Peter,
> As for me or others jumping on you, I think you invite it by being so
> cocky about what you write here.
I'll accept that. And I'll ask you to accept that you're not paying
attention. Let me give you a couple examples from your most recent post.
> All I was saying, as Bill Fletcher and I believe Ed Beaty pointed out,
> was that I'd like to see an actual flute, not just pronouncements that
> it can be done. I think it's overly cheeky to state unequivocally that
>it can before it is actually done.
That is what makes me crazy. Where is there a pronouncement that it can be
done? Much less a pronouncement by me? Show me any unequivocation. Show me
anything. There are times I wonder if playing the shakuhachi induces reading
impairment.
> This is why I wonder about your breathing techniques as well--how rooted in
>practice and experience are they?
I have no idea what you think you read. The piece is about the ways and
means of strengthening the diaphragm. Period. I know something about it
because I have a partially collapsed lung and have spent some time dealing
with the problem. I know that to get full deep breaths one needs a well
functioning diaphragm and that means one which has adequate muscle tone. The
piece is about how to get a full deep breath, what one does with that breath
is outside my expertise.
Now, in both cases you've taken me to task for things I didn't say or write
and things I don't necessarily believe. I shouldn't be held responsible for
your fantasies. I have to speculate that playing the shak does not improve
one's focus of attention, if anything it appears to do the opposite.
Look, Marko showed with an idea and some enthusiasm. I talked with him off
list until I think I grasp what he's proposing. I think it's brilliant.
Unfortunately, I can't explain to you why I think it's brilliant because you
don't have the conceptual base. It cuts through so many layers in a single
stroke that it's breathtaking. It puts the proposition right out there--do
or die. It has the potential to really explore the concept of the
idiosyncratic unique bore. The genius of it is that it isn't particularly
interested in the 'optimized bore'. That's the route Monty took, this is an
entirely different breed of cat. This is the first thing in a decade that's
really caught my attention. It goes directly to the heart of the matter.
It's intention is to study the very things you insist on saying that it'll
avoid, overlook and miss. Try and focus here.
Marko asked for some help in the way of sound samples, etc. You have a flute
you're pretty proud of--something pretty unique. Are you preparing to send
in some sound samples?
Which brings me to another issue--contribution. The first time I was aware
of Marko he asked for some beginners help and was brushed off about like
everybody who makes the same appeal gets. I'll accept without question that
you're a practiced and accomplished player. So how come we don't get any of
your wisdom? Why is everybody who's so knowledgeable so stingy?
You don't like my breathing page, can you do better? Send it to me and I'll
put it up. You know some things that might help others? I'll put up as many
pages as you want. I'll bear the cost, I'll maintain it. I've put most
everything I know on the subject out there, free to the world. Have you?
This list is not know for it's generosity. People really want to know how to
play the shak. You can point out my arrogance, but I think the sword cuts
both ways.
The reason I've been able to do what I have is that the amount of public
information (in English) on the physical instrument is incredibly small. Ask
people and what you generally get is fairy tales. They don't know. It
continues to astound me that players of your caliber have so little
curiosity and interest in their physical instruments. They seem to like the
myths way more than the reality they hold in their hands. It's a beautiful
reality, that does beautiful things.
We get a couple of contradictory messages from good players on this list:
1) "It's not the instrument, but the playing that counts."
2) "I've got a Mejia era 1.8 with to die for sound."
I actually believe the first one and I'm not a player. And of course,
everybody loves old flutes. But for at least part of Watazumi's life he
actually practiced #1. The man walked his talk and has my admiration.
I appreciate what you wrote. You didn't pull punches or lapse into sarcasm
and told me what was on your mind. Thanks.
Nelson
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