March 08, 2008
Yung Flutes Gift
Hi All,
Today, I'd like to express great gratitude for those who have supported my work. I'm very lucky to be doing what I'm doing. Those who support me in turn support my family and my endeavor to grow in this arcane process called shakuhachi crafting.
I often receive very flattering emails about my flutes, which humbles me greatly. Sometimes I receive cards which really means something because someone took the time to write! Every once in a while, someone sends me a special gift. A few years ago, jewelery maker and holistic doctor Jeff A. sent me a rattan wrapped silver ring designed after the nakatsuki on a shakuhachi. That was pretty cool.
A few months ago, someone stopped by and gave me a metal medallion imprinted with a Fuke playing a shakuhachi.
And last month, this came in the mail from Ray F. in Washington.
I had been working with Ray to get him a flute to start with. Ray also makes the Native American Flute. Here's what Ray had to say about this special gift:
"I made that from a "shed" deer antler. A deer will naturally drop it's antlers and grow new ones every year. This discarded antler was found in the woods by a friend. I like using the sheds because they will naturally bleach out a little and they gain character. That piece is the very bottom of the antler, it is sometimes called a rossette or button and like bamboo, every piece is a little different.
I love your bamboo leaf logo so thought you would like it. Don't know what you can do with it but I guess it's the thought that counts.
Yes, the thought certainly counts. But Ray goes beyond thoughts by using his time and expert hands to say a meaningful thank you.
My bamboo leaf logo is special to me. It represents not only my philosophical approach to life and work, but was greatly inspired by my daughter Sasa whose name means bamboo leaf in Japanese.
A deep bow to you my friend (s), Perry
Posted by Perry Yung at 03:56 PM | Comments (0)
January 20, 2008
Other Uses for Shakuhachi Bamboo
I was doing a lot rattan inlays all day and needed to take a break to unwind. Doing an inlay requires intense concentration because it cuts into the bamboo. One slip of the saw and theres a cut on someone's instrument.
While taking a breather, I noticed a batch of Jasmine incense I purchased recently from a street vendor. I realized I didn't have a holder but right in front of me was a cracked piece of bamboo. In a few minutes, I had my incense holder.
Earth model, no ji, no lacquer...heh heh heh.
Namaste, Perry
Posted by Perry Yung at 11:22 PM | Comments (0)
November 29, 2007
Cool Shakuhachi Case!
Hi All, A repair came in today with the shakuhachi in this neoprene case. I've never seen one like this but I thought it would make a great case for a nobe kan - one piece flute. The neoprene would seal in the humidity when storing.
But then I looked closely...
This was made for fishermen to keep a six pack cool while out on the river.
Off to Ohio to partake in Michael Gould's Shakuhachi Camp! I'm very excited.
Namaste, PErry
Posted by Perry Yung at 01:41 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
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)
April 24, 2006
Old Shakuhachi Sound
I'm fortunate to be able to sit with bamboo shakuhachi. Many times, I spend nearly an entire day repairing and refurbishing shakuhachi for others. Whenever I visit Japan, I often collect old flutes found in weekend flea markets as these are truely the treasures I seek. This particular one was found in Kyoto in 2003 when I was attending the Komuso gathering of 2003 at Myoanji, the home of the Komuso Society.
It was badly eaten up by mites on both sides so I built up the area around the utaguchi and replaced it with a new one. I inlaid the thick rattan binding for the older Komuso flute character and preservation.
The bell was also deteriorated so I added an Acrylic Mother-of-Pearl inlay to bring it back to it's original opening size, which was smaller than the diameter on modern flutes these days. This keeps the sound in the flute and allows a complex vibration from a softer breath.
These flutes were not meant for the concert stage, not for powerful blowing techniques but for an intimate surrounding such as a lonely temple at dawn where the Zen monk could just breath into the flute.
While doing the refurbishing, I had the choice of making it a louder flute. But as I played it, I found myself pulled into another time, another era. I felt the maker's presence and decided that this feeling should not be tampered with. Antique flutes such as this one allows us a glimpse into the past. It can tell us what playing the shakuhachi must've felt like over 100 years ago. My hope was that the new owner would be able to appreciate visiting this world.
Here is what he wrote after sitting with it a few days:
"Perry,
thank you once again......
this flute brings a calmness that is so amazing....
its tone for each note is so soft yet powerful and holds this all the way through the second octave, this quiets the mind as it is so soft....
and yet, amongst the softness, comes a many varieties of powerful sounds and intricate varieties of feelings and emotions......
it has a many of sweet spots that continually intrigue me....
when truly in tune with the flute,
all comes so naturally as if I have made and owned this flute before.....
as that is a far fetched idea, in the depth of my silence it is certainly felt...
I appreciate the care you have put into it....
I hope to be able to purchase from you again some day when my funds are able.....
thankyou.
dustin
My wish is to share freely what I learned when I studied shakuhachi in Japan. There are many ways to approach playing this wonderful and unique instrument. We here in the West have our own standards and notions about music. We try to analyze other forms through our own theories and sometimes base our judgements from our criteria. But, it would be more helpful in the long run to undertstand that different cultures developed music and art according to their own unique sensibilities that has little or nothing to do with our world. And that being open to things we do not yet understand or can theororize can help us acheive a better understand and respect for other cultures.
One of my music mentors, Genji Ito, who is now looking at us from another plane of exhistence, played the shakuhachi for over twenty years. As an ethinc world musician, his understanding of music had little or no borders. In the early 1970's, Genji was part of a group of artists who went into the Congo in Africa with the famed Ellen Stewart of LA MaMa theater to research the music and dance of the Pygmies. They had a guide with them that was supposed to lead them to the Pygmies but after three days in the jungle, the Pygmies were not to be found. On the fourth day, Genji and another musician, who also played the shakuhachi, took their flutes and wandered off against the warnings of the guide. While trudging through the bushes, they began to play their shakuhachi. As the story goes, within minutes, they heard the sound crackling branches and whispers and looked up to see that they were surrounded by the Pygmies from all sides, behind bushes, around tree trunks and at the top of the highest branches. And it was only a matter of moments before one reached out and touched his flute. This started a week long cultural exchange between the New York City experimental artists and the Pygmies. This story was told to me by Genji Ito and Ellen Stewart some years ago.
How does this story relate to an old flute in Kyoto? Well, some musicians are technical wizards, they can play scale after scale with speed and intensity. Genji understood this but instead chose to play his music from the heart (he played the shakuhachi for over twenty years and never took a lesson). I'm sure it was this that led the Pygmies to reveal themselves. This flute contains the heart of an old Monk yearning for peace, I chose not to turn it into a modern music instrument.
Hear this old flute.
Breat deeply my friends, Perry
Posted by Perry Yung at 12:02 PM | Comments (0)
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)
January 16, 2006
The Liberty Bell Shakuhachi
I often look at a piece of bamboo and wonder what it will sound like with a little help. This is what I do with my Chikusing Model shakuhachi flutes. These flutes are made utilizing the natural shape of the bore. The Jinashi sound is warmer, fuzzier, rounder and more bambooey than that of the full Jiari flutes.
I think the crack at the bore adds a lot of character so I named this one the Liberty Bell, both for the crack and the tone that rings freedom when playing ( also an allusion to Fuke, the Zen Monk who wandered the streets ringing a bell).
This flute took three months to make and is a fine flute for anyone interested in Dokyoku style Zen Honkyoku. It rivals well made Japanese jinashi flutes priced at $1,000.
Notice the Watazumido growl.
Namaste, Perry
Posted by Perry Yung at 10:25 AM | Comments (0)
January 13, 2006
Retuning Antique Shakuhachi Flutes.
Here is a repair I'm presently working on. It is an old Myoan style Shakuhachi.
The tuning on these old flutes were usually never spot on since the makers back then did not play to digital tuners like we do today. There was no need for A=440hz when sitting alone in a temple before dawn. As a Jinashi instrument, it was in Ok tuning, not great. "What is OK tunning you ask"? To me , it means I can play it in tune but with a little effort. A beginner will not be able to play it in tune. Re and Ii - the thumb hole was flat. I enlarged them to bring them up to picth. Chi, however, was very sharp so the only way to correct that is by moving the hole. On old flutes like this, I sometimes hesitiate to do this type of work but Re is almost a semi tone sharp. Doing bore work to correct this would mean refashioning the entire bore. That would be a mistake on a lovely old flute like this. It has a gentle yet vibrant voice
Here is how it sounds by just shading the Re. No meri except in Kan. Many people learn how a flutes like to be play so they make all sorts of adjustments to find the sweet spots. I'll wait from the owner on how to proceed.
More to come...
A week later:
Ok, We've deicide to move Chi.
This requires careful fitting. It was also a hair misplaced to the right making it feel a bit akward. I moved it to the left a bit so it felt straight.
Hear this flute after Chi was moved and Ri and Ii openned.
Namaste, Perry
Posted by Perry Yung at 10:25 AM | Comments (1)
January 11, 2006
Hocchiku Shakuhachi
This is a recently finished Hocchiku Shakuhachi. In Japan, they can be made from any kind of bamboo. The great Watazumido, who was the teacher of Katsuya Yokoyama, who is the teacher of Kinya Sogawa, who is my teacher in Saitama, Japan made Hocchiku from bamboo laundry poles. It can also be made from Moso or Madake. This one is made from Chinese Timber bamboo. People who do not play the shakuhachi can make one easily, but to make one that functions also as a music instrument requires experience. This flute is made from experience, both as a player of shakuhachi music and as a professional maker of fine shakuhachi instruments.
Hear the scale.
This is a long Choukan flute at 3.2 length pefectly pitched in F. Flutes this long that play this smoothly and in pitch are rare.
People who are sensitve to the material, or, aware that materials matter, usually prefer an all natural bamboo instrument when spending precious time alone.
Meditation with a flute is an individual's approach to using sound or vibrations when sitting in a private space. When I was in Japan for my shakuhachi studies, I tried looking for indiviuals who practiced meditation with shakuhach to learn from. I could not find one person who did this. None of the master shakuhachi players I studied with meditated with the shakuhachi and none could introduce me to anyone who did. If you are a person who practices Zen Meditation with shakuhachi and studied this formally in a Zen Buddhist context, please contact me. I'd love to hear from you. Otherwise, I could only think that it is a myth based on romaticized images of Komuso Monks, Samurai and Ronin.
Having said this, I personally benefit from meditative playing using the shakuhachi combined with my Yoga practice. I have found that most people believe that playing music is a different activity from meditating, but there are some who do practice meditation with shakuhachi. My approach is through the breathing techniques of Kundalini Yoga. This approach is related to the Yogic breath - the three stages of deep breathing using the diaphram, chest and throat. Bringing long regulated inhalations and exhalations to these three areas help to focus the mind and relieve stress. When used with Shakuhachi, the vibrations create a richer environment where the practitioner can focus on sound as a healing medium.
Hocchiku flutes are perfect for those who understand that a unique space or realm is required to fully appreciate the experience of music and relaxation. For those who have the tools to mine these depths, Hocchiku will be a great friend.
Breath deeply in the new year my friends,
Namaste,
Perry
Posted by Perry Yung at 10:31 AM | Comments (1)
November 11, 2005
Care for your Shakuhachi
Here is is a great way to store your shakuhachi.
Cut a regular sponge into a 1"X1" square
Moisten the sponge and squeeze out the excess. Make sure it is not dripping wet.
Twist the plastic bag after you place the flute in it. The idea is to create a second chamber to put the sponge in so that not too much moisture is in the same space as the flute.
Keeping it away from the bamboo can prevent mold.
Just twist the bag at both ends and secure it with a rubber band.
With a little care, you can enjoy your flute for a life time, or more.
Namaste, Perry
Posted by Perry Yung at 04:27 PM | Comments (1)
August 27, 2005
Retuning Old Shakuhachi Flutes
An interesting repair this week. This flute was won on eBay sometime ago. This is a old flute, probably around 50 -70 years old according to the natural patina.
I noticed right away there were some major tuning problems. Here was the give away. There is a tone hole drilled near the bottom of the root. By the looks of the hole, it was made long after the flute was originally made. There was no urushi on the inner walls. This brought the tonic from B to D.
The Chi and Re looked like it had recent work.
I noticed that the top three finger holes have been enlarged infact. The lacquer on the inner walls appear new and the edges of the holes are crisp. Flutes that are older usually have rounded edges from wear over time. Good flutes, that is.
The Tsu and Re were in tune with Ro but the top three holes were more than a semi tone sharp.This means the flute wasn't anywhere near a Minor Pentatonic scale, the standard shakuhachi scale. In this case, bore work would not fix the pitch. I needed to plug the old holes and redrill new ones. Here is a finger hole plug made from Phyllostachys Nigra. I prefer to use a different color bamboo so as to accent instead of hide the repair. I also liked the contrast.
Now this eBay purchase is a workable shakuhachi.
HEAR this old flute.
The root had signs of insect damage. This is the reason many makers soak the roots in old car oil while the bamboo cures. The old oil prevent insects from gnawing away at the precious root.
Until the next repair, your shak doc, Perry
Posted by Perry Yung at 10:39 PM | Comments (0)
August 16, 2005
Custom Major Scale Shakuhachi
Just caught Taiko Masala at Lincon Center's Out of Doors Festival today. Jim Nyoraku Schlefer is playing my NyorakuShaku- a custom 2.0 Diatonic scale shakuhachi. This flute has now travelled from my shop in New York City to Myoanji Temple in Kyoto and back.
that's Jim on the left and Kaori on the right.
With members of Taiko Masala. The flute really rang out. I was surprised as it was pit up against the thundering drums. I'm sure the mic helped. I was also suprised to hear the subtle timbres amist the pounding rythym. Those sound techs at Lincoln center really know their craft.
Little little baby has already racked up tons of miles since it left my shop.
Sasa taking a break from the dancing backstage.
Jet wakes up after the show. Namaste, Perry
Posted by Perry Yung at 03:14 PM | Comments (0)
June 19, 2005
What is a Functional Shakuhachi?
What is the criteria that defines a functional shakuhachi?
I've asked several experienced players in Japan and the US and the unanimous answer pertains to fingering techniques. Most, however, still touched upon pitch and octave problems as being secondary.
Traditional shakuhachi music of different schools require specific fingerings that plays specific notes for individual tone colors. At some point in time, shakuhachi masters decided that they would do things differently and started their own schools, or, ryu. They heard the music differently and started their own fingering techniques. Along with this technical playing developement, makers began to develope flutes to facilitate these new techniques. This combination produced beautiful new shakuhachi music. Even in Japan today, virtuoso players work with makers to make flutes play in ways that commercial shakuhachi can not handle.
Back to what makes the flute functional:
If the shakuhachi can not play a specific note with the desire timbre in it's fingering (or a secondary alternate fingering that will produce a similar tone color in the same pitch), then the flute is considered nonfunctional because it can not play the music it supposed to play. This means that the player needs to know all the fingerings of their style of music. This is why students must rely on their teachers when purchasing a shakuhachi. A flute may work for one style of traditional shakuhachi music, but may actually not work for another.
What prompted me to write this email was a repair I recently had. It was actually for a crack near the top utaguchi but after the repair, I noticed the Chi kan was difficult. I mentioned my discovery to the owner. He said he knew of the difficulty and we proceeded to analyze the problem together. He said his teacher also pointed out the difficulty in that one note. Together we played all the fingerings of the Jin Nyodo style to see if we had the same results. All the fingerings worked for both of us and when ever we played Chi or Chi Meri in Kan, the note was stuffy but acceptable. Then the owner asked me to run through some Dokyoku style fingerings. As soon as I hit Chi Ru, there was no sound. I tried variations of Chi Ru and still, there was no sound. And that's when it became clear to me why experienced players must be used to judge flutes. If I was to teach a Dokyoku piece to the owner, I would say that this flute is not usable for lessons since the first Dokyoku piece, CHOSHI, uses Chi Ru. Although the flute was functional for Jin Nyodo style, it would not work for Dokyoku. The flute costs $3,000. Of course, judging a shakuhachi is much more than simpley seeing if all the fingerings work. The most experienced players listen to the sound the flute produces under the different embroucher pressures. Many players and teachers would probably find this flute acceptable if it had a very desirable tone. Other's may not, they may prefer technical access for all the fingerings over the timbre and response.
We've just discussed the top criteria on what makes a flute fully functional - fingering issues. I'll have to wait for a free weekend to talk about pitch problems.
Last thought;
A simple five hole, natural bore, non root bamboo flute can be a great flute. It all depends upon the level of the player and whether or not she is playing for simple enjoyment or indoctrination into a culture.
Who knows what that simple bamboo flute is capable of...someone with time on their hands will sure find out!
Ask questions when you buy a shakuhachi.
Enjoy the deep, full lung breathing.
Namaste,
Perry
Posted by Perry Yung at 11:18 AM | Comments (0)
May 12, 2005
Shakuhachi Bamboo Harvest 2005
Here are a few photos from this year's harvest in January from Japan.
There is this tiny little secluded mountain in the middle of Tokyo with some nice take (Japanese for bamboo). Sorry, it's a secret.
It's good to have company. Once, I was accosted by a hugh black snarling wild boar. This time, I was lucky.
Pushing and pulling, working up a sweat. It can take up to 20 minutes to pull a stubborn root.
The root ball is actually bigger than most people think.
Shaving down the roots so the load will be lighter as we make our way through the grove. Why not just leave it?
Because after half a day of digging through thick bushes, you'll never find the bamboo again if you leave it behind.
after cutting the root ball and trimming the tiny roots.
Heating the bamboo through a process called aburanuki - to remove the oils. Notice how the bamboo turns a pale green. This also helps the bamboo turn golden color quicker.
I like the dark mottled texture throughout the surface.
This one has a root resembling the hoof of a camel. This will be a keeper.
From the middle of Tokyo, Japan to the Upper West Side, New York City, here they are in my window sill waiting for a new life.
Namaste, Perry
Posted by Perry Yung at 01:07 AM | Comments (3)
May 05, 2005
Beginnings
I received a photo the other day that left me speechless.
I had to show my wife. All she said was "wow".
This is a new shakuhachi community in Texas. I'm extremely proud to have been the maker of many of the instuments seen here.
I had a really tough time through my teenage years. Looking back at it now, I can say with absolute certainty that music helped me through it all. If I accomplish anything at all with the shakuhachi, knowing that I may have helped some young person through some hard times will have made it all worth it.
Namaste, Perry
Posted by Perry Yung at 10:06 PM | Comments (2)
April 08, 2005
Shakuhachi on a Fire Escape.
I just finished a group of 1.8s . I work on them as groups to maintain a level quality control. This way, I can ensure that the Student Models hold up well level against the standard professional 1.8. On the left are three new student models with hand rubbed finishes. To the right is a Yung Model and a Chikusing.
On some days, passer-byers just have to look up and they'll see shakuhachi getting the last wiff of New York City air before they are shipped off to the far corners of the globe.
Namaste, Perry
Posted by Perry Yung at 11:11 PM | Comments (0)
More Utaguchi Fun!
I used Green Abalone shell for an utaguchi inlay for the first time a few days ago. What fun that was! The iridescence of this particular species of abalone was absolutely gorgeous. It polished up so nicely. It also went well with the natural colors of this Black Bamboo Chikusing Model shakuhachi. The sound of the flute actually influenced the choice of inlay material. I thought this flute had a nice deep expansive yet windy voice. It brought me to an ocean cliff. I guess the abalone shells were down below the cliffs somewhere ;-)
I wish I had a better camera.
The abalone reflects different hues at the slightest shift in angle.
The sterling silver highlighted it rather nicely too.
Al in all, a great days work!
Namaste, Perry
Posted by Perry Yung at 12:17 AM | Comments (0)
April 07, 2005
EBAY Shakuhachi flutes
Today's entry deals with all the different kinds of shakuhachi you see on EBAY.
Not all are actually shakuhachi instruments. If you are planning on buying a real shakuhachi, do some research, ask a lot of questions to different teachers and then do more research. Real shakuhachi makers and dealers offer a customary audition period.
Hi Dana, Great to hear from you.
> I see a lot of Shakuhachi out of Japan being sold on
> E-bay. Some for a sizable hunk of money, yet others
> for almost nothing. This leads me to believe that a
> lot of the wares from Japan is likely low quality.
> There is too much of it floating around.
Shakuhachi, as you already know, is a a highly esoteric instrument even in Japan. In that small world there are several kinds of makers: established makers who
produce the finest instruments that unquestionably play shakuhachi musc, competent hobbyists
who make playable shakuhachi (depending upon opinion), monks who make a simple flute for meditation only and regular folks who have the desire but lack the dexterous skills to make a real shakuhachi. The Japanese shakuhachi you see on EBAY can come from any of these sources. It can be confusing for the novice to know what he or she is actually buying. Makers from the last catagory sometimes produce great looking flutes but seldom are they capable of playing shakuhachi music. By this, I mean a style of shakuhachi music recognized by it's charactersitic timbres such as Kinko or Dokyoku.
> Also, most of what I see is pretty old stuff, not
> well cared for. But there are rare pieces that are
> in excellent condition, relatively new, being sold
> for a song.
>
> So the questions. Is the new stuff out of Japan that
> sells for perhaps a couple hundred dollars or less
> of any quality?
New or old, the only way to tell if any shakuhachi is good is to audition the instrument. If you are inexperienced or incapable of judging a shakuhachi, I'll be glad to evaluate a prospective flute for no charge. I've handled "ugly duckings" that played extremely well AND beautiful looking flutes that are completely non functional.
> And of the older stuff, were the Japanese producing
> questionable product then? Or was the quality good
> but so many made, many were left by the wayside to
> deteriorate?
The older stuff could've been made by a monk not concerned with tuning or someone running a ramen shop and carving bamboo on his breaks to relief the stress of the lunch crowd. Seriously.
> I am curious about the whole thought process of the
> Shakuhachi to the Japanese people so I can make a
> judgment call on these flutes.
The best thing to do is ask the seller some hard questions - "Does he know if the flute is capable of playing real shakuhachi music and from what school? Can it handle the third register Hi and Ha notes in all the various fingerings? AND the most imporatnt is for an audition as a guarantee. You would only lose out on the shipping if the flute turns out not what you expected or what was claimed on the auction listing.
You might find a gem at a great price. That's how EBAY used to be. Just a word of caution though, I've repaired and retuned a bunch of shakuhachi sent to me that were won on EBAY.
Most of them came from one seller who claims his flutes to be both professional and antique. Flutes
that fit into that catagory are extremely rare. I'm very glad you asked these questions. It is very
important for the newer members of the shakuhachi community to understand that in Japan, the shakuhachi is a high quality music instrument made to play a specific type of music. But, on EBAY, it can also be a crude bamboo flute with holes burned into it.
Enjoy the bargains but do the research!
Namaste, Perry
Posted by Perry Yung at 09:38 PM | Comments (0)
March 27, 2005
My shakuhachi on CDs
I enjoy getting CDs in the mail all the time from people who record with my shakuhachi.This one came in a few weeks ago and I've been listening to it everyday. What initally caught my eye was the CD cover of Ankor Wat. I was fortunate enough to perform in Phnom Phen once and did a side trip to Siem Reap where the temples are. I can honestly say it was one of the most spiritual places I've been on this planet.
Check out the music at http://www.cdbaby.com. Just search under Ron Bartlett's Sojourn.
Here is the blurb on the webpage:
Haunting vocals and capitaving rhythms take you on a journey through spiritually powerful music of many countries and religions. Inspired by many artists from from around the world drawing from the very heart and soul of each culture.
You can hear samples of the tracks. This CD really captures a spritual depth through his music. There is definately a feeling fo having travelled from one place to another. Thumbs up!
Posted by Perry Yung at 11:04 PM | Comments (0)
Utaguchi Inlay Fun
I'm having a lot of fun these days using different material for the utaguchi inlays. Traditionally, water buffalo horn was used because that's what was available as inlay material on music instruments made in Japan at that time. The Shamisen has a bridge and pick made from Water buffalo horn. Nowadays, makers in Japan are using high grade Acrylic because it's not only less expensive, but easier to work with and less likely to be gnawed on my insects. I've repaired a lot of old antique utaguchi with pits in them from being chewed on my bugs. I can guaranty that bugs will not gnaw into Acrylic.
Here is a pic of a Kinko style Mother of Pearl inlay wrapped in sterling silver. I've had the pleasure of making a few of these in the past year. They come out quite beautifully...unfortunatly, my camera can not capture the depth of the iridescence.
This is a CHIKUSING Model 2.4 rootend custom made for a student of Michael Chikuzen Gould.
Posted by Perry Yung at 12:52 PM | Comments (3)
March 26, 2005
Winter Shakuhachi Repairs.
Winter is gone, well....almost. We just had a snow storm on the first day of spring! Maybe now the repairs department here at Yung Flutes will get a breather. I had tons of cracked shakuhachi come in this winter. Please store your flute in an AIR TIGHT containter. The best is a simple plastic bag with a rubber band to seal it. If you don' t have a long bag, just use a double layer of the plastic bags from your dry cleaning.
When I was a kid, I went to the dentist quite often. One day, Dr Fong held up a hand mirror to my mouth an said, "Take a look at how big your cavity is. I had to drill this big hole. I want you too see this so you'll brush your teeth from now on!"
Well, folks, some of you don't know what goes into an inlaied rattan binding. There's a lot of surgery involved.
This is a 2.7 Hoshi Bonchiku. Look at how deep I have to cut into the bamboo in order to do the lower wrapping. This flute needed two at the bottom.
After it sat over night, the stuborn root tried to open up so I extended the width of the lower binding.
There are four more inlays done on the top piece for insurance. The utaguchi is an variation on the Miean style. Interesting choice for a thundering modern shakuhachi.
I also moved the Chi hole for an easier reach. This is a great flute from a great maker. As you all know, each shakuhachi hand made in the traditional way is different, even from the same maker. When a great flutes comes into the shop, I measure the bore for future reference.
Other repairs this winter:
This one had a kusabi at the top - a Japanese woodworking nail. Japanese shakuhachi makers stopped using these because they continued to crack and the nails caused additional cracking.
The original crack was above the thumb hole which was near a node. It was tricky getting the placement correct.
This Kinshu had a custom painted surface so it posed other problems. The paint was chipping even with careful cutting with my super fine toothed Japanese saw. I decided the older look of the urushi coated inlayed bindings would look better than rattan because of the color.
Once again, unless you want deep channels carved into your flute, I recommend the simpler and just as effective topical monofilament binding. That's what Kinya does in Japan. You can read the entry on how to do your own monofilament bindings on this blog.
That's it from the shop. Please remember to store your flutes in an airtight container... and brush your teeth at least twice a day.
Your shak doc, Perry
Posted by Perry Yung at 09:29 AM | Comments (1)
February 21, 2005
Hitoyogiri Ancient Shakuhachi
Here is a photo os a Hitoyogiri I made. I saw one on display in 2002 when I visited Nara, Japan. This one was modeled after that one.
The Hitoyogiri was used around 13th century in Japan. It is a clear link to China's Xiao bamboo flute. This one plays a lot like a Xiao except that the Xiao has a few differences in construction: It has a notched blowing edge beveled into the flute where as the hitoyogiri (shakuhachi) has a bevelled utaguchi going out of the flute. The Xiao is also thinner in diameter and plays easier in second octave. It's clear why the Hitoyogiri gave way to the shakuhachi.
The lower octave of the hitoyogiri is quite easy to play, easier than the standard shakuhachi. I attribute this to the larger general bore size. It sounds a lot like the native American flute in both timbre and range (maybe proof of the Chinese crossing the barren straits into the Americas can be traced here! Any music anthroplogists out there?!) They may have done some jiari work (pasted bore) on these flutes but there is little information on how the construction since there are no makers of the hitoyogiri around today. The tradition was not passed on and music of the hitoyogiri died along with it.
Here is my music of the hitoyogiri recorded for a sound loop for a Student film at Columbia University.
HEAR this flute.
This certainly wasn't how it was used back then in the 13th century but today, according to the filmaker, "Acid sound loops are the bomb!" He wanted a contemporary sound with an ancient Asian feeling.
Namaste,
Perry
Posted by Perry Yung at 10:41 AM | Comments (1)
February 11, 2005
New to the shakuhachi
Another email I think you all would find interesting. Again, the name has been changed to protect the innocent ;-)
Hello Mr Cruise, Thanks for your email!
> Mr. Yung, I have been looking at your postings on ebay. I
>enjoy your VERY dynamic sound clips and shakuhachi you
>have been making available to the public.
> If you don't mind, I have a few questions about your
> playing style. I live in an area at the time where
> instruction and anything about shakuhachi is a
> little
> hard to come across.
I'll try to keep this email short and to to point since your questions can generate a master's thesis! ;-)
Even the greatest shakuhachi players can only sound as good as their flute is capable of sounding. It could be that your flute is only capable of so much. Having said that, a master player can still sound sublime to mind boggling on a simple shakuhachi, as long as it is fully functional. Many shakuhachi sold on EBAY are shakuhachi-like flutes. They may be fine bamboo flutes but probabaly not capable of the traditional and/or advanced fingerings used in shakuhachi music and most likely not capable of making dynamic shakuhachi sounds.
Much of shakuhachi playing is about tone color. Tone production and color comes from embroucher techniques (how close and far your lips are to the blowing edge), you probably know this from the silver flute. The shakuhachi has it's own unique timbres that are exploited by the embroucher techniques of strong technical players. The sound is made from the player's understanding of shakuhachi techniques and how they are used on the unique blowing edge called the utaguchi. The sound and timbre are flexible to the point that the bore shape allows. The better shaped the bore, the higher level of technical playing it can handle. Much of knowing how to get these sounds come from years of study with a competent teacher on a well made shakuhachi. Unfortunately, for you and many others in the world there is no access to this special experience.
There are some shakuhachi CDs that may be helpful. I will only discuss the styles I am familar with as there are many. I think the style I studied mostly in Japan is the most dynamic to unfamiliar ears, the Dokyoku style. But even in this school, there are different players who have managed to find their own identity through their own sound so it's confusing to newcomers as to what the Dokyoku sound is. The founder - Watazumido - is unlistenable to many Western ears. His playing sounds rough and out of tune but to seasoned ears, the rawness and improvised "feel" is what Zen is all about. Watazumido plays in his way deliberatley and deftly. Some seem to think that anyone can play like Watazumido but I think that would be like saying anyone can paint like Picasso. At the other end of the spectrum is the late Goro Yamaguchi, a Kinko Style Master. His playing is deep and sublime and tone colors are all of a similar palette but rich in it's shades. Listening to Goro Yamaguchi is like looking at a Paul Rothko painting. At first, the color scheme of the whole canvas seems simple and mono chromatic but after careful viewing, one can see that the shifts in hue (within that color) are minute but powerful, resulting in deep resonating vibrations.
Watazumido is the opposite. His playing hits you right away demanding a viseral reaction. To use another painter as an example, Jackson Pollock comes to mind. Some hate him right away, others love him at first site. Most take a while to start to appreciate and understand his genius. Like these painters, shakuhachi players belong to a specific school each with it's own canons.
For someone like me, in order to understand shakuhachi, I look to art history as a guide. In order to understand and appreciate art with heightend awareness, I have to be able to follow the progression from the cave paintings in ancient times to abtract art of today. Understanding the historical context of the schools and players help me understand the music and the flutes I make.
You will find find in your thirst for the shakuhachi that your taste will change. It will be one thing today, another next week and and then entirely something else in a year from now. Then in 10 or 15 years, you'll come back to what it is today. That's sort of where I'm at.
> 1. Is there an exercise book you might recommend
> that
> would be good for becoming more dynamic in the
> non-western playing aspects, i.e. swells, bending,
> troublesome notes, etc? I'm not a beginner to music,
> I've studied classical and jazz with the silver
> flute,
> and I have switched to playing daily with the
> shakuhachi. Basically right now the second and first
> octaves are very comfortable, but they lack the
> color
> you have while playing.
Try to contact Michael Gould at chikuzen@earthlink.net
He has scores and music from Yoshinobu Taniguchi - a Dokyoku master. Also, visit my BLOG at http://www.yungflutes.com/log There is an entyry called Sasa Buki. It outlines my practice technique to develope strength in playing. I think many flutists have a similar exercise of blowing long tones with crescendos to get to know the instrument's timbre and dynamic range. I find that most shakuhachi books are impossible to learn by unless you are already a musican and can apply your musical technique. I have all the books and can not recommend spending any money on them. I would suggets to a beginner to buy the best flute they could and just spend the time that they normally would reading the book to just sit alone with the flute in a quite space. So many possibilities are negated with a book. So many pathes are open without it. In the same breath, I can not stress the importance of having a good (the right) teacher if that option is available.
> 2. Do you use half-wholing or do you use alternative
> fingering while playing?
Yes, all the trime I use traditional Dokyokyu fingerings. Every school has their own fingerings for certain pitches and notes for specific tone colors. These are combine with blowing techniques such as Komi Buki (big breath) for dynamic playing.
What about the third
> octave?
Most traditional shakuhachi music is not written using notes above the minor third in the third octave. Only the best shakuhachi can play the to fifth of the third octave. But, even really fabulous old shakuhachi can not play up there sometimes.
> I have been practicing using half-wholes, but I find
> on my 1.8 the Eb is nearly impossible to get a full
> sound that I desire.
It may be your lips or it may be your flute, or both. I would have to check to flute. But that note - Tsu Meri - the the bane of most shakuhachi players' exhistance. It usually is a soft, subtle and "dark" note. It takes years to learn how to play well. Most beginners do noty have proper guidance on how to get the embroucher to cooperated with the fingering to get the tone color.
>
> 3. Do you have any recommended recordings I should
> listen to?
There is a plethora of CDs in Japan but here, I will only give you a glimpse into the shakuhachi world through my window:
Watazumido and Katsuya Yokoyama for Dokyoku. My teacher in Japan is incredible but recording a CD does not interest him. Fukudo Rando (Modern shakuhachi from around 1950).
Goro Yamaguchi and Ralph Samuelson (Ralph's "Offerings" can be found on Amazon.com) for Kinko style. Christopher Blasdel's new CD is also great.
Riley Lee and John Neptune fo. Both play traditional music but their contemporary shakuhachi Cd's are great.
Brian Ritchie Shakuhachi Club NYC a Jazz quartet with a Watazumi approach. It's probably one of the grooviest shakuhachi Cd's around!
>
> Again, I just want to say I admire your work / music
> /
> art (even your website is great), and thank you in
> advance if you are able to help me at all.
Thanks, I am incredibley fortunate in my experience with this special instrument. My shakuhachi path has been revealed to me through very generous individuals whose lifelong relationship with the instrument inpires me daily. I only hope to make this flute accessible to as many people as possible outside of Japan.
My experience, although wide compared to some is still tiny compared with those who live in and study in Japan with knowledgable teachers. There are many other styles of shakuhachi music that I know very little about. My path to discovery is well worn and continues to unfold before me.
>
> Kindest regards,
>
> T.Cruise.
Thanks again and enjoy the discoveries,
Perry
Posted by Perry Yung at 11:02 AM | Comments (1)
February 07, 2005
Repairing a crack with monofilament binding.
I have gotten a lot of repairs this winter. Keep your flutes in air tight containers! I like using air tight long plastic bags with rubber bands around the end. It prevents the flute from drying out.
Here's a binding technique that a few shakuhachi makers in Japan are now doing. Topical bindings are not invasive to the bamboo and can save your flute before or after it's cracked.
If there is already a crack, put a damp cloth near it and leave it in a sealed container over night.
Here's what you'll need;
20lbs fishing line ( monofilament thread), an exacto knife (razor blade), C Clamp and a pair of pliers.
Start with clampinging the spool of fishing line to a fixed surface like a kitchen counter top. Release about 7 feet of line before you clamp it down. Cut off a 4" length for use later.
Once it's clamped, go to the end of the line and make one winding over about 2" of the open end. You should do this right over the middle of the crack.
Start to roll the flute with both hands while using your thumbs to hold down the windings and especially the point where they overlap the open end. This prevents the end from slipping out. You will have to experiment with how much tension you can apply until you get it tight. It'll take several tries to get it tight. The tighter the better. This photos shows 8 windings.
At this point use the exacto knife to cut off the excess open end. Press down gently and pay attention so as not to cut the windings.
Take the 4" piece of line and make a loop while slipping it under the next new winding. You will wind on top of the loop and pull it out at the end.
Continue to wind in the same fasion. Keep it snug and tight but not to much tension. You'll have to pull the loop out.
Once you wind another 8 times, cut the line about 3" pass the loop. Slip the open end through the loop and continue to hold the open end against the bamboo after you do so.
Make sure you are grabbing both ends of the loop with the pliers. Once you have it, pull quckly with a jerk so that the entire loop pulls clear under the bindings.
You can grab the open end and pull it tighter and to where it meets the first end.
Then use an exacto knife and gently push down between the windings to cut off the excess.
Be very very careful here or you will cut the bindings and the whole thing will unravel.
The finished product.
Posted by Perry Yung at 07:45 PM | Comments (3)
February 04, 2005
Moldy Hocchiku
Here's a question asking about dealing with mold in Hocckiku. The name has been changed to protect the innocent ;-)
Hi Sylvestor,
Thanks for your email.
> I was reading posts at the shakuhachi email list web
> archive and you
> mentioned about mold forming in the bore of
> Hocchiku.
> I have a few Hocchiku from Japan and I do experience
> this phenomenon,
> especially right in the finger holes in addition to
> the bore.
> I have figured out that it has to do with moisture
> ,but is there any
> way to inhibit the mold forming?
The only way is to leave it out in in the air. An airtight humid environment breeds mold.
I even tried
> leaving the flute out of
> the plastic bag for hours but this still happens.
Once the mold has started, you must kill it or it will never go away.
> Do you know if there are any negative side effects
> or dangers of
> playing the flute with mold or mildew forming in it?
You might develope an allergy from repeated exposure to the same mold.
> It has been a concern of mine but I had not known
> who to ask. I have
> not experienced anything or any reactions but I am
> wondering if it is
> harmful.
Maybe, maybe not. Everyone's immune system is different.
> Also, I would love to know how you go about the
> cleaning of the bore
> with tea tree or grapefruit seed extract.
First, ask an herbal specialist. I would go to a big health food store and ask the chemist which is better to kill mold in dry bamboo with - tea tree or grapefruit seed extract. Then ask what is a good mixture to make for this antifungal use. See which one has a smell you won't mind smelling for a while. Lastly, ask if it needs rinsing after the application.
> I would appreciate the instruction on how to do
> this.
After you've prepared the mixture at home, run the flute through the faucet in your bath tub with warm water. Use a stiff brush and scrub the walls of the flute as you run the water through it. Make sure you get the finger holes. After the a few minutes, when you see clear water running through, apply the mixture with the brush and scrub the bore out gently but firmly. Then, depending on what the chemist said, either leave the extract in or flush it out.
Dry the bore by pulling a draw cloth throgh it several times. Then put a fan at one end to dry it out.
Also, how often
> do you do this procedure?
I would do this once and then wait to see if the mold comes back. If it does, then you might need a stronger cleaning agent and/or find a way to store the flute without too much humidity.
> Thanks for your time,
> -Prem
Normally, flutes crack when they are dried out. Your flute should not crack under these circumstances. However, during the drying process, you would want to keep an eye on it. Take the fan off it after an hour or two and let it room dry.
Please let me know if this works for you.
Good luck,
Perry
Posted by Perry Yung at 06:04 PM | Comments (0)
October 07, 2004
Shakuhachi Tuning? Modern or Zen
I like to post emails asking about shakuhachi since there are so many angles to every aspect of shakuhachi . Here's one asking about tuning. Again, the name has been changed to protect the innocent.
Hi Roxanne,
> I was interested in learning to play the Shakuhachi,
> and I had some questions for you if you don't
> mind...I live in Boston.
> - I was told a good size for a beginner is in the
> key of D, I Shaku Ha Sun, 1.8'. Would you agree?
I don't agree but that's a personal choice. A 1.8 is good if you want to study Japanese court music such as Gaikyoku or Sankyoku. This music is played in a trio with Koto, shamisen and shakuhachi. If you want to play the Zen Honkyoku repertory, then any longer flute is better. I like Honkyoku so I prefer longer flutes. Most teachers in America only teach on a 1.8 and most learning materials have accompanying CDs with examples played on 1.8 flutes. There is one exception. Chikuzen has a four CD set of Hokyoku music with notation and music for longer flutes of various lengths played by Taniguchi. You can find this through Michael Gould.
I was lucky to have been indoctrinated to the shakuhachi world by a very experienced player who inspired me with his vast collection of "professional" to "homemade" shakuhachi. I put those word in quotations because there is confused meaning behind each when refering to shakuhachi. An explantion would be better served in a doctoral thesis because the terminology alludes to ideology. There are basically two camps in the shakuhachi world. The Modern and the Zen. Again, it would take an inch thick manuscript to explan the two approaches but since your question addresses the issue, I have to put it into context. In a nutshell, the modern shakuhachi should be louder and be able to play with Western tuned intruments since the design in construction of this instrument happened during Japan's period of modernization. The Zen shakuhachi is played solo and the bamboo vibrations should feel incredible to the player. I use the shakuhachi in both situations. I play the shakuhachi in front of an audience with electric guitars and drums with my performance group. I also play alone in a room late at night. I use a different flute for each situation
> - Are your Earth Shakuhachi's, just for meditation
> purposes, or can one learn technique on them? Are
> they tuned to themselves or absolute pitch (Western
> standards). Can they be tuned to learn with?
EARTH Shakuhachi means completely natural so they are "luck of the draw". They are meant for meditational purposes since people who meditate only blow notes to feel vibrations and not play modern music so perfect Western tuning is not even an issue. In EARTH shakuhachi, what matters is the tone or timbral characteristic of each note. Basic shakuhachi techniques can be employed on EARTH model flutes, but the advanced ones in the high second octave may not be. BTW, it would take years of study to be able to play advanced techniques.
Having said that, I still make my EARTH models so that they are working intruments and play well in tune with themselves. And, most are in Western tune. But, I think the issue is not whether they are in perfect pitch since shakuhachi, by nature of the constuction, is an instrument of relative tuning. This means that the player and maker decides how well in tune it is. A decent maker can make a flute that plays in tune according to his/her blowing strength but the player will play stronger or softer, thus affecting the pitch. What this boils down to is that each instrument requires a small learning curve. The player has to have a digital tuner so that he can check the pitches to the intensity of his/her blowing strength. Blowing harder means getting the note sharper, blowing slofter means getting a flatter note.
I am making a 2.4 shakuhachi now for a teacher in California. He requests that the flute be made a little flat because he like to play Kari (sharp), meaning, he likes to blow with intensity. Since this raises the pitch, he wanted a slightly flat flute so that he can still play with tuned instruments at the level of intensity that he likes. An inexperienced player might pick up this flute and think, "Hmm...I this flute is flat, it's only good for solo playing." An experienced player would probabaly say, "Oh, this flute is good for players who play Kari all the time."
On some flutes, some notes may require more adjusting than others to get the proper pitch and some modern players may be not understand why. The reason could be that the maker decided a particular note's tone color sounded better softer but the player doesn't know that. A player might think that note is sharp because he/shes blowing hard to be heard in a modern situation. In reality, the maker probabaly made that flute a long time ago in his quiet room playing by himslef. Some amazing old flutes are not in Western tuning but the sound is amazing so the player would have to learn how to adjust or adapt if he was to play with other "tuned" instruments. It also takes a very very experienced player to be able to judge whether the flute is in tune, or, just not made well. Again, different players of the two camps will probably disagree.
What most people mean by "tuned" is whether the flute has a tapered bore to handle strong technical blowing, whether the flute has a bore shaped to be responsive to the kind of technical playing that creates the overtones associated with classical shakuhachi timbres. Tuning is somewhat relative, but a responsive bore is not.
> - Are your Earth flutes meant for a beginner or a
> more experienced player?
EARTH Models are meant for beginners who will not study Gaikyoku or Sankyoku shakuhachi with a teacher. But some experienced players of Honkyoku who lean toward the ZEN approach might prefer an EARTH model.
Most EARTH model shakuhachi are made from the upper part of the bamboo, not the root. This means that they do not have tapered bores. Root end shakuhachi has a natural tapered bore so I use these for my advanced models.
>
> - There is a maker out West, Monty Levenson, who
> makes these meditation Shakuhachi's with a natural
> bore of just the bamboo. He says they are not
> appropriate for learning on because they are tuned
> to themselves. He does make a student Shak with a
> cast bore that are for learning proper technique on.
> This model can be tuned to learn on.
>
> - So, I noticed your meditation flutes have a black
> lacquered bore...is that just for protection, or
> does it help with the tuning?
The lacquer seals the bore for moisture protection only. Lacquer does not affect the tuning but will brighten the timbre. Many people in the shakuhachi world confuse lacquer with Ji paste. Ji paste is a filler material use to build up the bore for tuning. Lacquer only seals the bore.
>
> - I don't know if you are familiar with Monty's
> instruments, but if you are, are both of your
> meditation models the same in terms of what can be
> played on them?
I know Monty but have only sampled some of his flutes. Each handmade bamboo flute is different to some degree regardless of maker and model. There may be some similarities, or, they may be drastically different. The timbre of shakuhachi made in the traditional way is largely dependant upon the bore work, blowing edge and piece of bamboo.
>
> - WIll you be having any of the meditation Shaks in
> D for sale on Ebay at some point?
I make flutes by the batch and they usually get "pick" because of emails such as yours. What doesn't get picked by the time the flute is finished goes to my dealers or to EBAY. This doesn't mean that they are inferior in any way. I am very proud of each flute I make.
> Many thanks,
>
> Roxanne (not actual name).
Please feel free to ask any more questiosn you may have. What you have to decide is what camp you belong to. Good luck on this decision.
Thanks again,
Namste.
Perry
Posted by Perry Yung at 10:40 AM | Comments (0)
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 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.
It was too long for him.
Ronnie Nyogetsu Seldin tries my 2.6. Kifu likes the curved root.
The police survelience cameras at Washington Square caught some hippies dealing in a different kind of grass. BAMBOO IS GRASS!
Posted by Perry Yung at 09:48 AM | Comments (0)
August 11, 2004
Fourth Annual World Shakuhachi Festival
photo by Kayo
There was so much great activity at the Fourth Annual World Shakuhachi Festival in NYC this year. Much kudos to Ronnie Nyogetsu Seldin for producing it this monster event. Aside from the concerts, workshops and cool people, the best thing was meeting Monty Levenson and Ken Lacosse. I've heard great things about them from mutual friends and aquaintances. Ken even gave me a stock piece of 1.8 a few years ago. It was great playing their flutes.
As a maker, an event like this is invaluable. I got a chance to hang out with seven makers for four days. Murai Eigoro, whom I met in Japan last year, invited me to his place in Japan to pick bamboo this winter.
Chistopher Blasdel is trying out an Eigoro shakuhachi. David Sawyer is in the back and furthest back is Jim Schlefer.
John Neptune's table was across from mine. I met John in Japan last year too. I wanted to build a dome house after visiting his place. Dan Meyers looks on.
My brother Peter picks up his auction winnings from Ronnie at the final concert.
Kurita Masami, a shakuhachi maker, checks out an Imovie on my laptop. He knows my shakuhachi Sensei in Japan, Kinya Sogawa. I made an Imovie that I used in performance with Kinya and Laurie Sogawa. A lot of people really dug the bamboo harvesting section ( ouch!).
Sunday of that week, I had to skip out early from the vending section to do a shakuhachi workshop at the Tibetan Museum in Staten Island.
Everyone got to make their own PVC flute. They even got a sound right away!
All in all, a great week in NYC!
Posted by Perry Yung at 12:02 AM | Comments (0)
July 10, 2004
Choshi Variations
Today, I had the great opportunity to play on an old Yokoyama Rampo 1.8. This flute was made by the father of Yokoyama Katsuya. I was blown away to discover that one of the 1.8s I was presently tuning had a very similar feel to the Rampo. I like the timbre of older shakuhachi and strive for those characteristics. At some point in the tuning, one has to let go of the gages and tune soley by ear and playing. This is what I learned from Kinya one day in his workshop, "These gages will only take you so far. You can only make a great flute by playing the shakuhachi as well as you can".
I sat with my friend and we played Choshi together. During the piece, we both noticed the differences in interpretation. He said he learned from Katsuya and that is how he taught it. I learned from Kinya. Both drank from the fountain so why the difference? That is a question for countless debates. Japanese teaching requires the student to imitate the master. I guess at some point the young master's need to hear the music his way will force the break in tradition. I'm hoping that this question will be addressed at this years International shakuhachi festival in New York City. If you are in NYC from July 29th - Aug 1st. You must attend. Here is a link: http://www.bigappleshak.com
I will be performing and will also be making some of my shakuhachi available.
I liked the Rampo 1.8 a lot. It helped me answer some questions about volumne. The flute wasn't particularly loud but it had a great presense through out. Each tone hole FELT really good to play. Unlike the kind of modern shakuhachi that are cranked out in a short time, I got the feeling that Rampo spent a lot of time playing that flute. It is for this reason shakuhachi can cost in the thousands of dollars. It can take years to make a fabulous Jiari 1.8. Playing great flutes is an inspiration.
Posted by Perry Yung at 07:06 PM | Comments (0)
June 28, 2004
Shakuhachi bore work
I am on a little haitus from New York City right now. Since I was going to have some time to focus, I thought it would be the perfect time to work on some shakuhachi 1.8s with jiari bore. The idea is to create a bore shape that allows for an overall balance in timbre, volumne and flexibility. This allows the player to make timbral choices which would reveal both the player's individuality and the flute's neiro - tone color. Contrary to what most people think, jiari work is not about pitch tuning. The pitches are rarely tuned by bore work, that is done through hole placement. Jari work is about tuning the bore throughout by removing and adding material so that the final shape of the bore reacts to the player's technique with a wide flexibility in timbral control. Sometimes a note might be tweaked through bore work but this drastically affects the tone color.
I am the first to admit that I am far from being a virtuoso player, but practicing daily for two hours before I begin to tune helps the bore work. This way, while I'm in my top playing mode, I would be able to tell whether it's me or the flute that needs the work. The flute I practice on before tuning is the 1.8 I made with Kinya in Japan.
Shakuhachi making in this way is not a science, it is both methodical and intuitive. It reminds me of my days as a fine art painter. A painting is done in the same way, with a sense of color control, composition, and idea of the final image but whether the painting will be successful depends on the many components that guide and influence the making in it's various stages. A shakuhachi can ceratinly be influenced by emotional state just as many paintings are. This is why one maker can produce a dark sounding shakuhachi or a brighter one. Rarely will two shakuhachi made by the same maker play exactly alike. They may have the maker's trademark neiro but certainly not play exactly the same. Shakuhachi making is not a craft, it is an art. We can not guaranty uniformity in the same way a rug weaver or a candle maker can. Not all of Vincent Van Gogh's works are masterpieces. Making one, or, letting one reveal itself is the thrill I get from shakuhachi making.
Posted by Perry Yung at 10:45 AM | Comments (0)
June 03, 2004
Jiari Shakuhachi Tuning VS Jinashi.
I just did a repair for someonewho bought an "antique" shakuhachi on EBAY. It's probabaly around 20 years old, 80 years short of being an antique. The tuning was a bit off for a Jiari flute but the seller refused to offer a refund although his auction stated "No refund unless grossly misrepresented". The buyer said had he known it was this out of tune, he would not have bid on it. Some of the notes, including RO, was almost semitone off. That's way off for a Jiari flute. Since it was advertised as in perfect tuning, I would consider this misleading unless the seller was unable to judge shakuhachi tuning. Since the shakuhachi is a nonfixed-pitch instrument, like the violin, it can be manipulated to play a range of pitches within three semitones on each hole. It would be easy to say "I played it in tune on an digital tuner". If one plays softly, the note will be flat. If more air pressure is introduced, the note sharpens. It's possible that the seller is not a proficient shakuhachi player and therefore did not understand how to judge shakuhachi tuning. Which prompted me to write my thoughts below on shakuhachi tuning.
Jiari means with Ji paste and jinashi means without Ji paste. When Ji is used to fully tune a bore, the pitches should play very close to perfect pitch with the same breath velocity across both octaves. This is the reason for Jiari. If it is jinashi, the pitches can play up to 25 cents flat or sharp on each tone hole and still be acceptable. The bores of jinashi flutes are usually wider and can respond easier to pitch bending. The flute plays fine now.
The Tsu was the worse culprit. I enlarged the hole to bring it to pitch.
EBAY can be a great place to buy things. In fact, I do a lot of my shopping there!`Just make sure you check the sellers refund guarantee.
Posted by Perry Yung at 08:41 PM | Comments (0)
June 01, 2004
Welcome (1st Entry)
I am fortunate and humbled to be the only American shakuhachi maker supported by both the Japanese and American government.
In 2002, I was the first American to receive a Japan-US Friendship Grant to specifically study shakuhachi making in Japan. The moneys for this grant comes from the National Endowment for the Arts and the International House of Japan. Their aim is to foster a better understanding between the two countries. They have been sponsoring bridge building artists for over 30 years. While in Japan, I studied the Kinko style with Christopher Blasdel, Jin Nyodo styled Kinko with Kiesuki Zenyogi, and contemporary techniques with Akikazu Nakamura. But my main Sensei for both shakuhachi making and playing was the DOKYOKU style Zen Honkyoku with Kinya Sogawa. Sometimes when Kinya was on tour, I would take lessons with Laurie Sogawa. I also did workshops with Kifu Mitsuhashi. To many shakuhachi people, this is a lot of teachers. But, I needed to get a clear picture on what shakuhachi is in Japan without being clouded by dogma.
As part of this grant, I realized a dream by studying and working with Butoh dance legends, Kazuo and Yoshito Ohno. We created a performance called Umi Yo Umi Yo. This was a collaboration with Kinya and Laurie and my wife Maura Donohue, who is a Modern Dance choreoprapher..
-Perry Yung
Posted by Perry Yung at 08:29 PM | Comments (2)