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March 17, 2006
HOCCHIKU!
I love making Hocchiku. This one was made from a piece of Japanese Madake I harvested in Kyushu, Southern japan in 2003. It was cured for four years in my shop just south of Harlem, New York City. This bamboo has a lot of soul.
These kinds of shakuhachi were originally made by the earliest Komuso Monks of Japan to play meditative sounds. But it wasn't named Hocchiku until the Komuso leader named Watazumido coined the term "Hocchiku". It translates as religious bamboo. Watazumido wanted to bring the shakuhachi back to it's source since he felt that the Mieji era destroyed much of traditional Japanese music by trying to adapt Western ideas of music to Japan's traditional music. When one is open to the principles behind playing hocchiku flutes, their understanding of music will surely change. John Cage, a supporter of Watazumido certainly understood this.
Much of Japanese crafts are based on the Zen Wabi Sabi aesthetic, crafting with the intention of highlighting the beauty of nature in the piece of art. The sinuous curve is one aspect of Wabi Sabi I've seen in some very old flutes I've had the pleasure of playing. My making sensei, Kinya Sogawa, makes some huge pieces of bamboo flutes with the gnarliest roots and trunks I've ever seen.
There is no utaguchi inlay to denote ryu. Playing Hocchiku is not about style of music. The road and possibilites are open...and endless for those who like to wander.
There was a small crack that has been there for the last four years so I doubt it'll go anywhere. I wrapped a decorative rattan binding in the larger size in homage to the old Komuso flutes that had large rattan bindngs. The smaller size - 2 rin came into fashion when machinery was built to be able to mill the rattan to thinner lengths. They did it by hand in the old days, the same way they made their flutes.
The sample shows the tradtional Minor Pentatonic scale in two octaves with Ha no Yon and Go.
Hear the most challenging notes.
This sample shows the beginning of Kumoijishi. Here's how the Ou san and Hi Go combinationsounds on a this hocchiku. It is always a challenge regardless of flute.
SInce the Ha notes also work. This flute is capable of playing Honkyoku as I understand it but it really is intended for long tone playing. An experienced player can certainly play music on this flute but the transitions do not have the quick attack of the Jiari flutes because there is no bore work and lacquer. Also, attention must be paid to the pitch for music playing (again, this is true for all flutes). But, the timbres are some of the warmest and most inviting that can be produced for those who know how.
Namaste, Perry
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Posted by Perry Yung at March 17, 2006 11:44 AM
Comments
Hi Perry:
Yes I am Scott from the Art Studio. Again thank you for the beautiful instrument you created, it teaches me so much.
Sounds of the hotchiku really resonate within me. Kind of a grassy quality. These instruments appear longer and often seem to have much deeper tone. Can the length of the intrsument without having a larger diameter lower the notes into say a bass? How deep/long can you create a hotchiku (that is playable) 3.8, 4.2? Thanks for your great patience, last question. How does the twisting and gnarling of the bamboo affect the sound?
I heard an astoundingly sublime sound clip of Watazumi Doso Roshi playing Hon Shirabe and I am left without words.
Thanks for sharing Perry. In Gassho, Scott
Posted by: scott Sikens at April 17, 2006 12:16 AM
Hello,
This sounds like the azian flute the sugar reet flute.
I love the Hocciku
Thank you
Posted by: a friend at October 15, 2007 04:31 PM