Agari tuning in the key of B. I can play in higher keys such as c, c#, d or lower keys like A ( I like A as well) but for me everything has always just kind of settled perfectly in B.

#5

Tuning in A is nice, but I think it fits better with slow songs. It is also easier to sing in for a male voice that hasn’t learned to sing in many octaves. I also like the A-B range for playing blues.

It is easier to strike the skin with A tuning since there is less string tension, but as Jamie says it can tangle up your bachi if you increase the speed.

Here is a clip that made me realize how nice A tuning is for shamisen: https://www.youtube.com/watch?v=MCzr24t73lU

#6

Wow, that’s a great video, Karl. The open ichi no ito is so deep.

Since posting I’ve changed my tuning to B, and I’m enjoying it just as much as A, maybe even more. It’s closer to what I’m used to hearing, but it still feels good to play, and I like the tone of it.

I’ve decided the phenomenon I’m experiencing is probably psychological. Maybe I just don’t have a good ear for certain tones. I’m not really sure if there’s a good way to test this, but I don’t really know if I need it. I’m liking the B tuning, so I’ll keep it. I doubt I’ll be playing with an ensemble anytime soon, so my absolute tuning shouldn’t be a problem. Thanks for your perspectives, everyone. :smiley:

#7

Hi ! Very interesting discussion actually ! I know I sometimes have defective ears, but I really hear a low F# and not an A on the open ichi no ito. Am I wrong, Karl ?

#8

No you are right, it’s definitely an F#. I can’t tell by ear and remembered it was in A. I guess I remembered wrong :slight_smile:

#9

So we are in the lowest range for a shamisen… as explained by Jamie. Except for a gidayu, maybe… In such low ranges Sho probably uses very thick strings… Did he talk about that question in the last shamicamp ?

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