Taiko Tapas

If you are a group leader, you could look on these “taiko tapas” as starter activities – something fresh, new, quick, easy, and a good way to begin a session before moving on to repertoire rehearsal.

What you will NOT find in these “taiko tapas” is detailed technical training, nor will you find training on specific kata. Different groups use differing taiko technique and have different styles. It’s up to you to bring your way of playing taiko to these “tapas”. Think about them as IDEAS, open to you to do what you like with them.

One piece of advice I will offer is that you should think of these “taiko tapas” as opportunities for learning, not simply routines to be studied and played. In each of them, there’s something deeper than simply hitting a drum, such as development of self-confidence, working on personal relationships, and more.

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Do let me know how you get on with these “taiko tapas”. You can email me using my initials: jk, @kagemusha.com
 
These videos can also be seen as a follow-up to “Taiko for Schools Volume 1”.
 
 
“Taiko Tapas” are offered completely free of charge. If you enjoy them and find them useful, please consider making a donation. While not necessary, a donation would be encouraging, and gratefully received. Thank you.

(3 mins 48secs)
 
This is about “scattering” the beat around the room.

To do this, you’ll need 6 individuals, pairs, or small groups, spread around the room, in a circle. For best results, it’s helpful for the players in each of the groups to have drums that sound similar: 1 group with deep drums, 1 group with high-pitched drums etc. This adds to the effect, but if all available drums sound similar, that’s not a problem.

Creativity, taking responsibility, listening, concentrating and being reliable – these are all things that are practised as part of this exercise.

(4 mins)
 
 
How often do members of your group or class actually look each other in the eye? It’s a really important way of connecting with each other, but most of us don’t seem to spend a lot of time doing it in our day-to-day lives.

Happily, some taiko drills can present us with the opportunity to do exactly this. This simple routine is one of them.

(3 mins 37secs)
 
Semaphore is one of a series of drills, created by Oliver Kirby, which collectively are called “Taikorobics”.

As its name suggests, this drill involves a set of precise arm movements, though with sticks in hand rather than flags.

(6 mins)
This routine does involve players in moving around their drum, first anti-clockwise and then back in the other direction, but it also involves other elements:

Besides basic “big beats” there’s a pattern played in a sweeping motion to a count of 3, sitting on top of a Don DoKo base rhythm. Some players will find this challenging, but can be helped if those playing the base rhythm play all their beats at the same volume, and with conviction.

Once the routine has been learned by players individually, they can team up and play two to a drum. If they are then rotated, it’s a great way for them all to connect with each other in turn.

(6 mins 47secs)
 
Arranged in four columns of nagados, players can learn this excerpt from Tearaway which provides good practice in stick control and playing with a relaxed vibe.

(7 mins)
 
This is about playing your individual part within an ensemble, focussing on that, and then hearing how your part and everyone else’s together create a group pattern.

It’s about listening to the music and is contemplative rather than energetic.

(4 mins)
 
This is a very short excerpt from a composition called Island Hopping, performed by Kagemusha Taiko Group.

One player calls the rest of the group, who respond. Players take it in turns to call.

(7 mins)
 
This is a very brief excerpt from a composition called “Tilting at Windmills”, which is often performed by Tano Taiko.

A minimum of two players are required, one for each of the two parts involved. They’ll need a nagado each, on a downstand. Two is the minimum number – it’s better with a lot more!

Requiring loose shoulders and loosely-held sticks, there are some choreographed moves as part of the “melody”. The base rhythm is vastly improved with some shouts…

(3 mins 41secs)

 
Learn a simple DonGo-based melody pattern.

Then team up with a fellow group member: one of you then plays the right-hand part of the pattern, while the other plays the left.

(7 mins 28secs)
This can be used as a warm-up routine at the start of a taiko session. It’s definitely something to DO rather than something to watch.

A circle of nagado drums is required, and given that the players will move between them, it’s a good idea to have a minimum of 10 drums. This will produce a circle that’s big enough for the group to stand inside as well as outside.

The Japanese Jig can become quite energetic. But a “scaffolding” approach to teaching means that people will be able to continue to join in as part of the group, even if they are unable immediately to access the more demanding moves.

(5 mins 28secs)
 
Sometimes, it’s great simply to play together as a group, and to let the groove work its magic on everyone. This means playing something that isn’t too challenging, that can be relaxed and enjoyable, and probably be in contrast with the kind of repertoire intended for an audience. This is more about enjoyment for the players.

(8 mins 16secs)
 
There is no final, finished, polished product to aim for here, it’s all about the journey, not the destination. Of course, the philosopher teacher will say that learning taiko is always about the journey, because there is always more to be learned, whether it’s the technical aspects of taiko or, more importantly, about yourself.

Three different types of drums are needed for this: okedos (on Eitetsu stands), shime and nagados. There are different parts for the different drums. These can be learned and practised separately before being mixed together.

(7 mins 37secs)
Apparition involves a call and response sequence played by a minimum of two pairs of players. It works well for larger numbers – preferably an even number.

Players start by standing facing each other, between a pair of nagados on downstands. One pair calls, the other pair responds. There’s a count of 3, which can be tricky for people who are used to having 4 beats in the bar. In order to avoid confusion, it’s important to teach this piece slowly.

It’s a lovely routine that was taught by Rita Superbi at 1st Italian Taiko Conference, so we always say “grazie” to Rita whenever we play this.

(3 mins 37secs)

Playing without fear can be a real challenge when performing, whether in public or even in rehearsal if a player is worried that their teacher / group leader is going to give them a hard time if a mistake is made. Top tip for teachers: fear-based learning is not usually as effective as learning that happens in a friendly and supportive environment!

If there’s too much tension around, it can sometimes help to play something really simple, with lots of energy and smiles, as a way of remembering what it feels like to play without fear. Something like this little routine…

(5 mins 26secs)
Amuse-Bouche features 2 parts, so a minimum of 2 players is required, up to a maximum of maybe 20. Ideally all players should have nagados on downstands / flatstands.

Video features choice of basic choreography, the base rhythm taught step-by-step, followed by the principal motif.

Focus on doing simple things well, attention to detail with arm movement, and staying loose while playing.

This routine is not physically demanding. The base rhythm may present challenges for beginners.

(6 mins 32secs)
This drill presents the benefit of variety. Once your group/class has grasped the fundamentals of each of the four parts, they can be divided into four groups who will play all of the parts simultaneously – and then rotate the roles. This means that nobody needs to play any individual part for a long period of time.

The first part involves moving round the drum and playing a simple rhythm pattern. The second part is a pulse, which entails concentration and accuracy, while also providing a moment to observe the other parts. The third part is Don KaRa, played hand-to-hand, while the fourth is a simple odaiko-style pattern.

(9 mins 30secs)
This is a light-hearted routine in which players can express themselves – while having a conversation.

An improvised (but structured) call & response sequence played by 2 people, while the rest of the group/class played an extended base rhythm in support. Pairs of players take turns to do this.

The process involves learning the base rhythm, practising the count for the call & response (which can be played with simple, straight, big beats) and then putting the two together. That’s really where it begins, as people then start to discover how far they can go with the exchange.

(4 mins 24secs)
There are two parts to this. Initially, it may be best for the teacher/leader to play one of them, but eventually the class/group will need to be divided into two halves. Any drums can be used.

The first part is a rhythm pattern used in Kabuki theatre. It provides an opportunity to practise some taiko fundamentals – mixing accented beats with quiet beats and keeping all those quiet beats genuinely quiet.

(4 mins)
As the name suggests, this is a moderately vigorous routine. It’s intended as a bit of a warm-up, or a physical conditioning exercise, depending on how it’s played, and for how long.

There are three parts to this Power Drill, which are rotated around a group of people divided into 3 sections. Nagados on downstands are recommended, as one of the parts involves playing “ka” on the rim of the drum.

(4 mins)

Cerebral rather than physical, this is a set of 3 patterns that nonetheless include a bit of choregraphed arm movement in the first one.

Part 2 includes an opportunity to practise the basics of avoiding “pre-shocks” and “after-shocks”, when including accented beats in a softly-played sequence.

The third part is a gentle base rhythm, the first beat of which is a rest – which is partly why I describe Pastime as somewhat cerebral.