A few people have asked my about my headjoint, most recently thatssoflutey - it’s a David C. Williams, handmade, solid silver with a 14k gold riser. For some reason the silver tarnishes very quickly (maybe due to the acids in my skin), though I’m not sure why the lip plate doesn’t! I’ve had it for about 5yrs now. The body of my flute is my trusty old Sankyo Etude, 12yrs old. And that silver doesn’t tarnish so much. With some effort, I could regularly polish my headjoint to shiny silver, but I’d have to do it so often it could damage the instrument, and besides I like it this way :)))
Sankyo Flutes represent traditional hand-built manufacturing excellence, with each instrument receiving the attention of artisans dedicated to the producing the renowned Sankyo sound. Sankyo artisans have total control over each step in the hand-crafted process. The meticulously crafted parts of the CF-201 receive the same attention to detail as those of the highest pure silver and gold models. The artists and craftsmen at Sankyo have transcended the art of flutemaking to a level unsurpassed anywhere in the world. We know you will agree. Sankyo flutes hold a secret within their walls; a voice of dignified beauty and an endlessly transparent and rich tone. This is the pride of Sankyo Flutes.
The CF-201 is the entry model of Sankyo’s Silver lineup and is a contender to any professional flute. Popular amongst aspiring artists, the silver headjoint flute resonates the beautiful Sankyo sound. Formerly called the Etude.
There’s been the occasional class at the dojo where the gender mix is equitable, but tonight’s class had twice as many XX chromosome sets as XY - ranks from third kyu to second dan. Awesome! A very different atmosphere.
Martin sensei has taught at least three adult classes in the past two weeks. He’s very focused on ukemi, and gosh is it ever fun the way he does it. He explained that one of the reasons we don’t train to hop when doing ushiro mai kaiten (step step turn kick roll (am I in a cheerleading class?)) is that if you hit a sweaty spot you are going down hard. His demonstration left me queasy seeing the potential for injury. Aside from that serious moment, it felt like kindergarten, only with less paint and more recess. Tonight’s pinning forms were all kosa dori, and I think he was trying to show how changing the distance you step towards uke changes the techniques available to you. Henka waza, or changing technique mid-execution, was not the focus of this class, but I see how it could have been.
So now that I’ve passed my 4th kyu test, the real fun begins. In my next stage of practice, I’ll have to learn how to (among other things) respond to particular attacks in three or four ways (eight if you count ura/omote forms being different) instead of one or two ways. I may need a spreadsheet to keep track of things instead of a list.
Shomen uchi sankyo has been on my mind - James sensei came up with a a way of demonstrating the extension required that (i) got me doing it right, (ii) made other people notice I was getting it right, and (iii) only used one hand. Basicly, keep the first point of contact moving up and forward until it’s not going further, then simultaneously pull that hand back and down while bringing the other arm/shoulder forward into uke’s armpit - counterbalancing. s.u.s. doesn’t rely on pushing uke’s elbow towards their head, so it feels out to the side rather than through uke’s center. As with all things, I’m taking too many steps while I work out how the hands are supposed to go.
I was tagged by @pinkhairgirlknits for #widn and I have been waiting all day for my flute to come back from the shop! Ahhhh its so pretty and clean :) #flute #Sankyo I tag @graceaileenrennie @mushroomnikki @amandamariesays