The koto is a chordophone derived from the Guzheng, an ancient traditional Chinese instrument. Its history is fascinating and intricate, and its design is highly elegant. It was introduced to Japan during the Nara period, between 710 and 784. Since then, the instrument gained immense popularity in the country and quickly became a recurring element of traditional Japanese music.

The body of the koto consists of a rather long resonating chamber with a tapered shape. Typically, the instrument measures up to 2 meters in length and about 26 centimeters in width. The koto’s large size makes it challenging to play for beginners, and it requires in-depth study and extensive practice to master. Thirteen identical strings, all with equal tension, are stretched over the resonator. The movable wooden bridges allow for tuning, and the instrument is played using three plectrums shaped like fingernails.

Besides being a refined and delicate musical instrument, the koto has an aura of mystery that has long captured the imagination of the Eastern world. In ancient times, it was likened to the body of a Chinese dragon due to its elongated shape. The parts of the koto are still referred to by names related to this legendary creature. The term ryuko (meaning dragon’s back) refers to the top of the resonator, while ryuto and ryubi (dragon’s head and tail) designate the ends of the instrument.

Thanks to its great allure, the koto frequently appears in Japanese literary narratives, especially within the Uta monogatari genre of the Heian period. These are epic and mythological tales inspired by Japanese oral traditions. The fantastical and magical atmosphere of this literary genre closely mirrors the evocative qualities of the delicate musical instrument.

Koto: history of the instrument

As mentioned, the koto’s origins trace back to China, where as early as 400 BC, 5-string zithers resembling the koto were used. By the Han period (around 200 BC), evidence shows the existence of a 12-string zither, later evolving into a 13-string instrument. This musical instrument was imported to Japan between 618 and 907 AD during the Nara period. It’s worth noting that a similar Japanese instrument already existed, and the koto likely emerged from a fusion or subsequent adaptations of the two.

Throughout history, various types of koto emerged, each characteristic of its era. The gakuso is the earliest type, imported from China. Initially, it was only 167 cm long, but its dimensions gradually increased to nearly two meters. Originally played with sharp and long plectrums (tsume), the chikuso was used in the tsukushigoto music genre of the Tsukushi region during the 16th century. The zokuso, or modern koto, evolved with further refinements.

Initially, the modern koto did not differ much from its original version, but over time, musical schools introduced their adjustments. The Ikuta school, for instance, developed square-shaped plectrums and altered the bridge design. Additionally, koto dimensions were increased, and elaborate, elegant decorations were applied. The Yamada school enlarged the resonator volume and modified the bottom plates for a different tone.

Today, the Yamada school’s version is most widespread due to the intricate decorations typical of Ikuta school koto. Few luthiers remain skilled enough to reproduce these detailed instruments, and even Ikuta school musicians often use other types of koto.

How to tune the koto

The koto can be tuned simply by adjusting the position of the movable bridges along the strings. Due to the instrument’s substantial length, the pitch can vary widely. There are numerous tuning styles, each associated with a particular music genre or school. Depending on the piece, the bridges can be repositioned to achieve the desired tuning. During performances, tuning often changes between pieces to achieve the optimal effect for each composition.

The most traditional tuning is hirajoshi, especially used for compositions by Yatsuhashi Kengyo, one of the foremost koto composers. It’s based on a musical scale foundational to much of Japanese traditional music since the Edo period. This scale introduces semitone intervals, a novelty compared to previous scales. Thus, understanding the miyakobushi scale, which underpins many classic pieces, is essential for koto performance.

In summary, koto tuning is relatively straightforward, but familiarity with traditional Eastern music theory and the Japanese musical system is required. One can experiment with different scales to suit personal preferences.

How to play the koto

The traditional technique involves playing the koto kneeling in front of the instrument placed on the floor. Contemporary musicians often prefer sitting on a chair with the koto on a stand. Typically, strings are not plucked directly with the fingers but with three tsume (fingernail-like plectrums) attached to the thumb, index, and middle fingers of the right hand using small leather bands. Depending on the music genre, tsume shapes vary: the Yamada school uses oval plectrums, while the Ikuta school opts for square ones.

Strings are struck with the edge of the tsume, requiring musicians to sit diagonally rather than directly facing the instrument. In traditional repertoire, the left hand typically doesn’t pluck the strings but presses them to vary tension and pitch, producing refined tones and characteristic embellishments of classical Japanese music.

Modern techniques have introduced the use of the left hand, especially for pieces influenced by Western music from the 20th century. To achieve harmony and polyphony, plucking multiple strings simultaneously requires both hands.

Mastering a complex and delicate instrument like the koto is no easy task. It demands years of study and a deep understanding of Eastern musical theory. To fully grasp its nuances, learning from an experienced teacher is recommended. Self-teaching would be challenging in such a sophisticated and culturally distinct field.

How a koto is made

The koto is a rather complex instrument despite its apparent simplicity. Few luthiers today possess the detailed knowledge required to reproduce the refined Ikuta school koto. It demands specific and intricate skills.

Koto construction typically uses paulownia, a prized wood native to eastern China. The soundboard is carved from a single piece of wood into a vaulted shape, crucial for producing its characteristic sound. Modern koto lengths approach two meters, with a width of about 25 cm.

The traditional 13 koto strings were made of silk. Today, they are often made of nylon or viscose polyester. Originally named after Confucian virtues, symbolizing the instrument’s prestige, only three strings retain their traditional names today; the rest are numbered.

Although jewelry is not used for embellishment, some kotos feature elegant and refined decorations. The instrument’s value largely depends on the wood quality and, most importantly, the luthier’s expertise.