![[The Pinnacle of Modern Enka] Shimazu Aya’s Easy-to-Sing Songs](https://i.ytimg.com/vi_webp/50KfREUp60M/maxresdefault.webp)
Aya Shimazu is an enka singer who boasts overwhelming talent as a female performer, studied under Yuriko Futaba, and is highly acclaimed as a leading figure at the forefront of contemporary enka.
Hailing from Kumamoto Prefecture, she specializes in expansive, pop-like long tones and powerful vibrato embellished with shouts.
Because she possesses top-tier vocal ability even among Japanese enka singers, many of her songs are quite challenging.
This time, however, we’ve selected some of her works that are easier to sing.
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[The Pinnacle of Modern Enka] Aiya Shimazu’s Easy-to-Sing Songs (1–10)
Summer camelliaShimazu Aya
Among Akiya Shimazu’s songs, “Natsu Tsubaki” is especially popular.
While the intro bursts in with great passion, the vocal line settles into a ballad-like, gently soothing mood.
Combined with the fact that this piece leans more toward kayōkyoku than enka, there are no intricate kobushi embellishments at all.
Simply focusing on two points—a solid, sustained tone and stable vibrato—makes it easy enough to aim for a high karaoke score.
Consider adding it to your repertoire.
Destiny ~At Last, the Angel Turned This Way~Shimazu Aya
Aya Shimazu is known for her overwhelming vocal prowess as an enka singer, but she also takes on pop covers and, unexpectedly, works on catchy tunes as well.
Among her songs, the one I especially recommend is “Unmei ~Yatto Tenshi ga Kocchi o Muita~” (Fate ~At Last, the Angel Turned This Way~).
This piece is not enka; it strongly leans toward kayōkyoku, and there are no kobushi (the intricate ornamental turns) that require complex technique.
While it does call for powerful vocals incorporating shouts and steady long notes, these are far easier compared to kobushi, so for those who are fairly familiar with enka, it might feel like a relatively easy song to tackle.
Baton of LifeShimazu Aya
Aya Shimazu’s famous song “Inochi no Baton” (The Baton of Life).
Compared to other enka singers, Aya Shimazu often performs enka and kayōkyoku with many pop elements, and this piece is among the easiest to sing.
Of course, since it’s performed by an enka singer, it retains a certain enka flavor, but it leans heavily toward pop, so it shouldn’t feel difficult to sing.
There are very few kobushi (ornamental vocal turns), and as long as you focus on a clear, expansive vocal tone, you can definitely aim for a high score at karaoke.
You don’t have to go back.Shimazu Aya
Aya Shimazu’s biggest hit song, ‘Kairancha Yoka.’ As her training under Yuriko Futaba suggests, Aya Shimazu boasts a considerable career.
However, she was actually a late-blooming enka singer, and I think many people first learned about her through this work.
This song is captivating for its emotionally rich vocals, yet the vocal line itself is surprisingly simple.
There are few instances of kobushi (traditional enka vocal turns), and in the chorus she uses a technique called a “fall,” slightly lowering the pitch at the end of a phrase.
This technique isn’t particularly difficult.
Considering the scarcity of kobushi and the relatively low difficulty of mastering the fall, it can be regarded as a very singable piece.
playing the shamisen after the factShimazu Aya
A beloved classic among fans, “Atooi Shamisen.” This piece is notable for its simple arrangement centered on the shamisen.
It’s solid, full-fledged enka, so the kobushi (ornamental vocal turns) appear as usual; however, for a song by Aya Shimazu, the number and style of kobushi used here are quite simple.
That said, there are several instances of kobushi blended with falsetto, so if it feels difficult, try lowering the key by two or three semitones.
For those looking for authentic enka that’s also easy to sing, this track is highly recommended.
Be sure to add it to your repertoire.
Strait of LongingShimazu Aya
A compellingly austere song by Aya Shimazu, “Renbo Kaikyō.” True to enka, it features solid kobushi ornamentation, yet the piece is actually easy to sing.
The reason lies in the vocal line.
While enka typically involves frequent, complex pitch rises and falls, this song keeps the melody simple and relatively even, more like a kayōkyoku.
With kobushi appearing here and there on top of that, anyone accustomed to singing standard enka should be able to perform it without difficulty.
Thank you, memories.Shimazu Aya
The piece “Omoide yo Arigatou” is notable for its emotionally stirring melody.
Among Aya Shimazu’s songs, this one especially emphasizes dynamic contrast.
You might think strong dynamics make it difficult, but that’s not the case.
Rather than being pure enka, it leans heavily into the essence of Showa-era pop, so there aren’t complicated pitch jumps.
Although the tempo is relaxed, there are surprisingly few long tones, so as long as you watch your vibrato and dynamics, it’s possible to aim for a high karaoke score.
white magnoliaShimazu Aya
Ayako Shimazu’s masterpiece “Shirakobushi” opens with a striking intro featuring beautiful humming.
While this piece leans more toward kayōkyoku than enka, it also incorporates elements of folk music.
Folk typically features simple vocal lines, and this song embraces that aspect as well.
The shout right before the chorus is the tricky part, but since there are no complex pitch shifts or kobushi (melismatic ornaments), anyone accustomed to singing enka should be able to handle it without trouble.
Consider adding it to your repertoire.
As a flower, as a personShimazu Aya
A moving piece beloved by fans, “Hana toshite Hito toshite.” This work showcases Aya Shimazu’s expansive vocals, but aside from those soaring parts, there aren’t any especially difficult points.
It leans more toward kayōkyoku than traditional enka, and it wouldn’t be an exaggeration to say it has strong pop elements, so you won’t have to wrestle with the intricate kobushi (melismatic ornamentation) typical of enka.
The range is somewhat wide, so be sure to adjust the key to suit your own vocal range before giving it a try.
Brocade AutumnShimazu Aya
Aya Shimazu’s masterpiece “Kinshūfu” leaves a lingering poignancy within its power.
While the melody firmly qualifies as classic enka, a look at the vocal line reveals surprisingly few kobushi (melismatic turns), and it lacks the typical difficulties associated with enka.
Instead, it calls for dynamics and a soaring vocal delivery, but these are far less demanding than kobushi, so those who regularly sing enka will likely find nothing particularly challenging.
Do consider adding it to your repertoire.