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Hi Guys,
i thought it will be great to hear from Pro's what are they practicing/playing this days.
Looking forward to some inspiration! (and ideas-)
Geni
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Hi Geni,
I'm practicing Echigo jishi to play at a concert on January 15th as well as Akita suga gaki. I'm also playing Zangetsu because I love the piece, but as a twist, I'm practicing it on a san shaku san zun in order throw it in a different light to. You never know what might come up.
cheers
jeff
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Hi Geni.
I am practicing a piece for ji-nashi shakuhachi and double choir called 'Wild Ways', composed by Roxanna Panufnik. I will, together with the Nonsuch Singers permiere it at St Johns Smith Square, London on the 13th March 2008.
Otherwise I am practicing honkyoku such as Shoganken reibo and Jyakunen for a concert in St Ives, UK (almost as far West you can get) in January. I will also be playing a piece I premiered this spring by Yumi Hara Cawkwell. This piece, 'Nota Bene' is for ji-nashi shakuhachi and clavichord, so I will begin practicing that within the next few days.
I feel a little under pressure, but the new pieces are a lot of fun!
Kiku
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Hi Geni,
Up until a couple of days ago I was practicing Kaede No Hana, Rokudan No Shirabe, Sanya Sugagaki, Hifumi Hachigaeshi, and Kikyogensokyoku, as I had to play those at our local shakuhachi group's annual saraikai (recital) this past Sunday. Kaede No Hana was with two koto players playing honte and kaete parts, Sanya Sugagaki with three other shakuhachi players, in two parts, for both nishaku and isshaku hassun, Hifumi with three of my shakuhachi students, Kikyogensoku a solo on a 2.1, and Rokudan was performed along with about nine or ten other shakuhachi players, three koto and two shamisen players. Now I'm working on Makkiri (had a lesson with Furuya sensei up in Tokyo a little over a week ago), Sanan, and Koden Sugomori. I also need to do some free practice for an improvization with an acoustic guitarist coming up this weekend...
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Kiku Day wrote:
. I will also be playing a piece I premiered this spring by Yumi Hara Cawkwell. This piece, 'Nota Bene' is for ji-nashi shakuhachi and clavichord, so I will begin practicing that within the next few days.
Is it possible to see the score for this?
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Tairaku wrote:
Kiku Day wrote:
. I will also be playing a piece I premiered this spring by Yumi Hara Cawkwell. This piece, 'Nota Bene' is for ji-nashi shakuhachi and clavichord, so I will begin practicing that within the next few days.
Is it possible to see the score for this?
I can scan the score (big format) at SOAS next week and email it to you.
BTW do you know any clavichord players in Oz? I was thinking it could be nice to perform it in Sydney or Hobart.
K
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Hi Geni,
I'm practicing Ame , Kagaribi and Mari to Tonosama for a performance in Culver City, Ca. in January. For a concert in Phoenix. Az. in February I'm practicing Hokkai Minyo, Ryuku, Tamuke and Ito Take. At the risk of giving you answers to questions you didn't ask, I would suggest that what you're practicing may not be as important as how you are practicing. It's better to take just a few lines and make them as close to perfect as you can than slobbing you're way through an entire piece. Take the issues on one at a time and don't try to deal with them all at once. Good Luck! Jim
jbtmusic@earthlink.net
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i was recently working on several compositions by Anthony Braxton as i had a duet concert, last night in San Francisco with oboe player Kyle Bruckmann (http://kylebruckmann.com) and we did a whole set of Braxton pieces. These were of course, not written for shakuhachi and oboe.
Incidentally, does anyone know of any pieces for shakuhachi and oboe? Kyle and i will most likely be doing more work together as last night's gig was rather satisfying and very well received.
A rather interesting combination of instruments!!
on my music stand at the moment are:
Shonganken Reibo
Mukaiji
Reverie by Debussey
Ixor by Giacinto Scelsi
12 fantasies for solo flute by Telemann
Aki No Koto No Ha
a stack of Anthony Braxton compositions
couple of books of french flute etudes and scale studies
phil
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I've been carrying a little 1.2 around with me everywhere and blowing long tones on it in the park, subway etc. Builds embouchure.
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Would not consider myslef a pro since I dont make a living out of this but when it comes to my little 1.1 it's a hard one to play but when I get it right it feels as good if not better than my 1.8 or 2.4. I call this flute my little toad since when looking at the surface of the bamboo it really looks like toad skin. Anyway its one of the most unique flutes I ever played or saw. I am very ahppy to have got that one.
The flute was made by Chikuyu Okadera and has his hano on th elower part and also the Tajima hanko on the lower part. Sounds like it was approved by a player of some sort could be Tadashi Tajima since I heard that both of them had cooperated with eachother.
Here is some pics of it
Front
http://shunpukandojo.zaadz.com/photos/v … 0#comments
Back
http://shunpukandojo.zaadz.com/photos/v … 2#comments
Hanko1
http://shunpukandojo.zaadz.com/photos/v … 4#comments
Hanko2
http://shunpukandojo.zaadz.com/photos/v … 3#comments
Utaguchi
http://shunpukandojo.zaadz.com/photos/v … 6#comments
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Hey Gishin that's a sweet flute. I saw it on the Mejiro website a few years ago and wondered about it. Short flutes are good practice. It is said that Myoan Shimpo Ryu played a lot of their pieces on short flutes like 1.3, 1.1 etc. That might be a good place to find repertoire for it.
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Tairaku wrote:
Hey Gishin that's a sweet flute. I saw it on the Mejiro website a few years ago and wondered about it. Short flutes are good practice. It is said that Myoan Shimpo Ryu played a lot of their pieces on short flutes like 1.3, 1.1 etc. That might be a good place to find repertoire for it.
Yes sir! you have great memory! this was the flute that was at Mejiro about a year and a half ago. Also 2 years ago I got the 1.2 from the same maker. I got the idea of playing small flutes to work on enbouchure when Kurahashi sensei told me that kyorei was a good piece to play on a small flute in order to work on precision and fine controle. So this is how I got on the small flute train. Now at the request of my teacher Michael Chikuzen Gould I am also working with my 2.4 to work on different areas of improvement on my playing technique.
I would have to say the 1.1 is FREAKING hard to play and my wife heard me bitch and cuss at the flute for a couple of weeks until I could get it right and still today there will be times that I cannot get even a farting sound out of it. I would have to say in comparison that the 1.2 is very easy to play and I did not have to change or adapt much. Both flutes from the bore finish apear to be Ji-nashi with a black urushi coating.
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