Shakuhachi Stuff Writting 10 Minutes a Day

Another invention (attempt)

2011-10-21T18:16:00.000-07:00

Relatively good sounding

Kobayashi Shomei

2011-09-17T20:11:00.000-07:00

Jinashi maker Kobayashi Shomei got his own home pages (Japanese) (English)

It was in 2007 when I met him for the first time. He struck me as a living komuso because of his austere spirit. He traveled worldwide when he was young as a backpacker. He draws paintings every month on komuso and his paintings reveal his inner spiritual world. (He was once accepted to an American university to study art).

One day, when he allowed me to play his (and his friend's) vintage flutes, he scolded me and said: "I don't understand what you are trying to get from each flute. This precious moment won't come back aqain. Why don't you put all of your energy into each flute?" Since then, he became my good friend and mentor. Later, he explained that he had done research on kokan vintage shakuhachi, and the only useful way for him was to play them with the maximized energy for a few hours at least, not by playing lightly or measuring the bore shape, length, and size of those flutes. In other words, he embodied the characteristics of each flute.

Kobayashi is predominantly a jinashi maker, even though he gives shakuhachi lessons regularly at Mejiro. Among the many jinashi shakuhachi that I've tried, his flutes are most colorful and flavorful in terms of tone quality. I particularly liked his long flutes. The sounds of these flutes were profound, vibrant yet light and smooth. As a pianist, I always think of his jinashi as Steinway, whereas other makers' flutes, however functional and playable, sound like the Yamaha or Kawai to my ears. Of course, this doesn't devalue their flutes (I have theirs and love them). But the tone quality of Kobayashi's flutes is outstanding.

Interestingly, when Dr. Shimura Zenpo made his 2nd CD on kokan vintage flutes, he used the Kobayashi flute (the length is 3.3) as if it is a kokan vintage shakuhachi. (Also, because of this, it appears as if Kobayashi was a deceased maker from the previous century). Shimura explains that the Kobayashi flute is an example of modern jinashi shakuhachi. Other four flutes used for the recordings were borrowed from the Hamamatsu Musical Instrument Museum (originally a collection of Inagaki Ihaku). The makers of these flutes were Hayashi Kogetsu, Matano Shinryo, and Kokyo.

Unfortunately, Kobayashi is not as well-known outside Japan as he deserves. It was not until recently that we see his flutes on sale at Mejiro's website (previously, Mejiro had no interest in jinashi). Indeed, it has been difficult to obtain his flutes even in Japan. I am glad that he finally decided to make himself available for a broader community of shakuhachi players.

(p.s. The flute I used for the Eurythmy performances was also a 1.8 jinashi made by Kobayashi, which has a mellow yet crisp tone).

Eurhythmy

2011-09-14T20:44:00.000-07:00

Just came back from a tour to Steiner schools with performers of eurhythmy. We share much in common as we are sensitive and responsive to energy (rather than scale, harmony, pitch, etc., which many musicians are concerned about).

P.S.

2011-09-13T07:12:00.000-07:00

I asked Shimura-sensei this kind of questions - Which maker is good? Whose shakuhachi would he recommend? He was very careful making any judgmental statement. He almost implied that there is not absolute criteria. "If you are into myoan, kyosui playing is essential. Therefore you need to find one that allows you to play so." When it comes to this kind of advice, he becomes a clinician: He attends to the needs and preference of each person, the style of music the person is into, and then gives suggestions.

Among the many shakuhachi people I've met, he is one of the most balanced. He is aware of his standpoint as a leading player as well as a scholar whose opinion always counts to lay people, often much more than he anticipates.

Shofu Bunko

2011-09-07T05:50:00.000-07:00

I finally visited Shimura Zenpo’s jinashi shakuhachi museum this summer. We talked on a wide range of topics related to the shakuhachi. I had a precious opportunity to play some of his collection flutes, such as those made by Fujita Masaharu and Kobayashi Shomei. Fujita’s 3.6 was a giant and hard to hold with the finger holes in a straight line. But once I got used to it I could get some sounds. My impression of this flute was similar to that of Nishimura Koku’s kyotaku. I am not making any generalization out of this particular flute. Fujita made hundreds of jinashi, and they probably bore distinctive characteristics. I wished I could try those made by others such as Kono Gyokusui I and II.

While we were blowing into each other’s jinashi, I was constantly listening to how he played, especially how he controlled the tone quality. I often noticed that his tone color changed after adding an atari. I pointed it out to him. He simply responded that it was probably due to the flute’s capacity.

To note some memorable moments:

1. He used table gongs, small and big, to explain layers of the intricate tone coming from a jinashi flute. The sound of each gong was deep and reverberant with many overtones. These overtones sometimes merged in singular harmony, other times created layers of resonant vibration. This complex tone color is not easily attainable through jinuri shakuhachi as the latter tends to produce more focused tones.

2. He believes that the body for jinashi playing is different from that for jinuri playing. I asked him if he still plays a jinuri. “Yes,” said him, but he does that only to demonstrate the differences. Indeed, he picked up a jinuri and played it for me (only a few notes). His expression “keep pushing the air” is apt to explain the jinuri playing. “Save the air” for the jinashi, as “it vibrates with little air.” This made sense a lot to me.

3. Some flutes are suited for playing koku, and others are for mukaiji. Koku (Takiochi, Ajikan, etc.) begins with “tsu-re” and repeats the phrase “tsu-re” many times. Mukaiji repeats “ha-I” (“ri-hi” “ha-ro”). Jinashi flutes tend to bear characteristics that can be judged on these criteria.

4. He distinguished the art of "finger" and the art of "breath" to highlight what he thinks of as the jinashi playing.

5. He often plays takiochi (takiotoshi) using his 3.3 made by Kobayashi Shomei (see here for example). He claims that it is in the myotan taizan-ha style. But his playing of this particular piece on shorter flutes is much faster than how it is “normally” played by taizan-ha players (examples are included in his recordings of kokan shakuhachi). For this reason, some believe that Shimura’s taizan-ha playing is not authentic but influenced by the chikuho style. Well, Shimura was clear: He learned it from Sakaguchi Tesshin who was a student of Miyagawa Nyozan and Takahashi Kuzan. Sakaguchi’s playing of myoan pieces sounds similar to Miyagawa’s. It is faster, vibrant, making a significant contrast to the slower version of the piece performed by players of Tanikita Muchiku’s lineage. However, a question still remains. Shimura’s “tsu” for “tsu-re” is much deeper, which doesn’t sound like an influence from Sakaguchi. It sounds like the Jin Nyodo style. I wanted to ask about this point. But It was already time to say good-bye.

I was grateful that Dr. Shimura spared many hours for me when he was extremely busy with some deadlines for publication.

(Taken at Shofu Bunko)

Yamato Homei

2011-08-28T22:51:00.000-07:00

There seems to be a person in Europe interested in this information.

Mr. Yamato Homei is a Kinko player and maker. He studied with Master Yamaguchi Goro. He joined several of Yamaguchi's recordings. His shakuhachi is similar to that of Yamaguchi Shiro (with rough surface of the bore).

He graduated from the University of Tokyo and became a teacher at a university-prep school.

His website is: http://www2u.biglobe.ne.jp/~houmei/

It's probably best to see an excerpt from his upcoming DVD on Youtube.

Blowing angle

2011-08-12T05:40:00.000-07:00

This topic again.

This person explains that it is very important to maintain the blowing angle. According to him, the air needs to go downward. Put the second join of your finger as high as your nose and blow toward the palm. In theory, this leads to the uchibuki. He says that maintaining this blowing angle is very important.

He is also a great shakuhachi player. As far as I know, the dongxiao are jinashi (no ji in it).

Watazumi-do

2011-08-10T08:38:00.000-07:00

In continuation to the previous post...

I didn’t have a chance to take a lesson with Watazumi. But I have taken lessons with teachers whose lineage is “watazumi do.” They didn’t use such terms as “jiki, ai, kiri, chu, kai, koku, and mataiki.” Did Watazumi use these terms when teaching his students? Was it Yokoyama-sensei who used more generic terms for these expressions (ai for komibuki, kai for tamane, etc.) as a kinko player? These expressive characteristics seem to be essential elements of Watazumi’s art of shakuhachi playing. If there is anyone who teaches those as a basis for watazumi-do I would love to take a lesson.

Note: You don't have to preach me that those are Watazumi's jargons. He reconstructed many things including honkyoku pieces, shakuhachi terminology and concepts.

Watazumi Live CD Translation Track 1-3

2011-08-10T06:52:00.000-07:00

Track 1

私が説明して吹上すると、本当は気が散りますから、大変よろしくないのですが、今日は何を吹定するか分からないということで、みんな裏方のほうも大変困っておりますが、私がここに座ってみないと分からないものですからいたし方ありません。みずから説明してみずから吹定をいたします。吹定する前にはまずまぁ静観、ソウエンロウシの方は座禅でもいいのですが、私のほうは静観と。今のジョウをふったときも実は立って、振った後に静観するんですが、時間がありませんでしたから、やりませんでした。
If I explain before playing, I (or you?) would be distracted. So that is not good. Today, because no one could tell what I would be playing, the stagehands were really in trouble. But there is no way because I cannot tell until I go on the stage. So I will explain by myself and perform. Before a performance I normally do seikan. For Soen Roshi that can be zazen shitting. But in my case it's seikan. I twirled a bow a moment ago. I normally do seikan while twirling in a standing position. But today, I didn't do because there is not time for it.

[00:42] 最初、今、静観の末、考えつきましたのは、やはり本調というものを吹定します。これは最初に修行する道曲でございます。
After some seikan the first piece that came to my mind is after all honshirabe. This is the first dokyoku piece to study.

[03:30] 曲は、同じ曲は心境によって変化をさせることができるのですが、それはなぜかというとやはり呼吸の使い方にありますが、普通の呼吸の使い方のことをジキと申します。それからキリ、
The same piece can be performed differently, depending on one's feeling, through breathing control. The normal breathing is the "jiki." Then, the "kiri."

[demonstration]

[03:56] こういう音を今度変化させます。
And adding changes to these notes.

[demonstration]

[04:00} また、こういうのはまぁジキというのですが、こういう使い方を。それからアイというのはですね.
This is the jiki. This way of using. And the "ai."

[demonstration]

[04:16] こういうのはアイ。それからキリ。
This is the ai. THen, the "kiri."

[demonstration]

[04:27] こいうのはアイ。このきり方。それからチュウ。
This is the ai (sic). This way of cutting. Then, the "chu."

[demonstration]

[04:43] こういうのをチュウというわけです。それからカイ。カイ。
This is the chu. THen, the "kai."

[demonstration]

[05:03] これはカイ。それからコクといいまして、息が切れた瞬間にいれる呼吸の微妙な音をコクというわけで、
This is the kai. Then, this the the "koku." It is a subtle tone of your breath that emerges when you blow just after the previous tone ended.

[demonstration]

[05:34] こういうのをコクですね。それからカイとアイを組み合わせた音をマタイキをいうんですが。つまりこの音とこの音を組み合わせると。
This is the koku. Then, the combination of the kai and the ai is the "mataiki." That is, if you combine this [demonstration] and this [demonstration] it becomes,

[demonstration]

[05:56] つまりこういう組み合わせによって同一の曲をつねに変化させることができるわけで、また後で吹定してみますが。
With these combinations you can add a variety to the same piece. I will demonstrate them later.

Track 2

ここでしたがって、心月というものを吹定してみます。それが心境によって変化するところを吹定してみます。
Now, I am going to play shingetsu and demonstrate the way it changes to my feeling.

Track 3

次は少しにぎやかで手向けというものを吹定します。これはまぁ別に説明することはありません。
The next piece is a bit lively. It's tamuke. There is nothing particular to talk about this piece.

Japanaese music 101

2011-08-09T09:34:00.001-07:00

Fuji TV program on music called "ongaku no shotai" featuring modern Japanese music (more on scale).

National Congress Library Digital Archives

2011-08-09T09:22:00.000-07:00

Old recordings with no copyright involved are available here: http://dl.ndl.go.jp/#music

Shakuhachi recordings: http://dl.ndl.go.jp/search/searchResult?searchWord=%E5%B0%BA%E5%85%AB

"Haru no umi" by Miyagi Michio (koto) and Yoshida Seifu (shakuhachi): http://dl.ndl.go.jp/info:ndljp/pid/1319027

Beef, onion, sprite, ramen good for shakuhachi

2011-08-09T09:17:00.000-07:00

What would you eat (or avoid eating) before an important performance?

Japanese people often eat pork, especially deep fried pork called “katsu” before life-changing events, such as university entrance exams, because pork is believed to energize one’s body. My senpai musicians often took me to a tonkatsu restaurant before a performance exam. Why pork? Well, that’s because katsu in Japanese also means “win.” To me, this tradition is in part a superstition.

However, some people seem to eat certain food before a concert. For example, Yokoyama Katsuya was known for eating yakiniku (meat) to energize himself. Aoki Reibo seems to eat raw onion before a concert. Yamaguchi Goro preferred to drink “mitsuya cider” (it’s soda like Sprite). Another living national treasure seems to have said that ramen noodle is the best. Oily food generally keeps the moist in the mouth and prevents the mouth from drying up.

This person thinks that sushi is bad because vinegar takes water out. No sushi should be served for shakuhachi players before a concert (shamisen and koto players would be happy with sushi). Wadatsumi Fumon did not drink tea before a public performance. He thought strong tea would desiccate his mouth.

In my experience, honey water works well. Sugar water, hot chocolate didn’t work.

Share your experiences here!

Japanese Pedagogy of Art

2011-01-25T17:00:00.000-08:00

According to scholars of Japanese arts:

‘The teacher seldom identifies the error, but waits until the phrase is played correctly and then expresses approval’ (repetition of practice), and its ‘goal is to perform the piece exactly as the teacher has presented it’ (Trimillos 1989).

Throughout the process, verbal instruction and conceptual understanding are intentionally avoided as they may distract a whole-body grasp of artistry (Hare, 1998).

There is no artistic content for the performer to ‘grasp’ cognitively, but instead a surface aesthetic that ‘grasps’ or transforms the performer, shaping the artist into the form of the art itself’ (Keister 2004).

Yamaguchi Goro's students have written about his teaching style (see for details the edited book dedicated to Yamaguchi: ISBN-10: 4882933381). It was basically "teaching by non teaching." Here, I translate Mizuno Komei's memory of studying with Yamaguchi, which he posted on his website.

I have studied shakuhachi for 31 years since 1968 without any break. What's most gratifying to me was that I could study with Yamaguchi Goro sensei during this period of time.

During the 31 years, I had just one time in which Gamaguchi sensei made a complimentary remark on my progress, and two times he critiqued my playing. Otherwise, he normally said, "That's fine, that's all about it today." There was no feedback, whether my playing was good or bad, let alone any advice to my playing.

His mother told me these things: "Long time ago, the master teacher (Yamaguchi Shiro) got a student who was very serious about shakuhachi study. He memorized the music. The sheet music was put on the table for the teacher, not for him, and during the lesson, he kept starring at the teacher. He copied everything even when the teacher moved his eyebrow." Another time, she said, "One student complained that the teacher (Shiro) didn't teach anything while receiving the lesson fee. Artistry is not something you are taught to master but you steal from your teacher."

Surely, there is not much we can explain about music through language, as music expresses subtlety of human emotion. I believe that Goro-sensei also shared the same idea with Shiro-sensei, namely, you can only "steal" artistry from your teacher. Those who cannot understand it cannot understand it any way even with words, and those who can understand it can understand it without verbal explanation. Thus, either way, verbal explanation is unnecessary. I tried to be the latter by sensitizing my ability when I was taking lessons. When playing together with Goro-sensei, I tried to restrain my volume so that I could hear what he was trying to teach me. I am not sure even now if I could ever steal any of his artistry.[This is a Japanese way to be modest.]

Teaching by non teaching is a part of the Japanese teaching style. I've come across many teachers like Yamaguchi Goro who are not explicit in words. Playing together is the dominant format of teaching. But then, one may question, does this work outside of Japan? Many shakuhachi teachers, especially non-Japanese teachers, have reported that they needed to change their teaching styles they naturally acquired in Japan in order to accommodate to the needs of students outside of Japan. I remember local students of Kumamoto prefecture, upon meeting North American shakuhachi students, repeated several times, "You have only studied shakuhachi for 4 years, and you are already so good. I envy you because our teacher...."

I can see the values of both sides.

Tips to be an out-blower

2011-01-21T16:26:00.001-08:00

http://b-log-b-log.blog.so-net.ne.jp/2010-08-16

http://jennifercluff.blogspot.com/2009/05/il-flauto-traverso-by-gianni-lazzari.html

http://www.youtube.com/watch?v=NcXRzZZv1mE&feature=player_embedded

Blowing inward and blowing outward

2011-01-18T01:27:00.001-08:00

We often talk about uchibuki (内吹き) and sotobuki (外吹き). Uchibuki (blowing inward) means more air goes into a pipe. Sotobuki (blowing outward) refers to the opposite blowing style, that is, less air goes into a pipe.

The nature of advice and tips for shakuhachi playing varies, depending on which style you are familiar with. Some of the descriptions below may be useful if you already know your blowing style.

But how do you know your blowing style.

A visual example of blowing inward here.
A visual example of blowing outward here (in Okamoto’s research)

The player in the first example is Sogawa Kinya, a very good player and maker. Okamoto plays in the second example. In these video clips, you need to pay attention to where the air goes around the utaguchi.

Two ways to know if you are blowing in or out:

1. Use a kleenex like this

2. Put a candle (or lighter) under the bottom of your shakuhachi and blow Ro. If the fire disappears, you are likely to be a blowing inward person. Alternatively, you can put a candle near the utaguchi. If the fire disappears, you are probably a sotobuki player.

Those who blow downward tend to be uchibuki players whereas those blow straight or upward tend to be sotobuki players.

If you are an uchibuki player, you better use an instrument that is catered for uchibuki players (according to Sugawara). You play with an image that the air goes into the flute (downward).

If you are a sotobuki player, one tip for better playing is to make the lower line of your air jet (like air beam or blade) hit the top side of the utaguchi edge. It is like "shaving" the utaguchi.

Ishikawa introduces a way to switch from a blowing inward style to a blowing outward style based on his personal experience. (I summarized his point here. Take a look at his website for more info). Usually, when playing kan notes (high register), you tend to blow outward. Ishikawa therefore practiced this way. By maintaining the Re in kan position, he lowered the pitch to otsu Re, while paying attention to the blowing angle (not allowing the air to go into the flute). After getting used to this Re position, he practiced Ro in otsu in the blowing out position.

Generally, sotobuki generates a softer, louder, shimmering tone quality. Uchibuki is good for hard, dark, condensed tones.

Personally, I prefer the uchibuki tone quality when it comes to meri notes. I cannot get as big meri sound in the sotobuki style as I can in the uchibuki blowing. (It's a bit like trading in the brightness of kari tones for the richness of meri notes). Note that one cannot easily switch the blowing style while playing. It's more like changing a habit, which takes time.

Examples of sotobuki players: Yokoyama Katsuya, Kakizakai Kaoru, and many.
Examples of uchibuki players: Aoki Reibo, Tanabe Ryozan, Onishi Jofu (based on others' observations. I have not confirmed with each player)

This player is also probably an uchibuki player.

Sugawara Kuniyoshi tested more than 40 professional players and identified more sotobuki players than uchibuki players -- about 2 to 1 (Hogaku Journal, 2008, no. 260). He states hat the often repeated instruction in textbooks -- dividing the air into half the inside and outside of the flute -- is incorrect. In reality, the larger the deviation is, the larger the volume is. So is the tone quality (with less noise). This is confirmed in research on the pipe organ (by Yoshikawa Shigeru). So the first thing you need to know in order to improve your playing is your blowing style.

He also found that out-blowers were able to play other players' flutes that they had never played before, but in-blowers were NOT or even if they could, the sound was not as vibrant. Thus, he recommends that in-blower students had better acquire their instruments from in-blower makers.

My encounters with shaku players in the West seem to recommend the sotobuki style only (this could be an influence of Kenshukan teachers such as Kakizakai). Players of the western flute show a bit different attitude: More seem to appreciate uchibuki over sotobuki (the French style, etc.). But this is not certain yet.

The bottom line is (1) understand your blowing style and (2) seek advice from a teacher who is aware of the different blowing styles. Preferably, your teacher’s style is the same as yours.

I’ve come across many teachers (and makers) who simply say to their students (and customers), “your playing is not good enough,” when the student’s blowing style is not the same as theirs.

The meaning of "sugagaki"

2011-01-13T19:59:00.000-08:00

According to the 大辞泉 dictionary, sugagaki means;

1. One of the techniques used for the Japanese koto (wagon), which involves plucking all the strings at once from the near side and then stopping them except the third and fourth strings, using the left hand, so that the reverberation of these two
strings remains.

2. signifies koto or shamisen pieces, composed in the early edo period, which do not contain singing parts. An example is "rokudan sugagaki" (rokudan no shirabe).

3. A kind of shakuhachi honkyoku music. It's been said that this was originally an arrangement of the above kind (definition 2) but not certain. An example is "sanya sugagaki."

4. One of the shamisen phrases, a simple one, performed by a series of alternation between playing the second and third strings simultaneously AND plucking only the third string. During the edo time, prostitutes of the yoshiwara area performed to attract customers in front of the shop. Called "mise sugagaki."

5. A kind of "geza" music for kabuki that contains the #4 phrase mentioned above; it also refers to other kinds of shamisen music containing the #4 phrase. It is an indication of "kuruwa." (Geza music is played as background music behind the stage of kabuki performance where it is covered by a black blind. Kuruwa signifies an enclose area, such as a prostitution district, which in older times was enclosed by walls or trenches.

According to the 大辞林 dictionary,
Sugagaki (清掻・菅掻) is a noun of the verb "sugagaku."

1. One of the kata forms of wagon technique. It is often used in pieces as a basic form.

2. Koto or shamisen pieces composed in the early edo period that do not contain a singing part.

3. Often written as 菅垣, it is attached to names of shakuhachi honkyoku pieces, such as "sanya sugagaki." The original may mean the music of stringed instruments.

4. The kind of music prostitutes played inside the lattice of a sex house to while waiting for customers. It is a form of shamisen music with no singing part. "Mise sugagaki."

5. A kind of geza music, performed in the scene of yoshiwara.

Shimeda Takashi writes in 日本大百科全書 that:
...is written 菅掻、清攬、or 菅垣. Generally, it refers to a set of instrumental music from the kinsei (16th-19th century). It is a name of instrumental music played with so (koto), shamisen, and hitoyogiri, which tends to be introductory pieces. This kind of pieces are included in "shichiku shoshinshu" (『糸竹初心集』（1664） and "oonusa" (『大ぬさ』（1685）.
There are also many koten honkyoku shakuhachi pieces that have a sugagaku title, such as "akita sugagaki" and "nidan sugagaki."
It is a basic technique used for the wagon. It also refers to phrases that include
this technique.
Also used for the gakuso (a koto used in gagaku music) for the same reason.

It also serves as the name of phrases used in shamisen music. It began`as a simple expression played by prostitutes in the Yoshiwawa of Edo as a means to attract customers. It was later included in theater music and became an expression of the yoshiwara and kuruwa (red district). Its applications can be found in tokiwazu, kiyomoto, and nagauta (styles of music).

According to the 日本国語大辞典,
Sugagaki is a technique used in wagon playing... There are two ways: Plucking the strings from the far side, called jungaki, and plucking from the near side, called gyakugaki. [I think the combination of these two is called katagaki.]

According to the 日本国語大辞典,
Sugagaku 清掻 as a verb means playing some notes sporadically rather than performing
a piece or a set of technique.

[Example: "You shouldn't sugagaku (play around or improvise)but play hon-choshi or tsu-re everyday."]
I was told that Akita sugagaki is a "soft" piece whereas koku, monbiraki, shinya, etc. are "hard" pieces. Sugagaki may carry some "feminine" connotations....

Kondo Soetsu

2011-01-09T06:28:00.000-08:00

Kondo Soetsu was originally from Nagasaki where he was exposed to a
Chinese trumpet (Perhaps, suona). Nagasaki at that time was exposed to foreign cultures, and Chinese music (shingaku) was easily acceptable. Soetsu moved to Kyoto and studied myoan shinpo-ryu with Ozaki Shinryo.... Because his emphasis was gaikoku,not honkyoku, Ozaki designated Katsuura Shozan, not Kondo Soetsu, for the successor of the myoan shinpo tradition. After moving to Osaka, he established the foundation for sankyoku collaboration. He was the founder of soetsu-ryu in which he promoted gaikoku pieces. Although he was small, his sound was large and quite vibrant. Many studied with him. Examples were.... Many players of the time who were ranked top in the 1871 (meiji 4nen) shakuhachi ranking were his students. Because he held the flute horizontally, he was called "charumera Soetsu." The soetsu school no longer exists. Nakao Tozan studied with a student of Soetsu. Sakai Chikuho also studied with a student of Soetsu.

Pedagogy of Kata

2011-01-04T18:17:00.000-08:00

In the context of Japanese knowledge transmission, the primacy of bodily form is evident (Tsujimoto, 1999). Kata is the philosophical principle that underpins the bodily form of artistry transmission (e.g., Hahn, 2007; Matsunobu, 2007b, 2009; Powell, 2004; Yuasa, 1987). Traditionally, Japanese arts have been preserved and transmitted through kata, literally ‘form’ or ‘mold,’ through which students learn structures of art, patterns of artistic and social behaviors, and moral and ethical values, all in accordance with prescribed formulae. Kata is a set of bodily movements that have been developed and preserved by precedent artists. The most efficient and authentic way to master the artistry, it is believed, is to follow the model defined as kata.

Central to this pedagogy is the repeated practice and imitation of the model through the body. The acquisition of kata is thus a ‘discipline for shaping one’s body into a form’ (Yuasa, 1987: 105). Trimillos’ observation of a Japanese teacher epitomizes the characteristics of kata learning: ‘The teacher seldom identifies the error, but waits until the phrase is played correctly and then expresses approval’ (repetition of practice), and its ‘goal is to perform the piece exactly as the teacher has presented it’ (Trimillos 1989: 39). Yano (2002) observes that the Western dualism between form and content, each of which traditionally corresponds to the false and the true, dissolves as continuous and interpenetrating parts in the theory of kata. Kata is content attendant upon form. The creative goal of kata-training is ‘to fuse the individual to the form so that the individual becomes the form and the form becomes the individual’ (Yano 2002: 26).

Kata is also a social practice in that it involves the body directly in a social setting. Through the correct imitation of formal patterns that define not only ideal artistic expressions but also ideal moral behaviors, students participate in the social embodiment of values. The difference between kata and what we are familiar with as ‘form’ (called katachi in Japanese) is that the former is a content-attendant, embodied, habitual, contextualized, and value-laden form, whereas the latter is an abstract and empty form. Kata historicizes, socializes, and spiritualizes the individual, but katachi formulates, abstracts, and standardizes one’s imagination and thought.

In the context of noh performance, the distinction between kata and katachi is explained through the concept of tai (‘embodied form’) and yū (‘expressiveness’ or ‘taste’). If someone expresses a piece only with yū (that is without tai), the performance is not considered as a representation of the piece. The founder of noh, Zeami Motokiyo (1364–1443), elaborates it in this way:

One must know tai-yū in Noh. Tai is like a flower and yū is like its scent. Or tai is like the moon and yū like the moon-light. If one has a thorough comprehension of tai, one should naturally possess yū…. No one should copy the yū, the outer appearance of the performance. Those who know enough see another actor’s performance with heart and soul and so copy the work of tai. When the tai is closely copied, the actor’s performance will naturally have yū with it. (Sekine, 1985: 117–118)

The core of a piece of work derives from tai (or kata) not yū (or katachi). If someone has copied only the latter, but not the former, then his or her expression becomes superficial and lacks spirit.

KM: Is your embodiment of shakuhachi music based on the kata or devised as katachi?

A Word A Day

2010-09-01T08:06:00.000-07:00

A friend of mine taught me a new word.

The word is beek. It's a verb with two meanings: (1) to bask or warm in the sunshine or before a fireplace, stove, or bonfire; and (2) to season (wood) by exposure to heat.

Beek the bamboo

"The beeking step is quite important in ensuring the strength and resilience of the bamboo."

It almost might sound like the word "bake"--or people might think that's what you're saying.

Viewed from the inside

2010-08-29T22:27:00.000-07:00

Many students came to study with this teacher. He was very strict yet deep in his heart. He didn’t hesitate to criticize his student during the lesson. One day, the teacher asked a student to play for him. Unsatisfied with his performance, the teacher asked a female student next to him and asked for her opinion. She said, “It was machine like.” This teacher didn’t like how the student played the piece with no heart. This student eventually became a good player, even though this teacher’s opinion about this student did not change.

Another time, there was a foreign student who came to study with this teacher. This teacher kept reminding this student that he was not doing right on many points. The teacher finally asked another student to translate his advice into English so that this student could understand better. After hearing his advice in English, the student became grumpy and stared at the translator. The translator told the teacher: “I don’t want to get involved in this. You better ask those female students to do it, as he is not going to listen to me.” Since then, the teacher stopped giving detailed advices to this student. Even so, this student was eventually granted a shihan license. "Why?" Some of his students asked. The teacher responded: “Because he insisted that he needs a teaching license to get a teaching position in his country.”

Although this teacher didn’t like these students’ performances, they became good players. It indicates, however, that their spirits were different from what the teacher tried to cultivate in them.

Take ni awasete fuku

2010-08-23T04:35:00.000-07:00

Depending on the character of the flute, the player needs to accommodate his or her playing style, even embouchure in order to play it. (Japanese expressed this pedagogical idea by saying take ni awasete fuku, or “blowing according to the character of each piece of bamboo”).

Shimura Satoshi uses the term “Iki no michi” (“route of breath air”). He claims that the ji-nashi shakuhachi, especially old ones made during the Edo period, shows a wide variety of differences. These flutes do not sound resonant unless the player accustoms himself to its character brought by its unique, innate bore shape. The player needs to change his blowing style in the way that the air passes through a uniquely shaped inner space of the bamboo. This process requires months of practice and acclimation. (In the interview posted earlier, he described that he had come across ji-nashi that didn’t sound well initially but later changed his impression).

Toya Denko (1984) goes so far as to say that the air carves bamboo:

The ji-nashi shakuhachi is different from one another in terms of inner bore space. The player needs to get used to its own blowing style. Otherwise, the pitch may be inaccurate and the sounding may not be rich. However, as he plays it for some time, he understands the tips of how to blow into it. Because it does not bear a filling material inside the bore, the bamboo fabric may naturally be shaped in time [by blowing air] in a way that it resonates well. This transformation is called “road takes shape” (michi ga tsuku).

How long does it take to shave the bore until the bamboo sounds good? Must be more than a couple of months. Not my experience.

礫川餘光's interview with Tomimori Kyozan 5

2010-03-11T06:08:00.000-08:00

Track 6

There is a variety of honkyoku pieces. Tsuru no sugomori in kinko is to be played for happy occasions. Following the san-san-kudo style of wedding ritual (shinto based), the piece repeats koro-koro 3 times and again 9 times. In time, the piece gradually changed like that, depending on who performed (altered) it. The myoan version of kyorei, too. The koro-koro phrase was omitted by Higuchi Taizan sensei because it is too difficult to play. Great masters can do it. But when playing in renakn (ensemble of more than 2 players) for kenkyoku (music offering), the koro-koro in ensemble doesn't go smoothly. The proverb says it takes 3 years to master the koro-koro technique. That's why Higuchi sensei deleted it. Just as he did, honkyoku became both sophisticated and spoiled due to players' additions. The style of ajikan that people play today is exactly the case.

Today, Ajikan is played quite differently from how Miyagawa Nyozan played. Although the form is the same, the level of spirit is different. Myozan's verve is no longer carried. The original of Ajikan, Sashi (that people play today), is rather closer to Ajikan in taste. Ajikan is an interesting tune. Sashi (that had been transmitted) in the Oshu area was brought to Fukuoka and became Shinhichi Sashi. This was brought to Kyoto by Miyagawa Nyozan. To this Higuchi Taizan in Kyoto added phrases from Koku as well as a melody taken from a shomyo song, Akigarasu (autumn crow), which became Taizan's Aji. It was Suenaga Sessan in Fukuoka who named Ajikan. Miyagawa Nyozan learned Oshu Sashi from Hasegawa Togaku who was the last abbot of Futaiken in Sendai, and Nyozan's Ajikan embraced his myoan style and the Oshu style of playing.

The reason why many people today play Ajikan in such a stagnant style is that many learned Ajikan from Tani Kyochiku who used 2.5 long shakuhachi. That's how it became a dull, dark song. Miyagawa Nyozan played it on 1.8.

Interviewer: There is a recording of Miyagawa Nyozan's Ajikan, even though the quality of the recording is not so great.

Kyozan: Yes, unfortunately, the recording does not carry the true sounding. To our ears, his playing actually sounded quite rough. But he had subtle expressions that nobody could imitate—the level of frantic playing. That is the true Ajikan that expresses the spirit of shingon's Ajikanpo (?). That is what is missing in today's performances. Only the form is imitated. People simply drag the song and extend the form.

Interviewer: There is also a recording of Nishimura Koku's Ajikan. He was a disciple of Tani Kyochiku.

Kyozan: Yes. Tani Kyochiku's Ajikan also carries some sort of taste and import when played with a longer flute. However, Miyagawa Nyozan said, "I wonder where he learned it from? If that is the Miyagawa Nyozan's Ajikan, it would be troublesome." I think it is fine if there is Tani Kyochiku's Ajikan. But he probably should have changed the name
of the piece.

礫川餘光's interview with Tomimori Kyozan 4

2010-03-11T05:51:00.000-08:00

Track 5

You are working on a difficult subject. When it comes to honkyoku, you cannot understand it unless you devote yourself to performing it. It cannot be approached through books. Besides, there is very little literature about it.

There are good female players, do you know that? For example, Iso Ikko (joshi) in Fukuoka. She already played the shakuhachi when she was in girls' school. The wife of deceased Myochin-san in Shikoku was also good. So here and there. People tend to think that the instrument is for men.

礫川餘光's interview with Tomimori Kyozan 3

2010-01-30T05:09:00.000-08:00

Track 4

The interviewer: Is there any kinko player who today transmits the old former of playing?

Tomimori: Ummmmm. When it comes to honkyoku... Masters like Araki Chio-san played both classics and sankyoku well. But usually it is not easy unless they are really great masters. Miura Kindo-san played honkyoku well in kinko-ryu. He was a brother of Miura Kinnosuke who was the jiinokami (servant?) of the meiji tenno emperor. I visited to comfort him after the Great Kanto Earthquake occurred (in 1923) and found him still making shakuhachi including larger bore size flutes. I asked him if kinko people also play such sizes of shakuhachi. He answered, "honkyoku needs to be played on bigger bore flutes." Now kinko shakuhachi are much narrower. I wonder if many people today hope to have Miura Kindo's shakuhachi, cause someone said "if you find Miura Kondo shakuhachi, let me know. I would buy it for 300000 yen." Shakuhachi became quite expensive. Today, kinko-ryu people themselves say that none of kinko-ryu masters play honkyoku well. That should be impossible, as the emphasis is now placed on sankyoku performance. I think that's fine - they play sankyoku. If kinko-ryu people play myoan shakuhachi, then sankyoku players won't be enough in number. Then, this (money) dries up! (laugh) That's why it is impossible. So kinko-ryu honkyoku is like daijo (mahayana), and kinko-ryu people should acknowledge and make good use of it. When it comes to theater music and other kinds of music, kinko-ryu playing is better. When it comes to music offering, myoan would be better. Each has pros and cons....

礫川餘光's interview with Tomimori Kyozan 2

2010-01-21T04:37:00.000-08:00

Track 3

So when the shakuhachi began to merge with the strings, the need to study scales emerged. Before the genroku (of the edo) period, people changed the lengths of shakuhachi to play in ensemble. However, after the genroku period, around the time of the first Kurosawa Kinko, 1.8 shakuhachi became the standard size. As a result, shakuhachi pieces needed to be transposed to different scales. Then, five scales of shakuhachi music emerged.

"Mukai Reibo" and "Koku Reibo" in kinko-ryu were transposed to the akebono scale. "Sanya Sugagaki" and "Kumoi Jishi" were transposed to the kumoi scale. These are very precious pieces, as they show traits of transposition and the five scales. The music score(s) of these pieces recorded around the time were also well written, much better than those of myoan shakuhachi. Half tones were also being used in kinko-ryu only after the meiji period. They were not used initially.

[Tomimori doesn't seem to explain well in the first part. He probably wants to point out that prior to the influence of strings, all the shakuhachi pieces were played in the same scale. Not sure about this]

Orchestra Asia

2010-01-20T06:05:00.000-08:00

Around 4:35... Not my cup of tea. Makes me wonder to what extent the differences of underlying values were filled.

Funagawa Toshio 2

2010-01-05T21:20:00.000-08:00

More recordings of Funagawa Toshio

Funagawa was born in Shimane in 1931, began tozan shakuhachi at the age of 16 with Matsuda Suizan. In 1956, the year when he received a shihan rank, he moved to Tokyo and studied Furukawa Taro, a koto player. He was awarded the first prize at the Tokyo Shinbun hogaku competition (composition) , the Minister of Education prize, and the NHK prize.

B-2 Koto quartet (three movements: 1 Moderato, 2 Lento, and 3 Allegro)
Shakuhachi by Miyata Kohachiro, plus koto, viola, and cello

B-1 Shakuhachi trio (four movements; 1, 2, 3, and 4)
Shakuhachi: Aoki Reibo, Miyata kohachiro, Yokoyama Katsuya

A-1 Suite: Izumoji (1. Kiyomizudera no boshiki; 2. Matsuri; 3. Shinjiko no yubae)
Shakuhachi: Yokoyama Katsuya, plus, two koto(s), and 17-string koto

A-2 Shakuhachi Quintet (two movements: 1 and 2)
Shakuhachi: Miyata Kohachiro, Yokoyama Katsuya, Aoki Reibo, plus koto (Haga Mikiko), and 17-string koto (Miyashita Shin)

A-3 Buson’s poetry (four movements titled with Buson’s poems)
Koto: Nakata Sonoko, Narrator: Funagawa Toshio

A-1 Satoru: Ensemble Concert for Two Shakuhachi and Groups (gun)
1. Shiru; 2. Sameru; 3. Oboeru; 4. Satoru
Solo shakuhachi: Aoki Reibo and Yokoyama Katsuya
Group shakuhachi: (Part 1) Sakata Seizan, Soekawa Hiroshi, Kanei Akio, Inoue Yoshinori, (Part 2) Kono Masaaki, Nagase Kenji, Furuya Teruo, (Part 2-2) Mitsuhashi Kifu, Seki Ichiro

B-1 For koto and sangen

B-2 Shiki no tsuki (four movements: 1, 2, 3, and 4)

A-2 Symphonic poem: Ocean

B-3 Fuku kyosokyoku (multi concert) for koto and shakuhachi
Conductor: Fukuda Kazuo, Shakuhachi: Funagawa Toshio, Koto: Haga Mikiko, and the hogaku ensemble

1. Hachidan, 2. Midare
3. 足をはずされた客車のうた

Funagawa Toshio Memorial Concert Recordings

2009-12-28T01:23:00.000-08:00

Funagawa Toshio Memorial Concert
April 11, 2009
Live recordings

2. Shakuhachi Trio
- Fujiwara Dozan
- Zenyoji Keisuke
- Mitsuhashi Kifu

4. Koto Quartet
- Fujiwara Dozan (shakuhachi)
- Ikegami Shingo (koto 1)
- Tone Hidenori (koto 2)
- Kezuka Tamako (17-string koto)

5. Ajikan
- Korikawa Naoki

Multi Concert
- Funagawa Toshio (shakuhachi solo)
- Haga Mikiko (koto solo)

6. Shiki no tsuki
- Izeki Kazuhiro (Voice and koto)

7. 「覚」Ensemble Concert for Two Shakuhachi and Groups (gun)
- Inada (conductor)
- Kono Shomei or Masaaki(shakuhachi 1)
- Mitsuhashi Kifu (shakuhachi 2)
Group 1: Fujiwara Dozan, Mizukawa Toshiya, Tanabe Ryozan, Harago Takashi
Group 2-1: Sugawara Kuniyoshi, kato Hideaki, Motonaga Taku(?)
Group 2-2: Sogawa Kinya, Zenyoji Keisuke

Details of the program are here: http://www.musicon.co.jp/hunakawa.htm

Tamuke

2009-12-22T06:17:00.000-08:00

My uncle passed away a couple of days ago. I came back home earlier today and played tamuke while his funeral was taking place in Japan. Facing north over incense sticks, I sat on the floor and played the piece countless times. (Later, my mother said that the monk's chanting at the funeral was extremely long. So was my playing/praying).

Tamuke has several versions. Someone told me that there are three versions. I know of only two. The most well-known version (perhaps, the only version known in the West) is Watazumi's rendering.

My learning of the piece owes much to the recording of Sakaguchi Tesshin. I notated the music by listening to his recording. Later, I noticed that my teacher's teacher learned the piece directly from Sakaguchi Tesshin, and so I got his transcription.

Tamuke is often said to have come from the Nagoya area. But my teacher's teacher believes that tamuke was composed by Takahashi Kuzan who was actually the teacher of Sakaguchi Tesshin (Sakaguchi's other teacher was Miyagawa Nyozan). The reason for his claim is that he could not find tamuke in the Fudaiji music score book. Besides, he cannot find anyone who played the piece before Takahashi Kuzan.

When I discussed tamuke with my teacher's teacher, he interestingly pointed out that tamuke has much in common with sanya, the myoan "shinpo" version of sanya (three valleys), which is a completely different piece from the taizan-ha sanya. It is played with deep tsu meri and chi meri (in the so-called miyako-bushi scale). I like this version of shinya. It carries some special import and taste. In fact, Katsuura Shozan (the last shinpo-ryu person from Kyoto Myoan temple before Higuchi Taizan took office) loved this piece. It was not just that he loved the piece, but the music was very special to him.

This afternoon, my hands naturally moved too much trying to execute Watazumi-like expressions, as I am also sort of familiar with that style. But for this occasion, the simpler version suited better. I believe that shinpo-ryu sanya also goes well for a funeral. The only problem is that the piece is too long. There is a dramatic expression near the end of the piece. But the audience needs to wait long before getting to that point.

So I did "tamuke" today (tamukeru as a verb). Hopefully, it reached my uncle's spirit before he reached Pearl Gate.

P.S. Some people say that Tamuke actually comes from Yamato or Nara. So there are more than just one homogeneous view about its origin.

Description of Watazumi in Loori (2004)

2009-12-22T06:04:00.000-08:00

Quotes from Loori, J. D. (2004). The Zen of creativity: Cultivating your artistic life. New York: Random House.

Doso didn’t use the highly polished lacquered and well-tuned flutes…. His flute was much less processed and far closer to its natural state. The inside of the section he used still revealed the bamboo guts. Most people, even experienced masters, considered that kind of instrument unplayable. Doso’s music proved that wrong. His playing always touched the very core of one’s being. Sometimes the sound had a tremendous strength, like the driving force of a cascading waterfall. Sometimes it roared like thunder. At other times it was gentle and sweet like birdsong at sunrise. It always seemed to reach me, but not through my ears: It entered my body through the base of my spine, moved upward, and spread through my being. (pp. 171–173)

the ability to be free in his music was the result of Doso’s life-long, unrelenting commitment to the discipline of the breath. He actually wasn’t very interested in the shakuhachi as a musical instrument. He called his flute suijo, which loosely translates as “concentrated breathing tool.” Doso saw himself not so much as a musician or entertainer, but as one who is totally devoted to developing his life force—chi [ki]—by utilizing and strengthening his breath. The bamboo flute was simply a tool for that practice. He said once, “Since I must have some way of knowing how my breath is doing, I blow into a piece of bamboo and hear how it sounds.” (p. 173)

Live recording of Watazumi

2009-12-18T15:30:00.000-08:00

A new CD of Watazumi is now released. This is not a re-release of an older CD. The first seven tracks are a recording of his live performance at "Watazumido wo kiku kai." A LP of this recording existed, and many students repeatedly listened to it. They've been hoping to have a CD version, as their old tapes are so worn out.

1. Honshirabe
2. Shingetsu (performed in two different ways)
3. Tamuke
4. Shishi (Azuma)
5. Tsuru no sugomori
6. Kyorei
7. Koku

He provides some verbal explanation about the pieces and his technique. After Honshirabe, he demonstrates basic components of his expression: Jiki, Ai, Kiri, Chu, Kai, Koku, and Mataiki, and how these can convey his feeling. It blows me away. Track 1 is a must to listen.

The CD has 12 tracks

8. Daiotsugaeshi
9. Kaze
10. Sagarinami (not Sagariha)
11. Korosugagaki
12. Matsukaze

The tile of the CD is "Wadazumido: Musōshoku, Muchōon"

礫川餘光's interview with Tomimori Kyozan 1

2009-12-11T06:16:00.000-08:00

This two-hour interview was recorded on October 27 in 1968. He talks really interesting stuff (such as "yabu-garashi," introduced earlier on this blog). I will be translating parts of his interview so that people (especially, my friend who kindly shared the recordings with me) can get a sense of what Tomimori Kyozan was saying.

1 Track 2

Honkyoku has gone through a few hundred years of transformation. The current form of honkyoku is different from its primitive form of origin. Among the oldest pieces are kyorei, murasaki no kyoku (which Ikkyu Zen master is said to have played), and sagariha (which was played during "nenbutsu odori," or chanting dance).

These days people often talk about koku. It is a sophisticated piece. But the initial form of the piece was not that sophisticated. Until the middle muromachi era, the shakuhachi had been 1.6 at longest. It could have been 1.4 to 1.5. Finger holes were also small. Thus, it was impossible to play half tones. There was probably no need to use semitones. The reason for no meri effect in myoan playing derives from that primitive style. In contrast, the kinko music is sophisticated. That's the influence of string instruments such as the koto, kokyu, and also shamisen (after keicho period) of the ensemble context. Hitoyogiri was also used in ensemble with shamisen....

(to be continued in the next track)

Follow-up

2009-12-11T05:55:00.000-08:00

Yes, Shimura Zenpo plays both ji-ari and ji-nashi fairly well. There are probably many professionals who play ji-ari as skillfully as he does. But when it comes to long ji-nashi, he is definitely among the best. (I am referring more to his tones than his musicality).

Other Japanese players who handle both are Izumi Takeo and Kobayashi Shomei (known more as a ji-nashi maker who is starting monthly ji-nashi "playing" lessons at Mejiro). It wouldn't be so convincing if someone who only plays either ji-ari or ji-nashi says "playing ji-ari and playing ji-nashi are two different things."

One of these people said, "The difference is not that complex. It's just that you can play ji-ari well without using the abdomen, but not ji-nashi."

Overcoming the ji-ari and ji-nashi demarcation

2009-12-05T23:08:00.000-08:00

In his dissertation exploring the features of vintage shakuhachi flutes from the Edo period and performers’ bodily experiences of playing them, Shimura conceptually distinguished a group of shakuhachi practitioners who pass down and practice a repertoire of honkyoku music on the ji-nashi shakuhachi—-those belonging to what Shimura describes as the “first world”—-from other practitioners in the “second world” who play a variety of music, ranging from classical music to pop music, using the ji-ari (ji-nuri, ji-mori) kairyo shakuhachi.

In the first world, the meaning of practice is determined and acquired by experiencing the spirit of komuso shakuhachi tradition through performing honkyoku music. While the emphasis of practice in the second world is often placed on enhancing one’s musicality, the practice of the first world is characterized by its spiritual orientation, often explained through the notion of ichion-jobutsu (“one tone, enlightenment”) in which the practitioners play music for their own self-cultivation.

Shimura argues that there is no distinction between professional and amateur players in this first world. Nor is there an audience who pay admission for a professional performance. The participants practice from a sense of community; this compels them to share, acknowledge, and uplift their spiritual experience of music, like how people experience at kensokai music offering events. Often, teachers in the first world possess a strong sense of responsibility to inherit and transmit traditional forms and thus provide austere lessons.

In contrast, the second world consists of institutional, school-based groups of practitioners, in addition to independent-minded musicians, that are characterized by such ranking as shihan (teaching license) and dai-shihan (great master license). In this world, performing with other established koto and shamisen groups is also an important aspect of their activities. Shimura, though quite implicitly, contrasts the epistemological differences of the two worlds and argues that the value system of one world is not easily understood from the perspective of the other.

Shimura demarcates these two worlds in order to underscore the value system of the first world, which is mistakenly labeled as “old” and “unmusical.” His distinction (between musical and the spiritual orientations to shakuhachi playing) seems more useful than the separation between the ji-ari and ji-nashi shakuhachi. For, many of the self proclaimed ji-nashi players, despites their use of ji-nashi flutes, actually belong to the second world, in which the musical result is an important determining factor. Besides, their choice of the ji-nashi flute in the second world is often based on functional reasons (e.g., volume, pitch, playability of the instrument) rather than spiritual ones. The former is associated more with the “external” dimensions of music, and the latter with the “internal” ones.

Where do you belong? What's your value? If you come across someone from the first world, you are lucky, as most players in Japan belong to the second world these days. Hopefully, there are still a number of practitioners in hiding while practicing the spiritual shakuhachi.

Nishimura Koku & Watazumi Fumon

2009-11-27T06:58:00.001-08:00

This is what I heard from one of Nishimura Koku's students.

One day, Nishimura happened to sojourn at the hotel where Watazumi (Fumon) was also staying. These two players were somewhat similar in what they did: Both played long ji-nashi flutes. They named their own flutes and styles of playing, "kyotaku" and "watazumido," respectively. Also, both embodied great influences of the last komuso Tani Kyochiku. Whereas Nishimura was thought of as the master of shakuhachi in the West (western Japan), and Watazumi was considered as the master in the East (eastern Japan). [Just ignore the fact that Watazumi was also from West Japan originally].

At the hotel, both Nishimura and Watazumi were informed that two great shakuhachi masters were staying there. It was Watazumi who took action first. He sent a messanger to Nishimura and asked Nishimura to visit Watazumi for greetings (maybe, more like salute). Nishimura, as older than Watazumi, became quite disgruntled. Eventually, these two great masters didn't see each other and never encountered again in their lives. According to Nishimura's student, Nishimura was mokkosu, which means "stubborn" in Kumamoto dialect. Kumamoto people are known as being mokkosu.

Both Nishimura and Watazumi established philosophies of shakuhachi "do" or way of life. Both are great. To me, one major difference between Nishimura and Watazumi, apart from their performing styles, is the degree of influences they left on their students. Whereas Watazumi's influence is identified in his students' musical dexteriority, Nishimura's students always talk about their memories of Nishimura - beyond musical impacts - and we can easily tell what Nishimura means to their lives. Their bonding was formed around Nishimura's spiritual influences.

Nishimura's students emphasize that studying with Nishimura was more about life learning and becoming a true human being. Even now, after Nishimura’s death, playing the shakuhachi for them is a reminder of Nishimura’s teaching. For many of Nishimura's students, the connection and bonding with Nishimura has been central to their shakuhachi learning experiences. While students of other well-known teachers tend to speak of the “musical” influences of their teachers, Nishimura’s students tell me that their music-life integration has been achieved by respecting, adoring, and worshiping Nishimura.

I am always impressed to discover how one person, a music teacher, can make such a deep influence on people.

[Here, I am exclusively referring to Japanese students. I know that Nishimura had some foreign students. But I don't know them personally.]

The spirit of komuso

2009-11-15T15:32:00.001-08:00

There is always something to learn from history...

The piece "kumoi-jishi" (a festive song in the kumoi scale) was once called "yabu garashi" (killing or sneaping bush) in Fukuoka. Komuso monks typically strolled in town in two as a group. They often stop by houses, especially in front of rich people's residences. When Komuso monks were unhappy about the amount of a donated alm, they often brought more monks and played "yabu-garashi" in front of the house. Disturbed, the head of the house eventually gave more money instead of saying "get away." He probably got more embarrassed than annoyed. Because these komuso's playing was so loud (and out of tune?), it was felt as if it could destroy a bush planted at the gate of the house.

This explanation corroborates with the conventional rule of when "kumoi-jishi" should be played. It's been said that this piece is not supposed to be played in the morning. People don't want to wake up with a cranky feeling.

Not many people have achieved this level of proficiency that komuso monks aimed at. Do more robuki, cultivate a beautiful spirit, and disturb your neighbors.

(Source of information: Recordings of an interview with Tomimori Kyozan. For more info about these recordings, visit http://www.shakuhachiforum.com/viewtopic.php?id=3552)

You may also want to check more "formal" explanations of the piece:
http://www.komuso.com/pieces/Kumoi_Jishi.html
http://www.komuso.com/pieces/Kumoi_Jishi_(Taizan_Ha).html

Linguistically speaking...

2009-11-06T23:43:00.001-08:00

To me, to say "Watazumi Doso" is like to say he is my great teacher. Doso (道祖) means founder of a school or originator of a practice (way). Equivalent notions may be shuso (宗祖, or founder of a sect), soke　(宗家, or founder of a school), and iemoto (家元, or head of a school). But we don't call "Kurosawa Doso" or "Nakao Shuso" (a family name followed by "doso," "shuso," or whatever). It's not impossible to say "Kinko-ryu shuso" or "Tozan-ryu soke", but we normally don't say like that because these two schools are too large and have many subgroups like other hogaku groups (e.g. Miyagi schools). We surely say "Chikuho-ryu soke" or "Seien-ryu iemoto" as these schools are small enough to form groups (ryu or school is a bounded system).

I often say "Watazumi Fumon" instead of calling him "Watazumi Doso." (Of course, this doesn't mean I don't respect him). Before he became famous, he introduced himself as Tanaka Fumon. So it won't be so strange to call "Fumon ryu," like "Kinko-ryu" or "Tozan-ryu" (a first name followed by "ryu"), instead of "Watazumi-do."

Whether Yokoyama's style should be called Watazumi-do is another question. It's beyond the matter of language. Some people carefully avoid using the term "Watazumi-do." I personally enjoy calling it "Wadatsumi-do Yokoyama-ha" (modeled after "Myoan-ryu Taizan-ha"). Just a language game.

Unraveling the tradition...

2009-11-05T03:56:00.000-08:00

Based on my interview with an experienced shakuhachi player-scholar in Japan.

1. Kobayashi Shizan (the 36th Abbot of Myoan temple)

In his book Shakuhachi Higi, Kobayashi Shizan writes the shakuhachi should be played with accurate pitches. Meri should be as deep as possible. At least, that's what he preached in his book. However, in reality he was not very particular about pitch. He often said no meri should be added to "tsu" in the chi-chi-u-tsu phrase. That's the myoan way. When he played, his meri was not deep at all.

Today, many people criticize this "myoan" way of playing, especially the degree of meri. Drawing on Kobayashi Shizan's book, Mr. Sakurai in Echigo Nagaoka goes on to say that meri should be as deep as half tone. He claims that Tanikita Muchiku (the 37th Abbot) is to blame for shallow meri rendering.

My interviewee is wise enough to say, "that kind of criticism is fine. It is true that myoan playing often sounds out of pitch. But that shouldn't devalue its essence."

2. Koizumi Ryoan (the 38th Abbot of Myoan Temple)

Koizumi often said "that's fine" even when his students didn't play well after his demonstration. He never said "that's not right" to the face of students. Later, Koizumi had decayed teeth and didn't play well. His students then imitated his decayed performance. Kojima Kansui (the current Aboot) studied with decayed Koizumi. After retiment, Koizumi visited Tokyo (where his son lived). My interviewee played honte choshi in front of him with chi meri. Koizumi responded: "I've taught you only a few times, but you still remember chi meri. You also played tsu meri (as in tsu-ro) right. All of my students don't do well with meri. Without meri, it doesn't sound right."

[To be fair, the degree of chi meri in Honte Choshi varies in Myoan: Played as an independent piece, chi is normal. However, when played as a prelude to Kyorei, Koku, or Mukaiji, chi needs to be meri. That's how I learned from my teacher.]

Not many people know how well Koizumi played before he got weak. After he became ill, his playing changed a lot. Sakai Shodo studied with Koizumi when Koizumi was not doing well. However, Sakai Shodo plays well. So does Shimura Satoshi (Zenpo).

Who is right? :)

Japanese old photos

2009-11-03T04:42:00.000-08:00

You will find a picture of komuso (around 4:51). Not sure if they were real komuso monks. They were dressed in colorful kimono, which actually looks nice, not as scary as spy-like komuso in black.

Ownership of Honkyoku

2009-11-01T20:12:00.000-08:00

At a temple,

The monk: Is it yamato choshi?
We: No. This is shingetsu.

Later, we realized that shingetsu is Watazumi’s rendering of yamato choshi. It is one of the many pieces that Watazumi “composed” by adding his own personal flavor to the existing honkyoku pieces. In so doing, he changed the titles of the original pieces.

We often come across honkyoku pieces that sound identical but have different titles (and different pieces with the same title).

Change of the title and ownership was loosely defined. Tomimori Kyozan (1899–1975), a well-respected shakuhachi player and scholar, clearly stated that changing the title is acceptable:

Today, the piece ajikan is played quite differently compared to how Miyagawa Nyozan [the composer] played the piece. Although the shape is the same, the level of spirit is different. Nyozan’s verve is no longer carried by today’s players…. The reason why many people today play ajikan in such a way is that many people learned ajikan from Tani Kyochiku who used 2.5 long shakuhachi. That’s how it became a dull, dark song. Miyagawa Nyozan played it on 1.8…. Miyagawa’s playing of ajikan actually sounded quite rough. But he had subtle expressions. Nobody could imitate his level of frantic playing…. This is what is missing in today’s performance. Only the shape is imitated. People simply drag the song and extend the form…. Tani Kyochiku’s playing of ajikan also carries some sort of taste and import. However, Miyagawa Nyozan kept saying, “I wonder where he [Tani] learned it [ajikan] from? If it is Miyagawa Nyozan’s ajikan, it would be troublesome.” I think it would be fine to have Tani Kyochiku’s ajikan. But in order to do so, he should have changed the title of the piece.

Tomimori suggests that playing a piece in a different way without changing the title is rather problematic.

Kobata Suigetsu

2009-11-01T19:56:00.000-08:00

People say two important books to read about shakuhachi are those of Hisamatsu Fuyo and Kobata Suigetsu.

Kobata (1951) wrote:

None of the today’s shakuhachi schools are perfect in themselves. You should not be obsessed by just one school but experience a few different schools. Otherwise, you cannot achieve the ultimate way of shakuhachi playing. For example, let’s assume this person studies shakuhachi in a school in which the emphasis is placed on entertainment shakuhachi playing. Reaching a certain age, this person will feel that something is missing in his or her study and eventually get bored of playing the shakuhachi itself. Conversely, if a vigorous young person starts fuke zen shakuhachi music in his or her youth, he or she would be intimidated by its dark, non-musical nature. This person may draw a hasty conclusion that nothing can be more brutal than shakuhachi music.

The position of tongue in jinashi blowing

2009-10-30T02:48:00.000-07:00

In continuation of my last post on Fujita.

When I met one of Fujita's students in Tokyo, I had a chance to play some of his self-made flutes. It was not easy to get sound out of them partly because I was not used to playing large bore flutes. But the main reason was, unlike modern jinashi makers, he did not narrow the space and control the shape of utaguchi bore using a piece of bamboo or applying tonoko with superglue. It was just a huge piece of bamboo. Then, he asked me "do you put your tongue under/behind the lower lip?" That was my first time to come across this blowing method. The function of this is to fill the space between the chin and the flute by pushing the tongue forward.

Fujita's student explains this in his website with pictures. The first picture demonstrates the embouchure in kinko and tozan styles. The third picture captures his jinashi blowing. He explains this way of blowing relaxes the body, release the tension, allows you to blow with least effort, and enjoy playing. it's good especially for older people who started playing myoan. This style is particularly good for making meri tones: It maintains the kari blowing position for meri and thus makes brighter, large-volumed sound even if it is meri. He indicates that he also learned this blowing technique from Okamoto Chikugai who was the president of Komuso Shakuhachi Study Group (komuken) and a mentor of many shakuhachi practitioners including Okuda Atsuya.

Shall we try this?

(Correction: This person Maeda Kogetsu was directly a student of Okamoto Chikugai. Whether he studied with Fujita Masaharu was doubtful. To be sure, they met a number of times with each other.)

In memory of Fujita Masaharu

2009-10-29T03:26:00.000-07:00

Recently, I found this website dedicated to the memory of Fujita Masaharu. Fujita was an extraordinary shakuhachi player/teacher. As was often the case with shakuhachi players of his time, he studied multiple shakuhachi traditions: He began with tozan and studied jiuta and nagauta. Later, he became interested in myoan shinpo. He visited many shakuhachi teachers across Japan and studied/collected many honkyoku pieces. Among those legendary teachers was Yamaue Getsuzan in Saga (my home town!) who was a student of Katsura Shozan and one of very few successors of myoan shinpo tradition. Fujita visited Yamaue in a very rural part of Saga from Yamaguchi prefecture where he lived over 100 times.

I was fortunate to have met one of Fujita’s students in Tokyo. He played some shinpo-ryu pieces for me. Shinkyorei was particularly memorable -- the purest shakuhachi sound that I’d heard.

His students attest in this website that Fujita played long flutes (as long as 3.6 with straight finger holes) with much breath strength. He used to be an athlete. Fujita’s students also make their own flutes (of course, jinashi).

The entire chapters of Fujita’s book are available on the website. They are all in Japanese. You may still enjoy some parts just by browsing, especially Chapter 9 on jinashi making. There is not much information about jinashi making. But there are many pictures of his self-made jinashi.

He composed about 60 pieces, made over 500 jinashi flutes, left 450 scores (collected and transcribed pieces) in 50 volumes, and left recordings.
In this website, you can download some of his recordings and scores (including his own compositions). You may need a PDF software that allows for Japanese fonts to appear.

Fujita passed away on May 14 in 2002 at the age of 86.

Shimura & Yomei's interviews

2009-10-27T01:56:00.000-07:00

I found this part of Shimura Zenho's (along with Christopher Yomei's) interview quite interesting. It's in the 4th clip of 6 youtube clips. To translate roughly,

The interviewer: Is the muscle employed for jinashi playing quite different from the one you use for the jiari?

Shimura: When playing wind instruments we use muscles that are hardly observable from the outside. So we cannot really tell how muscles work for each type of the flute. But I've experienced this: A flute (jinashi) didn't sound well initially. But as I used it for a year, it started sounding well. In a few years, the tones that initially didn't come out easily became vibrant. As Chris said earlier, the shakuhachi - be it jiari or jinashi - can make beautiful tone colors. So if you listen to these two different types of shakuhachi on recordings, you may not notice the differences of sound. If you listen to them in a live setting, you may be able to notice the differences slightly. The differences can only be that much. However, those are the sounds heard as a product. In reality, the process of the player becoming able to make a jiari or jinashi sound must be different. I believe the instrument develops the player. Therefore, the body of a jinashi player is the one that was formed through the jinashi shakuhachi. A jiari player develops a body that plays jiari well. You cannot attain both. Of course, you can pursue both and ultimately achieve certain levels. But there are more contradictory things than commonalities [between playing jiari and playing jinashi]. That's how I feel.

The interviewer: So the body developed for each type is incomparable from each other...

Yomei: Shakuhachi, koto, shamisen, and other instruments necessitate the use of the body. Without being aware of the corporeal domain and able to handle the body well, you cannot play good music. Western instruments have developed in the way that they have been distanced from the body, like piano, and synthesizer in particular, you use your brain to make music. It's important to feel the instrument through the body. Jinashi is the one that you need to play with the body. It's as if you play through the air hole coming from the inside of the body.

(END)

Parts of Shimura and Yomei's performances are uploaded here (thanks Jeff for the links!):
http://www.ustream.tv/recorded/2272484
http://www.ustream.tv/recorded/2272282
http://www.ustream.tv/recorded/2272475

If you read Japanese, here is the program of the event. (Pasted from http://asianimprov.at.webry.info/200910/article_1.html) The interviews were conducted prior to the concert.

第３回地半アートプロジェクト

１呼竹受竹よびたけうけたけ　　　　志村禅保　クリストファー遙盟

虚無僧たちが托鉢の際に、作法の曲として挨拶代わりに吹いた曲。この短い旋律で、どの地方の虚無僧であるかが分かったという。

２明暗対山流本曲瀧落たきおち　　　志村禅保（照明作　三尺三寸地無し管）

今回の課題曲の一つ。伊豆の旭瀧をテーマに江戸時代に作られた曲。尺八の各流派に同名異曲が存在する。明暗対山流は素朴で、地無し管による演奏が水流の表現を際立たせる。

３琴古流本曲瀧落の曲たきおとしのきょく

　　　　　　　　　　　　クリストファー遙盟（山口四郎作一尺八寸地有り管）

琴古流「瀧落の曲」は、きめ細かい装飾音と、優雅な旋律パターンの繰り返しにより構成されている。今回の地塗りの尺八による演奏は、音色のつやに注目したい。

４琴古流本曲鹿の遠音しかのとおね　　　　志村禅保　クリストファー遙盟

最も知られる尺八の曲の一つ。秋の深山に、遠く響きあう鹿の鳴き声の描写が秀逸。

*** 15分の休憩 ***

５胎蔵界たいぞうかい　　　クリストファー遙盟 (山口秋月作二尺九寸地無し管)

クリストファー遙盟は若い時、高野山で胎蔵曼荼羅（大悲胎蔵生曼荼羅）を見て、感銘を受けた。中央に大日如来、回りに十二の院に分かれ無数の如来が放射線状に坐っている。それぞれの如来を「音」として考えると、曼荼羅は一つの曲を描いていると思いあたり、深い感動が押し寄せてきたという。

６虚空こくう他　志村禅保（林虎月作地無し古管「松風まつかぜ」、「虫の音」）

「虚空」は尺八古曲として最も大切にされている曲の一つ。作曲者とされる寄竹（きちく）は夢の中で妙音を聞き、曲を書きとめたと言われる。今回、江戸時代の古管尺八の名器により、竹の違いが楽しめる選曲となっている。