Music Tempo and Kata

[Nidan Melbourne]

As I write this listening to the Sound of Silence (by Disturbed), it got me thinking how when we teach a kata and how we have a different tempo to each kata. 

Where you have an emphasis on the fast movements between any two steps but then an emphasis on a pause before moving again. Or for some advanced kata, a slow extended note on an instrument is an extended transition for a stance. 

But what I'm curious is how do you teach a tempo for a kata at your dojo, and how do you explain it? Music Terms? Sports Terms? Biomechanical terms? I know there are probably hundreds if not thousands of ways of teaching it. 

 

[crash]

honestly, i have never been to a dojo that teaches kata with music. interesting concept... and my base style was heavy on the sport side, with a heavy push towards the tournament side.. though the core teaching was still more traditional.... once we were at black belt we made forms for competition on our own as a team or individually, but the music and timing was all figured out by those involved in performing the kata's, not something to be taught as curriculum. so not much i can chime in on, but am interested in hearing others experience's with how or even whether this is something taught as part of class...(especially to lower belt rankings, once you reach an advanced level, B.B,,,, ones timing and movements should be smooth and flowing, so adding music isnt that hard)...

[Revario]

Very interesting question and topic. The way I do is based on practicality so when doing Kata, I tend to replicate the movements I would do against an opponent in the sense that I will apply power and speed to most strikes, relax or slow down in between (what I see as) each "techniques" sequence. I do not have the chance of teaching anyone presently however, I do think that the initial Kata can be taught (sorry I tend to mispell that word, I'm French) without a specific tempo to it, I feel everyone should have their own based on their interpretation. Then again, I also am of the mind to go trough one Kata fully (all bunkai drilled appropriately against resisting opponent, as well as being able to execute the Kata clearly with power and its own tempo based on individual experience and preference) before moving on to the next one. 

 

It is a quite different process then what is seen in most methods of teaching Karate and Kata in general. Yet I feel this is the best way for one to find true tempo in a Kata. I do very much like the musical analogy as I am quite the fan of music myself. I know nothing of composing but Truly appreciate musicians and their craft so it resonates with me quite easily and well. Thank you for the enligthenment on that end. Helps put words to things sometimes hard to explain as they are felt, similar to music. 

[Nidan Melbourne]

8 hours ago, crash said:

honestly, i have never been to a dojo that teaches kata with music. interesting concept... and my base style was heavy on the sport side, with a heavy push towards the tournament side.. though the core teaching was still more traditional.... once we were at black belt we made forms for competition on our own as a team or individually, but the music and timing was all figured out by those involved in performing the kata's, not something to be taught as curriculum. so not much i can chime in on, but am interested in hearing others experience's with how or even whether this is something taught as part of class...(especially to lower belt rankings, once you reach an advanced level, B.B,,,, ones timing and movements should be smooth and flowing, so adding music isnt that hard)...

Well not physical music playing; kind of like how a Dance Teacher teaches a pair how to do a Waltz. 

We incorporate the timing into it because like you said tournament wise if your doing it in a team you need to be in synch. 

I asked my Shihan some time ago about it; he said that we teach it because mentally it helps our students retain it and focus on the intensity or lead up to a move. or even a reminder as a whole to be consistent with how I move and not go to fast or slow. 

Now in relation to Real World Applications; what are people doing majority of the time (even though ill-advised at night)? they're listening to music. Some of my students have realised that they don't need to be listening to music because when they move they're making their own music up in their head and they've mentioned its a lot more enjoyed and made them be in the present. 

Also if they do need to react; timing has changed. 

Please note: When I teach, yes when they're learning it might be a consistent beat but as they get more advanced they do change the tune to make it work for them or under stressful situations. 

2 hours ago, Revario said:

Very interesting question and topic. The way I do is based on practicality so when doing Kata, I tend to replicate the movements I would do against an opponent in the sense that I will apply power and speed to most strikes, relax or slow down in between (what I see as) each "techniques" sequence. I do not have the chance of teaching anyone presently however, I do think that the initial Kata can be taught (sorry I tend to mispell that word, I'm French) without a specific tempo to it, I feel everyone should have their own based on their interpretation. Then again, I also am of the mind to go trough one Kata fully (all bunkai drilled appropriately against resisting opponent, as well as being able to execute the Kata clearly with power and its own tempo based on individual experience and preference) before moving on to the next one. 

 

It is a quite different process then what is seen in most methods of teaching Karate and Kata in general. Yet I feel this is the best way for one to find true tempo in a Kata. I do very much like the musical analogy as I am quite the fan of music myself. I know nothing of composing but Truly appreciate musicians and their craft so it resonates with me quite easily and well. Thank you for the enligthenment on that end. Helps put words to things sometimes hard to explain as they are felt, similar to music. 

Power and Speed are great; but timing is also rather important for both. Because if your timing is off; the force you putting out is greatly diminished. 

Actually since you mentioned your French; think of it like this - if you slowed down the way that you speak it most likely comes across as a bit off likewise if you rush it. As you could very easily change the word or what is conveyed be miscontrued by the listeners. 

Same with the tempo of what we do; it is all about timing. when do we unleash something? also that timing greatly impacts where our limbs or even our positioning changes. 

So for instance; I am slow like a tortoise, don't have the best level of fitness atm. BUT I can time the heck out of how I do things. 

"I know nothing of composing" I disagree, you might not be say a singer, but we are composing something everyday. Every post you write here is a composition; and if your French French (Not Canadian French) then writing in English is outside of your normal course of action. 

I know everyone has different ways of teaching Kata; whatever works for each of us I guess. haven't met someone who teaches that far off from what I do yet. 

@sensei8, @bushido_man96 what do you both do?

[KarateKen]

Interesting, I never thought about it in any of those ways.  

[bushido_man96]

Once the form is memorized, I like to get the students thinking about the rhythm of the different segments.  I'll point out spots where 2 or 3 moves should be done in rapid succession as a combination, and areas of transition that might be more drawn out.  Tension moves also have a rhythm of their own, a timing of their own, that plays a role in the form.

I like to think of "beats," I guess.  Like "pop....pop-pop........BANG," depending on the form, of course.  Lower forms like Chon Ji are pretty straightforward, pop, pop, pop, not many combinations.  But some higher forms get more involved, and I'll explain it with those beats.

[Nidan Melbourne]

3 hours ago, bushido_man96 said:

Once the form is memorized, I like to get the students thinking about the rhythm of the different segments.  I'll point out spots where 2 or 3 moves should be done in rapid succession as a combination, and areas of transition that might be more drawn out.  Tension moves also have a rhythm of their own, a timing of their own, that plays a role in the form.

I like to think of "beats," I guess.  Like "pop....pop-pop........BANG," depending on the form, of course.  Lower forms like Chon Ji are pretty straightforward, pop, pop, pop, not many combinations.  But some higher forms get more involved, and I'll explain it with those beats.

thats exactly what I was trying to get at!! thanks! Clearly my brain went a different route when trying to explain it. hahaha

[sensei8]

There’s something else that’s important to any music tempo and rhythm of kata is the timely crash of the cymbals, aka, BREATHING.

One surely doesn’t want to be out of breath at the end of said kata. There’s no use to have timing and rhythm in your kata if you’re going to be out of breath. 

One must control their breathing!!

No kata has the exact same timing and rhythm and breathing from move to move. All 3 have to be controlled accordingly kata to kata.

The more demand of said kata, the more control of timing, rhythm, and breathing. The more complex movements the more oxygen one’s going to need.

Proper breathing will show up within any said kata at the moments of the kiai. Ever heard a kiai that’s out of breath?? It’s not a pretty sound; wheezing out a strain kiai.

Timing…Rhythm…Breathing…these are at the core of any kata’s music score.  Control…Focus…Conditioning…these are the notes to the kata’s symphony.

Imho.

[Revario]

On 5/24/2025 at 1:57 AM, bushido_man96 said:

Once the form is memorized, I like to get the students thinking about the rhythm of the different segments.  I'll point out spots where 2 or 3 moves should be done in rapid succession as a combination, and areas of transition that might be more drawn out.  Tension moves also have a rhythm of their own, a timing of their own, that plays a role in the form.

I like to think of "beats," I guess.  Like "pop....pop-pop........BANG," depending on the form, of course.  Lower forms like Chon Ji are pretty straightforward, pop, pop, pop, not many combinations.  But some higher forms get more involved, and I'll explain it with those beats.

I think that is what I meant by sequences. The way it is explained here makes more sense then the way I was trying to explain it. But yes exactly that! 

[KarateKen]

I wonder if a song like "Breaking the Law" by Judas Priest would throw off my timing.  Has anyone here tried that one?