How to hit DON and KON (arm and hand coordination)
DON is the most important point in Wadaiko
Wadaiko begins with with DON and ends with DON.
All rhythm and techniques are linked from there.
It’s a very important point.
Adding the taiko mechanics in the initial stage, can help to power up the motive power to the highest and add the leverage function of the arm, producing the vibration “DON!!”
We are going to explain how to hit the DON this time.
Depending of the instructor, the way of thinking and policy may differ, so if you fell like the explanation in this article is different of your instructor, please follow him/her.
The “taiko uchi” is characterized by hitting it in the best way, with power, flexibility, posture, speed and techniques, after researches and more researches.
How can we produce the ideal DON sound?
When hitting by power only, even making a big sound, the taiko doesn’t vibrate properly.
In baseball, to make a home-run it’s necessary to get the picture to hit the ball just in the adequate time with the center of the bat.
It’s the same for the taiko.
In order to make a good vibration an important point is to get the picture to hit the taiko with the center of the bachi, in the accurate place, just in the adequate time.
After getting a good posture,
getting able to produce the highest kinetic energy with the minimum force in the bachi.
And the usage of the body for doing a full swing.
Let’s make the bachi trajectory steady even when the whole body is moving.
For that, is important to understand the target ideal sound and the center.
Without the goal, it’s very difficult to achieve the destination.
The goal is the “DON!!”
At the beginning let’s try to hit the parts of the taiko and understand how differently their sounds are.
Even for the face (kawa), the sound varies depending of the location.
The picture is colored in the face (kawa). (As a reference only)
That’s the crescent order from a small sound to the loudest one.
It’s also used as an expression or effect of something that is very far away is getting closer little by little.
It can be used as a special rendition like below
The trick for the DON is
avoid the orange and the white area
and put the red and deep red area in target.
The first goal is the 100% Home-run hit rate.
After being able to hit 10 times consecutively in the deep red area, it may be good to challenge to hit the other parts and expand the sound variety.
The center of the taiko Hit a specific area
After having your goal,
the next is the bachi trajectory.
going to Shinagawa Sta. in Tokyo
using the Yamanote Line
it doesn’t matter if you use the inner track or the outer track
It’ll arrive your destination.
That’s the same for arriving to the destination of the center of the taiko.
In order to get to the destination anytime you want,
it’s necessary that both bachi and arm are consistent
in the direction and the goal.
For example, for the goal to achieve a certain destination
there’s a driver, a conductor and a passenger
if all of them have a different goal, it’s very difficult to accomplish it.
The passenger wants to go to Shinagawa, but he ends up going to Tamachi, Tokyo, Shinjuku… or even far away like Tabata.
The role is like below.
The Japanese trains are very certain in the time
and they won’t delay unless there’s
a trouble caused by the passengers
and will arrive the destination with safety.
Here we are going to explain the positions of the elbow, arm and bachi, using the train as reference.
The direction should be consistent to the center of the taiko.
Direction of the elbow
A lot of people have their elbows going sideways,
so when they hit the taiko, the elbow is horizontal positioned to the face of taiko.
We need to correct it to the direction which it’s advancing forward.
Direction of the fist
How is the direction for the fist, after all?
We have now the goal and the route.
So next is the speed and the work.
How fast and productive can we achieve the goal?
And how much work can we produce?
I’ve said it previously here, but
in order to make a lot of work at once
is important to move the arm from the shoulder joint.
A train with six rolling stocks can carry the passengers with more productivity than a train with only one.
Using just the tip of the hand can’t produce so much power,
like hitting from the arm joint in the shoulder, which will make a big energy and work.
And the speed。
The thing with most important in the kinetic energy is the speed.
It’s just a simple calculation from the high school physics, but
when the speed get double, the kinetic energy doesn’t get the double, but the square.
In order to produce the speed effectively,
the key is in the flexibility movement in the bachi manipulation.
And the sound also varies from the mass of the object.
That’s why is important choosing wisely your bachi.
For the adequate movement we use the law of the lever and the law of inertia.
Verifying in a slow-motion video may be the fastest way for understanding the position, until both fists get gathered.
|Let’s try the left also
The opposite fist is the standard.
DON is the first step of learning the Wadaiko.
It’s a simple instrument that can make sound just by hitting it,
but in the beginning is very difficult to control the sound properly.
BUT when you get able to do the correct DON!!!
it’ll just brush away the bad things and the worries.
You’ll surely feel very good.
Please give it a try. 😉
Japanese drum teaching material series，to be continues.coming soon！！
NO19～23【Wadaiko Tateuchi】Edge Hit short
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