SHAMISEN

Shamisen is categorized into the "Lute-family" instrument, has long neck, three
strings, and no frets. The neck is connected into the body, which covered with
stretched skin of dogs or cats. We can play it with a large plectrum.
Pro Musica Nipponia
3-17-1-#B1, Sasazuka, In Japan, there are many varieties of shamisen. Each type of Shamisen has the
Shibuya-ku, Tokyo, Japan
Zip:151-0073
different size of neck and body. In this section, we will explain about "Hosozao
TEL 03-3378-4741 Shamisen (a thin neck Shamisen)" and "Hutozao Shamisen (a thick neck
FAX 03-3376-2033
office@promusica.or.jp samisen)", which ordinarily used in ensemble of us; Pro Musica Nipponia.

[Tuning and the range of tone]

Each strings of Shamisen called "I (one)"-"II (two)"-"III (three)" from the string
of lower tone. We don't tune it in absolute pitch. In the case of "Hosozao
Shamisen", the "I" string is tuned from H to D (When the tension of string is
loosed, it can sound smaller volume tone. Oppositely, when strongly tightened,
it may snap.) Otherwise, In the case of "Hutozao Shamisen", the "I" string is
tuned from G to A. (It is common that the tuning tones of Shamisen are noted in
staff with "8" under G-Clef)
Hosozao Shamisen Hutozao Shamisen

The range of tone is about as follows;

Hosozao Shamisen Hutozao Shamisen

When we play traditional Japanese music, we ordinarily use the tuning styles
named "Hon-cyoshi", "Ni-agari", and "San-sagari". In these styles, as every
string is tuned to harmonic overtone, they harmonizes each other in natural.
When we play modern music, we seldom use the tuning style with Augment 4th.
Though we can change the tuning of shamisen in the middle of music, it takes a
few minutes to make the tone steady.
[Playing Techniques]
1. Left-Hands Techniques
(1) Hajiki Filliping with left-hand's fingers, without a plectrum
(2) Suri, Koki Moving the left-hand's finger, in order to change the remains of
tone.
(3) Uchi Tapping on the string with left-hand's fingers.
(4)Ura-hajiki Filliping the string with left-hand's three fingers.

2. Right-Hands Techniques
(1)(Ordinary performing)
Striking a string downward with a plectrum.
(2)Sukui
Picking a string up from the surface of body with a plectrum. (We can play a
sound like tremolo, when we repeat quickly striking it down and picking up. But
it's not easy to play)
(3)Pizzicato
Flipping a string with a right-hand finger without a plectrum. (It's noted as
"pizz.")
(4)Kokashi
Sliding a plectrum on strings quickly.

3. Both-Hands Techniques
(1) Sukui + Hajiki
Striking a string downward with a plectrum, then picking it up, and then flipping
it with a left-hand finger. We often use this technique for fast passage.
(2) Kokashi + Hajiki
Striking two strings downward with a plectrum, then flipping one with a left-
hand finger. After that we can pick it up.
(3) Kakebachi
Flipping a string with a left-hand finger, while muting its sound by pressing a
plectrum on the string.
 4. Other notes about Shamisen
(1) Sawari
"Sawari" is a noisy sound we can hear when we play "I" in open string. If we tune
the "II" or "III" string to harmonic overtone of "I" string, it sounds when we play
"II", "III" in open string.

(2) Difficulty of Jumping tone

Shamisen has no fret and very long neck, it's difficult for us to move the finger
very wide position. When we play a fast passage, open strings are very useful.

(3) Performing multi-tones

It's difficult to use two or more positions on Shamisen's strings. Otherwise, it's
easy to play multi tones with open strings.
(We can sound double-stop, only in slow tempo, and using neat position on the
neck.)

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