So, why do I feel so connected to Hildegard’s music? Why do I think it works so well on my shakuhachi? I can think of at least three reasons. Two are general musical ones, while the third is shakuhachi-specific.
I don’t know much about medieval modes, but I believe that music from this period in Europe
frequently revolved around and resolved on two notes or pitches, called the Final and the Cofinal. Though somewhat related to the better-known tonic and dominant pitches of much of western music, they differ primarily because the former are more ‘equal’ than the latter. The music often started with and usually ended on the Final.
Pieces in the traditional shakuhachi repertoire are called the ‘honkyoku’ [“main”, or “original
music”]. They work in a similar way. There are typically two ‘tonal centres’. One might be a bit
stronger or might appear slightly more often a honkyoku than the other, but often they are equal in frequency and duration. Either tonal centre might begin and end a piece. The other notes in the music swirl or dance around, and ultimately resolve on one of these two tonal centres.
Typically, the melodies in both medieval music and shakuhachi honkyoku are constantly
returning to these important notes. They allude to a foundation or drone, even if there is no drone. They give the piece a satisfying coherence.
The second reason that Hildegard’s music is so well-suited for at least my style of shakuhachi playing has to do with a shared concept of rhythm or duration. The Japanese term for this concept is ‘ma’. ‘Ma’ means space, both physical and temporal. The music of Hildegard and the shakuhachi honkyoku do not have a beat. For example neither of these musical forms can be conducted. When more than one singer or player performs these pieces, they must be aware intuitively of the ‘ma’ that the other performer/s are using.
The durations or ‘ma’ of both the notes and also the non-sound between the notes are not
random. There is a correct timing or ‘ma’ for every musical event, every sound and every
silence. In both Hildegard’s music and the honkyoku, this sense of correct timing or space is intuitive, and not related to a regular beat or a meter.
The final reason why I so thoroughly enjoy playing Hildegard’s music on my shakuhachi has to do with how the shakuhachi is constructed and played. There are only five finger holes on the shakuhachi. The basic finger positions produce only five pitches; the top finger hole produces the same pitch as the fundamental (with all holes closed) of the instrument, or rather the octave above that fundamental.
Other pitches, including, but not limited to the rest of the 12-tone chromatic scale, are made by manipulating one’s embouchure and sometimes also partially closing one or more of the finger holes. Producing these ‘other’ pitches is a basic, though challenging technique for shakuhachi players.
These pitches are called ‘meri’ notes. The ‘main’ pitches produced with just the open hole fingerings are called ‘kari’ notes. It’s difficult to explain, but the ‘meri’ notes are softer and often breathier or earthier. The ‘meri’ notes are considered ‘yin’ notes, compared with the five louder,
more focused ‘kari’ or yang notes.
In most shakuhachi music, including honkyoku, the performer has to go back and forth between meri/yin and kari/yang. Where the meri and kari notes occur in the music in relation to each other is important. It creates a real, quite strong feeling or sensation in the shakuhachi player. This is distinct, though related to the differences in timbre between them. Often the feeling is neutral, or it might not feel quite right. But sometimes the yin and yang notes seem to be in just the right place. The physical sensation of oscillating between them exactly in the order that the music dictates, heightens the beauty of the melodic lines for the player. This is nearly always the case with the traditional honkyoku. Occasionally, it does happens with nontraditional pieces, including modern pieces.
So, here’s the interesting thing. The meri/kari or yin/yang pitches in Hildegard’s songs seems to always be in just the right order or place in relation to each other. It feels ‘right’ playing them on the shakuhachi. Why this is so may be one of the many unknowns that we have to accept, at least for now, as just one of life’s little mysteries. I would like to think that Hildegard would appreciate all of this.
I downloaded a number of your works to my phone and recently conducted a short meditation with your music. It was an accident. Your flute started playing automatically after my recording with affirmations, but it was at the right moment and I really liked it. Very relaxing.