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These questions hit me this morning, I do not know why, but they seemed interesting.-
I was wondering how many shakuhachi people own?
From the shakuhachi you own, how many do you Actually use most often?
And what are the shakuhachi sizes from the ones you Actually use?
I have 2 shakuhachi right now.
I use only one. ( the other one would make for good kindling )
The one I use is a 2.8.
I am hoping to get some others of different lengths down the road.
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A similar question was posted on the Chiff and Fipple flute forum recently. Some players have dozens of the bloody things. At least with shakuhachi there is some justification for having more than one - they are different lengths.
I have two:
- A Monty Levenson 1.8 that is my main study instrument
- A very nice Perry Jung jinachi 2.25 that is for eventual Honkyoku when my technique is up to the mark. For now, it makes a very nice flute for improvisation and developing my lung capacity.
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a Japanese 1.8 jiari, unknown maker
Yung Earth 2.0
five jinashi, from 1.6 to 2.8 that I've made
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jumbuk wrote:
Some players have dozens of the bloody things. At least with shakuhachi there is some justification for having more than one - they are different lengths.
Actually, whistles come in quite a few lengths as well, and from many makers, and thus with different sonic charactistics. Chiff & Fipple is the first to point out, however, that whistle collecting is often a disease; even coined an acronym for it: "WhOA (Whistle Obsessive Acquisition) Disorder".
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I have:
A Monty Levenson cast bore root end (currently out on permanent loan).
An Ichijo Kobayashi 1.8 (jiari)
An Ichijo Kobayashi 2.4 (jiari)
A Perry Yung jinashi 2.1
A Perry Yung jinash 2.8
I play the 1.8 and 2.1 about 60% of the time, and the 2.4/2.8 the other 40%.
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I have:
A Monty Levenson cast bore root end 1.8
A Perry Yung Chikusing (jinashi) 1.8
Ken LaCosse Chinese root ends (jinashi) 1.9/2.1/2.5
I try to give them equal time. If I find I do not play a shakuhachi regularly, I pass it on regardless of quality.
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I presently have the pleasure of playing: 3 shakuhachi by Perry Yung: earth Model 2.4(my first shakuhachi), Chikusing 2.8, Chikusing 1.8. And my most recent flute is a 2.4 Hocchiku from the hands of Murai-Eigoro. That is the flute that I play the most often right now.
-Sean.
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I have a total of none at the moment! I've been having some hand problems with the longer flutes, and probably will have to go with a shorter flute to get a comfortable hand spread.
Then I ran out of money to fund my search, so I'll be without for a little bit, but hopefully not too long. It's an impressive instrument and very rewarding to play.
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I have 4 shakuhachi.
a 1.6 David Broun.
1.8 Mujitsu
2.4 Mujitsu
a big 3.2(I think) .it sounds Eb-E , from Mujitsu.
I use the 1.8 the most. It has a mellow sound.
-Geni
P..S I am courios to know how many shakuhachi Tairaku has:-)
Last edited by geni (2006-08-11 22:34:26)
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I've got one, a "not a proper sahkuhachi" 9 node black 2.4
Why be embarressed?
Its the only Shakuhachi I've ever seen, never mind played, and I'm, itching to try more. It's in tune (or can be, how hard should it be?) and sounds good (to me) into 3 octaves. I love it. It has more than fullfilled its function - to prove that its worth me spending the little I have on eBay shakuhachi!
I'm now waiting for a Yuu from Niel. With a book that I'll need a 1.8 for, but also to be "standard shakuhachi".
Have to admit I too am curiose as to how many Tairaku has!
I also have a kramer fretless and thats it. I wonder if instrument aquisition extends to chromatic instuments too, or if its just a shakuhachi thing?
Cheers Guys.
Ambi
Cheers Guys
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Ambi wrote:
I also have a kramer fretless and thats it. I wonder if instrument aquisition extends to chromatic instuments too, or if its just a shakuhachi thing?
Ah, but shakuhachi IS chromatic...might even be said to be 'trans-chromatic',
since one can play all of the western chromatic pitches as well as the
microtones between them, not unlike your Kramer bass...
eB
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Sorry E, maybe should have said "stringed" instead "Chromatic", but I've got quite a few Harmonicas (diatonic - but you can bend the heck out of a suck note and mangle high blow notes a bit too) and thats completely reasonable!
Ambi
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I used to play a lot of cross harp with guitar back in the day (but no Charlie Musselwhite, me...).
Suck notes are the 'meri' notes of the Hohner...
eB
Last edited by edosan (2006-08-12 00:20:00)
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Suck notes are the 'meri' notes of the Hohner
'Tis true. Though truth to tell, I only got the hang of (starting to) meri the other day, listening to an Ebay shakuhachi Demo. Now I can do it, but I'm not sure what component of utugashi angle change, embrochour angle\shape\hardness change and harp style "note swallowing" (which also pulls the head up and back) is really doing it.(lessons soon?) It does seem to to me that shakuhachi and Harp do have the importance of Player as Part of the instument incommon though.
Where did I put that silvertone. ;-) Later
Ambi
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Ambi wrote:
Suck notes are the 'meri' notes of the Hohner
'Tis true. Though truth to tell, I only got the hang of (starting to) meri the other day, listening to an Ebay shakuhachi Demo. Now I can do it, but I'm not sure what component of utugashi angle change, embrochour angle\shape\hardness change and harp style "note swallowing" (which also pulls the head up and back) is really doing it.(lessons soon?) It does seem to to me that shakuhachi and Harp do have the importance of Player as Part of the instument incommon though.
Where did I put that silvertone. ;-) Later
Ambi
Ambi, go here: http://www.japanworldmusic.com/karimeri.htm
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Just the one now. A Tai Hei cast Bore Bound Root End that i am very happy with. Looking for a 2.0 or 2.1 presently.
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I also have a variety of flutes:
A 1.8 bequeathed to me by a fine elderly Japanese lady at her crossing over. It was her grandfathers (she was in her seventies) and may date from the Meiji period.
A 1.8 jiari by Perry Yung (rootend)
A 1.6 jiari by Perry Yung (rootend)
A 1.9 jinashi by Perry Yung (rootend)
A 2.4 jinashi by Perry Yung (rootend)
A 3.o jinashi by Perry Yung (large bore rootend)
A Yuu 1.8
A 1.8 jiari from Japan that may be 100 years or older
A John Niemi 2.2 jinashi (rootend)
A 2.1 hocciku of my own manufacture (rootend)
A 1.6 hocciku of mine own (rootend)
A 1.4 hocciku of mine own (rootend)
A 1.8 hocciku of mine own (rootend)
A 2.6 hocciku of mine own
A 3.2 hocciku of mine own
A 2.4 hocciku of mine own
A 2.3 hocciku of mine own (rootend)
A 1.8 hocciku of mine own
A 1.5 hocciku of mine own
Three: 1.6, 1.8, 2.0 of Urban Elderwood (PVC) (very well in tune)
A 1.3 in Urban Elderwood
A 1.6 two piece made of salwood, an oriental hardwood.
Two 1.8's made of salwood. (one piece)
Etc., Etc., Etc.
As you can see, I have accumulated quite a gathering of shakuhachi. Believe it or not, I play each and every one of them on a rotating basis. I try to play each one at least once a month for a few minutes to maintain contact with their idiosynchricies. Makes for a VERY interesting variety in practice time. Each and every one of them is playable through at least two octaves, and most well into the third.
Would this qualify me as a collector?????????
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Possibly, if all the flutes were Japanese bamboo. Only eight of them are, that I know of. The rest are from a bamboo grove here in Central Florida.
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Waryr I don't know the word, as a collector probably wouldn't play them all, but you are more than qualified. Respect.
And Thanks for the warning...
Ambi
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