Otojime (音締め) Muting / Dampening Technique Help

Playing/Techniques
#1

Hi all, I got some feedback from the Bachido Cup that I should work on “Otojime” technique when doing maebachi but I’m not sure about the specifics of this technique.

From what I can tell, you should put your pinky on the bridge (koma) and use your thumb to mute or dampen the string. Is this correct?

When I try to do this, the thumb usually completely mutes the string so this doesn’t seem right. Is the thumb supposed to touch the string or only the dou skin?

Also, are you supposed to remove your pinky from the koma when you go back to normal bachi position? This seems awkward when going back and forth between them quickly.

Thanks!
-Alterius

#2

In a maebachi strike, you can enhance the clicky sound by applying your curled pinky to the wooden foot of the bridge as your bachi connects with the string and skin. As you draw your bachi away, remove your little finger. In ushiro position, your pink will not line up with the koma.

In oshibachi (and otherwise) you can use the edge of your thumb that is off the bachi to stop the string from vibrating quite so much. In oshibachi, it lets you focus on the sound coming off the second string hit. I am uncertain about regular tataki.

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#3

Thanks so much for the info! When you say “enhance the clicky sound” do you mean to instead make the fundamental string tone quieter (so the percussive sound is louder in comparison)?

Also, should the pinky touch the base of the string where it meets the koma, or should it only touch the koma?

Lastly, I have heard that one should always use otojime whenever doing maebachi. Is this correct?

Thanks!
-Alterius

#4

Here’s Reigen’s in-depth commentary on nejime as it applies to maebachi

I was taught to place my finger on the foot of the koma, although it would seem that even placing it on the skin would be enough (according to the video).

Nejime is a kind keshi or mute. It reduces how much of the string’s vibration can travel along the string/neck/body loop, and instead lets the percussive click of the string escaping from beneath the bachi to be better heard. This enhances the difference between ushiro and mae - it strengths the dynamics.

Whether you always do it or not is up to you. different techniques lead to different sounds. For Reigen, it seems that mae = nejime.

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