Hey All,
I was looking through Kyle’s book today and noticed that Tsugaru Jinku is written in Niagari tuning. When I was living in Tokyo, I learned it in Honchoushi, and I started thinking about different tunings.
When it comes to the standard tunes, are there general rules regarding tuning or do they differ by school as appears to be the case? Does anyone else play Jinku in Niagari?
I do 
Andrew,
Great question! I’ve been involved with Tsugaru Shamisen and the whole scene both here in Japan and abroad for just about the past 11 years or so. Instead of giving you a proper text book answer I’ll simply relate to you my experience with Tsugaru Jinku and you can make of it what you want.
Back in 2002/2003 I was taking lessons from a Minyo accompanist who also knew Tsuagru Shamisen. He first taught me Tsugaru Jinku in Honchoushi. A few months into the lessons he asked me to play at his house party/get-together. After playing Roku Dan/Jongara bushi, someone in the audience shouted out “Tsugaru Jinku!!!” immediately my teacher launched into Tsugaru Jinku leaving me in slight bewilderment because at that point our Shamisens were still tuned to Ni Agari.
Later I questioned him “Isn’t that song suppose to be in Hon Choushi!?” He turned and glared directly at me with a look of disbelief as if that question itself was so utterly meaningless as to actually catch him off guard . Finally he responded in his thick Northern Japanese accent “Well, what the hell is the difference, it’s the same song right!?”
A few years later I was sitting in a park playing Tsugaru Jinku in ni Agari . Several members of a local Minyo club (both young and old memebes) walked by. They came over to listen to me for a while and I could hear them babbling amongst themselves “Oh he’s playing Tsugaru Jinku! Wow! And look, it’s Ni Agari! Hmmm. Interesting! He plays it in Ni Agari! Woa! How cute! Yes, that’s really neat-o! We play it in Hon Choushi right!? Yes yes! We certainly do!” and so on.
And again some years into the future I found myself at the annual Tsugaru Shamisen tournament in Hirosaki city. I approached a group of younger players who were sitting outside jamming. I could tell they were all in Ni Agari! I asked to play with them and they said they were going to jam on Tsugaru Jinku. Once again, Ni Agari tuning. They didn’t even seem to give it a second thought.
So it seems that in the end it doesn’t really matter all that much. No doubt it was originally conceived to be played in Hon Choushi but I guess the idea that it might be an issue in Japan (or anywhere) has become the equivalent of asking someone at a resteraunt about using a lacquered chopstick as opposed to an old fashioned wooden chopstick. They’ll just look at you like “Well, either way the food gets in my mouth right!?”
Hope that helps to shed some light on this issue!
Wow. Thanks Kevin! What an amazing answer. Makes a lot of sense, though given the propensity for approaching things in the “correct way”, it’s a bit surprising. I suppose that’s what you mean about the difference between a text book answer and a real world one.
I guess the lesson, is to know the instrument well enough that it no longer matters.
Well, gee guys. My first post and I’m already hooked on Bachido. Thanks again!
Welcome to Bachido, Andrew!
Nice personal stories, Kevin! That’s the attitude I really appreciate, “Well, what the hell is the difference, it’s the same song right!?” Music is being made and people are enjoying the spirit. When you’re in the zone of the music, who really cares what tuning it’s in. 
I used to play it in niagari, then somehow switched to honchoushi. I don’t remember why though, except I stuck with it because I liked the sound of the dropped ni no ito. Though playing at the Mendocino Folk Festival, the shamisen players played it in Niagari.
So, of course, I did the only thing I could do - I shouted at everyone, telling them 'That’s not the way Earl Scruggs played it!" (Sorry, banjo joke 
)
Quick question, when we’re talking about different tunings here, is the implication that 1: the fingering changes so the notes stay the same, or 2: the fingering doesn’t change so the notes do?
I feel like it’s probably 1, in which case, who cares since it sounds pretty much the same, but if it’s 2, doesn’t that kind of change the song?
It must be 1.
Tsugaru Jinku is very simple, so the technical aspect doesn’t matter. The different tunings definately have different feel to them because of resonance. Therefore there should always be one version that has more resonance than the other. Then it is up to the listener if they like the resonance or not I guess.
Yes. There is also often a moment where you strike all three open strings at once in Tsugaru Jinku (not always though, there are plenty of versions where people leave that out) but when it’s included there is Definately a difference as the chord created in Honchoushi is different than when in Ni Agari!
Yep Jamie, I was referring to the former. I think it playing in Ni-agari vs honchoushi definitely changes the sound and feeling, but not so much that most people listening would notice. I was more curious from the standpoint of tradition. When I was learning in Japan, there always seemed to be a “correct way” i.e. traditional way to go about things, and I was curious if there was a specific context in which the song is meant to be performed. I’ve also noticed that different Shamisen schools, tend to teach the standards with slightly different melodies and was wondering if tuning is similar.
Kevin actually gave about the best answer I could hope for! I love the fact that Tsugaru Shamisen is so open to interpretation. Coming from a Jazz background, I love the whole philosophy.
Thanks for chiming in guys! I’m so psyched that this community exists. Wish I’d found it earlier.
I play it in Honchoshi, because I love doing Oshi-Bachi (like many of AKITA min’yo songs)… although my sensei in Japan plays in Niagari (sounds much more like Tsugaru).
Thank you.