RE: [Shaku] For me, it's honkyoku

From: Dan Gutwein (dangutwein@comcast.net)
Date: Sat Feb 19 2005 - 13:59:13 PST

Next message: WARYR@aol.com: "Re: [Shaku] John Niemi Flutes"
Previous message: Robert Blyman: "Re: [Shaku] John Niemi Flutes"
In reply to: Justin .: "RE: [Shaku] For me, it's honkyoku"
Messages sorted by: [ date ] [ thread ] [ subject ] [ author ]

This is a multi-part message in MIME format.

------=_NextPart_000_0001_01C516A4.57536D20
charset="us-ascii"

Regarding what I study:

I study Kinko ryu with Ronnie Nyogetsu Seldin (http://www.nyogetsu.com
<http://www.nyogetsu.com/> ) and the honkyoku is notated in the hand of
his teacher Yodo Kurahashi
http://www.komuso.com/people/Kurahashi_Yodo.html. (Yodo's son is Yoshio
Kurahashi http://www.komuso.com/people/Kurahashi_Yoshio.html an amazing
player and he often teaches at the various summer camps in the US and
through Ronnie's studio in NY a few times per year. Yodo Kurahashi (the
father) studied with Jin Nyodo
http://www.komuso.com/people/Jin_Nyodo.html and therefore a few of the
honkyoku I've studied with Ronnie is in Jin Nyodo's hand. I guess you
could say that Ronnie is the most dedicated and self-designated teacher
of the Jin Nyodo "style;" however, some people question whether or not
it is a style. Ronnie could shed more light on this if he is listening
in.

Regarding Dokyoku:

After I cover the full repertoire with Ronnie I would like to learn how
to play Dokyoku (created by Watazumi Do
http://www.komuso.com/people/Watazumi_Doso_Roshi.html (whose own playing
seems too hyperactive and agitated for my taste) That school has been
continued by his student Yokoyama Katsuya
http://www.komuso.com/people/Yokoyama_Katsuya.html who no longer plays,
but who has always profoundly moved me - technically and spiritually.
His playing is both virtuosic and contemplative. Probably one out of
every 3 CDs I listen to are his. I know very little about Dokyoku and
have only had a few private lessons with Dokyoku players, but from my
minimal exposure I think that the Dokyoku and Jin Nyodo repertoires
contain many of the same honkyoku but the notation and stylistic
interpretations are considerable different. Both schools also have
honkyoku that are unique to their reqertoires. Dokyoku is a much more
elaborate and ornate repertoire requiring rock solid technical skill and
with a very strong emphasis on developing the blowin from whisper-soft
to overwhelmingly loud and focused in one breath. Blowing RO is a big
part of this practice. If there are more educated players out there
"listening in" please correct me on this, but this is how I hear it.

Dan Gutwein

www.dangutwein.com <http://www.dangutwein.com/>

-----Original Message-----

From: Justin . [mailto:justinasia@yahoo.com]

Sent: Saturday, February 19, 2005 4:53 AM

To: Shakuhachi@communication.ucsd.edu

Subject: RE: [Shaku] For me, it's honkyoku

> In comes honkyoku - an amazingly evolved repertoire

> of what have become

> beautifully crafted compositions (even from a

> Western analytical

> perspective) - evolved specifically to take

> advantage of the

> shakuhachi's unique and infinite range of auditory

> subtlety ...

Hi Dan

I would like to ask you, and also everyone else, what

repetoire of honkyoku do you play? Kinko? Wtatsumi's

"dokyoku"? Jin Nyodo's lineage?

There is much talk of honkyoku. I wish to know which

honkyoku you all refer to. I wonder if your opinions

would refer to ALL honkyoku, or just the repetoire you

play. I personally find the different lineages quite

different.

Justin.

__________________________________

Do you Yahoo!?

Yahoo! Mail - You care about security. So do we.

http://promotions.yahoo.com/new_mail

_____________________________________________

List subscription information is at:

http://communication.ucsd.edu/shaku/listsub.html

------=_NextPart_000_0001_01C516A4.57536D20
charset="us-ascii"

<html>

</head>

Regarding what I study:

I study Kinko ryu with Ronnie Nyogetsu Seldin (<a
href=3D"http://www.nyogetsu.com/">http://www.nyogetsu.com>) and the =
honkyoku is
notated in the hand of his teacher Yodo Kurahashi <a
href=3D"http://www.komuso.com/people/Kurahashi_Yodo.html">http://www.komu=
so.com/people/Kurahashi_Yodo.html</a>.
(Yodo’s son is Yoshio Kurahashi <a
href=3D"http://www.komuso.com/people/Kurahashi_Yoshio.html">http://www.ko=
muso.com/people/Kurahashi_Yoshio.html</a>
an amazing player and he often teaches at the various summer camps in =
the US
and through Ronnie’s studio in NY a few times per year.  Yodo
Kurahashi (the father) studied with Jin Nyodo <a
href=3D"http://www.komuso.com/people/Jin_Nyodo.html">http://www.komuso.co=
m/people/Jin_Nyodo.html</a>
and therefore a few of the honkyoku I’ve studied with Ronnie is in =
Jin Nyodo’s
hand.  I guess you could say that Ronnie is the most dedicated and
self-designated teacher of the Jin Nyodo “style;”  =
however,
some people question whether or not it is a style.  Ronnie could =
shed more
light on this if he is listening in.

Regarding Dokyoku:

After I cover the full repertoire with Ronnie I would like to =
learn how
to play Dokyoku (created by Watazumi Do <a
href=3D"http://www.komuso.com/people/Watazumi_Doso_Roshi.html">http://www=
.komuso.com/people/Watazumi_Doso_Roshi.html</a>
(whose own playing seems too hyperactive and agitated for my taste) That =
school
has been continued by his student Yokoyama Katsuya <a
href=3D"http://www.komuso.com/people/Yokoyama_Katsuya.html">http://www.ko=
muso.com/people/Yokoyama_Katsuya.html</a>
who no longer plays, but who has always profoundly moved me – =
technically
and spiritually.  His playing is both virtuosic and contemplative. =
Probably
one out of every 3 CDs I listen to are his.  I know very little =
about Dokyoku
and have only had a few private lessons with Dokyoku players, but from =
my
minimal exposure I think that the Dokyoku and Jin Nyodo repertoires =
contain
many of the same honkyoku but the notation and stylistic interpretations =
are
considerable different.  Both schools also have honkyoku that are =
unique
to their reqertoires.  Dokyoku is a much more elaborate and ornate =
repertoire
requiring rock solid technical skill and with a very strong emphasis on
developing the blowin from whisper-soft to overwhelmingly loud and =
focused in
one breath.  Blowing RO is a big part of this practice. If there =
are more
educated players out there “listening in” please correct me =
on this,
but this is how I hear it.