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[Enka Hattori-kun] A Collection of Easy-to-Sing Songs by Hiroko Hattori [2026]
Hiroko Hattori celebrates the 35th anniversary of her debut in 2024 and continues to sharpen her prowess as an active, top-tier enka singer.
Beyond her outstanding vocal ability, her songs—delivered with a delicate voice that seems to melt gently into the listener’s heart—are widely known as favorites for karaoke among many enka fans.
They also include plenty of pieces that serve as excellent study material for beginners to enka.
From among the enka numbers Hattori has performed so far, we’ve picked out and compiled those that are relatively easy to sing.
Enka newcomers, be sure to check them out!
[Enka Hattori-kun] A Collection of Hiroko Hattori’s Easy-to-Sing Songs [2026] (1–10)
Sakura, sakuraHattori Hiroko
Hiroko Hattori is known for having many songs with a mature melody, but among her works are some wrapped in a pop atmosphere.
The one I especially recommend is Sakura Sakura.
While this piece retains elements of traditional enka, it leans more toward kayōkyoku, featuring a vocal line with gently rising and falling pitches throughout.
There’s only one instance of kobushi (the characteristic enka vocal ornament) just before the chorus, so even those who aren’t fond of enka’s distinctive singing style should be able to sing it without trouble.
gokuraku tonboHattori Hiroko
As an enka singer, Hiroko Hattori makes unusually frequent use of Western-style vocal technique.
In particular, her use of overtones in the lower-mid and below ranges is striking.
You can fully savor Hattori’s Western-style vocal approach in the track Gokuraku Tonbo.
In the mid and higher registers, she sings with a relatively thin tone for her repertoire, while the lower parts employ overtones.
As a result, the contrast is quite pronounced, yet the overall range isn’t very wide, and the vocal line is gently shaped.
Among her works, this one can be considered especially easy to sing.
Windblume HarborHattori Hiroko
Among Hiroko Hattori’s songs—she’s known for her powerful vocal style—the one I especially recommend is Kazahana Minato.
The first half is calm yet dignified in its phrasing, gradually building in intensity, and the chorus unfolds with a richly forceful vocal line.
While the vocal range is fairly wide, it doesn’t employ the shouty, strained technique often heard in songs of this type, and the kobushi ornamentation is kept orthodox.
Overall, it can be considered a relatively easy song to sing.
Hamayū’s sorrowful flowerHattori Hiroko
Hiroko Hattori has many great songs, but among them, the one I especially recommend for its excellent portrayal of romance is Hamayuu Aika.
It has a seductive yet somewhat melancholic atmosphere, and among her works, it features an exceptionally large number of low-register passages.
The overall range is narrow as well, making it very easy to sing for those who struggle with high notes.
It also has fewer kobushi (melismatic embellishments) than is typical in her songs, so consider adding it to your repertoire.
forgotten umbrellaHattori Hiroko
Hiroko Hattori’s classic “Wasuregasa” is both heartwarming and steeped in melancholy.
It faithfully carries the hallmarks of enka, featuring kobushi (melismatic ornamentation) in most parts.
While the frequent use of kobushi raises the overall difficulty, the song pursues enka authenticity so thoroughly that the vocal line remains clear and simple.
The tempo is very relaxed as well, so anyone with basic enka singing skills should be able to perform it without trouble.
Night Rain NotesHattori Hiroko
Hiroko Hattori’s masterpiece “Yau Sho” is distinguished by a warm yet heartrending melody.
While Hattori often favors songs that emphasize the lower register, this piece is different.
For her repertoire, it spans a somewhat wider vocal range, and the chorus briefly reaches a high passage.
Overall, it sits in the mid-to-high range, and there are no intricate melismatic inflections requiring rapid pitch changes, making it a very singable song for women with higher voices.
Consider adding it to your repertoire.
Ogura Koi GoyomiHattori Hiroko
The classic “Ogura Koi Goyomi” is memorable for its passionate vocal phrasing.
True to Hiroko Hattori’s style, this piece is an orthodox enka song with frequent kobushi (melodic turns).
As a result, it carries a certain level of difficulty, but it doesn’t include sections with four- or five-note scale shifts like those found in Tsugaru folk songs.
If you’re comfortable with standard kobushi, you should be able to sing it without issue.
Note that at the beginning of the chorus there’s a section where you apply kobushi while staying in falsetto, so pay special attention there.
Consider adding it to your repertoire.