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March 22, 2006
Nail in the flute
I had a not so average repair today. Usually, it's binding a crack or replacing an utaguchi. Sometimes I'll refurbish cracked Ji inside a bore or adjust some tuning like moving a finger hole.
This repair started out like any other crack repair. The owner of this flute, who happens to hold the largest collection of shakuhachi in the USA, identified the leak below this rattan inlay.
I thought it would be a simple refurbishing - take the old one out, clean it up, reglue, rebind and wrap the inlay. But upon removing the rattan, I discovered something else.
I'm always careful when removing the rattan because I need to take note of what is happening when starting the work. You never know what you might find, or, what may happen during the repair. Some of you may have followed my Inoue Shigemi repair a while back (that flute was like a time bomb that was set to go off as soon as it came into my hand). The fact that there was no visible crack on the surface of the bamboo near this binding made me suspect something.
I save a lot of old rattan in case I ever have to match rattan.
The thread below the cracked Ji was visible. Not a good sign.
The Ji was in typical shape on this kind of repair, crumbly. My custom made file (from a stack of hack saw blades) hardly moved and the dust began to fall.
To my surprise, I saw a nail. Then I knew exactly what I stumbled upon - a joinery job that came apart.
This kind of joinery is done when makers need to adjust the length of the bamboo.
I applied CA glue to the joint and applied pressure from both ends with a theaded rod.
Then I drilled two pilot holes for a new U nail. You risk cracking the flute if you don't use pilot holes.
After I drove it in flush, I sealed the joint with CA glue and bamboo dust along the perimeter to ensure a good seal.
I have a tin of sifted bamboo dust for situations like this.
Once the glue dried, I filed it down flush.
But before I put on the binding, I needed to make sure there was no leakage so I assembled the flute to see if Ro sang. Here's my favorite joint grease.
A nice gigantic Ro filled the room so I proceeded with the repair by binding it in smoked color 20lbs monofilament line.
After I smeared the entire thing in CA glue and allowed time to dry, I filled the recessed channel with 5 minute epoxy. I'm pretty sure this will last longer than Ji. It's supposed to hold 2,5000 pounds per square inch.
I start with a light file on the top just to remove the bumps.
Next, I use sand paper with both hands to bring it down evenly.
Everything has to be smooth and uniform, Bumps and uneveness will show up once the rattan goes on.
The rattan wrap.
Here's where the old rattan comes in handy.
It broke when I was removing it so it's a shorter piece. But joining it togther in the wrap is quite easy.
Just a little steel wool to clean it up.
Can you see where it was joined?
A beautiful flute once again.
Time for a good night sleep.
Namaste, Perry
Posted by Perry Yung at 01:09 AM | Comments (6)
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
,
Posted by Perry Yung at 11:44 AM | Comments (2)
March 16, 2006
The affects of blowing shakuhachi
I often receive emails from people responding to my flutes.
Aside from my children and wonderful partner in life, I find great inspiration from letters like these:
" Dear Perry,
I am writing to sincerely and deeply thank you for the fantastic flute
that you've made. I have been playing the 2.9 shakuhachi as part of my
meditation practice almost every night and many of the mornings since
it arrived. I had never played a flute before, although I have been
meditating for many years. Yet I am already able to blow the /ro/ note
often when I try. I can even play little improvised melodies along with
the train sounds, bird sounds, wind sounds and traffic sounds outside
my window. Then I set the flute down and sit mindfully listening and
hearing. The I pick the flute up again... I feel very connected with this instrument.
I wanted to start playing flute because my meditation teacher had
suggested during my last retreat with him that we, his students, make a
list of ten things we could do in "post-meditation" (in others words
/life/ or /when not sitting on the cushion/) in an "effortless" way. I
had put making music on my list but had not played guitar in years.
Then I read that monks in Japan used to play the shakuhachi-- I knew I'd
found the instrument for me. I feel that I must have generated some
pretty good merit to have come across your web site. And even more
merit to have been able to purchase one of you instruments.
Thank You .."
Some of you may have read about the Liberty bell a few months ago...
"The flute came in today. I got off of work early so I'd be at
home in time :) I'm so impressed with the craftsmanship on it. I had
a feeling about you, and am so happy with the 2.4 you created. Thank
you thank you thank you. You made me very happy.
I'll keep in touch with you, and send any songs I make using the
liberty bell your way. I wish you good luck with your career, and if
I find the need to buy a different size shak, I'm going to turn to you
for making it!
Also, I've linked you site in my links page for the instrument
makers I support.
Thanks again, I really can't put it in words how
happy I am!
Best ..."
This patron commissioned a YUNG model 1.8. It took over one year to complete.
" I'm 68 years old and my life is changing as
constantly (if less glamorously) than yours. At least a trip to Hong
Kong sounds glamorous. I do not understand the process of slowing down and
growing old. I just keep on going and things keep happening.
The shakuhachi you made for me becomes more mysterious the longer I
play it. I have become more and more sensitive to sound as sound. Melody and
pieces are less and less interesting. This has carried over to the
silver Boehm flute as well as the shakuhachi. Life changes are happening as
well. It seems a whole liftime ago that I rushed home from a 3-year old's
birthday party to open my much awaited package containing my new Yung flute.
The date was October 8, 2005.
Thank you...
Here's one from someone who has generously supported much of my work.
"It is great to do business with you. I feel honored to have been able to play your shakuhachi. They stir my soul.
Your friend..."
These days with Sasa in her "terrible twos" and Jet just starting to crawl, I find myself with less and less focused time in the shop. And let me tell you, making good shakuhachi requires intense focus. I have to remind myself not to rush anything, that a shakuhachi is finished when it is finished. Just enjoy the process.
And, when I get responses like this, I'm reminded that my work, my art, affects people in numerous ways that I will never fully understand. For example, when I get that rare moment alone and can actually play my favorite flute (no, I won't tell what length!), I go places that words can not describe. Sometimes, images of all my teachers pass in the shifting timbres of a single tone. A single breath reveals another world, another consciousness, perhaps another life. I open my eyes and look at my flute. Is it me...or is it the flute?
My instruments may very well out live me so somewhere in the future, someone may open their eyes after a session and then ask that very same questions... I would only be so honored.
BTW, the photo above was taken a few days after Jet was born. He came out at 21 1/2 inches, or, 54.5cm - the length of a 1.8.
Namaste my friends, breath deeply and maybe together, we can heal our world,
Perry
Posted by Perry Yung at 10:02 PM | Comments (0)
March 04, 2006
Antique 1.8 Shakuhachi Refurbished
When I went to Kyoto in 2002 for the Komuso gathering at Myoanji. I had the opportunity to locate some great old flutes at affordable prices. Unfortunately, many excellent ones were beyond my financial grasp at the time. But, I did manage to find some gems that just needed little adjustments to play well. This one in particular needed some removal since the bore was too small at a few resonance spots. It's a full jiari so I removed some Ji at the smallest part of the bore, at the Ro octave and at Hi Go. When it felt like some of the best old flutes I've ever had the pleasure to examine and play, I stopped.
I often wrestle with rattan inlays. On one hand, they look great. But on the other, they are considered invasive to the bamboo by many. To keep the cost of well made flutes low, I've decided to let the owner make the choice. This flute is priced at $700 but can bring in much more than twice the price as it's a great player. I can guaranty that it plays as well as old flutes that are going for twice the price from legitimate shakuhachi sellers. If I had done the inlays, it would sell for at least $1000 directly from me but for much more from a dealer.This flute is available for auditioning.
If you have a flute that needs tweaking, please feel free to give me a ring (during regular hours) or shoot me an email. My approach for bore reconstruction is to not change what the original maker intended but to let the flute sing with it's natural and unique voice in accordance with the style of music the flute was meant to play. It is not in my interest to make an old flute sound like a new one. Old flutes sound old for a reason.
Namaste, Perry
Posted by Perry Yung at 02:14 PM | Comments (0)