whyjapancantswing.com
Introduction
Have you ever had the opportunity to play with Japanese musicians? You may notice distinct differences in their musical style—particularly in rhythm—compared to that of musicians from other parts of the world.
This difference is difficult to articulate. Japanese musicians often play with a rigid, nuance-free feel—lacking swing, movement, and the expressive flow that characterizes much of Western music. There’s something missing in the rhythm, something intangible yet unmistakable.
I call this phenomenon Tatenori, or “vertical riding.” I have dedicated my entire life to understanding what Tatenori truly is. I coined the term “Tatenori” not from academic study, but from the lived pain of being rhythmically misunderstood for decades.
I was born and raised in southern Tokyo, and my life has always been deeply connected to American music—R&B, rock, blues, funk, and jazz. I began playing music at the age of twelve.
From early on, I sensed a subtle yet persistent incompatibility between myself and the people around me. At first, I assumed it was just a personal misunderstanding, but over time, it became a serious and undeniable conflict.
I found it difficult to play music with others. Whenever I tried, there was a constant rhythmic tension—as if it had to be either them adapting to me or me adapting to them. There was no natural groove between us.
I formed bands with classmates in local schools, but the conflict remained. I transferred to a new high school, hoping for change, but encountered the same friction. I continued moving into larger musical communities, only to find the same fundamental incompatibility.
Eventually, I began playing with members of Japan’s global music scene, and it was then that I realized: this was not just a personal issue. It was something structural. Japanese musicians, even at a high level, often shared the same rhythmic disconnect.
People have often called me stubborn. I’ve been criticized, misunderstood, and even isolated because of this rhythmic difference. But I never gave up.
I named the problem Tatenori, and I have devoted my life to theorizing the difference between how Japanese musicians feel rhythm and how others do. This is not just about music— it is about perception, language, and culture.
In this article, I will explain the concept of Tatenori. Tatenori is best described as a vacuum of groove. By understanding what Tatenori is—and what it lacks—we can gain insight into what groove truly is, through contrast. This approach may eventually enable the reproduction of musical groove through purely theoretical and programmable methods.
This article will explore the following:
- The nature of the Tatenori vacuum—what is missing, and how it manifests in musical performance
- What is Alternative Clapping /
- What is head-aligned / bottom-aligned
- The structural conditions that sustain this vacuum
- The underlying causes of Tatenori, rooted in phonological differences between Japanese and other languages
- A proposed analytical framework: multi-dimensional division theory
- A practical method for internalizing groove through offbeat count training
- Hypothesis