SHAKUHACHI

I hope you all are doing well.

In May, we had a meeting with "Tiara Koto" because it was an affordable venue. Although it was a venue where Saturdays and Sundays could hardly be taken, we planned a second meeting this year because it was vacant only on the night of November 10 (Sunday) "That was the trick.)

In the first half, following the lively self-made work ("Together"), we will perform the two major songs of Choi Motoyo, “Juya Night Moon” and “Nyanse”, which are regarded as the best nursery rhyme composers in Japan. We added preludes and interludes without adding extra sound so as not to damage the original song. There is plenty of solo work by both Mr. Kujima and Mr. Iijima who have been studying for a long time and playing this song on the day.

The second half is the rare world of Zen shakuhachi. After the “Sanya” of Sendai / Fubukuro Eden, depicting the scene of the sun shining quietly in the heavenly Iwato, the “Oshu Shuji”, which is said to be a masterpiece, was the final student. Two songs are played: “Tsurunosu-an” (broken) Kyoto Meishin Shinryo, and the most difficult piece “Kakuku” of Hirosaki Tsugaru / Nishiki-style Nishiki-style. Every song is a big song of Okuden and Minaden. We use old pipes with imperfect tuning that do not apply lacquer and powder inside the ground. If there are no big habits in the performance of the elementary school, I would like to add to the seventh and later CDs released in the United States. *
I would like to invite people with whom I have a relationship, but due to the limited number of seats, I will make an official reservation when I contact you with my full name including those I know.

Many Japanese musical instruments are not functional in the same way as Western musical instruments, that is, playing fast, constantly producing large and stable sounds, or composing chords by simultaneously producing multiple sounds. I'm always betting on this one point, the tone. The shamisen sawari (although there is a similar concept to Indian stringed instruments), and the fact that the musicians of folk songs have been particular about playing with silk thread are examples of this tone-oriented appearance.
再 び Go back to the theme of Japanese musical instruments “tone lovers”. The shamisen “sawari” and the folding musician's commitment to silk are given as examples. The story of Nohkan along with derailment. Speaking of “obtaining a certain pitch with a certain fingering,” Noh tube is no longer an instrument. It is impossible to play a so-called melody in Noh. It is this Noh that is used only to create an atmosphere for describing a scene, beyond the standard of musical instruments. Mr. C. Evert is a teacher at Musashino University because he loves Noh and likes to be a Noh performer, but he cannot fulfill his nationality barrier (they are American men). He often came to listen to concerts in Japanese genres and other genres, and became very close (although I had forgotten all that happened so far). I have been tempted to give him a persistent nobility. At the end, I finally got it out and used it sometimes in studio recordings such as play accompaniment. The super high tone called “Hishigi”, which was peculiar to Noh, did not come out at last. Evert, who is also a master of shakuhachi himself, well understood my interest in the unique existence of Fukizen shakuhachi (classical song) and recommended it to a lecturer at the International Department of Waseda University. Wasn't he the English version of the song “Sumidagawa”?

(more…)

The long-term trouble with the right finger was also given the official name (finger tendonitis) the other day by a music surgeon. And when I started taking the usual medicines, it was an amazing improvement. So, on the night of November 10 (Sunday), I arranged for one-stage singing alone (in Japan for the first time in 20 years). I would like to invite about 100 people to nominate on our side. At this time, I will play a big song that only this person (that is, me) can play. Please leave a schedule. (Now, we will be away on consecutive holidays.) On May 17, we will invite you (no matter how many) if convenient. (The second half will be played by a student)
Let's have a good holiday

Shakuhachi 2016/8/28 Free Concert - info


It's a hot summer and a lot of events, but I'm sure you're doing well.
Until today, we have continued to hold the tradition of the virgin priest shakuhachi, a unique art of performing quests. Recently, I found a cool hall, returned to the starting point, and performed “Song of this song”. Only members with more than 30 years of bamboo history will perform withered performances in the Edo period. This time, I will explain by biting as I moderate. Also, in 1987, a graduate student at the University of Music created the second part of the Kotoko-style main song “Mitani Hagigaki” made between San Francisco solo concerts.
(Clarinet) The stage will be premiered with Jutapon's support. The second part was rehearsed several times because the rhythm is quite complicated and difficult. About 8 songs including “Suzuka” and “Crane's Nest” (of which the last 2 songs are played by Isei) There is no need for reservations or applications, so please feel free to drop in on your invitation. Takashi Tokuyama　

It's early, and this month is over. Will we be fine next year? I will be getting a pension. Is this year intentionally? I had a lot of New Year's cards. E-mail with photos of Estonia's performance (after 8 years) with Sesse from the end, with the intention of increasing information density and interacting more than once a year's formal greetings (because of the Internet era) Is sending. (If you haven't sent it yet, please send us a request.) Locally, in a seaside hut, I met an old man who was studying Esperanto alone, and heard a group of frogs suddenly appearing over the wetland of a quiet national park. I received it. At the music festival, I played with Iranian masters, Danish masters (blowing whistle with one hand and tapping drums with the other hand), old violins and harps.

Now, for the past three years, we have spent a great deal of time to play the most difficult piece of the shakuhachi classic in memorabilia. Thanks to that, through 8 meetings, the memorization progressed to the extent that it can cover 4-5 solo concerts, but I left a few songs and was short of breath. I am sorry for the shakuhachi god that I will not do anything for a while, so I planned to meet with two veterans who only teach once a month. For the past 40 years, I have been doing Scrap and Build with “Shinkyoku Study Group”, “Classic Book Tokuyama”, “Punhua Doyukai”, and when I spoke to my disciples at that time, Now that there are seven people, each person chooses one song, a masterpiece of gems, and has them play. I'm looking forward to seeing what kind of sounds and blows since they are all over 25 years old. (Of course, I'll also play one song at the end. (Sashi) "). No reservation is required. Please go out comfortably.