This piece is actually about a 1.75 length and pitch a hair sharp of D with A = 440 HZ for experienced players. Plays best with an introspective Myoan style blowing. Can take more air and produce a light buzz in Dokyoku style. Great for Honkyoku and other solo or meditative playing. Rich introspective quality. Natural utaguchi, Japanese urushi lacquered bore and root end.
2.2 length Hocchiku instrument pitched in B. Root end Chinese Madake bamboo. Hand selected for me in Zhejiang in 2002. Cured in New York City and finished in Aug 2009. Standard bore aspect ratio. Fast and fluid response for this type of all natural flute.
2.1 Hocchiku style Shakuhachi pitched between B and Bb.
1.8 Antique Monk’s shakuhachi restored under my Tensei Line. Pitech between D and C# but closer to D, A = 432hz.
1.8 Modern master made shakuhachi made by Chikusen Tamai around 1970. Intermediate /advanced level instrument. D pitched with A = 440hz. Had repaired crack along the back of the top section, filled refurbished utaguchi, lacquered nakatsuki joint for snug fit, and refurbished top bore with authentic Honshu red urushi lacquer.
1.7 Tensei Monk’s Jinashi natural bore shakuhachi made around 80 years ago. Ivory Utaguchi inlay.red lacquered bore. Small repaired crack at the back of the top. This flute was fully functional and all I did was perform a thorough cleaning as the bore has a dense layer of ancient dust. It is now in great playing condition. The entire flute can be played easily in tune by an experienced player.
1.8 Root end EARTH Model pitched between C# and D. All natural bore shakuhachi made in respect to Watazumi, the Komuso Monk who bright the Zen Honkyoku playing experienced back to the origins by playing on the most organic flute possible. I call these Hocchiku when made with the root end. This flute has a “Hollow bamboo” tone.
2.2 Root End Earth Model pitched near B. All natural bore shakuhachi. This Style of shakuhachi is also called Hocchiku when I make them form root end. They are made in respect to Watazumi, the Komuso Monk who brought the experience of playing Zen Honkyoku back to it’s origins by playing the most organic shakuhachi possible.
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