In the coming months, I will release a series of posts about a selection of pieces, from the very beginner pieces to some advanced ones. In addition to the information about the piece itself that you can already find in the “Repertoire” section, I will give some tips to practice them.
NB: Practice tips don’t replace the guidance of a shakuhachi master.
I rarely teach folksongs and sankyoku (only if the student asks for it). So this selection will mainly consist of honkyoku and some modern music (among them, some of Fukuda Teruhisa’s compositions and my own compositions).
Let’s start with the beginning!
#1. What pieces can you play only in the low register (otsu)?
When you are a beginner, the upper octave (Kan) can be challenging. There is only a couple of honkyoku (to my knowledge) that you can play entirely in the first register: HiFuMi Chō and Kyorei (depending on the version: some versions of Kyorei contain a “kan” section).
To provide my students with some extra pieces in the Otsu (low) register, I wrote “10 Easy Pentatonic Melodies“. The first 6 are exclusively in Otsu.
Let’s have a look at these pieces:
Continue reading SHAKUHACHI REPERTOIRE SPOTLIGHT #1
After a long Winter period, I was ready for Spring and couldn’t wait to get started. Next to the usual individual lessons, I had again some performances & workshops planed. They all didn’t resist the restrictions due to the Covid-19 pandemic, like everywhere in the world for many many many other freelance artists…
What does this pandemic tell us about ourselves? Since the last weeks, I see that it forces us to think different and be creative. I see so many nice initiatives popping up online and in real (playing at your window for or with your neighbours). And for myself, I see it as a new challenge.
And it reminds me every day how important health is, how important it is to live a healthy life and care for others.
Protect yourself, and also protect the others. In our very individualist modern societies, the Coronavirus shows us how strongly we are all interconnected and that we cannot ignore that.
“Man sacrifices is health in order to make money. Then he sacrifices his money to recuperate his health. And then he is so anxious about the future that he does not enjoy the present. As a result he does not live in the present or in the future. He lives as if he is never going to die and then dies having never really lived.”
His Holiness the 14th Dalai Lama
So it is time to live in the present! To find new ways and enjoy being connected!
Continue reading ONLINE SHAKUHACHI
As well as my colleagues around the world, I will get more online the coming months. Starting with teaching. How does this work?
To celebrate the third anniversary of my blog, I am sharing some tips to practice shakuhachi honkyoku. Happy blowing!
Continue reading 12 tips to study Honkyoku
In a bit less than a month, the International Shakuhachi Festival Prague 2019 (ISFP 19) will start. This 5-day festival (September 12-16) is one of the few big shakuhachi events in Europe (another one being the European Shakuhachi Society Summer School). It will be held in various beautiful venues in the historical city of Prague (Czech Republic) and the program is awesome! Check it out here.
For the first time, I will be teaching and performing there and I am quite excited about it! I have been preparing my workshops for months and here is a short presentation about what I will be teaching. I am preparing teaching material and exercise booklets as well, which will be available during the festival.
In another post, I will present the pieces I will be performing.
If you are around, don’t hesitate to join! Continue reading ISFP 19 – Workshops “Warm-up Routines” and “Intonation”
When you learn shakuhachi, there are some difficulties that almost everyone is confronted to. And there are also some points that deserve a special attention (the ones your teacher keeps on repeating over and over again).
Here is a list of the subjects and issues I address the most frequently during my lessons: Continue reading My “Top 7” Tips for playing shakuhachi
There is a lot of discussions going on about what shakuhachi is or is not, should be or shouldn’t be: is it a meditation instrument? is it a music instrument? or both? should we or shouldn’t we pay attention to the musical result when we play it?
The first thing I would like to say about it is that we are all different people, so it looks normal to me that we have each a different approach of the shakuhachi, different goals, different needs, and that we like different things in it. I think that the shakuhachi is a great instrument to teach us to be non-judgemental. But I read and hear a lot of judgements here and there, about what shakuhachi is and is not, and that surprises me. I think we can express what we like in playing and listening to shakuhachi without considering that our way is the only way. In my teaching, I try to help my students to find their own way, not to imitate me or Fukuda Teruhisa. Our school and repertoire is wide enough to provide different aspects of the music for shakuhachi, but not all aspects. And the most important to me is that my students play in alignment with themselves, and take lessons from me only if they find what they like in our school.
So music or meditation?
Continue reading Meditation or music? Or both?
This summer, Fukuda Teruhisa 福田 輝久 and his wife Kineya Shiho came to France for a full week of summer school organised by Daniel Seisoku Lifermann and La Voie du Bambou. And following up this week, they came to Rotterdam (The Netherlands), where I teach! I couldn’t be more happy.
I have been following Fukuda Teruhisa’s teaching for more than 12 years now, during 6 intensive weeks in the summer (2006, 2008, 2010, 2013, 2016, 2018), various weekends and masterclasses in between in Paris, and a full week of individual lessons in Tokyo in 2017, and it seems to be no end of what I can learn from him. Each summerschool, when we start with Honte Choshi or Tamuke again, I keep on learning new things, it is amazing. Like it is amazing that he is keeping on making new versions of the scores he already gave us, along with new music he arranged or composed, guiding us deeper and deeper in the details and giving us at the same time more and more knowledge, capacity and freedom to make our own choices. He is a true perfectionist and a highly inspiring teacher and performer.
Continue reading 福田 輝久 Fukuda Teruhisa’s teaching
Whether I’m practicing for myself of for a performance, I always start my practice session with a warming-up. I have different routines and I always start with one of them. I think it’s very important to have a routine to start your practice, something you don’t need to think about, but also something you do regularly and gets you into the concentration needed for your practice. Like a sporter, you need to warm up your muscles and breathing with easy exercises. My students know how much I love long tones and playing long tones with them. Long tones offer a wide range of variations such as dynamics, attacks and sound colours ; you can focus as well on your muscles tensions, body posture and breathing ; you can listen to the silence between the tones and the relationship between tones and silence ; you can also play them to meditate. Like any meditation, it can be short or long. I sometimes spend an hour playing long tones!
When I’m preparing for a performance, I’m more inclined to focus on technical skills that when I’m practicing for myself or for a meditation concert. Here is my routine. Continue reading Warm-up Routines
It took 7 years between the day I first heard shakuhachi on a CD and my first shakuhachi lesson. And then another 8 years before I could make enough space in my life to consistently practice shakuhachi daily. As a flutist, I was of course already practicing regularly my Western flute, but didn’t have much time left for the shakuhachi. And I can assure you that from the moment I eventually had time to practice shakuhachi (almost) daily, it made a huge difference. I know this is quite obvious, but it really works. It’s true for every single music instrument, but it’s really critical for sound quality and intonation for the shakuhachi. In order to make progress, you need to practice regularly, even for short sessions. The shakuhachi is a flute asking you to make your own mouthpiece with your lips and mouth muscles. This is very subtle work, and if you don’t train regularly, you can’t build up properly the strength and endurance needed, neither the right balance between tension and relaxation. Playing shakuhachi is physical and should engage your entire body, like sport.
Maybe this sounds quite demanding, but I’ve seen many people getting disappointed (or even very frustrated) to discover that the shakuhachi was not “a kind of recorder” with which you can immediately and easily get a sound (don’t get me wrong, playing the recorder properly is also not easy, although the sound production is much more easier).
But sometimes, as shakuhachi is a particularly challenging instrument, you can have the feeling you’re not making much progress and it can be difficult to find motivation to carry on practicing. So here are some tips to help you hopefully to establish a daily routine and stick to it.
Continue reading Practicing daily
Kokū is considered one of the oldest compositions for shakuhachi, one of the three fundamental pieces together with Kyorei and Mukaiji.
Koku means “Empty Space,” or “Empty Sky,” (“Ko,” “empty”, and “Ku” “space”, or “sky”.)
There are many legends about this piece, and many different versions. Some versions are based on the story of the “Bell Ringing in an Empty Sky”. It refers to the death of the monk Fuke and his disappearance from his coffin. Only remains the sound of his bell coming from the empty sky. Other legends say that this piece has been composed in the 12th century by the monk Kyochiku, who heard this melody in a mystical dream. With the mist blocking the moon, it looked like the sound of the flute was coming from an empty sky.
Koku has a flavor of infinite mist and echoes. It is said that playing this piece helps one explore the boundaries of “mu” or nothingness, transcending reifications, the artificial cognitive boxes into which we place objects, situations and emotions.
Source: The International Shakuhachi Society
Continue reading Practicing Kokū 虚空