Shakuhachi by Perry Yung: September 2004 Archives

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September 28, 2004

Difference in root and non root shakuhachi.

Here's reply to a question about the difference between root and non root shakuhachi. The name has been changed to protect the innocent ;)

Hi "W", Thanks for your email.

> I understand, I would rather have one that is
> playable, I will just save
> my money for a few months and then order the root
> end for the listed
> price.

Yes, it's better to order direct. Although I take extreme pride in every flute I make, there's no denying that a little more care goes into a flute when there is a name attached to it from the beginning.

Thank you for the explanation on the
> differences (hocchiku vs shakuhachi), I wouldn't
> want to rely on my luck. :-) how long does it take
> to make one when
> ordered?

Making my Yung Model modern shakuhachi can take from 6 - 8 months. These are extrememly time consuming because of the fine tuning required for the shakuhachi sound according to todays' standards. The bore is manipulated into a predestined size regardless of natural bore size.

My Chikusing Model Zen style is less time consuming but still is difficult. It can take 1 -3 months depending upon the piece of bamboo since this method relies on the natural bore shape. This is what I would do for you. Just tune the resonance spots. This type of flute retains the individual bamboo's tonal characteristics. I prefer these for Zen Honkyoku because of the bamboo vibrations.

In a nutshell, a good root end will be louder and have more tonal flexibility but, it really comes down to two things regardless of type - is it a good shakuhachi or a not so good one?.

A good shakuhachi will have a nice relationship of sound flexibility and volume from note to note and across both octaves. It should also play relatively well in tune.
A not so good one will not play at an acceptable tuning and the notes will not have balance - one note louder than the next, the second octave louder or softer etc...

I use "not so good" as opposed to "bad" because making a good shakuhachi is difficult. Even a "not so good" flute can be good if the player knows how to make adjustments in the playing technique, which many master say they do to some degree with every flute.

A master player will be able to play any kind of shakuhachi and make it sound incredible. A master player has a personal sound that is heard regardless of the kind of flute being played.

Some people will argue what a shakuhachi is depending upon the visual aesthetics. I'm more of the old school. I believe in the sound. There was a Komuso Monk who was the head of a Zen sect who sometimes made simple shakuhachi from bamboo laundry poles. His name is Watazumi and he created a school of playing based on his sound. Strangly enough, follows of his style now play modern flutes.

Like learning to play any music instrument, the shakuhachi is no different. A beginner will struggle to make a sound on any flute regardess of quality. It would take a few years of playing before the player will be able to produce the shakuhachi's unique sound. But ,once you get it a glimpse into the sound, your life will be changed.

Thanks "W". Have a great day!

Posted by Perry Yung at 09:12 AM | Comments (1)

September 23, 2004

Sasa Buki Breath Exercise

Here is my method for getting started on playing the shakuhachi. I call it Sasa Buki (breath of Bamboo Leaf). It will guide the beginner into developing the neccessary skills required to play and appreciate shakuhachi at the fundamental level. IMHO, playing with Sasa Buki in mind is the best way to practice. Half of playing shakuhachi is listening. Sasa Buki will introduce the beginner to the essence of shakuhachi - the shifting tone colors.

Let's start.

The first thing that is required is to shape your lips properly. This is called the embouchure. Make a gentle smile with your lips. This pullss them against your teeth, which is ideal. Then blow the air stream with a gentle release. Think of blowing an tiny pinpoint airsteam, one that is round and not splayed or flat.

Next, Visualize the shape of a bamboo leaf, thin on the ends and gradually getting fat in the middle.

It's best to try your first note without covering any holes.

When you're comfortable, take the deepest breath you can hold in your lungs. In Yoga, it would be a three part breath - fill the abdomen, chest and throat. Then put your embouchure directly onto the center of the utaguchi for centering and pull back to create a gap of about a 1/4 inch form the embouchure openning to the center of the utaguchi (leting the back of the flute rest on the area under your lower lip and above the chin). Now, release your pinpoint air stream onto the utaguchi.

After a trial and error period, you will have produce a sound. You will have discovered that aiming the air stream perfectly creates the sound. The idea is to split the air stream in half on the utaguchi, half going into the flute, half going over the edge to the outer surface of the utaguchi. If you are having trouble, keep this in mind. Everytime you inhale, fill your lings to capacity. Everytime you blow, relax and let the airs tream flow evenly and continuosly. It's just like breathing. It doesn't take much embouchure force to produce a sound. Experiemnt with blowing over the utaguchi and into the flute until you hit the "sweet spot".Remember to maintain a direct and focused airstream.

When you can make a sound consistently (it can takes days), make the note last as long as possible. If you can hold the tone for more than 5 seconds the first few days, you are doing very very well....really. Time your self with a watch and see how much you improve in a few days. When you can get up to 20 seconds, you will notice some wonderful things happening around you. when you feel you can handle a simple Sasa Buki, try playing it covering the thumb hole as the next note to attempt. Then work your way down covering the holes in front from top to bottom (whne covering holes, the previously covered hole must remain covered for the music scale to work see my webpage on the static site for how to hold the shauhachi).

Once you have a grasp on consistantly producing a long sound or tone, start to manipute the sound into Sasa buki - thin at the beginning, gradually get louder and back down to thin at the end, like the shape of sasa. Work on shaping your lips so that the sound is the most beautiful sound you can imagine, one that comes from nowhere, captivates you and then fades out in a way that makes your ears reach out to hear it dissipate. Imagine the last bit of rays from the sun that dissapears on a horizon at sunset. That sort of greenish orange glow that happens after the last rays dissapears is the "Ma" we all refer to - the silence that is part of the music. If you practice with an awareness of musical growth, you will notice major improvements in a very short time. The full and deep breathing technique that is required for Sasa Buki will also have benifical affects on your mind and body. Try keeping a shakuhachi journal of how long your tones are and see the growth every few days. If you are primarily playing during meditation, you won't be timing yourself obviously. Try to do this before or after your practice.

After a while (that depends on how much you practice and how well you can develope and retain the lips muscles), you will play longer, louder and more beautiful tones. Your lips will adjust to the natural pressure increase from daily build up of technique. Obviously, daily practice is important for skill developement. Your lips will learn when to bear down, when to open up, when to get close and when to pull back to achieve Sasa buki. Just be aware of what is happening with your lips moment to moment, from the beginning of the tone to the end of the tone. Pay attention to the sound and what your lips are doing to get that sound. You'll be amazed at how your lips are constantly adjusting, however miniscule, to timbral shifts. Always take note of developements and use them the next time you practice to build yout technique.

Blowing Sasa buki is the basic skill neccessary to play and enjoy the shakuhachi. After some time, you may need to understnd pitch. If you have a grasp on Sasa Buki, you will easily adapt your playing into prpoer pitch for playing music. Finger movements will come easily and naturally once you have a grasp on producing and maintaining long beautiful notes.

It's good to play at the same time everyday. It doesn't matter when. Keeping a daily shedule helps you get into that frame of mind.

Enjoy the deep breathing!

Posted by Perry Yung at 10:56 AM | Comments (3)

September 16, 2004

More Big Apple Shakuhachi Festival Photos

More than a month has passed and I realize that my time is rapidly eaten by the first steps of my 11 month old Sasa. Lots of shakuhachi thoughts pass through my head these days as I sit in the shop tuning with Sasa in her play pen. I'm finding that by the time Sasa's bed time rolls by, I'm too tired to do a log. Anyway, life is good ;-) If anyone is in NYC Sept 18th, you can catch me on shakuhachi accompanying my wife Maura on modern dance and Sasa on improvisation at Dance Theater Workshop's Family Matters Series at 2pm. More info at www.dtw.org.

Here are some more photos of the Big Apple Shak Festival taken by my brother Peter. Sorry they are so specific to my vender's area. I was sorta stuck there since I'm just a one man operation.

Kifu Mitsuhashi trying out one of my 3.0 root ends.