Hahaha~ Oh man, it’s gonna be so awesome having you dudes along. The only reason I wont say “I can’t wait!” is because I could tooootally use the extra time to sharpen up my chops.
Great to see you in May all guys!!! Especially Karl for the first time for me( ^^)/~~~
Linda san, I learned how to use the word FAKING!!! At the last Taikai I did a lot of faking play, air play, pretend to be playing and such and such…… (>
Kyoto-san, you always learn interesting things in English! 
You can join Karl and me, and all together we will become a subdivision of Team Bachido - “The Bachido Fakers” !! (^o^)
lol~ Y’all is silly.
(^o^)
Sure! If we look concentrated enough, it will seem like we are playing the Shamisen with nothing but our will. Unfortunately, this will also only work if the other people are playing well.
To be serious, what I tried most while playing in the group, was to get along with the main harmony and tried not to give unnecessary disturbing sound. At least I could do it as far as being very careful and had enough practice and listening.
I hope I will be a bit better than this at the next Taikai.
What do you call someone who just started working at McDonalds?
-Burginner.
(^o^) はははは〜
That was Great Karl . . . . . . . .
Ok question time.
I’m checking out last year’s super slow video to make sure I get the smaller details correct.
When I hear you play the last notes in Part 2 of your videos Kevin, it sounds like 4300 4300 4300 etc… and this is how it is written in the notation.
In this video http://www.youtube.com/watch?v=bJlnwgkyQPo
it sounds to me like it’s 430 00 430 00 430 00 etc.
Is Masahiro playing it differently? Is Kyle playing it differently? Am I just crazy?
Here’s the thing…
Last part of part 2 is a kind of Kamashi but it is far from the climactic Kamashi. In most Jongara performances you will save the craziest 4300 patterns for the very end. I actually remember discussing this one day with Masahiro as well as my sensei in Japan. The basic attitude of Japanese Shamisen performers (regarding middle sections like this) is like “Yeah, play some kind of Kamashi pattern here but just don’t make it too crazy.” Etc. Basically you can play your own variation of 4300 at this point as long as it doesn’t outshine the 4300 at the very very end!
I like that concept; makes things a bit easier flow-wise. Thanks for the question, Karl, as well as your insight, Kevin~!!
I hear you when it comes to a Jonkara Bushi, but shouldn’t we all play the same kamashi when we are 30 people (hopefully that many!)? Otherwise I’m sure it will sound like a weird wall of sound that isn’t coordinated.
As far as I have heard, that part is most excited and even to the extreme of extasy, 4300 4300 or 43000 43000. In good harmony. Rather a wall of high wave of mixed excitement.
Karl,
To the contrary. Listen to group Jongara bushi’s. The Kamashi parts are always walls of chaotic sound. It’s part of the tradition. Viewed from a Western musicians perspective we instinctively want to have things coordinated at all times with music. . . But the rhythm will create enough natural coordination that you really have no reason to worry. The only way it could sound chaotic is if someone plays too slow or too fast. Just remember as long as we are all on the same beat it can be crazy but to the audience it will sound coordinated!
Alright. I choose to believe.
Hey everyone !
Hahaha I can see how psyched you are about about this upcoming event of awesomeness!
I’m currently at hard work trying to memorize the whole piece. The dynamics will be awesome I think. Just remind me not to sit in front of you. You and your shamisen are loud man.
I have adopted the fox sign also a couple of days ago . . .