Kinoshita awesomeness

Playing/Techniques
#1

At 7:45, Kinoshita gets an awesome sound.

Is this just plain awesomeness? Is it just a very solid bouncy strike? What is the secret?

Thanks!

PS. Would also like to add that currently, playing along with Kinoshita and Agatsuma youtube videos is giving me much more understanding for how to play with better feeling. It’s much easier to learn something when you can imitate the sound directly and see how they play it. Unfortunately the quality is quite bad so the subtle things can be hard to see.

But seriously, as Kevin said it’s all about combining little pieces of shamisen playing, and these solo performances have like, almost all. Just pick a part and try to learn it.

#2

Just awesome!! I forgot to breathe.

#3

Karl - It’s probably a hearty combination of the two :stuck_out_tongue:

#4

Karl - It’s probably a hearty combination of the two :stuck_out_tongue:

Might be :slight_smile:

I just keep thinking those UK dudes “The Slomo guys” should use their camera to record the shamisen legends play, so that we can see all the secrets.

#5

Kinoshita is really awesome. I’ve never heard such a booming tone before (not that I’ve heard tons shamisen players in person anyway).

Gerry and I had gone to a Kinoshita concert at Katoh san’s Chitoshan hall, and Yamaguchi san let us sit front row… less than a meter from his dou.

My god, that was an intense experience. I mean, his tone is exceptionally different. Reminded me of thunderclaps at that distant.

How does he do it? I’m inclined to think it’s his awesome hair. :wink:

It was really fun. Obaasan in the audience were flirting with him. “Kinoooshita sannn…” “suteeeekiiii” :wink:

#6

Yeah I guess at some point it’s hard for even you guys to know how the best players do it. I had hoped on Kevin being all-knowing again, but damn it, perhaps I should strip him of that title now? :wink:

#7

No no no… I know how Kinoshita does it.

He simply drinks more espresso than any of us do! :stuck_out_tongue:

Question answered!

#8

Really cool! Kinoshita is always awesome!
He’s bringing his thumb back on the bachi to change the tone as well as striking more closely to the koma for a brighter sound.
The technique is called “tsuberi bachi” and is mentioned in Kyle’s book - it is distinguished from other striking by the sweeping motion between one string to another in a forceful downward motion.
I assume this is already obvious to you, but that is what it is in case it isn’t.
The part that is particularly interesting tonally is the placement of his bachi. Pay attention to this, because that is what Tsugaru Shamisen is all about.

And the coffee doesn’t hurt…

#9

Are referring to Suberi (as it is in my book)? If so, I’m having trouble seeing that he would use that for the ichi no ito strikes that I mentioned. I don’t notice that he brings back his thumb just for those strikes, but plays in quite the same way as with the other strikes that do not sound the same around the same part of the song.

Maybe I’m just not skilled enough to see the subtle differences yet. You are definately right about that you do change the sound with these techniques, but I’m trying to see the exact difference between two strikes that sound so different and the position of the thumb does not look different from me in this short time interval example.

Moving his bachi to play near the koma is definately one of the steps, but what makes me amazed is that usually when playing near the koma on a stringed instrument you get a lot more treble. In this case it becomes a totally different sound, almost like muting a bit. Perhaps it has to do with the rotation of the striking hand and how much you let it bounce.

Nevertheless, I will read your words again when playing and see if they lead me closer to glory. Thanks!

#10

Yup, it’s Suberi bachi from Ichi no Ito to ni no Ito. That’s all. Strike on open Ichi no Ito and Suberi to ni no Ito 3 and then add ni no Ito 4 and 4 ス.
I wouldn’t stress too much about thumb positions changing with that phrase. Grant makes a good point but at the same time if you just practice that phrase as it is and eventually put it into an improvised or even a worked out Jongara you will feel if you need to change any thumb position. Not that it’s not important but more that it’s one of those things you develop just by doing it a lot.

#11

Oh just listened again… Guess its more like a hajiki from 4 to 3.

#12

I understand what you’re saying. I got the notes right, just need to practice the swing more when I can play without the stealth bridge.

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