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Theshamisen (三味線), also known assangen (三絃) orsamisen(all meaning "three strings"), is a three-stringedtraditional Japanese musical instrument derived from the Chinese instrumentsanxian. It is played with aplectrum called abachi.
TheJapanese pronunciation is usuallyshamisen but sometimesjamisen when used as a suffix, according to regularsound change (e.g.tsugaru-jamisen). InWestern Japanese dialects and severalEdo period sources, it is both written and pronounced assamisen.
The construction of theshamisen varies in shape, depending on the genre in which it is used. The instrument used to accompanykabuki has a thin neck, facilitating the agile and virtuosic requirements of that genre. The one used to accompanypuppet plays andfolk songs has a longer and thicker neck instead, to match the more robust music of those genres.
Theshamisen is a plucked stringed instrument.[1] Its construction follows a model similar to that of aguitar or a banjo, with a neck and strings stretched across a resonating body. The neck of theshamisen isfretless and slimmer than that of a guitar or banjo. The body, called thedō (胴), resembles a drum, having a hollow body that is covered front and back with skin, in the manner of a banjo. The skin used depends on the genre of music and the skill of the player. Traditionally, skins were made using dog or cat skin, with cat skin favored for finer instruments;[2]: 257–258 though use of animal skins was common throughout the 20th century, use of these skins gradually fell out of favor, starting around the mid 2000s, due to social stigma and the decline of workers skilled in preparing these particular skins.[3] Contemporaryshamisen skins are often prepared with synthetic materials, such as plastic.[4]
Thesao (棹), or neck of theshamisen, is usually divided into three or four pieces that fit and lock together, with mostshamisen made to be easily disassembled. The neck of theshamisen is a singular rod that crosses the drum-like body of the instrument, partially protruding at the other side of the body and acting as an anchor for the strings. The pegs used to wind the strings are long, thin and hexagonal in shape; though they were traditionally fashioned out of ivory, due to scarcity and trading regulations regarding and constricting the sale of ivory, many are now constructed from other materials, such as wood and plastic.
The three strings of the shamisen are made of eithersilk (traditionally) ornylon. They are stretched between the pegs at the head of the instrument, and a cloth tailpiece anchored at the end of the rod which protrudes on the other side of the body. The strings are stretched across the body, raised from it by means of a bridge, orkoma (駒), which rests directly on the taut skin. The lowest string is purposefully laid lower at the nut of the instrument in order to create a buzz, a characteristictimbre known assawari (somewhat reminiscent of the "buzzing" of asitar, which is calledJivari). The upper side of thedō (when on the player's lap) is almost always protected by a cover known as adō kake, and players often wear a little band of cloth on their left hand to facilitate sliding up and down the neck, known as ayubikake. The head of the instrument known as atenjin may also be protected by a cover. The material of the strings will depend on the skill of the player. Traditionally, silk strings are used. However, silk breaks easily over a short time, so this is reserved for professional performances. Students often use nylon or 'tetron' strings, which last longer than silk, and are also less expensive.
The construction of theshamisen varies in shape and size, depending on the genre in which it is used. Thebachi used will also be different according to genre, if it is used at all.Shamisen are classified according to size and genre. There are three basic sizes:hosozao,chuzao andfutozao. Examples ofshamisen genres includenagauta,jiuta,min'yo,kouta,hauta,shinnai,tokiwazu,kiyomoto,gidayu andtsugaru.
Shamisen used for traditional genres of Japanese music, such asjiuta,kouta, andnagauta, adhere to very strict standards. Purists of these genres demand that theshamisen be made of the correct wood, the correct skin, and are played with the correctbachi, with little room for variation. Thetsugaru-jamisen, on the other hand, has lent itself to modern use, and is used in modern genres such as jazz and rock. As a more open instrument, variations of it exist for show. The tuning pegs, which are usually fashioned out ofivory, andbachi which are fashioned from a combination of ivory and tortoise-shell for example, are sometimes made ofacrylic material to give theshamisen a more modern, flashy look. Recently,avant-garde inventors have developed atsugaru-jamisen with electric pickups to be used with amplifiers, like the electric guitar.[5]
Thehosozao (細棹, literally "thin neck"), as its Japanese name implies, is the smallest kind ofshamisen. The body is small and particularly square-shaped, with a particularly thin neck, which tapers away from the strings just as it approaches the body. Generally, thehosozao is used innagauta, the shorter and thinner neck facilitating the agile and virtuosic requirements ofkabuki.Hosozao shamisen built especially fornagauta ensembles are often simply known asnagauta shamisen. Thehosozao is also often used inkouta, where it is plucked with the fingernails.
Thechuzao (中棹, literally "middle neck") is a size up from thehosozao. As its name implies, the neck is slightly thicker. As the neck approaches the body of the instrument, the distance between the strings and the fingerboard is maintained, unlike thehosozao, where it tapers off. The fingerboard ends abruptly, and the rest of the neck curves sharply into the body of the instrument. The pronounced curve that occurs just before the neck meets the body is calledhatomune (鳩胸, literally "pigeon's breast"). The result is an extended fingerboard that gives thechuzao a higher register than thehosozao. Thechuzao is favored forjiuta-style playing, with a broader, more mellow timbre. It is also an "all-round" instrument that can be used across many genres.
Thefutozao (太棹, literally "fat neck")shamisen is used in the robust music ofgidayubushi (the music ofbunraku),jōruri min'yo, andtsugaru-jamisen. In these genres, a thicker neck facilitates the greater force used in playing the music of these styles. Thefutozao oftsugaru-jamisen is quite a recent innovation, and is purposefully constructed in a much larger size than traditional styleshamisen, and its neck is much longer and thicker than the traditionalnagauta orjiuta shamisen.
Theheike shamisen (平家) is ashamisen particularly fashioned for the performance of the songHeike Ondo, a folk tune originating fromShimonoseki,Yamaguchi Prefecture. The neck of theheike shamisen is about half the length of mostshamisen, giving the instrument the high range needed to playHeike Ondo. The use of more typicalshamisen is possible, but they must be properly adjusted with acapo device to raise their pitch to make them suitable for use. Today the strings are made out of steel to make a better sound and thedrum heads are made out of plastic to avoid breakage in a performance.
Thebachi (撥), the plectrum used to play theshamisen, also differ in size, shape, and material from genre to genre.
Thebachi used fornagauta shamisen can be made out of three possible materials: wood, plastic, or ivory. While manynagauta teachers generally do not approve of the use of plastic, if ivory is unattainable and wood is still out of price range, plastic is considered acceptable for use.
Jiuta bachi are made entirely out of plastic or ivory, plastic and tortoiseshell (bekko), or ivory and tortoiseshell.Jiuta bachi are the easiest to identify as they are the longest, the widest, and also have a deep indentation where the tortoiseshell meets the handle. There are sometimes alsojiuta bachi that are made with a buffalo horn handle. The material, however, makes no difference in the sound.
Thegidayu shamisen style uses the heaviest and thickestbachi, though thenagauta bachi is wider.
Thebachi used fortsugaru-jamisen is the smallest, and is almost always tipped with tortoiseshell.
Thekoma (駒), or bridge, can be fashioned out of aged bamboo, ivory, ox-bone (shari), rosewood, buffalo horn,kōki wood, any combination of the above, or plastic for the student level.Koma come in many heights. The higher thekoma, the louder the sound will be, and the harder it is to control a rapidsukui. Higherkoma are not considered suitable for beginners.
Thekoma used fornagauta use a height between 3.2 and 3.6.Koma fornagauta are fashioned out of only three materials: ivory, bone, and plastic. Ivory is the most expensive and produces the most desirable sound and amplification, but due to its high price tag is normally only used in performances. Ox-bone orshari is the most popularkoma material for practice and with students who are performing. Because of ivory's volume and vibration, it is normally used by a teacher ortate-jamisen (leadshamisen), so that the other players can follow their tone and signals. Plastickoma are increasingly harder in the modern day, as the material is considered to produce an undesirable sound when compared toshari koma.Shari is not much more expensive than plastic, and most teachers openly express their displeasure with plastickoma and requireshari.
Thekoma used forjiuta vary between 2.6 and 2.8, though other heights can be specially ordered.Koma forjiuta are made out of a few select materials, such as yellow or black water buffalo horn (suigyu), which are the standard forjiuta. Blackwater buffalo horn does not have a significant sound difference when cut in thejiuta koma style, and is far less popular. Yellowsuigyu is the most widely used forjiuta-styleshamisen, both in practice and performance. Plastic is available because of the higher price tag ofsuigyu. Many people believe that forjiuta, there is not a great sound difference between the two, but there is a high change in vibration. Plastic makes a deader sound, which is not the most favorable forjiuta.Shari is used from time to time in practice, but never forjiuta performances.
Koma used for bothtsugaru andmin'yo shamisen are typically 2.6 in height, though sometimes 2.7 or 2.8.Tsugaru koma are very easily identifiable due to their unique structure and use of two different materials.Tsugaru koma are very thin in width, and are not very high. The base is usually made of either bamboo, smoked bamboo, or a wood of some kind, while the top half in which the strings pass through can be made of ivory, bone, or tortoiseshell. Because of the thickness of both the strings and neck of thefutozao shamisen, thetsugaru bridge in general tends to be longer than the others. Both thegidayu koma (the highestkoma made, fashioned out of black buffalo horn) and thekiyomoto koma (which resembles thenagauta koma exactly, save for its width) are sometimes confused with thetsugaru koma.
In most genres, theshamisen strings are plucked with abachi. The sound of ashamisen is similar in some respects to that of the Americanbanjo, in that the drum-likedō, amplifies the sound of the strings. As in theclawhammer style of American banjo playing, thebachi is often used to strike both string and skin, creating a highly percussive sound. When playingkouta (小唄, literally "little song") on theshamisen, and occasionally in other genres, theshamisen is plucked with the fingers. Sometimes, theshamisen is bowed with a violin bow, similar to thekokyū, a similar instrument.
Theshamisen is played and tuned according to genre, with the nomenclature of the nodes in anoctave also varying according to genre. A number ofshamisen styles exist across Japan, and tunings, tonality and notation vary to some degree. Three of the most commonly recognized tunings across all genres arehonchoushi (本調子),niagari (二上がり), andsansagari (三下がり).
Honchoushi means "home tuning" or "base tuning", and is called so because other tunings are considered to derive from it. Forhonchoushi, the first and third strings are tuned an octave apart, while the middle string is tuned to the equivalent of a fourth, in Western terms, from the 1st string. The most commonly used tuning is C-F-C. An example of a song that uses this tuning isAkita Nikata Bushi.
Niagari means "raised two" or "raised second", referring to the fact that the pitch of the second string is raised (fromhonchoushi), increasing the interval of the first and second strings to a fifth (conversely decreasing the interval between the second and third strings to a fourth). The most commonly used tuning is C-G-C. An example of a song that uses this tuning isTsugaru Jongara Bushi.
Sansagari means "lowered three" or "lowered third", referring to tuning theshamisen tohonchoushi and lowering the 3rd string (the string with the highest pitch) down a whole step, so that the instrument is tuned in fourths, e.g. C-F-B♭. An example of a song in this tuning isTsugaru Sansagari.
Instead of having a set tuning, such as on a guitar (i.e. E, A, D, G, B, E) or a violin (i.e. G, D, A, E), theshamisen is tuned according to the register of the singer, or simply to the liking of the player. Theshamisen player can tune theshamisen to whatever register desired, so long as the above conventions are followed.
Music for theshamisen can be written in Western music notation, but is more often written intablature notation. While tunings might be similar across genres, the way in which the nodes on the neck of the instrument (calledtsubo (壷) in Japanese) are named is not. As a consequence, tablature for each genre is written differently. For example, in themin'yo shamisen style, nodes on theshamisen are labeled from 0, the open string called "0". However, in thejiuta shamisen style, nodes are subdivided and named by octave, with "1" being the open string and first note in an octave, starting over at the next octave. The nodes are also labeled differently fortsugaru-styleshamisen. To add to the confusion, sometimes nodes can be "sharped", and since the names of nodes and their positions are different for each genre, these will also vary. Consequently, students of one genre ofshamisen will find it difficult to read tablature from other genres ofshamisen, unless they are specially trained to read these kinds of tablatures.
Tablature can be written in traditional Japanese vertical right-to-left notation, or it can be written in Western style horizontal left-to-right notation, which resembles modern guitar tablature. In traditional vertical notation, Chinese characters and older symbols for dynamics are used, however notation from Western style music notation, such as Italian names for dynamics,time signature and thefermata have been imported. What tuning a work calls for is usually indicated on the tablature.
The Japaneseshamisen originated from the Chinesesanxian (Chinese:三弦).[6][7][8][9] Thesanxian was introduced through theRyūkyū Kingdom (Okinawa) in the 16th century, where it developed into the Okinawansanshin (三線), from which theshamisen ultimately derives.[6][7][8][9][10] It is believed that the ancestor of theshamisen was introduced in the 16th century through the port city ofSakai, nearOsaka.[8]
Theshamisen can be played solo or with othershamisen, in ensembles with other Japanese instruments, with singing such asnagauta, or as an accompaniment to drama, notablykabuki andbunraku. Both men and women traditionally played theshamisen.
The most famous and perhaps most demanding of the narrative styles isgidayū, named afterTakemoto Gidayū (1651–1714), who was heavily involved in thebunraku puppet-theater tradition inOsaka. Thegidayū shamisen and its plectrum are the largest of theshamisen family, and the singer-narrator is required to speak the roles of the play, as well as to sing all the commentaries on the action. The singer-narrator role is often so vocally taxing that the performers are changed halfway through a scene. There is little notated in the books (maruhon) of the tradition except the words and the names of certain appropriate genericshamisen responses. Theshamisen player must know the entire work perfectly in order to respond effectively to the interpretations of the text by the singer-narrator. From the 19th century, female performers known asonna-jōruri oronna gidayū also carried on this concert tradition.
In the early part of the 20th century, blind musicians, includingShirakawa Gunpachirō (1909–1962),Takahashi Chikuzan (1910–1998), and sighted players such asKida Rinshōei (1911–1979), evolved a new style of playing, based on traditional folk songs (min'yō) but involving muchimprovisation and flashy fingerwork. This style – now known astsugaru-jamisen, after the home region of this style in the north ofHonshū – continues to be relatively popular in Japan. The virtuosictsugaru-jamisen style is sometimes compared tobluegrassbanjo.
kouta (小唄) is a style ofshamisen historically developed by and mostly performed bygeisha andmaiko. Its name literally means "little song", which contrasts with the musical genre ofnagauta found inbunraku and kabuki; though bothmaiko and geisha training to play theshamisen will also learnnaguata and will occasionally performnagauta at banquets, the vast majority of musical performances seen at the parties and events they attend arekouta.
Jiuta (地唄, literally "regional song") is a more classical style ofshamisen music.
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