Some time ago during the beginning of my Ph.D work, I did a small article on traditional Japanese Gagaku music, and it's relation to the music of the Samurai Spirits (Shodown) games from SNK. A personal favorite series of course. Anyway, here is part two of that article:

The Spirit of the Samurai, Part 2

Haunting Music With a RichPast:
Japanese Jo-Ha-Kyu Meets SNK’s Samurai Spirits

Paul “Wallace Esch”
Ethnomusicologist.

Rhythm


Most music we are used to hearing is “Rhythmic”. Each beat or pulse is even and steady, usually in groups of 3, or 4. Traditional Japanese music is both rhythmic, and “arrhythmic”, where the beat has a free pulse that seems to have no structure. This is also called “Rubato”. The beat will fluctuate from steady and even, to free and sometimes disorienting, and back again. The technique called “Ritardando”, a gradual slowing of the beat, and “Accelerando”, a gradual quickening of the beat, is often implemented. The music is often in groups of 7 or 10, and sometimes no grouping is used at all. There are also times of complete rest and silence, extenuating each movement. These rhythmic ideals are one of the strongest characteristics of Jo-Ha-Kyu.

Two forms that are most common of the rhythmic structures are:

Free rhythm
Steady rhythm
Free rhythm
Ritardando

or:

Steady rhythm
Accelerando
Ritardando
Steady rhythm
Accelerando
Free Rhythm

These Forms are heard throughout the Samurai Spirits series, especially in 1, 2, 3, and the RPG. Amakusa Kourin uses this as well, but to a much less extent. The Hyper and pocket series of the Samurai Spirits games stay rather rhythmic, besides being more of a meld between western and Asian music. Although less traditional, it still has some old roots left intact. The Hyper series of the Samurai Spirits games also include Arabic and “Sanskrit” influences. A rare combination of western, Japanese, and Arabic music styles lends to a rich and exotic score that, while difficult to compose at times, leaves us with a feeling of worlds coming together in a unique way.





Instrumentation

While the music form of Jo-Ha-Kyu spans a wide range of Japanese instruments, the ones we are most concerned with are those we experience in the Samurai Spirits series. While perhaps the best way to enjoy the music of the series may be through the CD versions that have recorded performances of the real thing, the PCM sound of the cartridge versions do a wonderful job at synthesizing these instruments, especially for the systems age. The Instruments used in the series we will now look at are: The Shakuhachi, Koto, Shamisen, and Percussion instruments.

The Shakuhachi

With its wide range of tones that span from the most elegant and soft, to the most harsh and violent, the Shakuhachi is a fundamental instrument in Japanese traditional music. A woodwind instrument made of bamboo; the Shakuhachi has its roots in Chinese flutes and other woodwinds. The name, Shakuhachi, derives from its length. “Shaku” is a unit of measure equivalent to about 30 cm, and “Hachi” stands for 8, thus a 1.8 Shaku, or if you will, 54 cm. This is the typical length of the instrument, although longer ones are available.

The Shakuhachi was often played by Samurai turned monk, as a means of reaching enlightenment through Zen and the practice of Buddhism. A costume called a “Komuso” was often worn; witch included a basket worn over the head to hide the players’ identity. Later, more people began to practice the shakuhachi, along with its induction into ensembles, as well as being a solo instrument.

Solo shakuhachi music adapts the idea called “Ma”. It is connected with the rhythm of the piece, and ideals in Zen. The music is usually without a steady rhythmic structure, and thus the player must “Feel” (like Zen) the movements of the music. This is the essence of “MA”. A fine example of this can be found in the theme of “Genjuro” from Shin Samurai Spirits, especially on the CD version of the game. Also notice the soft, and then radically hard blowing technique used by the performer. This too, is a technique that signifies the individuality of the shakuhachi.

The Koto

Also having roots in Chinese instruments, the Koto is a long (about 1.8 meters) wooden zither with 13 strings, traditionally made of silk or nylon. Movable bridges called “Ji” hold the stings above the surface. Originally only played by the elite, the Koto became a common instrument in the early-mid Tokugawa period.

The strings are plucked with small finger picks (plectra) either square or triangular in shape, and sometimes with just the tips of the fingers. Other sounds can be produced by sliding the pick down the strings (the sound that is heard when a character in Amakusa Kourin sacrifices his/her rage meter, and kills the opponent with one slash), and bending of the strings. This instrument is also used in Japanese ensembles. The Koto is heard more sparingly in the Samurai Spirits series than the others, as is used as an accompaniment instrument, rather than a solo instrument. Traditionally, the Koto is used both as a solo and accompaniment instrument.

Percussion

The percussion of Japanese music has a large range, but the most common in the Samurai Spirits series are the “O-daiko”, “Taiko”, and the “Kakko”. All are made of wood with a skin stretched over the tubular resonation chamber. The sizes vary from very small and hand-held, to giant and resting on a large stand, making the drum several feet over the performers head. Some have stings stretching from the top to bottom, which can be squeezed to change the tone or Nuance of the drum. Easily one of Japan’s oldest instruments, percussion is still an important part of the Japanese tradition today.


The Shamisen

The most featured instrument in the Samurai Sprits series besides the Shakuhachi, the Shamisen, sometimes called “Samisen”, is a truly wonderful sound in the world of Japan’s music history. Related to its older sister, the “San hsien” of China, the Shamisen is most commonly a solo and accompaniment instrument in music called “Kouta”. Often used in the “Bunraku” puppet theater, and the “Kabuki” dance theater (notice Kyoshiro’s Stage in Shin Samurai Spirits), the Shamisen is a highly dramatic and emotional instrument.

One of the earliest “Lute” or “Guitar” instruments, the Shamisen features a long unfretted neck, varying in length, with three strings. The larger sizes are used in Kabuki, while the smaller are used in Kouta. The body is a wooden box covered with plastic or snakeskin, but traditionally is covered with dog or cat skin. The player typically uses a large “Y” shaped plectra held against the thumb, and usually picks in a downward motion.

Unlike stringed instruments in western music, the Shamisen’s lowest string is designed to have a slight rattle or buzz as it is played. The strings are flexible for bending and sliding, although sliding is rarely used. Because the instrument is not fretted like a guitar, the performer must have precise and accurate fingering to place the notes correctly. The Shamisen is used throughout the entire Samurai Spirits series, and along with the Shakuhachi, carry most of the melody and heart of each piece.


In Conclusion

I hope that in reading this, you where able to gain further awareness in the music your ears are blessed with while indulging in these fine works of art. The music in the Samurai Spirits series is deep and full of wondrous sounds we rarely get the chance to hear. We can be exposed to music in so many ways, and I hope that this makes everyone realize the hard work and profound passion that goes into composing music, whether it’s for a movie, a video game, or for ones personal need to share ones inner creation with the world.

The music of the Samurai Spirits series has given us all the chance to experience the music of a people’s nation, through an unlikely outlet: video games. Because of this, composers like M. Samuragoch, a deaf Jo-Ha-Kyu composer who gave us the 205-piece orchestra that is the music of “Onimusha”, have been exposed to the world. Composers like these are giving us their creations for all to hear, as long as we have the heart to listen. So please, listen, and relish in their art!

-Paul “Wallace” Esch (AKA: Baroque-Legacy)