Thanks again for the awesome lesson today! I think you struck the perfect balance between explanation and playing/practice, and I love your teaching style. You’re a very good teacher, and I look forward to our next lesson!
Want to take a free lesson? I invite you to try a live, one-on-one lesson with me – email@example.com
About shakuhachi lessons
- One-on-one and an hour long
- Never expire and can be taken at any rate
- All notation is free and mp3’s of me playing the pieces are often available
In the first few lessons I’m most often helping people to get a sound or improve upon their technique. But as for this page, let’s look at a honkyoku. Below is the first one I teach, Jin Nyodo’s Kyorei (you can find a basic note chart here).
Honkyoku are read right to left and top to bottom. You’ll notice that I’ve numbered the lines or columns for convenience. Each phrase is separated by a circle which is where one takes a breath. These breaths create a pause in the sound which is unique to honkyoku. They’re often called Ma which means “space”, a focus of all classical Japanese arts. This makes relative silence a part of honkyoku. Lastly, the lines coming off of the notes, which look like “tails” or “arms” to some, express the relative length a note is held.
These honkyoku Zen pieces I pass on to my students represent an unbroken chain of transmission dating back hundreds of years. They came from temples, schools, and masters from across Japan. I focus on fundamental styles which inspired Higuchi Taizan’s Myoan Taizan-ha (明暗対山派), Jin Nyodo, and Watazumi. I also teach select pieces from these sources/masters as well, such as the piece above from Jin Nyodo.
Jin received this piece Kyorei from a Myoan Taizan-ha source which traces back to Seien Ryu or Fudaiji (temple). So, we could say that Jin’s version is a “grandchild”. As for the title, Kyo means “empty” or “void” while Rei means “bell”. In this case, the bell refers to that of a Chinese Buddhist monk, Fuke Zenji. He would ring the bell as a tool for teaching or “pointing”. So, the bell can be symbolic of teaching or guidance. Kyo can refer to the inherent impermanence of all things. Just like how the sound of a bell comes into being and fades away.
My students doing some teaching of their own
The Honkyoku that I teach
The Seien Ryu (Fudaiji) – Shizuoka and Aichi Prefectures
The Kinpu Ryu (Nezasa-ha) – Aomori Prefecture
Oshu and Echigo (Fudaiken, Kinjoji, and Echigo Myoanji) – Northern Japan
and Select pieces from
- Jin Nyodo
- Myoan Taizan-ha (明暗対山派)
- Kyushu kei/Itchoken
- Shinpo and Kichiku Ryu (1st Kyoto Myoanji)
Words of thanks
Thanks a million, Jon! That hour yesterday saved me years of learning and gaining confirmation (confidence). Knowing that I’m on the right track, rough around the edges tho I might be, enables me to concentrate on enjoying playing. I played both of your flutes today and they remind me each time I do just how lucky I am to have them.
Your help is amazing, and my dominant ‘left-brain’ translated your very last line, of your last message, to a very enjoyable an productive session this morning. The ‘physics’ aspects of Shakuhachi are so important to me as I begin this journey, and I feel I have a very clear vision of body posture, head position, diaphragm, to ensure optimum airflow to my lips. Embouchure is a process and I feel there is progress understanding and feeling what the goal is.
Thank you for the class! I know the road is long and the journey ahead of me with the Shakuhachi is going to be very difficult. I am learning many things through the process, however, The Shakuhachi is an amazing instrument. It is almost as if an extension of our being with all its moods, turbulence, longing for solitude and peace. One day things play so nice and the others as if back to ground zero.
The goal is not to seek perfection or to entertain as much as it is to overcome the self, the ego, the inner voice that keeps on telling us all what we can not do instead of all what we can accomplish. Thank you for being my teacher. Thank you for being kind and patient with my slow learning. You are a very kind soul Jon. You do not make me feel bad when clearly my ability to play is so jarring.Peace!
I’m making progress daily with the exercises in your book. I realized that if I start with the otsu exercise then it makes the kan exercise much easier for some reason. I’m getting pretty consistent sounds in kan, and I’m getting better with the octave jumping exercise too. My kan notes are more windy than my otsu notes, and not nearly as nice, but each day I can play them a little quieter and a little less windy. I totally see how important just having a very small opening between your lips is, and how the pressure in your mouth is the key.
Thanks for an enlightening session! The devil is in the details as they say… As a visual artist it makes me think [about how] I could spend a lifetime learning just how to draw a perfect circle, or even a truly straight line. Each song, Life, moment etc., even the simplest, is so grand it contains a universe. Tremendously appreciative of this moment. Deep deep deep Bow
At least three times now you have honed in on problems I was having with the sound of my flute and suggested corrections that were immediately effective, with lasting result. Nothing I could have read in a book, or gained from listening to a Master player would have solved these difficulties, and I doubt I could have solved them on my own. I certainly had tried. It takes a good teacher.
I have been trying to play for a little more than a year (with a teacher) and yours is the first decent explanation I have gotten on achieving Kan. I experimented with the tighter lips and higher pressure and saw an immediate result. THANKS!
You are a great teacher. You actually helped me with my embouchure for bansuri (indian side-blown flute). The large bore and larger mouth hole makes it difficult. Your instruction is helping me think about lip shape and pressure in order to make improvements.
Yay! I made a note. Now I gotta go do it again and again. Thank you so much for the lesson… I love it so far even if I can’t make it work constantly =-) *progress!!!
You are responsible for helping me make my first sound on my new Shakuhachi. Thank you sir!
You are a very good teacher. And thanks for the tips. Bless ya! :)!