The student: -I don’t make any progress. How can I make progress?
The student: -But I practiced!
Me: -What did you practice exactly? And how?
Most of the times it turned out that the student didn’t practice that much after all. Or not WHAT I asked him/her to practice. Or not HOW I asked him/her to practice. Why? I wonder. Maybe is it not that obvious for everyone what practicing means?
So here are some thoughts about practicing shakuhachi. And about practicing in general, not only for shakuhachi. I am an amateur photographer and once I asked a friend who is a professional photographer how I could improve my photos and she answered “Practice this and that”. So practice practice practice. Meaningfully.
Even if you think that you know what practicing is, please read this post further. I’ll be happy to hear if it matches what you already know and/or if you have some more tips to share.
Continue reading Practice Practice Practice
This is a follow up to my previous post about Stress & Shakuhachi. As I wrote before, this is a topic which cannot be covered in one or even several posts. And I am not a psychologist nor a professional coach. The aim of these posts is to help you setting things in motion if you are overwhelmed by stress when playing in front of your teacher or in public and end up panicking instead of enjoying.
So, how can you work on it?
Continue reading Stress & Shakuhachi (Part 2)
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 – Low Register
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
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
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
I’ve been performing since I’m fifteen, and I’ve never learned how to do it. I didn’t even think there was something to learn about it. However, when you think back to how many people get nervous when they have to perform, from good anxiety to total panic that they have to calm down with medicines or even stronger stuff, you start to ask yourself whether there might be somehow something to learn about it. I can still remember moments of total panic during competitions and it didn’t feel good. Playing music shouldn’t lead to this amount of stress. At a lower level, I also experienced the frustration of practicing so hard for a lesson and then not being able to play the way I wanted when in presence of my teacher and the other students. So, is there something you can do about it?
Continue reading Performances
In a previous post, Music recordings, I wrote about the benefits of recording yourself during your practice. Have you tried it so far? How is it working for you? For me, it has really become part of my daily practice. Not that I record myself every day (!) but it has become one of the tools I like to use to practice. Like I use a tuner to control the pitch, a metronome to control the tempo and rhythm, I record myself to check how I sound. Or just to do a run-through.
In addition to my previous post, I’d like to add here a few tips to go further.
Continue reading Recording yourself