The Shakuhachi and The Samurai of Japan

The shakuhachi, a Japanese, wind blown instrument made from bamboo, looks amazingly simple in structure yet delivers an array of tones from gentle and ethereal to rough and fierce. This transverse flute is constructed from a length of bamboo taken from the bottom portion of a bamboo stalk, including pan of the root. The name shakuhachi is derived from the length of the stock instrument. Shaku means a traditional unit of measure equivalent to about 30 cm. and hachi corresponds to 8, together meaning 1.8 shaku or about 54 cm. (Players also use different lengths, occasionally to match the range of the other supporting players’ instruments.) The standard shakuhachi bears four holes in the front of the instrument and another in the back for the thumb of the left hand.

The shakuhachi’s versatility in producing pitch and tone is in fact, due to its construction. Vertically held, the flute has a mouthpiece on top which is cut obliquely on the side away from the player. By partly covering the finger holes and changing the angle of the lips to the mouthpiece, a player can bring out a wide variety of tone qualities and pitches. The shakuhachi easily produces microtones including tones ranging from "pure" with few overtones to very breathy sounding virtually like white noise. A lot of Western-influenced modern-day compositions have been composed for the shakuhachi because of its wide-ranging pitch and tone quality.

Solo shakuhachi performance was widespread throughout the Tokugawa period (1600-1867). This was considered a golden age in Japanese cultural life. It was an era of peace, wherein the shogun living in Tokyo governed over a united country, while the Kyoto emperor bore only nominal power. After centuries of violent struggles between other factions of patricians and military leaders, Japan embraced peace and flourished under it.

Masakazu Yoshizawa, Japanese flautist and musician image via Wikipedia

But long-lasting peace entailed trouble for members of the samurai class. Samurai warriors relished high status throughout the years of fighting, but afterwards, a lot of samurai of lower rank were let go from their duties, becoming ronin or "masterless samurai.’ The Tokugawa government felt it expedient to maintain the social class system constituted in earlier times: at the top were samurai, succeeded by farmers, craftsmen, and finally, merchants. By issuing orders designed to set up limits between these classes, the government tried to forbid movement between them. For this understanding, even though they were without a means of

backup, ronin weren’t granted to change their class status as samurai, though some handled to do so. Several became teachers or writers, others turned to become farmers, and still others became employed bodyguards for rich merchants. The picture of the proud, haughty, brave samurai, as envisioned in samurai movies, is predominantly established on the ronin of the Tokugawa era, who were in reality, unemployed samurai.

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Some other choice for the ronin was to take religious orders and solicit on the streets and highways of Japan. As a matter of fact, in Tokugawa society, it was regarded more honorable to beg than to "lower" one’s social status by becoming a merchant or farmer. A group of ronin who took religious orders were known as "komuso." Komuso (literally meaning "emptiness monks") were Buddhist priests who roamed the countryside, playing the shakuhachi and begging. The standard komuso get up included a huge, basket-shaped hat made of cane, wherein the wearer could see through but not be seen. It was rumored that the komuso were government undercover agents who are taking advantage of their right to travel all-over the country sporting a costume that concealed their identity.

These samarai-turned-priests created their brand on the shakuhachi repertoire. The main solo or honkyoku repertoire for the instrument, comes from the pieces performed by the komuso. All of these pieces, the most phantasmal and meditative of the present-day shakuhachi repertoire, have a spontaneous rhythm; lacking a regular beat.

For a shakuhachi player, making music is more than show of skill and the production of exquisite sounds. It is a deeper spiritual experience similar to that of meditation or prayer.

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The Woodstock festival happened on a farm in the town of Bethel, in upstate New York (USA), between 15 and 18 August 1969. The event brought together about 450 000 people to listen to lots of music - were more than 30 attractions, among the biggest names in time, like Janis Joplin and Jimi Hendrix - and celebrate peace.

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The Basque Txalaparta: A Unique Percussion Instrument

The Basque Txalaparta, looks something like a crossover between a xylophone and a shipping pallet is and perhaps one of the most peculiar musical instruments in the world.

The origins of this instrument are quite obscure, but according to one theory, it most likely developed from the skill competitions held during the celebrations at the end of the apple harvest.

The vertically held clubs which are used to strike the wooden beams are very much similar to the ones used for mashing apples to produce cider. A txalaparta is typically played by two musicians, each one holding two clubs while facing each other. Interlocking rhythms are produced as one musician plays the first and third beat while the other player does the second and fourth, and so on.

Because most txalapartas aren’t tuned alike, they produce various mixtures of sounds, for this reason, it is best suitable as a solo instrument. And, also since it is accustomed to be performed in front of an audience in order to display the virtuosity demanded to produce all those complex rhythmic patterns, few txalaparta duos were able to make a CD recording.

Harkaitz Martinez and Igor Otxoa, who for more than a decade have been performing as the Oreka TX duo. They surmounted these limitations with their Nomadak TX project. They were able to tune their txalapartas to a regular scale, they also filmed the trip they did as they played with musicians from other cultures. The Basque natives region were from the northern region of Spain. Some have migrated to Mongolia via India, others to northern Scandinavia and Morocco.

Qualities to Look for in a Music Teacher for Your Child

When faced with a music teacher you have initially chosen for you or for your children, here are some pointers to gauge their capacity. Some teachers allow you to sit in on their class and this is the perfect time to observe their techniques.

Is the teacher enthusiastic? Does the teacher motivate using stickers and prizes or, even better, by praising the nice thing about the music itself? Does the teacher demonstrate to the student how to practice? After watching the teacher in the studio, ask some questions:

What is the teacher's educational background and training? Is the teacher licensed to teach?

Where does the teacher perform? Good musicians and role models will perform and likewise teach. They will be involved in directing or attending workshops and other activities sponsored by professional organizations.

What sort of students does the teacher have? Does he or she work with novices and young children or just advanced students?

What kinds of goals does the teacher create for students? Good teachers would have both short-term and long-term goals.

What type of performance opportunities does the teacher offer for her students?

How many students does the teacher have? Does he or she teach all of these students in person?

Does the teacher use a single method entirely? Teachers may favor one method over another, but they tailor fit instruction to the student.

Does the teacher give the students chances to play with others? Some instruments, like the piano, can be isolating.

Generally speaking, it is much easier to overcome performance anxiety if one performs often. Not all "performances" have to be recitals. Playing at family parties or at nursing homes can be considered performing experience.

Good music teachers must be good communicators. If they have problems talking with parents, they will not do any better with students.

If a teacher appears more focused about enforcing rules than about determining the skill of the student, find another teacher. Some of this attitude can be learned by asking about practicing. Good teachers are more interested about effective practice than they are about the exact number of minutes spent during practice.

If the student has studied music before, the teacher would want to hear the student play to check where they should begin. A good teacher, however, won't criticize a previous teacher or that teacher's methods.

Teachers who are more concerned in telling you about their professional achievements than they are in learning about a prospective student may be a better bet as a performer than as a teacher. If your child is the prospective student, he or she must come with you to meet the teacher. Throughout this interview, a good teacher will talk with your child more than with you.

How to Find a Music Teacher For Your Child

Word -of-mouth is a good process to use to grow a list of possible music teachers for your child or yourself. As experts remark, laymen in the community might not be able to judge the musical value of the instruction, but they definitely know which teachers are producing students who love music. The local music teachers association can also give names of certified instructors. You may ask for a calendar of recitals being given by students of these suggested teachers. Attending a recital given by a teacher's students can tell you quite a bit. Were the students melodious—or mechanical? Were they well-prepared? Did they appear pleased with what they were able to do? University or college music departments normally have information about local music teachers. And musicians who teach in the public schools know teachers who can append your child's instruction in the school orchestra or band with private lessons. Additionally, well-informed staff in music stores can direct you to good teachers.

The method of teaching and learning, particularly when done one-on-one, is subtle and complex. A comfortable personality match is vital when searching for a music teacher.

Read more: How to Find a Music Teacher For Your Child

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