Back in town and soooo excited to jump right into a four hour Honkyoku workshop with Ralph Samuelson. I was playing everyday while on vacation but not in any focused manner so it was great to sit in a room of serious (but fun) players!

This is the notation for Gin Ryu Ko Ku, an older Honkyoku that was reinterpreted (or composed) as a duet by the great Kinko player Notomi Judo. Ralph learned this piece from Yamata Shudo who was Notomi’s student. Notice the additional marking in red on the notation.  Unless one studies with a teacher of a specific traditional lineage, it would be nearly impossible to play the music as written.The notation is only a guide and many idiomatic playing techniques unique to the ryu (school) are not notated in the printed notation. It is understood that experienced players of the specific ryu would “read between the lines” so to speak.

Tozan Ryu may be different as it’s focus is on modern music and strives for standardization. So far, from my Tozan studies I gather that everything is as written, but I’m sure things will change as I learn the advance pieces. Studying different styles simultaneously is incredibly difficult and not recommended. I only do so because of my unquenchable thirst to understand the shakuhachi instrument. I find the connection between Dokyoku played on Hocchiku flutes and Tozan played on fabricated bore instruments tenuous, but what they have in common - air blown through a tube with fives holes - can affect positive change for almost anyone with an open mind.

After being involved with the shakuhachi for nearly 17 years, I see that I’m still just scratching the surface (mostly due of my diverse exploration). But yesterday’s workshop with Ralph was a pleasant reminder that if one digs deep, there is great treasure awaiting. If you are a beginner, I suggest finding a teacher who’s sound you like and stick with her/him. (Do as I say, not as I do )

Back to the workshop.

Namaste, -Perry