Winds of Samurai Spirit

In the middle of July, 1800, the blazing summer sun beats down upon the fully armored form of Kaito, a young warrior. Drenched in sweat, the youth strikes the bamboo dummy once again with his boken. “Again!” his trainer yells, voice cracking in his dehydrated throat. “AGAIN, I said!” Despite the oppressive heat, Kaito strikes the dummy again and again, until he finally collapses.

Kaito is a samurai, serving under his warlord father, Saito. The “to” in each of their names means “blade,” and the family has a long tradition of fierce swordsmanship. Kaito was raised in a household where honor and warfare were held in the highest regard. His father, a renowned warrior, had trained him rigorously in the art of combat since he was a child, but now he studies under his father’s teacher, a brutal martial artist who has no name other than “the Master.” Many believe he is the iemoto of the hidden lineage of Musashi himself.
Kaito practices his swordsmanship diligently, honing his skills in preparation for the battles that lay ahead. But deep in his heart, he secretly craves something different. As he grows older, he finds solace in a hidden passion that brings him joy like nothing else: music.

Kaito woke up in his room, eyes still glazed over, mouth parched, and gasping for water like a fish beached on the dry sands. He overhears his father and the Master in the hallway, speaking about the training session. “I just don’t know what to do with him… “ his father laments. A grunt comes from the Master, quoting Musashi. “Do nothing with no use.” Saito chuckles, then remarks, “I never know what you mean when you give these short, pithy responses.” The Master smirks and replies, “After years of teaching you, you still know nothing. Accept things as they are. The old saying, “the apple doesn’t fall far from the tree” isn’t a guarantee.”

Kaito knew the Master could see through his hard work, and recognized his internal turmoil. While his fellow samurai revel in tales of valor and conquest, Kaito seeks out tranquil moments under the cherry blossoms, where he would often take his flute and play melodies that echoed through the forest. The sweet sound of the instrument brought a sense of peace and freedom to his soul that the battlefield never could.

Hearing the Master’s words, he was reminded of the famous painter, calligrapher, and poet, Sesshu. Much like Kaito, Sesshu was also born into the powerful Oda samurai family. Although Kaito didn’t train at Shokoku-ji like Sesshu, he had visited many times in his youth. He’d many stories about Sesshu, and knew much of his poetry and scrolls. His favorite scroll was Four Landscape Scrolls of the Seasons. And most importantly, Sesshu played the same type of flute as Kaito, the hitoyogiri.

Kaito had acquired his hitoyogiri on a trip to the local market. While the servants did the bulk of the shopping, Kaito and his mother ran into an old family friend who was playing hitoyogiri with his teacher, a Buddhist monk. Kaito was awestruck by the sounds of their family friend’s hitoyogiri. He was a doctor by trade. His mother greeted the doctor in the traditional fashion. “Hisashiburi, awazarikeri,” a common greeting, loosely translated as “it has been a long time since last we met.” The doctor replied,“hisashiburi ni ome ni kakarimasu” (it has indeed been a long time”). Kaito didn’t care much for the formalities of samurai life and was often punished for speaking incorrectly to adults. When his mother called him over, saying “Kaito, come quickly!” Kaito stood transfixed by the music of the flutes. “Kaito!” his mother yelled sternly. He snapped out of his reverie and responded, “mairimasu. Haha-ue!, translated to “Coming Mom!”

After the typical greetings were exchanged, the elder doctor started to talk to Kaito. “Kaito-kun, do you like this flute?” Kaito stood in silence, not sure how to politely respond. “Speak freely,” the old doctor said in a gentle voice. A smile formed on Kaito’s face and he said, “yes, I love it! What is it?”

“It is called hitoyogiri,” replied the doctor.

“Hi-to-yo-gi-ri?” Kaito repeated, puzzling over the name.

A Edo era style hitoyogiri made by Nick Bellando.

“Yes, it means “one node cut” because, see here, there is only one bamboo node.” the elder explained with excitement.” Kaito was completely fascinated. He plied the older man with one question after another, until Kaito’s mother worried that he was bothering the two musicians. After about 20 minutes, Kaito’s mother firmly said, “Okay, I think it is time to head back. You have more training to do, Kaito.”

“Before you go,” the kind doctor said. “Why don’t you take this one with you, and play on your own? Maybe you can play me a nice tune one day.” Kaito was speechless and stood staring at the old doctor offering the hitoyogiri to him. “Take it, boy,” he said with a soft laugh. The doctor opened Kaito’s kimono and placed the hitoyogiri inside, along with a bag to keep it in. “Good luck!” the doctor said before walking off with the Buddhist monk.

Kaito had kept the hitoyogiri a secret from his father since that day. But lying there, listening to his father and the Master discuss him, his inner turmoil suddenly resolved. He suddenly stood and spoke to his father and the Master. “I want to play the hitoyogiri!” The master crossed his arms and smirked, knowing how his father would react. Saito, as expected exploded, “How dare you speak to me like this?” Kaito was drained and dehydrated from the training session, but he stood without fear.

“You will be a great warrior!” his father roared. “And I will hear of nothing else!”

Kaito spoke again, even more firmly than the first time. “I want to play the Hitoyogiri!”

His father’s face turned redder than after a full bottle of sake. “How about I tie you to the pole outside? I bet you will change your mind after that!”

In addition to swordsmanship, Kaito was also well-versed in the classics. He really enjoyed the humor of some of the early Zen writers, so he replied with the following. “Just as Sesshu was tied to a pole to prevent him from doing his art, he painted with his tears and his feet, and so I will whistle my melodies.”

“I will tie your mouth shut!” Was his father’s thunderous reply.

“Then I will fart a symphony!” Kaito said, laughing. The Master also laughed out loud.

Saito was shocked. “Master, what is wrong with you?!”

“I told you,” he reminded Saito. “The apple doesn’t fall far from the tree,” isn’t a guarantee.” He turned to face the youth. “Kaito,” the Master said gently. “You like Sesshu?”

“YES SENSEI!” Kaito barked. “I find his painting inspiring, and he also played the hitoyogiri. I bet it sounded just like his four seasons scroll collection.”

The Master chuckled dryly. “You know him well, it seems.”

“I wouldn’t say that,” Kaito replied, trying to humble himself.

“You know, Kaito” the Master spoke with a hint of nostalgia in his voice. “My master’s master’s master shared the same patron as Sesshu.”

“Do you mean the Mori family?” Kaito questioned.

“Impressive! Who told you that?” The master asked, somewhat taken aback by Kaito’s knowledge.

“My calligraphy master told me, when I studied some of Sesshu’s writings.”

The Master nodded. “Well, let me tell you something about him that you don’t know.” The older man folded his arms casually as he spoke. “Master Sesshu was obviously an incredible artist and painter. It is said that many of his works were divinely inspired. I have always held a personal conviction that the entire dharma law was in each stroke of his brush.” The Master paused for a moment and a smile formed on his face. It was an expression Kaito could remember seeing only once before, when Kaito’s father had knocked the Master down during a sparring match. The Master inhaled deeply. “Master Sesshu had one other quality that made people absolutely stop in awe.” Kaito’s knees were weak from his earlier training, but he willed himself to stay upright to hear this secret tale of his hero.

“It was when he played hitoyogiri,” the Master asserted. “It was simple, but profound you see. The people who heard him pray never understood what he was saying but when he played, they heard his true voice.” The master continued. “I was told that it was like nothing you have ever heard. One monk expressed it like this… “At last, the two phoenixes, the male and the female, have finally met.”

Kaito understood this reference and asked, “So he had mastered the Ritsu and Ryo balance?”

The Master nodded. “You have a bright boy here, Saito. He should really study hitoyogiri.”

Saito wasn’t angry; he was embarrassed that his son wasn’t a good fighter. He thought the Master was going to blame him for his inadequacy as a father. He lamented, “Master, I am sorry I couldn’t raise him to be a fighter like me.”

The Master shook his head. “Why is it Saito, that you can not grow into a teacher? Is a blade a bow? Is a jo a shuriken? Or how about this for your dull mind? Is a rabbit a horse? Surely not, Saito. Your son has a brilliant mind. You have forgotten these words:

A fine rain falls from heaven.

Many kinds of foam spreading on water

Are born then perish as water changes.

They are not born from self or other, but from the chain of causation.

Things arising in visions are mystifying.

Buddhas in the mind make them. Never suspect or doubt them.

Fundamentally, truth and mind are one.

Not to know this is extremely pitiful.”

https://www.lulu.com/shop/nick-bellando/shichiku-kokin-shu-hitoyogiri-then-and-now/hardcover/product-24179491.html?page=1&pageSize=4

“Kukai...” Saito and Kaito said in unison.

The Master nodded at Kaito. “Yes, it is Kukai… do you know its meaning?”

Saito understood, answering the Master with his own question. “Where can we find a hitoyogiri master today?”

“Father?” Kaito interrupted. “What about Doctor Juntei?”

“Kamiya Juntei?” his father asked.

“Yes, my hitoyogiri was a gift from him. May I study with him?”

“Go on then.” Saito nodded. “I will stay here with the Master.”

Kaito ran to Doctor Juntei’s house, and began to study with him just as diligently as he had approached swordsmanship. Kaito was one of Kamiya Juntei’s first students to master his book Shi chiku koku shu.

Notes

Saito, Kaito, and the Master are all fictional characters. Kamiya Juntei is a historical hitoyogiri player and teacher who wrote a manual titled Shi Chiku Koku Shu. Sesshu was also a historical character who played the hitoyogiri, and is one of Japan’s most revered and beloved painters. It also goes without saying that Miyamoto Musashi, acclaimed as a kensei, or “sword-saint”, is also a historical character.

You can purchase Kamiya Juntei’s book on hitoyogiri here!
https://www.lulu.com/shop/nick-bellando/shichiku-kokin-shu-hitoyogiri-then-and-now/hardcover/product-24179491.html?page=1&pageSize=4

Sources cited for historical notes. The interpretation of Kukai’s poem is my own and should not be considered a true Buddhist commentary.

https://en.wikipedia.org/wiki/Sessh%C5%AB_T%C5%8Dy%C5%8D#

https://terebess.hu/zen/mesterek/Sesshu.html

https://selfdefinition.org/tantra/Tantric-Poetry-of-Kukai-Clearscan.pdf

https://terebess.hu/zen/mesterek/long-scroll.pdf

Sign up to learn how to play the Hitoyogiri

PURCHASE THE COURSE HERE

We are joined by Nick Bellando who has been reviving the ancient melodies of Hitoyogiri. The course will be a group lesson setting every week. The course will take place over three months in the spring of 2024. We will meet every week for a one-hour-long lesson. There will be one-morning time class (Japan Time) and one evening Course (Japan Time) both covering the same materials. Each lesson will also be recorded and can be watched back at a later time, in case you miss one or forget some of the materials mentioned in the course.

Official dates

February 5, 12, 19, and 26 at 10 am and 8 pm

March 4, 11, 18, and 25 at 10 am and 8 pm

April 1, 8, 15, and 22, at 10 am and 8 pm

One monk (teaching) and two samurai playing hitoyogiri. On the left side of the page, traditional notation of hitoyogiri melodies.

Q: What if I can’t make those times?
Are you worried about missing out on valuable lessons due to conflicting schedules? Don't fret! We understand the importance of flexibility in today's fast-paced world. That's why we have made it a priority to record all our lessons, ensuring that you can access them at your convenience.
We believe that education should be accessible to everyone, regardless of their busy routines. By offering recorded lessons, we aim to provide you with the flexibility to learn at your own pace. Whether you have professional commitments or personal responsibilities, you no longer have to worry about missing out on vital knowledge.
Our dedicated team is committed to capturing every lesson in high-quality recordings, ensuring that you receive the same immersive experience as those attending the live sessions. You can trust us to deliver the content in a format that is easily accessible and user-friendly, empowering you to learn at your convenience.
To access the recorded lessons, access the google drive link sent to you after each session. There, you will find a comprehensive library of past lessons, sorted by date and topic. With just a few clicks, you can dive into the wealth of knowledge our courses offer, even if you couldn't attend the live sessions.
Moreover, we encourage interaction and participation even if you watch the recorded lessons. Engaging with your fellow students and instructors is vital to your growth and development. Therefore, we have incorporated discussion boards and forums on our online platform, where you can connect with your peers and ask questions about the recorded material.

The Materials

We will be using a collection of Edo manuals and score books as our primary resources for teaching Hitoyogiri. One major problem is that no one has been seriously playing hitoyogiri in the classical style for over 100 years! It has been very difficult to grasp an understanding of how the music is to be played because all of the manuals assume that you are already studying with a teacher. So Nick and Shawn have joined forces with their combined shakuhachi skills and shomyo knowledge to develop a systematic approach to understanding and reviving these ancient melodies. Books and materials will be provided for students before lessons which are included in the cost of the course.

The Cost

The Cost of the 3-month course is $500 dollars. This gives you access to…

The ancient characters “the monkey cries” done in 24k gold.

12 lessons, the book materials
a discord private community where all things hitoyogiri can be discussed
free online practice rooms with fellow hitoyogiri learners
Question and answer portions at the end of each lesson.

The Hitoyogiri For Purchase

BUY HITOYOGIRI HERE

HITOYOGIRI OSHIKI PROFESSIONAL 3D PRINTED

$450.00

This is the hitoyogiri Shakuhachi flute that goes along with the hitoyogiri course. It was designed and 3D printed by master artisan, Nick Bellando. It was designed after bamboo and is tuned in the ancient (traditional) style. The resin is Biocompatible. The gold “makie” is real 24k gold and reads “The Monkey Cries.” It is titled The Monkey Cries due to the mythological story found in a 16th-century document called the Taigensho where a group of people found enlightenment in a Golden Monkey living in the mountains. One day the monkey was killed by a neighboring leader and mourning the loss of the monkey, they dug up his bones. At that very moment, a gust of wind came by brushing over one of the monkeys bones, making a similar sound to its beautiful cry. Thus the hitoyogiri was born. The hitoyogiri also comes with a handmade bag made by Nick’s daughter #collegefund.

These hitoyogiri are lacquered with urushi, for urushi sensitive players, please message us through our contact page.

https://www.shawnheadmusic.com/store/hitoyogiri-oshiki-student-model

Winds of Samurai Spirit - a short story