The Chōshiawase – More Than Just Tuning

Anyone who starts exploring Tsugaru shamisen and searches online for performances will quickly come across either one of the Yoshida Brothers’ energetic pieces or a version of Jonkara Bushi. In many recordings of Jonkara Bushi, you might notice something interesting: before the piece begins, the performer starts tuning—not in the random, chaotic way familiar from Western orchestras, but in a structured, rhythmic manner. This deliberate tuning sequence, performed as part of the presentation, is called Chōshiawase.

The Elements of a Chōshiawase

Although Chōshiawase isn’t part of the musical composition itself, it is very much part of the performance. It has recognizable components, but each player interprets it differently. Because of that, it can be difficult at first to recognize its underlying structure.
Here are two basic examples that make it easier to grasp:

The essential elements of Chōshiawase, which you can observe in video clips, include:

 

• • • All three open strings are played, from low to high.
    • The strings are tuned one by one during the Chōshiawase.
    • Each change of string is marked by an oshibachi stroke.
    • On the middle and thin strings, the striking alternates between ushirobachi and maebachi.
    • The Chōshiawase flows directly into the main piece.

The more Chōshiawase you listen to, the more nuances you’ll start to notice—for example, that it often follows the rhythm and tempo of the piece it introduces. Although it’s most often associated with Jongara Bushi, Chōshiawase can precede any piece.

The Word Itself

To better understand its purpose, it helps to look at the word’s meaning.
Chōshiawase (調子合わせ) is made up of the signs for “tuning” and “bringing together”.

chōshi (調子) “tuning”
awase (合わせ) “bring together”

Combined, it literally means “bringing the tuning together” or “harmonizing.” Since those translations sound clunky, most players simply use the Japanese term.

The Functions of Chōshiawase

Function #1: Tuning

On the most basic level, Chōshiawase is used to tune the instrument. When performing in a group, this structured, shared tuning helps avoid distraction or noise. Especially after long or powerful playing, some retuning is often necessary between pieces.

While this could be done quietly, incorporating tuning into the performance brings additional benefits.

Function #2: Attention

1. Drawing attention
When the Chōshiawase begins, the audience immediately feels that something is about to happen—it signals, “Pay attention, the performance is starting.”
Historically, when shamisen players performed as traveling musicians, this served as a kind of auditory announcement, drawing listeners just like the jingle of an ice cream truck once did in summer.

2. Centering the Performer
For the player, Chōshiawase offers a valuable moment to settle in. It allows time to fine-tune the instrument, check one’s striking motion, and adjust to the acoustics of the space. It’s also a mental transition—a chance to take a deep breath, focus, and shift fully into “performance mode.”

2. Centering the Performer
For the player, Chōshiawase offers a valuable moment to settle in. It allows time to fine-tune the instrument, check one’s striking motion, and adjust to the acoustics of the space. It’s also a mental transition—a chance to take a deep breath, focus, and shift fully into “performance mode.”

Step-by-Step Example: Chōshiawase for Ichidan

Ichidan is one of the most well-known Tsugaru shamisen pieces and is often played in groups as a prelude or framing piece before a Jonkara “battle.” Here’s a simple Chōshiawase pattern for Ichidan to illustrate the technical flow.

The Chōshiawase begins on the open thick string (ichi no ito). After one or two distinct “signal strikes” (for example, do-DON or just DON), the player moves into a steady rhythm. These strikes are used to check tuning and enjoy the full, strong sound of the bachi. You can stay on this string as long as you like—the measures outlined in blue (in the example notation) can be repeated freely until you feel ready to move on.

When switching to the next string, you use an oshibachi or suberi stroke as an upbeat. The first new strike on the middle string is played maebachi (marked by a horizontal line above the note). After that, alternate between ushirobachi and maebachi.

 

 

The transition to the next string is again signaled by an oshibachi, played as an upbeat in ushirobachi.

 

The Chōshiawase ends with a clear JAN-JAN-JAN (which I fondly call “strum-strum”). Take a breath—and then it’s straight into Ichidan!

How long you stay on each string before moving on—or before starting the actual piece—is entirely up to you. Once you reach the thin string, check your tempo, relax your hand, and make sure the shamisen is sitting comfortably. You can also vary the striking pattern here to build anticipation for the main piece.
In this example, I’ve kept things simple. It’s a good starting point that you can later expand and decorate to suit your own style. Here’s a short demonstration: