The unrelated word Taikō (太閤) is a title given to a retired Sessho and Kampaku regent in Japan. In a narrow sense, taikō would refer to Toyotomi Hideyoshi, a more common usage.
Taiko drummers in Aichi, Japan
The word taiko (太") means simply "great drum" in Japanese. Outside Japan, the word is often used to refer to any of the various Japanese drums ('太", 'wa-daiko', "Japanese drum", in Japanese) and to the relatively recent art-form of ensemble taiko drumming (sometimes called more specifically, "kumi-daiko" (組太").
The nagado-daiko (長胴太", long-body taiko) consists of two pieces of cow hide stretched over a wooden body (traditionally carved from a single piece, now often made from the stays of a barrel) and tacked to high tension. The heads of the tsukeshime-daiko (付締め太", often shortened to simply, "shime-daiko" or "shime") are stretched over iron rings and sandwiched around a smaller body. The tsukeshime-daiko's rope is pulled tight before each use. The okedo-daiko (桶胴太", barrel-body taiko, often shortened to "okedo" or "oke") can be set on a stand and played like other taiko, but is usually strapped over the shoulder so the drummer can walk and play at the same time. Other Japanese taiko include the uchiwa-daiko (内輪太"、fan taiko), hira-daiko (平太", flat taiko), o-daiko (大太", big taiko), and a host of percussion instruments used in Japan's traditional noh, gagaku, and kabuki ensembles.
Giant Taiko drum, with a length of 240cm, a maximum diameter of 240cm, and a weight of 3 tons. Made out of a single piece of wood of a 1200 year old tree
The okedo-daiko drums range from small and easy to carry, up to the largest drum of all Japanese drums. Unlike the nagado, this drum can be made in many sizes but NOT in any size due to its stave wooden construction.
The Aomori region is famous for the Nebuta festival where huge okedo are played by many people while carted through the streets. The Okedo has its own betta stand which was invented by Hayashi Eitetsu.
Again, like the nagado-daiko, the okedo has a rim sound, called "ka." When playing the rim of an okedo, however, it is important to only hit the outermost metal ring and not the actual rim of the drum body. The thin, light wood of the okedo is particularly susceptible to denting and will quickly deteriorate if hit.
In feudal Japan, taiko were often used to motivate troops, to help set a marching pace, and to call out orders or announcements. Approaching or entering a battle, the taiko yaku (drummer) was responsible for setting the marching pace, usually with six paces per beat of the drum (beat-2-3-4-5-6, beat-2-3-4-5-6).
According to one of the historical chronicles (the Gunji Yoshu), nine sets of five beats would summon an ally to battle, while nine sets of three beats, sped up three or four times is the call to advance and pursue an enemy.
Bachi : the wooden sticks used to play taiko drums. (See separate entry for additional details.)Ji : also called Jiuchi, it is a basic rhythm used to support the main rhythm, or the O-uchi. It can also be described as the meter or feel of a piece (being in a straight duple meter or having a swing feel). Some of the more common rhythms for ji are don doko, don ko, or dongo (swing pattern). A Jikata is a performer who plays the ji rhythm.; Ma : a Japanese term for "space", it is used in music to describe a period of silence. In taiko drumming, ma is the period between hits on the drum. It is important to appreciate this silence when playing taiko, just as you would appreciate the sound of a hit on the drum. Since ensemble taiko is focused on rhythm, the ma of a piece is critical to adding drama, excitement, and tension. Ma can be a rhythmic rest, or an extended silence, to be broken at the player's discretion. If the player concentrates on hearing the ma between each hit, in addition to the hits themselves, he or she will create a much more effective and satisfying sound. A good example of how ma is used is in oroshi.Oroshi : is characterized by a series of hits on the taiko. The player starts out slowly with lots of ma. Gradually the ma (time) between each hit becomes shorter and shorter, until the drummer is playing a rapid roll of hits.
