zondag 20 december 2009

shakuhachi Void


Momentarilly I feel I am in a shakuhachi- void. I keep on practising, playing and that is it! Hah. In the beginning I experiences much more: more progression, more oohs and aaahs, I had more questions about flutes, about playing and learning with the flute in the beginning. Now I just play...Maybe I am not in a void after all but just something of a phase in my learning.

The picture above is of my 3 1.8's: a Kitahara, the Yuu (tainted) and my fav: Gyokusui. This pic is to see the difference in backhole position. I am thinking of letting the hole of the Kitahara (top) getting replaced for better tuning. In that flute, the hi and go no hi were pretty high compared to the rest of the flute. so hope that helps. For the repair the flute is in good hands (Perry Yung).

4 opmerkingen:

Erin zei

Bas, it will be interesting to hear how the flute plays after Perry's repair. Have you already sent it away?

Bas Nijenhuis zei

I will Erin, it is now in his workshop. But I believe he's very busy these days.

Brid zei

I do believe every musician or artist experiences a period of void once or lots of times in his life.
Your own proces and the experience of void might be very simular with my painting, drawing and making images.

Good materials and instruments are important, but my experience of void is, that it has always to do with the one who plays it.
Like trying to experience something which became out of reach.. for a while.

The harder you try to catch it, the more you lose it. Isn't it?

Most times it has to do with the artist being not sure of what his real (or unreal) goals are.

For example; it can be a new experience to try different kinds of paint, but if an artist doesn't know what he's looking for, it might seem useless to work with them.

Just like painting, shakuhachi playing can be very relaxing and a way to communicate with your innerself.

On the other side are 'the laws' of painting and playing shakuhachi. The more an artist pursues these laws, the more he can restrict himself.
Japanese are very strict about these laws of painting and playing music.

Red and yellow become orange. Mixing orange with black, white or other colours gives infinite different tones of orange.
These tones, in contrast with other colours or using different techniques, can be very interesting. And makes every painting or experience a new one.

I believe it's all about the space between communicating with your instrument (and yourself) and the laws or restrictions you lay yourself on.
Sometimes it's the restriction of an instrument or material, most times it's not!

Have you ever watched your Edo-playing on WMP?
There are several options in WMP to visualize music. It might be very inspirating to watch your own playing. And face the tones you hear.

Bas Nijenhuis zei

Hi Brid,

thanks for your elobarate reply. I concur with your statement about it being with the player\ artist and not with something else. And indeed lack of a specific goal has probably influence on the feeling of a void, which I don't think is bad. It is like a stream of water, it flows and nothing 'big' seems to happen.