Center for New Music10 Years of Mukyoku 無曲 : New Music for Taimu Bass Shakuhachi

October 10, 2020 - 7:00 pmLivestream on YouTube:

Cornelius Boots – Taimu (bass jinashi shakuhachi); composer

The Turtle (mukyoku #1)………………………………………….… Cornelius Boots (2009) 2.9 Taimu shakuhachi

Shunyata (mukyoku #2)……………………………………………Cornelius Boots (2009) 2.8 Taimu shakuhachi

The Demiurge Takes Form (mukyoku #3)………………………Cornelius Boots (2009) 2.74 Taimu shakuhachi

Chaos Return (mukyoku #5)………………………………………Cornelius Boots (2009) 2.666 ŌMU shakuhachi

The Tree & the Maiden (mukyoku #7)….………………………Cornelius Boots (2009) 3.2 Taimu shakuhachi

Doppelgänger (mukyoku #8)………………………………………Cornelius Boots (2009) 2.83 ŌMU shakuhachi

Theme of the Mendicant (mukyoku #22)………………………Cornelius Boots (2010) 2.9 Taimu shakuhachi

In Which the Sound Contemplates Your Existence (mukyoku #24)….………………………………………….…Cornelius Boots (2010) 3.2 Taimu shakuhachi

Pythias Dualis (mukyoku #25)….…………………………………Cornelius Boots (2010) 2.75 Taimu shakuhachi

Shakthamunki (mukyoku #27)….…………………………………Cornelius Boots (2010) 2.74 Taimu shakuhachi

To purchase and explore the original 2010 edition of Mukyoku Levels One, Two and Three including recordings, exercises, fingering charts, philosophy and complete calligraphic kinko notation for all 27 compositions please visit: https://corneliusboots.com/projects/mukyoku/

The Shakuhachi Unleashed Series includes:Holy Flute (2017), Bamboo Rising (2018) and Sacred Root (2019)

Thank You for Attending! Stay in touch, sign up on the mailing list & explore at:

corneliusboots.com

THE5ASPECTSOFMUKYOKU

IncreatinganewrepertoireforshakuhachithatwasspecificallyforTaimu(thecelloorBarryWhiteoftheshakuachiworld)myprimaryinfluencesasaplayerandcomposerwerehonkyoku,blues,Tibetanchant,and16yearsofcompositionandperformanceonthebassclarinet.ChikuzenSenseidiscussestheimportanceoftheinfluenceofNatureandChantonhonkyoku,soIbegantothinkaboutawaytoexpressthemusicalandstylisticcontextofthesenewpieces.Likethepiecedescriptions,ifreadingthroughthesestyledescriptionsandlookingatthe5AspectRatingforeachpiecedoesnotimproveyourconnectiontothemukyokupieces,thenpleaseignorethem:theyareoptional.

Herearethedetaileddescriptionsofthe5mainstylesorAspectsthatarefoundtogreaterorlesserdegreesineachmukyokupiece.Thefactthateachpieceisasongortrainingexerciseuntoitselfisalsopartofitscontext,butthese5Aspectscandirectlyaffectthetone,flavor,pacing,andintentionofeachpiecemorespecifically.The5AspectsRatingforeachpieceisanapproximateguideindicatingthevariouslevelsofeachAspectwithinthepieceasseenfromthecomposer’spointofview;however,ifyoufeelthatoneoftheBluespiecesisreallyaNaturepiecebecause,forinstance,youmemorizeditandplayitoutsidewhilesittingonahugerock,thenthisisjustasvalid.

1)STRUCTUREDLONGTONES:ExtendingtheOut-Breath;BreathMeditationLongTonesaresustainedpitchesplayedinordertoconcentrateonyourbreath,toneandposition(lips,mouth,arms,head,hands).Theseareveryimportantforallwindinstrumentperformancetraining,especiallyforshakuhachi.SometimesthemotivationtoplayLongTonesislackingbecausethemindbecomesrestlessandneedsmoretolatchontoduringthisprocess:havingcompositionsthatareprimarilyformedfromLongTonesandsimplemovementbetweenthem(likeKyorei,forexample)arethereforeverybeneficial.

2)CHANT:Theformingofideasthatarealmostbeyondlanguageintointoned,structuredsound.ThedirectinfluencesofChantstylesonthesecompositionsinclude:Gregorian,Tibetan(GyutoandGyume),Indian(Dhrupad),andshomyo.AnindirectinfluenceofchantonthesecompositionsisthroughchantelementsoftheexistingversionsofhonkyokusongsintheKinko,Meian,anddokyokustyles.Some“chant” elementsaredesignedtodevelopveryslowlyandfocusoncertainnotes,melodicgesturesorintervals,andsomeareintendedtodevelopinorganic,intuitiveorunpredictableways.

3)NATURE:Theunpredictablesoundsofallnon-humanmanifestationsontheplanet:birds,volcanoes,creeks,oceans,leaves,jaws,claws,caves,snow,bark,wind,rocks,etc.Nature“music” canbeimitationsof,reflectionsof,orresponsestotheseinfluences,oritcanbemusicthatiscreatedwhilethecomposer/playerisinNature.Ofcourse,inabsolutetermsthereisnothing,leastofallhumans,whichisactuallyoutsideofNature;butinrelativeterms,thedistinctionbetweenmorenon-humansettingsandthemakingsofhumansisausefuloneinordertobeawareoftheirdifferences.Intermsofmusic,wecangeneralizethattheNatureinfluenceengendersunpredictability,expansiveness,ebbandflowbetweenchaosandform,andnon-judgmenttowardsrightandwrong,orcorrectandincorrect.Thisisincontrasttohuman-madeendeavors,materialsandsurroundingswhichcanoftenbecharacterizedby:thestrivingtowardsandseekingofperfection;apredeterminedpredictability;someconstrictionanddesireforcontrol;andaconstantjudgmentmechanismattemptingtoseparategoodfrombad,rightfromwrong,thisfromthat,andsoon.

4)MISSISSIPPIBLUES:Theemotionalandreptilian-brainexperienceofthehumanbeingturnedintosoundandsong.“Therewaspain...butitwasgoodpain.” (TheLastPoets)ThissumsupmyinterpretationofBluesmusicinitspurestform:Itwas,initsoriginalform,comingfromthesameplaceastheNatureobservationsandinfluencementionedabove,butitwasthislensturnedinwardinsteadofoutward:inwardontheemotionalsufferingandjoysofthedisplacedAfrican-Americanin

thelate19th

andearly20th

centuryAmericansouth.Althoughitsrhythmic,harmonicandmelodicstructuresarethesinglegreatestinfluenceonallaspectsofAmerican,British,jazz,rock,andpopularmusic,myfocushereiswiththesimpler,AmericanruralshamanicapproachtobluesasexemplifiedbyRobertJohnson,SonHouse,MississippiFredMcDowellandJuniorKimbrough:translatingrawhumanemotion(devotion,pain,reverence,suffering,gratitude)intostructuredsounds,thenintosmalltalesinverse,usuallywithveryminimaluseofwords(likehaiku)inordertonottakethethinkingmindtoofarawayfromtheemotionalandsoundcontentofthesong.

ThereasonIchosethelabel“Mississippiblues” incontrastwiththemorecommon“Deltablues,” isthatJuniorKimbroughandR.L.Burnside,thetwoprimaryinfluencesonthebluesriffsusedinmukyoku,werefromtheNorthern“Hill” CountryofMississippi,notactuallyfromtheDelta(alargeregionbytheriver,inthenorthwestcornerofthestatewhichisgeographicallydistinctfromtheMississippiRiverDeltawhichismuchfarthersouth).Also,Mississippiisfuntosay,funtospell,andtomeitbringstomindinstantlyakindofhot,ruralfarmlandflavorthattheword“Delta” doesnotaccomplish.[Myearliestandstrongestbluesinfluence,however,remainsBlindWillieJohnson,agospelbluesmanfromTexaswhosemainrecordings(1927-1930)predatetheseminalRobertJohnsonsidesbyabout10years.]

Toelaborateontheprimarybluesinfluenceonmukyoku,themesmerizingandunrepentantJuniorKimbrough,hisapproachhasbeendescribedas“unselfconsciousandunassimilated,” andtomostlistenersheredefinedauthenticitywithinthegenreofBlues.Mediumtempoone-andtwo-chordtuneslasting5to10minuteswithonly4or5linesoflyrics,Junior’sbluesisnon-flashy,solid,rawandhypnotic:attributessharedbytheTaimu.IhavespentmanyhoursofmyTaimupracticeplayingalongwithJunior’srecordingsandassimilatinghisbare-bones,straight-forwardapproachtobluestonalities,drones,riffs,andmelodicgestures.

TheparallelsbetweenBuddhistphilosophyandtheAmericanbluesethosofthelast100yearsareundeniable:essentially,lifeissuffering,butsingingaboutitmakesgreatmusic.Everyonecanrelatetothistheme.Musically,thepitchvocabularyofthebluesalsoparallelstheprimarysetofnotesusedthroughouttheworldforfolkmusic,whichalsohappenstobethepitchescreatedbythemainfingerholesontheshakuhachi:Ro,Tsu,Re,Chi,Ri,a.k.a.theminorpentatonicscale.Thisseeminglylimitedsetofnotesisinfactextremelyfertileterritoryformusicalexpression.Combineallofthatwiththeoftenhauntingormournfulvocalqualityoflower-pitchedshakuhachi(Taimu,hocchiku),andyou’vegotagreatvehicleforBuddhistblues.

5)NON-CATEGORY:Intuitivestreamofconsciousness.Amoreinternallymirroredversionofthe“Nature” approach,thisistheunpredictabilityofthehumanmindandbodyinteractingwiththebambooflutewithminimalobfuscationbyanykindofmusicalintentionorgoal.Movingawayfromtheideaof“pleasinganaudience” or“makinggood

music,” thereisstill,however,ahighlevelofdiscernmenthappeningintermsofappropriatenessand

matchingone’sSelftotheflute.

MUKYOKU:TITLESANDDESCRIPTIONS

Thetitlingofpieceshasalwaysbeenanimportantpartofmyprocessasacomposer.BecauseIcomposeprimarilyinstrumentalpieces,thetitlehascometotakeonanevengreatersignificanceforme.Thetitlegenerallyservesasaguide,direction,orquality/flavorthatthepiecebeginstoadheretoasthewritingprogressesandthepieceunfolds.Forthelistenerorperformer,itfulfillsasimilarroleofGuide;italsoservesasthelinkfromthemostlyexactingsymbolismofourspokenandwrittenlanguagetothemoreabstractandopen-endedrealmofsoundsandinvisiblestructures(compositions,songs,recordings,etc.).

Thatbeingsaid,instrumentalsongsexistalmostpurelyinthisabstractworldthatthought,names,andtitlescannotenter.Ingeneral,inspiteofthe"story"aspectofsomemukyokutitles,IagreewithAlanWatts'assessmentthatmoreintuitive,spontaneousmusicisExpressiveasopposedtoDescriptive,andpuremusicwillusuallybegiventitleslike"ConcertoNumber3"orsomethingelseasdevoidoflanguage-labelingaspossible.Butthetitlescametomespontaneously,andIthinktheyarefunandappropriateinthiscontext.MoreimportantadvicefromWattscomesfromhisautobiography(InMyOwnWay,1974):"Chanting,fluteordrumplaying,anddancingindemilitarizedpatternsareideallynaturalformsofyoga-meditation,becausetheysilencethehypnoticchatteringofthoughtandgiveoneadirectfeelingofshabda---thebasicenergyorvibrationoftheuniverse."

Thesedescriptionsgivesomebackgroundtothetitlesandsomemusicaldetailsthatmighthelpintheplayingofthesepieces.Iftheydon'thelpyouoriftheysubtractfromyourexperienceofthepiecesinsteadofaddingtoit,thenIsuggestnotreadingthesedescriptionsandreturningtothesoundofyourflute(s)andthenotationitselftodiscoverwhatthepiecesmighthavetooffer.

1—TheTurtle

Theturtleisveryslow.Itmightstaycompletelystillorinsideofitsshellwhenapproachedbyanunknown.However,thereispowerindeliberateness,andagoal(i.e.gettingtosafety)orotherstrongmotivationwillcausethepatientcreaturetoincreasespeed,expand,orgoforthinsomeway.Wedon'treallyknowanythingaboutanimalpsychologyoremotions,itisallconjectureandanthropomorphisization;Iamnotabiologist,andIdon'tevenknowiftheseimpressionsareaccurate,buttrueobservationofNaturecanteachusifwepayattentionwithopenawareness.ThisisabasicaxiomofbothTaoismandshamanicwisdom:twohumanapproachesthatpre-datejustabouteverything(notincludingeatingandfornication)thatweconsiderimportanttoday.Eventwoofthe"basicnecessities"ofclothingandsheltercouldhavebeentaughtdirectlyfromtheMaster:theturtle.

MusicalDetails:Thispieceislooselyprogrammatic,meaningthatthesequenceofphrasesreflectsapossiblestoryoreventinthelifeofsome

turtlesomewhere.Inthiscase,thefirstphrasesstruggletogetsomewherenew(differentfingeringsforequalpitches,forexample)andthentheyexpandandbalancethemselves.Realmovementcomesinwiththerhythmicphrasesandtheendingisarepeatoftheopening,completingthecycle.

1)LONGTONES!!! 2)CHANT!! 3)NATURE!!!!! 4)MISSISSIPPIBLUES5)NON-CATEGORY!

2—Shunyata

WithinaholisticBuddhistpractice,the"concept"ofMu---orEmptiness,Void,Nothingness---alwaysreturnsasakeyfeatureforphilosophicalelaborationandcontemplation.Inanattempttodistinguish"conceptualemptiness"fromtheco-dependentoriginationoftheVoid,whichisequaltothegroundofallBeing/Non-beingaswellasTathagata(Suchness),NagarjunausedthetermSunyata(sometimesspelled"Shunyata").WhenyourexperiencepointsbeyonddualityandreturnsyoutoabsoluteEmptiness,thisisShunyata.Emptyingisadynamicprocess,notastaticstate;thereismovementinemptying.Returningyourpointofattentiontothegroundofbeing(no-self),andunitingandemptyingwiththesoundandthefluteistheprocessofthispiece.

MusicalDetails:Buddhistphilosophyaside,thisisjustlongtones,longtoneswithkomibukiandlargerspacesbetweenphrases.I

recommendthatthekomibedonewiththediaphragm:leaveanytighteningofthethroatoranyvocalsoundsoutofitwhenpossible.Focusingyourattentiononthebelly/diaphragmisrecommendedforallwindinstrumenttonedevelopment,anditisapracticesharedwithyoga,t'aichich'uan,andmanykindsofmeditation.Focusingyourattentiononthispoint(lowertant'ien:about3inchesbelowthenaveland2.5inchesinfromtheskin)andmakingsurethatthebreathisgeneratedandgroundedatthispointwillincreaseyourtonalpowerandyourconnectionwiththeflute.

Therearemanywideintervalsinthispieceleadingtoexpansiveandsimplemelodicphrasesthatcanhelpyouconnecttheupperandlowerpartsofthefluteintoonewhole.Thepacingshouldbeveryslowanddeliberate.Youarefreeto:repeatindividualphrasesatwill,breathemid-phraseifnecessary,scoopintosomeopeningnotesofphrasestogetthepositionaligned,orotherwisemodifythesustainedsoundsinordertogetthebreathintoanactivestate.

1)LONGTONES!!!!! 2)CHANT!! 3)NATURE!! 4)MISSISSIPPIBLUES 5)NON-CATEGORY!!!

3—TheDemiurgeTakesForm

Ademiurgeisacraftsmanorartisanassociatedwithformingthematerialuniverseoutofrawmatter.Hesometimesappearsastheonetogiveformtomatterandsometimesastheonetocreateideas,dependingontheeraofphilosophicaltheoryinwhichheappears(Platonic,MiddlePlatonic,Neoplatonic,orGnostic).TheDemiurgefigureslargelyingeneraloccultpracticeasaforcethatcanbeusedtogetthingstohappen,bringaboutcircumstancesorbringthingsintobeing.Itcanalsorefertoapersonactinginalife-givingcapacity,asinanoccultpractitionerformingabeingoutofclay(golem)andinducinglife-forceintoitthroughtheuseofspellsandincantations.Thereisadoublemeaninginthistitle:onereadingof"takesform"isto"takeawayform,"ordestroy:theoppositeofthecreativeactionofthedemiurge.Anotherreadingisto"comeintoaform",becomeaformorotherwisesomehowcreateitself.Thisgivesakindofrevolvingperspectiveontheparadoxesofdualityandthecyclesofcreationanddestruction.

MusicalDetails:Ifyouremove"em-u"fromthetitleyouareleftwiththeword"dirge,"andthisistheprimarymusicalaspectofthispiece.

Adirgeisaslow,oftenrepetitivepieceassociatedwithsolemnritualssuchasfunerals.Compositionallyitisthehalfwaypointbetweenadroneandariff,andthemukyoku

repertoireoperatesprimarilyonthiscontinuumleaningmoretowardsdrones(longtones)attimesandriffs(shortmelodicfigures)atothers.Thetemposhouldmostlybeslowanddeliberate,buttherearemanypossibilitiesforpersonalinterpretationoftempowithinthispiece,particularlyonthetransitionsbetweenthemeteredsections(withbeatmarkings)andtheun-meteredlongnotesections.

1)LONGTONES!! 2)CHANT!!! 3)NATURE4)MISSISSIPPIBLUES!!! 5)NON-CATEGORY!

5—ChaosReturn

Writteninthemidstofmovingfromanartistloftintoahouse,thistitleisalsoinspiredbytheIChinghexagramcalled"ReturnoftheDarkForce."Indailymateriallife,chaoscausesmuchvexationandfrustration;youcouldsaythatmostofourdailyeffortsareangledtowardsorderingchaosorkeepingitatbay.However,chaosisalsotheprimordial"stuff"fromwhichformandorderaremade.Thereforeinspiteofitslackoforderanditsunpredictability,Chaosisacosmictemplate,parallelinconcepttotheVoid,SpaceorEmptinessofBuddhisttheory.

MusicalDetails:Thispiecewaswrittenonthelongest(2.8)andfattestofthe4TaimuflutesthatIworkwith,sonomatterwhatflutethisisplayedon,youshouldpretendthatitisverywideandheavy:feeltheairreallybouncearoundinsidetheflute.Thispiecehassomemoredirgeelementsduetotheslow,heavypacinginadditiontomanyhonkyoku-isms.ItisasonicreflectionofthedisorderandpotentialwithinChaosandsospacesbetweenphrasescanbeincreased,andthefirstsectioninparticularshouldnotsoundespeciallymusicalorlikeitisreally"going"anywhere.DelvingintoorfacingChaostakeseffort;somostphrasesshouldbeatorclosetofullvolume.

1)LONGTONES!! 2)CHANT!!! 3)NATURE!4)MISSISSIPPIBLUES! 5)NON-CATEGORY!!

7—TheTree&theMaiden

Ihadanideaforamusicalnarrativewhichinvolvedanindepthrelationshipbetweenayoungmaidenandaveryoldtree.Thesetwomaincharacterswouldliveinverydifferentrealitieswithdifferentperceptionsoftime(i.e.oneyearfortheMaidenwouldequaloneminutefortheTree)andyetsomehowtherewouldbeanintersectionofthesetworealitiesatwhichtheycouldmeetandshareperspectivesandstorieswitheachother.Thissongistheveryreduced,instrumentalversionofthespiritIimaginethisstorywouldhaveifitevergetstold.

MusicalDetails:Thisistheonlypieceofthese27tobebasedonwhatIcalltheMixolydianPentatonicScale,orinWesterntheoryterms:

1345b7(1),orinshakuhachitermsRo,Re-meri,Re,Chi,Ri,(RoorI).Thisisagreatscaleforfree,unaccompaniedimprovisation,particularlyonanykindofflute.ItisamusicalhalfwaypointbetweencommonWesternscales(major,minor,etc.)andnon-major-scalederived"worldmusic"scalesandmodes.Thenatural,strong-tonescaleofshakuhachi,justtoreview,iswhatiscalledMinorPentatonicinWesternmusictheoryor1b345b7(1),sothis("MixolydianPentatonic")scaleonlyhasonenoteshiftedbyahalf-step:theTsu

orb3(minor3rd)nowbecomesRe-merior3(major3

rd).Thisonelittledifferencechanges

thewholeflavorofthesetofnotes,the3rd

beingaverypowerfultoneintermsofflavor(usuallyreferredtoas"quality"butIfind"flavor"tobemoreaccurate)inmusicalscalesandchords.

Inspiteofthe"5AspectsRating"systemthatIcameupwithasguidefortheinfluencesandrecommendedstylisticapproachtoeachmukyokupiece,someofthepieces,suchasthisone,aresimplySongs,andshouldbeplayedasmelodicallyaspossible.

1)LONGTONES! 2)CHANT!!! 3)NATURE!!4)MISSISSIPPIBLUES!!! 5)NON-CATEGORY!!

8—DoppelgängerAdoppelgängerisadouble,ashadow-self,oraneviltwin.Ingeneral,adirectconfrontationwithyourowndoppelgängerindicatesthatyouarenoworsoonwillbedead,andthisconfrontationwithyourshadow-selfispartofatrialinthein-between-livesstatethatdeterminesyourpurityofspiritortruecorefortitude.Althoughmostofthesepieceswerenamedindependentlyfromeachother,certainpatternsandthemessuchasMortality,Duality,Paradox,andSelfvs.Otherbegantoemergeasthetitlesweregiven.Aswiththemusicalstyleofmukyoku,totheextentthatthereisaphilosophicalorthematicaspecttothesepieces,itisessentiallyapersonalsynthesisofthemythology,psychology,cosmology,ideasandapproachesfromEastandWest.Iammuchmoreinterestedintheintersection,overlapandconsensusconclusionsfrommultipledoctrines(Christian,Hindu,Buddhist,Pagan,occult,forinstance)thanIamintheirdifferencesortheirrespectivehistoricalpractices.

MusicalDetails:

Inmanyways,thisisthemostchallengingofmukoyku,mostlyduetothefactthattherearetwo"expanded"techniquesinvolved.InWesternmusic,theterm"extendedtechnique"isusedtodescribetheuseoffingering,playingstylesorothertechniquesthatwerenotgenerallyincorporatedintheoriginalcommonpracticeeraoftheinstrument.ForWesternflute,forinstance,thiscanincludemulti-phonics,split-tones,fluttertonguing,mouthpercussion,etc.Ihavecometoprefertheterm"expandedtechnique"formethodsthatservetoopenupthepossibilitiesoftheinstrumentasopposedtoguidingitdownacul-de-sacofnovelty.Onshakuhachi,whocanreallysaywhatcreativesoundsweremadeontheflutebackintheday?Inmyimaginationthereweremadmonksandserioussamuraiwhoweregettingallkindsofcrazysoundsonthethings.Thatbeingsaid,thispieceinvolvestwotechniquesthatarenotcommoninthepresentperformancepracticeofshakuhachi:playingtheflutebackwardsandcircularbreathing.

Playingintotheflutebackwardsisagoodwayofforcingyourembouchureandblowingstyletoreallyinteractwiththebamboointherawestwaypossible.Ifyoucangetasoundonafewnoteswiththefluteturnedbackwards,turningitbackaroundforwardswillmakeitseemeasyincomparison,andhowoftencanwesaythatonshakuhachi?Thisisalsoanillustrationoftheshadow-selftheme:sameflute,sameplayer,butdifferenttone.Thecircularbreathingisnotnecessary,butahypnoticeffectiscreatedifeachofthescalarphrases(theoneswithsmallgroupsofnotesinquickrepetition:lines2-4,8into9,andp.2bottomofline6into7)areplayedatanevenspeed,nottoofast,andareunbrokenuntiltheirconclusion.AlthoughIamanadvocateofcircularbreathingonallwindinstruments,andcanmakemycaseagainstitstreatmentasanoveltyor"parlourtrick"withgreatconviction,Ihaveconsciouslydesignedmukyokutobeplayableinthehonkyokutraditionofonephraseperbreathformanyreasons.Acoupleofphrasesinthispiecebypassedthisrestriction,however,duetothemusicaleffectivenessofplayingthem

strungtogetherwithoutbreaks.Inline2ofp.2,coverthefilledinholesandside-blowacrossthecenterholefortransversefluteeffect.Like#7,thispieceisstructuredasmoreofasongwithmelodicpassagesincontrasttothelongtonenatureofmanymukyoku.

1)LONGTONES 2)CHANT!! 3)NATURE!!4)MISSISSIPPIBLUES! 5)NON-CATEGORY!!

22—ThemeoftheMendicant

OnlysixPieceDescriptionsleftinthisseriesandyoumightbewondering,"WherearetheJapanese-ytitles?"Maybeyouarehopingfor"BonsaiBuddhaBlossom"or"SamuraiKaraoke."Thisone,#22,isthebestit'sgoingtogetintermsofshakuhachi/komuso/Japanese-yflavoredtitles(eventheBuddhisttitle,[#2]wasdisambiguatedSanskrit).OneofthefirstpiecesImemorizedonshakuhachiwasthethemesongfortheTVseriesKungFu.Thispieceismuchsimplerthanthatsong,andmoreAsianaswell.Themelodypoppedintomyhead,Iwhistleditintoavoicemailtomyselfandtranscribeditlater.Sometimesyougetthesetunesthatreallyarelikethemesongs.Thelifeofawanderingmendicantiseasytoromanticize:itis,afterall,distilled,uncut,purefreedominonesense.Unfortunately,todaythewordjustmeanshomelessand,byimplication,uselessandaimless.Itistheolder,pre-industrial,carefree,expanded,idealistic,pacifistwanderinghero-sagetowhomthisthemeisdedicated.

MusicalDetails:Themainthemeowesalottobasicminyomelodies.Thisisalsoasuccessfulattemptatwritinga"beginner"mukyoku;thesecondinthe"beginner"series,#21-24.DuetoitssimilaritytominyoandJapanesefolkmelodies,however,thispieceisonthecuspofnotqualifyingasmukyokusinceitworksverywellonanysizefluteandon1.8inparticular.Forthispiece,mythinkinggoeslikethis:thebiggertheflute,thecloserinproximityyouaretothemendicant:bythecampfire,justoutsidethehorsebarn,nexttothecreekatsunrise,thattypeofthing.Thesmallertheflute,themorethesongimpliesdistance:themendicantiscominguporgoingdownthehillside,ontheedgeofacliffovertheravine,fadingawayintothesunsetinthemeadow,plain,orvalley.Thevariationsarenotactuallymelodicmodificationsofthetheme,butratherparallelmelodiesinthesamespiritandwiththesamebasicpacingandphrasestructureasthetheme.ThekanrepetitionswithintheThemeandVariationTwoareoptionalandshouldbeapproachedasastepfrom"beginner"to“intermediate."

1)LONGTONES 2)CHANT!!! 3)NATURE!!4)MISSISSIPPIBLUES 5)NON-CATEGORY!

24—InWhichTheSoundContemplatesYourExistence

Acompanionpieceto#23,thisisthefinal,shortentry-levelmukyokuinthisseries(#21-24).Whatseemsatfirsttobeakindofcleverornonsensicaltitlehas,infact,beenausefulguideatslowingdownmybreathing,fillingthefluteandstretchingmyperspectiveonthesoundstohearmyselffromtheirperspective,sotospeak.Wespendsomuchofourtimeontheflutesdirectingourthoughtandenergyonedirection:outanddowntheflute.Somucheffort,focus,frustration,joyanddiscoverymoveinthatdirectionthatitiseasytoforgetthatthephysicsatworkinsidethefluteactuallyrequirethefluteto"breathe"backatus.Theaircolumnthatisinmotiontocreatethesoundwehearextendsfromjustbeyondtheendoftheflute,allthewaybackuptheflute,backintoyourmouth,throat,lungs,nasalpassagesandsinuses.Gettingthislarger,moreunifiedpictureofthevibratingaircolumncanhelpusrefineandmanipulatethesmall,focusedair

streamthatsetsitinmotion.I'mnotsure,butIfeellikeifIknewanythingaboutit,theremightbeanappropriategolfanalogy–oratleastaZenarcheryanalogy–thatcouldbeinsertedhere.

MusicalDetails:Spendingmoretimeinkan,thispieceisnotaseasyasitfirstappears.ItalsodemonstratestheevolutionfromLongTonetoChantasthemelodicphrasesexpandfromone-andtwo-notegroupingswithsustains,to4,5andeventually9-notephraseswhichendwithasustainedtone.Thecontemplative,very-full-breaths-between-phrasesapproachshouldbeinfulleffectonthispiece,andthetempowillvarysignificantlydependingonthephrase-length/breathcapacityoftheplayer(ordependingonday-to-daychanges).

1)LONGTONES!!!! 2)CHANT!!! 3)NATURE!!4)MISSISSIPPIBLUES 5)NON-CATEGORY!!!

25—PythiasDualis

Thisisthefourthandfinaloffourspecific-flute-basedintuitiveimprovisationpieces(#11,#12,#13,#25).ForeachofthefourTaimuthatIworkwith,thereisonepiecethatwasmadebyplayingit,recordingit,andtranscribing/adjustingitlater.Theresultsweresomemusicalstreamsofconsciousness,andmukyokuthatareevenmorespecificallyorientedtowardstheflutesonwhichtheywerewrittenthantheothers.Thisonewascreatedonthe2.75Taimu,theskinniestandmostversatileofthefour.ThenamehasthesameLatinismsas#13,MorticusLeviticus,butthistimethereismorespecificmeaning.Asreferredtointhedescriptionof#16,DoubledDragon,this2.75Taimuhasadualisticcharacter.Thedoubled-serpentimageryandmetaphysicalimplicationswereloominglargeinmymindwhenIfirstacquiredthisamazingflutefromKen;atthattimeIwasreadingJeremyNarby'sTheCosmicSerpent(whichIrecommendifsnakes,shamans,creativeanthropologyandDNAinterestyouatall).ThemythologiesofPythontheearth-dragonandPythiaoftheDelphicOracleareintertwinedwiththelocationofDelphiandthefigureofApollo,althoughtheseareGreekwordsandtheoriginalserpentorserpentisareLatinwords.[Asindicatedbefore,Ireservetherighttomakeupwordsinanyornolanguageaspartofthecreativeprocess...]Therearecosmic-,chthonic-(subterranean),vision-,rainbow-,tree-,sea-,fire-,long-,double-,andplumed-serpentsfromeveryworldmythologythatyoucanfind.GettingtoknowthemallmighttakeaslongaslearningtoplayTaimu,butitwouldn'tgiveyouasmuchsound.Likethegiantdeitiesfrom#14,itsomehowseemsusefultothinkofgiantserpentsanddragonswhenworkingwiththeTaimu.

MusicalDetails:Youwillfindsomephrasesliftedcompletelyfromhonkyoku,andyouwillalsofindmelodic"violations"ofcertainhonkyokuclichés.Morethananyothermukyoku,thispieceusesthescale/setofpitchesthatiscommoninhonkyoku.Thegoalisforyourbestsoundontheflutetobeeasiertofindthanadragon.

1)LONGTONES!!! 2)CHANT!!! 3)NATURE!!4)MISSISSIPPIBLUES 5)NON-CATEGORY!!!

27—Shakthamunki

FormanyyearsIhavewantedtouseatitlethatincorporatedwordplayonshakuhachi,Shakyamuni(thehistoricalBuddha'stribalname)andthePeterGabrielsongtitle"ShocktheMonkey."Thefactthattheword"monk"(munk)isinthereisanaddedbonus,butbasicallyIwantedtocombinethesewordsandphrasesintoone,sothatatfirstglanceitlookslikeeithershakuhachiorShakyamuni,butwhenit'sread,itsoundslike"ShocktheMonkey."Thisfinal,long-formbluesmukyokuseemedlikeanappropriateopportunitytousethetitle.TheconnectionbetweenshakuhachiandBuddhismiswell-knownandfrequentlyreferenced,particularlyinhonkyokuanddokyokutitlessuchasKoku,Tamuke,AjikanandBosatsu,butwhatabouttheshockthemonkeyconnection?Infact,Mr.Gabriel'scrypticlyricstothe1982hitsongutilize"themonkey"asametaphortoexaminehowjealousycanreleaseone'sbaserinstincts(itcanalsobeinterpretedasrelatedtodrugaddiction,butthemetaphorforaddictionandjealousyarealmostthesame)."Shocking"themonkeyisaseveremeansofreigninginandcontrollingthesebaseinstincts.Also,recognizingthewildandviolentnatureofsomeofourownreactionscanbequitea"shock"toourself-image.Similarly,theBuddha'steachingsmentionthat"themindislikeamonkey,difficulttocontrol:itishyperactive,jumpingandswingingbetweentreelimbswithoutanymomentofrest."ManyoftheBuddha'steachingsfocusonpracticalmethodsofrecognizing,calmingandhandlingthemind.The"mind"includesourownreactionstothearrivalofmoreprimordialinstinctsoremotionssuchasjealousy(i.e.territoriality)astheyarrivefromthelowerbrains(reptilianandmammalian)intotheneo-cortex(ournarrowfocusofattention;our"thinking,""rational"or"problem-solving"brain).

Thefactthatthethinkingmindispersistentlymistakenasthe"Self"isalsothefocusof

practicalteachingsby20th

teacherssuchasAlanWattsandEckhartTolle,whoareadeptatunmaskingtheillusionofthe"thinking"Self.Toattemptaparaphrasedexample:canyouthinkaboutyourselfthinking,andonceyouhavesplitintwotodothis,whichoneofyouistherealYou?Alloftheseexamplesandmetaphorsarenottobeconfusedasmetaphysics,philosophicaldebateorreasoning:theyaremethodstoleadapersontothedirectexperienceofreality:theprimaryandpracticalaimofBuddhismandotherdistilledteachings.InthewordsofWatts:"Thereissimplyexperience.Thereisnotsomethingorsomeoneexperiencingexperience."Asmuchasthemindrebelsagainstit,theunavoidabletruthisthatallthepainandsufferinginthisworldarecreatedbythemind.Transformation,ashiftfromegoconsciousnesstopureconsciousness,cannotbeaccomplishedbythemind.Usingthemindtotryanddiscussitordescribeitleadstoinfinitecyclesandparadoxesofduality,athemerunningthroughmanymukyokutitles.Canweinsteadusebigbambooandfatflutestoreturntotheprimordialgroundofbeing,to"TheOneSound"ofWatazumi?Canweattainichionjobutsuorwillwejustattaindizziness,tendonitisandtheoccasionalfull,glowingnote? Anythingispossible,butNothingmatters.

MusicalDetails:Thisisablueswithintro,mainsectionandending.ThiswasanimprovisationinspiredbyapersonalsynthesisofmanyMississippibluesrecordingsandasingleimage:aruralmanplayingelectricguitarthroughasmallamplifieronhisporchafteralongdayofhard,physicallabor;apureexpressionoflivingwithoutpretenseorcontext.Thereisskillandknowledgeofbluesmusicinthesephrases,buttheintentionandtheformarefree-flowingandin-the-moment.Itdoesnottellastory,itdoesnothavemeaning:itispredictableandunexpectedatthesametime.Makingasoundandgoingwheretheflutewantstogoatthecloseofonerotationoftheearth.ThisimagewasalreadyinspiringmebecauseofthemusicofJuniorKimbroughandR.L.BurnsideatthetimewhenIchancedtoaskChikuzen(again,afterwaiting7yearsfromthelasttimeIhadasked)abouttheconnectionbetweenZenandshakuhachi.Afterabout3minutesofsilence,hedescribedmemoriesofhisgrandfatherandthisexactsameimage.

1)LONGTONES! 2)CHANT!!! 3)NATURE!!!4)MISSISSIPPIBLUES!!!!! 5)NON-CATEGORY!!!!