Video of Yamaguchi Goro explaining how to play the Kinko-ryu Shakuhachi Honkyoku Vol.2

[@YokaiMoustache]

Great, the second part is here! Thank you! I’ll try to post the translation as well.

[@FranciscoVerdugoM]

Gracias 🙏🏽. Traducirlo será de gran utilidad.

[@YokaiMoustache]

@@FranciscoVerdugoM I just added it 😄

[@YokaiMoustache]

Here is the translation of Yamaguchi-sensei: In Volume 2, we will explain the basic playing techniques found in pieces other than Hifumi Hachigaeshi, as well as some special techniques that are rarely seen. (Music) This is the third line of the piece Takiochi. (Music) In this slide-up (suriage), you open hole 1 to sharpen the pitch (kari), and simultaneously with the next connecting note “u,” you close hole 1. (Music) Next is the second line of the piece Takioshi. (Music) On the second beat of “tsu,” you lower the pitch (meri) by lowering your head, return to the original position, then cover hole 2. Just before the last quarter of “re,” you lower the pitch again, return to the original position, and then cover hole 4 to move to “re.” (Music) Next is the fifth line of Takioshi. (Music) On the second beat of “hi,” you lower the pitch, return to the original position, then cover hole 5. Just before the last quarter of “hi,” you lower the pitch again, return to the original position, and then move to hole 4. (Music) Next is the third line of Akita Sugagaki. (Music) Starting from “ha” played in a lowered pitch (meri) on holes 2, 4, and 5, you switch to a sharpened pitch (kari) by adjusting your embouchure. On the second beat, tap hole 2 and lower the pitch again. Repeat this twice. (Music) Next is the first line of Kyushu Reibo. (Music) In this rapid tapping (uchitsumeru), you gradually speed up the tapping on hole 5, switch to pressing midway, then briefly cut the breath. Enter the next phrase starting from a lowered pitch. (Music) This is also the first line of Kyushu Reibo. (Music) At first, you shake the shakuhachi vertically as if thrusting, then switch to finger pressing midway, and gradually relax. (Music) Next is “Kiri” in the fifth line of the piece Shizuku. (Music) In this “Kiri” section, on the fifth line, you quickly slide your fingers toward the back of your hand. (Music) Next is “Ikinayashi” on the second line of Kami no Kyorei. (Music) In “Ikinayashi,” the resonant notes (onkyō) of “ha” on holes 2, 4, and 5, and the grace notes (maon) use the same technique. However, the resonant notes are played with a lowered pitch (meri), and the grace notes are played with a raised pitch (kari). (Music) In the third line of Kanayama Kyorei, we have “Fukikomi,” “Sotogiri,” and “Uchigiri.” (Music) “Fukikomi” involves cutting the breath at the previous note, then using the same technique to take a new breath while covering hole 2 to enter the fourth line. The next “Sotogiri” involves quickly sliding your fingers toward the back of your hand on the fifth line while remaining on the fourth line. The final “Uchigiri” is to quickly slide your fingers toward your palm on the fifth line. (Music) This Korone is the same as that used in outside pieces (gaikyoku). Cover holes 4 and 5, and alternately open and close holes 1 and 2. (Music) Next is Murayuki, from the fourth line of Mukaiji Reibo. (Music) In Murayuki, after gathering your breath, you disperse it all at once to blow forcefully, without producing a solid tone. Additionally, you play repeated notes, then return to the original flute and slide up to fade out. (Music) Next is the “Murayuki” of the “ha” note in the second line of Shika no Tone. (Music) Next is “Asane” on the fifth line of Kyorei. (Music) In “Asane,” you disperse your breath to produce a muffled sound. (Music) Finally, appearing in the fourth line of Sōkaku Reibo, is Tamane. (Music) In Tamane, use your tongue to blow as if rolling a bead. (Music) This concludes the explanation of the playing techniques.