GLOSSARY

撥 | ばち

胴 | どう

胴ゴム | どうゴム

胴掛け | どうかけ

蝦尾 | えびお

Parts | The rounded shape of the endpiece on the tenjin (head) of the shamisen. Translates literally to “shrimp tail”.

円さわり | えんさわり

Parts | Round variation of the azuma sawari. The movable block is round instead of rectangular. Installation is easier and therefore cheaper than the square azuma sawari.

ふじゃく | 譜尺

Accessory | A strip-shaped marker used to indicate positions (tsubo) along the shamisen neck, usually numbered from 1 to 18. Note that these markers are often not precisely accurate. For more details on marking positions, see the full explanation – including a video demonstration.

太棹 | ふとざお

Style | Shamisen with a wide neck. Gidayū and Tsugaru Shamisen are classified in this category. Not only is the neck broader on these instruments, but the body is also slightly larger with thicker walls, and the tuning pegs are sturdier, providing visual balance.

義太夫 | ぎだゆう

Genre | Narrative performance style accompanied by shamisen. Originating in bunraku puppet theater, it features dramatic storytelling with expressive shamisen playing and vocal recitation.

銀ほぞ | ぎんほぞ

Parts | Refinement of the neck joint in which the mortise (hole) of the connection is lined with a softer metal such as aluminum or a silver-colored alloy. This reinforcement provides high stability, precise fitting, and durability, as the heavily stressed contact surface is less prone to wear. The more refined variant of this construction is the kin-hozo.

弦 | げん

Accessory | Alternative term for shamisen strings, mainly used in the jiuta tradition. The more common term is Ito.

五大民謡 | ごだいみんよう

Genre | Literally “The Five Great Folk Songs” — a group of celebrated Minyō songs from the Tsugaru region that form the core of virtuoso Tsugaru Shamisen repertoire: Tsugaru Jongara Bushi, Tsugaru Aiya Bushi, Tsugaru Sansagari, Tsugaru Yosare Bushi, and Tsugaru Ohara Bushi.

ごったん

Style | Kyūshū-style variation of shamisen with a wooden body instead of a skin-covered dō, producing a softer, mellower tone, traditionally used in regional folk music. Is played with bare fingers instead of using a pick.

弾き | はじき

Technique | Playing technique in which a note is produced by plucking (pull-off) with the sao hand while the bachi rests during the motion. Indicated in bunkafu notation with the Katakana-sign for “ha” [ ハ ] underneath the desired pitch position.

袴腰 | はかまごし

Parts | Oblique elements at the head (tenjin) located at the top and bottom ends of the pegbox (itogura).

半ほぞ | はんほぞ

Parts | Simplest form of neck joint, where a pin on one part fits into a hollow in the counterpart, without additional guiding grooves. Less stable than the grooved variants, it is often found on inexpensive and older instruments. The more elaborate groove-based types are ippon mizo, nihon mizo, and danchigai mizo.

鳩胸 | はとむね

端唄 | はうた

Genre | Urban shamisen song style of the Edo period. Often playful, witty, or sensual, with compact lyrical form. Considered a predecessor to kouta, but generally broader and less refined in style.

端唄 | はうた

Parts | Uniform groove neck joint. One or more straight grooves cut into the neck segment(s) to guide the mating part of the neck. Provides better alignment and stability than a simple pin-and-hole (han-hozo), but without the stepped offsets of danchigai mizo. Common in mid- to higher-quality instruments.

膝ゴム | ひざごむ

Accessory | Rubber pad placed on the knee for playing stability. The dō rests on it to provide better grip and support while playing.

本調子 | ほんちょうし

Theory | Traditional standard shamisen tuning, usually C3–F3–C4. Serves as the reference tuning from which the other two traditional shamisen tunings niagari (raised second string) and sansagari (lowered third string) are derived.

細棹 | ほそざお

Style | Shamisen with a narrow neck. Typically used in nagauta, kouta, and hauta styles. Matching their slender necks, these instruments have smaller bodies, and more delicate tuning pegs than the other build types chūzao and futozao.

一の糸 | いちのいと

一本溝 | いっぽんみぞ

Parts | Specification of the neck joint featuring a straight groove for alignment. More stable than the han-hozo type but less precise and durable than the double-groove (nihon mizo) or stepped-groove (danchigai mizo) joints.

糸 | いと

Accessory | General term for shamisen strings. The individual strings are numbered: first string (ichi no ito), second string (ni no ito), and third string (san no ito). All three strings have different thicknesses and are tuned to different pitches. An alternative reading that is especially common in Jiuta contexts, is “Gen”.

糸倉 | いとぐら

Parts | Pegbox. The part of the head (tenjin) that holds the tuning pegs and wound up strings.

糸巻き | いとまき

糸道 | いとみち

Theory | Small notch in the index fingernail used to stabilize the hand when shifting on the skinny string (san no ito).

地唄 | じうた

Genre | Literally translates to “songs of the country”); a highly sophisticated genre of Japanese chamber music that emerged in 18th-century Kyoto and Osaka, representing the pinnacle of shamisen artistic expression. Unlike other shamisen styles that serve as vocal accompaniment or theatrical music, jiuta developed as refined instrumental music, often in ensemble (sankyoku) with koto and shakuhachi. Characterized by complex ornamentation, classical structural forms, and integration of classical Japanese poetry, jiuta was cultivated in the cultural salons of wealthy merchants and aristocrats, developing regional variations between Kyoto’s courtly refinement and Osaka’s more dramatic style.

地唄 | じうた

Genre | The term originates from “Jōruri-hime monogatari,” a 15th-century tale that was one of the first to be sung to shamisen accompaniment. Over time, it evolved into a general term for narrative vocal music. By the Edo period, jōruri split into several stylistic schools, including Gidayū-bushi (for Bunraku theater), Tokiwazu, Kiyomoto, and Shinnai. Each style differs in vocal technique, shamisen timbre, and dramatic focus, but all share the principle of expressive narration intertwined with instrumental commentary.

地唄 | じうた

Parts | Rectangular opening in the center of the short side of the dō (body), through which the nakago (spike-part of the neck) is inserted.

かまし

Technique | Kamashi is a hallmark technique of Tsugaru Shamisen. It consists of a short, repeating phrase that combines bachi and sao-hand techniques to create a rolling, shimmering sound. Widely used to build tension, it’s a staple element in every performance of Jongara Bushi.

上駒 | かみごま

Parts | The nut of the shamisen, typically made from metal such as brass. Positioned at the very top of the fingerboard, just before the itogura (pegbox), the kamigoma supports the strings and defines their vibrating length. It protects the neck from wear and ensures a crisp tone.

上棹 | かみざお

Parts | Upper section of the shamisen neck for mitsuori shamisen (three-piece neck) and niori shamisen (two-piece neck).

仮継 | かりつぎ

Accessory | Protective neck joint cap made from a light wood such as magnolia. It is fitted over the neck joints when transporting a shamisen with the sao disassembled. Each karitsugi is custom-made for its specific instrument, preventing damage to the joint. Unfortunately, this makes it impossible to simply buy a replacement for this item.

皮 | かわ

消し | けし

Technique | A sao-hand muting technique used in shamisen playing to stop a the string’s vibration. Keshi is often applied immediately after striking a note with the bachi to create a staccato effect or to emphasize a rest, adding rhythmic precision and expressive nuance.

金ほぞ | きんほぞ

Parts | Neck joint in which the mortise (hole) of the connection is reinforced with brass or a similar hard metal. When taking apart the neck a lot, contact surface between mortise and peg wears down after a while. This reinforcement provides increased stability, precise fitting, and durability. Commonly used in higher-quality instruments. The slightly cheaper variation is called gin-hozo.

清元 | きよもと

Genre | Elegant and expressive shamisen music, developed in Edo from Tokiwazu style. Known for its higher vocal register, lyrical quality, and refined ornamentation. Frequently used in Kabuki to underscore delicate, emotional, or sensual scenes.

甲 | こう

Parts | Literally translates to “carapace”; the rounded, raised area on the top of the tenjin; the crown/cap part above the peg box (itogura).

紅木 | こうき

Material | Dark, extremely dense hardwood used for professional shamisen. The name literally means “red wood,” referring to its deep reddish hue that darkens further to an almost black shade with age. It is valued for its tonal qualities and aesthetic beauty. Because kōki is rare and. Nowadays, kōki has become very scarce. If the wood grain is especially beautifully figured, it’s called tochi kōki.

駒 | こま

駒掛け| こまがけ

Technique | Synonym to Nezumi. Playing technique in which the little finger of the bachi hand rests on the lower wing of the koma (bridge) while striking with the bachi. This dampens the resonance and produces a quieter but very clear sound. Particularly used in Tsugaru Shamisen to create dynamic contrasts and tonal variety. Note: the movement range of the bachi hand is limited by the little finger being anchored at the koma.

駒入れ | こまいれ

Accessory | Container for bridge (koma) storage.

小唄 | こうた

Genre | Refined shamisen song style that developed in the late Edo to Meiji periods. Short, lyrical, and often subtle in nuance. Compared to hauta, kouta is more polished, intimate, and stylistically sophisticated.

強弱 | きょうじゃく

Technique | Literally “strong and weak.” Refers to the alternating pattern between stronger (louder) and softer (quieter) tones, created by alternating strikes in ushirobachi and maebachi positions. This steady repetition adds rhythmic drive and dynamic nuance to the melody, giving the music a lively, breathing quality.

前バチ | まえばち

Technique | Playing the bachi in the front part of the body, close to the rim. This stroke is fundamental for producing a delicate, muted sound and is complimentary to the forceful ushirobachi. Maebachi is usually not indicated in the notation. In modern scores, you may find a square bracked or a rectangles around the maebachi parts, but there’s no standard sign for it. In my notations, I mark maebachi with a light blue square bracket.

丸穴 | まるあな

Parts | The round hole located on the lower short side of the shamisen’s dō (body), through which the nakagosaki (tip of the neck spike) passes. This hole secures and aligns the neck with the body. Counterpart to the square hole (kaku-ana) on the opposing short side of the body.

回し | まわし

Technique | Repetitive, rolling melodic pattern, typically appearing at the end of a Tsugaru Jongara Bushi, but also found in other pieces. A combination of hajiki and sukui on positions 0‑3‑0‑3 on the thin string (san no ito) produces a shimmering sound.

短手 | みじかて

Parts | The short lateral sides of the shamisen body (dō). Counterpart to the long sides (nagate).

民謡 | みんよう

Genre | Regional Japanese vocal folk songs often accompanied by shamisen. Emphasizes local melodic patterns, rhythms, and vocal styles, traditionally passed down orally through communities. / Regional Japanese folk songs, often accompanied by shamisen. Rooted in work songs, festival chants, and local customs, min’yō expresses the life and identity of communities. Shamisen accompaniment ranges from simple rhythmic support to virtuoso improvisation, depending on region and style.

三折 | みつおり

Style | On a mitsuori shamisen, the neck (sao) is divided into three sections joined by precisely crafted joints that appear almost seamless. The neck can be disassembled for transport, greatly reducing the risk of damage. Necks that cannot be taken apart are called nobezao.

長袋 | ながぶくろ

Accessory | Soft, flexible protective cover for shamisen made from silk, cotton, or synthetic fabric. Used to protect against dust and scratches — not intended for transporting the instrument. Here is an article and a video on the topic.

長手 | ながて

Parts | The long lateral sides of the shamisen body (dō). Counterpart to the short sides (mijikate).

長唄 | ながうた

Genre | One of the major primary genres of shamisen music. Originated in Edo as accompaniment for kabuki theater. It features long, elaborate forms with instrumental interludes, vocal passages, and narrative elements. Known for its elegance and dramatic versatility. Performed on hosozao shamisen.

中子 | なかご

Parts | The spike at the bottom end of the shamisen neck (sao) that runs through the body (dō) from the square hole (kaku-ana) to the round hole (maru-ana). Provides structural support and alignment, ensuring stability of the instrument.

中木先 | なかごさき

Parts | Tip of the nakago that protrudes from the body (dō) at the very bottom of the instrument. This is where the string holder (neo) gets put on.

中棹 | なかざお

Parts | Middle section of the shamisen neck for mitsuori shamisen (three-piece neck).

音締め | ねじめ

Technik | Bachi technique used to produce an especially muted tone. The little finger touches the lower wing of the koma when striking the string, while the side of the thumb lightly brushes the string during the stroke.

音緒 | ねお

ネオ鼈甲 | ネオべっこう

Material | Synthetic, sustainable, and vegan alternative to bekkō, primarily used for making bachi blades. Neo-bekkō has almost the same flexibility as natural bekkō, but produces slightly different tonal nuances.

音澄み | ねずみばち

Technique | Synonym to komagake. Technique for an especially quiet yet clear tone. Playing technique in which the little finger of the bachi hand rests on the lower wing of the koma (bridge) while striking with the bachi. This dampens the resonance and produces a quieter but very clear sound. Particularly used in Tsugaru Shamisen to create dynamic contrasts and tonal variety. Note: the movement range of the bachi hand is limited by the little finger being anchored at the koma.

二の糸 | にのいと

二上り | にあがり

Theory | Niagari is the second of the three common main tunings for shamisen. Literally translated, the term means “second raised” and refers to the higher pitch of the second string (ni no ito) relative to the standard tuning Honchōshi. The middle string is raised by a whole tone, usually resulting in C3–G3–C4. The other two traditional shamisen tunings are Honchōshi (standard tuning) and Sansagari (lowered third string).

二本溝 | にほんみぞ

Bauteil | Doppelte Nutverbindung. Verfeinerte Halsverbindung mit zwei parallelen Nuten, die mehr Stabilität und Haltbarkeit bietet als die einfacheren Ausführungen Ippon Mizo und Han-Hozo. Bietet präzise Ausrichtung und stabilen Halt. Mittlerweile Gängiger Standard bei Instrumenten mittlerer bis hoher Qualität. Bietet größere Kontaktfläche und bessere Ausrichtung.

延べ棹 | のべざお

Bauweise | Bei einer Nobezao Shamisen ist der Hals (Sao) aus einem zusammenhängenden Stück Holz gefertigt. Der Hals kann zum Transport nicht auseinander genommen werden. Im Vergleich dazu lässt sich bei einer Mitsuori Shamisen der Hals in drei Teile zerteilen.

表皮 | おもてがわ

押しバチ | おしばち

Technique | Notation symbol: ⎡ or ⎦ — literally “pressure bachi,” synonym for suberi. Using this technique, two adjacent strings (ito) are played in sequence. The bachi strikes the first string, remains in its lowest position on the skin after the strike, and then the thumb presses the next string to sound it. The two notes played with this technique are marked with a right-angled hook above or below the notes. Watch a short video demonstration from different angles.

表皮 | おもてがわ

三曲 | さんきょく

Genre | Literally “three pieces.” Refers to instrumental ensemble music for koto, shakuhachi, and shamisen, developed during the Edo period. Known for its elegant chamber style and intricate interplay between instruments, often performed in salons or by geisha.

新内 | しんない

Genre | Narrative shamisen genre that emerged in mid-18th century Edo (modern Tokyo), founded by the blind musician Tsuruga Shinnai II. The genre combines vocal storytelling with shamisen accompaniment, typically performed solo or with minimal instrumental support, focusing on tragic tales of lovers and psychological drama for intimate audiences. The songs are characterized by fluid phrasing, subtle ornamentation, and restrained bachi techniques that prioritize the narrative over flashy instrumental display. The style is typically played on chūzao and hosozao sized shamisen.

滑り | すべり

Technique | Sign in the notation: ⎡ or ⎦ – literally “glide”, synonym to oshibachi.

Using this technique, two adjacent strings (ito) are played in sequence with the bachi. The bachi strikes the first string, remains in its lowest position on the skin after the strike, and then the thumb presses the next string to sound it. The two notes played with this technique are marked with a right-angled hook above or below the notes.

Check out this short video demonstration from different angles.

摺り ｜ すり

Technique | Notation symbol: horizontal curve and sometimes the katakana addition [ スリ ] – not to be confused with sukui [ ス ]. Literally “slide.”

Considered a sao-hand technique, but really just the sound of two notes connecting through a shift without striking the string with the bachi. It sounds like a gliding note, but there’s no particular technique involved other than not hitting the string. The effect is elegant and great for adding some dramatic flair.

叩き ｜ たたき

Technique | Fundamental striking technique in which the bachi is struck rapidly through the strings down to the skin of the body (dō). This produces a percussive, snapping sound in addition to the melodic tone. Particularly characteristic of Tsugaru Shamisen, where tataki underscores the driving, energetic character of the music. With tataki, the strongest possible sound on the shamisen is achieved.

天神 | てんじん

トチ

Material | In shamisen-making, the term tochi refers to wood with particularly beautiful and complex figuring—naturally swirling, fiery patterns that create impressive visual effects. Because of this natural beauty and rarity, tochi is highly prized by craftsmen and collectors.

常磐津 | ときわず

Genre | Narrative shamisen music for Bunraku and Kabuki. Combines singing, storytelling, and shamisen accompaniment. Integrates dramatic narration with musicality, often in long scenes.

壺 | つぼ

Theory | Pitch position on the shamisen neck (sao). In bunkafu notation, those positions are represented by numbers. Players memorize tsubo placements through ear training and muscle memory, as the shamisen lacks frets or other markers. It’s common to mark positions with stickers or a fujaku strip when you are a beginner.

津軽三味線 | つがるしゃみせん

Genre | Virtuoso shamisen genre from Aomori in northern Japan. Originated in the late 19th century with blind traveling musicians (bosama) and developed into a highly improvisatory style, characterized by fast tempos, percussive playing, and dramatic dynamic shifts. Played in folk, solo, and cross-genre contexts. Tsugaru Shamisen is typically performed on instruments with a wide neck (futozao), using a small bachi and low koma.

つれたら

Technik | Synonym: Chiritara​. Onomatopoetic term for a characteristic rhythmic-melodic pattern in Tsugaru Shamisen. The classical form is 4300, played as 43ハ0ス0ハ. When repeated frequently, this pattern becomes a hypnotic rolling sound carpet—heard in every Jongara Bushi!

打ち ｜ うち

Technique | Sign in the notation: katakana for “U” [ ウ ] underneath the position; literally: strike.

Shamisen technique of the sao hand, also called “hammer-on” (like on a guitar). The sound is produced without the bachi. The finger is pressed forcefully and decisively onto the indicated note after the previous note has already been set in vibration. The note played with Uchi is always higher than the previous note and on the same string. The sound is quieter than with other techniques.

Watch a detailed video on Patreon.

裏皮 | うらがわ

後撥 | うしろばち

Technique | Not indicated in the notation.

Literally “back bachi strike.” The bachi is played in the center of the skin (kawa) for this technique. This stroke is fundamental for producing a particularly strong, resonant sound and serves as the counterpart to the soft, muted maebachi.

唄 | うた

Theory | Part of many shamisen titles, meaning “song.” General term for a piece where the vocal melody is central and the shamisen provides accompaniment. Appears in both classical (Jiuta, Nagauta) and folk (Minyō) contexts. The term signals that the voice leads the musical expression and has the primary focus, even if the shamisen part is elaborate.

指掛け | ゆびかけ

指すり | ゆびすり

揺り | ゆり

Technique | Vibrato. Not indicated in the notation.

Expressive sao hand technique where the finger holding the string slides back and forth by moving the whole hand, causing a fluctuation in pitch. Yuri adds expressive warmth and emotional depth and helps sustain notes.

鉄金 | ざがね

前後撥 | ぜんごばち

Technique | Not indicated in the notation.

A combined bachi striking pattern alternating maebachi and backward ushirobachi strokes. The name literally means “front-and-back bachi”. This technique is fundamental to creating continuous rhythmic drive in Tsugaru Shamisen.

象牙 | ぞうげ

Material |

Ivory, historically used for crafting shamisen parts such as the koma (bridge) or bachi (plectrum). Praised for its smooth texture and resonant qualities, ivory was once considered a premium material. Today, due to ethical and legal restrictions, it is largely replaced by synthetic or alternative natural materials that aim to replicate its tonal characteristics without environmental or conservation concerns. An organic alternative is mammoth ivory.