About the Satsumabiwa
The master player of the 20th Century, Yoshinori Fumon
About Ranjo (Thomas Charles Marshall)
Contact information for Ranjo (Thomas Charles Marshall)
Links
Japanese page “ú–{Œê

Satsumabiwa 4 - - Posture and holding the instrument

Posture

While the biwa is sometimes played seated on a chair, it is normal to sit (in effect kneel) "seiza" or formal style. The instrument would not normally be played whilst standing.

Holding the instrument

I was taught to hold the instrument at between a thirty and fifty degree angle to the perpendicular. There are many satsumabiwa players today who hold it at less than twenty-five degrees to the perpendicular.

The instrument is placed on ones lap resting between the legs. It is normal to keep ones knees together, although this is not a rule so much as a practice.

 

Holding the plectrum

The plectrum or "bachi" is made of boxwood and is considerably larger than any other plectrum used in Japanese music. One of the reasons given for this is that it was used as a weapon by the satsuma (present-day Kagoshima) samurai if they happened to be attacked when playing the instrument. They would throw the instrument as a shuriken dart, giving themselves the time to draw their sword and swing into the fray. Nowadays, of course, no-one would ever have reason to use it in such a fashion.

So why is such a big, awkward looking, plectrum still used? In fact, the heavy plectrum facilitates playing the fast tremolo-like passages known as "kuzure". A heavier plectrum also makes a better sound when used to strike the body of the instrument.

Here are a few out of the many techniques used in playing the biwa:

"Uchi-bachi" or 'striking plectrum' ....... The string is played from above and strikes the body of the instrument in the same movement.

"Harai-bachi" or 'brushing off plectrum' .......The string is played as above, without striking the body of the instrument.

"Sukui-bachi" or 'scooping-up plectrum' .......The string is played from below.

"Shigete" .......The plectrum is used to play fast tremolo-like passages

The plectrum is held as in the following photographs . Please note how the little finger is used. In modern biwa, the little finger clasps the bottom of the plectrum. It is also important to create as large a space as possible between the palm of the hand and the plectrum.
 

The left hand and pitch production
The manner is which the left hand is used in Satsumabiwa music marks this instrument out as very unique in the musical world.
Pitch control is the most difficult aspect of biwa after learning how to control rhythm. What surprises most people when they first play the biwa is how loose the strings are. This is to allow the player to press on the strings between the frets. According to the amout of pressure applied the pitch will change. This manner of changing pitch can be found in many musical instruments including the guitar. In the case of the Japanese zither, the koto, pressure altering the pitch up to a minor third is applied. This demands great control and physical effort (the strings are often made of nylon). But in the case of the Satsumabiwa (the orthodox tradition and Kinshin-ryuu school - not the modern Tsuruta school) pressure altering the pitch of the string up to an octave is applied at just one fret, or as I will explain below at one position or dan. However, first of all, I would like to introduce the different positions that are used.

The lowest position is called gedan. Pressure is applied to the string between the bottom fret and the third fret. Please see photograph below.

The next position is known as the chuudan. Pressure is applied to the string between the second and third frets with the index finger, and the third and fourth frets with the ring finger.

Following this we have the joodan. Pressure is applied between the first and second frets with the index fingers and the second and third frets with the ring finger.

The last position is known as the taikan. Pressure is applied to the String between the toriguchi (piece of ivory at the top of the instrument ) and the first fret.

What makes this instrument so interesting and difficult is that during a piece (or kanso literally interlude - the biwa is played not as an accompaniment to the voice but rather in an interlude-like fashion throughout the recitation.. So in effect about ten different kanso/interludes/pieces are used in one recitation.), there is no movement up or down the neck of the instrument, as say in guitar playing where, on the whole, one note is played where each fret intersects a string. If this manner of playing were used with the Satsumabiwa, it would make for a very limited tessitura. In satsumabiwa, the player stays at one position during a piece/interlude, and by changing the pressure applied to the string at this one position gets a pitch range of over an octave in each position. The player has a different tessitura at each position and thus with just four frets can play any pitch within a two and a half octave range.

The player can also achieve portamento like effects and glissandi by changing the pressure applied to the string after it has been sounded with the plectrum.