When you have little time to practice shakuhachi, what should you do to make progress and be happy with your practice?
Here are some tips to help you. Let me know which one you find the most useful!
Continue reading 6 Shakuhachi Practice Tips for Busy People
Why is the upper register Kan so difficult for many of us?
When I started learning shakuhachi, I was already a professional flutist, and still, as a beginner shakuhachi student, I found that the Kan register was a bit challenging, especially the two higher notes (Hi and I). There was something there that took me a bit more time to feel and master. Although the lips technique is quite similar to the flute’s technique, I needed to find some adjustments. What was going on?
Continue reading How to play “Kan”?!?!?
When I opened my Virtual Shakuhachi Dojo on Patreon last February (https://www.patreon.com/shakudojo), I started to film tutorial videos for the patrons of the KAN Tier. Once a month, I address a specific topic or technique. So far I have published videos about abdominal breathing, embouchure for (absolute) beginners, the basic scale otsu, how to play in kan, how to attack a sound, how to warm up, meditation in nature. When you subscribe, you also get access to a PDF-file with basic exercises for practicing long tones, fingers, octaves and intervals. In the coming months, I’ll be filming how to practice these exercises and release the videos in my Dojo.
Why do you have to pay to get access to this content?
Continue reading Tutorial Videos
The two last months I have been quite busy recording videos in the nature (read previous blog post about it here). It started a bit out of frustration: concert halls desperately closed for so long, impossibility to make plans to work in the short run, living on the hope that it would get better after the summer when most people got vaccinated to start to perform again,… But hope is not enough and I couldn’t just stay put and wait for the situation to improve. The current pandemic has given me the opportunity to challenge myself to find other ways to create and still go on, like creating a virtual Dojo on Patreon (visit it here).
Outside my confort zone
Some artists in bigger structures and/or better network manage to organise live streams, I don’t. Luckily I love birds and birdsongs. Playing and recording in nature turned out to be a very nice activity yet challenging. It means playing in the cold, in the dark, in the rain, in the mud, in the wind, without the supportive acoustic of a concert hall or any amplification… It means going out of my comfort zone and letting go of my blockages. It means playing by heart.
But it also means being surrounded by birdsongs, enjoying space, deep inner peace, being present to everything happening. This is so rewarding!
In this post, I’ll describe how I pushed my limits and I’ll give some tips to play by heart.
Continue reading Shakuhachi by Heart
Playing by heart is a path to meditation.
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