Shakuhachi by Perry Yung: August 2007 Archives

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August 31, 2007

Red Urushi on a Giant Bore Jinashi Shakuhachi

This super fat Hocchiku came in recently for a lacquer job. There was a tiny bit of the original red urushi on the root opening and at the top behind the utaguchi. The bore was natural - without urushi. I've never seen a flute like this before - old and super fat. I guess at some point, the owner decided to paint urushi on just the ends.

The front of the utaguchi plane and the top of the flute was painted black. Much of it wore off at the top so it was a challenge trying to blend the new urushi with the worn wabi sabi look. I was able to match the red spot on. I let a bit of the original red urushi show through at the top edge because I didn't want to disturb this wonderful aged look

You can see tiny little dots of the original urushi on the top left.

The finger holes were a bit jagged. Nothing like running the fingers over hand crafted work from 100 years ago.

The tricky part of this job was that the red pigment in the urushi extended the polymerization it. It took longer to cure. It turns out that it dries faster when not thinned. This one has three coats but because the first two was super thin, they took longer to cure. Now on it's third coat and final coat. Its near dry.

Again, this flute is an anomaly. I've never seen such a fat old flute. The patina, style of utaguchi inlay and lacquer over the front of the utaguchi tells me it's over 100 years old.

The flute is actually 1.87 in length. Here it is next to a standard sized 1.8 shakuhachi

It's not often a flute like this shows up at my door. Let's take a listen: Giant Bore Tamuke

Playing this flute was a wonderful awakening. At first, I found that lots of things about this flute didn't work for me as a shakuhachi musician. Mainly, Hi Go was not accessible for me. I wasn't able to find any fingering to make the note. But, after playing it for a half an hour or so I decided to find a piece of music I could play. Turns out, Tamuke doesn't use Hi Go. I was pleasantly reminded that flutes display their personality when applied to a piece of music as opposed to just trying to see if all the notes work. This reminded me of why I play music when tuning and checking my flutes (that's why it's very important for me to study shakuhachi music). Usually, When I play music on a shakuhachi, I feel a collaboration with the flute. It's a give and take relationship. Many fine flutes are very giving. And many do not give much. At least not while you're playing. I found this shakuhachi a little selfish at first. It made me play Tamuke in the way it wanted to be played. I realized that I couldn't, or it wouldn't let me do things I would normally do with this piece. Afterwards, it felt kind've good to succumb to the flute. I realized while playing that the flute was saying, "Listen to me, don't try to force me to do what you want. In the end, we'll both be happy".

The realization was quite elucidating and timely. It's a lesson I'm presently learning from my children, who are now at the ages of two and four years.

Namaste, Perry

Posted by Perry Yung at 05:45 AM | Comments (2)

Crafting the Rootend

Hi All, I'm almost finished with another 1.8 commission. This one is made from Japanese Madake bamboo picked by a family of shakuhachi bamboo harvesters in Kyoto, Japan.

It's in it's final stages of super-fine tuning for timbre and flexibility.

After the tuning is finished, I do the cosmetics such as finishing the joint and the roots.

This root was bigger when I started but the owner wants it shaved down. I'm doing it little by little.

When a flute gets to this stage, every thing is contemplated.

Nmamste, Perry

Posted by Perry Yung at 04:58 AM | Comments (0)

August 29, 2007

New Rootend Chinese Madake Student 1.8

Hi All, I make a variety of modern Jiari student model 1.8s for traditional Japanese music study. I usually use non root bamboo but I have been starting to use rootend Chinese Madake as an inexpensive entry level shakuhachi. Making Jiari flutes require a lot of time because every centimeter of the bore is worked so that the flute is entirely tuned for timbre, flexibility and pitch through out. Very little is left to the luck of nature. I heard a maker say in Japan, "This kind of shakuhachi making separates the boys from men". I don't entirely agree with this statement. I think Jinashi flute making is just as difficult but less is dependent upon luck of nature. It takes a different kind of skill to make Jinashi. With Jiari, the maker assumes complete responsibility upon the out come of the flute. If it turns out great, the maker gets a great reputation. If it turns out so so, the maker has to work twice as hard to clear his name. It's a very small shakuhachi world.

I fashioned the Nakatsuki joint with the old Komuso style fat rattan wrap sealed in shuai urushi. A hairline crack happened as I was fitting the female end. I added two inlaid rattan bindings also with a thin wash of shuai urushi. You can not see the crack.

Working on the cosmetic is always fun. I was tempted to shave the root more but I know that many like them protruding.

This one took about three months. I am very happy with how it plays. I feel this one plays like a $1,200 Japanese shakuahchi.

The player said he was going to study with Ralph Samuelson in NYC. With that in mind, I made it for for the Kinko style as I understand it having studied with Ralph since 2002. This flute better hold up!

Stay tuned for a sound file!

Peace, Perry

Posted by Perry Yung at 04:46 PM | Comments (0)

August 22, 2007

Wide Bore Hocchiku shakuhachi

I have been making these wide bore Hocchiku back in 1995, even before I knew what they were really about. After I studied some well made ones in Japan in 2002-2003, specifically ones made by Kinya, I began to hone my skills to producing very functional ones for shakuhachi music.

Hi Perry,

Thanks for an amazing flute. Your wide bore flutes are a genuine pleasure to play, they feel and look fantastic, and most importantly, they are very responsive to the breath of each player. These flutes have a unique and poetic voice, and each of them has much to teach. Thanks again Perry.

- Matt

Matt is the proud owner of a 3.0 Hocchiku. It's 37" long and 2" in diameter.

Here is another Extreme Hocchiku. It's 3.2 pitched in E. Because of the large diameter, I craft the back of the top in my Butterfly Style utaguchi chin rest so that the player feels more comfort and can get the lips closer in to the blowing edge. Hocchiku are all natural shakuhachi flutes made only from bamboo, nothing added. The term is coined by Watazumi, the famous Komuso Monk who sought to bring the lofty Honkyoku back to it's origins of communing with nature on the most organic flute possible. Hocchiku translates as religious bamboo. There is much talk about how this flute should be categorized as an instrument. Watazumi term may have more meaning when applied to it's usage or approach to playing the shakuhachi, be it music or something else yet to discover.
Namaste, Perry

Posted by Perry Yung at 01:06 PM | Comments (0)

August 20, 2007

Shakuhachi Match.com

My dear friend Christopher sent me the lonely bottom half of a Chikuho 1.5. It was looking for a top. Well, I try my best to make everyone happy so I found a Chinese Madake section of bamboo that worked well according to the node placement. It's slightly thinner in circumference but heck, how often does one find a perfect other half?

Japanese Madake bamboo.

Chinese Madake.

I did the Ji application and fine tuning first. Then added the Kinko Horn inlay because Christopher is studying with Ronnie Seldin. There's been three thin washes of Japanese urushi so far. The tone changes with each one so I have to pay attention, I can hear the difference .10mm makes.

I should be finished soon. Just need to tweak the Ou San to Hi Go transition so it glides and articulates. And then match the nakatsuki in circumference. Chris is a furniture maker so he said anything out of the ordinary would be great.

This pair will soon make beautiful music together. One from Japan, the other from China. If we can look beyond differences (borders), we can see how beautiful anyone can be.

Namaste, Perry

Posted by Perry Yung at 11:33 PM | Comments (0)

Hocchiku photo

Here is a 2.9 Hocchiku made by Christopher Harazda.

He ordered Shakuhachi bag and I sent him a Chikusing Utaguchi cap to go along with it.

I made that flute during the summer of 1995, while living in
Woodstock, NY. I used a piece of commercial bamboo which I think is
called Tonkin. It is 2.93 shaku in length. It is the flute heard
playing the piece entitled 'Samadhi Of The Flowing River' on my CD
'Illuminated From Within.' - Christopher Harazda

I love to see other people's flutes send me some pics!
Namaste, Perry

Posted by Perry Yung at 11:21 PM | Comments (0)

August 13, 2007

Available Refurbished Japanese 1.8 shakuhachi

Hi All, Here are today's available Japanese 1.8s for traditional study. They are all well in tune to the standard as understood by shakuhachi professionals and teachers in Japan.

They are numbered 1-4 for reference from top to bottom right to left:

#1)Seikado Hanko. Loud, robust and fast player. Very accurate Western pitches and Tozan tonality for contemporary music - $1,200 (market value - $1,800)

#2) No original hanko but has Yung Flutes Hanko. Made around 1960 - 1970. Refurbished utaguchi chips with epoxy resin. Enhanced response. Loud and penetrating, cracks repaired with Mono filament line. Cracked Ji repaired with traditional material, Ji and urushi lacquer- $700 (market - $1,000)

#3) SOLD Old hanko, looks like Chinese characters. made around 1930's Old sound deep but loud. Cracked Ji and Urushi refurbishing with traditional materials. Has old Kusabi Butterfly nails originally used to repair the cracks - $700.

#4) SOLD No original Hanko but now has Yung flutes hanko. Original rattan inlays were weak. Instead of digging them out, I reinforced with mono filament and nylon. Cracked Ji repaired with Ji and Urushi lacquer. Fine entry level shakuhachi, clean, clear and flexible notes and can honk for those who know how - $700

When I write "market value" I am referring to the quality of well made shakuhachi as sold by a maker or reputable dealer. I do not mean the inflated prices that result from other ways shakuhachi can be obtained. As always, check in with the pros at http://www.shakuhaciforum.com for honest opinions if you are in the market for a high quality shakuhachi. Experienced players know that each flute is judged on it's own merits alone, not the price tag or name.

Listen to the flutes:

I am improvising on the scale because I think it offers a better general idea on the tuning timbre and response (or action). Any decent shakuhachi player will be able to "milk" the timbers to play traditional shakuhachi music.

Now, back to the Jinashi section of the shop.
Namaste, Perry

Posted by Perry Yung at 03:51 PM | Comments (0)

August 09, 2007

Shakuhachi photos

Hi all, I was just clearing out my server of photos and came across some I'd like to share with you. Making a flute is quite a magical journey. Seeing the photos reminded of the time they were made. Each a unique moment in time, like reading an old journal entry.