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first found in the biwa, and this quality was a desirable trait that biwa players wanted to reproduce in the shamisen. Thus, players began to use oversized plectrums for the shamisen instead of the fingers, and the 1st string was purposely laid lower at the nut of the instrument so that it purposely vibrated against the wood of the instrument, producing the desired buzzing sound quality.
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is another
Japanese instrument which is known for its sawari. The make of the instrument is such that the strings are stopped by pulling them between frets that are raised centimeters from the neck of the instrument, allowing the player to create the desired sawari effect at each fret. Sawari was
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of the shamisen is equipped with an adjustment device that allows the player to raise or lower the 1st string at will, thereby adjusting the quality of the "sawari." The device itself is often called "sawari" by shamisen players and makers.
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has written that the term sawari may signify both "to touch" and "obstacle," and suggests that the sawari may be taken as "an intentional inconvenience that creates a part of the expressiveness of the sound."
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of the instrument. This placement of the string allows the string not only to have a characteristic buzzy timbre, but it also allows it to resonate
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Lorraine Sakata (May 1966). "The comparative analysis of sawari on the shamisen".
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when the other strings are plucked. In modern versions of the instrument, the
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Toru
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224:: 141–152.
408:Categories
199:References
69:newspapers
393:Waveform
388:Tonality
356:Overtone
341:Loudness
270:19 March
185:See also
146:shamisen
58:"Sawari"
144:In the
83:scholar
419:Timbre
372:Sawari
335:Jivari
313:Timbre
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130:sawari
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