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?
This is my first post of 2020, so I am way too late to wish you a Happy New Year, even the lunar one! But I do wish you health and happiness for every day in your life.
I did want to write a “Happy New Year & Good Resolutions” post, but it didn’t work. The main reason for it, I think, is that I was in “winter mode”. Not only the actual season for the Northern Hemisphere where I live, but actually this part of a cycle when you gather and restore your energy, preparing for the rest of the year, when you are not in “production mode” but in “silent mode”. It is definitely a necessary period for creativity and growth. Even if you have the feeling that you are not making any progress and you are not getting anywhere, you actually do.
Continue reading Winter Mode
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
Last year, I presented the fantastic work of my colleague and friend Fiore Seichiku De Mattia: “Floatings Souls” (Anime Fluttuanti), a project conducted as part of the Music Research Laboratory in Psychiatric Community, Fondazione Emilia Bosis (Bergamo). Since that time, Fiore made and uploaded 3 new videos about this project, chosen as the most representative ones. In these videos, he plays original shakuhachi solo compositions of Fukuda Teruhisa: Kanjinhijiri, Roro no Shirabe and Hijiri.
The spiritual inspiration of Fukuda sensei’s compositions, the “floating sounds” of the shakuhachi and Fiore’s profound reflection about the mystery of the other guide us to find the connection to these “floating souls”.
It is moving and beautiful. Continue reading Floating Souls (2)
The International Shakuhachi Festival Prague 2109 (ISFP19) took place one month ago and it was a fantastic event. I had the great honour to be invited by Marek Kimei Matvija to perform and teach and I prepared for this event for months. I put a lot of efforts in my preparations: not only practicing, but also writing teaching materials and composing new pieces. And the festival turned out to be beyond expectations. Continue reading Back from the ISFP 19!
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”
Last summer, I bought a very nice Jinashi shakuhachi 2.2 made by the Spanish maker Jose Seizan Vargas because I was looking for a special flute to practice Koten Honkyoku. I was very curious to try to play on a Jinashi flute, explore its sounds and the difference with a Jiari shakuhachi. As I am not myself a shakuhachi maker, here is a link about what a Jinashi shakuhachi is, besides Jose’s website (even if you don’t speak Spanish, have a look at the pictures, it already explains a lot).
Even though I haven’t managed yet to give much time to this practice, I am very happy about the results. When I just want to blow, I grab this flute, and it feels just perfectly what I need at the moment. Pure happiness.
Continue reading My Jinashi project
We don’t really like to think about death. Although death is part of life, it is quite taboo in our society and a difficult topic to address. Like it would bring bad luck.
Two and half weeks ago, I gave a shakuhachi presentation in a zen center in Rotterdam (The Netherlands). I gave explanations about the history of the instrument, played a couple of honkyoku, and guided the participants to make their first sounds on the shakuhachi. We also had a very nice talk about the relationships between shakuhachi and zen meditation. It was a very rich experience for all of us. At a moment, while I was playing, one participant became very emotional. Afterwards, the organiser of the workshop, who is one of my students, told me that when I was playing, he was thinking that shakuhachi would be very appropriate to be played during funerals. “Actually” I answered, “I played a week ago during the funeral of my cousin. I am quite used to play at family funerals. Before, I used to play the flute, but now, playing the shakuhachi adds a spiritual dimension I really appreciate and need myself.”
I also told him about the time I was asked to play for a nature funeral of a total stranger.
During my demonstration at the zen center, the piece the participant became emotional with was Azuma Jishi (Azuma no kyoku). Was supposed to be. I did start playing it, but in the middle of it, as I was playing by heart, I mixed it up with Kumoi Jishi, which was the piece I played for my cousin’s funeral, and couldn’t come back to Azuma Jishi anymore, so I ended up playing Kumoi Jishi.
My student’s comment about thinking of a funeral while I was playing and the participant’s reaction during this piece make me think that there was still a lot of my sadness from the death of my cousin in my shakuhachi play on this day. Continue reading Playing shakuhachi at funerals
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?